City University of New York (CUNY) CUNY Academic Works

Publications and Research John Jay College of Criminal Justice

1989

Modal Harmony in Andalusian, Eastern European, and Turkish Syncretic Musics

Peter L. Manuel CUNY Graduate Center

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This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] '(\4'.!.!>(Jtc ( 6('i '\\il+'t)t',\(,nrr, L r- r./! rc 'r / / } \ q pitches and non-structural / MoDAL T{AI(MONvIN ANDALUSIAN,EASTERN tl o[ new hierarchiesof chordally structural t (sec Powcrs I980: 1l7t' passins-toner,uppoggl;;iu', u"a ttttpensions IiIJITOI'I|AN,AND TUI{KISH SYNCRETICMUSICS art music cliffered in thcir ""ih;";;;;;;;'d;i"h"rr"ony in Renar"ssance i: in this artitlc, princip[slro* tnor" of the musicsdiscussecl \' by PeterManuel orsanizational c.nrr.l thcp.lvp6.nit' l, 1 i"1i;il;;, lrio.auistructureswere not used t. Rather,in eachcase, thc rrasic il;il;;;iff;iu*;;*"J"r "1"t"dies.triacls-appear to have bcen chordal types-i.e., ;;;; u"d *ino.t in a cursory form, the standardizedways of and emplovt9- n u I lrle artlelc cxamincs, L"ir"*"a' f .om existingVv"'t"ttt practice j-Turkey, Greece,a"J the Ba-lkans'uttd principles), "chordal harmony," of which Western common Snain' harmonic in the twentiethcentury as contemporyr.V n9nul.{stvles' }n 111!1n is a special case, and forms of what we are here folk music (especiallvthe practice harmony flamenco una oth"?i;;;^;-i;J"rrti"'" "modal harmony" which combine aspectsof these two. similaracculturative processes' and describing as andango)canbe t() J*i"e from of parallel organum in the ninth century to the f '*" easternMediterranean hybrids in From the appearance indeedu"u. ."*u'*lit" uJii''iti"' with in the 1600s, Western art music advent of common-practice harmony i"t-t melodic-harmonicprinciples' exhibited a gradual process of evolution from melodic to harmonic "f Until the late sixteenth century, the dominant principles of organization. PhrYgianT onalitY of the linear melody, with the use Andalusian iheorCticalconception remained that musicsin southernSpain appears passages,andthe like Thc synthcsisof Arab anclEuropean of polyphony in iadences,transpositions, imitative of Moorishrule commencing go"err,"a primarily by linear modal principles-hence the use of the term to havestarted attirrg int flourished ;modal "xtended-period modalmusics hirmony" to describethe appearanceof vertical sonorities which inA.D. 711. Duri#it#ffi;:;;f,"^Jn".u"' did the modal on aristocraticana foft levels' as remained conditioned by modal conceptions. Chordal harmonic organ- in southern Spain,ioth who and sephardi. Jewishcommunities, ization emergedover a period of severalcenturies as a result of the growth liturgicatmusics J;;; biliian / 73 MODAL HARMONY 72 / 7989YEARBOOK FOR TRADITIONAL MUSIC MANUEL subsidiaryto the E coexistedwith those of the Muslims. restinCp-Ei:::l,t"mains The fall of Grana dainr[g|and the constitutea relativelystable expulsion of many Moors a few decadeslater did not signal as a tonic and ttnatts' the end of ltffi;;hi.h functiont chord with the G of this Arab influence on Andalusian music, for many converted Moors u sca r e s' (moriscos) remained in Spain, and by this time most Andalusian music : i ii ei^ these J* $*:::f* u: ll"' ili,.::F:ri'of it ^' ^^aPh'y of may be presumed to have been heavily, if not overwhelmingly ir,t"iillil;":F ililiion" Moorish "iesoectively. O^" th; "'incompatibilitvihi;t degreein a neutral' in character. Much of Andalusian folk music retains Arab/Mediterranean frequet;;;;"Tintonation,of or more pitchesis the dominantspreceding one elementsin the form of melismatic vocal style and, more visibly, in the manner' u*"ii half-flat 'n" '"-tondaryrefiects European influence' distinctive modal-harmonic system which is occasionally referred to as of the chordsin this itos'""iorr like'|'r the "Phrygian inti"a" rt"op"uni'"d sub-genres tonality." Andalusian f"lk tl;;i"t' -C ;hich' Phrygian t o nalit v tiat t";ti: ; i; This Phrygian tonality is most probably a syncretic product of the modal sasadob Ie sut'a'ongoJ Ti "l t:llll:lt"t tf genres "*itb-:,'-t^tl:' traditions of pre-Moorish Spain, Arab modal musics, and Western is lesscommon. other "''uy '"ft"T"ti"tThis synthesis is most t'o**on practice'harmony' common-practice tonality. while very little is known about Moorish folk Phrygiantonality unJ ;'' :*i'ii n' i'- * musics, it may be assumed that they bore some relation to Moorish art obvious i n the f o' i oi"s'." lln: :"^tr::l,,lllffi :i:"fi musics;documentation of the latter can be found in contemporary