Mix Tapes are so B.C.
Music carries an interesting marker of influential evidence. Language also has the ability to show us clear indications of reference, but stories and history reflected in the folk traditions of local songs and ceremonies often reveal hidden layers of cultural crossings. I was deep in a discussion about interesting parallels between musical properties of Eastern and Western melodic structures when Alexander the Great came up. The Greek understanding of tetrachords (groups of four notes that when combined, comprise many of the modern “scales in Western music and the “modes” of many eastern traditions), basic relationships between intervals, (the space between notes) and tonality permeates European and Arabic foundations of music practices. While trade and political maneuvering account for some of the crossing of these practices, it is hard to deny that Alexander’s conquests contributed a profound amount to the establishment of music functions and the basis for melodic development in the world.
Of course, he had help. I was impressed by his friends list. Aristotle was convinced to be his instructor after Alexander’s father agreed to rebuild his hometown that he had raised. He was even nice enough to free many of the former citizens that survived and had been put into slavery to help repopulate the city. That was quite the tenuous teacher-student relationship. Famous Greek minds like Ptolemy, Hephaistion, and Cassander were in his cohort, and many of the other students he studied with went on to become his friends and future generals. They are often known as 'the ‘Companions’. It reminds me of the show, ‘Entourage.’ What is different about Alexander was his method of integration and city building. This is obviously an involved subject, but it sets the stage for an understanding of how music traditions evolved from a common starting point.
In Western music, we see the basis of the Greek tetrachord analysis in our modal systems that develop in churches of Europe during the dark ages. Gregorian chant interprets the mathematical relationships between notes and notation born from methods of shifting modal systems to different starting pitches. The details of this process are not important for the purposes of this discussion. What is interesting, is that this sense of melody develops in a similar way in the Eastern traditions, however, the act of notation changes it’s evolution. The lack of strict written transmission allows for unique developments in accepted tonal structures. Quarter-tones and microtonality become part of the Eastern framework while Western traditions avoid these practices. All the while, the foundations of tetra chordal properties remain in place. As these systems collide again in 1789, (as a result of a different conqueror, this time, Napoleon at the city of Alexandria, Egypt), the scholars of France re-introduce Western and Eastern ideas and music influences. After being separated by geo-politics, plague, and the rise and fall of the Roman Empire, Eastern and Western music once again would borrow from each other, and also recognize their common heritage.
It is interesting to see how modern Western tonality centers around Aeolian and Ionian modal features, while Eastern popular music seems to adhere with Dorian and Phrygian influences. While by no means is this concrete, the tetrachords that make these modes have a common ancestor. While language distinctions are also a part of this story, breaking into the tonal references allows us to see a common feature where words may fail us. As globalization continues to evolve through the internet age, we see more and more, our music blends and bears new songs of partnering harmonies. Composers today continue to not only utilize interesting features of alternate traditions, but through this appropriation, they invite various people groups to join in the song. It’s nice that 2500 years after Alexander’s time, we have the potential to share these ideas without raising cities and conquering populaces. Instead, we can simply share a file on YouTube.
Here is a song that I had to upload because I literally could not find it. It’s called “Magic Carpet Ride”, and it’s not that song from the 70’s. It’s from a group in Boston that uses Eastern melodies and Hip-Hop beats. Twenty points to the commenter that can name the band. I found them on a mix tape I made when I used to own the CD, 25 years ago.