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Arab tone system
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The modern Arab tone system, or system of musical tuning, is based upon the theoretical division of the octave into twenty-four equal divisions or 24-tone equal temperament, the distance between each successive note being a quarter tone (50 cents). Each tone has its own name not repeated in different octaves, unlike systems featuring octave equivalency. The lowest tone is named yakah and is determined by the lowest pitch in the range of the singer. The next higher octave is nawa and the second tuti.[1] However, from these twenty-four tones, seven are selected to produce a scale and thus the interval of a quarter tone is never used and the three-quarter tone or neutral second should be considered the characteristic interval.[2]

Quarter tone scale on C ascending and descending. Playⓘ

By contrast, in the European equally tempered scale, the octave is divided into twelve equal divisions, or exactly half as many as the Arab system. Thus, when Arabic music is written in European musical notation, a slashed or reversed flat sign is used to indicate a quarter-tone flat, a standard flat symbol for a half-tone flat, and a flat sign combined with a slashed or reversed flat sign for a three-quarter-tone flat, sharp with one vertical line for quarter sharps, standard sharp symbol (♯) for a half-step sharp, and a sharp with three vertical lines for a three-quarter-tone sharp. A two octave range starting with yakah arbitrarily on the G below middle C is used.[3]

In practice, much fewer than twenty-four tones are used in a single performance. All twenty-four tones are individual pitches differentiated into a hierarchy of important pitches—pillars—which occur more frequently in the tone rows of traditional music and most often begin tone rows, and scattered less important or rarely occurring pitches (see tonality).[4]

The specific notes used in a piece will be part of one of more than seventy modes or maqam rows named after characteristic tones that are rarely the first tone (unlike in European-influenced music theory where the tonic is listed first). The rows are heptatonic and constructed from augmented, major, neutral, and minor seconds. Many different but similar ratios are proposed for the frequency ratios of the tones of each row and performance practice, as of 1996, has not been investigated using electronic measurements.[5]

The current tone system is derived from the work of Farabi (d. 950 CE) (heptatonic scales constructed from seconds), who used a 25-tone unequal scale (see tetrachord), and Mikha'il Mishaqah (1800–1888) who first presented the 24-tone equal-tempered division.[6] Some strict traditionalists and musicians also use a 17-tone set, rejecting the 24-tone division as commercial.[7]

See also

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References

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Arab tone system

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from Grokipedia
The Arab tone system is a musical tuning framework based on the theoretical division of the into 24 equal quarter tones, forming the foundation for the maqam system—a melodic modal system central to traditional that organizes pitches into scales incorporating microtonal intervals, enabling the creation of distinctive melodic modes known as maqamat. This system structures music through ajnas—fundamental building blocks like tetrachords or pentachords that combine to form maqamat, each characterized by specific scalar patterns, habitual phrases, modulation pathways, and ornamental techniques passed down via . There are nearly 100 recognized maqamat in theory, organized into families with eight principal modes (such as Rast, Bayati, and Hijaz) serving as the foundation for composition and improvisation across vocal and instrumental genres. Theoretically rooted in medieval Islamic scholarship, including the works of (9th–10th century) who drew on Greek influences to systematize tetrachords and intonation, the maqam evolved through regional variations in the , emphasizing expressive intonation over fixed rules and differing markedly from Western diatonic systems by prioritizing monophonic melody, microtonal flexibility, and cultural nuance in performance.

