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The medieval solmisation is an expression of the idea that the
diatonic system could be described with four (pitch) classes only,
which came to be named *re*, *mi*, *fa* and *sol*. The diatonic
system is a concatenation of these classes, alternatively in
conjunction and in disjunction. This, in a sense, is the most
economical way to describe it (that the description eventually used
hexachords does not change much).<br>
<br>
As a result, solmisation syllables denote functions within the
diatonic system itself, rather than in specified "modes", or "octave
species". This has to do with the "character of the tones"
(*Toncharacter*), as Handschin termed them. I tried to explain some
or it in my paper *Modi vocum*, available at
<a class="moz-txt-link-freetext" href="http://paris-sorbonne.academia.edu/NicolasMee%C3%B9s/Papers/1799129/Modi_vocum._Reflexions_sur_la_theorie_modale_medievale">http://paris-sorbonne.academia.edu/NicolasMee%C3%B9s/Papers/1799129/Modi_vocum._Reflexions_sur_la_theorie_modale_medievale</a>.<br>
<br>
The relation between hexachordal solmisation and the alphabetic
notation (with seven letters) expresses a very high tension in
medieval theory between the tetrachordal and the heptachordal
description, a conflict that I partly described in an earlier paper,
<a class="moz-txt-link-freetext" href="http://paris-sorbonne.academia.edu/NicolasMee%C3%B9s/Papers/32899/Vox_et_Littera_dans_la_theorie_musicale_medievale">http://paris-sorbonne.academia.edu/NicolasMee%C3%B9s/Papers/32899/Vox_et_Littera_dans_la_theorie_musicale_medievale</a>.
The conflict is about whether the best description of the diatonic
system involves a modulo of four or seven degrees.<br>
<br>
The theoretical discussion about moveable vs fixed Do reflects a
similar conflict, still raging today. It is no more concerned with
hexachords, but it still is concerned with the question whether the
'functions' of the notes belong with the diatonic system itself or
with specified keys, modes, or octave species (name them as you
wish) – or with both.<br>
<br>
As to the geographical dissemination of either system, as mentioned
by Dimitar Ninov, I have my doubts because the dissemination also is
that of Occidental music: I very strongly doubt, for instance, that
the Chinese system of note designation for their pentatonic music
has much in common (unless superficially) with any of our systems;
this has to do also with the matter of pitch standard. And so far as
the temporal dissemination is concerned, the conflict seems as
ancient (and as widespread) as the diatonic system itself.<br>
<br>
As Jonathan Santore rightly writes, the matter of solmisation
deserves a careful study. The problem is that it may well be one of
the most complex subjects that music theory has to face.<br>
<br>
Nicolas Meeùs<br>
Université Paris-Sorbonne<br>
<br>
(With apologies for the self-promotion, especially that I may have
mentioned these papers in earlier similar discussions. I have two
excuses: (1) that others began the self-promotion; (2) that my
papers, being in French, require more promotion ;-))<br>
<br>
<br>
<br>
<div class="moz-cite-prefix">Le 16/07/2012 13:39, Eytan Agmon a
écrit :<br>
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<p class="MsoNormal"><span
style="font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D">“Moveable
Do” syllables are (melodic) scale degrees, that is,
intervals from the tonic (reduced modulo the octave). The
“tonic Sol-Fa method” was codified and disseminated by John
Curwen in the 19<sup>th</sup> century. However, the idea
dates back to the “octave species” of medieval modal theory
(and ultimately Greek theory). <o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D"><o:p> </o:p></span></p>
<p class="MsoNormal"><span
style="font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D">Eytan
Agmon<o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D">Bar-Ilan
University <o:p></o:p></span></p>
<p class="MsoNormal"><span
style="font-size:11.0pt;font-family:"Calibri","sans-serif";color:#1F497D"><o:p> </o:p></span><br>
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