Merge branch 'lilypond/translation'

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

diff --git a/Documentation/notation/world.itely b/Documentation/notation/world.itely
index 0d7d5a501397898770135fb138c04342c6dca7cc..b7ecce0317e1b7311d63d3dddac89bbfb451a3ef 100644 (file)
--- a/Documentation/notation/world.itely
+++ b/Documentation/notation/world.itely
@@ -3,7 +3,8 @@
     Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
 
     When revising a translation, copy the HEAD committish of the
-    version that you are working on.  See TRANSLATION for details.
+    version that you are working on.  For details, see the Contributors'
+    Guide, node Updating translation committishes..
 @end ignore
 
 @c \version "2.12.0"
@@ -16,6 +17,7 @@ that are relevant to traditions outside the Western tradition.
 
 @menu
 * Arabic music::
+* Turkish classical music::
 @end menu
 
 @node Arabic music
@@ -30,7 +32,7 @@ music.
 * Arabic key signatures::
 * Arabic time signatures::
 * Arabic music example::
-* Further reading::
+* Further reading for Arabic music::
 @end menu
 
 
@@ -339,8 +341,8 @@ Snippets:
 @rlsr{World music}.
 
 
-@node Further reading
-@unnumberedsubsubsec Further reading
+@node Further reading for Arabic music
+@unnumberedsubsubsec Further reading for Arabic music
 
 @enumerate
 
@@ -365,7 +367,7 @@ 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
+specified.  It is common, however, to use a key signature per
 group, rather than a different key signature for each different
 maqam.
 
@@ -381,3 +383,69 @@ George Farah
 Ibrahim Ali Darwish Al-masri
 @end itemize
 @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 Note names and accidentals are provided in
+@ref{Non-Western note names and accidentals}.
+
+@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, ...) 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} (to locate this file on
+your system, see @rlearning{Other sources of information}).
+A more detailed description is provided in
+@ref{Non-Western note names and accidentals}.