For Michael

Michael,

1/1, 9/8, 5/4, 4/3, 3/2, 27/16, 15/8, 2/1
is nothing but a modern rehash of Al-Farabi's

Strong Conjunct Moderate Genus in the `Second Disjunct System.'

Cris

--- In tuning@yahoogroups.com, "Cris Forster" <cris.forster@c...> wrote:
> Michael,
>
> 1/1, 9/8, 5/4, 4/3, 3/2, 27/16, 15/8, 2/1
> is nothing but a modern rehash of Al-Farabi's
>
> Strong Conjunct Moderate Genus in the `Second Disjunct System.'

Indeed; it's in the Scala archives as al-farabi_g1, "Al-Farabi's Greek
genus conjunctum medium, Land" It's also in there as indian-sagrama,
"Indian mode Sa-grama (Sa Ri Ga Ma Pa Dha Ni Sa), inverse of Didymus'
diatonic." It is a Fokker block; it showed up in the course of my survey
of 5-limit 7-note Fokker blocks as one of the seven (seven is a prime,
so the blocks come in sevens) Fokker blocks resulting from 81/80 and
135/128.

As far as I am aware, Al-Farabi translated the Greek theorists's findings into Arabic and added some bits to that. I admit I could find no Turkish or English translations of his work, so my comment has to remain superficial.

The Arabs today do play Segah at practically 27/22, but the Turks do not. We observe that Turkish Maqam Music masters use 5/4 to 56/45 (perhaps even lower) in Rast instead, while 27/22 is reserved for Maqam Usshaq just played in passing. Any man with trained ears can listen and see for himself. There is a neat program designed by Manuel Op de Coul named SCALA which is free of charge, by which one can for once TRY to understand if certain pitches propounded by existing theoretical models correlate to those played on REAL instruments.

And one can TRY to explain why there are so many alternate schools in Maqam Music battling for theoretical supremacy for Allah's sake.

Cordially,
Ozan
----- Original Message -----
From: Cris Forster
To: tuning@yahoogroups.com
Sent: 04 Ekim 2005 Salı 19:22
Subject: [tuning] For Michael

Michael,

1/1, 9/8, 5/4, 4/3, 3/2, 27/16, 15/8, 2/1
is nothing but a modern rehash of Al-Farabi's

Strong Conjunct Moderate Genus in the `Second Disjunct System.'

Cris

The works of Al-Kindi, Al-Farabi, Ibn-Sina, and Al-Jurjani are works
of genius; I can no more "read through" them than I can "read
through" a Beethoven or Rachmaninoff piano concerto.

--- In tuning@yahoogroups.com, "Ozan Yarman" <ozanyarman@s...> wrote:
> As far as I am aware, Al-Farabi translated the Greek theorists's
findings into Arabic and added some bits to that. I admit I could
find no Turkish or English translations of his work, so my comment
has to remain superficial.
>
> The Arabs today do play Segah at practically 27/22, but the Turks
do not. We observe that Turkish Maqam Music masters use 5/4 to 56/45
(perhaps even lower) in Rast instead, while 27/22 is reserved for
Maqam Usshaq just played in passing. Any man with trained ears can
listen and see for himself. There is a neat program designed by
Manuel Op de Coul named SCALA which is free of charge, by which one
can for once TRY to understand if certain pitches propounded by
existing theoretical models correlate to those played on REAL
instruments.
>
> And one can TRY to explain why there are so many alternate schools
in Maqam Music battling for theoretical supremacy for Allah's sake.
>
> Cordially,
> Ozan
> ----- Original Message -----
> From: Cris Forster
> To: tuning@yahoogroups.com
> Sent: 04 Ekim 2005 Salý 19:22
> Subject: [tuning] For Michael
>
>
> Michael,
>
> 1/1, 9/8, 5/4, 4/3, 3/2, 27/16, 15/8, 2/1
> is nothing but a modern rehash of Al-Farabi's
>
> Strong Conjunct Moderate Genus in the `Second Disjunct System.'
>
> Cris

The works of Al-Kindi, Al-Farabi, Ibn-Sina, and Al-Jurjani are works
of genius. I can no more "read through" them than I can "read
through" a Beethoven or Rachmaninoff piano concerto.

--- In tuning@yahoogroups.com, "Ozan Yarman" <ozanyarman@s...> wrote:
> As far as I am aware, Al-Farabi translated the Greek theorists's
findings into Arabic and added some bits to that. I admit I could
find no Turkish or English translations of his work, so my comment
has to remain superficial.
>
> The Arabs today do play Segah at practically 27/22, but the Turks
do not. We observe that Turkish Maqam Music masters use 5/4 to 56/45
(perhaps even lower) in Rast instead, while 27/22 is reserved for
Maqam Usshaq just played in passing. Any man with trained ears can
listen and see for himself. There is a neat program designed by
Manuel Op de Coul named SCALA which is free of charge, by which one
can for once TRY to understand if certain pitches propounded by
existing theoretical models correlate to those played on REAL
instruments.
>
> And one can TRY to explain why there are so many alternate schools
in Maqam Music battling for theoretical supremacy for Allah's sake.
>
> Cordially,
> Ozan
> ----- Original Message -----
> From: Cris Forster
> To: tuning@yahoogroups.com
> Sent: 04 Ekim 2005 Salý 19:22
> Subject: [tuning] For Michael
>
>
> Michael,
>
> 1/1, 9/8, 5/4, 4/3, 3/2, 27/16, 15/8, 2/1
> is nothing but a modern rehash of Al-Farabi's
>
> Strong Conjunct Moderate Genus in the `Second Disjunct System.'
>
> Cris

Yes, since they are "pre-certified genii", we need NOT measure if their prognostications are still accurate with current practice, and we need NOT bother checking the slim possibility that they COULD have been wrong, even though they evidently did NOT have access to 21th century pitch-measurement tools to vindicate their assertions.
----- Original Message -----
From: Cris Forster
To: tuning@yahoogroups.com
Sent: 05 Ekim 2005 Çarşamba 4:56
Subject: [tuning] Re: For Michael

The works of Al-Kindi, Al-Farabi, Ibn-Sina, and Al-Jurjani are works
of genius; I can no more "read through" them than I can "read
through" a Beethoven or Rachmaninoff piano concerto.