I've been doing work and exploring music from that region since 2009 with musician and dance culture bearers, but I've never been as familiar with the theoretical (and historical) foundations of most of those traditions as I am with MENAT regions.
The 20th cent. and (obviously) Medieval Arabic periods I'm familiar with, but the period linking the two, plus early Medieval literatures from those regions, are spotty for me. Looking forward to filling those gaps. So much of the literature is in native languages though.
Side Note: And I really appreciate Petrosyan's Doyra notation (developed in 1952). It's actually pretty intuitive to read for experienced MENAT hand percussionists that also read standard Western notation. I don't even miss the middle line in the staff!
It was really only a matter of time before I had to loo at the rich history of Central Asian music ecosystems to see how Arabic Music Theory treatises became one of the foundations of their musics.
And it took me the longest time to find something that referenced Petrosyan's development of the adapted notation. Discovered a couple of 600+ page books on the history of Uzbek music that helped (though one was in Russian and the other was in Uzbek).
The DOI doesn't direct to this, but here's a link to Mamirova Odinahon's "Knowing the History of Makom - Knowledge" discussing 16th/17th c. treatises--a little late for the Arab Music Theory Bib, but necessary for the larger Global Music Theory project.
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