Maqam Huzam

Dimitri

Δημήτρης Κουμπαρούλης, Administrator
Staff member
#2
Very interesting Basil, thanks. I didn't know such practice (rotating maqam) was still in use in the particular Jewish tradition. Their 10-mode rotating schedule reminds of the 8-mode rotating schedule of Orthodox churches using Byzantine chant. Also note the parts where everybody joins in at some cadences similar to what happened (and still happens occasionally) in some of the above mentioned churches (remember the Patriarchate and the kids joining in at the cadences). Interesting that there is no isokratema (drone). The style is also familiar to Byzantine psaltai although there are some distinctive differences.
 

Shota

Παλαιό Μέλος
#3
Very interesting Basil, thanks. I didn't know such practice (rotating maqam) was still in use in the particular Jewish tradition. Their 10-mode rotating schedule reminds of the 8-mode rotating schedule of Orthodox churches using Byzantine chant. Also note the parts where everybody joins in at some cadences similar to what happened (and still happens occasionally) in some of the above mentioned churches (remember the Patriarchate and the kids joining in at the cadences). Interesting that there is no isokratema (drone). The style is also familiar to Byzantine psaltai although there are some distinctive differences.
Here is some information about İzak Algazi Efendi, who was a famous Jewish cantor in Turkey and chanted mostly the makam based music. The sound samples have been posted in Zaman Al Wasl forum:

http://www.zamanalwasl.net/forums/showpost.php?p=3759&postcount=10

http://www.zamanalwasl.net/forums/showpost.php?p=3812&postcount=15

http://www.zamanalwasl.net/forums/showpost.php?p=3830&postcount=17

http://www.zamanalwasl.net/forums/showpost.php?p=3833&postcount=18

http://www.zamanalwasl.net/forums/showpost.php?p=3855&postcount=20

http://www.zamanalwasl.net/forums/showpost.php?p=3856&postcount=21
 

neoklis

Νεοκλής Λευκόπουλος, Γενικός Συντονιστής
#6
Missing post by Daidalos

Date: 17 June 2017 at 9:21:39 PM AEST

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It is mainly a matter of the melos, you have to understand this makam and its melodic rules very well to answer such a difficult question.

This guide published by Pan might be of help:

Aydemir, Murat. Turkish Music Makam Guide. Pan yayıncılık 151. İstanbul: Pan Yayıncılık, 2010 (with two audio CDs as supplement).

Or the seyir of makam hüzzam by Panagiotes Keltzanides:

Keltzanides, Panagiotes. Μεθοδική Διδασκαλία Θεωρητική Τὲ Καὶ Πρακτική Πρὸς Ἐκμάθησιν Καὶ Διάδοσιν Τοῦ Γνησίου Ἐξωτερικοῦ Μέλους Τῆς Καθ᾿ Ἡμᾶς Ἑλληνικῆς Μουσικῆς Κατ᾿ Ἀντιπαράθεσιν Πρὸς Τὴν Ἀραβοπερσικήν. first edition Istanbul 1881, 74.

http://www.analogion.com/forum/showthread.php?t=4418

According to Kyriakos Kalaitzidis, but his book is not concerned about church music, but about Orthodox neumes as a medium to transcribe and to compose music in makam hüzzam, Greek scribes did use the signature of echos legetos in exegetic notation (which still Middle Byzantine), only Nikephoros Kantouniares in his "Melpomene" collection (Athos, Vatopedi Ms. 1428) uses the chromatic phtora of echos devteros, but with finalis βου.

Kalaitzidis, Kyriakos. Post-Byzantine Music Manuscripts as a Source for Oriental Secular Music (15th to Early 19th Century). Translated by Kiriaki Koubaroulis and Dimitri Koubaroulis. Istanbuler Texte und Studien 28. Würzburg: Ergon-Verl., 2012, 332-333.

Romanos Joubran transcribes the makam "houzam", but he is really concerned with church music. He mentions it as a tune which could be classified as devteros, tetartos or plagios devteros, but he offers no concrete examples of liturgical compositions made in this makam.

Joubran, Romanos Rabih. ‘The Use of Eastern Musical Modes in Byzantine Compositions during the 19th and 20th Century.’ In Proceedings of the 1st International Conference of the ASBMH, 530–53. Pittsburgh, 2009.

http://www.asbmh.pitt.edu/page12/Joubran.pdf
 
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