Difference between revisions of "Core and periphery in Islamicate music"
(8 intermediate revisions by the same user not shown) | |||
Line 1: | Line 1: | ||
* Core and periphery model | * Core and periphery model | ||
** Core features: recurrence of organic musical style, linguistic and tonal (maqam phenomenon) | ** Core features: recurrence of organic musical style, linguistic and tonal (maqam phenomenon) | ||
− | ** Periphery features: recurrence of musical traits, mainly timbral (vocal qualities, instrumental resources) | + | ***modal principle (7-tone scale, plus melodic tendencies, modulations, limited drones, continuous sound): maqam, makam, dastgah, mugam <br> |
+ | ***rhythmic cycles, often lengthy, but not overlaid (as in African) <br> | ||
+ | ***compound forms | ||
+ | ***microtonality (in scale, and as means of expression) <br> | ||
+ | ***heterophonic stepwise melody but not: harmony, harmonic movement, polyphony, or polyrhythm (lack of harmony enabling microtones?) <br> | ||
+ | ***limited improvisation, fills, and ornament <br> | ||
+ | ***portable melodic instruments, microtonal, esp. strings – enabling tolerance of multiple tuning systems (across broad empire). <br> | ||
+ | ***Continuity of sound: bowing, tremelo, circular breathing. <br> | ||
+ | ***Plucked and bowed lutes are central; may accompany voice (often same musician). <br> | ||
+ | ***frame and goblet drums. <br> | ||
+ | ***Small heterogeneous ensembles, featuring the voice. <br> | ||
+ | ***language, voice, poetry centered (focus on voice more than instruments in music is roughly analogous to focus on ornament rather than representation in art) <br> | ||
+ | ***tarab phenomenon (ecstatic feedback model) | ||
+ | **Periphery features: recurrence of musical traits, mainly timbral (vocal qualities, instrumental resources). Diffusions and localizations of: | ||
+ | ***timbres, textures: harmonics, echoes, ornament, noise, breath <br> | ||
+ | ***concepts: prohibitions, emphasis on text and poetry <br> | ||
+ | ***material artifacts, e.g. instruments and ensembles <br> | ||
+ | ***names (instruments, modes, genres) <br> | ||
+ | *** languages | ||
+ | *** poetic themes (e.g. madih) <br> |
Latest revision as of 11:55, 8 October 2015
- 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)