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Weighing Diverse Theoretical Models on Turkish Maqam Music

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Journal of New Music Research ISSN: 0929-8215 (Print) 1744-5027 (Online) Journal homepage: http://www.tandfonline.com/loi/nnmr20 Weighing Diverse Theoretical Models on Turkish Maqam Music Against Pitch Measurements: A Comparison of Peaks Automatically Derived from Frequency Histograms with Proposed Scale Tones Barış Bozkurt , Ozan Yarman , M. Kemal Karaosmanoğlu & Can Akkoç To cite this article: Barış Bozkurt , Ozan Yarman , M. Kemal Karaosmanoğlu & Can Akkoç (2009) Weighing Diverse Theoretical Models on Turkish Maqam Music Against Pitch Measurements: A Comparison of Peaks Automatically Derived from Frequency Histograms with Proposed Scale Tones, Journal of New Music Research, 38:1, 45-70, DOI: 10.1080/09298210903147673 To link to this article: http://dx.doi.org/10.1080/09298210903147673 Published online: 14 Oct 2009. Submit your article to this journal Article views: 184 View related articles Citing articles: 10 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=nnmr20 Download by: [Izmir Yuksek Teknologi Enstitusu] Date: 19 January 2017, At: 12:58 Journal of New Music Research 2009, Vol. 38, No. 1, pp. 45–70 Weighing Diverse Theoretical Models on Turkish Maqam Music Against Pitch Measurements: A Comparison of Peaks Automatically Derived from Frequency Histograms with Proposed Scale Tones Barıs¸Bozkurt1, Ozan Yarman2, M. Kemal Karaosmanoglu 3, and Can Akkoc¸4 1Izmir Institute of Technology, Turkey; 2Istanbul Technical University, Turkey; 3Yildiz Technical University, Turkey; 4Middle East Technical University, Ankara, Turkey Abstract geography to another. These rules comprise the tonal/ modal compass, direction (ascent/descent) of the ‘melo- Since the early 20th century, various theories have been dic line’ (Touma, 1971), functions of the degrees of the advanced in order to mathematically explain and notate scale(s) and (tri-, tetra-, penta-chordal) genera that are modes of Traditional Turkish music known as maqams. used to construct the scale(s), microtonal inflexions, In this article, maqam scales according to various nuances (vibrato, portamento, etc.) and ornamentations, theoretical models based on different tunings are and possible modulations to or borrowings from other compared with pitch measurements obtained from select maqams. recordings of master Turkish performers in order to It is not our foremost concern to delve in this study study their level of match with analysed data. Chosen into the finer, and in our opinion, more abstract recordings are subjected to a fully computerized sequence particulars of what constitutes the anatomy of a maqam, of signal processing algorithms for the automatic as done in Touma (1934/1999) and Powers (1988). We determination of the set of relative pitches for each are more concerned with the intended tuning or maqam scale: f0 estimation, histogram computation, intonation of a maqam’s fundamental scale(s). As such, tonic detection þ histogram alignment, and peak picking. the so-called ‘lifeless skeleton’ (Signell, 1977) of a For nine well-recognized maqams, automatically derived maqam’s intricate pitch continuum—which we believe relative pitches are compared with scale tones defined to be no less musically relevant—is substantially im- by theoretical models using quantitative distance portant in satisfactorily pinpointing and standardizing measures. We analyse and interpret histogram peaks ‘relatively stable’ relative frequency locations on fixed- based on these measures to find the theoretical models pitch instruments such as qanun, tanbur, lavta and even most conforming with all the recordings, and hence, the more rigid microtonal keyboards. with the quotidian performance trends influenced by In the following section, we wish to present a them. very concise review of the maqam tuning/intonation literature of the past several