sources and, in a more oblique fashion, in the continuanceof Moorish Andalusian il#iru*1ffi:'lH?f[r'{i:d:i#""*']'tias)accompanied(esneiallveu:T1f:iitTti:i art music traditions in North '#:;f" Africa. Contemporary descriptions and byt-lV-V h"*oniu','iiii.''i'i'i''''*""tar and-/orc current survivals suggest of reiterated in theverses' that such music, like traditional Arab urban iltiti"ttit oti*a'ilv hut*onv is emploved musicsin general,was sophisticated.monophonic, and basedon a setof sions.Thus, be schcm'rtizcd 'itpt",t;;;;;-;;Ji" 1o't'"tuut modes (nuqiiltnt, s. rnaqinn), someof the most important of which appear and Phrygianto"u"iv'in'-ti" lnJelti"t''' -uy from left to right): to have resembled those in use in Arab musics today. as follows (proceeoing Andalusian Phrygian tonality reflects certain affinities with two coPla falseta maqamat-Bayati and Hijaz. The scalesof thesemodes, falseta (etc') which have been AmGFE:il c Fc for several centuries among the most popular maqamfrt in Arab urban (chords:)il: "'t,t I,ii*t?ti: ', musics, given tt' iu ill li I:li are below: ilPtiwe I IV C malor: I lV I V7 Bayati: EFfG ABC DEDC BAG F#E Hijaz: EF G#ABCfDEDCtBAG#F E In both of thesemodes, (here, the fourth degree A) functions as a secondary repeat ad lib) tonic and as a relatively stable resting pitch. In Andalusian Phrygian tonality, chordal accompaniment plays an important role, but the triadic vocabulary is drawn primarily from the pitch resources of the Phrygian and, to some extent, the iiiaz modal configurations.Thus, the Phrygian key, taking E as "tonic," would employ minor triads on the fourth and seventhdegrees (A and D), and major ones que ha on the second, third, and sixth degrees(F, G, and C). The standard use 'e ca-da vez of a major tonic triad (i.e., E major) rather than a minor one suggests c affinities with the Hijaz mode insofar as it occasionsthe use of the iiised ve tie - ncs la lla - third in some contexts, affording the characteristic augmented second mlen- uas s e-so se interval of Hiiaz. Chords built on the fifth degreeare avoided. Rather, c the role of the "dominant" (i.e., that chord which most strongly demands resolution to the tonic) is played by chords on the lowei and, m.rre d" mivi - da al - ma Y importantly, the upper leading-tonesto the tonic (uiz., Dm and F). The de mi most characteristic chord progression-also incorporating this phrygian "dominant-tonic" pattern-would be Am-C-F-E. This progression h"T:I,1,^1ir:**";*lTiJ#ixii',:,fiffi iuxtaPositionot commt tt"'"'pood-t'lt]'iii!:Tll?'il:tht E functions not only C malot tilititr't as a cadential figure, but indeed as the basis of *,ocaimelody uant'"'io ih" "ur" ut tt't'tnd thccol'lrr Andalusianfolk music employing Phrygian tonality. In western terms Tht t'";';;i;'' tt' ili''vgion,tt'noiiiv 'f t'itht'r Phrygianscale). ttntt i''rltoi-lly' intcnsili.tl this progressionmight be analyzedas i-VII-VI-V, but in the Andalusian .,"no*-t'i'i'hc 1'atttrn' is the dramat,. l'y llt. trr.Lrrlitpr"tl contextit should be seenas iv-lll-ll-l; while (Am) in tlris t u't" the iv chord mav by prolongednrclisrna;";';;'" 75 74 HAITMONY / / 1989YEARBOOK FOR TRADITIONAL MODAL MUSIC ,IANUEL ffi ffiffsffiHffi'ff+*ffi m*ffi$$wffi**tffi$$lffiu##lfiffiffiffi te2: ousrvextend ''"'i?i:J':'?Tl*4+ll:i*;:lnt':'l'ft::: ili'ilHi ' Amn 'r providethe moveau't'I'lie."if"J [#*1i'i'frn:ir";.i'k{t1.g*':"rT[:i"fit"ti"i i"t,t".to""1to '"'"*':-]"ffiby- the melody se me te- ni - an que ha-be)/ sar - .u _ ov 1J}"'ryi::,;"*:H:,n1i*'xT**""":?'tir; **H*""',1'ffishould not necessa..'r,o-ri"',r.., in il;'ktthl;ik- music'r've that they.do I t is our utqY,lt::, n of some Ioso-ji-tosdemi W"ti"t. i"nluenfe', tr*ipora t io ca-ra a sort ot,Preolsposrrrurt'" "'' -- the ffi -,n-o- H:*::U::tffin'lth"mr"lu"r establish ll,;:i,;litt'ir:r:*"::*i;:L.mllil -l^"1";.';;; :i;n:take tc E f""" ".ausionally ""'r''''tl''Ii'il'-;'.;111r.'11'-ll":TLf.t,Tiitl'" r' riv-' 1 3:n::S:llh a r m o n ic sv st. e m - :-i - - -7------J+-J--t lli"l,"H.:lh;:iil'"tl',?'J,'""i?iffi " " "1 "1. :l :'::: :, ::'"1" : cuan-do pu-scmi \J- "fr il;;;i;i"il'"odarharmonicsvstemtn"tl *n-Y - o en quie )in mal pa-go 1mc) ha da (d) n, - the c ou n t ries in q*estro 11 +it:;l,?"tff"*l ;*m'T:';;::l 3C7F - ^?" :X"r'.X'iil:T,ll'T;'ili;';h;;';Jh""1'll:.H;'lXfmusic.al :fn,,Tli'il"''*n il;;;degrees, the !1llg:":l,iil,:.,i;;^;;;.;, rcttutittsttrrt lt"tr cuan"dopu-sc =ffi.iinvarytng*n,T;i;^h;'.;.Jiil,^inflJ<,nc;ctlsct.rtlarnrttsit'rt.to'a ,en- i- qu," - .cn the extent ',i.- ' "n marpr.gi-/ *r,. ;l, ;Ad:i "h/. i'u*ffi i il'U yltAllB(x)K tj()t(,t,till)t noNAL Mustc MANUEL

