Core and periphery in Islamicate music
- Core and periphery model
- Core features: recurrence of organic musical style, linguistic and tonal (maqam phenomenon)
- modal principle (7-tone scale, plus melodic tendencies, modulations, limited drones, continuous sound): maqam, makam, dastgah, mugam
- rhythmic cycles, often lengthy, but not overlaid (as in African)
- compound forms
- microtonality (in scale, and as means of expression)
- heterophonic stepwise melody but not: harmony, harmonic movement, polyphony, or polyrhythm (lack of harmony enabling microtones?)
- limited improvisation, fills, and ornament
- portable melodic instruments, microtonal, esp. strings – enabling tolerance of multiple tuning systems (across broad empire).
- Continuity of sound: bowing, tremelo, circular breathing.
- Plucked and bowed lutes are central; may accompany voice (often same musician).
- frame and goblet drums.
- Small heterogeneous ensembles, featuring the voice.
- language, voice, poetry centered (focus on voice more than instruments in music is roughly analogous to focus on ornament rather than representation in art)
- tarab phenomenon (ecstatic feedback model)
- modal principle (7-tone scale, plus melodic tendencies, modulations, limited drones, continuous sound): maqam, makam, dastgah, mugam
- Periphery features: recurrence of musical traits, mainly timbral (vocal qualities, instrumental resources). Diffusions and localizations of:
- timbres, textures: harmonics, echoes, ornament, noise, breath
- concepts: prohibitions, emphasis on text and poetry
- material artifacts, e.g. instruments and ensembles
- names (instruments, modes, genres)
- languages
- poetic themes (e.g. madih)
- timbres, textures: harmonics, echoes, ornament, noise, breath
- Core features: recurrence of organic musical style, linguistic and tonal (maqam phenomenon)