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Retentional Syntagmatic Network, and its Use in Motivic Analysis of Maqam Improvisation Figure 2: RSN related to the transcription of the improvisation on Mhayyer Sîkâa maqam shown in Figure 3. Each successive column of the matrix is a successive note in the transcription. Lines develop syntagmatic retention of pitches, the top line corresponding to the highest pitch. Actual notes are indicated with ‘@’. Syntagmatic retentions are shown by ‘x’-crosses, which indicate that the current note (column) can be syntagmatically connected with the pitch related to the line. ‘+’ is similar, simply adding that the syntagmatic anchor has already been used by a previous note. Other signs indicate other degrees of syntagmatic connections that have not been fully formalized yet. Syntagmatic connections shown in the motivic analysis in Figure 3 are highlighted in this matrix using the same color code. 3. Motivic pattern mining in the RSN 3.1 Ornamentation and reduction An ornamentation of a motif generally consists in the addition of one or several notes –the ornaments– that are inserted in between some of the notes of the initial motif, modifying hence the composition of the syntagmatic surface. Yet, the ornamentation is built in such a way that the initial –hence reduced– motif can still be retrieved as a particular syntagmatic path in the RSN. The challenge of motivic analysis in the presence of ornamentation is due to the fact that each repetition of a given motif can be ornamented in its own way, differing therefore in their syntagmatic surface. The motivic identity should be detected by retrieving the correct syntagmatic path that corresponds to the reduced motif. Motivic analysis is hence modelled as a search for repeated patterns along all the paths of the syntagmatic network (Lartillot: 2010). We proposed a method for comprehensive detection of motivic patterns in strict monodies, based on a exhaustive search for closed patterns, combined with a detection of cyclicity (Lartillot: 2010). That method was restricted to the strict monody case, in the sense that all motifs are made of consecutive notes. The closed pattern method relies on a definition of specific/general relationships between motifs. In the strict monody case, a motif is more general than another motif if it is a prefix, or a suffix, or a prefix of suffix, of the other motif 2 . The application of this comprehensive pattern mining framework to the analysis of RSNs requires a generalization of this notion of specific/general relationships that includes the ornamentation/reduction dimension. 3.2 Application to the analysis of a maqam improvisation Figure 3 shows a theoretical analysis of a transcription of the first part of a improvisation by the Nay flute master Mohamed Saâda on the Mhayyer Sîkâ maqam (Lartillot & Ayari, 2011). The lines added in the score show occurrences of motivic patterns. Two main patterns are induced, as shown in Figure 4: 2 The additional problem of multidimensionality of the musical representation is here ignored to simplify the explanation. 213
Retentional Syntagmatic Network, and its Use in Motivic Analysis of Maqam Improvisation The first line of Figure 4 shows the main pattern that is played in most of the phrases in the improvisation, and based on an oscillations between two states centered respectively around A (added with Bb, and represented in green) and G (with optional F, and represented in red), concluded by a descending line, in black, from A to D. This descending line constitutes the emblematic patterns related to the Mhayyer Sîkâa maqam, and can be played in various degrees of reduction through a variety of different possible traversals of the black and purple syntagmatic network. The second line shows a phrase that is repeated twice in the improvisation – plus another more subtle occurrence–and based on an ascending (blue) line followed by the same paradigmatic descending line aforementioned. Figure 3: Transcription and motivic analysis of the first part of a improvisation by the Nay flute master Mohamed Saâda on the Mhayyer Sîkâa maqam (Lartillot & Ayari, 2011). The lines added in the score show occurrences of motivic patterns, described in Figure 4. Figure 4: Motivic patterns inferred from the analysis of the improvisation shown in Figure 3. This detailed analysis of the transcription shows how parallel motivic understanding can be 214
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Las fronteras entre los géneros: f
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Reservados todos los derechos. Ni l
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ÍNDICE Preface …. …………
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Preface The III Interdisciplinary C
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Ciencias de la Salud. De estos caso
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Hacia una revisión del concepto
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El Romance de La loba parda y la Bu
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Flamenco - Jazz: una perspectiva an
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EL canto (cante) al Cristo de la C
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Estudio de métodos para transcribi
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El zapateado flamenco: naturaleza f
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PERFIL FLAMENCO: ESTEBAN SANLÚCAR
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Federico García Lorca y la música
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El flamenco como expresión de lo s
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Nuevas propuestas para la historia
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The legacy of Félix Fernández Gar
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The legacy of Félix Fernández Gar
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¿Tradición o renovación?: Antoni
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El flamenco como epistemología par
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La audición en los más pequeños
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