ttJ,',*""H"t:t"tu"i11- r there has beenc.nsicrera 5 t". bre mu t uaI inf r uence ; ;,'J ;"lfiiji TrTT:r" ot t oi,lu n; ; :l.l as we rI a s oyzantine:.,1".- modal :*::" "ut,ia"iL".ffij*H:;;ll;n:$:",*ilJ"i:,li,'"JXf ;lln throughoutthe a oneunifving *,ii,5*h$*#fi.;rutup"g;t'llifu unde, iis tr o n we can ;.o.,il;:constituted "l"..nt gff il&i:: s s ,tur" *::i' i::"frH:, " "**:$i ""X", ""1*.;'; L;;11 Lti::',1it"';lt"$t."T.tfi:trI'T,'1Tj-:ln{i;;:,T:.1"$"T,:ffi1

mtermediaries.$,,1i"":;i::*ilffi#j##i::,,rjj'ffi6,;i;:iffillyet despite.these-;;if"".:;;"ttt, to rule th.ouei' r"r",g" m*,*;*n*ffi,*ffS#m influenced r".uru., tlru1r"*::*:u*S,ilngijx":,,f*x},#.il$# mfluence,".a".oii"*#::nx."lrnfthe most_rele"""t rju:n:":,,r#lifi t"."iii" ul of il'*",tlii p. kamlar). o';il;:'ili"- an ^oko^(fu.f.. ",, !lT:i#lfttr,l|,":y,"ld vor,ni ^^ i,i,t'i"-," r,,"., ryA::l";*it##$" :LiTi: il:l;: :l:ii;tl ffi +ffi il*** rvl*iffi harmony m*u*ff*fu$;i#ill?:liil'" l:;: il,"i ilji a,ra s significant #i:t"i"{r,!'i}1i,:,'""*l'i;i:f#l::il:'il:in the areas considered ;t:f ":+l:tHiffi il'J ! ** r ; ed ,hu, *.'lul THilrl#::"'*:"q*#*kh.",.,1*gh".".1, is also ,y1,,^:ni"1^"i,:,'-il,::'i?"rJ,::1.:.lil:fl1ffi'-i",t$#'f *ililtrf*?ffi **?*::tilXif'-n formar :l *"fi$r*r,m'*N#{**fi#''';l structure 't'"'*',io,'Ii1'ai',ru" above. oithe rork i"*tTxi:'tll*'l*:iilfrl;i . rr.."irri.a "r;;i,:.,T"ntionedcommon to theareas that of W"ri"r. Ar.rnilu€nc€ consideredis.is' olof course' music' wrtri" L" were never totally i:ry1n t'"; ;;i appears ro. have d"":"lit"'. ;;i {; I ".# ;:y 1l#i.?Tfi:,"'l',15,h*:.".i,,v'',1'ji w*,*" .Tl'^':,,'b"Ytseois".1" ", ;: :H""ilIJjH"".,ri wldely rY?,uln t musrccrrcres of the Balkarll' !"tutn". farniliar in his pe ri o d, n u, rul::,]., r, r." rl."o,iJ,,i'j"rT#,. " " "H,H:f :lj;ii#: : spheres::ff shifting ":Tli"#i:'s,[*:il;"SbJ.tl1Lntr,,i,"ar"utu*,li."gionurof interestna ratititai!;;;;ntu'ttts' seopolitical ;';u*:'i:'rill*#;H:'.x;l'":*::l$i:::5:a:i:',:r throughout,h" ffi pro ur"".'*lullvl* i. t mo ted m u s ic a r n o Jh " ""."'"i'r'#'Tfi:i: ij,ilH :1'"tff n"; of modes emp R.man ia, rT. ','J;j:: j[T5j tn" o t t o,n u., J.i ollt appears 6:"""Tffi ", o,u r ::'iH;;'i;tf*31#'i:.'*k,,::,*HH:i*;iln'.= to have"s;' exerted"' considerable which" ttumanian rnnu"jllT-constantinople' revolutionof 7827.v""^*#.tT-on musicallife until the {lzmir) and Constan.r.,.,"r" jl"k communitiesin Smyrna ttro, plaved,lrr"li'lj'l1l:,t.irnporta't roles in culturallife until ,n"-presence"*puiri;;';"'ilIple ., of lewish professional ,".:1ll music.ians ltfifi*t***lnff**,nu*** -(klezmorim) :!"'"1-,t'81'^T;T"iil:o::';;;'0".,*ill,,".r,n.rionedasanasenr' l"*t constituted presentin all thec'o-url;'f an,inrernationulforiiunity il"$#',1*fr#'{-.#,,t'iiltr:'x1lkr nes rn questionhere, and Jewishmusicians tended $'iffi :=* and non-Westerr ,,modal,,,whethe musical conceptions w- not referring to as they embody the^w_hich same,"Utt"ti", ."." notjon of inierent in the ^okori.or hl.monizedin wayssimilar 9"8;;f"*3if:itr:riiXj"t,:l:t:nerallv ro those "^;;;:1"Xi:i::,,T:T:X"#:.?"fifasan import"r,t-io** H:ir;:n::r;.,1: lH::r.jl,*::: neighbor.The ter,-paran"i*r,r*'i,noortanceminoriv chorcr "r.th;i;i t:;';fii:1ffi;il*,T,j",l:j,;en . It mav be nored,iir.iitrr"^"ilill; rJ modesaccommodate chor

.€ ;lffi; l,etow,, in s ra n ce, ; ;.:i i:,ijl'#*H,j r,essio n s, it " " ;:T,:,::l ::g t e for may be imp< t" - metodies,,no;r':??l: E:"11i.lil:li'"";fl,1ili",1XF,:1".:l:T:"H,fr i*:i*::il:ll*$1 /aaroaccom,;;lj;i,iff"""'i"i.",'nfn!^*ut'"trttrt"'l'"J'tpeciallv';':ilii"iff :.Tii;[.*:Xiy,;:y"n,* u""".r".lpr.",j:'iirj'J:ffi[i:',T.T:,1;'il;;;.irv,e'.'J19".1,,'ou" thar modal 1ugg"rt, in someurban 'if,ffif -^Tli*.,"melodies uogu";, thepracticettliT::otl,* "'S'f:1,1'":::^ru;;"ittu'io""t::1,'JJil''"":1$1il"'i'Yi:n:; century.rn" ut"lt""t'tirst Ii.'i'""'uT.'1?:"ti:. *Jlt.t" ";'."f '1" decadesof thenineteenti (tolK oa i|".t;filll3,,iX'' l(ouschitzky.orr'-t^t,tl9ntft."+;d;i"1ttn'this regard kalamatiano tr gr*" ut" th"-Pun"lni urbandance o,"lll'ont ot"."r'rts ExamPle3: r"ril,::TiH'.Ht['il",?'"1i-c.Ij eti"."lir"e"ii'i11^l:'"*pi"a'i"'",i;::"?ffte rep reseni'* tl r r.o*, r, ph ff X6ifi"J."."J $:TlL:f :i: " an a r i o t

