Merge branch 'lilypond/translation'

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

diff --git a/Documentation/notation/world.itely b/Documentation/notation/world.itely
index 26b38fe63f739c83f37aa2317299ec7e319ac7c8..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"
@@ -31,7 +32,7 @@ music.
 * Arabic key signatures::
 * Arabic time signatures::
 * Arabic music example::
-* Further reading::
+* Further reading for Arabic music::
 @end menu
 
 
@@ -340,8 +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
 
@@ -366,7 +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.
 
@@ -393,10 +394,6 @@ classical music.
 @menu
 * References for Turkish classical music::
 * Turkish note names::
-@c TODO * Turkish key signatures::
-@c TODO * Turkish time signatures::
-@c TODO * Turkish music example::
-@c TODO * Further reading::
 @end menu
 
 
@@ -414,10 +411,19 @@ 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 `commas'
+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
@@ -439,7 +445,7 @@ 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} (see the Learning Manual
-2.12.2, section 4.6.3,  `Other sources of information', for
-the location of this file) and are described in more detail
-in @ref{Non-Western note names and accidentals}.
+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}.