Overview and Historical Context

Definition and Core Principles

The Arab tone system serves as the foundational tuning framework in , defined as a microtonal system that theoretically divides the into 24 equal parts known as quarter tones, each spanning approximately 50 cents—a unit of pitch interval where the full measures 1200 cents. This contrasts sharply with the Western 12-tone , which uses s of 100 cents each, limiting expressive nuance in intervals smaller than a . The system's adoption of 24-tone emerged in the , influenced by interactions with Western music theory, and was further debated at the 1932 Congress of Arab Music, which proposed it as a theoretical standard. At its core, the Arab tone system emphasizes flexible intonation to enable expressive melodic variation, allowing performers to adjust pitches slightly beyond fixed theoretical positions for emotional depth and contextual suitability. This principle is rooted in early theoretical treatises, such as those by (d. 950 CE), who explored intricate pitch divisions to capture the subtleties of musical sound. While the system provides a structured basis for composition and , its practical application prioritizes aural intuition over rigid adherence to equal divisions. The Arab tone system builds upon principles, originally derived from ratios of pure intervals like the , but adapted to incorporate microintervals that enrich modal structures. Theoretically permitting 24 distinct pitches per , it accommodates a range of 17 to 22 tones in actual usage, varying by maqam—the melodic modes constructed on this tonal foundation. This adaptability ensures the system's enduring relevance in musical traditions.

Origins in Islamic Golden Age Music Theory

The emerged from a synthesis of Pythagorean principles, Persian modal structures, and Byzantine melodic practices, which were systematically integrated and formalized during the 8th to 13th centuries under the in . This period of intellectual flourishing saw scholars adapt and expand upon these diverse traditions to create a theoretical framework for , emphasizing interval ratios and scale divisions that distinguished it from contemporaneous European systems. A pivotal institution in this development was the in , established in the 9th century under Caliph , where Greek musical treatises by authors such as , , , and Nichomachus were translated into alongside Persian and Byzantine texts. These translations not only preserved ancient knowledge but also facilitated its reinterpretation through an Islamic lens, enabling theorists to blend mathematical acoustics with practical performance elements derived from regional traditions. Scholars like Hunain ibn Ishaq contributed directly to these efforts, laying the groundwork for subsequent innovations in tone classification. Early systematization began with Al-Kindi (d. 873 CE), who provided foundational descriptions of musical intervals in works like Risala fi khubr ta’lif al-alhan, drawing on Greek concepts to analyze sound production and tetrachord structures within an Arabic context. Building on this, Al-Farabi (d. 950 CE) offered a more comprehensive classification in his Kitab al-musiqi al-kabir, detailing various scale systems and modes based on Greek influences, including detailed classifications of intervals and consonances. The culmination of these medieval advancements came with Safi al-Din al-Urmawi (d. 1294 CE), whose Kitab al-Adwar introduced the influential 17-tone model, arranging tetrachords and pentachords to generate maqams while refining interval ratios for greater precision. This theoretical foundation evolved into the modern 24-tone system during the 19th and 20th centuries, with significant refinements under Ottoman patronage that emphasized lute fretting and modal elaboration, followed by Egyptian scholars who standardized quarter-tone intervals for broader accessibility. The 1932 Cairo Congress of Arab Music further debated these developments, proposing the 24-tone as a potential unifying framework while incorporating Western influences, though without full consensus. However, the proposal faced opposition from traditionalists advocating for preservation of variable intonation, resulting in no binding consensus but influencing subsequent theoretical and educational approaches.

Theoretical Framework

Octave Division and Scale Structure

The Arab tone system theoretically divides the , defined by a frequency of 2:1 and equivalent to 1200 cents, into 24 equal parts to accommodate microtonal intervals inherent in traditional theory. Each subdivision, known as a , measures 50 cents, calculated as 120024=50\frac{1200}{24} = 50 cents, establishing a framework of 24-tone that serves as a foundational grid for pitch organization. This division, formalized in 19th-century treatises such as Mikha'il Mishaqa's Risālat al-mūsīqī (ca. 1840), provides a systematic for intervals smaller than the Western while allowing for flexible intonation in performance. The scale structure builds hierarchically upon seven primary notes analogous to the Western , which are then expanded through microtonal inflections to fill the 24-tone continuum. Neutral seconds, spanning 150 cents or three s, function as common building blocks within this organization, bridging the primary tones with subtle variations that enrich melodic contours. Larger intervals derive from multiples of the : a whole tone approximates cents (four s), and a equals 100 cents (two s), enabling precise mapping of scalar progressions. This scale forms a complete cyclic across the , where enharmonic equivalents—pitches occupying the same position but bearing multiple names based on contextual usage—underscore the 's adaptability to diverse melodic paths. Such equivalences, for instance, allow a single 50-cent interval to be denoted differently depending on its scalar role, reflecting the theoretical emphasis on relational pitch classes rather than absolute fixed tuning.

