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Yeden
Yeden, in Turkish makam theory, is the note preceding the tonic note (Durak) as the leading tone within a makam. History The term Yeden has been first introduced into Turkish makam theory by Rauf Yekta Bey, he considered the Yeden a complementary feature of a makam. Melodic function The Yeden, as with the leading tone in Western classical music, leads to the resolution of a makam. While the Yeden note is generally octave equivalent with the 7th tone within the scale, sometimes it may be a different note. When it is a different note, sometimes its octave equivalent counterpart can be used in the scale, even if it is normally not in the scale. There are three different intervals that a Yeden can have in the 53 Tone Equal Temperament in Turkish makam theory, developed by and named after the Arel-Ezgi-Uzdilek notation. 1. Bakiye The Bakiye is equivalent to 4 Holdrian Commas (90.57 cents), which as a leading tone is slightly sharper than the 100 cent Western leading note. A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Turkish Makam
The Turkish makam ( Turkish: ''makam'' pl. ''makamlar''; from the Arabic word ''maqām'' ) is a system of melody types used in Turkish classical music and Turkish folk music. It provides a complex set of rules for composing and performance. Each makam specifies a unique intervalic structure (''cinsler'' meaning genera) and melodic development (''seyir''). Whether a fixed composition ('' beste'', '' şarkı'', '' peşrev'', '' âyin'', etc.) or a spontaneous composition ('' gazel'', '' taksim'', recitation of '' Kuran-ı Kerim'', '' Mevlid'', etc.), all attempt to follow the melody type. The rhythmic counterpart of makam in Turkish music is usul. Geographic and cultural relations The Turkish makam system has some corresponding relationships to maqams in Arabic music and '' echos'' in Byzantine music. Some theories suggest the origin of the makam to be the city of Mosul in Iraq. "Mula Othman Al-Musili," in reference to his city of origin, is said to have served in the Ottoman ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Turkish Makam Music
The Turkish makam ( Turkish: ''makam'' pl. ''makamlar''; from the Arabic word ''maqām'' ) is a system of melody types used in Turkish classical music and Turkish folk music. It provides a complex set of rules for composing and performance. Each makam specifies a unique intervalic structure (''cinsler'' meaning genera) and melodic development (''seyir''). Whether a fixed composition ('' beste'', '' şarkı'', ''peşrev'', '' âyin'', etc.) or a spontaneous composition (''gazel'', '' taksim'', recitation of '' Kuran-ı Kerim'', '' Mevlid'', etc.), all attempt to follow the melody type. The rhythmic counterpart of makam in Turkish music is usul. Geographic and cultural relations The Turkish makam system has some corresponding relationships to maqams in Arabic music and ''echos'' in Byzantine music. Some theories suggest the origin of the makam to be the city of Mosul in Iraq. "Mula Othman Al-Musili," in reference to his city of origin, is said to have served in the Ottoman Pala ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Durak (Turkish Makam Theory)
Durak (also known as Karar), in Turkish makam theory, is the initial note of the first tetrachord or pentachord in the diatonic scale In music theory a diatonic scale is a heptatonic scale, heptatonic (seven-note) scale that includes five whole steps (whole tones) and two half steps (semitones) in each octave, in which the two half steps are separated from each other by eith ..., and the tonic note which always concludes a composition within a makam. See also * Final (music) * Tiz Durak * Güçlü * Yeden * Donanım * Seyir * Şifre References {{Turkish makam theory, state=collapsed Ottoman classical music Music of Turkey Maqam-based music tradition Turkish words and phrases ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Uşşak (Turkish Makam)
Uşşak is the implementation of the Bayati scale in Turkish makam music. It can be approximated by using the 53 Tone Equal Temperament. Uşşak in 53-TET Comparison with Western scales Since the makam is most closely approximated with the 53-TET, it is impossible to directly tie it to 12-TET Western scales. However, using the 48-TET model, while worse than many other models in approximation, allows for such comparisons.This is because 48 is divisible by 12. The approximation of Rast ascending within 48-TET would be: denotes a quarter flat, 25 cents in this case. (One Holdrian Comma in 53-TET) * Aeolian (2) Related makams * Hüseynî, same notes as Uşşak, has the güçlü on the 5th note instead of the 4th. * Rast, functions as a mode of Uşşak, when Uşşak's yeden (leading tone) is treated as a durak (tonic note). There can be a geçki (modulation Signal modulation is the process of varying one or more properties of a periodic waveform in electronics and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rast (Turkish Makam)
Rast is the implementation of the Rast (maqam), Rast scale in Turkish makam music. It is in 53 equal temperament, 53 Tone Equal Temperament. Rauf Yekta, Rauf Yekta Bey's model places the Rast Makam as the gamme naturale of Turkish Classical Music and centers the theoretical approach around it. In the Arel-Ezgi-Uzdilek notation, Arel Ezgi Uzdilek system, the scale centered in the theory became Çârgâh. Rast in 53-TET The Rast makam also has a Rast tetrachord extension in its lower registers, that is Octave equivalence, octave equivalent to the second Çeşni (Turkish makam theory), çeşni in Rast ascending. The notes are: Yegâh, Hüseyni-Aşiran, Irak, ending with Rast. Comparison with Western scales Since the makam is based on 53-TET, it is impossible to directly tie it to 12 equal temperament, 12-TET Classical music, Western Scale (music), scales. However, using the 48-TET model, while worse than many other models in approximation, allows for such comparisons.This is be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ottoman Classical Music
