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Turkish Makam
The Turkish makam ( Turkish: ''makam'' pl. ''makamlar''; from the Arabic word ) is a system of melody types used in Turkish classical music and Turkish folk music. It provides a complex set of rules for composing and performance. Each makam specifies a unique intervalic structure (''cinsler'' meaning genera) and melodic development (''seyir''). Whether a fixed composition (''beste'', ''şarkı'', ''peşrev'', ''âyin'', etc.) or a spontaneous composition (''gazel'', ''taksim'', recitation of ''Kuran-ı Kerim'', ''Mevlid'', etc.), all attempt to follow the melody type. The rhythmic counterpart of makam in Turkish music is usul. Comparison in use in Turkish classical to folk music Turkish Classical Music and Turkish Folk Music are both based on modal systems. Makam is the name of the scale in classical music, while Ayak is the name of the scale in folk music. Makam and Ayak are similar; following are some examples: Yahyalı Kerem Ayağı : Hüseyni Makamı Garip Ayağı : Hicaz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Turkish Language
Turkish ( , ), also referred to as Turkish of Turkey (''Türkiye Türkçesi''), is the most widely spoken of the Turkic languages, with around 80 to 90 million speakers. It is the national language of Turkey and Northern Cyprus. Significant smaller groups of Turkish speakers also exist in Iraq, Syria, Germany, Austria, Bulgaria, North Macedonia, Greece, the Caucasus, and other parts of Europe and Central Asia. Cyprus has requested the European Union to add Turkish as an official language, even though Turkey is not a member state. Turkish is the 13th most spoken language in the world. To the west, the influence of Ottoman Turkish—the variety of the Turkish language that was used as the administrative and literary language of the Ottoman Empire—spread as the Ottoman Empire expanded. In 1928, as one of Atatürk's Reforms in the early years of the Republic of Turkey, the Ottoman Turkish alphabet was replaced with a Latin alphabet. The distinctive characteristics of the Turk ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Mode
In music theory, the term mode or ''modus'' is used in a number of distinct senses, depending on context. Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. (Olivier Messiaen's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and gregorian modes borrow terminology from ancient Greece, the Greek ''tonoi'' do not otherwise resemble their mediaeval/modern counterparts. In the Middle Ages the term modus was used to describe both intervals and rhythm. Modal rhythm was an essential feature of the modal notation system o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Trichord
In music theory, a trichord () is a group of three different pitch classes found within a larger group. A trichord is a contiguous three-note set from a musical scale or a twelve-tone row. In musical set theory there are twelve trichords given inversional equivalency, and, without inversional equivalency, nineteen trichords. These are numbered 1–12, with symmetrical trichords being unlettered and with uninverted and inverted nonsymmetrical trichords lettered A or B, respectively. They are often listed in prime form, but may exist in different voicings; different inversions at different transpositions. For example, the major chord, 3-11B (prime form: ,4,7, is an inversion of the minor chord, 3-11A (prime form: ,3,7. 3-5A and B are the Viennese trichord (prime forms: ,1,6and ,5,6. Historical Russian definition In late-19th to early 20th-century Russian musicology, the term trichord (трихорд ()) meant something more specific: a set of three pitches, each at least ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pentachord
A pentachord in music theory may be either of two things. In pitch-class set theory, a pentachord is defined as any five pitch classes, regarded as an unordered collection . In other contexts, a pentachord may be any consecutive five-note section of a diatonic scale . A pentad is a five-note chord . Under the latter definition, a diatonic scale comprises five non-transpositionally equivalent pentachords rather than seven because the Ionian and Mixolydian pentachords and the Dorian and Aeolian pentachords are intervallically identical (CDEFG=GABCD; DEFGA=ABCDE). The name "pentachord" was also given to a musical instrument, now in disuse, built to the specifications of Sir Edward Walpole. It was demonstrated by Karl Friedrich Abel at his first public concert in London, on 5 April 1759, when it was described as "newly invented" . In the dedication to Walpole of his cello sonatas op. 3, the cellist/composer James Cervetto praised the pentachord, declaring: "I know not a more fi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tetrachord
In music theory, a tetrachord ( el, τετράχορδoν; lat, tetrachordum) is a series of four notes separated by three intervals. In traditional music theory, a tetrachord always spanned the interval of a perfect fourth, a 4:3 frequency proportion (approx. 498 cents)—but in modern use it means any four-note segment of a scale or tone row, not necessarily related to a particular tuning system. History The name comes from ''tetra'' (from Greek—"four of something") and ''chord'' (from Greek ''chordon''—"string" or "note"). In ancient Greek music theory, ''tetrachord'' signified a segment of the greater and lesser perfect systems bounded by ''immovable'' notes ( ); the notes between these were ''movable'' ( ). It literally means ''four strings'', originally in reference to harp-like instruments such as the lyre or the kithara, with the implicit understanding that the four strings produced adjacent (i.e., conjunct) notes. Modern music theory uses the octave as the basic u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ottoman Tetrachords Pentachords
Ottoman is the Turkish spelling of the Arabic masculine given name Uthman ( ar, عُثْمان, ‘uthmān). It may refer to: Governments and dynasties * Ottoman Caliphate, an Islamic caliphate from 1517 to 1924 * Ottoman Empire, in existence from 1299 to 1922 ** Ottoman dynasty, ruling family of the Ottoman Empire *** Osmanoğlu family, modern members of the family * Ottoman architecture Ethnicities and languages * Ottoman Armenians, the Armenian ethnic group in the Ottoman Empire * Ottoman Greeks, the Greek ethnic group in the Ottoman Empire * Ottoman Serbs, the Serbian ethnic group in the Ottoman Empire * Ottoman Turks, the Turkic ethnic group in the Ottoman Empire ** Ottoman Turkish alphabet ** Ottoman Turkish language, the variety of the Turkish language that was used in the Ottoman Empire Products * Ottoman bed, a type of storage bed * Ottoman (furniture), padded stool or footstool * Ottoman (textile), fabric with a pronounced ribbed or corded effect, often made of s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cent (music)