Fundamental Intervals and Their Ratios

The Arab tone system employs a set of fundamental intervals that form the building blocks of its scales and modes, derived primarily from historical theoretical traditions and adapted in modern practice to a per . This system divides the into 24 approximately equal steps, each nominally 50 cents, though performers introduce slight variations for expressive and modal purposes. Unlike fixed Western , these intervals allow flexibility, with quarter tones ranging from 45 to 55 cents to accommodate regional and contextual intonation differences. Key intervals include the , the smallest distinct step, measuring about 50 cents with an approximate ratio of 21/24≈1.02932^{1/24} \approx 1.0293, though traditional approximations sometimes reference \sqrt{{grok:render&&&type=render_inline_citation&&&citation_id=4&&&citation_type=wikipedia}}{2} \approx 1.0293 in equal divisions. The small second, around 100 cents (ratio 135/128≈1.0547135/128 \approx 1.0547), functions as a diatonic , while the neutral second spans 150 cents (ratio 23/24≈1.09052^{3/24} \approx 1.0905), providing a three-quarter tone quality essential for melodic contour. The whole tone is typically 200 cents (Pythagorean ratio 9/8=1.1259/8 = 1.125), and the measures 300 cents (just ratio 6/5=1.26/5 = 1.2), both foundational to constructions in maqam. From , the limma (small ) is approximately 90 cents (256/243≈1.0535256/243 \approx 1.0535), adapted for microtonal contexts, and the buzurg (large whole tone) is about 204 cents, derived from stacked apotomes in theoretical treatises. These ratios, while idealized, are realized with acoustic variations in performance to enhance modal flexibility. The following table outlines the 24 positions within the in the standard equal-tempered Arab system, with cumulative cent values from the tonic and common interval names where applicable. Positions are numbered from 1 () to 25 (), reflecting the 1932 Cairo Congress standardization for notation and instrumentation.
PositionCentsCommon Name/Interval
10
250
3100Small second (semitone)
4150Neutral second (three-quarter tone)
5200Whole tone
6250Augmented second
7300
8350Neutral third
9400
10450Augmented third
11500
12550Augmented fourth (sharp fourth)
13600Diminished fifth
14650Augmented fourth
15700
16750
17800
18850Neutral sixth
19900
20950Augmented sixth
211000
221050Neutral seventh
231100
241150Augmented seventh
251200
These positions serve as reference points, with actual intonation varying slightly (e.g., 45-55 cents for position 2) to suit the maqam's affective character. In maqam practice, intervals like the whole tone and combine to form tetrachords, the core units of scale organization.

