Middle-Eastern music: Difference between revisions

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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.

For turkish music, Ozan Yarman also proposes [[34edo]], [[41edo]] and [[46edo]], within limits also [[29edo]], as acceptable compromises. 29edo, 34edo and 41edo 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, 34edo and 29edo 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, 34edo and 41edo 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, 34edo and 29edo can thus be considered suited for Turkish music but less so 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, by the way, not just differences between ~~arabic~~ and ~~turkish~~ systems but 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, by the way, not just differences between Arabic and Turkish systems but also regional differences within the respective cultures...

=== Level 3 ===

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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.

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 http://anaphoria.com/RAST.PDF].

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 http://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).

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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).

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].

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].

[[Tsaharuk]] is a 77 notes per octave linear or planar temperament proposed by [[Jacques Dudon]] based on [[Julien Jalaleddine Weiss]] qanun tunings.

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* [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]].

* [http://foredofico.org/CERMAA/ CERMAA] - academic research for Arabic and related music, namely various articles by [[Amine Beyhom]].

=== Turkish ===

@@ Line 34: / Line 34: @@
 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, 34edo and 41edo 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, 34edo and 29edo 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, 34edo and 41edo 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, 34edo and 29edo can thus be considered suited for Turkish music but less so 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, by the way, not just differences between arabic and turkish systems but 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, by the way, not just differences between Arabic and Turkish systems but also regional differences within the respective cultures...
 === Level 3 ===
@@ Line 50: / Line 50: @@
 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.
-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 http://anaphoria.com/RAST.PDF].
+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 http://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).
@@ Line 58: / Line 58: @@
 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).
-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].
+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].
 [[Tsaharuk]] is a 77 notes per octave linear or planar temperament proposed by [[Jacques Dudon]] based on [[Julien Jalaleddine Weiss]] qanun tunings.
@@ Line 76: / Line 76: @@
 * [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]].
+* [http://foredofico.org/CERMAA/ CERMAA] - academic research for Arabic and related music, namely various articles by [[Amine Beyhom]].
 === Turkish ===