159edo: Difference between revisions

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=== History ===

~~<todo>~~

~~Due to~~ being ~~a relative~~ of the famous 53edo, ~~this system is~~ fairly easy to find, so it is a wonder that the first person to show theoretical interest in it was [[Ozan Yarman]] in late 2005 to early 2006.

Despite being none other than the tripled superset of the famous 53edo, and hence, one would think, fairly easy to find, it is a wonder that the first person to show theoretical interest in it in terms of extracting a voluminous subset for representing maqams was [[Ozan Yarman]] in late 2005 to early 2006.

It started ~~with Yarman~~ dividing the [[4/3]] ~~perfect fourth~~ into 33 equal parts and continued the resultant 15.1 cent comma until just below the octave, only to reinstate the final 79th degree with the octave. He then rotated the scale to ~~start~~ on the Turkish ~~Rast~~ note, and thus, the 22.8 cent larger singular comma previously on top now appears just below the Turkish ~~Neva~~ note in the midst of ~~the~~ tuning scheme. Not long after, Yarman visited the now-deceased Ejder Güleç in ~~Izmir,~~ who affixed ~~the~~ mandals on Yarman's Qanun according to Yarman's instructions. [[Gene Ward Smith]] then immediately pointed out that Yarman's scheme was a MOS of 159-tET and had an 80-pitch twin. Yarman adopted this argument, because his approach and a MOS subset out of 159-tET was, for all intents and purposes, synonymous. Yarman has stated that he thinks that sometime during late 2006 and early 2007, he introduced the Qanun to his now-deceased supervisor in Istanbul Technical University Turkish Music State Conservatory, and she suggested Yarman include the double-sharp mandals. At the time this information was added to this article, Yarman remembered that the Qanun in his doctorate defense of 2008 included the double-sharp mandals. The acceptance of his thesis was in 2008.

Yarman started by dividing the [[4/3]] into 33 equal parts and continued the resultant 15.1 cent comma until just below the octave, only to then reinstate the final 79th degree with the octave so as to arrive at the "yegah-neva" partition. He then rotated the scale to begin on the Turkish "rast" note which he notated as C according to Sipürde Ahenk (C Ney), and thus the 22.8 cent larger singular comma previously on top now appears just below the Turkish neva note in the midst of his tuning scheme. Not long after proposing said 79-tone system, Yarman visited the now-deceased Ejder Güleç in İzmir who affixed mandals on Yarman's Qanun according to Yarman's instructions.

Accordingly, it is no coincidence that [https://en.xen.wiki/index.php?title=159edo&type=revision&diff=5153&oldid=5154 the first records of 159edo on this Wiki from the days of Wikispaces] concern ~~this~~ 79-tone subset ~~of this system~~ related to [[Turkish maqam music temperaments|yarman]] temperament which had been proposed by Yarman as a tuning standard for [[Arabic, Turkish, Persian|Arabic, Turkish and Persian]] music. ~~According to~~ Ozan Yarman himself~~, in 2011~~, his elder colleague [[M. Ugur Kececioglu]] utilized it in his ~~at the time latest~~ release of the [[Notist]] score editor~~. Therein, he~~ allowed the Arel-Ezgi-Uzdilek accidentals to be bent by as little a detail as 1/3rd ~~of a third~~ of a single step of ~~53edo. He~~ also ~~mapped~~ AEU altogether to a suitable subset of 53-~~ed2 and allows~~ transpositions throughout.

[[Gene Ward Smith]] was the first to immediately point out that Yarman's scheme was a MOS of 159-tET and had an 80-pitch twin. Yarman adopted this argument, because his approach and the related MOS subset out of 159-tET was, for all intents and purposes, synonymous. Yarman has stated that he thinks he introduced his Qanun to his now-deceased supervisor in Istanbul Technical University Turkish Music State Conservatory sometime during late 2006, and she suggested that Yarman include the double-sharp mandals. At the time this information was added to this article, Yarman remembered that the Qanun in his doctorate defense of 2008 included the double-sharp mandals. The acceptance of his thesis was in June 2008.

