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      <image:caption>A graphical representation of the Nidaa Abou Mrad’s endo/exosemiotic model</image:caption>
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      <image:title>Specters Of Maqam - Articles - Maqam and meaning - Make it stand out</image:title>
      <image:caption>Tone rows of On-Ikki Muqam with the drifting tones on fixed scale degrees (Zhou Ji - A study of the tonal system of the Uyghur Muqam)</image:caption>
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      <image:caption>The expanding model of the semiosphere, illustrated with help of historical maps of the city of Vienna from the early 18th century, the mid-19th century, and the early 20th century. (Source: Wikimedia Commons)</image:caption>
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      <image:title>Specters Of Maqam - Articles - Kinetic and temporal aspects of Maqam performance - Make it stand out</image:title>
      <image:caption>Eero Tarasti’s zemic model (Sein und Schein, 2015)</image:caption>
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      <image:title>Specters Of Maqam - Articles - Kinetic and temporal aspects of Maqam performance - Make it stand out</image:title>
      <image:caption>A. J. Racy’s ecstatic feedback model of ṭarab performance (1991)</image:caption>
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      <image:title>Specters Of Maqam - Articles - The structure of Maqam - 4 analytical models - Make it stand out</image:title>
      <image:caption>A scale of Ramal al-Maya as represented in the Wikipedia article on Afro-Andalusian Nuba (with a tonic on D and a dominant on A)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/6a846aef6d7e4d1b80af15cd/595dfd08-11f6-4c15-b880-8bd47092b533/ramlmaqadavis%281%29.png</image:loc>
      <image:title>Specters Of Maqam - Articles - The structure of Maqam - 4 analytical models - Make it stand out</image:title>
      <image:caption>A scale of Ramal al-Maya after Salah el-Mahdi, as represented by Ruth Davis, with qarar on D and marākiz on F, G, A and C</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/6a846aef6d7e4d1b80af15cd/21e6740b-3299-40a6-b188-10e8e88b2ea9/drvo%281%29.png</image:loc>
      <image:title>Specters Of Maqam - Articles - The structure of Maqam - 4 analytical models - Make it stand out</image:title>
      <image:caption>The “transmodal tree” depicting the four main usul: Rast and its three derivations, ‘Iraq, Zir’afkend, and Isfahan, as well as eight furu‘ and six aqazat derived from the usul. (source: Nidaa Abou Mrad: The Musicological Revealer, by Muẓaffar al-Ḥiṣnī: a sixteenth century treatise about modal transformational grammar)</image:caption>
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      <image:title>Specters Of Maqam - Articles - The structure of Maqam - 4 analytical models - Make it stand out</image:title>
      <image:caption>Heinrich Schenker’s Ursatz</image:caption>
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      <image:title>Specters Of Maqam - Articles - The structure of Maqam - 4 analytical models - Make it stand out</image:title>
      <image:caption>The model of competing thirds</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/6a846aef6d7e4d1b80af15cd/788f17fa-b503-4a3c-9826-4079920312e9/lad%282%29.png</image:loc>
      <image:title>Specters Of Maqam - Articles - The structure of Maqam - 4 analytical models - Make it stand out</image:title>
      <image:caption>Two examples of lad structures, illustrating the basic symmetrical system and one of the more complex forms. Reproduced from Philip Ewell, “On the Russian Concept of Lād, 1830–1945.”</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/6a846aef6d7e4d1b80af15cd/46c14f6d-6cd1-432d-8778-3376bcb85fd6/lad+chords+flavors%281%29+transparent.png</image:loc>
      <image:title>Specters Of Maqam - Articles - The structure of Maqam - 4 analytical models - Make it stand out</image:title>
      <image:caption>12 archetypal Flavors represented as symmetrical systems</image:caption>
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      <image:title>Specters Of Maqam - Articles - The structure of Maqam - 4 analytical models - Make it stand out</image:title>
      <image:caption>A scale of Ramal al-Maya with colored bows and arrows</image:caption>
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      <image:title>Specters Of Maqam - Articles - The structure of Maqam - 4 analytical models - Make it stand out</image:title>
      <image:caption>A rhizomatic model showing all available flavors between two nodes, beginning with the F-Rast master scale, with the wusta on E half-flat and A half-flat, and extending four steps down the circle of fourths to incorporate A-Rast, with the wusta on C half-sharp. In an imaginary three-dimensional representation, the nodes (notes connected by the ellipse) would occupy the same space.</image:caption>
