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| <h2>IMPORTED REVISION FROM WIKISPACES</h2>
| | {{interwiki |
| This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
| | | de = Arabisch, türkisch, persisch |
| : This revision was by author [[User:hstraub|hstraub]] and made on <tt>2013-05-17 03:22:10 UTC</tt>.<br>
| | | en = Arabic, Turkish, Persian |
| : The original revision id was <tt>432292704</tt>.<br>
| | | es = |
| : The revision comment was: <tt></tt><br>
| | | ja = |
| The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
| | }} |
| <h4>Original Wikitext content:</h4>
| | {{Wikipedia| Arab tone system | Arabic maqam | Turkish makam | Dastgāh }} |
| <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;white-space: pre-wrap ! important" class="old-revision-html">long with the [[Indian]] tradition, the music of the Middle and Near East (Arabic, Turkish, and Persian) is one of the important microtonal <span class="wiki_link_ext">music</span> traditions.
| | Along with the [[Indian]] tradition, the family of musical traditions of the Middle and Near East (Arabic, Turkish, and Persian) is one of the most widely practiced, best documented and most influential of microtonal music traditions. |
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| A central concept is "maqam" (pl. maqamat), which corresponds somewhat (but not exactly) to the Western "mode". An introduction to maqam theory can be found on [[http://www.maqamworld.com/|http://www.maqamworld.com]]. The Arabic maqam and Turkish makam systems differ to some degree from the related Persian system of dastgah. | | A central concept in the modern theory is "maqam" (pl. maqamat), which corresponds somewhat (but not exactly) to the Western "mode". An introduction to maqam theory can be found on [http://www.maqamworld.com/ Maqam World]. The Arabic and Turkish systems differ to some degree from the related Persian system of [[wikipedia: Dastgah|dastgah]]. |
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| The use of microtones in these systems can be extremely subtle, as is demonstrated in a [[http://shumays.libsyn.com/index.php?post_id=177745|podcast]] by Arabic violin player Sami Abu Shumays: by his count, there could be 12 different notes within a half step. | | The use of microtones in these systems can be extremely subtle, as is demonstrated in a [https://shumays.libsyn.com/index.php?post_id=177745 podcast] by Arabic violin player [[Sami Abu Shumays]]: by his count, there could be 12 different notes within a semitone. |
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| [[toc|flat]]
| | == Maqamat in equal temperaments == |
| ---- | | {{Expert needed|Middle Eastern musicology|reason=Verify the various claims about approximations by temperaments}} |
| | There have been various endeavors, also in recent history, to establish a common tuning standard. A few of these are described in a [https://www.academia.edu/2351299/Search_For_A_Theoretical_Model_Conforming_To_Turkish_Maqam_Music_Practice_A_Selection_Of_Fixed-Pitch_Settings_From_34-tone_Equal_Temperament_To_The_ paper by Ozan Yarman]. However, none of these have been really successful (at least not as successful as 12edo in Western music). The extremely extensive level of detail in Middle Eastern music makes this task very difficult, if not impossible. |
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| =Maqamat in equal temperaments=
| | Depending on the accurateness that is wanted, we can distinguish different levels. |
| There have been various endeavors, also in recent history, to establish a common tuning standard. A few of these are described in a [[http://www.ozanyarman.com/files/34%27ten_79%27a.pdf|paper by Ozan Yarman]]. However, none of these have been really successful (at least not as successful as 12edo in Western music). Given the subtleties sketched in the above mentioned podacst, this task is certainly nontrivial, if not finally impossible.
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| Depending on the accurateness that is wanted, we can distinguish different levels.