Integration with Maqam

Role of Tetrachords in Tonal Organization

In the Arab tone system, tetrachords form the foundational building blocks for tonal organization, defined as four-note segments that span a of approximately 498 cents. These units are derived from medieval theoretical frameworks, where they encapsulate specific intervallic patterns to create melodic frameworks within the maqam tradition. By stacking or linking tetrachords, musicians construct scales that emphasize particular tonal centers and emotional qualities, allowing for nuanced expression in performance. The structure typically involves a lower starting from the root note and an upper positioned at the fifth or above, connected by a repetition or a interval. This conjunct or disjunct arrangement generates the full scale, providing a modular that supports modulation while maintaining coherence. According to 13th-century theorist Safī al-Dīn al-Urmawī, such combinations of tetrachords and pentachords yield diverse scales and modes. Among the most prevalent tetrachords are the Hijaz, Nahawand, and Rast types, each defined by characteristic interval sequences that incorporate microtonal elements from the system's 24-tone foundation. The Hijaz tetrachord features intervals of a , an augmented second, and a , imparting a dramatic flavor often associated with tension and resolution. In contrast, the Nahawand tetrachord employs a whole tone, a , and a whole tone progression, mirroring the Western natural while allowing variable intonation. The Rast tetrachord, considered a cornerstone of classical Arabic music, consists of two whole tones succeeded by a , evoking stability and nobility in melodic lines. These patterns enable the system's flexibility, as the 24-tone equal division permits subtle variations in practice. Central to this organization is the concept of the jins, a short melodic fragment typically consisting of four or five notes based on a or pentachord, functioning as the melodic nucleus for developing a full maqam. The jins not only defines the initial tonal material but also guides improvisational paths, ensuring that scalar progressions remain rooted in the tetrachord's intervallic identity. This approach, emphasized in modern analyses of traditional theory, underscores how tetrachords provide both structural rigidity and creative latitude in musical .

Jins and Modulation Within the System

In theory, a jins (plural: ajnas) refers to a short melodic fragment consisting of four to five stepwise notes, derived from a , that serves as the foundational building block for constructing a maqam and establishes its distinctive character. For instance, the Rast jins, typically starting on D with intervals approximating a major (e.g., D-E-F♯-G), conveys a stable and noble quality, forming the lower jins of maqam Rast. These fragments are tonicized, meaning they emphasize a specific note and its immediate intervallic relationships, often including "baggage" notes above or below to enhance melodic flow. Modulation within the Arab tone system, known as sayr (meaning "path" or "progression"), involves transposing a jins to a new root or switching to a different jins while operating within the 24-quarter-tone framework, facilitating seamless transitions that maintain melodic continuity. This process frequently relies on common tones or pivot notes shared between jins, such as using the fifth degree (ghammaz) as a bridge to introduce a secondary jins without abrupt shifts. For example, in maqam Rast, the sayr might begin with the lower Rast jins on the tonic and modulate upward to a Hijaz jins on the fifth degree, exploiting overlapping notes like the shared to create tension and resolution. A key technique in this system is fath (development or expansion), where an initial jins is elaborated into the full maqam through progressive modulations, allowing the to unfold dynamically. This often entails transitioning from one jins to another within the same piece, such as shifting from a Bayati jins (with its melancholic half-step to ) on the tonic to a Hijaz jins on the fourth degree, which introduces augmented second intervals for emotional contrast. Such developments highlight the system's emphasis on linear, monophonic rather than progression, enabling performers to explore varied paths while preserving the maqam's core identity. A single maqam can incorporate up to 7-8 jins in its sayr, creating intricate melodic trajectories that prioritize and emotional depth over fixed structures. This multiplicity arises from the flexible chaining of ajnas, often starting with a lower and upper jins and extending through modulations to related families, resulting in complex yet coherent compositions that underscore the tone system's melodic linearity.

