Merge master into nested-bookparts

[lilypond.git] / Documentation / user / world.itely

diff --git a/Documentation/user/world.itely b/Documentation/user/world.itely
index 1d14ea60e5004bf9acef4265a254223153bb9092..b1e387a80658a82ea2a2b7084353630f0749a0de 100644 (file)
--- a/Documentation/user/world.itely
+++ b/Documentation/user/world.itely
@@ -6,12 +6,13 @@
     version that you are working on.  See TRANSLATION for details.
 @end ignore
 
     version that you are working on.  See TRANSLATION for details.
 @end ignore
 

-@c \version "2.11.51"
+@c \version "2.11.61"

 
 @node World music
 @section World music
 
 
 @node World music
 @section World music
 

-FIXME
+The purpose of this section is to highlight musical notation issues
+that are relevant to traditions outside the Western tradition. 

 
 @menu
 * Arabic music::                
 
 @menu
 * Arabic music::                


@@ -20,68 +21,115 @@ FIXME
 @node Arabic music
 @subsection Arabic music
 
 @node Arabic music
 @subsection Arabic music
 

-FIXME
+This section highlights issues that are relevant to notating Arabic
+music.

 
 @menu
 
 @menu

-* Arabic music notation overview::  
+* References for Arabic music::  

 * Arabic note names ::          
 * Arabic key signatures::       
 * Arabic note names ::          
 * Arabic key signatures::       

-* References for Arabic music::  
+* Arabic time signatures::      
+* Arabic music example::        
+* Further reading::             

 @end menu
 
  
 @end menu
 
  

-@node Arabic music notation overview
-@unnumberedsubsubsec Arabic music notation overview
+@node References for Arabic music
+@unnumberedsubsubsec References for Arabic music 

 
 @cindex Arabic music
 @cindex medium intervals  
 @cindex maqam 
 @cindex maqams
 
 
 @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.
+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.
 
   
 In general, Arabic music notation does not attempt to precisely
 indicate microtonal elements that are present in musical practice.
 

+Several issues that are relevant to Arabic music are covered 
+elsewhere: 
+
+@itemize
+@item Note names and accidentals (including quarter tones) can be
+tailored as discussed in @ref{Note names in other languages}.
+
+@item Additional key signatures can also be tailored as described
+in @ref{Key signature}.
+
+@item Complex time signatures may require that notes be grouped
+manually as described in @ref{Manual beams}. 
+
+@item @notation{Takasim} which are rhythmically free 
+improvisations may be written down omitting bar lines as 
+described in @ref{Unmetered music}. 
+
+@end itemize 
+
+@seealso
+
+Notation Reference:
+@ref{Note names in other languages},     
+@ref{Key signature},
+@ref{Manual beams}.
+
+Snippets:
+@rlsr{World music}.

  
  

+

 @node Arabic note names 
 @node Arabic note names 

-@unnumberedsubsubsec 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
 
 @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 "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}. 
+used.  English note names are not very familiar in Arabic music
+education, so Italian or Solfege note names (@code{do, re, mi, fa,
+sol, la, si}) are used instead.  Modifiers (accidentals) 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]    
 
 For example, this is how the Arabic @notation{rast} scale can be
 notated:
 
 @lilypond[quote,verbatim]    

-% TODO: commented out until arabic is included
-%\include "arabic.ly"
-%\relative do' { 
-%  do re misb fa sol la sisb do sisb la sol fa misb re do 
-%}
-\relative c' {
-  c
+\include "arabic.ly"
+\relative do' { 
+  do re misb fa sol la sisb do sisb la sol fa misb re do 
+}
+@end lilypond
+
+
+@cindex Arabic semi-flat symbol 
+@cindex Semi-flat symbol appearance
+
+The symbol for semi-flat does not match the symbol which is used
+in Arabic notation.  The @code{\dwn} symbol defined in
+@code{arabic.ly} may be used preceding a flat symbol as a work
+around if it is important to use the specific Arabic semi-flat
+symbol.  The appearance of the semi-flat symbol in the key
+signature cannot be altered by using this method. 
+
+
+@lilypond[quote,verbatim]    
+\include "arabic.ly"
+\relative do' { 
+  \set Staff.extraNatural = ##f 
+  dod dob dosd \dwn dob dobsb dodsd do do

 }
 @end lilypond
 
 }
 @end lilypond
 


@@ -91,6 +139,9 @@ notated:
 Notation Reference:     
 @ref{Note names in other languages}.
 
 Notation Reference:     
 @ref{Note names in other languages}.
 

