Middle-Eastern music
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The music of the Middle Eastern (Arabic, Turkish, and Persian) cultural area is one of the important microtonal music traditions (along with the [[Indian]] tradition). A central concept is "maqam", 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 dastgah. 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. A system that covers many details 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.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. [[Tsaharuk]], as proposed by [[Jacques Dudon]], can be realized in [[77edo]], [[94edo]], [[111edo]], [[128edo]], [[145edo]], [[171edo]], [[359edo]]. =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]]. A lot of research in this field has been done by [[Julien Jalaleddine Weiss]]. See [[tuning systems for qanun|tuning systems for the qanun]] , or [[Stefan Pohlit]]'s dissertation. [[Tsaharuk]] is a 77 notes/octave linear or planar temperament proposed by [[Jacques Dudon]] based on Julien Jalaleddine Weiss qanun tunings. Unequal temparements for maqams 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). See also [[Turkish maqam music temperaments]]. =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) [[http://foredofico.org/CERMAA/|CERMAA]] (academic research for arabic and related music, namely various articles by [[http://foredofico.org/CERMAA/publications/publications-on-the-site/publications-amine-beyhom|Amine Behoum]]) ===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
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<html><head><title>Arabic, Turkish, Persian</title></head><body>The music of the Middle Eastern (Arabic, Turkish, and 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 "maqam", which corresponds somewhat (but not exactly) to the Western "mode". 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 dastgah.<br /> <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 /> <!-- ws:start:WikiTextTocRule:12:<img id="wikitext@@toc@@flat" class="WikiMedia WikiMediaTocFlat" title="Table of Contents" src="/site/embedthumbnail/toc/flat?w=100&h=16"/> --><!-- 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 --><hr /> <br /> <!-- ws:start:WikiTextHeadingRule:0:<h1> --><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 /> <br /> A system that covers many details 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.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 /> <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:2:<h1> --><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 /> A lot of research in this field has been done by <a class="wiki_link" href="/Julien%20Jalaleddine%20Weiss">Julien Jalaleddine Weiss</a>. See <a class="wiki_link" href="/tuning%20systems%20for%20qanun">tuning systems for the qanun</a> , or <a class="wiki_link" href="/Stefan%20Pohlit">Stefan Pohlit</a>'s dissertation.<br /> <br /> <a class="wiki_link" href="/Tsaharuk">Tsaharuk</a> is a 77 notes/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 /> Unequal temparements for maqams 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 /> See also <a class="wiki_link" href="/Turkish%20maqam%20music%20temperaments">Turkish maqam music temperaments</a>.<br /> <br /> <!-- ws:start:WikiTextHeadingRule:4:<h1> --><h1 id="toc2"><a name="External links"></a><!-- ws:end:WikiTextHeadingRule:4 -->External links</h1> <br /> <!-- ws:start:WikiTextHeadingRule:6:<h3> --><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.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_ext" href="http://foredofico.org/CERMAA/publications/publications-on-the-site/publications-amine-beyhom" rel="nofollow">Amine Behoum</a>)<br /> <br /> <!-- ws:start:WikiTextHeadingRule:8:<h3> --><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 /> <!-- ws:start:WikiTextUrlRule:107:http://www.turkishmusicportal.org --><a class="wiki_link_ext" href="http://www.turkishmusicportal.org" rel="nofollow">http://www.turkishmusicportal.org</a><!-- ws:end:WikiTextUrlRule:107 --> - 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:108: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:108 --> - listening<br /> <br /> <!-- ws:start:WikiTextHeadingRule:10:<h3> --><h3 id="toc5"><a name="External links--Persian"></a><!-- ws:end:WikiTextHeadingRule:10 -->Persian</h3> <!-- ws:start:WikiTextUrlRule:109: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:109 --> - a list of links related to Persian music, maintained by Shaahin Mohajeri</body></html>