Microtonal Elements

Quarter Tones and Their Acoustic Properties

In the Arab tone system, quarter tones represent the smallest fixed interval, theoretically dividing the into two equal parts within a 24-tone framework. Acoustically, a quarter tone corresponds to a of approximately 1.0595, calculated as 21/242^{1/24}, which equates to 50 cents on the cent scale—a neutral interval positioned between the Western (100 cents) and whole tone (200 cents). This produces a subtle dissonance when slightly detuned, resulting in audible beats due to interfering harmonics, particularly noticeable on plucked string instruments where partials interact. Quarter tones are produced primarily through fretless instruments such as the and qanun, or via vocal intonation, allowing performers to adjust pitches dynamically by ear rather than fixed frets. On the qanun, movable bridges enable precise tuning to these microintervals, often approximating ratios like 11/10 (165 cents) or 12/11 (150.64 cents) instead of strict , leading to practical variations of 45-55 cents from diatonic notes for expressive purposes. In performance, slight flattening or sharpening of quarter tones can induce beats—rapid amplitude fluctuations—enhancing the interval's perceptual depth when tuned imprecisely, as undamped strings amplify these acoustic interactions across the instrument's range. Within the 24-tone temperament, quarter tones facilitate enharmonic scales, where pitches like E-quarter-flat and F-quarter-flat occupy the same pitch class despite different nominal spellings, allowing flexible modulation without altering the fundamental frequency. Perceptually, these intervals generate unique tension and release dynamics in maqam melodies, embedding microtonal ambiguity that distinguishes the Arab system's emotive fluidity from the more rigid equal-tempered Western music, where such neutral intervals are absent. This acoustic nuance, rooted in oral traditions, contributes to the system's characteristic "otherworldly" timbre, as performers navigate contextual intonation to evoke specific affective responses.

Variable Intonation and Ornamentation

In the Arab tone system, variable intonation allows performers to adjust pitches dynamically beyond the theoretical 24-tone grid, enabling expressive "sliding" microtones that vary according to melodic context, regional style, and emotional intent. For instance, the sikah note (neutral second in the Bayati or Sikah jins), theoretically positioned at approximately 150 cents above the tonic, can fluctuate between 135 and 160 cents during performance to convey subtle nuances, reflecting a departure from rigid fixed pitches toward fluid, context-dependent execution. These variations often align with regional traditions, such as flatter intonation in Egyptian performances compared to sharper Syrian styles, reflecting diverse interpretive schools. This variability is particularly evident in , where tones may deviate by ±15 to 35 cents from theoretical values, enhancing emotional depth without disrupting the underlying modal structure. Ornamentation further amplifies this flexibility, serving as essential expressive tools that build on the quarter-tone baseline to infuse performances with vitality and individuality. Common techniques include awwaj (vibrato applied to quarter tones for sustained emotional resonance), mawwal (glissandi sliding between microtones in vocal improvisation to evoke longing or ecstasy), and inshad (vocal bends in a cappella chanting that weave melismatic phrases for spiritual intensity). These ornaments are not mere decorations but integral to the music's affective power, allowing performers to personalize phrases while adhering to maqam conventions. In practices like (instrumental improvisation), such intonation adjustments and ornaments enable tones to fluctuate by up to ±25 cents on average, creating nuanced emotional landscapes that prioritize feeling over precision. This performative liberty stems from the oral tradition of , where intonation is transmitted aurally through master-apprentice repetition of melodic phrases rather than prescriptive written theory, fostering regional and personal variations that enrich the 24-tone framework without altering its core organization.

Notation and Practical Application

Traditional and Modern Notation Methods

Traditional notation methods for the Arab tone system originated in medieval Islamic scholarship, particularly through the work of Safi al-Din al-Urmawi (d. 1294), who developed geometric diagrams in his Kitab al-Adwār (Book of Cycles) to illustrate scale structures and rhythmic modes using circles known as adwār. These diagrams represented the organization of tetrachords and pentachords into larger modal frameworks, providing a visual method for theoretical analysis rather than linear performance notation. In practical transcription, traditional methods employed Arabic letters or adapted solfège syllables, such as A for la and B for si, with diacritical marks to indicate microtonal adjustments like quarter tones; for instance, a superscript or specific diacritic denoted a raised quarter tone. These notations, often written in Arabic script, allowed for the representation of the 24-tone divisions, including quarter tones halfway between semitones, though they prioritized modal outlines over precise rhythmic detail. The evolution of notation progressed from these medieval circular diagrams to linear systems in the 19th century, particularly in Egypt, where European influences led to the first printed scores adapting Western staff notation for Arabic modes amid growing interactions with colonial musicologists. Modern adaptations largely adopt the Western five-line staff, incorporating specialized accidentals such as the quarter-flat (♭¼) and quarter-sharp (♯¼) to denote the 24 equal divisions of the octave, with symbols like the Stein-Zimmermann half-flat for intervals a quarter tone flatter than standard notes. Numeric notation systems, numbering tones from 1 to 24 within the octave, facilitate analysis of maqam structures, while software extensions in programs like Sibelius enable playback and engraving of quarter tones through custom plugins and microtonal accidentals. In the , scholars at the 1932 Cairo Congress of Arab Music standardized the 24-tone for theoretical and instrumental purposes, including designs for 24-tone keyboards to accommodate the system's microtonal requirements. However, notating variable intonation remains challenging, as performers often adjust pitches contextually within maqams—such as subtle shifts in intervals—beyond fixed quarter-tone markers, leading to discrepancies between written scores and oral traditions.

