Middle-Eastern music: Difference between revisions

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The music of the middle-eastern (arabic/turkish/persian) cultural area is one of the important microtonal music traditions (along with the [[Indian|indian]] tradition).

A central concept is "maqam", which corresponds more or less (but not exactly) to the western "mode". An introduction into maqam theory can be found on [[http://www.maqamworld.com/|http://www.maqamworld.com]].

The use of microtones in middle-eastern music is partly 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 can be 12 different notes within a half step.

There have been various endeavours, 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 endeavours have been really successful (at least not as successful as 12edo in the western music). [[24edo]] has found a certain dissemination, especially in the arabic world; but many consider it a bad compromise. Other equal temperaments that have been used are [[53edo]] and [[72edo]]. And even those (apart from getting impractical because of their high number of notes!) do not cover all details.

A system that covers many details to a satisfactorial 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 (quote of a posting on the yahoo tuning list) is also [[79MOS 159edo|here]].

For practical purposes (from the point of number of notes), Ozan Yarman proposes [[34edo]] and [[41edo]] as acceptable compromises.
==More 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)

===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/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 &quot;maqam&quot;, which corresponds more or less (but not exactly) to the western &quot;mode&quot;. An introduction into maqam theory can be found on <a class="wiki_link_ext" href="http://www.maqamworld.com/" rel="nofollow">http://www.maqamworld.com</a>.<br />
<br />
The use of microtones in middle-eastern music is partly 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 can be 12 different notes within a half step.<br />
<br />
There have been various endeavours, 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 endeavours have been really successful (at least not as successful as 12edo in the western music). <a class="wiki_link" href="/24edo">24edo</a> has found a certain dissemination, especially in the arabic world; but 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>. And even those (apart from getting impractical because of their high number of notes!) do not cover all details.<br />
<br />
A system that covers many details to a satisfactorial 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 (quote of a posting on the yahoo tuning list) is also <a class="wiki_link" href="/79MOS%20159edo">here</a>.<br />
<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 />
<!-- ws:start:WikiTextHeadingRule:0:&lt;h2&gt; --><h2 id="toc0"><a name="x-More external links"></a><!-- ws:end:WikiTextHeadingRule:0 -->More external links</h2>
 <br />
<!-- ws:start:WikiTextHeadingRule:2:&lt;h3&gt; --><h3 id="toc1"><a name="x-More external links-Arabic"></a><!-- ws:end:WikiTextHeadingRule:2 -->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 />
<br />
<!-- ws:start:WikiTextHeadingRule:4:&lt;h3&gt; --><h3 id="toc2"><a name="x-More external links-Turkish"></a><!-- ws:end:WikiTextHeadingRule:4 -->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:50:http://www.turkishmusicportal.org --><a class="wiki_link_ext" href="http://www.turkishmusicportal.org" rel="nofollow">http://www.turkishmusicportal.org</a><!-- ws:end:WikiTextUrlRule:50 --> - 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:51: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:51 --> - listening<br />
<br />
<!-- ws:start:WikiTextHeadingRule:6:&lt;h3&gt; --><h3 id="toc3"><a name="x-More external links-Persian"></a><!-- ws:end:WikiTextHeadingRule:6 -->Persian</h3>
 <!-- ws:start:WikiTextUrlRule:52: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:52 --> - a list of links related to persian music, maintained by Shaahin Mohajeri</body></html>

