The latter is practiced by the rest of the Syrian Orthodox Church and, in turn, has its own schools of music. This is due to the fact that for hundreds of years, the patriarchal seat was located at Deir al-Za c faran near Mardin. Presently, it is used in Tur c Abdin and in the Diaspora with communities originating from that region. Another tradition, which is preserved to some extent, is that of the School of Edessa. It is mainly used today among the Edessan community, presently living in Aleppo, Syria.
Syriac music suffers from the lack of scholarly attention.
Recently, G. Y. Ibrahim published the tradition of Mardin, also in musical notation made by Nuri Iskandar 10 of Aleppo, based on recordings made by the late Patriarch Jacob III in 1960. A similar publication of the Edessan tradition is imminent. The recordings of Jacob III were recently digitized and placed on the Internet by Syrian Orthodox Resources and the Syriac Computing Institute . Further, they occur almost adjacent to each other, though this might be a mere coincidence. The last item above is the 35th madrosho in the abridged Beth Gazo .