This inspired me, through several personal encounters that included masters Mahmoud Zoufonoun, Danongan Kalanduyan, and Ornette Coleman, to pursue the eventual convergence and consequent disintegration of such systems, seeking not only a drive towards shared source, but also the liberation from formal restraints that suppress shared empowerment.
As sound, this paradoxical force gives rise to the metaphoric renaming of the harmonic series as "Makam X," thereby coiling such intervallic gravity with musical and extra-musical messages: here, speculation on a "cradle-mode" leads to implications of the tetrachordal, and subsequently, the appreciation of shared principles among African American, Persian, Andalucian, and Filipino musical traditions. Improvisation, by definition, fuelled by the same creative energies that move life, and as a fluid variance on and constant trickster of form, embodies the subversive. The larger issue for this paper relates to the author’s interest in the expansion of the palette of pitch color and the growing staleness of equal temperament as the 21st century gets underway." This research will primarily be a musicological endeavor and will not engage in particular ethnic diversity over and beyond what will provide such information. Despite very few sources for the specific research on Central Asian microtonal scales and modes, this paper will utilize analysis from seminal sources which will bridge into both Uzbekistan and Tajikistan and their shared use, such as use within the shash maqam, along with its concomitant scales, historically derived from these aforementioned regions. Maqam is also found in regions surrounding central Asia, such as: Turkey, Iran, Afghanistan, Azerbaijan, and Arabic cultures and serves as a modal structure that has remained relatively unchanged for hundreds of years, despite supralocal changes in purpose and format as coalesced by intercultural exchanges.
The sources of these scales and modes come from Iran, Turkey and Arabia, initially, an example being the Dastgah of Persia, and have come to Uzbekistan and Tajikistan by way of foreign influence via inter-cultural interactions and religion, particularly Islam. "This paper will focus on microtonal scales and modes, known as maqam, used by musicians in the Middle East and Central Asiatic regions.
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