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Literatura académica sobre el tema "The tree of arabic music scales"

Autor: Grafiati
Publicado: 25 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "The tree of arabic music scales"

1

Eitan, Zohar, and Roni Y. Granot. "Growing Oranges on Mozart's Apple Tree: "Inner Form" and Aesthetic Judgment." Music Perception 25, no. 5 (2008): 397–418. http://dx.doi.org/10.1525/mp.2008.25.5.397.

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Music theorists often presume that the sections of a musical masterwork match organically, enhancing unity and value. This "inner form" should be distinguished from coherence associated with inter-opus constraints, such as conventional forms. Studies indicate that violating inter-opus constraints hardly affects listeners' aesthetic judgments. Here we examine how violating inner form affects such judgments. Musically trained and untrained listeners heard the intact opening movements of Mozart's piano sonatas, K. 280 and 332, as well as hybrids mixing sections from these two movements while main
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2

Ibrohimov, Oqilxon. "On the History of the Formation of Classic Maqoms." Uzbekistan: language and culture 3, no. 1 (2021): 98–110. http://dx.doi.org/10.52773/tsuull.uzlc.2021.1/bcyn9498.

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Maqoms, which are classic examples of professional oral music, form an important part of the musical heritage of most of the Muslim peoples of the East. The Arabic term "maqom" denotes cycles of instrumental and vocal music, created on the basis of a combination of perfect scales and certain metro-rhythmic structures (usul). In order to better understand the content-semantic aspect of this kind of musical cycles, first of all, it is necessary to have a certain idea of the history of the origin and factors of the development of this art.The history of this ancient art can be divided into two ma
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3

Sema та Ahmet. "A Significant Person in the History of Music Theory: Allame Quṭb al-Dīn al-Shīrāzī". Eskiyeni, № 46 (20 березня 2022): 245–68. https://doi.org/10.37697/eskiyeni.1050244.

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13th century appears as a period when the theory of music in Islamic civilization was considered as one of the Riyādī (ta‘limī) sciences based on wisdom and expe-rience, and it was restructured in a comparative way with the works written. Quṭb al-Dīn al-Shīrāzī (d. 1311), who was among the first music theorists of the period, dealt with the science of music with theories and calculations that some of which are still in use today and at the same time he was interested in the practical part of music. His work called Durrat al-taj, in which he includes the views of al-Fārābī, Ibn Sīnā and U
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4

Zhu, Fangzhen, Changhao Wu, Qike Huang, Na Zhu, and Tuo Leng. "Rhythm-Based Attention Analysis: A Comprehensive Model for Music Hierarchy." Applied Sciences 15, no. 11 (2025): 6139. https://doi.org/10.3390/app15116139.

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Deciphering the structural hierarchy of musical compositions is indispensable for a range of music analysis applications, encompassing feature extraction, data compression, interpretation, and visualization. In this paper, we introduce a quantitative model grounded in fractal theory to evaluate the significance of individual notes within a musical piece. To analyze the quantized note importance, we adopt a rhythm-based approach and propose a series of detection operators informed by fundamental rhythmic combinations. Employing the Mamba model, we carry out recursive detection operations that o
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5

Song, Zhaoying, Federico Tomasetto, Xiaoyun Niu, Wei Qi Yan, Jingmin Jiang, and Yanjie Li. "Enabling Breeding Selection for Biomass in Slash Pine Using UAV-Based Imaging." Plant Phenomics 2022 (April 22, 2022): 1–14. http://dx.doi.org/10.34133/2022/9783785.

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Traditional methods used to monitor the aboveground biomass (AGB) and belowground biomass (BGB) of slash pine (Pinus elliottii) rely on on-ground measurements, which are time- and cost-consuming and suited only for small spatial scales. In this paper, we successfully applied unmanned aerial vehicle (UAV) integrated with structure from motion (UAV-SfM) data to estimate the tree height, crown area (CA), AGB, and BGB of slash pine for in slash pine breeding plantations sites. The CA of each tree was segmented by using marker-controlled watershed segmentation with a treetop and a set of minimum th
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6

Serafini, Stefano, and Tatyana S. Turova. "“Searching for order at all levels”. Antonio Lima-de-Faria (July 4, 1921 – December 27, 2023)." Caryologia 76, no. 3 (2024): 71–73. http://dx.doi.org/10.36253/caryologia-2465.

