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This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User: | : This revision was by author [[User:Ninly|Ninly]] and made on <tt>2011-08-24 00:49:14 UTC</tt>.<br> | ||
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The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
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<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">The music of the Middle Eastern (Arabic, Turkish, and Persian) cultural area is one of the important microtonal music traditions (along with the [[Indian]] tradition). | <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">The music of the Middle Eastern (Arabic, Turkish, and Persian) cultural area is one of the important microtonal music traditions (along with the [[Indian]] tradition). | ||
A central concept is "maqam", 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 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. | ||
The use of microtones in | 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. | ||
[[toc|flat]] | [[toc|flat]] | ||
---- | ---- | ||
= | =Maqamat in equal temperaments= | ||
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). [[24edo]] has found a certain dissemination, especially in the Arabic world, though many consider it a bad compromise. Other equal temperaments that have been used are [[53edo]] and [[72edo]], but even those (apart from | 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). [[24edo]] has found a certain dissemination, especially in the Arabic world, though many consider it a bad compromise. Other equal temperaments that have been used are [[53edo]] and [[72edo]], but even those (apart from the inconvenience caused by their high pitch counts) do not cover all details. | ||
A system that | 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]]. | ||
For practical purposes ( | For practical purposes (in terms of the number of pitches), Yarman proposes [[34edo]] and [[41edo]] as acceptable compromises. | ||
[[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]]. | ||
=Unequal temperaments for | =Unequal temperaments for maqamat= | ||
In equal temperaments, as seen above, there is always a tradeoff between the diverging requirements of high pitch accuracy and | 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. | ||
[[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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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 [[Stefan Pohlit]]'s dissertation. | 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 [[Stefan Pohlit]]'s dissertation. | ||
[[Tsaharuk]] is a 77 notes | [[Tsaharuk]] is a 77 notes per octave linear or planar temperament proposed by [[Jacques Dudon]] based on Julien Jalaleddine Weiss qanun tunings. | ||
Unequal | 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 [[Turkish maqam music temperaments]]. | See also [[Turkish maqam music temperaments]]. | ||
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<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>The music of the Middle Eastern (Arabic, Turkish, and Persian) cultural area is one of the important microtonal music traditions (along with the <a class="wiki_link" href="/Indian">Indian</a> tradition).<br /> | <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>The music of the Middle Eastern (Arabic, Turkish, and Persian) cultural area is one of the important microtonal music traditions (along with the <a class="wiki_link" href="/Indian">Indian</a> tradition).<br /> | ||
<br /> | <br /> | ||
A central concept is &quot;maqam&quot;, 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 /> | 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 /> | ||
<br /> | <br /> | ||
The use of microtones in | 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 /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextTocRule:12:&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:12 --><!-- ws:start:WikiTextTocRule:13: --><a href="# | <!-- ws:start:WikiTextTocRule:12:&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:12 --><!-- ws:start:WikiTextTocRule:13: --><a href="#Maqamat in equal temperaments">Maqamat in equal temperaments</a><!-- ws:end:WikiTextTocRule:13 --><!-- ws:start:WikiTextTocRule:14: --> | <a href="#Unequal temperaments for maqamat">Unequal temperaments for maqamat</a><!-- ws:end:WikiTextTocRule:14 --><!-- ws:start:WikiTextTocRule:15: --> | <a href="#External links">External links</a><!-- ws:end:WikiTextTocRule:15 --><!-- ws:start:WikiTextTocRule:16: --><!-- ws:end:WikiTextTocRule:16 --><!-- ws:start:WikiTextTocRule:17: --><!-- ws:end:WikiTextTocRule:17 --><!-- ws:start:WikiTextTocRule:18: --><!-- ws:end:WikiTextTocRule:18 --><!-- ws:start:WikiTextTocRule:19: --> | ||
<!-- ws:end:WikiTextTocRule:19 --><hr /> | <!-- ws:end:WikiTextTocRule:19 --><hr /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name=" | <!-- 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> | ||
<br /> | <br /> | ||
