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Visitor:
789490
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Dear Visitor;
I have been having that domain,
www.notlar.net, since
February, 2002. Before that, I had other free website hostings
and domains from geocities, mynet, 3m etc. I always wanted to
publish the lesson marks of my students through the net, a
few hours after the exams, which
was a fame and a hobby for the beginning, feeling
myself a unique, no one was doing so, but now, everybody can
get in touch with the internet and use and feel the
sweet sense of the quickly reached information and knowledge.
IT IS VERY COMMON and FATE NOW!
Moreover, now, I like having such a web site for
myself.
It is not only mine, BUT ALSO YOURS!
Kemal ALTINTAŞ |
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-Introduction to Makams -System of Music Theory
-Geography
and History of Makams
Geography And History of
Makams (Maqam)
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The makam modal
system is one of the most extensive modal systems in the world. Besides its
obvious ubiquity in Egypt, Syria, Jordan, and Turkey, the system is the basis of
most melodic music throughout North Africa (Algeria, Lybia, Tunisia, and Morocco),
south in Africa (Sudan, Ethiopia, Kenya), in other arab nations (Iraq, Saudi
Arabia, Kuwait, Oman), in parts of Iran and Armenia, in some of the new turkic
nations (Azerbaijan, Turkmenistan, Uzbekistan, Khazikstan), and in Europe (Greece,
Bulgaria, Serbia, Croatia, Macedonia, Albania). Fragments of makam theory can
even be found in Uighur music in western China and in newer musics of Malaysia
and Indonesia!
It is important to note that in every country I mention, there are significant
regional variants in the makam system. There is NOT one makam system! It is more
accurate to say that makam represents a way of conceiving of tuning and mode
that creates a framework to understand a lot of different folk and classical
music traditions, particularly in countries that have been ruled under Islam or
were part of the Ottoman Empire.
This last statement informs us most of the widespread nature of makam. The
Ottoman court was, at times, very interested in the (relatively) obscure folk
traditions held by its subjects, and would send composers out to transcribe
songs and create "new modes" (which tended to be pilfering of old modes in some
hithero uncharted region). One could say that the Ottomans were large-scale
ethnomusicologists, cataloging the music of their occupied territories in
obsequious ways.
Because there are so many regional variants in the makam system, any attempt to
authoritatively talk about a particular makam, or even a particular set of rules
will be met with counters from theorists from another region that shares that
same makam. Thus, if I talk about the structure of makam Rast in a Turkish
fashion, it won't match the way that the same maqam is perceived in Morocco, in
Egypt, or in Bulgaria. There are substantial similarities, however, and with
these I will carefully tread onto the turf of describing elements about the
makam system and introducing this modal system to a Western audience.
from:
http://www.musiq.com
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