My first book (in Turkish alas)

Dear members, take note please!

My first publication, titled (in Turkish): "New Horizons in Our Pitch
Universe - From The Dimension of Theory and Technique" is now in print.

This book contains my tuning and theory related endeavours on the
maqam tradition spanning the last 10 years of my academic career and
comprises critiques against my "local rivals" in the field.

Therein is included three tone-systems (79 MOS 159-tET, Yarman-24 and
Yarman-36) to explain the subtle nuances of pitch in Turkish Maqam
music at three different levels of discreteness. This is the
Analytical section.

Therein is also included three critiques against first: a Professor
who claims that one need not hear two pitches together to perceive
beats, second: a famous Maqam music composer whose rather coarse
language and agenda gives away his over-nationalistic sentiments,
third: an overbearing Jazz musician who took it a fancy to peddle 48-
tone Equal Temperament as a great innovation for Turkish Maqam music
in all due theoretical incompetence. This is the Critique section.

I had much joy and fun when the paperback arrived in my hands. I would
like to share this moment of pride with my colleagues on the lists.

Cordially,
Dr. Oz.

✩ ✩ ✩
www.ozanyarman.com

Hi Oz. Congratulations on the book!

I am really curious as to how one hears beating with only one pitch. How does he explain that?

Chris
Sent via BlackBerry from T-Mobile

Congratulations, Ozan. If only I read Turkish. -Carl

At 04:29 PM 4/28/2010, you wrote:
>
>Dear members, take note please!
>
>My first publication, titled (in Turkish): "New Horizons in Our Pitch
>Universe - From The Dimension of Theory and Technique" is now in print.
>
>This book contains my tuning and theory related endeavours on the
>maqam tradition spanning the last 10 years of my academic career and
>comprises critiques against my "local rivals" in the field.
>
>Therein is included three tone-systems (79 MOS 159-tET, Yarman-24 and
>Yarman-36) to explain the subtle nuances of pitch in Turkish Maqam
>music at three different levels of discreteness. This is the
>Analytical section.
>
>Therein is also included three critiques against first: a Professor
>who claims that one need not hear two pitches together to perceive
>beats, second: a famous Maqam music composer whose rather coarse
>language and agenda gives away his over-nationalistic sentiments,
>third: an overbearing Jazz musician who took it a fancy to peddle 48-
>tone Equal Temperament as a great innovation for Turkish Maqam music
>in all due theoretical incompetence. This is the Critique section.
>
>I had much joy and fun when the paperback arrived in my hands. I would
>like to share this moment of pride with my colleagues on the lists.
>
>Cordially,
>Dr. Oz.

Fantastic. I look forward to reading the English version, if there will in
fact be one.

-Mike

On Wed, Apr 28, 2010 at 7:29 PM, Ozan Yarman <ozanyarman@...>wrote:

>
>
> Dear members, take note please!
>
> My first publication, titled (in Turkish): "New Horizons in Our Pitch
> Universe - From The Dimension of Theory and Technique" is now in print.
>
> This book contains my tuning and theory related endeavours on the
> maqam tradition spanning the last 10 years of my academic career and
> comprises critiques against my "local rivals" in the field.
>
> Therein is included three tone-systems (79 MOS 159-tET, Yarman-24 and
> Yarman-36) to explain the subtle nuances of pitch in Turkish Maqam
> music at three different levels of discreteness. This is the
> Analytical section.
>
> Therein is also included three critiques against first: a Professor
> who claims that one need not hear two pitches together to perceive
> beats, second: a famous Maqam music composer whose rather coarse
> language and agenda gives away his over-nationalistic sentiments,
> third: an overbearing Jazz musician who took it a fancy to peddle 48-
> tone Equal Temperament as a great innovation for Turkish Maqam music
> in all due theoretical incompetence. This is the Critique section.
>
> I had much joy and fun when the paperback arrived in my hands. I would
> like to share this moment of pride with my colleagues on the lists.
>
> Cordially,
> Dr. Oz.
>
> ✩ ✩ ✩
> www.ozanyarman.com
>
>
>

