So far the earliest Music Theorist in the bib. so far is Abū ʿUthmān Saʿīd Ibn Misjaḥ (d. 97 AH|715 CE)--dying just before the Abbasid Caliphate so essentially right before the Islamic Golden Age.
Let's put this into a more inclusive view of Music Theory.
In Armenia, the earliest examples of Khaz notation was created for use in the Armenian Orthodox church. So the beginnings of Armenian šarakan chants.
In China, some of the earliest guqin notation dates back to the 6th century. But the oldest Jieshi Diao Youlan (Chinese: 碣石調·幽蘭) existing copy of the score, a four foot long scroll, is from the 7th century and housed in the Tokyo National Museum.
In India the Br̥ahaddeśī (usually attributed to Śrī Mataṅga Muni) was written sometime between the 6th-8th century. Probably the first musical treatise to discuss Rasa theory in music and introduces Sargam (the Indian solfege system).
A little earlier in Ethiopia, St. Yared is said to have created the whole Ethiopian Orthodox Tewahedo chant tradition and a form of notation for it. This isn't to be confused with Melekket which is a later 15th century form of notation for Zema Chants.
Per language requirement issues in "Music Theory and the White Racial Frame" most of these Arabic #MusicTheory primary sources are in Arabic, Syriac, Persian, & later, Ottoman Turkish. Few of them have been translated into European languages much less English. It wasn't until...
...recently, the Fihrist (comprehensive cat. of Arabic books at the time) of Ibn al-Nadim (935–95CE) was available in English translation. Other than commentary by other authors, this is a valuable resource for the existence of lost #MusicTheory works.
Should also be noted that the 1st Musician listed in my Arabic #MusicTheory bib. is “the father of Islamic Music,” Ibn Misjaḥ (d. 715CE) and who's said to be half African by Al-Isfahani, which lines up w/ descriptions of him as a dark-skinned or black Meccan!
Early birthday present: al-Nadim’s “Fihrist” (987 CE). Probably the first catalogue of all known works in Arabic. Over 10,000 works by 2,000 + authors who including several Arabic #MusicTheory treatises that are no longer extant! This edition clocks in at 1,149 pages!
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While working on the database of Popular Music Schools, I came across a piece with a bio of the child prodigy Cecil Cowles (1893-1968) which stated that:
"In recent years [1920s-1940] Miss Cowles has been active in the field of composition, particularly in Oriental music."
A San Francisco Chronicle piece about Cecil Cowles from 17 June 1923 says: "The other occasion was a recital of her own in which she played her Song Without Words, In a Rickshaw , Chinese Dance and Valse Caprice..."
The main thesis of my piece “Orientalism, Perpetually Foreign Musics, and Asian Exclusion” is that that the systematic exclusion of Asian/American musics led to a vacuum filled by racial fantasy works composed and performed by white Americans in both classical and popular musics.
Normalize not centering Western Chord labels in Music Theory. In quintal harmony, it'd be a C2; In a quartal one it's a D5/2; not sus chords at all. Parallel seconds (and ninths) are way common in Eastern Orthodox traditions.
"The notations of znamenny polyphony require a special approach to their transcription; but when correctly read the music of the ‘scores’ abounds in harsh sonorities in the form of extended parallel seconds & fifths.”
Brazhnikov, qtd in Swan "Russian Music & its Sources..." p45
“The voices enter at the interval of the second and, within a short period of time, four more vertical intervals of the second appear in a row. In the process, the voices cross.”
Vladislav Uspensky, quoted in Johann von Gardner's "Russian Church Singing" Vol. 2, pg. 316
"An organ was installed on a Northwest Stratocruiser in the 1950s through an arrangement with local musician Swanee Swanson. The organists received free flights to New York and other East Coast destinations."
Welsh Harp tablature from the *Robert ap Huw manuscript* (1613). The manuscript is the oldest extant source of primarily Late Medieval eisteddfod repertory that dates to 1340-1500 and was compiled by Robert ap Huw (c.1580-1665).
Short segment on the *Robert ap Huw manuscript* in Rhodri McDonagh's wonderful "Welsh Trad Music | A Beginner's Guide" video (cued up to that segment below). The whole vid is worth a watch and is only 24 minutes.
Bangor University's "Music of the Robert ap Huw Manuscript" page with other resources for Cerdd Dant and other British Isles harp traditions.
One of the things I love about Georgian Harmony is that it's based on what's essentially close to a functionally 7TET/EDO collection of pitches. Many global harmonic systems are built on different tuning systems than those in what's typically referred to as Western harmony.
The above image from Malkhaz Erkvanidze's "On Georgian Scale System" pg. 181