;:li;:,.:i!ffithis n,*:11#';l'""|i$:lf "rut?:.i:'ff i"'ij:#,;,i _.,,.:iiil",,[tf::i:11at point,it may,"ff;;';;i:lf:1,Pt rhesewiilie discussedj# _r,il:,ff",...f:#*|!:qTf :,,.,-i [:?':i!!;i;tii%iritiii."":::x1?i*!]llF'il,fr;l11r"n:i'l.Jli*.ffi?ii"il::,J*i:l:i*ifi"^:i:ff iTJi:,,ffl*fl possible :lff in thesegenres tliat the incorporati.rnl.;r ,i1.l?i*"tt may huu" tit un earl g('r fi v twen ti"' t'i'"n' t'" *'ng ;,",":::fr::l; ::l :1'"1""' 6,r"i i,l"ln uiv ou' ,i - J: - hian-daa-rr certainJyi;,]ffi jlffi - f li:h;"?::ff.i,lf olou',*ri:1:,.":i:1"fl1* t r" p a"ompun im"n t'' r.j.1":'"':lTl#il,'jiT #olns hereis the aforemen qrscrete "'' " r if tioned sections."11-9-9.unt".oru;"r'"ff songsbv strineinetosether };.',:i:'"Tr"1'l {x modes tf t";ld;;!(ler maior,Ii?i'il;illl*i,*r"':"d", *i- I andtonic *rlL':'lnt orG $:Iflfi .",.,, uort i :lli..:::':.",0^olil^i ,::::_,^er1,."r*inHf;{ij",',jlTilSj,.:*:Sj:"1';iil*l ji:;iij Variants of the -1't:1::;::.';:j'* rirthas ,,,,;i"'*o,t.o*T:tn"j:l".'"?i*:J:'t'i*#:q'i*t1,T-';,p:'lr tr,"o..l,,I"t 3'{ u d,on"accom- the secono l1T,T"::jJ]",tnj"j::*,i"n,., additionof the however, paniment third d;*; woutd .oiil,?Tpu"r-""ii.i}lnat-a'ttn'Jr"it t raditionallv' *i".',,,.g,",,rLrr{;}'-"'i:fr::l'ihl*lt';:it.q:iiti{;#':;"[ rnan ttutif this accom- caseslend the stresseds:to"" chords,n r,,".u]lllll-t" a.utonomous section such 1"-":^'":':;.oi""d or ."-Tl:; are reratJ s rather shorr, the.s131;oi.Licaily ;;;;" Yet when na t j*1oi"i*":;tl*;;;:1":stons' the sections urattyacquires, -il?"".]r rq-notesof the discrete il"ffi**t**;1.*,5i tti"tu sections *:,n;::;;"rffi r t.i, i. o cqu i re t h .t, u.u'^Tu- -a " $j1:'il:.il1i;*:itll:y*ili,*,r,Ilt:i'--.;'"ccomp_anin::: , ff:illxJ$:1t#,[tx"_1 tonic-usuallyfi:rtrdi;,:,i; r:1;xffh;gpl.h*'$"lx:#:::"i}'Jf; sixth-which", r"".1,.1" thef seventhffi iL?"fli",i::ffi t"ttuin puirurlr"u' or' lesi often'".*, the remporariry,"ptu.in,lt^11 a"secondarY :"'[':#,T.":f ; ;;tJrit gtound-not", *ill exampre,r.ul", .ouj*,11"- l"ntt point' T,llJ'::"ff L'.reece, tottu'po''J*ll"i'*tgence Thus' for ;,h;";fi',:*,ni',H[*ff in which ,n;l,l{ uorian are common or preces ;;;;;"" :;'nu in J#ti":::Hfl:Hl; in such as'thesubtonic; sgstj6n5 n'"'',l...]n.'fi\ scareon that eenerallYaccorcls i*,H?;:*i[:.il::t"iF."'ff degree.-oj11'-tuu"tjtf::1.,,n;l;;;'.l"* often, t;;i,1m,dulate t, a rnaior-tvpe surrt.nicare regula'Y:Y thi ;i.i'o.ie,"*i:::ffjJjl',1'.il|:,-ix,::j';Ji"1*:!:*yil,ll betweentonic and I ,1 ,,n,,case between il";"'ot't'n"" ra'[ e orthesubtorii;;;;:;liJ:[';m*l"iilA;#ililli::ilif,r"1j^lul'o.""tte6 'll';l'll ".i,Il' "."ffi run :ii f,""il' ;' anv accr€tron-ui:l::'jiJ *l lJ" ;;',lT; :,,"#: a modern i., theih" melody.ttm( :er and westernyugoslavian if not latent in :.;;;;i;i" with'

