Hi all

I am new in this areal (acoustical) but i want to ask you what are your view point abut "atraction's law" which are invocation in byzantine music from Greece. sorry my english but i hope you understand my question.

Thanks,

Constantin

--- In MakeMicroMusic@yahoogroups.com, "anton_pann" <anton_pann@...> wrote:
>
> I am new in this areal (acoustical) but i want to ask you what are your view point abut "atraction's law" which are invocation in byzantine music from Greece.

This seems to be called the law of attraction or law of gravity in English, but I'm afraid I have no answer to your question. You could try on tuning@yahoogroups.com instead.

The "law of attraction" usually refers to how wide leaps in melody like to be "filled in". Also, it can refer to how when there are both wide and small intervals in a tuning or scale, there is a tendency to sharp the smaller intervals and flat the larger intervals, to even them out a bit. And, I have heard the term applied in a similar way to traditional Western voice-leading: traditionally you don't write consecutive wide intervals, but smooth things out by preceeding and following large intervals with small intervals, and turning back to fill in, with smaller steps, the gap you just made with the large interval.

As far as Byzantine chant, I have heard the term used in reference to all these meanings (which are pretty much all the same idea anyway. It is often used in writings about Near-Eastern music in general.

--- In MakeMicroMusic@yahoogroups.com, "anton_pann" <anton_pann@...> wrote:
>
> I am new in this areal (acoustical) but i want to ask you what are your view point abut "atraction's law" which are invocation in byzantine music from Greece. sorry my english but i hope you understand my question.
>
> Thanks,
>
> Constantin
>

Ok, but it's a real phenomenon? because i am a chanter in church but in all byzantine music books it's writed that i want to put an interval up or down rezoult another scale not an atraction. It's posible that this "law of atraction" to be an rezoult of old scales was in use in byzantine music before 1814?

Compositionally speaking, the "law of attraction" is traditionally real- how often do you move in consecutive large intervals? And when "law of attraction" is used in traditional Western tonal music, it is certainly real that tonal centers "attract".

But in tuning of Byzantine chant, it may very well be a thing mostly of the past, I don't know.

Also, the expression is used in contradictory ways. For example, I've seen it used to describe precisely the opposite of smoothing out interval differences, in describing a sharpened leading tone as it is "attracted" to the tonic (which stretches the major third in the dominant, of course).

Probably you are right to be sceptical about it. Hopefully Ozan will see this, because the use of the term in maquam music is probably most relevant to your question.

I think you will find that when you take a real hard look at musical terms, they often start to look pretty suspicious. :-)

--- In MakeMicroMusic@yahoogroups.com, "anton_pann" <anton_pann@...> wrote:
>
> Ok, but it's a real phenomenon? because i am a chanter in church but in all byzantine music books it's writed that i want to put an interval up or down rezoult another scale not an atraction. It's posible that this "law of atraction" to be an rezoult of old scales was in use in byzantine music before 1814?
>

ok, i know that but i think the reason for mobility of secundary sound into scale can't be so aleathory and my theory is that the mobility is the result of modal universe. In antiquity and in Orient the makam or dastgah or ragas isn't oly one scale. This type it's an "invention" of western ET system. So, when i talk about Rast makam in fact i have more scale dipending of the chosen intervalic system like tetrachord, pentachord or thirdcord.