Performance on Instruments and Vocals

Vocal performance in the Arab tone system relies heavily on melismatic techniques, where singers extend single syllables across multiple notes, employing precise throat control to navigate microtonal inflections and evoke deep emotional responses known as tarab, a state of ecstatic immersion shared between performer and audience. This improvisatory style, often featured in forms like the , allows vocalists to glide fluidly between quarter tones, emphasizing the system's variable intonation to convey and narrative intensity during live sessions. Instrumental execution complements vocal expression through instruments adapted to the tone system's microtonal demands. The , a fretless , enables performers to execute smooth slides (glissandi) and precise microtonal adjustments, capturing the nuanced bends essential to maqam melodies. Similarly, the violin (kamanja), played without frets, facilitates continuous pitch variation for ornamental flourishes, while the qanun, a fretted , incorporates adjustable levers (mandals) to produce quarter tones, allowing rapid chordal support in ensemble settings. The nay, an end-blown reed , contributes a breathy , with players using and partial fingerings to articulate subtle quarter-tone shifts and airy ornaments that enhance the music's introspective quality. In the traditional takht ensemble—typically comprising oud, qanun, violin, nay, and percussion—performers collectively tune to concert pitch (A=440 Hz), often with the Bayati maqam tonic on D, followed by adjustments to align microtonal nuances across instruments for cohesive maqam realization. Twentieth-century innovations, such as the quarter-tone accordion modified in Egypt, expanded the ensemble's palette by integrating bellows-driven microtonal capabilities, facilitating portable and rhythmic accompaniment in urban sha'bi styles. Practical application underscores the system's flexibility through solos, where instrumentalists improvise to explore maqam paths, showcasing variable intonation and regional distinctions—such as the sharper, more ornate phrasing in Iraqi traditions compared to the smoother, vowel-leaning glides in Levantine styles. Notation serves merely as a skeletal guide, with performers prioritizing aural intuition and ensemble dialogue to embody the tone system's expressive potential.

Comparisons and Global Impact

Differences from Western Equal Temperament

The Arab tone system fundamentally diverges from Western in its division of the , employing a theoretical framework of 24 s per rather than the 12 semitones of . This results in a finer granularity of pitches, allowing for microtonal intervals such as the (approximately 50 cents), which are absent in the Western system's fixed 100-cent semitones. In practice, performers adjust intonation flexibly based on context, contrasting with the rigid, mathematically equal spacing of Western designed to facilitate modulation across keys. Perceptually, the Arab system's microtones introduce dissonances that Western listeners often describe as "exotic," arising from intervals like the neutral third, tuned around 350-355 cents (e.g., the 27:22 ratio at 354.5 cents), positioned between the Western minor third (300 cents) and major third (400 cents). These create ambiguous tonal colors not replicable in equal temperament, where approximations such as blues inflections or string bends merely suggest but fail to capture the precise acoustic properties of quarter tones. The Arab approach emphasizes linear, melodic progression in maqam modes over the vertical harmonic structures central to Western music, with no reliance on functional harmony like dominant-to-tonic resolutions. Both systems trace Pythagorean roots through influences, yet the Arab tone system incorporates unique intervals, such as those in the buzurg (e.g., neutral seconds around 150 cents), which lack direct equivalents in and contribute to its modal, non-harmonic orientation. Instead of chord progressions, maqam relies on melodic contour, rhythmic cycles (iqa'), and tetrachordal organization for emotional expression and modulation.

