First and foremost, I would like to thank my supervisor Dr. Hendrik Purwins, for the endless time he devoted on the topics of this research, his great interest in the music itself and the motivated ideas he prompt and guide me to investigate. I would also like to thank my supervisor Dr. Emilia Gomez, for assisting me to the first steps of this research and therefrom for her feedback and support till the end. If not for their help, this thesis would have never been completed. I would like to thank Dr. Xavier Serra, for grading me the opportunity to study this master but even more for his insights on specific topics and for generously sharing of a lot of music material. Moreover, I gratefully thank Dr. Baris Bozkurt for his advice on several concepts of Turkish music analysis and not only, but also for exposing me to a lot of Turkish music sources and recordings. There are also some people in Cyprus I would like to thank for sharing their deep experience and knowledge of the characteristics of Cypriot and/or Byzantine music; My sincere gratitude to Christos Georgiadis and Giorgos Spanos for their assistance with the complex concepts of Byzantine music. Many thanks also to Nikoletta Demetriou an
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