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| <h2>IMPORTED REVISION FROM WIKISPACES</h2> | | <span style="display: block; text-align: right;">[[:de:arabisch,_türkisch,_persisch Deutsch]]</span> |
| This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br>
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| : This revision was by author [[User:hstraub|hstraub]] and made on <tt>2017-08-14 03:53:57 UTC</tt>.<br>
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| : The original revision id was <tt>616375295</tt>.<br>
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| : The revision comment was: <tt></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>
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| <h4>Original Wikitext content:</h4>
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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"><span style="display: block; text-align: right;">[[xenharmonie/arabisch, türkisch, persisch|Deutsch]]
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| </span>
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| Along with the [[Indian]] tradition, the music of the Middle and Near East (Arabic, Turkish, and Persian) is one of the important microtonal <span class="wiki_link_ext">music</span> traditions.
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| 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 [[http://en.wikipedia.org/wiki/Dastgah|dastgah]].
| | Along with the [[Indian|Indian]] tradition, the music of the Middle and Near East (Arabic, Turkish, and Persian) is one of the important microtonal <span style="">music</span> traditions. |
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| 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.
| | 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 [http://en.wikipedia.org/wiki/Dastgah dastgah]. |
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| [[toc|flat]] | | 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. |
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| =Maqamat in equal temperaments= | | =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.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). Given the subtleties sketched in the above mentioned podcast, this task is certainly nontrivial, if not finally impossible. | | 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.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). Given the subtleties sketched in the above mentioned podcast, this task is certainly nontrivial, if not finally impossible. |
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| Depending on the accurateness that is wanted, we can distinguish different levels. | | Depending on the accurateness that is wanted, we can distinguish different levels. |
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| ==Level 1== | | ==Level 1== |
| An absolute minimal rule set a tuning system for maqams has to fulfill could be summarized as follows: | | An absolute minimal rule set a tuning system for maqams has to fulfill could be summarized as follows: |
| * There have to be minor and major seconds, minor and major thirds, pure fourths and the octave complements of all these. Preferably organized in a "sort-of pythagorean" structure.
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| * Additionally, at least one type of neutral second and neutral third is necessary.
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| The smallest EDOs that fulfill these conditions are [[17edo]] and [[24edo]], which are indeed both used for maqam music. Especially 24edo has found a certain dissemination.
| | <ul><li>There have to be minor and major seconds, minor and major thirds, pure fourths and the octave complements of all these. Preferably organized in a "sort-of pythagorean" structure.</li><li>Additionally, at least one type of neutral second and neutral third is necessary.</li></ul> |
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| The [[maqamic]] temperament reflects this concept in the framework of [[regular temperaments]]. Maqamic temperament can be realized in any equal temperament that supports 2.3.5.11 maqamic, including 17c (the important non-patent val for [[17edo]]), [[24edo]], [[31edo]], and [[55edo]]. | | The smallest EDOs that fulfill these conditions are [[17edo|17edo]] and [[24edo|24edo]], which are indeed both used for maqam music. Especially 24edo has found a certain dissemination. |
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| ==Level 2== | | The [[maqamic|maqamic]] temperament reflects this concept in the framework of [[Regular_Temperaments|regular temperaments]]. Maqamic temperament can be realized in any equal temperament that supports 2.3.5.11 maqamic, including 17c (the important non-patent val for [[17edo|17edo]]), [[24edo|24edo]], [[31edo|31edo]], and [[55edo|55edo]]. |
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| | ==Level 2== |