[Non-text portions of this message have been removed]

>"I am really curious as to how one hears beating with only one pitch. How does he explain that?"
Well if that pitch is a timbre there is obvious beating between parts of the timbre as
A) Normal beating if the partials are not just about perfectly aligned with the harmonic series
B) Periodic buzz-type beating if the partials are perfectly aligned with the harmonic series (IE strong beating at the rate of the fundamental)
...plus maybe a few other phenomena I don't yet know about.

[Non-text portions of this message have been removed]

> >"I am really curious as to how one hears beating with only one pitch. How does he explain that?"
> Well if that pitch is a timbre there is obvious beating between parts of the timbre as
> A) Normal beating if the partials are not just about perfectly aligned with the harmonic series

No... you aren't going to get beating in that case.

> B) Periodic buzz-type beating if the partials are perfectly aligned with the harmonic series (IE strong beating at the rate of the fundamental)
> ...plus maybe a few other phenomena I don't yet know about.

I'm still not sure what causes "periodicity buzz." I think it has to
do with the fact that the time resolution of the ear is generally
greater at higher frequencies. But, if you play an entire harmonic
series, with a 1/N rolloff, you aren't going to get "periodicity
buzz." The end result might sound "buzzy," since it will be a sawtooth
wave, but it isn't going to have active beating or anything like that.

-Mike

> A) Normal beating if the partials are not just about perfectly aligned with the harmonic series
>No... you aren't going to get beating in that case.
Why not...even, say, the 9th and 10th partials are going to have some roughness against each other IE at a "rounded" 10/9, for example 102/90. Load just about any piano or saxophone sound into a wave editor and you'll see some oscillation caused by beating...often with the highest point of the amplitude cycle (and this is long after the attack ends) being about half amplitude of the lowest. Even a basic "non-fluctating" sounding organ has that issue. The steady "wobble" is also audible if you really listen for it..

>"But, if you play an entire harmonic series, with a 1/N rolloff, you aren't going to get "periodicity
buzz."
How does the 1/n roll-off work?
>"The end result might sound "buzzy," since it will be a sawtooth wave, but it isn't going to have active beating or anything like that."
Odd case...you're right a saw-tooth doesn't oscillate (at least not that I can hear). Maybe the noise of the higher overtones levels out the beating of the lower ones...but I'm not sure. Any ideas how come?

[Non-text portions of this message have been removed]

Mike,

I wrote out a very, very long reply, but I think it would be best if I
sent it to you offlist instead, out of respect for Oz's thread. Check
your email.

-Mike

I hit upon one example Oz - and only one.

Some large (church) bells have beating because of the complex non-harmonic
overtones involved. So if he is talking about non-harmonic timbres I can
understand this point. Otherwise I would think it would not happen with
typical instruments.

Chris

On Wed, Apr 28, 2010 at 7:57 PM, Chris <chrisvaisvil@...> wrote:

> Hi Oz. Congratulations on the book!
>
> I am really curious as to how one hears beating with only one pitch. How
> does he explain that?
>
> Chris
> Sent via BlackBerry from T-Mobile
>

[Non-text portions of this message have been removed]

Congrats

> Dear members, take note please!
>
> My first publication, titled (in Turkish): "New Horizons in Our Pitch
> Universe - From The Dimension of Theory and Technique" is now in print.
>

--
http://DoctorOakroot.com - "rough-edged songs on quirky homemade guitars..."

MikeB (about the nature of beating/lack-of-beating within single instrument notes)>"I wrote out a very, very long reply, but I think it would be best if I
sent it to you offlist instead, out of respect for Oz's thread. Check your email."

Right. To tie this back to the original discussion this spun off of Chris's comment about how someone (referenced in the book, I believe) hears beating within a single sound.
Good that you caught that though, I'm rather guilty-as-charged for asking a question on a tangent to the book and discussion...thanks.

