Macam |

Arab.; main meaning – position, place

Modal-melodic model in Arabic, Iranian and Turkish music (related phenomena – poppy, mugham, muqam, raga). M. arose on the basis of Nar. melodies. characteristic of the mountains. music culture; in peasant music are not widely used. Each M. is a complex of chants, subject to the laws of a certain. fret. M.’s scales are diatonic 7-step, but do not correspond to European. tempered system; they include intervals of large and small semitones and large and small whole tones, differing by a Pythagorean comma. All steps of such scales have their own names; the tonic is one sound defined. heights, while those located an octave above and below it are considered as completely independent. steps. The same base tone may have different M. Meet and decomp. M. with the same scale; they differ in complex melodic. chants. Each M. is given a definition. ethical and even cosmological. meaning. About M. it is said in many. Wed-century. treatises, including Ibn Sina, Safi-ad-din. The latter for the first time indicates 12 classic. M., included in a complex 84-fret system based on the combination of 7 types of tetrachord with 12 types of pentachord.

M. serve as the basis for the improvisation of muses. prod. both small and large forms. Smaller forms are built on the material of one meter, while large forms use transitions from one meter to another—a kind of modulation. At the same time, not only the mode, but also the type of melody changes accordingly. chants. Characteristic for large forms is the sequence of two sections – a free meter and devoid of text taksim (Taqsim) and sustained in a definition. the size of a basrav (Basrav). Taxims are instrumental (solo and with bourdon) and vocal, usually performed in the form of vocalization, as well as with the participation of instruments. In the bashrav, the group blow. tools constantly repeats the definition. rhythmic formula against which the melody unfolds. The number of musical instruments used varies in different musical cultures.