| Systems that just fulfill level 1 are still generally considered bad compromises. An additional quite basic requirement for a more accurate maqam system is the availability of two kinds of neutral seconds, a smaller one for the [[bayati|Bayati]] tetrachord and a larger one for the Rast tetrachord. Moreover, the major second whould preferably be a "major" wholetone, while the minor second should be a "small" semitone - as a consequence, the wholetone is to be divided into a smaller semitone (limma) and a larger one (apotome). I.e. minor seconds will be available in two varieties, too. | | Systems that just fulfill level 1 are still generally considered bad compromises. An additional quite basic requirement for a more accurate maqam system is the availability of two kinds of neutral seconds, a smaller one for the [[bayati|Bayati]] tetrachord and a larger one for the Rast tetrachord. Moreover, the major second whould preferably be a "major" wholetone, while the minor second should be a "small" semitone - as a consequence, the wholetone is to be divided into a smaller semitone (limma) and a larger one (apotome). I.e. minor seconds will be available in two varieties, too. |
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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. | | Important EDOs that meet these requirements are [[53edo|53edo]] and [[72edo|72edo]]. Both of these have found a certain dissemination in middle-eastern music. |
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| 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|34edo]], [[41edo|41edo]] and [[46edo|46edo]], within limits also [[29edo|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. |
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| 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... |
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| ==Level 3== | | ==Level 3== |
| Even [[53edo]] and [[72edo]] , although already containing much more pitches than many westerners can imagine, do not cover all details. For these. there are some other, still larger subdivisions that have been investigated. | | Even [[53edo|53edo]] and [[72edo|72edo]] , although already containing much more pitches than many westerners can imagine, do not cover all details. For these. there are some other, still larger subdivisions that have been investigated. |
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| 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.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]] ): a 79-tone [[MOSScales|MOS]] subset of [[159edo]]. A short description (quoting a post to the tuning list) is also [[79MOS 159edo|here]]. | | 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.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] ): a 79-tone [[MOSScales|MOS]] subset of [[159edo|159edo]]. A short description (quoting a post to the tuning list) is also [[79MOS_159edo|here]]. |
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| [[Tsaharuk]], as proposed by [[Jacques Dudon]], can be realized in [[77edo]], [[94edo]], [[111edo]], [[128edo]], [[145edo]], [[171edo]], [[359edo]]. | | [[Tsaharuk|Tsaharuk]], as proposed by [[Jacques_Dudon|Jacques Dudon]], can be realized in [[77edo|77edo]], [[94edo|94edo]], [[111edo|111edo]], [[128edo|128edo]], [[145edo|145edo]], [[171edo|171edo]], [[359edo|359edo]]. |
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| =Unequal temperaments for maqamat= | | =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. | | 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. |
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| 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]]. | | A paper by [[Erv_Wilson|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]. |
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| [[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|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]].
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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).
| | All these and more are available in the [http://www.huygens-fokker.org/scala/downloads.html scala file archive]. |
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| 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]].
| | Unequal temperaments for maqamat were also developed by [[Margo_Schulter|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). |
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| [[Tsaharuk]] is a 77 notes per octave linear or planar temperament proposed by [[Jacques Dudon]] based on Julien Jalaleddine Weiss qanun tunings. | | 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|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]. |
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| | [[Tsaharuk|Tsaharuk]] is a 77 notes per octave linear or planar temperament proposed by [[Jacques_Dudon|Jacques Dudon]] based on Julien Jalaleddine Weiss qanun tunings. |
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| See also; | | See also; |
| [[Turkish maqam music temperaments]]
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| [[Maqamat in maqamic temperament]]
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| =External links= | | [[Turkish_maqam_music_temperaments|Turkish maqam music temperaments]] |
| ===Arabic=== | | |
