Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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@end ignore
-@c \version "2.12.0"
+@c \version "2.16.0"
@node World music
@section World music
that are relevant to traditions outside the Western tradition.
@menu
+* Common notation for non-Western music::
* Arabic music::
+* Turkish classical music::
@end menu
+
+@node Common notation for non-Western music
+@subsection Common notation for non-Western music
+
+This section discusses how to enter and print music scores
+that do not belong to the Western classical tradition,
+also referred to as @notation{Common Practice Period}.
+
+@menu
+* Extending notation and tuning systems::
+@end menu
+
+
+@node Extending notation and tuning systems
+@unnumberedsubsubsec Extending notation and tuning systems
+
+Standard classical notation (also known as
+@notation{Common Practice Period} notation) is commonly
+used in all sorts of music, not limited to @q{classical}
+Western music. This notation is discussed in
+@ref{Writing pitches}, and the various note names
+that may be used are explained in
+@ref{Note names in other languages}.
+
+However, many types of non-Western music (and
+some types of Western folk and traditional music) employ
+alternative or extended tuning systems that do not fit
+readily into standard classical notation.
+
+In some cases standard notation is still used, with the
+pitch differences being implicit. For example,
+@notation{Arabic music} is notated with standard
+semitone and quarter-tone accidentals, with the precise
+pitch alterations being determined by context. Italian
+note names are typically used, while the init file
+@file{arabic.ly} provides a suitable set of macros
+and definitions extending the standard
+notation. For more details, see
+@ref{Arabic music}.
+
+@cindex tuning, non-Western
+
+Other types of music require extended or unique notations.
+@notation{Turkish classical music} or Ottoman music, for
+example, employs melodic forms known as @notation{makamlar},
+whose intervals are based on 1/9 divisions of the whole tone.
+Standard Western staff notes are still used, but with special
+accidentals unique to Turkish music, that are defined in the file
+@file{makam.ly}. For further information on Turkish classical
+music and makamlar, see
+@ref{Turkish classical music}.
+
+To locate init files such as @file{arabic.ly} or
+@file{makam.ly} on your system, see
+@rlearning{Other sources of information}.
+
+@snippets
+
+@lilypondfile[verbatim,quote,texidoc,doctitle]
+{makam-example.ly}
+
+@seealso
+Music Glossary:
+@rglos{Common Practice Period},
+@rglos{makamlar}.
+
+Learning Manual:
+@rlearning{Other sources of information}.
+
+Notation Reference:
+@ref{Writing pitches},
+@ref{Note names in other languages},
+@ref{Arabic music},
+@ref{Turkish classical music}.
+
+
@node Arabic music
@subsection Arabic music
@menu
* References for Arabic music::
-* Arabic note names ::
+* Arabic note names::
* Arabic key signatures::
* Arabic time signatures::
* Arabic music example::
-* Further reading::
+* Further reading for Arabic music::
@end menu
@itemize
@item Note names and accidentals (including quarter tones) can be
-tailored as discussed in @ref{Note names in other languages}.
+tailored as discussed in @ref{Common notation for non-Western music}.
@item Additional key signatures can also be tailored as described
in @ref{Key signature}.
@seealso
Notation Reference:
-@ref{Note names in other languages},
+@ref{Common notation for non-Western music},
@ref{Key signature},
@ref{Manual beams}.
not suitable for the purpose of music writing, so they are not
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}.
+sol, la, si}) are used instead; modifiers (accidentals) can also
+be used. Italian note names and accidentals are explained in
+@ref{Note names in other languages}; the use of standard
+Western notation to notate non-Western music is discussed in
+@ref{Common notation for non-Western music}.
For example, this is how the Arabic @notation{rast} scale can be
notated:
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
+@file{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.
@seealso
Notation Reference:
-@ref{Note names in other languages}.
+@ref{Note names in other languages},
+@ref{Common notation for non-Western music}.
Snippets:
@rlsr{World music}.
@cindex Arabic key signatures
In addition to the minor and major key signatures, the following
-key signatures are defined in @code{arabic.ly}: @notation{bayati},
+key signatures are defined in @file{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
\key re \bayati
@end example
+@noindent
Here @var{re} is the default pitch of the muhayer maqam, and
@var{bayati} is the name of the base maqam in the group.
Here is one suggested grouping that maps the more common maqams to
key signatures:
-@multitable @columnfractions 0.1 0.1 0.1 0.6
+@multitable @columnfractions 0.15 0.1 0.1 0.6
@headitem maqam group
@tab key
@tab finalis
@snippets
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{non-traditional-key-signatures.ly}
@seealso
+Music Glossary:
+@rglos{maqam},
+@rglos{bayati},
+@rglos{rast},
+@rglos{sikah},
+@rglos{iraq},
+@rglos{kurd}.
+
Notation Reference:
@ref{Key signature}.
Learning Manual:
-@rlearning{Accidentals and key signatures}.
