ABSTRACT
Ibn Kurr now turns his attention to the range of pitches and their denomination. The initial scalar matrix, that to which the ensuing description of the modes relates, is one of stark simplicity, and it is here that his presentation, devoid of analytical complexities, most obviously contrasts with Systematist texts. There is no mention of ramal in Systematist theory in relation to pitch, however, and while the name suggests a possible link with North African practice, its current Mahgribi use to designate an open string on the ud is clearly unrelated and of no help, while its survival there as a mode name is equally irrelevant, for all that it is also so used by both Ibn Kurr and his Cairo contemporary, al-Umari. In Persian texts continues to be known as the parda modes, while al-Urmawi uses the Arabic term sadd. The terms employed by Ibn Kurr, none of which is defined, are muwallad, sawa and murakkab.