+Snippets:
+@rlsr{World music}.
+

 
 @node Arabic key signatures
 @unnumberedsubsubsec Arabic key signatures 
 
 @node Arabic key signatures
 @unnumberedsubsubsec Arabic key signatures 


@@ -98,49 +149,101 @@ Notation Reference:
 @cindex Arabic key signatures
 
 In addition to the minor and major key signatures, the following
 @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
+key signatures are defined in @code{arabic.ly}: @notation{bayati},
+@notation{rast}, @notation{sikah}, @notation{iraq}, and
+@notation{kurd}.  These key signatures define a small number of
+maqam groups rather than the large number of maqams that are in

 common use. 
 
 common use. 
 

-In general, a maqam uses the key signature of its base maqam in the
-same group, or a neighbouring group, and varying accidentals are 
-marked throughout the music.
+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:  
 
 
 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 maqam base or 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.    
-
-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]
-% TODO: uncomment when arabic is added.
-%\include "arabic.ly" 
-%{
-%  \set Staff.keySignature = #`( (0 . ,SHARP) (2 . ,SEMI-FLAT) (4 . ,FLAT) )  
-%  \relative re' 
-%  { 
-%    re misb fa solb la si dod re sisb la solb fa misb re    
-%  } 
-%}
-\relative c'{
-  c
-}
-@end lilypond
+@example
+\key re \bayati 
+@end example
+
+Here @var{re} is the default pitch of the muhayer maqam, and
+@var{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.
+
+Other maqams in the same bayati group, as shown in the table below:
+(bayati, hussaini, saba, and ushaq) can be indicated in the same
+way.  These are all variations of the base and most common maqam
+in the group, which is bayati.  They usually differ from the base
+maqam in their upper tetrachords, or certain flow details that
+don't change their fundamental nature, as siblings. 
+
+The other maqam in the same group (Nawa) is related to bayati by
+modulation which is indicated in the table in parenthesis for
+those maqams that are modulations of their base maqam.  Arabic
+maqams admit of only limited modulations, due to the nature of
+Arabic musical instruments.  Nawa can be indicated as follows: 
+
+@example
+\key sol \bayati
+@end example
+
+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          
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{non-traditional-key-signatures.ly}

 
 @seealso
 
 
 @seealso
 


@@ -153,7 +256,131 @@ Learning Manual:
 Internals Reference:
 @rinternals{KeySignature}.
 
 Internals Reference:
 @rinternals{KeySignature}.
 

-@node References for Arabic music
-@unnumberedsubsubsec References for arabic music
+Snippets:
+@rlsr{World music}, 
+@rlsr{Pitches}.
+
+
+@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
+@notation{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, where notes may not be grouped on the
+beat, but in a manner that is difficult to match by adjusting
+automatic beaming.  You can override this by switching off
+automatic beaming and beaming the notes manually.  Where matching
+existing typeset music is not an issue, you may still want to
+adjust the beaming behaviour and/or use compound time signatures.
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{compound-time-signatures.ly}
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{arabic-improvisation.ly}
+
+@seealso 
+
+Notation Reference:
+@ref{Manual beams},
+@ref{Automatic beams},
+@ref{Unmetered music}, 
+@ref{Automatic accidentals}, 
+@ref{Setting automatic beam behavior}, 
+@ref{Time signature}. 
+
+Snippets:
+@rlsr{World music}.
+
+
+@node Arabic music example
+@unnumberedsubsubsec Arabic music example 
+
+@cindex Arabic music example 
+@cindex Arabic music template
+@cindex Template Arabic music 
+
+Here is a template that also uses the start of a Turkish Semai
+that is familiar in Arabic music education in order to illustrate
+some of the peculiarities of Arabic music notation, such as medium
+intervals and unusual modes that are discussed in this section. 
+
+@lilypond[quote,verbatim]  
+\include "arabic.ly"
+\score {
+  \relative re' {
+    \set Staff.extraNatural = ##f
+    \set Staff.autoBeaming = ##f
+    \key re \bayati 
+    \time 10/8
+          
+    re4 re'8 re16 [misb re do] sisb [la sisb do] re4 r8                
+    re16 [misb do re] sisb [do] la [sisb sol8] la [sisb] do [re] misb 
+    fa4 fa16 [misb] misb8. [re16] re8 [misb] re  [do] sisb             
+    do4 sisb8 misb16 [re do sisb] la [do sisb la] la4 r8                
+  }
+  \header {
+    title = "Semai Muhayer"
+    composer = "Jamil Bek"
+  }
+}
+@end lilypond
+
+@seealso
+
+Snippets:
+@rlsr{World music} 
+
+
+
+@node Further reading
+@unnumberedsubsubsec Further reading
+
+@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
+