+@rlearning{Pitches and key signatures}.
Internals Reference:
@rinternals{KeySignature}.
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.
+automatic beaming. The alternative is to switch off automatic
+beaming and beam the notes manually. Even if a match to existing
+typeset music is not required, it may still be desirable to adjust
+the automatic beaming behaviour and/or use compound time signatures.
@snippets
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
-{compound-time-signatures.ly}
-
-@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+@lilypondfile[verbatim,quote,texidoc,doctitle]
{arabic-improvisation.ly}
@seealso
+Music Glossary:
+@rglos{semai},
+@rglos{taqasim}.
+
Notation Reference:
@ref{Manual beams},
@ref{Automatic beams},
@cindex Arabic music template
@cindex Template Arabic music
-Here is a template that also uses the start of a Turkish Semai
+Here is a template that also uses the start of a Turkish @notation{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.
@seealso
Snippets:
-@rlsr{World music}
+@rlsr{World music}.
-@node Further reading
-@unnumberedsubsubsec Further reading
+@node Further reading for Arabic music
+@unnumberedsubsubsec Further reading for Arabic music
@enumerate
@item
-The music of the Arabs by Habib Hassan Touma [Amadeus Press, 1996],
+@emph{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
@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
+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.
+Method books by the following authors for the @dfn{Oud}, the Arabic lute,
+contain examples of mainly Turkish and Arabic compositions.
@itemize @bullet
@item
@end enumerate
+@node Turkish classical music
+@subsection Turkish classical music
+
+This section highlights issues that are relevant to notating Turkish
+classical music.
+
+@menu
+* References for Turkish classical music::
+* Turkish note names::
+@end menu
+
+
+@node References for Turkish classical music
+@unnumberedsubsubsec References for Turkish classical music
+
+@cindex Turkish music
+@cindex Ottoman music
+@cindex comma intervals
+@cindex makam
+@cindex makamlar
+
+Turkish classical music developed in the Ottoman Empire in a
+period roughly contemporaneous with classical music in Europe,
+and has continued on into the 20th and 21st centuries as a
+vibrant and distinct tradition with its own compositional
+forms, theory and performance styles. Among its striking
+features is the use of microtonal intervals based on @q{commas}
+of 1/9 of a tone, from which are constructed the melodic
+forms known as @notation{makam} (plural @notation{makamlar}).
+
+Some issues relevant to Turkish classical music are covered
+elsewhere:
+
+@itemize
+@item Special note names and accidentals are explained in
+@ref{Common notation for non-Western music}.
+
+@end itemize
+
+
+@node Turkish note names
+@unnumberedsubsubsec Turkish note names
+
+@cindex Turkish note names
+@cindex makam
+@cindex makamlar
+
+Pitches in Turkish classical music traditionally have unique
+names, and the basis of pitch on 1/9-tone divisions means
+makamlar employ a completely different set of intervals from
+Western scales and modes: @notation{koma} (1/9 of a tone),
+@notation{eksik bakiye} (3/9), @notation{bakiye} (4/9),
+@notation{kücük mücenneb} (5/9), @notation{büyük mücenneb}
+(8/9), @notation{tanîni} (a whole tone) and
+@notation{artık ikili} (12/9 or 13/9 of a tone).
+
+From a modern notational point of view it is convenient to
+use the standard Western staff notes (c, d, e, @dots{}) with
+special accidentals that raise or lower notes by intervals
+of 1/9, 4/9, 5/9 and 8/9 of a tone. These accidentals are
+defined in the file @file{makam.ly}.
+
+The following table lists:
+@itemize
+@item
+the name of these special accidentals,
+@item
+the accidental suffix that must be added to notes,
+@item
+and their pitch alteration as a
+fraction of one whole tone.
+@end itemize
+
+@quotation
+@multitable {@b{büyük mücenneb (sharp)}} {@b{suffix}} {@b{pitch alteration}}
+@headitem Accidental name
+ @tab suffix @tab pitch alteration
+
+@item büyük mücenneb (sharp)
+ @tab -bm @tab +8/9
+@item kücük mücenneb (sharp)
+ @tab -k @tab +5/9
+@item bakiye (sharp)
+ @tab -b @tab +4/9
+@item koma (sharp)
+ @tab -c @tab +1/9
+
+@item koma (flat)
+ @tab -fc @tab -1/9
+@item bakiye (flat)
+ @tab -fb @tab -4/9
+@item kücük mücenneb (flat)
+ @tab -fk @tab -5/9
+@item büyük mücenneb (flat)
+ @tab -fbm @tab -8/9
+@end multitable
+@end quotation
+
+For a more general explanation of non-Western music notation, see
+@ref{Common notation for non-Western music}.
+
+@seealso
+Music Glossary:
+@rglos{makam},
+@rglos{makamlar}.
+
+Notation Reference:
+@ref{Common notation for non-Western music}.
projects / lilypond.git / blobdiff