Ottoman music () or Turkish classical music (, or more recently ) is the tradition of Art music, classical music originating in the Ottoman Empire. Developed in the palace, major Ottoman cities, and Sufi lodges, it traditionally features a solo singer with a small to medium-sized instrumental ensemble. A tradition of music that reached its Golden Age, golden age around the early 18th century, Ottoman music traces its roots back to the music of the Hellenic Culture, Hellenic and Persianate society, Persianate world, a distinctive feature of which is the usage of a modal melodic system. This system, alternatively called ''Turkish makam, makam'', ''dastgah'' or ''echos'', is a large and varied system of melodic material, defining both scales and melodic contour. In Ottoman music alone, List of makams, more than 600 makams have been used so far, and out of these, at least 120 makams are in common use and formally defined. Rhythmically, Ottoman music uses the ''zaman'' and ''usûl'' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Subtonic
In music, the subtonic is the degree of a musical scale which is a major second, whole step below the tonic (music), tonic note. In a major key, it is a lowered, or flattened, seventh Degree (music), scale degree (). It appears as the seventh scale degree in the Natural minor scale, natural minor and Descending melodic minor scale, descending melodic minor scales but not in the major scale. In major keys, the subtonic sometimes appears in Borrowed chord, borrowed chords. In the Solfège#Movable do solf%C3%A8ge, movable do solfège system, the subtonic note is sung as ''te'' (or ''ta''). The subtonic can be contrasted with the leading-note, leading note, which is a minor second, ''half step'' below the tonic. The distinction between leading note and subtonic has been made by theorists since at least the second quarter of the 20th century. Before that, the term ''subtonic'' often referred to the leading tone triad, for example. The word ''subtonic'' is also used as an English transl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mahur (Turkish Makam)
Mahur may refer to: Geography * Mahur, Maharashtra, India * Mahur Fort, India * Mahur, Assam, India * Mahur, Iran, a village in Khuzestan Province, Iran * Mahur-e Chah Gandali, a village in Khuzestan Province, Iran * Mahur Berenji (other), places in Khuzestan Province, Iran * Mahur-e Basht, a village in Kohgiluyeh and Boyer-Ahmad Province, Iran * Mahur Rural District, in Fars Province, Iran Music * Dastgāh-e Māhur is a mode (dastgah, ''maqam'', ''mayeh''), in Persian traditional music, identical to the Western major scale * Mahur is a makam Maqam, makam, maqaam or maqām (plural maqāmāt) may refer to: Musical structures * Arabic maqam, melodic modes in traditional Arabic music ** Iraqi maqam, a genre of Arabic maqam music found in Iraq * Persian maqam, a notion in Persian class ... in the music of Turkey See also * Mahuri, a Hindu caste in India {{disambiguation, geo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
İstanbul University
Istanbul University, also known as University of Istanbul (), is a public research university located in Istanbul, Turkey. Founded by Mehmed II on May 30, 1453, a day after the conquest of Constantinople by the Turks, it was reformed as the first Ottoman higher education institution influenced by European approaches. The successor institution, which has been operating under its current name since 1933, is the first university in modern Turkey. The university has 58,809 undergraduate, graduate, and doctoral students studying in 112 academic units, including faculties, institutes, colleges, and vocational schools at 9 campuses. The main campus is adjacent to Beyazıt Square in Fatih, the capital district of the province, on the European side of the city. Istanbul University alumni include Nobel Prize in Chemistry winner Aziz Sancar and Nobel Prize in Literature winner Orhan Pamuk, as well as President of Turkey Abdullah Gül, six Prime Ministers of Turkey, including Suat Hayr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Holdrian Comma
In music, 53 equal temperament, called 53 TET, 53 EDO, or 53 ET, is the tempered scale derived by dividing the octave into 53 equal steps (equal frequency ratios) (). Each step represents a frequency ratio of or 22.6415 cents (), an interval sometimes called the Holdrian comma. 53 TET is a tuning of equal temperament in which the tempered perfect fifth is 701.89 cents wide, as shown in Figure 1, and sequential pitches are separated by 22.642 cents. The 53-TET tuning equates to the unison, or ''tempers out'', the intervals known as the schisma, and known as the kleisma. These are both 5 limit intervals, involving only the primes 2, 3, and 5 in their factorization, and the fact that 53 TET tempers out both characterizes it completely as a 5 limit temperament: It is the only regular temperament tempering out both of these intervals, or commas, a fact which seems to have first been recognized by Japanese music t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
