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This essay examines tarab, an Arab musical tradition deeply rooted in the Near East region, and evaluated by listeners based on its emotional effect. Tarab culture has been influenced by westernization, forces of globalization, postcolonial nationalism, and modernism since the early 20th-century, which significantly changed the face of this musical culture by the end of the century. The main focus of this essay is discussing the cumulative effects of tarab’s musical and non-musical elements that together produce the emotional transformation experienced by the performers and the listeners.  To understand that emotional transformation, the relevant aspects of music psychology and philosophy to tarab music are discussed through a number of findings, such as musical expressiveness through the aesthetic surface, anticipatory arousal which results from familiarity and knowledge, the aesthetic appeal of unpleasant emotions such as sadness, openness to experience and aesthetic appreciation that indicates sensitivity to art and beauty, empathetic and sympathetic engagement with the persona imagined in the music, and dissociation from ordinary consciousness and absorption in the musical experience.

Thesis (Ph. D.)--Indiana University, 1998. / eContent provider-neutral record in process. Description based on print version record.

L’examen de différentes formes d’expression vocales et instrumentales kurdes d'Iran et d'Irak, liées à quatre dialectes, permet de dégager un idiom commun de la musique traditionnelle kurde, avec sa grammaire modale et rythmique. Cette recherche s'appuie sur des enquêtes dans les régions kurdes d’Iran et d’Irak et sur la collecte d'une centaine d'heures d’enregistrements de mélodies vocales et instrumentales. Elle prend en compte la diversité linguistique et religieuse ainsi que la place de la musique, de la poésie, de la danse et des instruments et fait apparaître une certaine unité au-delà de la diversité des formes. / The study of the various types of Iranian and Iraki Kurdish vocal and instrumental types of expression, associated to four forms of language, enables to delinate the commonalities within traditional Kurdish music, its rythms and modes. The research is based on detailed investigations performed on-site in Kurdish speaking regions of Iran and Irak as well as on more than hundred hours of recordings. Beyond the large diversity of expression resulting from linguistic and religious diversity, local specificies in the use of instruments and from the different roles played by poetry and dance in musical expression, the study eventually reveals the common roots of Kurdish music.

Det finns inte mycket tidigare forskning om den grekiska folkmusiken. Därför var det intressant att undersöka dess harmonik, då den kan vara begränsad ibland när det gäller variationer av melodisträvan och ackordföljds struktur. För att förstå den grekiska folkmusikens uppbyggnad baserades studien på att undersöka dess harmonik och struktur. Detta för att se möjligheterna med att utveckla harmoniken och dess melodi med nya kadenser för att inspirera till framtida undersökningar inom området. Undersökningen gjordes då vidare utifrån de viktiga frågorna som handlar om hur förhållandet var mellan intervallen i dess skalor samt vilka ackordfärgningar som kunde göras. Nästa del var att se hur det skulle fungera med utvikningar till andra tonarter för att sedan skapa ett verk som hade mer variation i harmoniken. Metoden för arbetet var att lyssna på verket ”Koritsaki Mou” för att med deskriptiv metod besvara detta, som sedan presenterades preskriptivt. Resultatet av arbetet visade på harmonikens uppbyggnad av verket där jag sedan skrev ett nytt verk med utvikningar vilket gjordes med hjälp av mellandominanter och en strävan mellan tre olika tonarter. Detta har varit stor vikt för hur man kan utveckla nya musikstilar med inspiration från den grekiska folkmusiken.

Forty songs are randomly selected from four randomly selected maqams. Songs are restricted to be in sofyan us&uuml / l (sofyan rhythmic form) to check the statistical significance. Next, fractal dimensions of the these songs are calculated by using two different method and two different scattering diagrams. In the first method, fractal dimensions are calculated via two different box sizes. As for second method, successively decreased box sizes are used. In addition, standard deviation and mean values of the fractal dimensions are calculated to check the relation between fractal dimension and maqam. T test and F test are applied to check the statistical significance. After these calculations, it is verified that fractal dimension can be used as an information source concerning the Turkish art music songs which are nonlinear dynamical systems. Moreover, it is showed that maqams can have their own fractal dimension for low resolutions. On the other hand, it is seen that for high resolutions all songs have almost same fractal dimension.