Orientalism: Desert Level Music vs Actual Middle-Eastern Music | Fayra Faraji (video, 1:36 hours) – This video explains how orientalist music has virtually nothing to do with actual music from the Middle East. The music uses a hodgepodge of different instruments and musical styles that come from vastly different contexts. They nearly exclusively use the double-harmonic and phrygian mode, not because those are particularly common in Middle-Eastern music, but rather because it’s uncommon in other western music and yet fits within the 12TET system.
As a fan of xenharmonic/microtonal music, I know that many non-western music traditions use different tuning systems–the Maqam traditions are particularly notable. I appreciate such music as it comes into my awareness, and definitely wish it were more widely distributed. That said, I’m very aware that I come from a western musical tradition, and the very first thing I hear in microtonal music is a sense of uniqueness relative to my musical context and training. When I think about non-Western musical traditions, I imagine a whole history and culture where these musical characteristics are just normal, just a medium used to express something else entirely. That just isn’t my perspective, I cannot hear it that way.