AW.: Re: Re: Role of quarter tones in Arabic Music

Going through the postings on this topic, I suspect that Paul Erlich has been
listening to more popular Arabic genres -- where quartertone instruments come
into play -- while Kraig has been listening to classical musics, where 24tet
quartertones have NEVER played a role in performance practice. This is also
true for classical and popular genres in Turkey and in Greek orthodox music
(which form a single intonational tradition) as well as in Persia.

Let me emphasize that the use of 24tet in popular musics in Arabic speaking
countries is the direct result of a local theoretical innovation in the 19th
century, at a time when quartertones were NOT a subject of discussion in the
west. Lines of influence in musical practice lead in surprising ways and in
making conjectures about music history one ought to be very careful to avoid
the kinds of errors often encountered in the early days of ethnomusicology,
particularly those influenced by the _Kulturkreis_ theory (e.g. v.
Hornbostel, Sachs, Schneider). Even today, I would venture that western music
plays a role of limited influence in the islamicate world when compared with
the role played by Indian film music.

BTW, if anyone would like an intonationally complex topic for a dissertation,
try Indian film music...

Dan!
yes with Erlander's book he reproduces one theorist suggestion of the 24ET.
I stand corrected from my post a few months ago!

DWolf77309@cs.com wrote:

> From: DWolf77309@cs.com
>
> Going through the postings on this topic, I suspect that Paul Erlich has been
> listening to more popular Arabic genres -- where quartertone instruments come
> into play -- while Kraig has been listening to classical musics, where 24tet
> quartertones have NEVER played a role in performance practice. This is also
> true for classical and popular genres in Turkey and in Greek orthodox music
> (which form a single intonational tradition) as well as in Persia.
>
> Let me emphasize that the use of 24tet in popular musics in Arabic speaking
> countries is the direct result of a local theoretical innovation in the 19th
> century, at a time when quartertones were NOT a subject of discussion in the
> west. Lines of influence in musical practice lead in surprising ways and in
> making conjectures about music history one ought to be very careful to avoid
> the kinds of errors often encountered in the early days of ethnomusicology,
> particularly those influenced by the _Kulturkreis_ theory (e.g. v.
> Hornbostel, Sachs, Schneider). Even today, I would venture that western music
> plays a role of limited influence in the islamicate world when compared with
> the role played by Indian film music.
>
> BTW, if anyone would like an intonationally complex topic for a dissertation,
> try Indian film music...
>
>
>
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-- Kraig Grady
North American Embassy of Anaphoria Island
http://www.anaphoria.com

> yes with Erlander's book he reproduces one theorist suggestion of the 24ET.
> I stand corrected from my post a few months ago!

What are the details on Erland's book - title + publisher + date

--
Dr John van der Hoek l e-mail:
Department of Applied Mathematics, l jvanderh@maths.adelaide.edu.au
University of Adelaide, l 'phone: +61-(0)8-8303-5903
Adelaide, S.A. 5005 AUSTRALIA l fax: +61-(0)8-8303-3696

Actually it was a typo. D'Erlanger, Baron Rodolphe.La Musique Arabe. Paris:Librairie
Orientiste Paul Geuthner.6 vols.In French, but enough ratios and such to figure it
out.

John van der Hoek wrote:

> From: John van der Hoek <jvanderh@maths.adelaide.edu.au>
>
> > yes with Erlander's book he reproduces one theorist suggestion of the 24ET.
> > I stand corrected from my post a few months ago!
>
> What are the details on Erland's book - title + publisher + date
>
> --
>

-- Kraig Grady
North American Embassy of Anaphoria Island
http://www.anaphoria.com