Middle-Eastern music: Difference between revisions
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== Maqamat in equal temperaments == | == Maqamat in equal temperaments == | ||
{{Wikipedia| Arabic maqam | {{Wikipedia| Arabic maqam | Turkish makam | Persian maqam }} | ||
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. | 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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=== Level 2 === | === Level 2 === | ||
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" | 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. | ||
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. | ||
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 | 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. | ||
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. | 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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== External links == | == External links == | ||
=== Arabic === | === Arabic === | ||
* [http://www.maqamworld.com Arabic Maqam World] (Johnny Farraj, Sami Abu Shumays ''et al'') | * [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] | * [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.classicalarabicmusic.com/Learning%20Arabic%20Music.htm Classical Arabic Music] | ||
* [http://www.oud.eclipse.co.uk The Oud] | * [http://www.oud.eclipse.co.uk The Oud] – David Parfitt, discusses both Arabic and Turkish ''maqâm'' theory. | ||
* [http://www.alsiadi.com ALSIADI.com] | * [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] | * [http://foredofico.org/CERMAA/ CERMAA] – academic research for Arabic and related music, namely various articles by [[Amine Beyhom]]. | ||
=== Turkish === | === Turkish === | ||
* [http://www.hinesmusic.com/What_Are_Makams.html Tetrachords and Makams of Turkey] – another theory site | |||
* [http://www.hinesmusic.com/What_Are_Makams.html Tetrachords and Makams of Turkey] | |||
* [http://ericederer.com/book/book.html Eric Ederer: Makam and Beyond] | * [http://ericederer.com/book/book.html Eric Ederer: Makam and Beyond] | ||
* [http://www.turkishmusicportal.org http://www.turkishmusicportal.org] | * [http://www.turkishmusicportal.org http://www.turkishmusicportal.org] – listening | ||
* [http://www.turkishmusic.org/index.html http://www.turkishmusic.org] | * [http://www.turkishmusic.org/index.html http://www.turkishmusic.org] – listening | ||
* [http://www.turkishmusic.org/index18.html http://www.turkishmusic.org/index18.html] | * [http://www.turkishmusic.org/index18.html http://www.turkishmusic.org/index18.html] – listening | ||
=== Persian === | === Persian === | ||
* [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://240edo.googlepages.com/persianmusic http://240edo.googlepages.com/persianmusic]{{dead link}} | * [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.dejkam.com/music/iran_traditional/ http://www.dejkam.com/music/iran_traditional/]{{dead link}} | * [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/] | * [http://www.iranicaonline.org/ Encyclopaedia Iranica] – Encyclopedia about iranian culture, including music. | ||
* [http://www.iranicaonline.org/ Encyclopaedia Iranica] | |||
== Temperament finder links == | == Temperament finder links == | ||
Here a collection of selected tunings in the temperament finder | Here a collection of selected tunings in the temperament finder | ||
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== See also == | == See also == | ||
* [[Overtone singing]] | * [[Overtone singing]] – a technique used in some Kurdish and Iranian (Persian) music | ||
[[Category:Arabic music]] | [[Category:Arabic music]] | ||