The cent is a logarithmic unit of measure used for musical intervals. Twelve-tone equal temperament divides the octave into 12 semitones of 100 cents each. Typically, cents are used to express small intervals, or to compare the sizes of comparable intervals in different tuning systems, and in fact the interval of one cent is too small to be perceived between successive notes. Cents, as described by Alexander John Ellis, follow a tradition of measuring intervals by logarithms that began with Juan Caramuel y Lobkowitz in the 17th century. Ellis chose to base his measures on the hundredth part of a semitone, , at Robert Holford Macdowell Bosanquet's suggestion. He made extensive measurements of musical instruments from around the world, using cents extensively to report and compare the scales employed, and further described and employed the system in his 1875 edition of Hermann von Helmholtz's ''On the Sensations of Tone''. It has become the standard method of representing ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pitch (music)
Pitch is a perceptual property of sounds that allows their ordering on a frequency-related scale, or more commonly, pitch is the quality that makes it possible to judge sounds as "higher" and "lower" in the sense associated with musical melodies. Pitch is a major auditory attribute of musical tones, along with duration, loudness, and timbre. Pitch may be quantified as a frequency, but pitch is not a purely objective physical property; it is a subjective psychoacoustical attribute of sound. Historically, the study of pitch and pitch perception has been a central problem in psychoacoustics, and has been instrumental in forming and testing theories of sound representation, processing, and perception in the auditory system. Perception Pitch and frequency Pitch is an auditory sensation in which a listener assigns musical tones to relative positions on a musical scale based primarily on their perception of the frequency of vibration. Pitch is closely related to frequency, but ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Turkish Note Names (small)
Turkish may refer to: *a Turkic language spoken by the Turks * of or about Turkey ** Turkish language *** Turkish alphabet ** Turkish people, a Turkic ethnic group and nation *** Turkish citizen, a citizen of Turkey *** Turkish communities and minorities in the former Ottoman Empire * Ottoman Empire (Ottoman Turkey), 1299–1922, previously sometimes known as the Turkish Empire ** Ottoman Turkish, the Turkish language used in the Ottoman Empire * Turkish Airlines, an airline * Turkish music (style), a musical style of European composers of the Classical music era See also * * * Turk (other) * Turki (other) * Turkic (other) * Turkey (other) * Turkiye (other) * Turkish Bath (other) * Turkish population, the number of ethnic Turkish people in the world * Culture of Turkey * History of Turkey :''See History of the Republic of Turkey for the history of the modern state.'' The history of Turkey, understood ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Octave
In music, an octave ( la, octavus: eighth) or perfect octave (sometimes called the diapason) is the interval between one musical pitch and another with double its frequency. The octave relationship is a natural phenomenon that has been referred to as the "basic miracle of music," the use of which is "common in most musical systems." The interval between the first and second harmonics of the harmonic series is an octave. In Western music notation, notes separated by an octave (or multiple octaves) have the same name and are of the same pitch class. To emphasize that it is one of the perfect intervals (including unison, perfect fourth, and perfect fifth), the octave is designated P8. Other interval qualities are also possible, though rare. The octave above or below an indicated note is sometimes abbreviated ''8a'' or ''8va'' ( it, all'ottava), ''8va bassa'' ( it, all'ottava bassa, sometimes also ''8vb''), or simply ''8'' for the octave in the direction indicated by placing ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Equal Temperament
An equal temperament is a musical temperament or tuning system, which approximates just intervals by dividing an octave (or other interval) into equal steps. This means the ratio of the frequencies of any adjacent pair of notes is the same, which gives an equal perceived step size as pitch is perceived roughly as the logarithm of frequency. In classical music and Western music in general, the most common tuning system since the 18th century has been twelve-tone equal temperament (also known as 12 equal temperament, 12-TET or 12-ET; informally abbreviated to twelve equal), which divides the octave into 12 parts, all of which are equal on a logarithmic scale, with a ratio equal to the 12th root of 2 ( ≈ 1.05946). That resulting smallest interval, the width of an octave, is called a semitone or half step. In Western countries the term ''equal temperament'', without qualification, generally means 12-TET. In modern times, 12-TET is usually tuned relative to a standard pitch of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Holdrian Comma
In music, 53 equal temperament, called 53 TET, 53 EDO, or 53 ET, is the tempered scale derived by dividing the octave into 53 equal steps (equal frequency ratios). Each step represents a frequency ratio of 2, or 22.6415 cents (), an interval sometimes called the Holdrian comma. 53-TET is a tuning of equal temperament in which the tempered perfect fifth is 701.89 cents wide, as shown in Figure 1. The 53-TET tuning equates to the unison, or ''tempers out'', the intervals , known as the schisma, and , known as the kleisma. These are both 5 limit intervals, involving only the primes 2, 3 and 5 in their factorization, and the fact that 53 ET tempers out both characterizes it completely as a 5 limit temperament: it is the only regular temperament tempering out both of these intervals, or commas, a fact which seems to have first been recognized by Japanese music theorist Shohé Tanaka. Because it tempers these out, 53-TET can b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