[Non-text portions of this message have been removed]

Thanks Carl!

I think Turkish is the *worst* language in the world, so you are
better off not knowing it... ;)

Oz.

✩ ✩ ✩
www.ozanyarman.com

On Apr 29, 2010, at 3:04 AM, Carl Lumma wrote:

> Congratulations, Ozan. If only I read Turkish. -Carl
>
> At 04:29 PM 4/28/2010, you wrote:
>>
>> Dear members, take note please!
>>
>> My first publication, titled (in Turkish): "New Horizons in Our Pitch
>> Universe - From The Dimension of Theory and Technique" is now in
>> print.
>>
>> This book contains my tuning and theory related endeavours on the
>> maqam tradition spanning the last 10 years of my academic career and
>> comprises critiques against my "local rivals" in the field.
>>
>> Therein is included three tone-systems (79 MOS 159-tET, Yarman-24 and
>> Yarman-36) to explain the subtle nuances of pitch in Turkish Maqam
>> music at three different levels of discreteness. This is the
>> Analytical section.
>>
>> Therein is also included three critiques against first: a Professor
>> who claims that one need not hear two pitches together to perceive
>> beats, second: a famous Maqam music composer whose rather coarse
>> language and agenda gives away his over-nationalistic sentiments,
>> third: an overbearing Jazz musician who took it a fancy to peddle 48-
>> tone Equal Temperament as a great innovation for Turkish Maqam music
>> in all due theoretical incompetence. This is the Critique section.
>>
>> I had much joy and fun when the paperback arrived in my hands. I
>> would
>> like to share this moment of pride with my colleagues on the lists.
>>
>> Cordially,
>> Dr. Oz.
>
>

Thanks Mike, I really should put an English translation on my agenda
it seems. :)

Oz.

✩ ✩ ✩
www.ozanyarman.com

On Apr 29, 2010, at 6:42 AM, Mike Battaglia wrote:

> Fantastic. I look forward to reading the English version, if there
> will in
> fact be one.
>
> -Mike
>
>
> On Wed, Apr 28, 2010 at 7:29 PM, Ozan Yarman <ozanyarman@...
> >wrote:
>
>>
>>
>> Dear members, take note please!
>>
>> My first publication, titled (in Turkish): "New Horizons in Our Pitch
>> Universe - From The Dimension of Theory and Technique" is now in
>> print.
>>
>> This book contains my tuning and theory related endeavours on the
>> maqam tradition spanning the last 10 years of my academic career and
>> comprises critiques against my "local rivals" in the field.
>>
>> Therein is included three tone-systems (79 MOS 159-tET, Yarman-24 and
>> Yarman-36) to explain the subtle nuances of pitch in Turkish Maqam
>> music at three different levels of discreteness. This is the
>> Analytical section.
>>
>> Therein is also included three critiques against first: a Professor
>> who claims that one need not hear two pitches together to perceive
>> beats, second: a famous Maqam music composer whose rather coarse
>> language and agenda gives away his over-nationalistic sentiments,
>> third: an overbearing Jazz musician who took it a fancy to peddle 48-
>> tone Equal Temperament as a great innovation for Turkish Maqam music
>> in all due theoretical incompetence. This is the Critique section.
>>
>> I had much joy and fun when the paperback arrived in my hands. I
>> would
>> like to share this moment of pride with my colleagues on the lists.
>>
>> Cordially,
>> Dr. Oz.
>>
>> ✩ ✩ ✩
>> www.ozanyarman.com
>>
>>
>>
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>

I would very much like to read it. High on my to-do list is
understanding the musics of different cultures, especially where
alternate tunings are involved.

Miraculously enough, after writing this to you last night, a TV
special about Turkey came on. They covered Turkish delights and then
Turkish baths, and finally settled into Turkish music. It was one of
the most awesome things I have heard in a while, and I was trying to
pay attention to how they use higher-prime intervals to create emotion
(being as I'm having trouble doing this in my own composition).

