We broadcasted everything so the rest of the partners could follow it and we also recorded the different presentations that were made in the meeting. The larger issue for this paper relates to the author’s interest in the expansion of the palette of pitch color and the growing staleness of equal temperament as the 21st century gets underway.We had an internal meeting of CompMusic on October 17th-19th 2011 in Barcelona, with the physical presence of the Turkish and UPF teams. This research will primarily be a musicological endeavor and will not engage in particular ethnic diversity over and beyond what will provide such information. Despite very few sources for the specific research on Central Asian microtonal scales and modes, this paper will utilize analysis from seminal sources which will bridge into both Uzbekistan and Tajikistan and their shared use, such as use within the shash maqam, along with its concomitant scales, historically derived from these aforementioned regions. Maqam is also found in regions surrounding central Asia, such as: Turkey, Iran, Afghanistan, Azerbaijan, and Arabic cultures and serves as a modal structure that has remained relatively unchanged for hundreds of years, despite supralocal changes in purpose and format as coalesced by intercultural exchanges. The sources of these scales and modes come from Iran, Turkey and Arabia, initially, an example being the Dastgah of Persia, and have come to Uzbekistan and Tajikistan by way of foreign influence via inter-cultural interactions and religion, particularly Islam. "This paper will focus on microtonal scales and modes, known as maqam, used by musicians in the Middle East and Central Asiatic regions. To exemplify the compositional techniques discussed, original pieces that highlight innovation in usul and aruz, makam transposition, and polyphonic makam are presented. Each main aspect of composition is capable of being used with one another, creating new stylistic possibilities related to makam. This thesis proposes a polyphonic approach that does not detract from the microtonal structure or melodic character of makam, but rather adapts contrapuntal technique of the medieval and Renaissance period to the service of makam. Since then, various approaches towards harmonizing Turkish melodies have been used by composers, including tonal harmony, quartal harmony, and contrapuntal technique. A new phase in harmonizing Turkish folk music occurred following the establishment of the Turkish Republic in 1923.
Polyphony in Turkish music began in the nineteenth century surrounding political reforms in the Ottoman Empire. Safiyyüddin’s thirteenth-century model of a transposable perde system is related to practical modulation possibilities, resulting in transposition capabilities upon 17 conceptual pitch regions. New possibilities in makam modulation are explored after establishing a method for transposition and modulatory connection. This leads to a suggested analysis model for notating makam modulation in composition. Makam is defined as a modal-tonal complex under a new perspective of its principles in comparison to ancient Greek theory. Modulation of usul is also possible through common aruz forms, while modulation of aruz form can be mediated with common usul cycles. Furthermore, the identification of constituent usul cells in usul cycles can be used to derive new modulatory techniques. Composers have utilized techniques of usul modulation, nested usul, and phasing. Usul is defined as rhythmic cycle, while aruz is poetic meter that is used in tandem with usul. This work focuses on three main aspects of Turkish music: usul and aruz, makam, and polyphony. This thesis presents compositional techniques and theoretical models found in the tradition of Turkish makam music, developing them into new proposals for composition and performance. Furthermore, new proposals for development in the tradition of monophonic Turkish makam music are nearly nonexistent. While scholarship in Turkish musicology and theory has reached a significant level, little work has been made to catalogue techniques available to the composer of Turkish music.
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