Taft, Robert F.
The Byzantine Rite: A Short History
American Essays In Liturgy
Collegeville, MN: The Liturgical Press, 1992
I can't speak for the Slavic development, but the Typikon that has come down to the Greek Church is a Palestinian-Studite synthesis. The key period, of course, is immediately after the Iconoclastic controversy (9th c). This is a key period as far as the establishment and appearance of the Oktoechos and the popularity of the canon genre as far as hymnography is concerned. All around a developmental period of recuperation and growth for the worship life of the Church. After the Studite adaptation of monastic (St Sabas monastery—Palestinian) and cathedral (Great Church—Constantinopolitan) practice, the Palestinian monks again make changes that appear by the 11th century (very important source is the typikon of Nikon of the Black Mountain). It would be this final, what Taft calls, "Neo-Sabaitic" synthesis that would find its way back North to Constantinople and, eventually, Mount Athos and the other Greek speaking monasteries.
To summarize, for Greek practice we have a back and forth influence between Palestinian and Constantinopolitan, and monastic and cathedral practices, not to mention the musical influences rising out of these new hymnological forms and their performance (cf. Edward V Williams, John Koukouzeles' Reforms of the Byzantine Chanting for Great Vespers in the Fourteenth Century, PhD diss., Yale, 1968).
Another interesting site to consider is
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Many local 'official' and 'unofficial' developments have contributed to minor differences of practice between the Slav and Greek usages witnessed today, but the major difference comes in 1838 with the publication of the first edition of the Typikon Ekklesiastikon of Konstantinos Byzantios, the Protopsaltes at the Great Church at that time. For the first time since Byzantium the Greek Church institutes a separate Typikon for the city churches just as it comes out from under the Turkish yoke. A second (1851) and third (never published) edition will be prepared by Konstantinos, but in 1888 another patriarchal committee headed by Georgios Violakes, also a Protopsaltes of the Great Church, will revise Konstantinos' Typikon and is basically the order used to by the Greeks, Bulgarians, Romanians and Serbs, as far as parish order is concerned. While the Konstantinos typikon did have influences on monastic practice, theoretically, each monastery retains its own typikon.
This, to answer your question, is the basic difference between contemporary practice for the Slav (Russian) and Greek Typika as observed in parishes today.
