06.06 Beyond the Keys | 10:00 - 13:00 

KARI IKONEN: Maqiano Workshop

About 20 years ago, Finnish pianist and composer Kari Ikonen became fascinated by microtonality through Arabic, Persian, and Turkish music. He studied the maqamat by listening to the melodies, analyzing them, and playing them on his analog Moog synthesizer.
About six years ago, he invented the revolutionary Maqiano™ Microtuning System (the name is derived from the words maqam and piano). The ability to play the microtones on an acoustic piano had a profound influence on his musical thinking.

In this workshop, he will present his invention, explain how it works, and share his personal approach to the maqam world and other microtonal possibilities he has explored.

More information:
www.maqiano.com
www.kariikonen.com

Amir Ahmadi: Claviton Workshop

Practiced tonal systems of traditional music of West Asia and their reflection in original compositions – a theoretical and artistic presentation.

The integration of Western instruments tuned to 12-tone equal temperament into the music of West Asia requires compromises in which traditional tonal systems are smoothed or adapted—often at the expense of microtonal nuances, particularly the neutral intervals central to this music.
The planned presentation offers a theoretical and artistic exploration of the tonal systems of traditional music in West Asia, particularly Iran, and is divided into three parts:

Part I is devoted to the historical and theoretical foundations of the tuning systems of this region. Through a comparative look at mathematically documented systems of
important music theory treatises—such as those by Al-Kindi (ca. 801–873), Farabi (ca. 872–950), Ibn Sina (ca. 980–1037), and Urmawi (ca. 1216–1294)—the roots of current practice are demonstrated.

Part II explores Amir Ahmadi's work with the Claviton, a "31-tone microtonal keyboard" designed by Georg Vogel. On this instrument, Amir Ahmadi realizes a specially calculated tuning system that enables expanded harmonization within Iranian dastgah and maqam music.

Part III presents compositions that incorporate and expand on the theoretical and practical insights gained during the presentation. The focus is on exploring melodic and harmonic possibilities arising from the exploration of specific tonal systems.