| [[http://www.maqamworld.com|Arabic Maqam World]] (Johnny Farraj, Sami Abu Shumays //et al//)
| | [[Maqamat_in_maqamic_temperament|Maqamat in maqamic temperament]] |
| [[http://www.classicalarabicmusic.com/scales.htm|Classical Arabic Music]]
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| [[http://www.oud.eclipse.co.uk|The Oud]] (David Parfitt, discusses both Arabic and Turkish //maqâm// theory)
| | =External links= |
| [[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)
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| [[http://foredofico.org/CERMAA/|CERMAA]] (academic research for arabic and related music, namely various articles by [[Amine Beyhom]])
| | ===Arabic=== |
| | [http://www.maqamworld.com Arabic Maqam World] (Johnny Farraj, Sami Abu Shumays ''et al'') |
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| | [http://www.classicalarabicmusic.com/scales.htm Classical Arabic Music] |
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| | [http://www.oud.eclipse.co.uk The Oud] (David Parfitt, discusses both Arabic and Turkish ''maqâm'' theory) |
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| | [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) |
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| | [http://foredofico.org/CERMAA/ CERMAA] (academic research for arabic and related music, namely various articles by [[Amine_Beyhom|Amine Beyhom]]) |
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| | ===Turkish=== |
| | [http://www.hinesmusic.com/What_Are_Makams.html Tetrachords and Makams of Turkey] - another theory site |
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| | [http://ericederer.com/book/book.html Eric Ederer: Makam and Beyond] |
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| | [http://www.turkishmusicportal.org http://www.turkishmusicportal.org] - listening |
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| | [http://www.turkishmusic.org/index.html http://www.turkishmusic.org] - listening |
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| | [http://www.turkishmusic.org/index18.html http://www.turkishmusic.org/index18.html] - listening |
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| | ===Persian=== |
| | [http://240edo.googlepages.com/persianmusic http://240edo.googlepages.com/persianmusic] - a list of links related to Persian music, maintained by [[Shaahin_Mohajeri|Shaahin Mohajeri]] |
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| | [http://www.dejkam.com/music/iran_traditional/ http://www.dejkam.com/music/iran_traditional/] - 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]. |
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| | [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. |
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| ===Turkish===
| | [http://www.iranicaonline.org/ Encyclopaedia Iranica] - Encyclopedia about iranian culture, including music. |
| [[http://www.hinesmusic.com/What_Are_Makams.html|Tetrachords and Makams of Turkey]] - another theory site
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| [[http://ericederer.com/book/book.html|Eric Ederer: Makam and Beyond]]
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| [[http://www.turkishmusicportal.org]] - listening
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| [[http://www.turkishmusic.org/index.html|http://www.turkishmusic.org]] - listening
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| http://www.turkishmusic.org/index18.html - listening
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| ===Persian=== | | <span style="display: block; height: 1px; left: -40px; overflow: hidden; position: absolute; top: 734px; width: 1px;">[http://x31eq.com/cgi-bin/rt.cgi?ets=7&limit=2_3_5_11&key=7_11_16_24 7], [http://x31eq.com/cgi-bin/rt.cgi?ets=24&limit=2_3_5_11&key=24_38_56_83 24], [http://x31eq.com/cgi-bin/rt.cgi?ets=31&limit=2_3_5_11&key=31_49_72_107 31], [http://x31eq.com/cgi-bin/rt.cgi?ets=14&limit=2_3_5_11&key=14_22_32_48 14c], [http://x31eq.com/cgi-bin/rt.cgi?ets=17&limit=2_3_5_11&key=17_27_40_59 17c], [http://x31eq.com/cgi-bin/rt.cgi?ets=38&limit=2_3_5_11&key=38_60_88_131 38], [http://x31eq.com/cgi-bin/rt.cgi?ets=10&limit=2_3_5_11&key=10_16_24_35 10c], [http://x31eq.com/cgi-bin/rt.cgi?ets=21&limit=2_3_5_11&key=21_33_48_72 21ce], [http://x31eq.com/cgi-bin/rt.cgi?ets=45&limit=2_3_5_11&key=45_71_104_155 45e], [http://x31eq.com/cgi-bin/rt.cgi?ets=55&limit=2_3_5_11&key=55_87_128_190 5] |
| [[http://240edo.googlepages.com/persianmusic]] - a list of links related to Persian music, maintained by [[Shaahin Mohajeri]]
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| [[http://www.dejkam.com/music/iran_traditional/]] - 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]].
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| [[http://www.oudforguitarists.com/arabic-and-persian-music-maqam-dastgah-comparison/]] - comparison between arabic maqamat and persian dastgahs.
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| [[http://www.iranicaonline.org/|Encyclopaedia Iranica]] - Encyclopedia about iranian culture, including music.
