Like the foundation, idea, and structure of all things, music rests on two main pillars. One is rhythm, the other is scale. In this article, we will examine the history of scale issues, reflecting the ideological, territorial, stylistic, and spiritual nature of music. In the world of music, there is a saying, “light comes from the East”. This expression is important not only because of the light, but also because the content and historical antiquity of music are closely linked to the East, and a variety of themes have become widespread in Eastern regions. The question of scale is one of the most pressing issues in world music precisely within the framework of this recognition and interest. For this reason, treatises by Eastern music historians, musicologists, and some chapters in manuscript sources primarily focus on aspects of scale and rhythm in music. Important information, such as historical modes, rhythmic circle sequences, and their historical and terminological definitions, presented in the musical legacy of musicologists and encyclopedists such as Abu Nasr Farabi (The Great Book of Music), Abu Ali ibn Sina (An-Najat, Ash-Shifa), Darveshali Changi (Treatise on Music), and Ya'qub al-Kindi, supports our idea. We also examined the interpretation of these historical treatises in the studies of many modern musicologists. As an example, we cite Abdumann Nazarov's study “Farabi and Ibn Sina on Musical Rhythm”. Below, we have attempted to present comparative analytical approaches based on sources cited by Eastern musicologists. Issues mode and scale were primarily at the center of our brief study.
| Mualliflar | Ma’rufjon Rasulov |
|---|---|
| Jurnal | Миллий маданият |
| Nashr sanasi | 2026-06-30 |
| Jild | 2 |
| Son | 2 |
| Betlar | 60-70 |
| DOI | 10.64681/tyjd3v54 |
DOI: 10.64681/tyjd3v54 · Maqolaning asl sahifasi · PDF
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