After listening to it for like 10 minutes, I realized you had just
written a book on this exact topic and probably in painstaking detail,
only heightening my interest more. So translate, I say!

-Mike

On Thu, Apr 29, 2010 at 11:20 PM, Ozan Yarman <ozanyarman@ozanyarman.com> wrote:
>
>
>
> Thanks Mike, I really should put an English translation on my agenda
> it seems. :)
>
> Oz.
>
> ✩ ✩ ✩
> www.ozanyarman.com
>
> On Apr 29, 2010, at 6:42 AM, Mike Battaglia wrote:
>
> > Fantastic. I look forward to reading the English version, if there
> > will in
> > fact be one.
> >
> > -Mike
> >
> >
> > On Wed, Apr 28, 2010 at 7:29 PM, Ozan Yarman <ozanyarman@...
> > >wrote:
> >
> >>
> >>
> >> Dear members, take note please!
> >>
> >> My first publication, titled (in Turkish): "New Horizons in Our Pitch
> >> Universe - From The Dimension of Theory and Technique" is now in
> >> print.
> >>
> >> This book contains my tuning and theory related endeavours on the
> >> maqam tradition spanning the last 10 years of my academic career and
> >> comprises critiques against my "local rivals" in the field.
> >>
> >> Therein is included three tone-systems (79 MOS 159-tET, Yarman-24 and
> >> Yarman-36) to explain the subtle nuances of pitch in Turkish Maqam
> >> music at three different levels of discreteness. This is the
> >> Analytical section.
> >>
> >> Therein is also included three critiques against first: a Professor
> >> who claims that one need not hear two pitches together to perceive
> >> beats, second: a famous Maqam music composer whose rather coarse
> >> language and agenda gives away his over-nationalistic sentiments,
> >> third: an overbearing Jazz musician who took it a fancy to peddle 48-
> >> tone Equal Temperament as a great innovation for Turkish Maqam music
> >> in all due theoretical incompetence. This is the Critique section.
> >>
> >> I had much joy and fun when the paperback arrived in my hands. I
> >> would
> >> like to share this moment of pride with my colleagues on the lists.
> >>
> >> Cordially,
> >> Dr. Oz.
> >>
> >> ✩ ✩ ✩
> >> www.ozanyarman.com
> >>
> >>
> >>
> >
> >
> > [Non-text portions of this message have been removed]
> >
> >
> >
> > ------------------------------------
> >
> > Yahoo! Groups Links
> >
> >
> >
>
>

Dear Chris,

The beating in question for this professor is not "pseudo-beats" which
arise due to oscillation/coupling of nodes of partials? I'm not sure
as to the exact mechanism, but this phenomenon (also observed with some piano strings) is supposedly seperate from what Ayhan Zeren is
describing. Actually, he has brought up the issue of beats to evade
accounting for pitches not defined by Arel-Ezgi-Uzdilek theory based
on the 24-tone Pythagorean tuning. He has claimed a most strange thing
when he said that the fluency of perde segah (Bd) is actually due to
executants trying to bend this perde down to dik kurdi (A#) and them
being confused as to its location due to:

1. Dik kurdi not having been specified in the scores in pertinent
modulations,
2. Difficulty in perceiving the lessened interfereces for these small
intervals,

with the result being an unacceptable aberration.

When I cornered him saying that there is no question of beats when the
tanbur frets are already aligned according to Arel-Ezgi theory (tuned
in pure fifths) and when performing in a totally monophonic fashion,and pressed on with saying that higher limit ratios produce no beating
in this scenario compared to AEU pitches anyway, he didn't flinch and
said that I knew it wrong and that one need not hear two pitches
together to perceive beats.