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      <image:title>Specters Of Maqam - Articles - The structure of Maqam - 4 analytical models - Make it stand out</image:title>
      <image:caption>Four models and their commonalities</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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    <loc>https://www.nenadmarkovic.net/specters-of-maqam/12-archetypal-flavors-of-maqam</loc>
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      <image:title>Specters Of Maqam - Articles - 12 archetypal flavors of Maqam - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Specters Of Maqam - Articles - 12 archetypal flavors of Maqam - Make it stand out</image:title>
      <image:caption>Tuning spectrum of the HUSSEINI I-II interval</image:caption>
    </image:image>
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      <image:title>Specters Of Maqam - Articles - 12 archetypal flavors of Maqam - Make it stand out</image:title>
      <image:caption>Tuning spectrum of the RAST/MAHUR II-III interval</image:caption>
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      <image:title>Specters Of Maqam - Articles - 12 archetypal flavors of Maqam - Make it stand out</image:title>
      <image:caption>Tuning spectrum of the NIKRIZ/MUWWAL II-III interval</image:caption>
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      <image:caption>Tuning spectrum of the HIJAZ/ČAHARGAH/MAHUR I-II interval</image:caption>
    </image:image>
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  <url>
    <loc>https://www.nenadmarkovic.net/specters-of-maqam/maqam-as-a-trans-cultural-phenomenon</loc>
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    <lastmod>2026-11-02</lastmod>
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      <image:title>Specters Of Maqam - Articles - Maqam as a trans-cultural phenomenon - Make it stand out</image:title>
      <image:caption>Fig 1. Connections and influences in the Baghdad music "scene"</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/6a846aef6d7e4d1b80af15cd/02850ba1-657e-467e-92e5-884f2b5f222d/Kitab+al+Adwar.png</image:loc>
      <image:title>Specters Of Maqam - Articles - Maqam as a trans-cultural phenomenon - Make it stand out</image:title>
      <image:caption>Fig. 2 A page from Kitāb al-Adwār (courtesy of University of Pennsylvania Library)</image:caption>
    </image:image>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/6a846aef6d7e4d1b80af15cd/a36bd6cb-7fbb-4ecd-a4bc-606e7a6dcf28/aeu+transapa.png</image:loc>
      <image:title>Specters Of Maqam - Articles - Maqam as a trans-cultural phenomenon - Make it stand out</image:title>
      <image:caption>Fig 3: Arel-Ezgi Uzdilek 9-comma division with accidentals for 1 comma, small semitone (4 c), large semitone (5 c) and a small tone ( 8c) (Image by SZC 03 on Wikipedia)</image:caption>
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      <image:title>Specters Of Maqam - Articles - Maqam as a trans-cultural phenomenon - Make it stand out</image:title>
      <image:caption>Fig. 4: el-Mahdi’s accidentals. taken from Ruth Davis’ 1996 article “Arab-Andalusian Music in Tunisia” Early Music, Vol. 24, No. 3, Early Music from Around the World (Aug., 1996), pp. 423-426</image:caption>
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      <image:title>Specters Of Maqam - Articles - Maqam as a trans-cultural phenomenon - Make it stand out</image:title>
      <image:caption>Fig. 5: 17-tone fret system of the Azerbaijani tar, documented after the instrument of Sadiq Əsədoğlu, late 19th century. Jean During (2019c)</image:caption>
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      <image:title>Specters Of Maqam - Articles - Maqam as a trans-cultural phenomenon - Make it stand out</image:title>
      <image:caption>Fig. 6: Five key processes that form the basis of comparative musicological analysis (Savage and Brown 2013)</image:caption>
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      <image:title>Specters Of Maqam - Articles - Maqam as a trans-cultural phenomenon - Make it stand out</image:title>
      <image:caption>Fig. 7: Sami Abū Shumāys (2013): A simplified modal structure of the maqām Hijaz (maqāmlessons.com)</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/6a846aef6d7e4d1b80af15cd/d75dcd93-9f39-4deb-9e3f-af2b091d316e/saba+rast%281%29.png</image:loc>
      <image:title>Specters Of Maqam - Articles - Maqam as a trans-cultural phenomenon - Make it stand out</image:title>
      <image:caption>Fig. 8: Diagrams of the modal structures in maqām Rast and Saba, demonstrating the octave-equivalence in one case and its absence in another (Farraj and Abū Shumāys 2019)</image:caption>
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      <image:title>Specters Of Maqam - Articles - Maqam as a trans-cultural phenomenon - Make it stand out</image:title>
      <image:caption>Fig. 9: Distribution of mode names across the Maqām realm</image:caption>