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). <a class="wiki_link" href="/24edo">24edo</a> has found a certain dissemination, especially in the Arabic world, though many consider it a bad compromise. Other equal temperaments that have been used are <a class="wiki_link" href="/53edo">53edo</a> and <a class="wiki_link" href="/72edo">72edo</a>, but even those (apart from | 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). <a class="wiki_link" href="/24edo">24edo</a> has found a certain dissemination, especially in the Arabic world, though many consider it a bad compromise. Other equal temperaments that have been used are <a class="wiki_link" href="/53edo">53edo</a> and <a class="wiki_link" href="/72edo">72edo</a>, but even those (apart from the inconvenience caused by their high pitch counts) do not cover all details.<br /> | ||
<br /> | <br /> | ||
A system that | 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 /> | ||
<br /> | <br /> | ||
For practical purposes ( | For practical purposes (in terms of the number of pitches), Yarman proposes <a class="wiki_link" href="/34edo">34edo</a> and <a class="wiki_link" href="/41edo">41edo</a> as acceptable compromises.<br /> | ||
<br /> | <br /> | ||
<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 /> | <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 /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:2:&lt;h1&gt; --><h1 id="toc1"><a name="Unequal temperaments for | <!-- ws:start:WikiTextHeadingRule:2:&lt;h1&gt; --><h1 id="toc1"><a name="Unequal temperaments for maqamat"></a><!-- ws:end:WikiTextHeadingRule:2 -->Unequal temperaments for maqamat</h1> | ||
<br /> | <br /> | ||
In equal temperaments, as seen above, there is always a tradeoff between the diverging requirements of high pitch accuracy and | 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 /> | ||
<br /> | <br /> | ||
<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 /> | <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 /> | ||
| Line 86: | Line 86: | ||
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" href="/Stefan%20Pohlit">Stefan Pohlit</a>'s dissertation.<br /> | 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" href="/Stefan%20Pohlit">Stefan Pohlit</a>'s dissertation.<br /> | ||
<br /> | <br /> | ||
<a class="wiki_link" href="/Tsaharuk">Tsaharuk</a> is a 77 notes | <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 /> | ||
<br /> | <br /> | ||
Unequal | 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 /> | ||
<br /> | <br /> | ||
See also <a class="wiki_link" href="/Turkish%20maqam%20music%20temperaments">Turkish maqam music temperaments</a>.<br /> | See also <a class="wiki_link" href="/Turkish%20maqam%20music%20temperaments">Turkish maqam music temperaments</a>.<br /> | ||
Revision as of 00:49, 24 August 2011
IMPORTED REVISION FROM WIKISPACES
This is an imported revision from Wikispaces. The revision metadata is included below for reference:
- This revision was by author Ninly and made on 2011-08-24 00:49:14 UTC.
- The original revision id was 248088143.
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The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.
Original Wikitext content:
The music of the Middle Eastern (Arabic, Turkish, and Persian) cultural area is one of the important microtonal music traditions (along with the [[Indian]] tradition). 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. 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. [[toc|flat]] ---- =Maqamat in equal temperaments= 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). [[24edo]] has found a certain dissemination, especially in the Arabic world, though many consider it a bad compromise. Other equal temperaments that have been used are [[53edo]] and [[72edo]], but even those (apart from the inconvenience caused by their high pitch counts) do not cover all details. 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]]. For practical purposes (in terms of the number of pitches), Yarman proposes [[34edo]] and [[41edo]] as acceptable compromises. [[Tsaharuk]], as proposed by [[Jacques Dudon]], can be realized in [[77edo]], [[94edo]], [[111edo]], [[128edo]], [[145edo]], [[171edo]], [[359edo]]. =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, with, on the other hand, restrictions in the possibilities to modulate. [[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). All these and more are available in the [[http://www.huygens-fokker.org/scala/downloads.html|scala file archive]]. 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 [[Stefan Pohlit]]'s dissertation. [[Tsaharuk]] is a 77 notes per octave linear or planar temperament proposed by [[Jacques Dudon]] based on Julien Jalaleddine Weiss qanun tunings. 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 [[Turkish maqam music temperaments]]. =External links= ===Arabic=== [[http://www.maqamworld.com|Arabic Maqam World]] (Johnny Farraj, Sami Abu Shumays //et al//) [[http://www.classicalarabicmusic.com/scales.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 [[http://foredofico.org/CERMAA/publications/publications-on-the-site/publications-amine-beyhom|Amine Behoum]]) ===Turkish=== [[http://www.hinesmusic.com/What_Are_Makams.html|Tetrachords and Makams of Turkey]] - another theory site http://www.turkishmusicportal.org - listening [[http://www.turkishmusic.org/index.html|http://www.turkishmusic.org]] - listening http://www.turkishmusic.org/index18.html - listening ===Persian=== http://240edo.googlepages.com/persianmusic - a list of links related to Persian music, maintained by Shaahin Mohajeri
