First and foremost, I would like to thank my supervisor Dr. Hendrik Purwins, for theendless time he devoted on the topics of this research, his great interest in the musicitself and the motivated ideas he prompt and guide me to investigate. I would also liketo thank my supervisor Dr. Emilia Gomez, for assisting me to the first steps of thisresearch 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 thismaster but even more for his insights on specific topics and for generously sharing of alot of music material. Moreover, I gratefully thank Dr. Baris Bozkurt for his advice onseveral concepts of Turkish music analysis and not only, but also for exposing me to alot of Turkish music sources and recordings.There are also some people in Cyprus I would like to thank for sharing their deepexperience and knowledge of the characteristics of Cypriot and/or Byzantine music; Mysincere gratitude to Christos Georgiadis and Giorgos Spanos for their assistance with thecomplex concepts of Byzantine music. Many thanks also to Nikoletta Demetriou andEvagoras Karagiorgis for their advice on the musicological, and not only, aspects.Moreover, I would like to thank Giannis Ttikkis and Andreas Christakkos for performing the pithkiavli and singing as well as Costas Karpasitis and Christos Tziallisfor performing the violin. My deepest gratitude goes to Xenis Panteli, apart for hissupport as a father, for the endless time he spent helping me with either Cypriot or Byzantine music concepts, for sharing a lot of material that would have otherwise beeninaccessible and for making sure that I experienced at the maximum authentic Cypriotmusic performances.Last but not least, I want to thank my family for their endless support and all friends andclassmates for making this year an unforgettable experience.