What Kind of Brain? A Reply to Megan K. Long
Stefano Mengozzi Prof. Long’s recent observations on hexachordal solmization raise several issues that cannot be fully teased out in blog format. The one overarching question I would like to pose for an initial response is the following: I have no doubt that solmization “just makes sense” as a method for singing Renaissance polyphony, and that … Continue reading What Kind of Brain? A Reply to Megan K. Long
A Hybrid (Abjadic-Metric) Notation for Seventeen-Tone Temperament of Persian Music (یک روش نت‌نویسی تلفیقی (ابجدی-نقطه‌ای) برای گام هفده-نغمه‌ای موسیقی ایرانی) Part II
Farzad Daemi Milani […] Continuation of: Part I Mehdi-Qoli Hedāyat (1863–1955) (also known as Mokhber-al Saltaneh) (Figure 1), is the twentieth-century Persian musicologist who decoded this Abjadic tone-letter system and combined it with the Western rhythmic notation to create a modern fusion notation! مهدی‌قلی هدایت (۱۸۶۳ – ۱۹۵۵ م.) (ملقّب به مخبرالسّلطنه) (تصویر ۱)، موسیقی‌شناس … Continue reading A Hybrid (Abjadic-Metric) Notation for Seventeen-Tone Temperament of Persian Music (یک روش نت‌نویسی تلفیقی (ابجدی-نقطه‌ای) برای گام هفده-نغمه‌ای موسیقی ایرانی) Part II
A Hybrid (Abjadic-Metric) Notation for Seventeen-Tone Temperament of Persian Music یک روش نت‌نویسی تلفیقی (ابجدی-نقطه‌ای) برای گام هفده-نغمه‌ای موسیقی ایرانی, Part I
Farzad Daemi Milani The introduction of Western music and the consequent application of Western music notation became customary gradually from the Qajar period (1789–1925) in Iran. The European music instructors who were asked to come to Iran and train Iranian military musicians were also ordered to make a transcription of the Persian modal system (Persian … Continue reading A Hybrid (Abjadic-Metric) Notation for Seventeen-Tone Temperament of Persian Music یک روش نت‌نویسی تلفیقی (ابجدی-نقطه‌ای) برای گام هفده-نغمه‌ای موسیقی ایرانی, Part I
History of Music Theory 