H- MANUEL themakamtal"l4:I:*:,:';"t",:;#il'*mry:lTiitji;i::lJ; and chromatic scates. toaccompani*""t*')i'*ut'";4*at*:'1,{',i:$:::?i,li:T:i'J'1: I ilr#i*,:a:'.:"'ru;:::jf:.'i-i":l?"ii:;;u'lo*puni*en'[san'cr as accordancewith their emergence 'r Rnintiii pre]tes'"!";^in character.f modulations' begantJ ;t;;i;" commercialooo"'ut !J";;' 'the structuredsongs.wit hiil;''"r iii"',{111"j;*n:1ff tru.tl*Hl scale,which, #;i;;;;iititin gloo'" assresates :l"l::::-'ff#'*p ;il.;, ands o o n \,reek.I!: churchI,!*:type aswe h mr q"it".".n 'tave-no-ted'figures nrominently Hencechordar p.oeJ",,ioi"' 3iouire{ 1;'i:lffi ]Tf?ltllii;tilunaia, rn roughlyuturr.,ltl.l_tt "fr. in ,1,=*:': were pweiul un'dAeolia n u";HT"',ffiii#rT"r:":" chords Seneral ;ilqli.*t::]iJll' : [i[1eA:f li;:*liiF:fa t*o'Hu?" ir'" reb etika :western *;il ; i::" T tr.,"'"t,"'iil;?!d'* " r'*".-i "; -li;n:.t"lt'-on' scares,andthe'"'*ili"i'n^"au1i1i:111T'J5:J::i?i:::j""?"'il.::'jq*3.##::#'..";.i#$il,ffHt*::;Ji:more'orlet:tilJ;'il*td,,lutio"'' *:$d";G;iJ'J;l,:'',ixiiT:tiiflt1';:tl"**:iflii t"t""i"""tf"Uly harmonized Modal " un i po, ::H#!Hfts "dom in a n tr; n ig T# :"',: iJj, ff iu,i;' il"r:,111,:t"a " hb.,.;,' "'rl - ;fur}:tl"l'r**fi ano ; senresrt ,,,;,.i"i[l'j[:[::f* common not in such a predictable if_"::^:_:i,o in rhcsanre orrtlinetl "f,f.t"gtt ",:.:;#l*J;**hrl*n:ti;ii"if;VassilisTsitsanis' jffi ,.u1.,.,..aJ.."r)r".1Ine.r in(;;r prcvious Anclalusian to"'o"tn:''u''tictrlarly under the intluenceof ffi]:::ii*;:t t1t19;g1tit;;,if the addition the I940s t-rr iso n har m on v' The cresrees. ,rrtn of colorlstic From *; ;; ;;;h;s sectional Europeanit'rtu""t"'ittlil""al*itrt "t^* scales'_-and interest i" be used'essenu"ttt 4tte jfi:ft traditional modes t;;; "f theorvalnon'c practlcrns ;'rye.ru',nxi,ffi*:'':""hfriffi#y,,:lffi andfamiliaritv ffi; T*Gh-o:tlI:0,'J6oal It fi:i*ilf in th:'l:;";"'" pt"r"i"ti"t'llj'jfttj:t . is not possible dwinori"A' *.,+ :l rncorporation with pr musicians .t'^"-:::onstruct "r ;'iii*:.1#;l$1ryi;l:hi}-::lr,'i:rl:,&,iilt"''"0to as music) ;trr,**i,atri#r;;'#ffi comm"tt'u' fopuiur musictg"n"'uUv-'"i""td 'bouzouki ffi '"T€nx'.Lll*{kffi::.h*r'?:'*:'finto a ;:i'"H:",.*:ll[:,f jlif#,"i;;;".;;*.r,""i .'ii::::ss'ir'ngrvcontinue :n*",i"l:;;.,ffi:,Hl .,,o.ur j charactec'ilgr!;q' -'i,:tl#:i1rurffiGreekin rtyi"i. s"""11 uii^4vpe-ullrto-:?tand raised-fourth ia.ffi:T,,;l,r;;::i:*:ffi p' 84' in tT;:rlitidrl;i,,ti:,:jilito use,whetherci'i"itlin"rlv:'.lot' p"'i"*'t'ii r("':l:":*:t *#l#'?***#Tt:::l'"':liiY"::**T":T:f scales,with tradiJi^"i'n"'"'tJ"ization of theHijaztype scale' 'l'l'n:li ittu't'ut"' a'typicalusage the 9-beat znbnkiko-'itit'' Notetheuseofllt""J.'ui..i.',ii.hoid"Ju,ao]*inu..tneiShborstothesubdominant'which to jn" tft** minor' :Hn*?:*x?lj#.tf,Tf, j*rtrii tonic, and tnt o'"ii"'iitt 1"it1" raisedsixth degree wereflooded earlv"::i::ilTr",a*:,J*,,"i,:twentieth c J-U'''y'i"i'"a"tiilt ;;;;;'i:-tn" million'"fugu"r. itself parallef' tnt"""ta"t "itnt *", u.produ.,';;;:Y::1 music' bYits lowered form'" rnrs p."t"i*ilii;;' 'n'tt ?#ji;ib;ed crramari.uruun,llT-pun Du ocul t uretha t '^ll"d '"u"ili), urspossessed p;il;:' iii emersed a"rirG n,"'urt-tll o"uru the TurkeY of modalpractice in j.r,lp'[##'"rj:: G-reek;;;.',?ffi:i imp'ortancein the study broughtl"-:T:l and Istanbul lli rumf #::: Turkey holdsa special *i,r,-,l,.."rifYrna r in 7922' eventually r"titttr,-i.,gexpelled i-h"'* tutt"i these while evolved;n1T'^'^1*n theeasternrt'r"aii"""^";;;'.'dguttu"'"ei;ns'sinleit'isthemainsource;li ile;:il4:,T.";X*ilHi;#[1 of the oriental musicalpf1"l'::.:;il;i;; t'Iuditio"t' Turkish'areas' music' jT-;,'::or,,he.,"",l.lTff with' regionalEastern q1tln""" sophistication -T1 coexisting hfft*"^v qnd its own promotedu"tr' uv 6t"tclllunfotititut ftuntu tTff:ilt"Ifi le*itv,'-t'iituted a *u'ituiling.'u i.,f w i"] ii:;',ilrtnj#rdf andcomp lendingthem a coheston. througho,it"iir.'"r", diverseentity' fi:lf:n.i"f f,*:r#triifr:+j# musics "^au' a distinit' if internally us to treat I"i"" toion 'n"

.".*-H-F..C!a / 85 MODALHARMONY Irt te60 lt:Atilt(X)X l{)lt lRAtrl.Ilul_tAl *tt$tC MANUEL

fxamplc5: f::j, i ril r,,ri,,liryfufiTnfi@$uspi I!' (eudrs ) I #"r h',-r I Es,-Irrrri"' ftg.@ #,' ffi*

so bam-be _ si pi

As suggesteduO""::-,-l: Hicaz-typescaleisof particular asir achievedsuch oopurarity relevancehere, in tfle il'. andaccurturateJfopular musicsof the areaso::::r.i "ri"" t';;;.'il;;':'of.rh" early espe'iallv evolutioi of the ff;::#r"!':t:ou[,ff't""'' sinJesimilar modes ure .,,ed in chant; a.au nrih."eh""ffiil'J,iXl;1i,ffappearsto have b*.ti:.:it .Hebrew ,i" .ri"rt.rl'ir," ,"a" by rheearry nineteenth ce nturyHicazil;;;"r" "',Ti"iJ.Jif"'j,tf*[:i*X*i; widespread classicalmusic and .:ll,"d in Turkish #".;j, ;;::#tty *oa".n iurkish musicand urban gypsy ,uii...Jhur:-vili{: fopuru. employedin various the scalemay have been Barkanand EasternM"o,r".run"an Ottomanperiod. musicsbefore the its usage p"f"i".iiv *e.",rt.ongly prominence in ".a reinforcedby its Turk ish.ri*i. r.l.i i.l i,i.r'"t Cht_rrdalharmonizatio"r.f ar,"nineteen th cenr ury on. _"i"ji", #"."'"O"pr"d later in irs.f.rmerEuropean .rr"^t"l,l""i;:d;";'u..rbt, in Turkeythan tlecarlcs()ltornan becauseuntil Turkey.was not its last rr,r('r( ('s subjectt' thesanre wcstern European 'rsw.,re trre rJarkans. ma""J, *i,ir" therezos-;,'i;;;,nor thesultans h;;;;;;;p""" r,,,,,tr:,;i:i',;l;:,ll,l]li,l,,l,li.,*),r,,, i r,,,",,,,l,i untirtn"*oa"lii,utio,, N.v'rrlre''tc, fitl*llt7 rr'rir rr,rr,rili.rr,rrii:ilfli'li",lll"j,:tlffij*n nl1i"""ru: resPect: l.irc ol 'L".[irl,-.,, fork musicsfeature Ir,rr lrurl,rlrrrorlrrl,rliorrr, rf,,,r, "riT"a the l,rrtltt.rt,' *,,- above, rlr,,rrr,,,,;,,,,,f 1r.11 ,,1 , r",',,i.,r',_;:;,,,1;ll;,,l.illtrt'd could _--- lYlvL/r rP t T 1989YEARBOOK 1 FOR TRADITIONAL MUSIC MANUEL

