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)
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)

• • Periphery features: recurrence of musical traits, mainly timbral (vocal qualities, instrumental resources)

Diffusions 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)
themes (e.g. madih)