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 <h2>IMPORTED REVISION FROM WIKISPACES</h2>
 This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
-: This revision was by author [[User:guest|guest]] and made on <tt>2009-12-17 10:59:39 UTC</tt>.<br>
+: This revision was by author [[User:hstraub|hstraub]] and made on <tt>2010-05-28 03:05:00 UTC</tt>.<br>
-: The original revision id was <tt>110118409</tt>.<br>
+: The original revision id was <tt>145395603</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>
@@ Line 12: / Line 12: @@
 The use of microtones in middle-eastern music is partly 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 can be 12 different notes within a half step.
-There have been various endeavours, 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 endeavours have been really successful (at least not as successful as 12edo in the western music). [[24edo]] has found a certain dissemination, especially in the arabic world; but many consider it a bad compromise. Other equal temperaments that have been used are [[53edo]] and [[72edo]]. And even those (apart from getting impractical because of their high number of notes!) do not cover all details.
+There have been various endeavours, 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 endeavours have been really successful (at least not as successful as 12edo in the western music). [[24edo]] has found a certain dissemination, especially in the arabic world; but many consider it a bad compromise. Other equal temperaments that have been used are [[53edo]] and [[72edo]]. And even those (apart from getting impractical because of their high number of notes!) do not cover all details.
 A system that covers many details to a satisfactorial 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 (quote of a posting on the yahoo tuning list) is also [[79MOS 159edo|here]].
@@ Line 40: / Line 40: @@
 The use of microtones in middle-eastern music is partly extremely subtle, as is demonstrated in a &lt;a class="wiki_link_ext" href="http://shumays.libsyn.com/index.php?post_id=177745" rel="nofollow"&gt;podcast&lt;/a&gt; by arabic violin player Sami Abu Shumays: by his count, there can be 12 different notes within a half step.&lt;br /&gt;
 &lt;br /&gt;
-There have been various endeavours, also in recent history, to establish a common tuning standard. A few of these are described in a &lt;a class="wiki_link_ext" href="http://www.ozanyarman.com/files/34%27ten_79%27a.pdf" rel="nofollow"&gt;paper&lt;/a&gt; by Ozan Yarman. However, none of these endeavours have been really successful (at least not as successful as 12edo in the western music). &lt;a class="wiki_link" href="/24edo"&gt;24edo&lt;/a&gt; has found a certain dissemination, especially in the arabic world; but many consider it a bad compromise. Other equal temperaments that have been used are &lt;a class="wiki_link" href="/53edo"&gt;53edo&lt;/a&gt; and &lt;a class="wiki_link" href="/72edo"&gt;72edo&lt;/a&gt;. And even those (apart from getting impractical because of their high number of notes!) do not cover all details.&lt;br /&gt;
+There have been various endeavours, also in recent history, to establish a common tuning standard. A few of these are described in a &lt;a class="wiki_link_ext" href="http://www.ozanyarman.com/files/34%27ten_79%27a.pdf" rel="nofollow"&gt;paper by Ozan Yarman&lt;/a&gt;. However, none of these endeavours have been really successful (at least not as successful as 12edo in the western music). &lt;a class="wiki_link" href="/24edo"&gt;24edo&lt;/a&gt; has found a certain dissemination, especially in the arabic world; but many consider it a bad compromise. Other equal temperaments that have been used are &lt;a class="wiki_link" href="/53edo"&gt;53edo&lt;/a&gt; and &lt;a class="wiki_link" href="/72edo"&gt;72edo&lt;/a&gt;. And even those (apart from getting impractical because of their high number of notes!) do not cover all details.&lt;br /&gt;
 &lt;br /&gt;
 A system that covers many details to a satisfactorial degree is proposed in &lt;a class="wiki_link_ext" href="http://www.ozanyarman.com/files/doctorate_thesis.pdf" rel="nofollow" target="_blank"&gt;Ozan Yarman's dissertation&lt;/a&gt; (also summarized in the mentioned &lt;a class="wiki_link_ext" href="http://www.ozanyarman.com/files/34ten79a.pdf" rel="nofollow" target="_blank"&gt;paper&lt;/a&gt; ): a 79-tone &lt;a class="wiki_link" href="/MOSScales"&gt;MOS&lt;/a&gt; subset of &lt;a class="wiki_link" href="/159edo"&gt;159edo&lt;/a&gt;. A short description (quote of a posting on the yahoo tuning list) is also &lt;a class="wiki_link" href="/79MOS%20159edo"&gt;here&lt;/a&gt;.&lt;br /&gt;

Middle-Eastern music: Difference between revisions

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