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    Translation of GIT committish: FILL-IN-HEAD-COMMITTISH

    When revising a translation, copy the HEAD committish of the
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@c \version "2.11.51"

@node World music
@section World music

FIXME

@menu
* Arabic music::                
@end menu

@node Arabic music
@subsection Arabic music

FIXME

@menu
* Arabic music notation overview::  
* Arabic note names ::          
* Arabic key signatures::       
* Arabic time signatures:: 
* References for Arabic music::  
@end menu

 
@node Arabic music notation overview
@unnumberedsubsubsec Arabic music notation overview

@cindex Arabic music
@cindex medium intervals  
@cindex maqam 
@cindex maqams

Arabic music so far has been mainly an oral tradition.  When music
is transcribed, it is usually in a sketch format, on which
performers are expected to improvise significantly.  Increasingly,
Western notation, with a few variations, is adopted in order to
communicate and preserve Arabic music. 

Some elements of Western musical notation such as the
transcription of chords or independent parts, are not required to
typeset the more traditional Arabic pieces.  There are however
some different issues, such as the need to indicate medium
intervals that are somewhere between a semi-tone and a tone, in
addition to the minor and major intervals that are used in Western
music.  There is also the need to group and indicate a large
number of different maqams (modes) that are part of Arabic music.
  
In general, Arabic music notation does not attempt to precisely
indicate microtonal elements that are present in musical practice.

 
@node Arabic note names 
@unnumberedsubsubsec Arabic note names

@cindex Arabic note names 

The more traditional Arabic note names can be quite long and are
not suitable for the purpose of music writing, so they are not
defined by the inclusion of @code{"arabic.ly"}.  English note
names @code{a, b, c, d, e, f, g} are not very familiar in Arabic
music education.  Italian or Solfege note names @code{do, re, mi,
fa, sol, la, si} are more familiar, and are used when
@code{"arabic.ly"} is included.  Modifiers can also be used, as
discussed in @ref{Note names in other languages}. 

For example, this is how the Arabic @notation{rast} scale can be
notated:

@lilypond[quote,verbatim]    
\include "arabic.ly"
\relative do' { 
  do re misb fa sol la sisb do sisb la sol fa misb re do 
}
@end lilypond


@seealso 

Notation Reference:     
@ref{Note names in other languages}.


@node Arabic key signatures
@unnumberedsubsubsec Arabic key signatures 

@cindex Arabic key signatures

In addition to the minor and major key signatures, the following
key signatures are defined in @code{"arabic.ly"}: bayati, rast,
sikah, iraq, and kurd. These key signatures define a small number
of maqam groups rather than the large number of maqams that are in
common use. 

In general, a maqam uses the key signature of its group, or a 
neighbouring group, and varying accidentals are marked throughout 
the music.

For example to indicate the key signature of a maqam muhayer piece:  

  \key re \bayati

Here re is the default pitch of the muhayer maqam, and bayati is the
name of the base maqam in the group. 

While the key signature indicates the group, it is
common for the title to indicate the more  specific maqam, so in this
example, the name of maqam muhayer should appear in the title.    

In Arabic music, the same term such as bayati that is used to indicate 
a maqam group, is also a maqam which is usually the most important
in the group, and can also be thought of as a base maqam. 

Here is one suggested grouping that maps the more common maqams to key 
signatures: 

@multitable @columnfractions 0.1 0.1 0.1 0.6
@headitem maqam group 
  @tab key 
  @tab finalis 
  @tab Other maqmas in group (finalis)  
@item ajam 
  @tab major 
  @tab sib 
  @tab jaharka (fa)
@item bayati 
  @tab bayati
  @tab re
  @tab hussaini, muhayer, saba, ushaq, nawa (sol) 
@item hijaz 
  @tab kurd
  @tab re 
  @tab shahnaz, shad arban (sol), hijazkar (do)
@item iraq 
  @tab iraq
  @tab sisb
  @tab - 
@item kurd 
  @tab kurd
  @tab re
  @tab hijazkar kurd (do) 
@item nahawand 
  @tab minor
  @tab do 
  @tab busalik (re), farah faza (sol)
@item nakriz 
  @tab minor
  @tab do 
  @tab nawa athar, hisar (re)
@item rast 
  @tab rast
  @tab do
  @tab mahur, yakah (sol)
@item sikah 
  @tab sikah
  @tab misb
  @tab huzam 
@end multitable          


You can also set the key signature using Staff.keySignature as discussed
in @ref{Key signature}.  This offers more flexibility if you don't wish  
to be limited to the key signatures that are defined in "arabic.ly", or if 
you don't wish to use the above method of determining a key signature based 
on the maqam group. 

For example, you can set the key signature to do sharp, mi semi-flat, and 
sol flat as follows : 

@lilypond[quote,verbatim]
\include "arabic.ly" 
\relative re' {
  \set Staff.keySignature = #`( (0 . ,SHARP) (2 . ,SEMI-FLAT) (4 . ,FLAT) )  
  re misb fa solb la si dod re sisb la solb fa misb re    
}
@end lilypond

@seealso

Notation Reference:     
@ref{Key signature}.
 
Learning Manual:
@rlearning{Accidentals and key signatures}.

Internals Reference:
@rinternals{KeySignature}.

@node Arabic time signatures
@unnumberedsubsubsec Arabic time signatures 

@cindex Arabic time signatures
@cindex Semai form 
@cindex taqasim 

Some Arabic and Turkish music classical forms such as Semai use 
unusual time signatures such as 10/8. This may lead to an 
automatic grouping of notes that is quite different from existing
typeset music. You can override this by switching off automatic 
beaming, and grouping the notes manually using @code{[ ]} to 
surround grouped notes, as described in @ref{Manual beams}. 

For improvisations or taqasim which are temporarily free, the time
signature can be omitted, and @code{\cadenzaOn} can be used.  
You might need to adjust the accidental style, since the absence 
of bar lines will cause the accidental to be marked only once:

@example  
#(set-accidental-style 'forget)
@end example 

@seealso 

Notation Reference:
@ref{Manual beams},
@ref{Automatic beams},
@ref{Unmetered music}, 
@ref{Automatic accidentals}. 

@node References for Arabic music
@unnumberedsubsubsec References for arabic music

@enumerate

@item 
The music of the Arabs by Habib Hassan Touma [Amadeus Press, 1996], 
contains a discussion of maqams and their method of groupings.

There are also various web sites that explain maqams and some 
provide audio examples such as :

@itemize @bullet 
@item 
@uref{http://www.maqamworld.com/}
@item 
@uref{http://www.turath.org/}
@end itemize  

There are some variations in the details of how maqams are grouped, 
despite agreement on the criteria of grouping maqams that are 
related through common lower tetra chords, or through modulation.  

@item 
There is not a complete consistency, sometimes even in the same 
text on how key signatures for particular maqams should be 
specified. It is common, however, to use a key signature per 
group, rather than a different key signature for each different 
maqam.
  
Oud methods by the following authors, contain examples of 
mainly Turkish and Arabic compositions. 

@itemize @bullet
@item 
Charbel Rouhana
@item 
George Farah
@item 
Ibrahim Ali Darwish Al-masri
@end itemize
@end enumerate