West-centric Modulation vs other cultures

Here is a late reply:

> > What muddies the waters is inventing words to divide musical terminology
> > into cultural borders IMNSHO.
>
> I think this is perfectly OK, and the best way to go, when there are
> different cultural practices.
>

So you like us to define some other concept for the equivalent of unison and
modulation in other cultures? What purpose shall it serve other than
complicate our understanding of music theory? It's already very much
engrossed with needless detail:

http://www.smu.edu/totw/tonicize.htm
http://courses.wcupa.edu/abauer/mtm.html
http://en.wikipedia.org/wiki/Tonicization

> >
> > There is no mention of anything such as `tonal transposition` here, nor
> > anywhere else I could readily reach.
>
> More often than with transposition, it is used with more specific
> instances like imitations, sequences and fugue subjects. They are either
> real transpositions, interval for interval, which constitute a new
> tonality, or tonal. These latter ones stay inside the established
> tonality for the price of exchanging major and minor intervals, fifths
> and fourths.
>

But that is nothing other than an instance of modulation, be it intermediate
or tonicizing...

> >
> > Modulation in the Western sense! Now that is something to be explained
aside
> > from modulation in an intercontinental/universal sense.
>
> Western modulation means establishing a key, and the only Western way to
> establish a key is with IV-V-I or II-V-I cadence, and then establishing
> a different key by the same means.

Certainly not. There are several Western ways to establish keys. It will
just be too long to give an account of them here. Suffice it to say, in my
Golden Horn Shipyard Concerto, 1st movement toward the end, I modulate from
the key of C minor to D major like this:

Cm root > BM root > Eb minor 1st inv > FM dom 7th root > ditto 3rd inv > DM
root

This is the first measure with a time signature of 11/8. Listen onward from
2:06 seconds. The second measure goes to G major thus:

DM root to Dm root > Bbm 1st inv to root > F minor 1st inv to AbM dom. jazzy
and back > GM root > back to Cm root.

And I have not even established a new key yet.

Now I'm sure it is possible for someone to jump in and cry, but these are
tonicizations!

So what? They all classify as modulations, be they intermediate, transient,
tonicizing, common tone, altered chord, sequential, direct or enharmonical.

(Goodness! How I hate these details.)

Hackneyed example:
>
> Take a march in, say, F. There is an introduction, a high register
> melodic strain (repeated), a strain of broken chords in the low register
> (repeated), and then it's time for the trio, which will normally be in
> Bb. Instead of simply continuing in the other key ("gear shift" I think
> it's called in English) there are two extra bars where the tuba goes
> F-Eb-D-C. The F (plus five other tones) is common to F and Bb major and
> is ambiguous. The Eb is foreign to F and tells you that a modulation may
> be going on. As it happens, the next 1, first chord in the trio, is Bb;
> there really was a modulation. Without the two bars of preparation, you
> have a key change, but no modulation (this is not supposed to happen in
> classical music). Without the concluding Bb, your tonality is not
> established and you have to wait for the modulation to be completed
> (which, post-Satie, may never happen).

To be completed is the word.

>
> In Gregorian chant, modulation occurs (1) when a piece exceeds the
> octave (going from authentic to plagal or the other way around), (2)
> starts in D, but suddenly ends a number of phrases in E, or (3) uses an
> unusual repercussa (tenor, dominant), but (not 4) not when the authentic
> D-mode switches between B and Bb to avoid a mi-contra-fa (it is not
> known if this happened in monophonic music; it does in early polyphony).
> There may be more possibilities to use that term.
>
> These two kinds of modulations have nothing to do with each other, and
> it is probably common to refer to the chant kind of modulation by an
> original latin term like modulatio or modus mixtus.
>

This only serves to complicate matters.

> It is conceivable that a piece in a D-mode introduces an Eb o an F#.
> Your kanun sample had a lot of this, but I am not aware that it happens
> in Gregorian chant. Now if you want to talk about Western polyphony and
> Gregorian chant, you can refer to "molation"

Never heard of it.

and "modulatio". If you
> want to talk about makam music

Capitals please. Maqam Music.

and Western polyphony, you can use
> "modulation" and "mixed modes". What if you want to compare the moddal
> concepts of makam and Gregorian chant? Best to use, and teach us, the
> term used within the makam tradition, all along, and nothing universal,
> please.
>

I will insist on wrenching out of your hands the beautifying latin words
which you so wish to attribute to Western tradition alone.

>
> didn't want to join in again.
> klaus
>

Neither.
Oz.