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| <span style="display: block; height: 1px; left: -40px; overflow: hidden; position: absolute; top: 734px; width: 1px;">[[http://x31eq.com/cgi-bin/rt.cgi?ets=7&limit=2_3_5_11&key=7_11_16_24|7]], [[http://x31eq.com/cgi-bin/rt.cgi?ets=24&limit=2_3_5_11&key=24_38_56_83|24]], [[http://x31eq.com/cgi-bin/rt.cgi?ets=31&limit=2_3_5_11&key=31_49_72_107|31]], [[http://x31eq.com/cgi-bin/rt.cgi?ets=14&limit=2_3_5_11&key=14_22_32_48|14c]], [[http://x31eq.com/cgi-bin/rt.cgi?ets=17&limit=2_3_5_11&key=17_27_40_59|17c]], [[http://x31eq.com/cgi-bin/rt.cgi?ets=38&limit=2_3_5_11&key=38_60_88_131|38]], [[http://x31eq.com/cgi-bin/rt.cgi?ets=10&limit=2_3_5_11&key=10_16_24_35|10c]], [[http://x31eq.com/cgi-bin/rt.cgi?ets=21&limit=2_3_5_11&key=21_33_48_72|21ce]], [[http://x31eq.com/cgi-bin/rt.cgi?ets=45&limit=2_3_5_11&key=45_71_104_155|45e]], [[http://x31eq.com/cgi-bin/rt.cgi?ets=55&limit=2_3_5_11&key=55_87_128_190|5]]
| | </span> [[Category:arabic]] |
| </span></pre></div>
| | [[Category:armenian]] |
| <h4>Original HTML content:</h4>
| | [[Category:dastgah]] |
| <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><span style="display: block; text-align: right;"><a class="wiki_link" href="http://xenharmonie.wikispaces.com/arabisch%2C%20t%C3%BCrkisch%2C%20persisch">Deutsch</a><br />
| | [[Category:iranian]] |
| </span><br />
| | [[Category:islamic]] |
| Along with the <a class="wiki_link" href="/Indian">Indian</a> tradition, the music of the Middle and Near East (Arabic, Turkish, and Persian) is one of the important microtonal <span class="wiki_link_ext">music</span> traditions.<br />
| | [[Category:jewish]] |
| <br />
| | [[Category:makam]] |
| 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 <a class="wiki_link_ext" href="http://en.wikipedia.org/wiki/Dastgah" rel="nofollow">dastgah</a>.<br />
| | [[Category:maqam]] |
| <br />
| | [[Category:middle_east]] |
| 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 />
| | [[Category:nay]] |
| <br />
| | [[Category:oud]] |
| <!-- ws:start:WikiTextTocRule:18:&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:18 --><!-- ws:start:WikiTextTocRule:19: --><a href="#Maqamat in equal temperaments">Maqamat in equal temperaments</a><!-- ws:end:WikiTextTocRule:19 --><!-- ws:start:WikiTextTocRule:20: --><!-- ws:end:WikiTextTocRule:20 --><!-- ws:start:WikiTextTocRule:21: --><!-- ws:end:WikiTextTocRule:21 --><!-- ws:start:WikiTextTocRule:22: --><!-- ws:end:WikiTextTocRule:22 --><!-- ws:start:WikiTextTocRule:23: --> | <a href="#Unequal temperaments for maqamat">Unequal temperaments for maqamat</a><!-- ws:end:WikiTextTocRule:23 --><!-- ws:start:WikiTextTocRule:24: --> | <a href="#External links">External links</a><!-- ws:end:WikiTextTocRule:24 --><!-- ws:start:WikiTextTocRule:25: --><!-- ws:end:WikiTextTocRule:25 --><!-- ws:start:WikiTextTocRule:26: --><!-- ws:end:WikiTextTocRule:26 --><!-- ws:start:WikiTextTocRule:27: --><!-- ws:end:WikiTextTocRule:27 --><!-- ws:start:WikiTextTocRule:28: -->
| | [[Category:persian]] |
| <!-- ws:end:WikiTextTocRule:28 --><hr />
| | [[Category:qanun]] |
| <br />
| | [[Category:rebetika]] |
| <!-- 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>
| | [[Category:santur]] |
| 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.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_" 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). Given the subtleties sketched in the above mentioned podcast, this task is certainly nontrivial, if not finally impossible.<br />
| | [[Category:tar]] |
| <br />
| | [[Category:turkish]] |
| Depending on the accurateness that is wanted, we can distinguish different levels.<br />
| |
| <br />
| |
| <!-- ws:start:WikiTextHeadingRule:2:&lt;h2&gt; --><h2 id="toc1"><a name="Maqamat in equal temperaments-Level 1"></a><!-- ws:end:WikiTextHeadingRule:2 -->Level 1</h2>
| |
| An absolute minimal rule set a tuning system for maqams has to fulfill could be summarized as follows:<br />
| |
| <ul><li>There have to be minor and major seconds, minor and major thirds, pure fourths and the octave complements of all these. Preferably organized in a &quot;sort-of pythagorean&quot; structure.</li><li>Additionally, at least one type of neutral second and neutral third is necessary.</li></ul><br />
