The Issue of Sound Row (Tuning-Scale) in Eastern Music Theory

dc.contributor.authorRasulov Ma’rufjon Mamirjon ogli
dc.date.accessioned2025-12-30T18:14:35Z
dc.date.issued2024-12-17
dc.description.abstractOne of the main pillars of music, besides rhythm, is the mode or sound row. Therefore, historically, the issue of sound rows has always been significant in music theory and practice. In the theoretical teachings and musical treatises of scholars from all eras, there are scientific views regarding the formation and creation of sound rows. Some of these scientific views differ from one another, while others are based on the same theoretical foundation.
dc.formatapplication/pdf
dc.identifier.urihttps://scientifictrends.org/index.php/ijst/article/view/363
dc.identifier.urihttps://asianeducationindex.com/handle/123456789/33224
dc.language.isoeng
dc.publisherScientific Trends
dc.relationhttps://scientifictrends.org/index.php/ijst/article/view/363/323
dc.rightshttps://creativecommons.org/licenses/by/4.0
dc.sourceInternational Journal of Scientific Trends; Vol. 3 No. 12 (2024): IJST; 134-139
dc.source2980-4299
dc.source2980-4329
dc.subjectPythagoras, Farabi, Ibn Sina, Jami, Garbuzov, Uzeyir Hajibeyov, Belyayev, Uspensky, Rajabiy, Sound Row, Microchromatics, Comma, Limma, Cent, Temperament, Lute, Absolute, Zaid, Mujannab, Sabboba, Vustai Furs Vustan Zalzal, Binsir, Khinsir.
dc.titleThe Issue of Sound Row (Tuning-Scale) in Eastern Music Theory
dc.typeinfo:eu-repo/semantics/article
dc.typeinfo:eu-repo/semantics/publishedVersion
dc.typePeer-reviewed Article

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