History of Music Theory https://validator.w3.org/feed/docs/rss2.html The Marginalium In Dialogue with Rameau: Diderot, Dissonance, and Bemetzrieder’s Leçons de clavecin Reflections on the Sixteenth Annual Congress of the Gesellschaft für Musiktheorie Schema Theory and Aesthetic Categories in North Indian Classical Dhrupad Global Histories of Music Theory Some Reflections about Thoroughbass Pedagogy Today Conference Report Chromatic Scale Construction in Ancient China Teaching Solfège in Socialist East Germany Researching the Transfer of Central-European Music Theory and Composition Treatises to China Storms in Chang-an: On the Music Debate of Kai-huang Period Home A Princely Manuscript at the National Library of China — Part I: Guido’s Hexachords and the 18th-century Chinese Opera Reform The Influence of Riemann (and Richter) on Music Theory in Scandinavia Rhythm, Number, and Heraclitus’ River Can the History of Theory Be Decentered? Part I – Prequel: Five Classics Can the History of Theory Be Decentered? Part II – Five Different Classics Can the History of Theory Be Decentered? Part III – Some Consequences Can the History of Theory Be Decentered? Part IV – Pros and cons Can the History of Theory Be Decentered? Part V – Some FAQs (and not-so-FAQs) Fétis’s Racial Frame of Tonality (Part I) Fétis’s Racial Frame of Tonality (Part II) Reimagining Formalism for an Antiracist Music Theory (Part I) Reimagining Formalism for an Antiracist Music Theory (Part II) Stories of Translation; or, Translation as Music Theory The Singing Group: Polyphony and Power (Die singende Gruppe – Mehrstimmigkeit und Macht) (Part I) Ita se n’er’a star: Insights for a Fourteenth-Century Tactus (Ita se n’er’a star e un’ipotesi sul tactus nel Trecento) (Part I) Ita se n’er’a star: Insights for a Fourteenth-Century Tactus (Ita se n’er’a star e un’ipotesi sul tactus nel Trecento) (Part II) The Singing Group: Polyphony and Power (Die singende Gruppe – Mehrstimmigkeit und Macht) (Part II) Time and Gesture in Lorenzo da Firenze’s Ita se n’er’a star: A Response to Davide Daolmi The Planets Cannot Sing! : Al-Fārābī on Music Theory and Practice Should We Burn the Pianos?: Introducing A Collaborative Project Focused on Building “New Instruments for Theory”  Madame de Pompadour as Music Theorist Watching the Ether: An Irreplicable Experiment on Pitch-Pipes (Part II) Music Theory, Global Designs, and Modernity/Coloniality: Reading Athanasius Kircher’s Musurgia universalis in the “New World” (Part I) Music Theory, Global Designs, and Modernity/Coloniality: Reading Athanasius Kircher’s Musurgia universalis in the “New World” (Part II) Watching the Ether: An Irreplicable Experiment on Pitch-Pipes (Part I) Arabic Music Theory and Manuscript Studies: Greek Notation in al-Fārābī’s Great Book on Music? Colonial Organology and Ornithology in Richard Ligon’s Acoustics of Anthropological Difference (Part I) Colonial Organology and Ornithology in Richard Ligon’s Acoustics of Anthropological Difference (Part II) The Golden Book of Chinese Music Theory This is Your Brain on Hexachordal Solmization North American Music Theory and the Early Internet 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 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 What Kind of Brain? A Reply to Megan K. Long Teaching the “Theory of ‘Sweet Sounds:’” Sarah Mary Fitton’s 1855 Conversations on Harmony as Public Music Theory Rosa Newmarch, Musical Gossip, and Identity in Music Theory and History (Part I) Rosa Newmarch, Musical Gossip, and Identity in Music Theory and History (Part II) Phonetic Logograms and Zigzagged Zithers (Part I)