{"id":1608,"date":"2024-01-29T10:22:37","date_gmt":"2024-01-29T07:22:37","guid":{"rendered":"https:\/\/masterethno.music.uoa.gr\/musical-scales-modes-harmonization-of-traditional-folk-music\/"},"modified":"2024-02-05T21:34:25","modified_gmt":"2024-02-05T18:34:25","slug":"musical-scales-modes-harmonization-of-traditional-folk-music","status":"publish","type":"post","link":"https:\/\/masterethno.music.uoa.gr\/en\/musical-scales-modes-harmonization-of-traditional-folk-music\/","title":{"rendered":"Musical scales-modes & harmonization of traditional music"},"content":{"rendered":"

The course examines the musical elements that form the theoretical framework for the reception and analysis of Greek traditional music. The most important chapters (or thematic areas) are indicated:<\/p>\n

    \n
  1. Musical systems of the Eastern Mediterranean<\/li>\n
  2. Historical chords: Natural (Ptolemaic) and Pythagorean<\/li>\n
  3. The overlapping of strings in today’s practice<\/li>\n
  4. Systems of 53 and 72 parts (theoretical basis of Turkish and Byzantine music) and their correlation with the historical chords and the equal temperament<\/li>\n
  5. Basic genders and musical notation<\/li>\n
  6. Basic scales\/ macams\/ sounds<\/li>\n
  7. Tone maps of transitions in the basic scales<\/li>\n
  8. Musical form and tonal contrasts<\/li>\n
  9. Harmonization practices – correlation with urban popular music and the techniques of neo-tonality<\/li>\n
  10. Analysis of a recorded piece of Greek traditional music<\/li>\n
  11. Writing of analysis paper and literature review<\/li>\n<\/ol>\n

     <\/p>\n

    Recommended literature<\/strong><\/p>\n

    Andrikos, N. (2018). The Folk Roads in Interwar Urban Song: Drawing Folk Tropical Theory<\/em>. Athens: Place<\/p>\n

    Aydemir, M. (2012) The Turkish Makam Guide <\/em>(S. Kompotiati, Trans.). Athens: Fagottobooks<\/p>\n

    Belaiev, V. & Pring, S.W. (1935). “Turkish Music”, The Musical Quarterly<\/em>, 21 <\/em>(3), 356-367<\/p>\n

    Bozkurt, B., Yarman, O., Karaosmano\u011flu, M.K. & Akko\u00e7, C. (2009) Weighing Diverse Theoretical Models of Turkish Maqam Music Against Pitch Measurements: A Comparison of Peaks Automatically Derived from Frequency Histograms with Proposed Scale Tones, Journal of New Music Research<\/em>, 38 <\/em>(1), 45-70<\/p>\n

    D’ Erlanger, R. (1930-49) La Musique Arabe<\/em>, Paris: Geuthner<\/p>\n

    During, J. & Mirabdholbaghi, Z. (1991) The Art of Persian Music<\/em>, Washington: Mage<\/p>\n

    Elsner, J. & Pennanen, R.P. (Eds) (1997) The Structure and Idea of Maqam<\/em>. Tampere: Tampere University<\/p>\n

    Farhat, H. (1990) The<\/em>Dastg\u0101h<\/em>Concept in Persian Music<\/em>, New York: Cambridge University Press.<\/p>\n

    Farraj, J. & Shumays S. A. (2019) Inside Arabic Music: Arabic Maqam Performance and Theory in the 20th Century<\/em> New York: Oxford University Press<\/p>\n

    Fracile, N. (2003). The “Aksak” Rhythm, a Distinctive Feature of the Balkan Folklore, Studia Musicologica Academiae Scientiarum Hungaricae<\/em>, 44 <\/em>(1\/2), 197-210<\/p>\n

    Hall, R.W. (2009) Geometric Models for Modulation in Arabic Music<\/em>, Philadelphia: Saint Joseph’s University.<\/p>\n

    Manuel, P. (1989). Modal Harmony in Andalusian, Eastern European, and Turkish Syncretic Musics, Yearbook for Traditional Music<\/em>, 21<\/em>, 70-94<\/p>\n

    Marcus, S.L. (1989) Arab Theory in the Modern Period <\/em>(Doctoral Dissertation). Los Angeles: University of California<\/p>\n

    ____(1992). Modulation in Arab Music: Documenting Oral Concepts, Performance Rules and Strategies, Ethnomusicology<\/em>, 36<\/em> (2), 171-195<\/p>\n

    ____(2007). Music in Egypt: Experiencing Music, Expressing Culture<\/em>. New York: Oxford University Press.<\/p>\n

    Mavroidis, M. (1999). Musical Modes in the Eastern Mediterranean<\/em>. Athens.<\/p>\n

    Mikosch, T. (2017) Makamlar: The Musical Scales of Turkey<\/em>, Lulu Press (self-publication of the writer)<\/p>\n

    Muallem, D. (2010) The Maqam Book: A Doorway to Arab Scales and Modes<\/em>, Kfar Sava, Israel: OR-TAV Music Publications<\/p>\n

    Mystakidis, D. (2013). Folk<\/em> Guitar<\/em> – <\/em>Modality<\/em> and<\/em> Harmonization<\/em>. Thessaloniki: Prigipessa<\/p>\n

