Musical Codexes from Putna Monastery: Locali-zation, Authors, Genre-related and Stylistic Aspects, Semiographic Peculiarities This article analyzes the manuscript thesaurus left from the golden age of the Musical School of the Medieval Putna (late fifteenth century – late sixteenth century). After a brief history of the research into the above topic and an inventory of the codex attributed to the collection (spread through different libraries), we have outlined the main directions of the palaeographic survey. Among them are: the genre aspect of the manuscript fund and of the included chants, the age determination of the works, the identification of the authors included in the anthology and the division of the local authors from the foreign ones, the used languages (the Greek language and the old ecclesiastic Slavic languages) as well as their quantitative and qualitative report, the peculiarities of the used semeiography and the transcription technique of the chants in linear notation. We particularly focused on the difficulties in the notation tackled in the manuscripts of the Putna Monastery. Thus, these manuscripts were divided per categories, as follows: - the exact interpretation of the diastema tic and cheironomic semeiography - the metro-rhythmical value of the neumes (length, rhythmic-melodious valoric groups etc.) - the structure of the echoes (incipit, finals, interior cadences). We also listed some nominal and representative contributions to the analysis of this phenomenon: the works of Evstatie the protopsalt of Putna, the creation of the Dometian Vlahu and the composition of Theodosie Zotica. In the conclusive part of the article, we highlighted the marks of the Putna melodic style, which makes it unique within the entire Orthodox music of that age. All the above-listed arguments will serve as an additional advocacy of the extension and deepening of the musical research in this area, as well as of the adjustment and diversification of the additional methodology in this field.