| | === Level 1 === |
| | The absolute minimum requirements that a tuning system must be able to do in order to support maqamat could be summarized as follows: |
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| ==Level 1==
| | * There must be perfect fourths and fifths. |
| An absolute minimal rule set a tuning system for maqams has to fulfill could be summarized as follows:
| | * There must also be minor and major seconds, thirds, sixths, and sevenths. Along with the fourths and fifths, these would preferably be organized in a "sort-of Pythagorean" structure. |
| * There have to be minor and major seconds, minor and major thirds, pure fourths and the octave complements of all these. Preferably organized in a "sort-of pythagorean" structure. | |
| * Additionally, at least one type of neutral second and neutral third is necessary. | | * Additionally, at least one type of neutral second and neutral third is necessary. |
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| The smallest EDOs that fulfill these conditions are [[17edo]] and [[24edo]], which are indeed both used for maqam music. Especially 24edo has found a certain dissemination. | | The smallest EDOs that fulfill these conditions are [[17edo]] and [[24edo]], which are indeed both used for maqam music in both theory and practice. 24edo, although not universal, is particularly common since it is a small multiple of [[12edo]], making it easy to produce instruments with a Western reference frame. |
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| The [[maqamic]] temperament reflects this concept in the framework of [[regular temperaments]]. | | The [[mohaha]] temperament reflects this concept in the framework of [[regular temperaments]]. Mohaha can be realized in any equal temperament that [[support]]s 2.3.5.11 just intonation [[subgroup]], including 17c (the important non-patent val for [[17edo]]), [[24edo]], [[31edo]], and [[55edo]]. |
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| ==Level 2== | | === Level 2 === |
| Systems that just fulfill level 1 are still generally considered bad compromises. An additional quite basic requirement for a more accurate maqam system is the availability of two kinds of neutral seconds, a smaller one for the Bayati tetrachord and a larger one for the Rast tetrachord. Moreover, the major second whould preferably be a "major" wholetone, while the minor second should be a "small" semitone - as a consequence, the wholetone is to be divided into a smaller semitone (limma) and a larger one (apotome) - minor seconds will be available in two varieties, too. | | Systems that just fulfill level 1 are still generally considered significant compromises. For more accuracy, one would have a smaller neutral second for the [[Bayati]] tetrachord and a larger one for the Rast tetrachord. Moreover, the major second would preferably be a "major" wholetone, while the minor second should be a "small" semitone—as a consequence, the whole tone is to be divided into a smaller semitone and a larger one. Or, in other words, semitones will be available in two varieties as well. |
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| Important EDOs that meet these requirements are [[53edo]] and [[72edo]]. Both of these have found a certain dissemination in middle-eastern music. | | Important EDOs that meet these requirements are [[53edo]] and [[72edo]]. Both of these have found a certain dissemination in Middle Eastern music. |
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| For turkish musik, Ozan Yarman also proposes [[34edo]] and [[41edo]] as acceptable compromises. These have the property that the larger neutral second has a character close to a minor wholetone, and, playing the Rast maqam with it, the third note is less a neutral third than a 5/4-style major third. This matches the turkish variant of Rast which indeed has such a third - the arabic variant, however, is lower. 41edo and 34edo can thus be considered suited for turkish music but less so for arabic music. | | For Turkish music, Ozan Yarman also proposes [[34edo]], [[41edo]], and [[46edo]], within limits also [[29edo]], as acceptable compromises. 29edo has submajor and supraminor seconds and thirds, whereas 34edo and 41edo have exact neutral seconds and thirds as well as submajor and supraminor ones. In 34edo and 41edo, the submajor second has a character close to a minor wholetone, and, playing the Rast maqam with it, the third note is less a neutral third than a 5/4-style major third. This matches the Turkish variant of Rast which indeed has such a third—the Arabic variant, however, is closer to the exact neutral one. 34edo and 41edo thus are versatile systems for both Turkish music and for Arabic music. |
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| And here we see another nemesis of the tentatives to establish a common tuning standard: there is not one middle-eastern system but many. There are not just differences between arabic and turkish systems bt also regional differences within the respective cultures... | | And here we see another nemesis of the tentatives to establish a common tuning standard: there is not one Middle-Eastern system but many. There are not just differences between Arabic and Turkish systems, but there is also significant regional variations within each musical culture. |
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| ==Level 3== | | === Level 3 === |
| Even [[53edo]] and [[72edo]] do not cover all details. For these. there are some other, still larger subdivisions that have been investigated. | | Even [[53edo]] and [[72edo]], although already containing much more pitches than the vast majority of Western musicians can imagine, still do not cover all details. For these. there are some other, still larger subdivisions that have been investigated. |
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| A system that meets the tuning needs to a satisfactory degree is proposed in [[@http://www.ozanyarman.com/files/doctorate_thesis.pdf|Ozan Yarman's dissertation]] (also summarized in the mentioned [[@http://www.ozanyarman.com/files/34ten79a.pdf|paper]] ): a 79-tone [[MOSScales|MOS]] subset of [[159edo]]. A short description (quoting a post to the tuning list) is also [[79MOS 159edo|here]]. | | A system that meets the tuning needs to a satisfactory degree is proposed in [http://www.ozanyarman.com/files/doctorate_thesis.pdf Ozan Yarman's dissertation] (also summarized in the mentioned [https://www.academia.edu/2351299/Search_For_A_Theoretical_Model_Conforming_To_Turkish_Maqam_Music_Practice_A_Selection_Of_Fixed-Pitch_Settings_From_34-tone_Equal_Temperament_To_The_ paper] ): a 79-tone [[MOSScales|MOS]] subset of [[159edo]]. A short description (quoting a post to the tuning list) is also in [[79MOS 159edo]]. |
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| [[Tsaharuk]], as proposed by [[Jacques Dudon]], can be realized in [[77edo]], [[94edo]], [[111edo]], [[128edo]], [[145edo]], [[171edo]], [[359edo]]. | | [[Tsaharuk]], as proposed by [[Jacques Dudon]], can be realized in [[77edo]], [[94edo]], [[111edo]], [[128edo]], [[145edo]], [[171edo]], [[359edo]]. |
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| The mentioned [[Maqamat in maqamic temperament|maqamic temperament]] can be realized in any equal temperament that supports 2.3.5.11 maqamic, including 17c (the important non-patent val for [[17edo]]), [[24edo]], [[31edo]], and [[55edo]].
| | == Unequal temperaments for maqamat == |
| | In equal temperaments, as seen above, there is always a tradeoff between the diverging requirements of high pitch accuracy and a manageable pitch count. One possible way out of this dilemma is use of unequal temperaments. These allow for playing of multiple maqamat with comparatively few notes, though this comes at the cost of being more restricted in the ability to modulate (at least from a fixed Arabic or Turkish perspective) between keys or maqamat. |
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| | A paper by [[Erv Wilson]], describing a variety of layouts of Middle Eastern tunings on generalized keyboards, can be found here: [http://anaphoria.com/RAST.PDF http://anaphoria.com/RAST.PDF]. |
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| =Unequal temperaments for maqamat=
| | [[Ozan Yarman]] has developed a number of such temperaments, e.g. Yarman24 (24 notes), [http://launch.groups.yahoo.com/group/tuning/message/78631 Yarman29] (29 notes) and [http://www.ozanyarman.com/yarman36.html Yarman36] (36 notes). |
| In equal temperaments, as seen above, there is always a tradeoff between the diverging requirements of high pitch accuracy and a manageable pitch count. One possible way out of this dilemma is use of unequal temperaments. These allow for playing of multiple maqamat with comparatively few notes, with, on the other hand, restrictions in the possibilities to modulate.
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| A paper by [[Erv Wilson]], describing a variety of layouts of mideast tunings on generalized keyboards, can be found here: [[http://anaphoria.com/RAST.PDF]].
| | All these and more are available in the [http://www.huygens-fokker.org/scala/downloads.html scala file archive]. |
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| [[Ozan Yarman]] has developed a number of such temperaments, e.g. Yarman24 (24 notes), [[http://launch.groups.yahoo.com/group/tuning/message/78631|Yarman29]] (29 notes) and [[http://www.ozanyarman.com/yarman36.html|Yarman36]] (36 notes). | | Unequal temperaments for maqamat were also developed by [[Margo Schulter]] , e.g. [http://launch.groups.yahoo.com/group/JustIntonation/message/1005 Bamm] (20 or 24 notes) and [http://launch.groups.yahoo.com/group/tuning/message/100839 Turquoise17] (17 notes). |
| All these and more are available in the [[http://www.huygens-fokker.org/scala/downloads.html|scala file archive]].
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| A lot of research in this field has been done by [[Julien Jalaleddine Weiss]]. See [[tuning systems for qanun|tuning systems for the qanun]] , or [[http://stefanpohlit.com/dissertation.engl..htm|Stefan Pohlit's dissertation]].
| | If high pitch accuracy and possibilities to modulate are emphasized and the number of pitches matters less, we get systems as developed by [[Julien Jalaleddine Weiss]], going beyond 100 different pitches per octave. See [[tuning_systems_for_qanun|tuning systems for the qanun]], or [http://stefanpohlit.com/dissertation.engl..htm Stefan Pohlit's dissertation]. |
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| [[Tsaharuk]] is a 77 notes per octave linear or planar temperament proposed by [[Jacques Dudon]] based on Julien Jalaleddine Weiss qanun tunings. | | [[Tsaharuk]] is a 77-note-per-octave linear or planar temperament proposed by [[Jacques Dudon]] based on [[Julien Jalaleddine Weiss]] qanun tunings. |
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| Unequal temperaments for maqamat were also developed by [[Margo Schulter]] , e.g. [[http://launch.groups.yahoo.com/group/JustIntonation/message/1005|Bamm]] (20 or 24 notes) and [[http://launch.groups.yahoo.com/group/tuning/message/100839|Turquoise17]] (17 notes).
| | ''See also'': |
| | * [[Maqamat in maqamic temperament]] |
| | * [[Maqam variations of MOS]] |
| | * [[Turkish maqam music temperaments]] |
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| See also;
| | == External links == |
| [[Turkish maqam music temperaments]] | | === Arabic === |
| [[Maqamat in maqamic temperament]] | | * [http://www.maqamworld.com Arabic Maqam World] (Johnny Farraj, Sami Abu Shumays ''et al'') |
| | * [https://taqs.im/scales/ Taqs.im Guide to Middle-Eastern Modal Music] – descriptions of a number of common maqams/makams, both Arabic and Turkish. |
| | * [http://www.classicalarabicmusic.com/Learning%20Arabic%20Music.htm Classical Arabic Music] |
| | * [http://www.oud.eclipse.co.uk The Oud] – David Parfitt, discusses both Arabic and Turkish ''maqâm'' theory. |
| | * [http://www.alsiadi.com ALSIADI.com] – focuses on Halabi/Aleppo traditional music; describes ''maq''''â''''m''''â''''t'' in terms of 53-tone Pythagorean tuning) |
| | * [http://foredofico.org/CERMAA/ CERMAA] – academic research for Arabic and related music, namely various articles by [[Amine Beyhom]] |
| | * [https://www.reddit.com/r/GlobalMusicTheory/wiki/arabicmusictheory/ r/GlobalMusicTheory Arabic music reading list] |
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| =External links= | | === Turkish === |
| ===Arabic=== | | * [http://www.hinesmusic.com/What_Are_Makams.html Tetrachords and Makams of Turkey] – another theory site |
| [[http://www.maqamworld.com|Arabic Maqam World]] (Johnny Farraj, Sami Abu Shumays //et al//)
| | * [http://ericederer.com/book/book.html Eric Ederer: Makam and Beyond] |
| [[http://www.classicalarabicmusic.com/scales.htm|Classical Arabic Music]]
| | * [http://www.turkishmusicportal.org http://www.turkishmusicportal.org] – listening |
| [[http://www.oud.eclipse.co.uk|The Oud]] (David Parfitt, discusses both Arabic and Turkish //maqâm// theory)
| | * [http://www.turkishmusic.org/index.html http://www.turkishmusic.org] – listening |
| [[http://www.alsiadi.com|ALSIADI.com]] (focuses on Halabi/Aleppo traditional music; describes //maq////â////m////â////t// in terms of 53-tone Pythagorean tuning)
| | * [http://www.turkishmusic.org/index18.html http://www.turkishmusic.org/index18.html] – listening |
| [[http://foredofico.org/CERMAA/|CERMAA]] (academic research for arabic and related music, namely various articles by [[Amine Beyhom]])
| | * [https://www.reddit.com/r/GlobalMusicTheory/wiki/turkishmusictheory/ r/GlobalMusicTheory Turkish music reading list] |
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| ===Turkish=== | | === Persian === |
| [[http://www.hinesmusic.com/What_Are_Makams.html|Tetrachords and Makams of Turkey]] - another theory site
| | * [http://240edo.googlepages.com/persianmusic http://240edo.googlepages.com/persianmusic]{{dead link}} – a list of links related to Persian music, maintained by [[Shaahin Mohajeri]] |
| [[http://www.turkishmusicportal.org]] - listening | | * [http://www.dejkam.com/music/iran_traditional/ http://www.dejkam.com/music/iran_traditional/]{{dead link}} – various informations about traditional iranian music, including [http://www.dejkam.com/music/iran_traditional/instruments/ informations on instruments], a [http://www.dejkam.com/music/iran_traditional/about/ complete list of Dastgahs], [http://www.dejkam.com/music/iran_traditional/books_cds/ books and CDs]. |
| [[http://www.turkishmusic.org/index.html|http://www.turkishmusic.org]] - listening
| | * [http://www.oudforguitarists.com/arabic-and-persian-music-maqam-dastgah-comparison/ http://www.oudforguitarists.com/arabic-and-persian-music-maqam-dastgah-comparison/] – comparison between arabic maqamat and persian dastgahs. |
| http://www.turkishmusic.org/index18.html - listening | | * [http://www.iranicaonline.org/ Encyclopaedia Iranica] – Encyclopedia about iranian culture, including music. |
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| ===Persian=== | | == See also == |
| [[http://240edo.googlepages.com/persianmusic]] - a list of links related to Persian music, maintained by [[Shaahin Mohajeri]] | | * [[Overtone singing]] – a technique used in some Kurdish and Iranian (Persian) music |
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| <span style="display: block; height: 1px; left: -40px; overflow: hidden; position: absolute; top: 734px; width: 1px;"> [[http://x31eq.com/cgi-bin/rt.cgi?ets=7&limit=2_3_5_11&key=7_11_16_24|7]], [[http://x31eq.com/cgi-bin/rt.cgi?ets=24&limit=2_3_5_11&key=24_38_56_83|24]], [[http://x31eq.com/cgi-bin/rt.cgi?ets=31&limit=2_3_5_11&key=31_49_72_107|31]], [[http://x31eq.com/cgi-bin/rt.cgi?ets=14&limit=2_3_5_11&key=14_22_32_48|14c]], [[http://x31eq.com/cgi-bin/rt.cgi?ets=17&limit=2_3_5_11&key=17_27_40_59|17c]], [[http://x31eq.com/cgi-bin/rt.cgi?ets=38&limit=2_3_5_11&key=38_60_88_131|38]], [[http://x31eq.com/cgi-bin/rt.cgi?ets=10&limit=2_3_5_11&key=10_16_24_35|10c]], [[http://x31eq.com/cgi-bin/rt.cgi?ets=21&limit=2_3_5_11&key=21_33_48_72|21ce]], [[http://x31eq.com/cgi-bin/rt.cgi?ets=45&limit=2_3_5_11&key=45_71_104_155|45e]], [[http://x31eq.com/cgi-bin/rt.cgi?ets=55&limit=2_3_5_11&key=55_87_128_190|55]]</span></pre></div>
| | [[Category:Arabic music]] |
| <h4>Original HTML content:</h4>
| | [[Category:Turkish music]] |
| <div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Arabic, Turkish, Persian</title></head><body>long with the <a class="wiki_link" href="/Indian">Indian</a> tradition, the music of the Middle and Near East (Arabic, Turkish, and Persian) is one of the important microtonal <span class="wiki_link_ext">music</span> traditions.<br />
| | [[Category:Persian music]] |
| <br />
| | [[Category:Jewish music]] |
| A central concept is &quot;maqam&quot; (pl. maqamat), which corresponds somewhat (but not exactly) to the Western &quot;mode&quot;. An introduction to maqam theory can be found on <a class="wiki_link_ext" href="http://www.maqamworld.com/" rel="nofollow">http://www.maqamworld.com</a>. The Arabic maqam and Turkish makam systems differ to some degree from the related Persian system of dastgah.<br />
| | [[Category:Armenian music]] |
| <br />
| | [[Category:Dastgah]] |
| The use of microtones in these systems can be extremely subtle, as is demonstrated in a <a class="wiki_link_ext" href="http://shumays.libsyn.com/index.php?post_id=177745" rel="nofollow">podcast</a> by Arabic violin player Sami Abu Shumays: by his count, there could be 12 different notes within a half step.<br />
| | [[Category:Maqam]] |
| <br />
| | [[Category:Qanun]] |
| <!-- ws:start:WikiTextTocRule:18:&lt;img id=&quot;wikitext@@toc@@flat&quot; class=&quot;WikiMedia WikiMediaTocFlat&quot; title=&quot;Table of Contents&quot; src=&quot;/site/embedthumbnail/toc/flat?w=100&amp;h=16&quot;/&gt; --><!-- ws:end:WikiTextTocRule:18 --><!-- ws:start:WikiTextTocRule:19: --><a href="#Maqamat in equal temperaments">Maqamat in equal temperaments</a><!-- ws:end:WikiTextTocRule:19 --><!-- ws:start:WikiTextTocRule:20: --><!-- ws:end:WikiTextTocRule:20 --><!-- ws:start:WikiTextTocRule:21: --><!-- ws:end:WikiTextTocRule:21 --><!-- ws:start:WikiTextTocRule:22: --><!-- ws:end:WikiTextTocRule:22 --><!-- ws:start:WikiTextTocRule:23: --> | <a href="#Unequal temperaments for maqamat">Unequal temperaments for maqamat</a><!-- ws:end:WikiTextTocRule:23 --><!-- ws:start:WikiTextTocRule:24: --> | <a href="#External links">External links</a><!-- ws:end:WikiTextTocRule:24 --><!-- ws:start:WikiTextTocRule:25: --><!-- ws:end:WikiTextTocRule:25 --><!-- ws:start:WikiTextTocRule:26: --><!-- ws:end:WikiTextTocRule:26 --><!-- ws:start:WikiTextTocRule:27: --><!-- ws:end:WikiTextTocRule:27 --><!-- ws:start:WikiTextTocRule:28: -->
| | [[Category:Rebetiko]] |
| <!-- ws:end:WikiTextTocRule:28 --><hr />
| | {{Todo|cultural expertise}} |
| <br />
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| <!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Maqamat in equal temperaments"></a><!-- ws:end:WikiTextHeadingRule:0 -->Maqamat in equal temperaments</h1>
| |
| There have been various endeavors, also in recent history, to establish a common tuning standard. A few of these are described in a <a class="wiki_link_ext" href="http://www.ozanyarman.com/files/34%27ten_79%27a.pdf" rel="nofollow">paper by Ozan Yarman</a>. However, none of these have been really successful (at least not as successful as 12edo in Western music). Given the subtleties sketched in the above mentioned podacst, this task is certainly nontrivial, if not finally impossible.<br />
| |
| <br />
| |
| Depending on the accurateness that is wanted, we can distinguish different levels.<br />
| |
| <br />
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| <!-- ws:start:WikiTextHeadingRule:2:&lt;h2&gt; --><h2 id="toc1"><a name="Maqamat in equal temperaments-Level 1"></a><!-- ws:end:WikiTextHeadingRule:2 -->Level 1</h2>
| |
| An absolute minimal rule set a tuning system for maqams has to fulfill could be summarized as follows:<br />
| |
| <ul><li>There have to be minor and major seconds, minor and major thirds, pure fourths and the octave complements of all these. Preferably organized in a &quot;sort-of pythagorean&quot; structure.</li><li>Additionally, at least one type of neutral second and neutral third is necessary.</li></ul><br />
| |
| The smallest EDOs that fulfill these conditions are <a class="wiki_link" href="/17edo">17edo</a> and <a class="wiki_link" href="/24edo">24edo</a>, which are indeed both used for maqam music. Especially 24edo has found a certain dissemination.<br />
| |
| <br />
| |
| The <a class="wiki_link" href="/maqamic">maqamic</a> temperament reflects this concept in the framework of <a class="wiki_link" href="/regular%20temperaments">regular temperaments</a>.<br />
| |
| <br />
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| <!-- ws:start:WikiTextHeadingRule:4:&lt;h2&gt; --><h2 id="toc2"><a name="Maqamat in equal temperaments-Level 2"></a><!-- ws:end:WikiTextHeadingRule:4 -->Level 2</h2>
| |
| Systems that just fulfill level 1 are still generally considered bad compromises. An additional quite basic requirement for a more accurate maqam system is the availability of two kinds of neutral seconds, a smaller one for the Bayati tetrachord and a larger one for the Rast tetrachord. Moreover, the major second whould preferably be a &quot;major&quot; wholetone, while the minor second should be a &quot;small&quot; semitone - as a consequence, the wholetone is to be divided into a smaller semitone (limma) and a larger one (apotome) - minor seconds will be available in two varieties, too.<br />
| |
| <br />
| |
| Important EDOs that meet these requirements are <a class="wiki_link" href="/53edo">53edo</a> and <a class="wiki_link" href="/72edo">72edo</a>. Both of these have found a certain dissemination in middle-eastern music.<br />
| |
| <br />
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| For turkish musik, Ozan Yarman also proposes <a class="wiki_link" href="/34edo">34edo</a> and <a class="wiki_link" href="/41edo">41edo</a> as acceptable compromises. These have the property that the larger neutral second has a character close to a minor wholetone, and, playing the Rast maqam with it, the third note is less a neutral third than a 5/4-style major third. This matches the turkish variant of Rast which indeed has such a third - the arabic variant, however, is lower. 41edo and 34edo can thus be considered suited for turkish music but less so for arabic music.<br />
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| <br />
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| And here we see another nemesis of the tentatives to establish a common tuning standard: there is not one middle-eastern system but many. There are not just differences between arabic and turkish systems bt also regional differences within the respective cultures...<br />
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| <br />
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| <!-- ws:start:WikiTextHeadingRule:6:&lt;h2&gt; --><h2 id="toc3"><a name="Maqamat in equal temperaments-Level 3"></a><!-- ws:end:WikiTextHeadingRule:6 -->Level 3</h2>
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| Even <a class="wiki_link" href="/53edo">53edo</a> and <a class="wiki_link" href="/72edo">72edo</a> do not cover all details. For these. there are some other, still larger subdivisions that have been investigated.<br />
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| <br />
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| A system that meets the tuning needs to a satisfactory degree is proposed in <a class="wiki_link_ext" href="http://www.ozanyarman.com/files/doctorate_thesis.pdf" rel="nofollow" target="_blank">Ozan Yarman's dissertation</a> (also summarized in the mentioned <a class="wiki_link_ext" href="http://www.ozanyarman.com/files/34ten79a.pdf" rel="nofollow" target="_blank">paper</a> ): a 79-tone <a class="wiki_link" href="/MOSScales">MOS</a> subset of <a class="wiki_link" href="/159edo">159edo</a>. A short description (quoting a post to the tuning list) is also <a class="wiki_link" href="/79MOS%20159edo">here</a>.<br />
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| <br />
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| <a class="wiki_link" href="/Tsaharuk">Tsaharuk</a>, as proposed by <a class="wiki_link" href="/Jacques%20Dudon">Jacques Dudon</a>, can be realized in <a class="wiki_link" href="/77edo">77edo</a>, <a class="wiki_link" href="/94edo">94edo</a>, <a class="wiki_link" href="/111edo">111edo</a>, <a class="wiki_link" href="/128edo">128edo</a>, <a class="wiki_link" href="/145edo">145edo</a>, <a class="wiki_link" href="/171edo">171edo</a>, <a class="wiki_link" href="/359edo">359edo</a>.<br />
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| <br />
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| The mentioned <a class="wiki_link" href="/Maqamat%20in%20maqamic%20temperament">maqamic temperament</a> can be realized in any equal temperament that supports 2.3.5.11 maqamic, including 17c (the important non-patent val for <a class="wiki_link" href="/17edo">17edo</a>), <a class="wiki_link" href="/24edo">24edo</a>, <a class="wiki_link" href="/31edo">31edo</a>, and <a class="wiki_link" href="/55edo">55edo</a>.<br />
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| <br />
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| <!-- ws:start:WikiTextHeadingRule:8:&lt;h1&gt; --><h1 id="toc4"><a name="Unequal temperaments for maqamat"></a><!-- ws:end:WikiTextHeadingRule:8 -->Unequal temperaments for maqamat</h1>
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| In equal temperaments, as seen above, there is always a tradeoff between the diverging requirements of high pitch accuracy and a manageable pitch count. One possible way out of this dilemma is use of unequal temperaments. These allow for playing of multiple maqamat with comparatively few notes, with, on the other hand, restrictions in the possibilities to modulate.<br />
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| <br />
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| A paper by <a class="wiki_link" href="/Erv%20Wilson">Erv Wilson</a>, describing a variety of layouts of mideast tunings on generalized keyboards, can be found here: <a class="wiki_link_ext" href="http://anaphoria.com/RAST.PDF" rel="nofollow">http://anaphoria.com/RAST.PDF</a>.<br />
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| <br />
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| <a class="wiki_link" href="/Ozan%20Yarman">Ozan Yarman</a> has developed a number of such temperaments, e.g. Yarman24 (24 notes), <a class="wiki_link_ext" href="http://launch.groups.yahoo.com/group/tuning/message/78631" rel="nofollow">Yarman29</a> (29 notes) and <a class="wiki_link_ext" href="http://www.ozanyarman.com/yarman36.html" rel="nofollow">Yarman36</a> (36 notes).<br />
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| All these and more are available in the <a class="wiki_link_ext" href="http://www.huygens-fokker.org/scala/downloads.html" rel="nofollow">scala file archive</a>.<br />
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| <br />
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| A lot of research in this field has been done by <a class="wiki_link" href="/Julien%20Jalaleddine%20Weiss">Julien Jalaleddine Weiss</a>. See <a class="wiki_link" href="/tuning%20systems%20for%20qanun">tuning systems for the qanun</a> , or <a class="wiki_link_ext" href="http://stefanpohlit.com/dissertation.engl..htm" rel="nofollow">Stefan Pohlit's dissertation</a>.<br />
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| <br />
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| <a class="wiki_link" href="/Tsaharuk">Tsaharuk</a> is a 77 notes per octave linear or planar temperament proposed by <a class="wiki_link" href="/Jacques%20Dudon">Jacques Dudon</a> based on Julien Jalaleddine Weiss qanun tunings.<br />
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| <br />
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| Unequal temperaments for maqamat were also developed by <a class="wiki_link" href="/Margo%20Schulter">Margo Schulter</a> , e.g. <a class="wiki_link_ext" href="http://launch.groups.yahoo.com/group/JustIntonation/message/1005" rel="nofollow">Bamm</a> (20 or 24 notes) and <a class="wiki_link_ext" href="http://launch.groups.yahoo.com/group/tuning/message/100839" rel="nofollow">Turquoise17</a> (17 notes).<br />
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| <br />
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| See also;<br />
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| <a class="wiki_link" href="/Turkish%20maqam%20music%20temperaments">Turkish maqam music temperaments</a><br />
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| <a class="wiki_link" href="/Maqamat%20in%20maqamic%20temperament">Maqamat in maqamic temperament</a><br />
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| <br />
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| <!-- ws:start:WikiTextHeadingRule:10:&lt;h1&gt; --><h1 id="toc5"><a name="External links"></a><!-- ws:end:WikiTextHeadingRule:10 -->External links</h1>