centuries for readers unfamiliar with the theory of Turkish Maqam music in 1. Introduction the hopes that they shall be versed on the influential sources and some established key concepts of this In the Middle East, a maqam generally implies a subject matter. For further information, refer to miscellany of rules for melodic composition and im- Yarman (2007, 2008), Signell (1977) and Zannos provisation that exhibits diverse characteristics from one (1990). Correspondence: Barıs¸Bozkurt, Izmir Institute of Technology, Electrical and Electronics Engineering Dept., Gu¨lbahc¸e, Urla, Izmir, Turkey. Email: [email protected] DOI: 10.1080/09298210903147673 Ó 2009 Taylor & Francis 46 Barıs¸ Bozkurt et al. After this, the aims and contributions of this study indication to their intended tuning/intonation. The as well as potential areas of application shall awakening in tangible musical mathematics recommenced be delineated in Section 1.2. Section 1.3 is devoted to with Mikhail Mushaqah of Lebanon (19th century) and the background and claims of analysed theoretical reached an apex with modern Turkish music theorists models. The plan of the manuscript is explained in Rauf Yekta, Saadettin Arel and Suphi Ezgi of 20th century Section 1.4. Tu¨rkiye (Yarman, 2008). We chance upon maqam names similar to the ones used today in works of the Islamic theorists mentioned 1.1 A very concise review of edvar/maqam theory sources above. For instance, we observe such names as Isfahan and some key concepts and Selmeki in Ibn Sina (ca. 1030/2004), and Us¸s¸ak, It is well known that maqams, whose denominations are Neva, Rast, Isfahan, Rahavi, Zirafkand and Buzurk in shared by people indigenous to Tu¨rkiye, Arab coun- Urmavi (Arslan, 2007) as we read the chapters on the tries, Iran and Transoxania, may not only imply unalike construction of genera and scales. scale structures, but may also be tuned or intoned Remember, that the ancients called genera ajnas and differently even if they do imply the same. How to tune scales edvar. To provide an explicit picture of these or intone maqams, known to the ancients as ‘edvar’ ancient building blocks predating today’s tetrachords/ (cycles/modes) and composed of ‘ajnas’ (tetrachordal pentachords and maqams, let us deliberate on, for and pentachordal genera), has been a controversial example, Rahavi, which is a peculiar tetrachordal genus theoretical issue for centuries. Islamic Civilization’s first described by Urmavi as 16:15 omitted 16:15 6 15:14 6 music theorist was Al-Kindi (9th century) proposed 14:13 6 13:12, yielding the following scale: Pythagorean pitch ratios for Ud fingerings and its complementary Abjad (Arabic ABCD) system of nota- 1/1 0.000 unison, perfect prime tion. Al-Farabi (10th century) and Ibn Sina (11th 16/15 111.731 minor diatonic semitone (616:15) century), translated the Hellenic lore on diatonic, 8/7 231.174 septimal whole tone (615:14) chromatic and enharmonic divisions of the diatessaron 16/13 359.472 tridecimal neutral third (614:13) to the lingua franca that was Arabic at the time in their 4/3 498.045 perfect fourth (613:12) native land (Yarman, 2007). They made significant contributions to the Islamic theory of music in the manner This genus is resemblant of quotidian Arabic rendi- of rational/just intonation advocates; Archytas, Didymos tion of the cadence region of maqam Segah extended and Ptolemy (Chalmers, 1992).1 Legendary Turkish- toward the bass if the finalis was ascribed to 16/13. Abbasid music theorist Safi al-Din Urmavi (13th century) However, this is a bit of a stretch, since Safi al-Din continued this school and also developed a unique 17- defines the Rahavi genus elsewhere in his al-Risalat al- tones to the octave Pythagorean scale2 that was to inspire Sharafiyya (Arslan, 2007) as the confluence of three Rauf Yekta in the 20th century. Abdulkadir Meragi (15th mujannab-i sebbabe (anterior index finger position on the century), musician to the Herat court of Timur the Lame, ud) intervals