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Istanbul Technical University Institute of Social İSTANBUL TECHNICAL UNIVERSITY INSTITUTE OF SOCIAL SCIENCES 79-TONE TUNING & THEORY FOR TURKISH MAQAM MUSIC As A Solution To The Non-Conformance Between Current Model And Practice Ph.D. Thesis by Ozan Yarman, M.A. Department: Musicology Programme: Musicology and Music Theory JUNE 2008 İSTANBUL TECHNICAL UNIVERSITY INSTITUTE OF SOCIAL SCIENCES 79-TONE TUNING & THEORY FOR TURKISH MAQAM MUSIC As A Solution To The Non-Conformance Between Current Model And Practice Ph.D. Thesis by Ozan YARMAN, M.A. (416022002) Date of submission : 18 Aralık 2007 Date of defence examination : 10 Haziran 2008 Supervisor (Chairman) : Prof. Şehvar BEŞİROĞLU Members of the Examining Committee Prof. Erol DERAN (H.Ü.) Prof. Mutlu TORUN (H.Ü.) Prof. Nermin KAYGUSUZ (İ.T.Ü) Assoc. Prof. Dr. Nilgün DOĞRUSÖZ (İ.T.Ü) Assoc. Prof. Dr. Hasan UÇARSU (M.S.Ü) Assoc. Prof. Dr. Özkan MANAV (M.S.Ü) JUNE 2008 İSTANBUL TEKNİK ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ TÜRK MAKAM MÜZİĞİ İÇİN 79-SESLİ DÜZEN VE KURAM Hazırdaki Model İle İcra Arasındaki Örtüşmezliğe Yönelik Bir Çözüm Denemesi DOKTORA TEZİ M. A. Ozan YARMAN (416022002) Tezin Enstitüye Verildiği Tarih : 18 Aralık 2007 Tezin Savunulduğu Tarih : 10 Haziran 2008 Tez Danışmanı : Prof. Şehvar BEŞİROĞLU Diğer Jüri Üyeleri : Prof. Erol DERAN (H.Ü.) Prof. Mutlu TORUN (H.Ü.) Prof. Nermin KAYGUSUZ (İ.T.Ü) Doç. Dr. Nilgün DOĞRUSÖZ (İ.T.Ü) Doç. Dr. Hasan UÇARSU (M.S.Ü) Doç. Dr. Özkan MANAV (M.S.Ü) HAZİRAN 2008 ii FOREWORD Motivated by a personal resentment against the prevalance of insurmountable inconsistencies in the theory of Turkish Maqam Music that hinder this fair genre’s progress, while no less grieved by the widespread habit throughout the Arab World of dividing the octave into 24 equal parts, the author of this dissertation has undertaken the task of conceptualizing a novel 79-tone tuning, which not only bridges the chasm between written music and performance, but also prepares the way for prospective maqam polyphony. Already implemented on a unique custom-built Turkish qanun with success, the author desires this tuning to be benefitted by nations sharing the maqam tradition; seeing as it is, by far, the only comprehensive and realistic model which accords with pitch measurements and accomodates at every step diverse melodic intervals peculiar to the genre. I, the author, would like to thank the following persons for their valuable contributions to the maturation and completion of this study: Can Akkoç, Kemal Karaosmanoğlu, Ömer Tulgan, and Uğur Keçecioğlu of the “notayaz community”, for their encouragement, camaraderie, and guidance; George Secor and David Keenan, for the time they spared on issues of notation as regards the tuning endorsed in this dissertation; Paul Erlich, Gene Ward Smith, Joseph Monzo, Carl Lumma, Yahya Abdalaziz, Shaahin Mohajeri, Manuel Op de Coul, Margo Schulter, John Chalmers, and several other prestigious members of the “tuning list community” who have devoted much of their time to augmenting my understanding of microtonality; honourable members of the examining committee, Şehvar Beşiroğlu (supervisor), Erol Deran, Mutlu Torun, Nermin Kaygusuz, Nilgün Doğrusöz, Hasan Uçarsu, and Özkan Manav for their diligent scrutiny and appreciation of this work; and last, but not the least, Tolga Yarman, my esteemed father, for his endless patience and high academic wisdom, Işıl Yarman, my respected mother, for her spiritual support, and Sadullah Talat Büyükünal, my faithful companion, for his unequalled friendship in times of distress. All things being temporary and evanescent, so is mortal contemplation categorically fallible. As such, may this earnest enterprise aid the efforts of those who can do better in the future. Ozan Yarman 14 December 2007 iii TABLE OF CONTENTS ABBREVIATIONS........................................................................................ vi LIST OF TABLES....................................................................................... vii LIST OF FIGURES......................................................................................ix ÖZET..........................................................................................................xii SUMMARY ................................................................................................ xiv 1. INTRODUCTION.....................................................................................1 2. CHAPTER: A SYNOPSIS OF CHRONICLES UNDERLYING THE CONTROVERSY BETWEEN THE THEORY AND PRACTICE OF TURKISH MAQAM MUSIC..........................................................................7 2.1. Prologue............................................................................................... 7 2.2. Music Reformation in Türkiye............................................................. 