"Yarman-36 Makam tone-system" for Turkish art music
This study offers a mathematically rigorous, yet straightforward, fixed-pitch tuning strategy to the problem of adequate sounding and notating of essential Turkish makam genera, in contradistinction to the praxis-mismatched music theory cast in effect known as Arel-Ezgi-Uzdilek (AEU). It comprises 3...
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Veröffentlicht in: | TWMS journal of applied and engineering mathematics 2014-07, Vol.4 (2), p.175-198 |
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description | This study offers a mathematically rigorous, yet straightforward, fixed-pitch tuning strategy to the problem of adequate sounding and notating of essential Turkish makam genera, in contradistinction to the praxis-mismatched music theory cast in effect known as Arel-Ezgi-Uzdilek (AEU). It comprises 36 tones locatable just by ear, via counting exact 0, 1 and 2 beats per second when listening to given octave, fifth and third intervals, starting from an algebraically attained reference frequency for A at 438.41 Hertz, very near the international standard A = 440 Hz. The so-named Yarman-36 makam tone-system proposed in this paper accounts for hitherto omitted pitches in Ussak, Saba, Huzzam, etc ... at popular transpositions, each corresponding to a habitually used Ahenk (concert pitch level specified by a chosen Ney reed), by virtue of being based on a twelve-by-twelve triplex structure of exclusively tailored Modified Meantone Baroque Temperaments. It thus also features pleasant shades of key-colors supporting polyphonic endeavours in line with Western common-practice music. Keywords: Arel-Ezgi-Uzdilek, makam (maqam), tone-system, tuning, temperament. AMS Subject Classification: 00A65 |
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Kemal</creator><creatorcontrib>Yarman, Ozan ; Karaosmanoglu, M. Kemal</creatorcontrib><description>This study offers a mathematically rigorous, yet straightforward, fixed-pitch tuning strategy to the problem of adequate sounding and notating of essential Turkish makam genera, in contradistinction to the praxis-mismatched music theory cast in effect known as Arel-Ezgi-Uzdilek (AEU). It comprises 36 tones locatable just by ear, via counting exact 0, 1 and 2 beats per second when listening to given octave, fifth and third intervals, starting from an algebraically attained reference frequency for A at 438.41 Hertz, very near the international standard A = 440 Hz. The so-named Yarman-36 makam tone-system proposed in this paper accounts for hitherto omitted pitches in Ussak, Saba, Huzzam, etc ... at popular transpositions, each corresponding to a habitually used Ahenk (concert pitch level specified by a chosen Ney reed), by virtue of being based on a twelve-by-twelve triplex structure of exclusively tailored Modified Meantone Baroque Temperaments. It thus also features pleasant shades of key-colors supporting polyphonic endeavours in line with Western common-practice music. Keywords: Arel-Ezgi-Uzdilek, makam (maqam), tone-system, tuning, temperament. 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The so-named Yarman-36 makam tone-system proposed in this paper accounts for hitherto omitted pitches in Ussak, Saba, Huzzam, etc ... at popular transpositions, each corresponding to a habitually used Ahenk (concert pitch level specified by a chosen Ney reed), by virtue of being based on a twelve-by-twelve triplex structure of exclusively tailored Modified Meantone Baroque Temperaments. It thus also features pleasant shades of key-colors supporting polyphonic endeavours in line with Western common-practice music. Keywords: Arel-Ezgi-Uzdilek, makam (maqam), tone-system, tuning, temperament. 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subjects | Analysis Applied mathematics Art and music Concerts Ear Mathematical analysis Music Musicology Octaves Strategy Theory Tone color (Music) Tuning |
title | "Yarman-36 Makam tone-system" for Turkish art music |
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