Example 6: AsiderromsoT^"-Tr'.;il.q.U::1li**."lm,Hl.i"*Jil:jil risrrt-f111..,t E Phrygian:iv :ru;pl" ; suiha rext ure russests )=zN Am lXilil:T":i"'.ujGti },",i"i-*p""'1,:_1l;iJ:for an elsenl;;;;'oijrittr.i, imitation iiiiir{:*:.fir"rlll,r".,fiyl,lTXiln:*l;nil',Y an.,,u,neven. violinand tv*9u\o-Jrl"t" irreguta.r tneojiiil;;;r, r""tittt r^{:T". staticchoroar .lrones' metre,although. of with prin.ipte Rumania phrases'indeeo' t"l:ll,,ve, non_directionar The il. ,u*t-*o. regiuon.^ln areconstruct; ,Ti throughouttne importantin this andlhus "i.* pi".", ****o somesort , lu."niu,ls studynot only for its contemporarymusic, d;; bars, suggestrng but especiallyfor the role as the aforementtoT;il ottly on" are it appeai,t" tu""-ft;;jX;""arilsite 3t^1. melodiesthemselves the confluenceof western for rr-r. europ"unhui*."i. practicesand non'-western modality' As mentioned above, ruggeststhat Rumanian :1tilfii'f::,f',".:il,Y:n;li:rum,;;'i;;;;;",p"::1:::iJ,f li: may have exertedsome ""iJ*." music influenc"on iu.*rn music, as it is known, example,that Rumaniangypsy for ,n"ri.iu"rlig,rr"d pro*i*i,ty i., 6,,ornun courtsfrom at leastas earry-astheeigr,t"".ii century.Far more extensive. different however,was Turkishmusicar fifromc+nie-i;l*;ti$'iffi a l}il;;;"); themaior influ"en."o'courtry It#H;Hl'5*** as well as folk raised-to-^"' in Rumania,most music mentioned cited' of which it go""r""J, air".tf/oi___-r edition "- r.ai.*iV,r.rs,rrruJ, ii"rnrru ,n' rourth r-^.. #2g in the current to 7977. raised .",1ii;'(;;*pr" ""nttt' zl,-\ l'.:l {13ll.:i:,:ili' ilii," u"utv'i' carfias has outlined aspectsof the Turkish influenceon music'Turkish cercmonial Rumanian ,*:F::l",iiil;;;oii""ll:-':'T:,',1t:llT't::::.""fl"fr anclmiritary *".a i" i"g"rl. lt: Rumaniaby this ""r"-rrr"l ," rime,and r"tkirhl"ri."*""t, and musicaiiErninotogy"r" survive to this dav in Rumania. Urban gypsy musiciansplayed :1""':;'l*"rxi',"""H':'i!i:+i:n:[:i:l;i:llll1l"""'o"'s' asIn importantrole an li'"'"."'i'ir'- il'" in nreservingTurkish n..uri.utcharacteristi.r. :1.**::il,D Hljl;i ii#l^'""' "lT'l"i1," decline with th" as the casemay. of the Ottomancourts, gypsy musiciun, fo.*"riv dispersedthroughout tf,"."in thecountf ar'p..f"t;"d entertaineri,"*ptoy#synthesizing theirco urt musics :*l*l;l*t;:n:rLlni:kiii*'""fl'T:i: wi th indigen.* t.iJiti.., . ri" ir ri ri :*,il:filx'ffi i;iliffi by thesegypsies rerained r"*iri.,'uiri.,iri", "*."'*t"ri.'pr"r.a iil.,"q.,"n n:m:ru T[ gt-1s in its useof additive definitive"r:':t:'lT^Lt t** ,.,*,nl meters,terminology, and Turkish are no modes_especiallyNikriz, Segah,and, above atl, Hicaz. Thesemodes were, una ,iiri rr;;r;;;iil"ipilr"a i. '{.:',#::',-lt the contextof danceoieces consisting of freeiy i[:'ffi:i:,::i};':'l'T".'e"'G#t.'.T#]]if ---'J uaa"ir".iionl in .rniruu.g modesand tonics(Garfias 19g1). The presenceof the Greekphanariot aristocracy ir'...ulfi be in Rumaniaappears vrt :iiil,:fT,+F,.#:rr*"ii:*,smav to havefu rther the sYncrettc*.*i:nFfrt thetr r u conrributedt" *"ri.ui with .r"o-?"rtiliruii; til;";i,ii''*iu, scalar successions' ottoman Turkev, and Greece.nvin"-*rJ-iio0s, The however,rt" ."Pt"t"ttt"d as follows: Rumanianbourgeoisie,was beg;nnin; \CHicazkqr) ;;';;,, an increasinglyimportant ".n"rgir,g E F G Ab B r9le.i1 patronageof urban 2-9: tOO *uri.. rn"" piuno was the favoredinstrument mm' of this growingmiddle class,which ittip.it"a family musictutors mm.1o-12: ;;uto(-)F^ .-(GHicaz) Germany and sponsored from publication of *urruscripis of contemforary adapted-t'opiano. irr" notationr"rylur :?ngtl (the pann manuscriptsin linear and Rouichitzk-y,from "liri"tt ,n" interest rrigoril."'iiour,,."fu, Til;f;".:.:i:,[u-t*'l'ie''*i'u"ta:*:'T:::iii:lii herefor the mannerin which .r,o.Jui u.."-;#;; 1""J":ii:",1ffi therein #ltupt"a to chromaticmodes-of r"ir.irr,'.r r"stern manuscripts Europeanorigin. The **"$$:d*:lilr]iru;t1x":tt'iliff thusconstitute by far theearliest documentation rnodal harmony we haveof in the."llt.r" rgri;".'iJ"" significant pann "-"'"'i'a*',f,4i$il{[l'fi**:ir{-tlt.'i;li:ft ,,secula-r in the il-t manuscriptare the assorted songs,.fri"tiri an-iu^j *r".lu,ua i[,dffl:'#l':;",:rud:m]r;];liot'ffi ffi withgvpsv musicians. Asrhe i"t-Jr.ti.fi t. tr,"ii.r.a".l'r"i#Ji"ri". ill"f.:ilmlf statcs, there show most ,,thu .cleilrly flgl,ilor supremacy between the Hastcrnand wesrern musicar gYPsYc .tirtu."rl'itj;"; .r ci,*p,rrJ.,,1's)ii, zzt. kig"l'"tl1**'",;r,'.*f;other i '*1;:t*la:ixga'roi'u"i'n dll ,dtyEAnBooK FoRrRADrrroNAL MUSrc MANUL'L