| |
| The smallest EDOs that fulfill these conditions are <a class="wiki_link" href="/17edo">17edo</a> and <a class="wiki_link" href="/24edo">24edo</a>, which are indeed both used for maqam music. Especially 24edo has found a certain dissemination.<br />
| |
| <br />
| |
| The <a class="wiki_link" href="/maqamic">maqamic</a> temperament reflects this concept in the framework of <a class="wiki_link" href="/regular%20temperaments">regular temperaments</a>. Maqamic temperament can be realized in any equal temperament that supports 2.3.5.11 maqamic, including 17c (the important non-patent val for <a class="wiki_link" href="/17edo">17edo</a>), <a class="wiki_link" href="/24edo">24edo</a>, <a class="wiki_link" href="/31edo">31edo</a>, and <a class="wiki_link" href="/55edo">55edo</a>.<br />
| |
| <br />
| |
| <!-- ws:start:WikiTextHeadingRule:4:&lt;h2&gt; --><h2 id="toc2"><a name="Maqamat in equal temperaments-Level 2"></a><!-- ws:end:WikiTextHeadingRule:4 -->Level 2</h2>
| |
| Systems that just fulfill level 1 are still generally considered bad compromises. An additional quite basic requirement for a more accurate maqam system is the availability of two kinds of neutral seconds, a smaller one for the <a class="wiki_link" href="/bayati">Bayati</a> tetrachord and a larger one for the Rast tetrachord. Moreover, the major second whould preferably be a &quot;major&quot; wholetone, while the minor second should be a &quot;small&quot; semitone - as a consequence, the wholetone is to be divided into a smaller semitone (limma) and a larger one (apotome). I.e. minor seconds will be available in two varieties, too.<br />
| |
| <br />
| |
| Important EDOs that meet these requirements are <a class="wiki_link" href="/53edo">53edo</a> and <a class="wiki_link" href="/72edo">72edo</a>. Both of these have found a certain dissemination in middle-eastern music.<br />
| |
| <br />
| |
| For turkish music, Ozan Yarman also proposes <a class="wiki_link" href="/34edo">34edo</a>, <a class="wiki_link" href="/41edo">41edo</a> and <a class="wiki_link" href="/46edo">46edo</a>, within limits also <a class="wiki_link" href="/29edo">29edo</a>, 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.<br />
| |
| <br />
| |
| 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...<br />
| |
| <br />
| |
| <!-- ws:start:WikiTextHeadingRule:6:&lt;h2&gt; --><h2 id="toc3"><a name="Maqamat in equal temperaments-Level 3"></a><!-- ws:end:WikiTextHeadingRule:6 -->Level 3</h2>
| |
| Even <a class="wiki_link" href="/53edo">53edo</a> and <a class="wiki_link" href="/72edo">72edo</a> , although already containing much more pitches than many westerners can imagine, do not cover all details. For these. there are some other, still larger subdivisions that have been investigated.<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.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_" 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 />
| |
| <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:8:&lt;h1&gt; --><h1 id="toc4"><a name="Unequal temperaments for maqamat"></a><!-- ws:end:WikiTextHeadingRule:8 -->Unequal temperaments for maqamat</h1>
| |
| 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 paper by <a class="wiki_link" href="/Erv%20Wilson">Erv Wilson</a>, describing a variety of layouts of mideast tunings on generalized keyboards, can be found here: <a class="wiki_link_ext" href="http://anaphoria.com/RAST.PDF" rel="nofollow">http://anaphoria.com/RAST.PDF</a>.<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 />
| |
| 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 />
| |
| If high pitch accuracy and possibilities to modulate are emphasized and the number of pitches matters less, we get systems as developed by <a class="wiki_link" href="/Julien%20Jalaleddine%20Weiss">Julien Jalaleddine Weiss</a>, going beyond 100 different pitches per octave. See <a class="wiki_link" href="/tuning%20systems%20for%20qanun">tuning systems for the qanun</a> , or <a class="wiki_link_ext" href="http://stefanpohlit.com/dissertation.engl..htm" rel="nofollow">Stefan Pohlit's dissertation</a>.<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 />
| |
| See also;<br />
| |
