source file: m1571.txt
Date: Sun, 1 Nov 1998 19:13:34 -0500

Subject: TUNING digest 1570

From: Daniel Wolf <DJWOLF_MATERIAL@compuserve.com>

J. Reinhard wrote:

<There are added symbols placed above the text to influence the reading.
<They are somewhat like Indian gamulkas, more like shapes of sound than
<pitches.

These symbols are closer to classical Greek or vedic pitch accent signs
indicating relative pitch levels and certain contours. The precise
interpretation of these signs is a matter of great controversy in each of=

these traditions. Naturally, a great difference exists between Attic Gree=
k
and Hebrew, in that Greek pitch accent was a natural component of the
phonology. Thus, a given interpretation of the accent signs is either tru=
e
or false. The performance practice for Hebrew recitation, in contrast,
reflects aesthetic and historical considerations rather than linguistic
ones, and a young reciter of Hebrew will probably imitate the practice of=

his teacher or cantor.  =


Gamakas, on the other hand, are contours (akin to European ornaments or
figures) with raga-specific pitch content. In South India, when ragas are=

notated (in the standard numerical notion used for teaching and study
purposes) the gamakas are not usually notated although they are absolutel=
y
obligatory and generally agreed upon. =


Exceptionally, K.S. Subramanian made an attempt in his disseration to
notate gamakas as Roman neumes. Reversing this, and interpretating neumes=

as gamakas, suggests one path for reexamining the intonation of Christian=

chant. This path might also be informed by the intonational richness of
Syrian orthodox and Coptic chant.  =