Example 7:

-,-. I Ft Fl jJilJJJI *:*"fr;'"'t,ffi

rl Ul I tt tt' *;u^nffi,#'i#*i#*ff.i''lill.l. i#"'i'.it"#f':fr'':':ffi ;-"iili-tt"ffi:;;;;hi., "'.IillliJil:l1ffi , [*fii:i;:*tr ff,T. J; of Composers'1.975?:21).This song tradition survives today in the il11l"Tilffi#;lJJ;residences rnopieces aforementionedlautari music, which, like the other syncretic musics centuries' discussedhere, frequently usesHicaz and raised-fourthscales, with chordal accompaniment as described above (see Garfias 1981: 98-106). Also noteworthy is the doirra(a frce-rhythmicsong form), which often employs ffi.'l-:it=t**},lil'; (and m#llti.{,**xFi*fi::':'ffi the raised-fourth scale, especially when played by gypsy klezmer) s?;':xT:';' "' musicians; harmonies used in the doina are simpler and more static than " those accompanying, for example, songs set to the Hicaz- and Hicazkar- type scales. Rumanian gypsy ballads, often of Greek or Balkan origin, tg${{l$l.iu,';i.*"*&..Tx;. also employ the raised-fourth scale and its standard harmonizations. Music Hungary Klezmet In terms of modal harmony, Hungary lies on the periphery of our field of enquiry. Hungarian urban music has tended to be more Western European in style and orientation than the other musics discussedabove. Nevertheless,certain Hungarian Benres,and especially those associated with gypsy musicians, do illustrate to some degree the aforementioned "fight for supremacy between the Easternand Western musical cultures," although the latter had clearly won the battle by the early nineteenth century. The Ottomans ruled much of Hungary from 1526 until being ousted by the Austrians in 1718.During this period Hungarian gypsy musicians performed in Ottoman courts, and many of them returned to their homeland, bringing their Turkish-informed musics with them. Hence it Hsffiqr;.fl-5ii.$Tlffi.*f#fi{1}ffi is not surprising that the Hijaz-type scaleis found in seventeenth-century *ffT$m ilffi Hungarian folksongs (Sarosi 7977: 39, 58, 44). Kodaly (7971:6) notes that the raised-fourth scalewas also popularized by gypsies, who dominated professional music performance from the late eighteenth century on. Under Vienneseinfluence, European harmony came to dominate most Hungarian urban music such that the Hijaz and raised-fourth scales persistedonly in gypsy music, rather than in genuine Hungarian folksong per se (Kodaly 7977:73-4). Gypsy performers were noted for "exoticizing" *p**t+*fi**ff*ffi folksongs and popular tunes with augmented seconds,pedal drones, and one quartel

