ABSTRACT
In Western music, Orientalist styles have related to previous Orientalist styles rather than to Eastern ethnic practices, just as myths have been described by Levi-Strauss as relating to other myths. The style hongrois is marked by syncopation, dactylic and dotted rhythms, virtuoso violin or quasiviolin passages, a more prominent raised fourth than in the Turkish style, and the melodic interval of the augmented second. The contradictory messages of Orientalist music can be found in its earliest manifestations, such as the style hongrois. The "Gypsy scale"was theorized by Liszt, who emphasized difference by choosing the raised fourth degree and omitting the equally common diatonic fourth degree. Debussy, decides that Liszt's Hungarian "Gypsy" scale is good enough for his habanera La soiree dans Grenade. Spain seems to have been characterized first by dance rhythms, especially the fandango, as, for example, in Gluck's Don Juan ballet of 1761.
