Middle-Eastern music: Difference between revisions
Wikispaces>guest **Imported revision 226503744 - Original comment: ** |
Wikispaces>hstraub **Imported revision 242082751 - Original comment: ** |
||
| Line 1: | Line 1: | ||
<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
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:hstraub|hstraub]] and made on <tt>2011-07-20 07:20:23 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>242082751</tt>.<br> | ||
: The revision comment was: <tt></tt><br> | : The revision comment was: <tt></tt><br> | ||
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> | ||
| Line 11: | Line 11: | ||
The use of microtones in Middle Eastern music 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 Middle Eastern music 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]] | |||
---- | |||
=Maqams 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 impracticality due to their high number of pitches!) do not cover all details. | 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 impracticality due to their high number of pitches!) do not cover all details. | ||
| Line 18: | Line 24: | ||
For practical purposes (from the point of number of notes), Ozan Yarman proposes [[34edo]] and [[41edo]] as acceptable compromises. | For practical purposes (from the point of number of notes), Ozan Yarman proposes [[34edo]] and [[41edo]] as acceptable compromises. | ||
== | =Unequal temperaments for maqams= | ||
In equal temperaments, as seen above, there is always a tradeoff between the diverging requirements of high pitch accuracy and not to high number of notes. A possible way out of this dilemma are unequal temperaments. They allow to play a number of different maqams 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]]. | |||
Amon other proposals, there are: | |||
[[Bleu17]] (17 notes) - see [[http://launch.groups.yahoo.com/group/tuning/message/100718|discussion on the Yahoo tuning list]] | |||
[[http://launch.groups.yahoo.com/group/tuning/message/100839|Turquoise17]] (17 notes) | |||
=External links= | |||
===Arabic=== | ===Arabic=== | ||
| Line 41: | Line 58: | ||
The use of microtones in Middle Eastern music 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 /> | The use of microtones in Middle Eastern music 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="#Maqams in equal temperaments">Maqams in equal temperaments</a><!-- ws:end:WikiTextTocRule:13 --><!-- ws:start:WikiTextTocRule:14: --> | <a href="#Unequal temperaments for maqams">Unequal temperaments for maqams</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 --><br /> | |||
<hr /> | |||
<br /> | |||
<!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Maqams in equal temperaments"></a><!-- ws:end:WikiTextHeadingRule:0 -->Maqams 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 impracticality due to their high number of pitches!) do not cover all details.<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 impracticality due to their high number of pitches!) do not cover all details.<br /> | ||
<br /> | <br /> | ||
| Line 47: | Line 70: | ||
For practical purposes (from the point of number of notes), Ozan Yarman proposes <a class="wiki_link" href="/34edo">34edo</a> and <a class="wiki_link" href="/41edo">41edo</a> as acceptable compromises.<br /> | For practical purposes (from the point of number of notes), Ozan 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 /> | ||
<!-- ws:start:WikiTextHeadingRule: | <!-- ws:start:WikiTextHeadingRule:2:&lt;h1&gt; --><h1 id="toc1"><a name="Unequal temperaments for maqams"></a><!-- ws:end:WikiTextHeadingRule:2 -->Unequal temperaments for maqams</h1> | ||
<br /> | |||
In equal temperaments, as seen above, there is always a tradeoff between the diverging requirements of high pitch accuracy and not to high number of notes. A possible way out of this dilemma are unequal temperaments. They allow to play a number of different maqams 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 /> | |||
Amon other proposals, there are:<br /> | |||
<a class="wiki_link" href="/Bleu17">Bleu17</a> (17 notes) - see <a class="wiki_link_ext" href="http://launch.groups.yahoo.com/group/tuning/message/100718" rel="nofollow">discussion on the Yahoo tuning list</a><br /> | |||
<a class="wiki_link_ext" href="http://launch.groups.yahoo.com/group/tuning/message/100839" rel="nofollow">Turquoise17</a> (17 notes)<br /> | |||
<br /> | |||
<!-- ws:start:WikiTextHeadingRule:4:&lt;h1&gt; --><h1 id="toc2"><a name="External links"></a><!-- ws:end:WikiTextHeadingRule:4 -->External links</h1> | |||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule: | <!-- ws:start:WikiTextHeadingRule:6:&lt;h3&gt; --><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.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.classicalarabicmusic.com/scales.htm" rel="nofollow">Classical Arabic Music</a><br /> | ||
| Line 55: | Line 89: | ||
<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://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 /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule: | <!-- ws:start:WikiTextHeadingRule:8:&lt;h3&gt; --><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 /> | <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: | <!-- ws:start:WikiTextUrlRule:84:http://www.turkishmusicportal.org --><a class="wiki_link_ext" href="http://www.turkishmusicportal.org" rel="nofollow">http://www.turkishmusicportal.org</a><!-- ws:end:WikiTextUrlRule:84 --> - listening<br /> | ||
<a class="wiki_link_ext" href="http://www.turkishmusic.org/index.html" rel="nofollow">http://www.turkishmusic.org</a> - 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: | <!-- ws:start:WikiTextUrlRule:85: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:85 --> - listening<br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule: | <!-- ws:start:WikiTextHeadingRule:10:&lt;h3&gt; --><h3 id="toc5"><a name="External links--Persian"></a><!-- ws:end:WikiTextHeadingRule:10 -->Persian</h3> | ||
<!-- ws:start:WikiTextUrlRule: | <!-- ws:start:WikiTextUrlRule:86: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:86 --> - a list of links related to Persian music, maintained by Shaahin Mohajeri</body></html></pre></div> | ||