'- , . ,qmr-*1,i, / te6e}f,4niltrrF FRF TnAnl ilrlNAl Mltlit( { MANULL MOIJAL IIAITMONY / 9I t|o/oor'?'q,^:1-.,h- ,,i'i,i?;:;';i:,:'lll-11 samcrart,g,rry (csptriary to that of Turkish art music, and the Arab world has been exposed to Klez'ttermusic, these.scales i" ;;" _ a." sur;;iiy1,urrn.rniz..l many of the sameWestern influences,from the opening of an opera house lt'3 ;;'t--.-nner as the orheracculturated article.2o ;;il.;;irssed in this in Cairo in'1.871tothe present inundation of mass-mediatedWestern pop. Yet it is significantthat a synthesisof modality with chordal accompani- Conclusions ment has not occurredin the realm of Arab urban music. Arab musicians have indeedborrowed heavily from the West, especiallyin suchparameters j:* to assu as orchestration, pedagogicaluse of notation and sol-fa, t" :'.:t"t^::.::: :T'v me t, excru di ns mo dern and the tendency ^tha west ern toward rote ensembleplaying rather than traditional heterophony. Yet, j1;il:;:,r except in thoroughly ;,,:,TfljiHFffr:?ilii: jtiJs:,j:.iilJf acculturated and lessergenres like the so-called * ttixt"Franco-Arab" pop, Arab music has eschewedchordal harmony. Arab music thus retainsthe neutral intervalsand chromatic modesthat, in the ffi*Hi:!i":::l,"":" n:r**i *: musics discussedabove, were generally sacrificedin order to facilitate ji'"';".;;;"*';$'"i:ii:1;:H'-ftI[H';l;l; chordal accompaniment.Evidently Arab musiciansand audienceshave iH:::*"',T;HI':-nli;$;,l:**fi: chosento regard thesefeatures, along with such elementsas vocal style, i";t".j:'*ii:ttxu,:l,l#ruH:as "central traits" too important to forsake. Such differences between i:iiljtH*:iii:"J*ilfi regional syncreticadaptations illustrate how acculturation is often a highly ,.iv",i".n'i;;illillili:$i?:;t'::,'131;;il""i:;;"i;u.,."1r"dselective process. consistent,and clearly airrir-i-i."* It is hoped that this article will inspire further research Th-e"Medi .;;t::1""s,.wid-espread,,r"loti""ivwester"hu'monv'' by individual te"u""u'.';;;;il; ;'::::fldescribed T9"-e'Sctice area expertsinto broader aspectsas well as details of the use of chordal asa form *.aiilltonality" i" il,i, i.ili";;'b" regardetl j,,"i"p,:ffi,:',J^i':ilJ,'"ti.'F,TlTr:Hh:*:"r harmony in the regionsdiscussed here. Such researchshould entail not .r". j*ln*jl*i only further explorationof historicalsources (especially manuscripts), but western modes, and second,-tf," 1,".*l.izations_generally also it must keep up with the constant new developmentsin the world structurarrole thanin w"r,"r" irn.lron'p.u.,i.e. fay a less of acculturated popular musics. Theselatter, rather than forsaking native tnls essay, the In_at the erampre, cho-rdalu..ompur,i-eni, in traditions in obsequiousimitation of the West, are blending old and new, .or,rirt either of static, *""n'l",'oi. non_ and indigenous and Western elements in syntheses whose constant .1fi lX:?,'.:':lill111,:, u.,o, secondary chord, or erse jl:.lnh'emainsp."domi.,ntry". proliferation promisesto provide musicologistswith perpetually new fields 1{"!1i";;"Tl[':il'i:#,ffi"* ot two of inquiry. in ex. 2-3, is comm< I mu chords, illustrated herl "' r, l"irv'i;'* lLffiIJ; i'f ". sics,, "a ."'J[" regarded second"."".ary .r, i".g., rr ul" lff"",,1;::, :, r:lrff ratherthan major-minor ".a :::!f ffi i#ilrili ACKNOWLEDGEMENTS resources,"*.,2,"#trr"n it. practicecharacter modal,rather than common_ or tn. hu.n,.onfi"'.'r*": The numerous referencesto Walter (Zev) Feldman, of the University of Pennsylvania, tamencoguitar particurarryrt"ui..s-i*itu.ty, harm-o"i*' rur r.pTilti.ut"a.u, give only partial indication of the assistancegranted me by this authority on Eastern European "tia theymay be,f unction and Turkish musics. Gratitude is also due to Harold Powers and Dieter Christensenfor their i ;;JJ"'; many thoughtful comments, and to Lynn Dion and Alicia Svigals for their assistance.I retain, il:il::5ffi n*r.;,;i ; heG reek however, full responsibility for the contents of this paper. chordal:rl#-,"':ilpattein within ttiffiil;i i I an extended uses.amerodvwhoserorm,"a..r,"."I#;#ll;ffithe standali;# ;:li"t-"corporating ot titcaz makam, :fii:"r_':.Ti:"',?lf; as Uv C.""i*rsicians. lmpl,oved S;h ;..;mental, NOTES ;:fi"*"##T-fi:: t is r h u s il;i ;* ;"i dis ti :1,* ::iJt :# ; nc i 1. Fandango accompanim"niir riru.tural 'rlli d:9t": to.w-hichu .ho.dui de Alosno, sung by the Hermanos Toronio on Magna antologia del cante ratherthan the flamenco (Hispavox S 66.207, VII: A, 1). The transcription, like others in this article, andis.inherently subjectiv" is difficultto assess, ,. ,"."- *-iil]i;:::::tive is transposed. For another fandango transcription and analysis, see Manuel 1986. intermediate manyso.ngs :?]1"_i. positionsi., , ..r.,,i,.,111,::tY:., or styles 2. Thus, the fandango may be performed either in straightforward Andalusian folk style, and common-practice berweelr modal harmony or in llamenco style, with characteristicvocal melismasand, (requently, in (ree rhythm. t;natity. su;t ;il;lTJj:^ th:f:ndlTental differen."r however,do not negate 3. Solearesde Triana, sung by Antonio Mairena; on Hispavox S/C66.2O7, VII:A, 3. in lun.tio-vrsurtres' 4. Walter Feldman, personalcommunication. Feldmanfurther notes that Greek Byzantine mlght expe;t trrutu..ulturated two upp.ou.f,"r. e.xhibit^-9,1: o.uotlffl-theseurbanpopurar chant as practiced today employs several non-diatonic modes, including one someof ih" su_";;^;^i::nrao musicwourd corresponding to the Hicaz scale-type; thi. of.ch.ordalu..o*puni*"rt moreover, certain standard modulation practices a.ticl". ar"ut;:;1T-"_"::.__ ..._*ar dir-.irrua in in makam Hicaz adopted in Turkish art music in the last two centuriesare traditional practice,indeed, is very ", closein ,,yf* ri_i*." in Greek Byzantine chant. If the latter practicesare as old as their performers maintain ""J i I 1 !hetulrr llf, tiren I urLlrh lfJrnt cld eihEr I tliirnan rnusicalfeatures may have in fact blues, rock ballad, etc.). while many rr:prrrtlrrlrrry lnfh*neetr Liy liteel ehureh rock songsuse some form of western maior- nusrc, and the usageof Hi.o'z_tfp" mod"s minor tonality, most irr lzrrel. l-urr1* predarr r*H*a, employ harmonies which derive insteadfrom the modal ,"rour.", rr,y ilr r pcr hrd. AIso seethe earrier work of Heinrich of the anhemitonic blues scale (which courd be representedin a simplified llurmrtnn, ol [.rce] musir*{elisJs EiGh c€.Mtrha.lid", (i94,-;j,'l#",ti""r"f"r"n.* ,.t to recent "'' ''" form as EGABD(E) ). Rock harmonies frequently ionsist of onlv mailr lhoJ "iuii. _ reseerrlr hy Huceipk fr*andr reFnrrcCyprus. ro u.inor"ludg" i (tciCi ii-i,'izi'iil. Powers, Harold Feldman,personal ."T-"Ti11,.o1; hldmanfu.rrher n.t", *,.i"fii".sl-ni*r-Lf"*ii;, 1980 "Mode," in Neru (jrouei Dictionary in rural Anatolia in the contextof thcArabderiveJ of Music and Musicians, v. XII. Ed. r."n t."tt ,o pi"v"ii,-";a'i11A,U Stanley Sadie. New York: Macmillan. and Alavi son8s, it to be p_rominent 9*r T,_:lfT in Anutoli"n folk musicand is 1988 First Met'ting of the ICTM Study Group on yearbook not extantin Central Asian Turkishm,rri.. H"n.. Maqam." for ii *ms surprisingthat the Hicaz- Traditional Music 2O (f9S8), pp. type scaleshould come,...l_Tl,]I1".": to 199-218. be regardedas one of the trademarkso{ Rosantonaki,Katherine Turkish musical influence throughoutEastern Er.irope. 7947 'AStudy 16. Personalcommunication. of Greek Folk Music and an Analysis of its Tonality.,' M.A. thesis. Columbia Univ. t7. From Ferdi Tayfur's "Bizim^soi<-aklar,"on "Haram OIdu', (Ra!