Influences on Regional and World Music Traditions

The Arab tone system, particularly its 24-tone division incorporating quarter tones, served as a foundational element exported through cultural exchanges across the Middle East and North Africa. In regional traditions, the Turkish makam system emerged as a direct descendant of the Arab maqam, retaining the 24-koma (comma) structure for microtonal intervals while adapting to Ottoman classical practices. This evolution preserved the core principles of melodic modes and modulation, influencing Turkish art music from the 16th century onward. Similarly, the Persian dastgah system shares microtonal similarities with the Arab maqam, employing comparable quarter-tone inflections and modal frameworks derived from historical Persian-Arab interactions during the Islamic Golden Age. These parallels are evident in shared scales like those akin to maqam Bayati, which facilitate expressive ornamentation in both traditions. In North Africa, the Andalusian nuba represents a post-Al-Andalus legacy of the Arab tone system, where suites structured around maqam modes were preserved after the 15th-century Reconquista, blending Arab-Andalusian elements with local Berber and Sephardic influences. This form, centered on quarter-tone progressions, continues in Moroccan and Algerian repertoires as a testament to medieval Islamic musical dissemination. Globally, the Arab tone system's microtonal features impacted through the integration of quarter-tone-inflected Phrygian modes, traceable to Moorish Andalusian influences on Spanish folk traditions during the 8th to 15th centuries. In 's por arriba structure, for instance, the raised third and flattened second evoke maqam Hijaz, creating the genre's characteristic tension and expressivity. Balkan sevdah, a Bosnian-Herzegovinian genre, incorporates Arab-derived melodic contours via Ottoman intermediaries, using modal scales with subtle microtonal bends to convey melancholy. This fusion reflects centuries of cultural layering in the region. Among 20th-century Western composers, drew inspiration from Arabic musical structures, evident in works like La soirée dans Grenade, which employs pentatonic and modal elements reminiscent of maqam Rast. The facilitated the spread of the Arab tone system from the 15th to 19th centuries, disseminating maqam-based practices to the through court musicians and military bands, and extending influences to via trade routes and shared Persianate heritage. In modern contexts, revivals appear in fusion genres like Arabic jazz, where artists such as integrate maqam modes with improvisational harmony, preserving microtonal nuances on instruments like the . The inscription of Iraqi Maqam in 2008 as underscores the ongoing global influence of these traditions, highlighting their role in fostering cultural dialogue.

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  46. https://babayagamusic.com/Music/Makams-and-Cents.htm
  47. https://www.microtonaltheory.com/microtonal-ethnography/medieval-perso-arabic-music-theory
  48. https://dergipark.org.tr/en/download/article-file/534744
  49. https://repositori.upf.edu/bitstreams/72c0db66-b969-4062-9406-4a08cbbd3761/download
  50. https://journal.ru.ac.za/index.php/africanmusic/article/view/2530
  51. https://archive.aramcoworld.com/issue/200104/the.musical.pulse.of.tunisia.htm
  52. https://hucbald.nl/wp-content/uploads/2021/02/Jonker-Final-Paper-Music-of-the-Arab-World-and-the-Middle-East.pdf
  53. https://academic.oup.com/book/11872/chapter/161027689
  54. https://800arabia.org/the-influence-of-arabic-music-on-contemporary-western-music/
  55. https://www.researchgate.net/publication/47368863_Lost_in_scales_Balkan_folk_music_research_and_the_ottoman_legacy
  56. https://daily.bandcamp.com/lists/arabic-jazz-artists
  57. https://ich.unesco.org/en/RL/iraqi-maqam-00076
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