Makam Music Magazine is the representative of the Turkish Music in printed press. Makam Music Magazine addresses a wide range of topics on every page of it, related to Turkish music, including its journey of music over time, its types, performers, educators, instruments and concert venues. In every issue, Makam Music Magazine also aims to increase international awareness about Turkish music by means of interviews with the people and organizations making Turkish Music in foreign countries and by addresing the interaction between the music of that country and Turkish Music.

Scales and modes are the building blocks of music. This is true for all the many music cultures of the world. This compendium covers the different scales as they are used in the Western tradition, including ie. the Greek, Byzantine, Octamodes, Takemitsu modes, Heptamodes, Octamodes, as well as modes in religious music and jazz, and synthetic scales created by some the most famous composers of the western music. Non-western scales cover Arabic, Persian, Turkish, Azerbaijani, Indian Ragas, Bali, Thai, Laos, Burma and the scales of some ethnic minorities in South East Asia. The wealth of information in this book is organized geographically, introducing and explaining over 500 different scales and modes. The use of the scales, the interval relations and structures are explained in illustrations. This compendium is an invaluable resource to everyone interested in the theory of the world’s music cultures, be it an individual musician, composer, arranger, musicologist, theorist, or jazz musician finding inspiration for the solos. See the sample pages for more information.

The author examines the indigenous diatonic and chromatic modes used in Albanian urban music and classifies them under traditional headings and as part of a newly established grouping, here termed south-western Balkan modes. The core of the work is the analysis of Albanian urban lyric songs, seen as an artistic version of the traditional Albanian urban songs.

The most fundamental subject of music scholarship provides the common focus of this volume of essays: music itself. For the distinguished scholars from the field of musicology and related areas of the humanities and social sciences, the search for music itself—in its vastly complex and diverse forms throughout the world—characterizes the lifetime of reflection and writing by Bruno Nettl, the leading ethnomusicologist of the past generation. This Thing Called Music: Essays in Honor of Bruno Nettl salutes not only a great scholar and beloved teacher, but also a thinker whose search for the meaning and ontology of music has exerted a global influence. Editors Victoria Lindsay Levine and Philip V. Bohlman have gathered essays that represent the many dimensions of musical meaning, addressing some of the most critically important areas of music scholarship today. The social formations of musical communities play counterpoint to analytical studies; investigations into musical change and survival connect ethnography to history, offering a collection of essays that can serve as an invaluable resource for the intellectual history of ethnomusicology. Each chapter explores music and its meanings in specific geographic areas—North and South America, Europe, Asia, and the Middle East—crossing the boundaries of genre, repertory, and style to provide insight into the aesthetic zones of contact between and among the folk, classical, and popular musics of the world. Readers from all disciplines of music scholarship will find in this collection a proper companion in an era of globalization, when the connections that draw musicians and musical practices together are more sweeping than ever. Chapters offer models for detailed analysis of specific musical practices, while at the same time they make possible new methods of comparative study in the twenty-first century, together posing a challenge crucial to all musicians and scholars in search of “this thing called music.”

This edited volume is the result of the 8th Symposium of the ICTM Study Group Maqām in Sarajevo, Bosnia and Herzegovina, which brought together scholars from Germany, Turkey, Tunisia, Serbia, Malaysia, Finland, Slovenia and Bosnia and Herzegovina. In order to open up minds and to widen the horizons of discussions on historical traces and present music practices related to the maqām principle in Southern Europe and neighbouring regions, the general topic of the symposium, namely “Maqām: Historical Traces and Present Practice in South European Music Traditions”, was substructured into three special topics: “Between maqām and mode: the intermediate realms”; “Historical traces of Ottoman music in the Mediterranean Region”; and “Role and revival of religious genres in the Balkans”. The contributions included in this volume offer new insights and knowledge on various aspects of the Ottoman music culture and their stimuli in the Mediterranean region and especially in parts of the Balkans, as well as on general aspects of the maqām principle.