Accordingly, it is no coincidence that [https://en.xen.wiki/index.php?title=159edo&type=revision&diff=5153&oldid=5154 the first records of 159edo on this Wiki from the days of Wikispaces] concern said 79-tone subset related to the [[Turkish maqam music temperaments|yarman]] yarman temperament which had been proposed by Yarman as a tuning standard for [[Arabic, Turkish, Persian|Arabic, Turkish and Persian]]Arabic, Turkish and Persian music. Based on the information given by Ozan Yarman himself, his elder colleague [[M. Ugur Kececioglu]]first utilized 159-EDO in his revamped 2011 release of the [[Notist]] score editor and therein allowed the Arel-Ezgi-Uzdilek accidentals to be bent by as little a detail as 1/3rd of a single step of 53-EDO, while also mapping AEU altogether to a suitable subset of 53-EDO to allow transpositions throughout.

=== Relationship to the JND ===

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=== Ozan Yarman ===

* [https://www.youtube.com/watch?v=-~~w5MMydMkGw Yunus Emre güftesiyle,~~ "79~~'lu sistemde SEGAH Durak~~"]

* [https://www.youtube.com/watch?v=O5Dn6v3UOtM] Ozan Yarman's (5-voice & 2-subject) Choral Fugue of Sultan III. Selim's Pesendide Ağır Semai in Ağır Aksak usul (re-scored in accordance with Yarman's 79-tone tuning).

* https://www.youtube.com/watch?v=~~yr3FNw1QIP8~~

* [https://www.youtube.com/watch?v=xoCR1rDXhWI&t=3s] Whitecap Visualizer assisted (CHOIR + Digitized Ottoman Singing VocalWriter + STRINGS only) flow of the ENTIRE "Pesendide Fugue" in the 79-tone Qanun tuning.

* [https://www.youtube.com/watch?v=tAcmvGgERC4&t=75s] Adjemashiran Sazsemai of "Egyptian" Ud-player Ibrahim Efendi in 79 MOS 159-tET as polyphonalized by Ozan Yarman (2005-2022)

* [https://www.youtube.com/watch?v=dT9RssZ1950] RAST KAR-I NATIK by Ozan Yarman in his 79-tone Qanun tuning