totalling 5:4, it is more proper for Rahavi to revived Urmavi’s scale in his various tractates. The usage be constructed in reverse, yielding a Perso-Arabic of the term maqamat (pl. maqam) instead of edvar rendition of the Saba diminished tetrachord with a coincides with the lifetime of this famous musician. semi-tonal second degree as shown below: Somehow, after Meragi, arithmetical calculation of pitches lapsed and did not resurface again for a quad- 1/1 0.000 unison, perfect prime ricentennial epoch—though rife with ilm-i edvar (music 13/12 138.573 tridecimal 2/3-tone (613:12) treatises)—deserving to be titled the ‘dark ages of maqam 7/6 266.871 septimal minor third (614:13) theory’. It is almost as if music theorists had given up 5/4 386.314 major third (615:14) trying to pinpoint the relative pitches of maqams and 4/3 498.045 perfect fourth (616:15) preferred instead the mystical captivation of esoteric chirography. Similarly, during the late Ottoman Era, Note that Urmavi defines on the ud ‘mujannabat’ (the Dimitrie Kantemir, Nayi Osman Dede, Tanburi Ku¨c¸u¨k three possible mujannab-i sebbabe intervals) as 18:17 (99 Harutin (all 18th century), Abdulbaki Nas ir Dede, and cents), 162:149 (145 cents) and 54:49 (168 cents) Hamparsum Limonciyan (both 19th century) developed respectively. Moreover, 65536:59049 (180 cents) should distinctive pitch notations without as much as a numerical be counted as another mujannab interval according to the 17-tone Pythagorean tuning. 1Also cf. ‘diatonic genus’, ‘chromatic genus’ and ‘enharmonic On the ud, the finger positions for Rahavi are hinted genus’ in Tonalsoft Encyclopedia of Microtonal Music-Theory as: by Joseph Monzo, and compare with Ibn Sina, ca. 1030/2004. 2This scale is constructed via a chain of 4 fifths up and 12 fifths 1. Open string (0 cents), down from the tone of origin. 2. Anterior index finger (99, 145, 168 or 180 cents), Weighing diverse theoretical models on Turkish maqam music against pitch measurements 47 3. Middle finger known to the ancients (the Pythagor- 6/5 315.641 minor third (636:35) ean minor third at 32/27, making 294 cents), 27/20 519.551 acute fourth (69:8) 4.
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  • Tambûrî Cemil

    Tambûrî Cemil

    I Sayfa m ini ÖLÜMÜNÜN 51. YILDÖNÜMÜNDE SEVİLEN ŞARKILAR TURK Mahur şarkı Müzik: Tanburi Cemil bey Var iken zatında böyle hüsn-ii an olma nihan Seyre çık reftar edüp uşşak] eyle şaduman Sen kimin meftunusun mahzun durursun her zama» Tambûrî Cemil Bey m Seyre çık reftar edüp uşşakı eyle şaduman Türk musikisinin gelmiş geçmiş en büyük virtüözü sayılan Eviç şarkı Hazırlayan: Müzik: Tanburi Cemil bey Cemil beyr 1916 yılının 29 Temmuz sabahı veremden ölmüştü... Nazirin yok senin ey mâh yerde HİLMİ RİT Arar gönlüm seni seyyarelerde Bakar biçare her şeb ah eder de ÜRK musikisinin gelmiş okşamış, alnından öpmüş ve aşa­ da, modem anlamda izahını Arar gönlüm seni seyyarelerde geçmiş en büyük virtüözü ğı yukarı «Evlâdım, bunca sene­ yapmaya çalışan ilk eserdir. Ce­ Illllllllllllllllllll T tamburi Cemil bey’in, eli­ dir bu sazı çaldık.. Eh., şöyle mil’in garp musikisi ile teması ne aldığı her hangi bir tahta böyle biraz onu yendik de sanır­ ve meşguliyetine saray muhitin­ 1916 yılı Temmuzunun yirmi Hüseynî şarkı parçasından bile güzel sesler çı­ dım. Şimdi seni dinledikten son­ de Burhaneddin efendi, Abdür- sekizinci gününü yirmidokuzu- Müzik: Tanburi Cemil bey karacak değerde doğuştan bir ra, bir daha tamburu elime al­ rahim efendi, Tevfik efendi gibi na bağlayan gece yarısmdan son­ Görmek ister gözlerim herdem seni sanatkâr olduğu şüphesizdir. mayacağım.» gibi bir cümle sar- şehzadeler. Şerif Ali Haydarpaşa- ra karısı ile helâllaştı. Tutuldu­ Yadet Allah aşkına sen de beni Ancak, şahsiyetinin tahlilinde o fetmiş ve toplulukta bulunanla­ zade, Damat Mecit bey ve kar­ ğu verem hastalığından kurtula­ Çünki söyler ağlarım ben hep seni zamanlar meydana çıkarılama­ rı bu sözleri ile allak bullak et­ deşi Şerif Muhiddin bey.