By saying so, he apparently manoeuvred out of the tight fix using a
loop hole that wasn't even relevant to the discussion. For indeed,
pseudo-beats are single tone partial interferences. The beats in
question are interferences due to the usage of at least "two seperate
sources or tones". It goes without saying that the known phenomenon of
regular beating depends on two tones deviating from their respective
partial nodes.

Besides, Prof. Zeren also gives practically the same definitions forbeats in his other books!

Cordially,
Oz.

✩ ✩ ✩
www.ozanyarman.com

On Apr 29, 2010, at 5:11 PM, Chris Vaisvil wrote:

> I hit upon one example Oz - and only one.
>
> Some large (church) bells have beating because of the complex non-
> harmonic
> overtones involved. So if he is talking about non-harmonic timbres I
> can
> understand this point. Otherwise I would think it would not happen
> with
> typical instruments.
>
> Chris
>
> On Wed, Apr 28, 2010 at 7:57 PM, Chris <chrisvaisvil@gmail.com> wrote:
>
>> Hi Oz. Congratulations on the book!
>>
>> I am really curious as to how one hears beating with only one
>> pitch. How
>> does he explain that?
>>
>> Chris
>> Sent via BlackBerry from T-Mobile
>>
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>

Thanks doctor Oakroot!

Oz.

✩ ✩ ✩
www.ozanyarman.com

On Apr 29, 2010, at 5:19 PM, doctor@... wrote:

> Congrats
>
>> Dear members, take note please!
>>
>> My first publication, titled (in Turkish): "New Horizons in Our Pitch
>> Universe - From The Dimension of Theory and Technique" is now in
>> print.
>>
>
>
> --
> http://DoctorOakroot.com - "rough-edged songs on quirky homemade
> guitars..."

And though you cannot read Turkish, one can still appreciate the cover
page design here:

http://www.ozanyarman.com/misc/sesdunyamizdakapak.jpg

Oz.

✩ ✩ ✩
www.ozanyarman.com

On Apr 29, 2010, at 3:04 AM, Carl Lumma wrote:

> Congratulations, Ozan. If only I read Turkish. -Carl
>
> At 04:29 PM 4/28/2010, you wrote:
>>
>> Dear members, take note please!
>>
>> My first publication, titled (in Turkish): "New Horizons in Our Pitch
>> Universe - From The Dimension of Theory and Technique" is now in
>> print.
>>
>> This book contains my tuning and theory related endeavours on the
>> maqam tradition spanning the last 10 years of my academic career and
>> comprises critiques against my "local rivals" in the field.
>>
>> Therein is included three tone-systems (79 MOS 159-tET, Yarman-24 and
>> Yarman-36) to explain the subtle nuances of pitch in Turkish Maqam
>> music at three different levels of discreteness. This is the
>> Analytical section.
>>
>> Therein is also included three critiques against first: a Professor
>> who claims that one need not hear two pitches together to perceive
>> beats, second: a famous Maqam music composer whose rather coarse
>> language and agenda gives away his over-nationalistic sentiments,
>> third: an overbearing Jazz musician who took it a fancy to peddle 48-
>> tone Equal Temperament as a great innovation for Turkish Maqam music
>> in all due theoretical incompetence. This is the Critique section.
>>
>> I had much joy and fun when the paperback arrived in my hands. I
>> would
>> like to share this moment of pride with my colleagues on the lists.
>>
>> Cordially,
>> Dr. Oz.
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>

[Non-text portions of this message have been removed]

Cool jacket! I mean the book's, but yours too. :)

-Carl

At 11:45 PM 4/29/2010, you wrote:
>
>And though you cannot read Turkish, one can still appreciate the cover
>page design here:
>
>http://www.ozanyarman.com/misc/sesdunyamizdakapak.jpg
>
>Oz.
>
>✩ ✩ ✩
>www.ozanyarman.com
>
>On Apr 29, 2010, at 3:04 AM, Carl Lumma wrote:
>
>> Congratulations, Ozan. If only I read Turkish. -Carl
>>