Melody type

Term and typical meanings

"Melody type" is a fundamental notion for understanding a nature of Western and non-Western musical modes, according to Harold Powers' seminal article "Mode" in the first edition of the New Grove Dictionary of Music and Musicians .

Melody types are used in the composition of an enormous variety of music, especially non-Western and early Western music. Such music is generally composed by a process of centonization, either freely (i.e. improvised) or in a fixed pattern.

"Melody type" as used by the ethnomusicologist Mark is defined as a "group of melodies that are related, in that they all contain similar modal procedures and characteristic rhythmic and melodic contours or patterns".

Most cultures which compose music in this way organize the patterns into distinct melody types. These are often compared to modern Western scales, but they in fact represent much more information than a sequence of permissible pitches, since they include how those pitches should function in the music, and indicate basic formulas which serve as a basis for improvisation. In non-improvised music, such as codified liturgical music, it is still usually clear how the melody developed from set patterns.

Melodic formulae and melody types in monodic traditions around the world

• [Nomos in Ancient Greek music

• Intonation formula (, euouae, Noeane etc.) in Gregorian chant as used in psalm tones and certain genres such as the Tract
• Enechema () in Byzantine chant
• Popevka () in Znamenny chant
• Khaz in Armenian chant
• All Near and Middle East maqam-traditions (Arabic Maqam, Turkish Makam, Kurdish Meqam, Uyghur Muqam, Azeri Mugam, Uzbek and Tadzhik Shashmakom, Persian Dastgah etc.)
• Raga in Indian music
• Pathet in Indonesian music
• Chōshi in Japanese music

Extra-musical implications

In most cases, these melody types are associated with extra-musical implications, particularly emotions (see Indian rasa, for instance). They are also often associated with certain times. For example, most ragas are associated with a certain time of day, or a wayang performance in Java implies a certain succession of pathets.

Many of these traditions have a corresponding rhythmic framework. These include:

• Usul in Arabian and Turkish music
• Tala in Indian music
• Bentuk in Javanese music

References

Sources

References

1. Apel, Willi (1997). ''The History of Keyboard Music to 1700'', p. 263. Trans. Tischler, Hans. {{ISBN. 0-253-21141-7.
2. [[David Hiley]]. ''Western Plainchant. A Handbook''. Oxford: Clarendon Press, 1993, pp. 331–33.
3. Slobin, Mark (1982). ''Tenement Songs: The Popular Music of the Jewish Immigrants''. Music in American Life. Urbana: University of Illinois Press. {{ISBN. 0-252-00893-6.
4. Koskoff, Ellen (2000). ''Music in Lubavitcher Life'' (Urbana: University of Illinois Press), p. 86. {{ISBN. 978-0-252-02591-4.
5. May, Elizabeth (1983). ''Musics of Many Cultures: An Introduction, Part 1'', p. 274. {{ISBN. 978-0-520-04778-5.
6. Ammer, Christine (2004). "Melody type", ''The Facts on File Dictionary of Music'', p. 238. {{ISBN. 978-0-8160-5266-0.
7. David Hiley, ''Western Plainchant: A Handbook'' (Oxford and New York: Oxford University Press, 1993): pp. 58-69 and pp. 331-335; this handbook is itself a summary of specialized studies of intonation formulas by Michel Huglo, Terence Bailey, [[Bruno Stäblein]], and many others referred to at pp. 58 and 325 et passim. See also: Fiona McAlpine, ''Tonal Consciousness and the Medieval West'' (Bern: Peter Lang, 2008): p. 112.
8. ''Bailey T.'' The Intonation Formulas of Western Chant. Toronto, 1974.