Page - 184 - in JRFM - Journal Religion Film Media, Volume 07/01

184 | Christos Kakalis www.jrfm.eu 2021, 7/1, 173–190 considered essential objects for the worship of a service, as the most precise collection of the parish’s textual material. Figures 3–4 depict a characteristic spread of these books, from the folder of The Divine Liturgy. In it we find the Apolytikion of St Andrew (the festal hymn of the Saint) scored in three different ways: in European notation and Latin alphabet, in European notation and Greek alphabet, and in Byzantine notation and Latin alphabet. The Apolytikon of St Andrew is chanted during the first third of the Divine Liturgy and it is a fixed part of its order. The page is made to be read by people with different musical and linguistic knowledge. The spread was transcribed in both notations and languages by Dr George Nabil Habib and further edited by the Reader Gregory Gascoigne in the early and mid 1990s. Not necessarily professional musicians, they transcribed specific types of notation into other types of notation while in parallel translating from (ancient) Greek into English in a prosodic way. The lack of extensive musical education and the complexity of the project have led to an empirical blended methodology that remains “imperfect” in terms of scholarly or more clinical approaches, but is sufficiently flexible to adjust to diverse demograph- ic dynamics as well as to the different spaces in which the community had to worship. In parallel, figure 5 shows a page with the Beatitudes in Old Slavonic alpha- bet and music using European notation by Thomas Donald. All the transliter- ation from Slavonic to Latin was undertaken by Donald, and it was based on an abbreviated version of the Liturgy that Father John Sotnikov had previously created in order to accommodate the limited time for which the side chapel of St Michael and All Saints could be used. This abbreviated version is still used for the Slavonic parts of the Liturgy. In the transcription to European notation, one can also find connections to Episcopalian chanting, perhaps related to Donald’s Episcopalian background as well as his contribution to the Edinburgh Royal Choral Union. This blended methodology of adjusting to the changing needs of the com- munity is also evident in alterations to the lectern. A characteristic Episcopa- lian church furnishing, the lectern we see in figure 6 was initially used as a typical musical unidirectional angled lectern. The photograph was taken on 19 October 1992, at the house on George Square whose basement was used at that time as a chapel. It is difficult to say when exactly the lectern was trans- formed into an Orthodox-like four-sided one, but it is very likely this trans- formation would have taken place at the time the chapel was moved to the ground floor of the house, as depicted in figure 7 (taken in 1995 or 1996). Ob-