| <a class="wiki_link" href="/Turkish%20maqam%20music%20temperaments">Turkish maqam music temperaments</a><br />
| |
| <a class="wiki_link" href="/Maqamat%20in%20maqamic%20temperament">Maqamat in maqamic temperament</a><br />
| |
| <br />
| |
| <!-- ws:start:WikiTextHeadingRule:10:&lt;h1&gt; --><h1 id="toc5"><a name="External links"></a><!-- ws:end:WikiTextHeadingRule:10 -->External links</h1>
| |
| <!-- ws:start:WikiTextHeadingRule:12:&lt;h3&gt; --><h3 id="toc6"><a name="External links--Arabic"></a><!-- ws:end:WikiTextHeadingRule:12 -->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" href="/Amine%20Beyhom">Amine Beyhom</a>)<br />
| |
| <br />
| |
| <!-- ws:start:WikiTextHeadingRule:14:&lt;h3&gt; --><h3 id="toc7"><a name="External links--Turkish"></a><!-- ws:end:WikiTextHeadingRule:14 -->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://ericederer.com/book/book.html" rel="nofollow">Eric Ederer: Makam and Beyond</a><br />
| |
| <a class="wiki_link_ext" href="http://www.turkishmusicportal.org" rel="nofollow">http://www.turkishmusicportal.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:191: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:191 --> - listening<br />
| |
| <br />
| |
| <!-- ws:start:WikiTextHeadingRule:16:&lt;h3&gt; --><h3 id="toc8"><a name="External links--Persian"></a><!-- ws:end:WikiTextHeadingRule:16 -->Persian</h3>
| |
| <a class="wiki_link_ext" href="http://240edo.googlepages.com/persianmusic" rel="nofollow">http://240edo.googlepages.com/persianmusic</a> - a list of links related to Persian music, maintained by <a class="wiki_link" href="/Shaahin%20Mohajeri">Shaahin Mohajeri</a><br />
| |
| <a class="wiki_link_ext" href="http://www.dejkam.com/music/iran_traditional/" rel="nofollow">http://www.dejkam.com/music/iran_traditional/</a> - various informations about traditional iranian music, including <a class="wiki_link_ext" href="http://www.dejkam.com/music/iran_traditional/instruments/" rel="nofollow">informations on instruments</a>, a <a class="wiki_link_ext" href="http://www.dejkam.com/music/iran_traditional/about/" rel="nofollow">complete list of Dastgahs</a>, <a class="wiki_link_ext" href="http://www.dejkam.com/music/iran_traditional/books_cds/" rel="nofollow">books and CDs</a>.<br />
| |
| <a class="wiki_link_ext" href="http://www.oudforguitarists.com/arabic-and-persian-music-maqam-dastgah-comparison/" rel="nofollow">http://www.oudforguitarists.com/arabic-and-persian-music-maqam-dastgah-comparison/</a> - comparison between arabic maqamat and persian dastgahs.<br />
| |
| <a class="wiki_link_ext" href="http://www.iranicaonline.org/" rel="nofollow">Encyclopaedia Iranica</a> - Encyclopedia about iranian culture, including music.<br />
| |
| <br />
| |
| <span style="display: block; height: 1px; left: -40px; overflow: hidden; position: absolute; top: 734px; width: 1px;"><a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=7&amp;limit=2_3_5_11&amp;key=7_11_16_24" rel="nofollow">7</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=24&amp;limit=2_3_5_11&amp;key=24_38_56_83" rel="nofollow">24</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=31&amp;limit=2_3_5_11&amp;key=31_49_72_107" rel="nofollow">31</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=14&amp;limit=2_3_5_11&amp;key=14_22_32_48" rel="nofollow">14c</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=17&amp;limit=2_3_5_11&amp;key=17_27_40_59" rel="nofollow">17c</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=38&amp;limit=2_3_5_11&amp;key=38_60_88_131" rel="nofollow">38</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=10&amp;limit=2_3_5_11&amp;key=10_16_24_35" rel="nofollow">10c</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=21&amp;limit=2_3_5_11&amp;key=21_33_48_72" rel="nofollow">21ce</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=45&amp;limit=2_3_5_11&amp;key=45_71_104_155" rel="nofollow">45e</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=55&amp;limit=2_3_5_11&amp;key=55_87_128_190" rel="nofollow">5</a><br />
| |
| </span></body></html></pre></div>
| |
de:arabisch,_türkisch,_persisch Deutsch
Along with the Indian tradition, the music of the Middle and Near East (Arabic, Turkish, and Persian) is one of the important microtonal music traditions.