Original HTML content:
<html><head><title>Arabic, Turkish, Persian</title></head><body>The music of the Middle Eastern (Arabic, Turkish, and Persian) cultural area is one of the important microtonal music traditions (along with the <a class="wiki_link" href="/Indian">Indian</a> tradition).<br /> <br /> 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 <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 /> <br /> 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 /> <br /> <!-- ws:start:WikiTextTocRule:12:<img id="wikitext@@toc@@flat" class="WikiMedia WikiMediaTocFlat" title="Table of Contents" src="/site/embedthumbnail/toc/flat?w=100&h=16"/> --><!-- ws:end:WikiTextTocRule:12 --><!-- ws:start:WikiTextTocRule:13: --><a href="#Maqamat in equal temperaments">Maqamat in equal temperaments</a><!-- ws:end:WikiTextTocRule:13 --><!-- ws:start:WikiTextTocRule:14: --> | <a href="#Unequal temperaments for maqamat">Unequal temperaments for maqamat</a><!-- ws:end:WikiTextTocRule:14 --><!-- ws:start:WikiTextTocRule:15: --> | <a href="#External links">External links</a><!-- ws:end:WikiTextTocRule:15 --><!-- ws:start:WikiTextTocRule:16: --><!-- ws:end:WikiTextTocRule:16 --><!-- ws:start:WikiTextTocRule:17: --><!-- ws:end:WikiTextTocRule:17 --><!-- ws:start:WikiTextTocRule:18: --><!-- ws:end:WikiTextTocRule:18 --><!-- ws:start:WikiTextTocRule:19: --> <!-- ws:end:WikiTextTocRule:19 --><hr /> <br /> <!-- ws:start:WikiTextHeadingRule:0:<h1> --><h1 id="toc0"><a name="Maqamat in equal temperaments"></a><!-- ws:end:WikiTextHeadingRule:0 -->Maqamat in equal temperaments</h1> <br /> 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). <a class="wiki_link" href="/24edo">24edo</a> has found a certain dissemination, especially in the Arabic world, though many consider it a bad compromise. Other equal temperaments that have been used are <a class="wiki_link" href="/53edo">53edo</a> and <a class="wiki_link" href="/72edo">72edo</a>, but even those (apart from the inconvenience caused by their high pitch counts) do not cover all details.<br /> <br /> 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 /> <br /> For practical purposes (in terms of the number of pitches), Yarman proposes <a class="wiki_link" href="/34edo">34edo</a> and <a class="wiki_link" href="/41edo">41edo</a> as acceptable compromises.<br /> <br /> <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 /> <br /> <!-- ws:start:WikiTextHeadingRule:2:<h1> --><h1 id="toc1"><a name="Unequal temperaments for maqamat"></a><!-- ws:end:WikiTextHeadingRule:2 -->Unequal temperaments for maqamat</h1> <br /> 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 /> <br /> <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 /> 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 /> <br /> 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" href="/Stefan%20Pohlit">Stefan Pohlit</a>'s dissertation.<br /> <br /> <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 /> <br /> 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 /> <br /> See also <a class="wiki_link" href="/Turkish%20maqam%20music%20temperaments">Turkish maqam music temperaments</a>.<br /> <br /> <!-- ws:start:WikiTextHeadingRule:4:<h1> --><h1 id="toc2"><a name="External links"></a><!-- ws:end:WikiTextHeadingRule:4 -->External links</h1> <br /> <!-- ws:start:WikiTextHeadingRule:6:<h3> --><h3 id="toc3"><a name="External links--Arabic"></a><!-- ws:end:WikiTextHeadingRule:6 -->Arabic</h3> <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 /> <a class="wiki_link_ext" href="http://www.classicalarabicmusic.com/scales.htm" rel="nofollow">Classical Arabic Music</a><br /> <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 /> <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 /> <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_ext" href="http://foredofico.org/CERMAA/publications/publications-on-the-site/publications-amine-beyhom" rel="nofollow">Amine Behoum</a>)<br /> <br /> <!-- ws:start:WikiTextHeadingRule:8:<h3> --><h3 id="toc4"><a name="External links--Turkish"></a><!-- ws:end:WikiTextHeadingRule:8 -->Turkish</h3> <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 /> <!-- ws:start:WikiTextUrlRule:107:http://www.turkishmusicportal.org --><a class="wiki_link_ext" href="http://www.turkishmusicportal.org" rel="nofollow">http://www.turkishmusicportal.org</a><!-- ws:end:WikiTextUrlRule:107 --> - listening<br /> <a class="wiki_link_ext" href="http://www.turkishmusic.org/index.html" rel="nofollow">http://www.turkishmusic.org</a> - listening<br /> <!-- ws:start:WikiTextUrlRule:108: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:108 --> - listening<br /> <br /> <!-- ws:start:WikiTextHeadingRule:10:<h3> --><h3 id="toc5"><a name="External links--Persian"></a><!-- ws:end:WikiTextHeadingRule:10 -->Persian</h3> <!-- ws:start:WikiTextUrlRule:109:http://240edo.googlepages.com/persianmusic --><a class="wiki_link_ext" href="http://240edo.googlepages.com/persianmusic" rel="nofollow">http://240edo.googlepages.com/persianmusic</a><!-- ws:end:WikiTextUrlRule:109 --> - a list of links related to Persian music, maintained by Shaahin Mohajeri</body></html>