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      <image:caption>Note on tuning: while Persian theoretical sources prescribe a neutral interval (closer to a three-quarter tone) between the first and second degrees (G-A♭), in practice, at least in the vocal performance examined here, this interval appears to be only slightly larger than a semitone, roughly corresponding to the “apotome” (ca. 112 cents, also known as “infiṣāl” (Arabic), or “küçük mücennep” (Turkish) interval). Consequently, this degree is notated as A♭, just like in Iraqi maqām. This note would be played considerably higher when forming part of an excursion into Bayāt on G, which does occur in the Iraqi variant. However, since no such situation is to be found in Nizamski rastanak, this distinction is not relevant to the present analysis.</image:caption>
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    <loc>https://www.nenadmarkovic.net/specters-of-maqam/trumpet-tuning-and-maqam</loc>
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      <image:title>Specters Of Maqam - Articles - Trumpet tuning and Maqam</image:title>
      <image:caption>The first tetrachord of the oud</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/6a846aef6d7e4d1b80af15cd/1dbe53f4-293c-4383-8bfa-2a71dddc7b3b/1000001626+transparent.png</image:loc>
      <image:title>Specters Of Maqam - Articles - Trumpet tuning and Maqam - Now, on the fundamental diatonic scale that all of the earliest modes were extracted from, the wusta or middle finger would have a variable position, somewhere between the minor and the major 3rd in relation to the open string and RAST. So we had wusta al-Furs (the Persian-style wusta) very slightly above the minor third (Farabi puts it at 302 cents, with the minor third being at 294 cents - the combination of a 204 cent Pythagorean whole tone and the 90 cent limma). Then there is the famous wusta al-Zalzal right in the middle (354 cents according to Farabi), and later we have Urmawi who puts it on the just-intonation major third (384 cents above the open string). Each of these tunings was favored by different regional traditions (Persian, Arabic, Turkish), however the exact pitch of the wusta is often variable even within the same composition, and would typically be lower in a downward cadential function. The true major third (the binsir position) isn’t found on the fundamental diatonic scale, but belonged to the so called arabat/ansaf, or “complementary tones”, which were used in some derived modes. Finally, the perfect fourth is placed at the little finger position, just a limma (a small semitone) away from the ring finger, which makes sense anatomically. At the same time, this note is found on the open string position of the next, higher string, so the whole cycle can continue. Therefore there will typically be two wusta positions within one octave</image:title>
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      <image:title>Specters Of Maqam - Articles - Trumpet tuning and Maqam</image:title>
      <image:caption>Theoretical tuning of each position, calculated from a baseline B♭ trumpet length of 148 cm.</image:caption>
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      <image:title>Specters Of Maqam - Articles - Trumpet tuning and Maqam - Make it stand out</image:title>
      <image:caption>C-Rast fundamental diatonic scale (middle row) with arbaʿāt/anṣāf (top and bottom rows)</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/6a846aef6d7e4d1b80af15cd/08daf572-9e6e-487f-8c4d-d32644481fae/rastF.png</image:loc>
      <image:title>Specters Of Maqam - Articles - Trumpet tuning and Maqam - Make it stand out</image:title>
      <image:caption>F-Rast fundamental diatonic scale (middle row) with arbaʿāt/anṣāf (top and bottom rows) and additional wusta on C half-sharp (nim Hisar)</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/6a846aef6d7e4d1b80af15cd/e53b9c08-1e3e-49cd-8630-6c338cdc1185/ms+subway+only+transparent.png</image:loc>
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      <image:title>Specters Of Maqam - Articles - Trumpet tuning and Maqam</image:title>
      <image:caption>Fingerings of the Segah degree in F-Rast: (a) Pythagorean major tetrachord (binṣir position), known as Çargâh in Turkish makam, Ajam in Arabic maqām, and Mahur in Persian dastgāh and Tunisian malūf; (b) just-intonation major tetrachord (wusṭā position), used in Turkish Rast; and (c) Zalzalian major tetrachord (wusṭā position), used in Arabic Rast.</image:caption>
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      <image:title>Specters Of Maqam - Articles - Trumpet tuning and Maqam</image:title>
      <image:caption>Ḥijāz tetrachord in Turkish 53-TET notation, and its closest just-intonation equivalent (15:14, 7:6, 16:15)</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/6a846aef6d7e4d1b80af15cd/b567e236-59ec-478b-bd33-fd46f9a3d3ca/image.psd%2861%29.png</image:loc>
      <image:title>Specters Of Maqam - Articles - Trumpet tuning and Maqam</image:title>
      <image:caption>The calculation uses an open tube length of 148 cm, with valve tubing lengths of 18.1 cm (first valve), 8.8 cm (second valve), and 29.0 cm (third valve). The tetrachord spans D5 (first valve, fifth harmonic) to G5 (open, sixth harmonic), a total of 515.39 cents. Engaging the 2+3 valve combination adds 37.8 cm of tubing, lowering the sixth harmonic (E♭5) by 393.78 cents relative to open G5. The interval from E♭5 to F♯5, both produced on the same 2+3 air column, corresponds to the pure 7:6 ratio (266.87 cents). The remaining intervals are therefore 121.60 cents between D5 and E♭5, and 126.91 cents between F♯5 and G5. These approximate the ratios 15:14 (119.44 cents) and 14:13 (128.30 cents), respectively.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/6a846aef6d7e4d1b80af15cd/91e90b49-969e-402f-9da3-2e02ec9615af/image.psd%2862%29.png</image:loc>
      <image:title>Specters Of Maqam - Articles - Trumpet tuning and Maqam</image:title>
      <image:caption>Anchoring the initial note (E5, sixth harmonic) and the terminal note (A5, eighth harmonic) entirely to the third-valve fingering creates a shared air column measuring 177.00 cm (148 + 29.0 cm). Since both boundary notes belong to the same harmonic series, the total span remains an exact acoustic fourth of 498.04 cents (1200 log₂(8/6)). By shifting the two interior notes (F5 and G♯5) to the first-valve fingering, with a combined air-column length of 166.10 cm, the interval between the sixth and seventh harmonics naturally gives us the target 266.87-cent middle interval (1200 log₂(7/6)). At the uncompensated factory-default lengths, the physical ratio between these two air columns (177.00/166.10) produces a lower semitone of 110.04 cents, leaving an upper semitone of 121.14 cents.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/6a846aef6d7e4d1b80af15cd/07fecdf1-22d3-49ca-994c-17696c2af1cd/image.psd%2864%29.png</image:loc>
      <image:title>Specters Of Maqam - Articles - Trumpet tuning and Maqam</image:title>
      <image:caption>To correct this 11.10-cent structural skew and achieve perfect symmetry between the outer semitones, both must reach an exact mean of 115.59 cents (((498.04-266.87)/2)). Logarithmic mapping shows that raising the lower semitone from 110.04 to 115.59 cents requires extending the third-valve air column from 177.00 cm to a target length of 177.568 cm—an additional acoustic length of 5.68 mm. Because the trumpet's valve architecture uses a U-shaped slide loop, any mechanical displacement changes the effective air column by twice the physical travel distance. The required adjustment therefore corresponds to a third-valve slide extension of approximately 2.84 mm. This small mechanical adjustment allows the instrument to produce a symmetrically balanced Ḥijāz tetrachord (115.59–266.87–115.59 cents), bounded by a pure acoustic fourth.</image:caption>
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      <image:title>Specters Of Maqam - Articles - Trumpet tuning and Maqam</image:title>
      <image:caption>Segah-Hijaz compound mode in A-Rast</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/6a846aef6d7e4d1b80af15cd/bd368ac5-519d-4ee3-be4e-e650cf3a1152/image.psd%2866%29.png</image:loc>
      <image:title>Specters Of Maqam - Articles - Trumpet tuning and Maqam</image:title>
      <image:caption>To obtain the 12:11, the third-valve air column must be extended to 181.20 cm, while the first-valve air column remains at 166.10 cm. Starting from our previously calibrated length of 177.568 cm, this requires an additional acoustic extension of 36.32 mm. Since the U-shaped slide doubles the change in effective tube length relative to its physical displacement, the third-valve slide must be extended by approximately 18.16 mm beyond its previous position. This produces an interval of 150.64 cents (12:11), leaving an upper interval of 80.54 cents (22:21). Alternatively, if we aim for a 13:12 lower interval, the third-valve air column must reach 179.942 cm. This requires an additional acoustic extension of 23.74 mm, corresponding to a physical slide displacement of approximately 11.87 mm beyond the previous calibration. The resulting lower interval is 138.57 cents (13:12), with an upper interval of 92.60 cents (96:91).</image:caption>
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      <image:title>Specters Of Maqam - Articles - Introduction and Abstract</image:title>
      <image:caption>Pythagorean Circle of fifths (by Cmglee, Wikimedia Commons)</image:caption>
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      <image:title>Specters Of Maqam - Articles - Introduction and Abstract</image:title>
      <image:caption>The first tetrachord of the Oud, according to various medieval theories (Wright 1978, Sawa 1989, Farmer 1937, Yarman 2026)</image:caption>
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