    Nettl, B. & Riddle, R. (1973). Taqsim Nahawand: A Study of Sixteen Performances by Jihad Racy, Yearbook of the International Folk Music Council<\/em>, 5<\/em>, 11-50<\/p>\n

    \u00d6zt\u00fcrk<\/em>, O.M. (2018) How Was the Traditional Makam Theory Westernized for the Sake of Modernization?, Rast<\/em>M\u00fczikoloji<\/em>Dergisi<\/em>, 6 ( <\/em>1) 1769-1787<\/p>\n

    Pennanen, R.P. (1997). The Development of Chordal Harmony in Greek Rebetika and Laika Music, 1930s to 1960s, British Journal of Ethnomusicology<\/em>, 6<\/em>, 65-116<\/p>\n

    ____(2008). Lost in Scales: Balkan Folk Music Research and the Ottoman Legacy, Musicology<\/em>, 8, 127-147<\/p>\n

    Pyrgiotis, D. (2006). Harmony<\/em> in<\/em> Action<\/em> (vol. 2). Athens: Fagottobooks<\/p>\n

    ____(2004). Thesaurus of Music Scales<\/em>. Athens.<\/p>\n

    Samson, J. (2013) Music in the Balkans<\/em>, Leiden: Brill<\/p>\n

    Shumays, A.A. (2013). Maqam Analysis: A Primer, Music Theory Spectrum<\/em>, 35<\/em> (2), 235-255<\/p>\n

    Signell, K.L. (1977) Makam: Modal Practice in Turkish Art Music<\/em>, Seattle: Asian Music Publications.<\/p>\n

    ____(2001). Contemporary Turkish Makam Practice. In V. Danielson, D. Reynolds & S. Marcus (Eds): The Middle East <\/em>(Garland Encyclopedia of World Music, Vol. 6). New York: Routledge<\/p>\n

    Simms, R. (2004) The Repertoire of Iraqi Maqamat<\/em>, Lanham: Scarecrow Press.<\/p>\n

    Skoulios, M. (2014). “The Eastern Makam and the “correct” Rast way”, Polyphony<\/em>, 25<\/em>, 103-126<\/p>\n

    Spector, J. (1970). Classical Ud Music in Egypt with Special Reference to Maqamat, Ethnomusicology<\/em>, 14 <\/em>(2), 243-257<\/p>\n

    Touma, H. (1971). The Maqam Phenomenon: An Improvisation Technique in the Music of the Middle East, Ethnomusicology<\/em>, 15<\/em>, 38-45<\/p>\n

    ____(1995). The Music of the Arabs <\/em>(new expanded edition). Portland (OR): Amadeus Press<\/p>\n

    Voulgaris, E. & Vandarakis, V. (2006). Urban Popular Song in interwar Greece: Smyrnaika and Piraeotika 1922-1940<\/em>. Athens: Fagottobooks & T.E.I. Hpeirou.<\/p>\n

    Wright, O. (1978) The Modal System of Arab and Persian Music<\/em>, London: Oxford University Press<\/p>\n

    Yekta, R. (1922). La Musique Turque. Nous reproduisons, en 4 parties, l’int\u00e9gralit\u00e9 de son article conacre \u00e0 la musique turque et publi\u00e9 en Fran\u00e7ais en 1922. https:\/\/www.turquie-culture.fr\/pages\/arts\/musique- turque\/yekta-rauf-la-musique-turque-1922-1.html<\/p>\n

    Y\u00f6re, S. (2012). Maqam in Music as a Concept, Scale and Phenomenon, Journal of<\/em>the<\/em>World of<\/em>Turks<\/em>, 4<\/em> (3), 267-286<\/p>\n

    Zannos, I. (1990). Intonation in Theory and Practice of Greek and Turkish Music, Yearbook for Traditional Music<\/em>, 22<\/em>, 42-59<\/p>\n","protected":false},"excerpt":{"rendered":"

    The course examines the musical elements that form the theoretical […]<\/p>\n","protected":false},"author":3479,"featured_media":1367,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[47],"tags":[],"_links":{"self":[{"href":"https:\/\/masterethno.music.uoa.gr\/en\/wp-json\/wp\/v2\/posts\/1608"}],"collection":[{"href":"https:\/\/masterethno.music.uoa.gr\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/masterethno.music.uoa.gr\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/masterethno.music.uoa.gr\/en\/wp-json\/wp\/v2\/users\/3479"}],"replies":[{"embeddable":true,"href":"https:\/\/masterethno.music.uoa.gr\/en\/wp-json\/wp\/v2\/comments?post=1608"}],"version-history":[{"count":2,"href":"https:\/\/masterethno.music.uoa.gr\/en\/wp-json\/wp\/v2\/posts\/1608\/revisions"}],"predecessor-version":[{"id":1728,"href":"https:\/\/masterethno.music.uoa.gr\/en\/wp-json\/wp\/v2\/posts\/1608\/revisions\/1728"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/masterethno.music.uoa.gr\/en\/wp-json\/wp\/v2\/media\/1367"}],"wp:attachment":[{"href":"https:\/\/masterethno.music.uoa.gr\/en\/wp-json\/wp\/v2\/media?parent=1608"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/masterethno.music.uoa.gr\/en\/wp-json\/wp\/v2\/categories?post=1608"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/masterethno.music.uoa.gr\/en\/wp-json\/wp\/v2\/tags?post=1608"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}