Jacob of Serugh's Armenian version of “Homily on Good Friday” is most likely from the reign of Gregory III Pahlawuni (1113–1166 AD). Mathews provides its transcription, commenting that scholarship is widely unaware of Jacob of Serugh’s existing works in Armenian.

Some of John of Dara’s 9th century treatises survive in Codex 356 in Mardin, in which Jacob of Serugh is called “Jacob of Batnan”, “Jacob”, and titles of respect. This article describes Jacob’s significant influence, comparing two-verse homilies in detail.

Van Rompay discusses Jacob of Sarug’s understanding of sin by interweaving a conversation with 4th-century Ephrem’s influence and Jacob's late 5th-century contemporary thinker, Narsai. Critical to this discussion is their assumption of Adam’s created capacities.

Brock provides an indispensable bibliographic resource for Jacob of Serugh scholarship. This guide lists Jacob's mimre by biblical passage and liturgical events, uplifted saints and topics, other works including prose and letters, and recommended secondary sources for further study.

This paper contemplates the various means by which the Ancient Greeks preserved information about their musical history, highlighting oral/aural tradition and the transition to literacy when inscriptions could capture information in roughly datable contexts. Music history sources and motives are also examined.

Hickmann describes a 17th century work by Guaman Poma chronicling the first period of the Conquista. Details from this book are comparable to archaeological finds of musical instruments that have since disappeared. The author provides illustrations of ancient Andean instruments.