8 2.3. Rise of the ‘Yekta-Arel-Ezgi School’................................................... 15 2.4. Ethnocentric Revisionism as Source of Conflict ............................... 21 3. CHAPTER: ELECTROACOUSTICALLY CAPTURED “QUARTER- TONES” CONTRADICT THEORY IN EFFECT.........................................25 3.1. Prologue............................................................................................. 25 3.2. Empirical Measurement of Played Intervals...................................... 26 3.3. Debunking the 24-tone Pythagorean Model ...................................... 31 4. CHAPTER: COMPARATIVE ANALYSIS OF ALTERNATE HISTORICAL AND MODERN TUNINGS & NOTATIONS OF TRADITIONAL PERDES IN TURKISH MAQAM MUSIC........................................................................42 4.1. Prologue............................................................................................. 42 4.2. Abjad Tone-System............................................................................ 45 4.3. Late Ottoman Phonetic Notations ..................................................... 62 4.4. Contemporary Rival Theories............................................................ 73 4.5. Equal 106-tone Grid: Not Up to the Mark......................................... 83 5. CHAPTER: A 79-TONE TUNING & THEORY SIMULATING JUST INTONATION, TRUE TO MAQAMAT, AND ENCOURAGING MICROTONAL POLYPHONY ....................................................................87 5.1. Prologue............................................................................................. 87 5.2. 79/80 Moment of Symmetry 2°159-tET............................................. 93 iv 5.3. 79-tone Maqam Theory: A Trial ...................................................... 117 6. CHAPTER: CONCLUSION ..................................................................123 APPENDIX A : QUOTES FROM CHAPTER TWO ...................................129 APPENDIX B : COMPLETE SET OF INTERVALS WITHIN AN OCTAVE OF THE 24-TONE PYTHAGOREAN MODEL..........................................158 APPENDIX C : TRADITIONAL PERDES OF NEY ...................................176 REFERENCES .........................................................................................187 BIBLIOGRAPHY.......................................................................................206 GLOSSARY OF TERMS............................................................................223 CURRICULUM VITAE .............................................................................226 v ABBREVIATIONS ADO : Arithmetical divisions of the octave AEU : Arel-Ezgi-Uzdilek System ASCII : American Standard Code for Information Exchange CPS : Cycles per second EDO : Equal divisions of the octave HZ : Hertz JI : Just Intonation MIDI : Musical Instrument Digital Interface MM : Millimeter MOS : Moment of Symmetry TET : (n)-tone equal temperament vi LIST OF TABLES Page # Table 3.1: Pitch Data from Niyazi Sayın’s Uşşak Ney Taksim ................. 27 Table 3.2: Pivotal Intervals in Niyazi Sayın’s Uşşak Ney Taksim ............. 29 Table 3.3: Signell-Akkoç-Karaosmanoğlu Analysis of Necdet Yaşar’s Special Tanbur Intervals....................................................................... 30 Table 3.4: Arel-Ezgi-Uzdilek System......................................................... 31 Table 3.5: Generation of AEU by a Chain of Pure Fifths........................... 34 Table 3.6: Generation of Yekta-24 by a Chain of Pure Fifths .................... 35 Table 3.7: Comparison of AEU & Yekta-24 ............................................... 37 Table 3.8: Approximation of AEU & Yekta-24 by 53-tET........................... 38 Table 3.9: Exposition of the 9-comma Division of the Fa-Sol Whole Tone in AEU & Yekta-24........................................................................ 39 Table 4.1: Chain of Fifths Making Urmavi’s 17-tone Scale....................... 46 Table 4.2: Complete Abjad Notation of Perdes ......................................... 47 Table 4.3: Comparison of AEU with the Abjad System ............................. 49 Table 4.4: Speculation on Nasır Dede’s Consonant Ney Intervals............. 55 Table 4.5: Catalogue of Nasır Dede’s Dyadic Consonances ....................... 56 Table 4.6: Complete List of Dyads in the Abjad System............................ 62 Table 4.7: Kantemir & Osman Dede Phonetic Notations of Perdes .......... 63 Table 4.8: Mixture of Kantemir & Osman Dede Perdes ............................. 65 Table 4.9: Recapitulation of 22 Kantemir & Osman Dede Perdes in 50-EDO ................................................................................................. 67 Table 4.10: Hamparsum & Harutin Phonetic Notations of Perdes ............ 70 Table
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