188宝金博页面版

Amine Beyhom A Hypothesis for Heptatonic Scales 5 A Hypothesis for the Elaboration of Heptatonic Scales Amine Beyhom ? ‖ ??? ?????? ???? ????? ????? ??? ???? ?? ?????????? ? ? ???? ???? ?? ???? ????????? ?????? ????? ????? ???? ? ? ????? ??????? ??? ???? ?? ????? ????? ???? ?????? ???? ????? ?? ?????? ??? ???? ?? ? ???? ????? ??????? ???? ???? ???????? ???? ?? ????? . ????? ??? ??? ?????? ?????? ?? ????? ―[...] “The double octave will not comprise, in practice, more than fourteen intervals; the octave, more than seven; the fifth, more than four intervals and five degrees; the fourth, more than three intervals and four notes; the tone, more than two intervals. It is experience and not the theoretical need which dictates it [...]” [Ibn Sīnā (Avicenna) – K i t āb - a - s h - S h i f ā ? ] 1 ? Amine Beyhom is currently the editor in chief of NEMO-Online and director of the CERMAA (Centre de Recherches sur les Musiques Arabes et Apparentées), a research center affiliated to the FOREDOFICO foundation in Lebanon – he was at the time of the reading of the original paper (2008), and until the publication of the first version of this article (in 2010) an independent researcher associated to the PLM Research group at the University of Sorbonne – Paris IV. 1 End of 10 th , early 11 th centuries AD; in Arabic [Sīnā (Ibn) ou Avicenne (0980?-1037), 1956], p. 40-44; and in French [Fārābī (al-) et al., 1935], p. 138. F OREWORD 2 As I pinpointed in 2003, 3 the reason for having eight notes in one octave is an arbitrary concept. There are diverging explanations of this common fact but none is satisfactory. This article gives an alternative explanation of this phenomenon. It is divided in two main parts: ? Part I, entitled ―Differentiation, combination, selection and classification of intervals in scale systems: basic Modal systematics‖, offers another view based on the theory of Modal Systematics, where basic principles are explained together with interval classification in the scale. 2 This article is an emendated, updated and enriched version of the paper entitled ―A new Hypothesis for the Elaboration of Heptatonic Scales and their Origins‖ [Beyhom, 2010a] published in the proceedings of the ICONEA 2008 Conference. New research since its first publication presented complementary and sometimes clarifying facts (some of them exposed in the authors publications [Beyhom, 2012?; Beyhom, 2014]) which, with the evolution of terminology (see [Beyhom, 2013] – in French), makes it indispensable to publish this new edition. Most of the tables and figures have been reintegrated in the body text, and a dedicated appendix (Appendix G) has been added concerning Octavial scales with limited transposition. To comply with NEMO-Online publishing policy, and as with all articles of the review since Volume 3, the pdf version includes bookmarks corresponding to the titles, sub-titles, tables and figures, which should help the reader navigate between the different parts of the article; additionally, one Power Point show illustrating (mainly) Appendix G with audio examples, is proposed as a complement at http://nemo-online.org/articles. A few complementary remarks: the ?hypothesis‘ is no longer new, and has never been challenged, to my knowledge, since its first publication in the Ph.D. thesis Systématique modale at the University of Sorbonne – Paris IV in 2003. It is published in this version as a complement to the dossier on Orientalism and Hellenism [Beyhom, 2016] and to the ―Lexicon of modality‖ [Beyhom, 2013]. A copy of the original thesis [Beyhom, 2003c] can be obtained from http://www. diffusiontheses.fr/ (id.: 03PA040073; Réf ANRT : 41905) in printed form (B&W), and the emendated full version, together with most of my other musicological writings, are now downloadable free of charge at http://foredofico.org/ CERMAA/publications/publications-on-the-site/publications-amine- beyhom as well as at https://hal.archives-ouvertes.fr. Finally: my heartfelt thanks go to Richard Dumbrill who invited me to participate in ICONEA 2008 (and who has read the article at my place, as various constraints prevented my attendance), translated the first version from the original French, then helped emendate the English text for the present version. This was even more welcomed as the original article (in French) was proposed beginning 2004 to musicological French speaking reviews, which did not accept it for publication. 3 In my thesis [Beyhom, 2003c].