What Exactly Does the Term "Microtonal" Refer To?
Album Title
Quark Mode II
by Ehsan Saboohi
Composer’s Note
What Exactly Does the Term "Microtonal" Refer To?
Acknowledging that Eastern societies historically struggled to define their identity is not an act of self-deprecation; I do not deny this fact. Likewise, recognizing that many scientific and technical terms in music, used by early ethnomusicologists from both East and West, are colonial, racist, and unprofessional, is not a matter of arrogance. This recognition parallels the era of slavery and racial discrimination, when Black individuals were demeaned due to their skin color.
The fundamentalist perspectives of Western ethnomusicologists such as Jean During, Bruno Nettl, and Maud MacCarthy, alongside their Eastern counterparts like Nur-Ali Borumand, Hooman As’adi, and Majid Kiani, who lack specialized knowledge in composition and disregard the diverse scientific foundations, have contributed inaccurate and imprecise definitions to the music theory. Their focus on exoticism, mysticism, and pseudo-science further compounds this issue.
Drawing on Edward Said’s concept of "Orientalism," I challenge these definitions within the framework of early Orientalism. Terms such as "microtonal," "Radif," and "Iranian classical music" lack thoughtful and precise definitions. Critical engagement with these concepts requires an examination of their essence and origins, marking the beginning of a scholarly movement among specialized composers. Let us provisionally term this approach "post-Orientalism."
"Post" signifies a critical historical re-reading,
"Post" implies skepticism towards established terminology,
"Post" represents a mode of thinking free from the constraints of censored minds.
Let us consider the early Eastern ethnomusicologists who studied the East as a context devoid of scholarly rigor; they demonstrated minimal precision and patience in their definitions. Is it not time to rid ourselves of derogatory and unscientific terms?
To the German and French ethnomusicologists, it must be declared unequivocally: enough! Music is not about World War II, Hitler, or Napoleon; all sounds should be defined and understood independently. One must dispose of pseudoscientific description. When referring to "micro," relative to what is the term being measured? Is this not a manifestation of the same binary thinking of the self and the other, black and white, Aryan and non-Aryan, French and foreign? What does the term “microtonal” exactly refer to?
Let Eastern fundamentalists who are fond of mysticism and exoticism continue to cherish you and be grateful for the inadequate terms you have chosen for them; this is their prerogative. However, a thorough reconsideration of concepts and starting afresh is the path to enlightenment.
Eastern fundamentalism and European exoticism are, in this regard, akin to a bullet and a gun—eternal companions.
The Post-Orientalism Society not only rejects the recognition of flawed definitions of "microtonal" and "Iranian classical music," but also emphasizes that one must never forget the era of German Nazi supremacy imposed upon Orientalists and Napoleon’s influence on the French. It is time to abandon the use of anti-human rights terminology that was conceived within the colonial West of the 19th century.
In the past decade, I have given this matter considerable thought, contemplating how I can explain my theory.
Finally, I came across “quark theory” in physics. Quarks are simply defined as “ultimate building blocks of visible matter in the universe”. Quarks are believed to be “elementary and fundamental particles” that in combination with each other form dual “composite particles”.
A similar concept, the idea of stable dual particles in ancient Persian literature, received particular attention in the “Zurvanist” culture. Historically, philosophers like Khayyam (in the Rubaiyat) and Morteza Hananeh in music composition paid special attention to this duality.
My music composition theory which I call the “Quark Mode” consists of fundamental particles that develop into stable dual particles. The raw material for the Quark Mode is a potential register consisting of 600 tones. In other words, the Quark Mode involves a 600-tone equal temperament (600-TET). The tones will have binary divisions with high levels of precision and clarity.
In my the second presentation of this theory, I have used the “Radif of Iranian Music” as a basis to develop this innovative mode, which was performed by Pegah Zohdi.
I am well aware that I still have a long way to go to complete my theory of the “Quark Mode '' in Postorientalism Music, exploring dimensions such as theory of harmony, counterpoint structures, form, etc.
At the end of my note, I would like to express my gratitude to my dear and constant companions whose kindness over the years I appreciate:
Dr. Mohammad Reza Hashemi who has always been involved in translating texts and exchanging ideas.
Pegah Zohdi whose trust in the Post-Orientalism Association made the recording of the Santūr possible.
Dr. Ali Balighi, my respected friend and colleague, who mastered this musical rendition.
And, last but not least, my wife, without whom I would be nothing but a simple harmony teacher!
-Ehsan Saboohi
Tuesday, July 23, 2024
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