== Articles ==

@@ Line 12: / Line 12: @@
 === History ===
-<todo>
-Due to being a relative of the famous 53edo, this system is fairly easy to find, so it is a wonder that the first person to show theoretical interest in it was [[Ozan Yarman]] in late 2005 to early 2006.
+Despite being none other than the tripled superset of the famous 53edo, and hence, one would think, fairly easy to find, it is a wonder that the first person to show theoretical interest in it in terms of extracting a voluminous subset for representing maqams was [[Ozan Yarman]] in late 2005 to early 2006.
-It started with Yarman dividing the [[4/3]] perfect fourth into 33 equal parts and continued the resultant 15.1 cent comma until just below the octave, only to reinstate the final 79th degree with the octave.  He then rotated the scale to start on the Turkish Rast note, and thus, the 22.8 cent larger singular comma previously on top now appears just below the Turkish Neva note in the midst of the tuning scheme.  Not long after, Yarman visited the now-deceased Ejder Güleç in Izmir, who affixed the mandals on Yarman's Qanun according to Yarman's instructions.  [[Gene Ward Smith]] then immediately pointed out that Yarman's scheme was a MOS of 159-tET and had an 80-pitch twin.  Yarman adopted this argument, because his approach and a MOS subset out of 159-tET was, for all intents and purposes, synonymous.  Yarman has stated that he thinks that sometime during late 2006 and early 2007, he introduced the Qanun to his now-deceased supervisor in Istanbul Technical University Turkish Music State Conservatory, and she suggested Yarman include the double-sharp mandals.  At the time this information was added to this article, Yarman remembered that the Qanun in his doctorate defense of 2008 included the double-sharp mandals.  The acceptance of his thesis was in 2008.
+Yarman started by dividing the [[4/3]] into 33 equal parts and continued the resultant 15.1 cent comma until just below the octave, only to then reinstate the final 79th degree with the octave so as to arrive at the "yegah-neva" partition. He then rotated the scale to begin on the Turkish "rast" note which he notated as C according to Sipürde Ahenk (C Ney), and thus the 22.8 cent larger singular comma previously on top now appears just below the Turkish neva note in the midst of his tuning scheme. Not long after proposing said 79-tone system, Yarman visited the now-deceased Ejder Güleç in İzmir who affixed mandals on Yarman's Qanun according to Yarman's instructions.
-Accordingly, it is no coincidence that [https://en.xen.wiki/index.php?title=159edo&type=revision&diff=5153&oldid=5154 the first records of 159edo on this Wiki from the days of Wikispaces] concern this 79-tone subset of this system related to [[Turkish maqam music temperaments|yarman]] temperament which had been proposed by Yarman as a tuning standard for [[Arabic, Turkish, Persian|Arabic, Turkish and Persian]] music.  According to Ozan Yarman himself, in 2011, his elder colleague [[M. Ugur Kececioglu]] utilized it in his at the time latest release of the [[Notist]] score editor. Therein, he allowed the Arel-Ezgi-Uzdilek accidentals to be bent by as little a detail as 1/3rd of a third of a single step of 53edo. He also mapped AEU altogether to a suitable subset of 53-ed2 and allows transpositions throughout.
+[[Gene Ward Smith]] was the first to immediately point out that Yarman's scheme was a MOS of 159-tET and had an 80-pitch twin. Yarman adopted this argument, because his approach and the related MOS subset out of 159-tET was, for all intents and purposes, synonymous. Yarman has stated that he thinks he introduced his Qanun to his now-deceased supervisor in Istanbul Technical University Turkish Music State Conservatory sometime during late 2006, and she suggested that Yarman include the double-sharp mandals. At the time this information was added to this article, Yarman remembered that the Qanun in his doctorate defense of 2008 included the double-sharp mandals. The acceptance of his thesis was in June 2008.
+Accordingly, it is no coincidence that [https://en.xen.wiki/index.php?title=159edo&type=revision&diff=5153&oldid=5154 the first records of 159edo on this Wiki from the days of Wikispaces] concern said 79-tone subset related to the [[Turkish maqam music temperaments|yarman]] yarman temperament which had been proposed by Yarman as a tuning standard for [[Arabic, Turkish, Persian|Arabic, Turkish and Persian]]Arabic, Turkish and Persian music. Based on the information given by Ozan Yarman himself, his elder colleague [[M. Ugur Kececioglu]]first utilized 159-EDO in his revamped 2011 release of the [[Notist]] score editor and therein allowed the Arel-Ezgi-Uzdilek accidentals to be bent by as little a detail as 1/3rd of a single step of 53-EDO, while also mapping AEU altogether to a suitable subset of 53-EDO to allow transpositions throughout.
 === Relationship to the JND ===
@@ Line 1,527: / Line 1,528: @@
 === Ozan Yarman ===
-* [https://www.youtube.com/watch?v=-w5MMydMkGw Yunus Emre güftesiyle, "79'lu sistemde SEGAH Durak"]
+* [https://www.youtube.com/watch?v=O5Dn6v3UOtM] Ozan Yarman's (5-voice & 2-subject) Choral Fugue of Sultan III. Selim's Pesendide Ağır Semai in Ağır Aksak usul (re-scored in accordance with Yarman's 79-tone tuning).
-* https://www.youtube.com/watch?v=yr3FNw1QIP8
+* [https://www.youtube.com/watch?v=xoCR1rDXhWI&t=3s] Whitecap Visualizer assisted (CHOIR + Digitized Ottoman Singing VocalWriter + STRINGS only) flow of the ENTIRE "Pesendide Fugue" in the 79-tone Qanun tuning.
+* [https://www.youtube.com/watch?v=tAcmvGgERC4&t=75s] Adjemashiran Sazsemai of "Egyptian" Ud-player Ibrahim Efendi in 79 MOS 159-tET as polyphonalized by Ozan Yarman (2005-2022)
+* [https://www.youtube.com/watch?v=dT9RssZ1950] RAST KAR-I NATIK by Ozan Yarman in his 79-tone Qanun tuning
 == Articles ==