Current notice (28 January 2018) at the Bulgarian Academy of Science:
References concerning the tropologion
See also her articles connected to the topic of the book:
Kujumdžieva, S., 2002. Viewing the Earliest Old Slavic Corpus Cantilenarum. PALAEOBULGARICA / СТАРОБЪЛГАРИСТИКА, 2002(2), pp.83–101.
Kujumdžieva, S., 2009. В търсене на ранните осмогласници [Looking for the early oktoechoi]. Българско музикознание, 2009(2), pp.3–41.
Kujumdžieva, S., 2010. Реликти от стара практика: някои наблюдения върху аранжирането на репертоара на ранните кондаци [Relics of an old practice: some observations on the arrangement of the early kontakion repertoire]. Старобългарска литература, 2010(43-44), pp.194–208.
Kujumdžieva, S., 2010. Преразглеждайки православните нотирани ръкописи от края на XII и XIII век, свързани с България [Reconsidering the Orthodox notated manuscripts from the end of the 12th and 13th century, related to Bulgaria]. Зборник радова Византолошког института, 2010(47), pp.179–198. doi:10.2298/ZRVI1047179K.
Kujumdžieva, S., 2012. По какъв осмогласник е пял св. Иоан Дамаскин [How did the book of the oktoechos used by St. John of Damascus look like?]. PALAEOBULGARICA / СТАРОБЪЛГАРИСТИКА, 2012(3), pp.83–91.
Kujumdžieva, S., 2012. The Тropologion: Sources and Identifications of a Hymnographic Book. Българско музикознание, 2012(3-4), pp.9–22.
Kujumdžieva, S., 2015. Имало ли е старобългарски Трополог? [Was there an Old Bulgarian tropologion?]. Старобългарска литература, 2015(51), pp.11–38.
Some of these articles had been translated into English:
Kujumdžieva, S., 2018. The Hymnographic Book of Tropologion: Sources, Liturgy and Chant Repertory, London, New York: Routledge. Google.
Replies
I apologise, but the official translation was not very competent...
See Boyka Mirčeva's review in "Bulgarian Musicology":
https://www.ceeol.com/search/article-detail?id=281504
English Abstract (corrected by myself)
Cor. Mem., Prof. Svetlana Kuyumdzhieva published the very first Bulgarian study dealing with the formation and history of a major liturgical book in Orthodox practice: the tropologion (the early form of the Oktoich). The most important part of her book studies in detail and systematizes the sources of a repertory of hymns organised according to eight church tones. The author retraced the changes in the structuring and restructuring of this repertory, its relation to the liturgical calendar, and its distribution from Jerusalem to later centers of reform like the Monastery of Stoudios in Constantinople and Sainte Catherine's Monastery at Sinai, where the system of chant genres had been further developed within the book tropologion and the new notated chant books. The whole repertory was analyzed according to three aspects: changes in the liturgical calendar, changes in the content of the repertory, and changes in the genres in different copies of books with the order of services in eight tones which formed a notated chant book known as "Oktoechos" later on. The study is based on about 90 manuscripts which organize the same chant repertory within diverse liturgical books, such as oktōēchoi, paraklētikai, mēnaia, triōdia, pentēkostaria, kondakars. First of all, their study was necessary to establish the whole repertoire, and in a second step they allow to understand the content and the structure of the early tropologia. Each source was described concerning its content and more specific hymns of the calendar. Each local group was further classified by more musicological issues as the chant genres and the way they had been provided with musical notation. After a typological classification, each of the manuscripts is presented as unique with its detailed content of each successive folio, organising the hymnographic material according to its feasts and according to local liturgical customs. At the end of each description the author tried to characterize each source within a comment. This method allowed Svetlana Kuyumdzhieva a well-grounded revision of older classifications and datations of a certain manuscript with respect to the particularities of its repertoire, local influences and its trends. From a chronological perspective certain particularities of the liturgical calendar, and the way the hymnographic material is organised in cycles, allows conclusions about a general development of hymn books from the earliest Georgian Iadgari to the ultimately structured Greek Oktoechos of the eighteenth century, and its relation to Slavonic Oktoichs, Voskresniks and Sborniks, which finally explains the individual forms of the various present editions of the Oktoechos hymn repertoire.
I updated the list of references.
Another review by Ivan Moody was published at Bulgarian Musicology: