Middle-Eastern music: Difference between revisions
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{{Wikipedia| Arab tone system | Arabic maqam | Turkish makam | Dastgāh }} | {{Wikipedia| Arab tone system | Arabic maqam | Turkish makam | Dastgāh }} | ||
Along with the [[Indian]] tradition, the | 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. | ||
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/ Maqam World]. The Arabic and Turkish systems differ to some degree from the related Persian system of [[wikipedia: Dastgah|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]]. | ||
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. | 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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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. | 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. | ||
A paper by [[Erv Wilson]], describing a variety of layouts of Middle Eastern tunings on generalized keyboards, can be found here: [ | A paper by [[Erv Wilson]], describing a variety of layouts of Middle Eastern tunings on generalized keyboards, can be found here: [https://www.anaphoria.com/rast.pdf https://www.anaphoria.com/rast.pdf]. | ||
[[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). | [[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). | ||
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* [http://www.oud.eclipse.co.uk The Oud] – David Parfitt, discusses both Arabic and Turkish ''maqâm'' theory. | * [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://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]]. | * [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] | |||
=== Turkish === | === Turkish === | ||
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* [http://www.turkishmusic.org/index.html http://www.turkishmusic.org] – listening | * [http://www.turkishmusic.org/index.html http://www.turkishmusic.org] – listening | ||
* [http://www.turkishmusic.org/index18.html http://www.turkishmusic.org/index18.html] – listening | * [http://www.turkishmusic.org/index18.html http://www.turkishmusic.org/index18.html] – listening | ||
* [https://www.reddit.com/r/GlobalMusicTheory/wiki/turkishmusictheory/ r/GlobalMusicTheory Turkish music reading list] | |||
=== Persian === | === Persian === | ||
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* [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.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.iranicaonline.org/ Encyclopaedia Iranica] – Encyclopedia about iranian culture, including music. | * [http://www.iranicaonline.org/ Encyclopaedia Iranica] – Encyclopedia about iranian culture, including music. | ||
== See also == | == See also == | ||
* [[Overtone singing]] – a technique used in some Kurdish and Iranian (Persian) music | * [[Overtone singing]] – a technique used in some Kurdish and Iranian (Persian) music | ||
== Further reading == | |||
* Johnny Farraj and Sami Abu Shumays, [https://global.oup.com/academic/product/inside-arabic-music-9780190658366 Inside Arabic Music]. Oxford University Press, 2019 | |||
* Scott Lloyd Marcus, [https://www.scribd.com/doc/214527922/Arab-Music-Theory-in-the-Modern-Period-by-Scott-Lloyd-Marcus Arab Music Theory in the Modern Period]. University of California, Los Angeles, 1989. | |||
* Hormoz Farhat, [https://archive.org/details/dastgahconceptin0000farh/ The Dastgāh Concept in Persian Music]. Cambridge University Press, 1990. | |||
* Karl L. Signell, [https://archive.org/details/makammodalpracti0000sign/ Makam: Modal Practice in Turkish Art Music]. Asian Music Publications, 1977. | |||
[[Category:Arabic music]] | [[Category:Arabic music]] | ||
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[[Category:Qanun]] | [[Category:Qanun]] | ||
[[Category:Rebetiko]] | [[Category:Rebetiko]] | ||
{{Todo|cultural expertise}} | |||