Lukas-Fabian Moser <lfm@gmx.de> writes:
The problem is that there's really a large number of different
"solfege" methods, some being considered as "natural" in a couple of
countries or by a certain school of theoreticians, and in fact I have
to deal with the issue of finding a common ground for students from
many different backgrounds quite often, being a theory teacher at a
major European music university with a very international student
base. For example, I know
Musing about the historical correctness of absolute vs relative solfege
is kind of an exercise in futility considering it had been invented in a
frame of tonalities very much foregoing black keys.