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| <!-- ws:start:WikiTextHeadingRule:12:&lt;h3&gt; --><h3 id="toc6"><a name="External links--Arabic"></a><!-- ws:end:WikiTextHeadingRule:12 -->Arabic</h3>
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| <a class="wiki_link_ext" href="http://www.maqamworld.com" rel="nofollow">Arabic Maqam World</a> (Johnny Farraj, Sami Abu Shumays <em>et al</em>)<br />
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| <a class="wiki_link_ext" href="http://www.classicalarabicmusic.com/scales.htm" rel="nofollow">Classical Arabic Music</a><br />
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| <a class="wiki_link_ext" href="http://www.oud.eclipse.co.uk" rel="nofollow">The Oud</a> (David Parfitt, discusses both Arabic and Turkish <em>maqâm</em> theory)<br />
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| <a class="wiki_link_ext" href="http://www.alsiadi.com" rel="nofollow">ALSIADI.com</a> (focuses on Halabi/Aleppo traditional music; describes <em>maq</em><em>â</em><em>m</em><em>â</em><em>t</em> in terms of 53-tone Pythagorean tuning)<br />
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| <a class="wiki_link_ext" href="http://foredofico.org/CERMAA/" rel="nofollow">CERMAA</a> (academic research for arabic and related music, namely various articles by <a class="wiki_link" href="/Amine%20Beyhom">Amine Beyhom</a>)<br />
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| <br />
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| <!-- ws:start:WikiTextHeadingRule:14:&lt;h3&gt; --><h3 id="toc7"><a name="External links--Turkish"></a><!-- ws:end:WikiTextHeadingRule:14 -->Turkish</h3>
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| <a class="wiki_link_ext" href="http://www.hinesmusic.com/What_Are_Makams.html" rel="nofollow">Tetrachords and Makams of Turkey</a> - another theory site<br />
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| <a class="wiki_link_ext" href="http://www.turkishmusicportal.org" rel="nofollow">http://www.turkishmusicportal.org</a> - listening<br />
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| <a class="wiki_link_ext" href="http://www.turkishmusic.org/index.html" rel="nofollow">http://www.turkishmusic.org</a> - listening<br />
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| <!-- ws:start:WikiTextUrlRule:173:http://www.turkishmusic.org/index18.html --><a class="wiki_link_ext" href="http://www.turkishmusic.org/index18.html" rel="nofollow">http://www.turkishmusic.org/index18.html</a><!-- ws:end:WikiTextUrlRule:173 --> - listening<br />
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| <br />
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| <!-- ws:start:WikiTextHeadingRule:16:&lt;h3&gt; --><h3 id="toc8"><a name="External links--Persian"></a><!-- ws:end:WikiTextHeadingRule:16 -->Persian</h3>
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| <a class="wiki_link_ext" href="http://240edo.googlepages.com/persianmusic" rel="nofollow">http://240edo.googlepages.com/persianmusic</a> - a list of links related to Persian music, maintained by <a class="wiki_link" href="/Shaahin%20Mohajeri">Shaahin Mohajeri</a><br />
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| <br />
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| <span style="display: block; height: 1px; left: -40px; overflow: hidden; position: absolute; top: 734px; width: 1px;"> <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=7&amp;limit=2_3_5_11&amp;key=7_11_16_24" rel="nofollow">7</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=24&amp;limit=2_3_5_11&amp;key=24_38_56_83" rel="nofollow">24</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=31&amp;limit=2_3_5_11&amp;key=31_49_72_107" rel="nofollow">31</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=14&amp;limit=2_3_5_11&amp;key=14_22_32_48" rel="nofollow">14c</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=17&amp;limit=2_3_5_11&amp;key=17_27_40_59" rel="nofollow">17c</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=38&amp;limit=2_3_5_11&amp;key=38_60_88_131" rel="nofollow">38</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=10&amp;limit=2_3_5_11&amp;key=10_16_24_35" rel="nofollow">10c</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=21&amp;limit=2_3_5_11&amp;key=21_33_48_72" rel="nofollow">21ce</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=45&amp;limit=2_3_5_11&amp;key=45_71_104_155" rel="nofollow">45e</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=55&amp;limit=2_3_5_11&amp;key=55_87_128_190" rel="nofollow">55</a></span></body></html></pre></div>
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