Shota, I can't speak with any authority on this matter, not being from that diocese. That is, I cannot say what the situation is (historically and currently) on the local parish level. However, I can speak of a directly related matter that I do know closely.
The training of young Arabophone priests and cantors in the Jerusalem diocese, including Jordan, happens for the most part in the same place as their Lebanese and Syrian counterparts: St. John of Damascus Seminary at Balamand, Lebanon.
In the past, the music teachers there were basically two people: Then Archimandrite (now Metropolitan in Paris) John (Youhanna) Yazigi, and Fr. Nicholas Malek.
Malek is a native of northern Lebanon, and so knew Koutiya well. Yazigi was for a while dean of the Theology school. A graduate of Balamand himself, he had gone to Thessaloniki for his graduate studies and obtained a doctorate in Liturgics from the theology faculty at the Aristotelian University. As I mentioned before, he also spent lots of time at Agio Pavlo monastery.
Yazigi and Malek authored a concise manual of Byzantine music in Arabic, published by Balamand, as a textbook for teaching music to all the seminarians (Jordanians, Lebanese, Palestinians, and Syrians, as well as south American Antiochians who have chosen to study there). The practical task of teaching was for the most part left to Fr. Malek, who for the longest time was the main instructor associated with Balamand.
However, when Yazigi's brother, Paul (Boulos), now Metropolitan of Aleppo, became dean of the Theology school at Balamand, he and Malek did not get along, and Yazigi essentially removed him from his position. He so despised Malek's style that he banned it from being played on tapes during public gatherings at the seminary (lunch and dinner, when often Church music would be played in the background). You can hear pedagogical recordings of Malek on this website:
http://kelfar.net/orthodoxiaradio/ArabicChant/arabicchant.html
Yazigi's background is similar to his brother's, having studied in the same place (doctorate in Patristics) and spent time at the same monastery. But Yazigi was deeply Grecophile, and more specifically, an Athos enthusiast. Having spent time in Thessaloniki, he had known and I believe studied with (though how long and how much, I don't know) Georgiadis.
He brought one of his own students from Syria to teach at Balamand, but the fellow simply didn't have the vocal capacities or the personality to do the job. Then in recent years a number of teachers took up the job, including Michael Hourani -- a founding member of the Mt. Lebanon choir who went on to Greece to study with Stathis and Angelopoulos -- and currently, from what I see on the seminary's website, it's held by Fr. Romanos Jibran. Jibran is a graduate of the seminary who also studied music a bit in Greece and leads a choir for the Beirut Archdiocese. I don't know what curriculum he uses now, or which one Hourani used (although, judging from this video with Hourani at Balamand's church, there's a lot of Greek that's been introduced in the Karas style. Hourani is the bald fellow:
http://www.youtube.com/watch?v=euFQ0tVaZxk). Earlier, the vast majority of material was Murr's books and pieces as well as Nicholas Malek's own compositions.
So why mention all this? The point is, much of the up and coming generation of active young people in the Church, be they priests or cantors, in Syria, Lebanon, Jordan and the Palestinian territories, people, that is, who are versed in music and who go on to teach it, are by and large either directly or indirectly drinking from that well. And that well is overwhelmingly full of Murr's material (by virtue of his books being the main and often only resources), and it was taught for the longest time mainly following the style of Nicholas Malek (in northern Lebanon, Malek's influence is stronger).
However, that whole curriculum, which teaches these "elites" as it were, has been changing with the introduction of teachers who have been taught by or influenced by modern Greek cantors and musicologists, or with more (like I said, very diverse and incoherent) Athonite influence. Or in the case of the School of Ecclesiastic Music, an eclectic mix of various Greek sources, but with a clear influence by the Karas school. SEM is also influential because they publish CDs, books, and have concerts in Lebanon, Syria and elsewhere, and have their graduates then teach local parish choirs, introducing into local parishes their own interpretations and editing of Murr, or sometimes entirely new musical documents replacing Murr's repertoire. (You can get a sense of their style and how much closer it is to modern Greek choirs in this video and others they did with Idimelon:
http://www.youtube.com/watch?v=iVGhwTXMJZ8 What this means is that new musical texts had to be composed in order to fit the style, which is one of their mission statements: to show that Arabic texts can be rendered in an non-Orientalized style, closer to the Greek style. This is all part of the "quest for tradition" -- however misguided -- that I mentioned earlier, which does have both upsides and downsides.).
So the question is what remains of the "village psalti" traditions in the Jerusalem Archdiocese? How good were these traditions anyway (from what I was told by Jordanian students, it wasn't pretty at all, often being very bad linguistically and musically)? What was the percentage in there of any positive influence by students of the traditional Greek psaltai like Bamboudakis -- with whom, by the way, Andraos Moaykel studied for a while? And how much of that survived not in the Palestinian territories but perhaps went with the migrants to south America?
I don't know the answer to these questions.