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. 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 podcast by Arabic violin player Sami Abu Shumays: by his count, there could be 12 different notes within a half step.
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 paper by Ozan Yarman. However, none of these have been really successful (at least not as successful as 12edo in Western music). Given the subtleties sketched in the above mentioned podcast, this task is certainly nontrivial, if not finally impossible.
Depending on the accurateness that is wanted, we can distinguish different levels.
Level 1
An absolute minimal rule set a tuning system for maqams has to fulfill could be summarized as follows:
- There have to be minor and major seconds, minor and major thirds, pure fourths and the octave complements of all these. Preferably organized in a "sort-of pythagorean" structure.
- Additionally, at least one type of neutral second and neutral third is necessary.
The smallest EDOs that fulfill these conditions are 17edo and 24edo, which are indeed both used for maqam music. Especially 24edo has found a certain dissemination.
The maqamic temperament reflects this concept in the framework of regular temperaments. Maqamic temperament can be realized in any equal temperament that supports 2.3.5.11 maqamic, including 17c (the important non-patent val for 17edo), 24edo, 31edo, and 55edo.
Level 2
Systems that just fulfill level 1 are still generally considered bad compromises. An additional quite basic requirement for a more accurate maqam system is the availability of two kinds of neutral seconds, a smaller one for the Bayati tetrachord and a larger one for the Rast tetrachord. Moreover, the major second whould preferably be a "major" wholetone, while the minor second should be a "small" semitone - as a consequence, the wholetone is to be divided into a smaller semitone (limma) and a larger one (apotome). I.e. minor seconds will be available in two varieties, too.
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.
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
Even 53edo and 72edo , although already containing much more pitches than many westerners can imagine, do not cover all details. For these. there are some other, still larger subdivisions that have been investigated.
A system that meets the tuning needs to a satisfactory degree is proposed in Ozan Yarman's dissertation (also summarized in the mentioned paper ): a 79-tone MOS subset of 159edo. A short description (quoting a post to the tuning list) is also here.
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.
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.
Ozan Yarman has developed a number of such temperaments, e.g. Yarman24 (24 notes), Yarman29 (29 notes) and Yarman36 (36 notes).
All these and more are available in the scala file archive.
Unequal temperaments for maqamat were also developed by Margo Schulter , e.g. Bamm (20 or 24 notes) and 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 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.
See also;
Turkish maqam music temperaments
Maqamat in maqamic temperament
External links
Arabic
Arabic Maqam World (Johnny Farraj, Sami Abu Shumays et al)
Classical Arabic Music
The Oud (David Parfitt, discusses both Arabic and Turkish maqâm theory)
ALSIADI.com (focuses on Halabi/Aleppo traditional music; describes maq'â'm'â't in terms of 53-tone Pythagorean tuning)
CERMAA (academic research for arabic and related music, namely various articles by Amine Beyhom)
Turkish
Tetrachords and Makams of Turkey - another theory site
Eric Ederer: Makam and Beyond
http://www.turkishmusicportal.org - listening
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
http://www.dejkam.com/music/iran_traditional/ - various informations about traditional iranian music, including informations on instruments, a complete list of Dastgahs, books and CDs.
http://www.oudforguitarists.com/arabic-and-persian-music-maqam-dastgah-comparison/ - comparison between arabic maqamat and persian dastgahs.
Encyclopaedia Iranica - Encyclopedia about iranian culture, including music.
7, 24, 31, 14c, 17c, 38, 10c, 21ce, 45e, 5