Abstrakt
This paper analyses some of the musicological principles underlying Tntesean's work, and, by dint of juxtaposing his transcriptions of the 1860s into Western musical notation with his later realisations in Limončean noation, published posthumously in 1934, seeks to clarify certain notational issues and to trace the development in Tntesean's thinkiing. It also endeavours to put Tntesean's Hymnal in its appropriate historical context.