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Professor Antonio Lima-de-Faria was our friend and, in a sense, a teacher. Despite our different fields of study, this master of scientific thought has deeply influenced both of us. Dr. Stefano Serafini came to know the work of Antonio Lima-de-Faria when he was just a teenager thanks to a disseminative article by the late Italian geneticist, Giuseppe Sermonti. Lima-de-Faria’s elegant vision of a universal order at all levels of nature opened his eyes to the consistency of patterns, forms, and function throughout the mineral, vegetable, and animal realms – a concept that has influenced his work
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7

"Approaches and Paradoxes of the Eight Byzantine Melodies and Arabic Maqams مقاربات ومفارقات في الألحان البيزنطية الثمانية والمقامات العربية*". المجلد14 العدد 1 عام 2021 14, № 1 (2021): 15–34. http://dx.doi.org/10.47016/14.1.2.

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Abstract The music that originated in the Byzantine Empire in Constantinople is called Byzantine music and is based on eight main melodies. This study is intended to identify the similarities and differences between the eight Byzantine melodies and the Arab maqams. It also highlights the main characteristics of each type of the eight Byzantine melodies, inscribes some examples of them as Western music, and analyzes the genre combinations of Western music in the Byzantine musical composition. The study provides a general illustration of the stacks of the Byzantine melodies and their counterpart
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8

Sukkarie, Haitham. "Orchestral for Arabic Instrumental Forms Sama’e as a Model." An-Najah University Journal for Research - B (Humanities), November 2014, 2641–74. http://dx.doi.org/10.35552/0247-028-011-007.

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Arabic music is characterized by a variety of melodies and a lot of modes, While Western music is characterized by richness of Harmony and Orchestration in two scales (Major and Minor), most of Arabs National composers combined Oriental and western music together by utilizing theories of harmony and counter point to enrich the music of East and present it in a new style Commensurate with the audience high taste. Although there are a large number of orchestral works for Arab composers, but the Majority was in western forms, this contrasts with the principles for the school of nationalism which
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9

Gorman-Murray, Andrew. "Country." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.102.

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‘Country’ is a word that is made to do much discursive work. In one common configuration, country is synonymous with ‘rural’, also evinced through terms like countryside and country-minded. Yet, at the same time, country is synonymous with ‘nation’. This usage is more emotive and identificatory than administrative, as in ‘my country’, ‘my land’, ‘my homeland’. Augmenting a sense of national allegiance, this use of country evokes something of the connection between people, landscape, belonging, identity and subjectivity. Moreover, country-as-rural(ity) and country-as-nation(ality) have signific
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Libros sobre el tema "The tree of arabic music scales"

1

Powers, Cameron. Arabic musical scales: Basic maqam teachings. G.L. Designs, 2005.

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2

Farjānī, Miftāḥ Suwaysī. Maqāmāt al-mūsīqā al-ʻArabīyah: Dirāsah taḥlīlīyah. al-Dār al-Jamāhīrīyah lil-Nashr wa-al-Tawzīʻ wa-al-Iʻlān, 1986.

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3

Farjānī, Miftāḥ Suwaysī. Maqāmāt al-mūsīqā al-ʻArabīyah: Dirāsah taḥlīlīyah. al-Dār al-Jamāhīrīyah, 1986.

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4

Amīr, Sālim Ḥusayn. Dalīl salālim al-maqāmāt al-ʻArabīyah. Dār al-Shuʼūn al-Thaqāfīyah al-ʻĀmmah, Wizārat al-Thaqāfah wa-al-Iʻlām, 1986.

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5

The Tree of Arabic Music Scales (Incl. CD): شجرة سلالم الموسيقى العربية. Al-Regeb Music, 2006.

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6

Harmonic Secrets of Arabic Music Scales : Fine Tuning the Maqams: Fine Tuning the Maqams. GL Design, 2012.

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