+++ /dev/null
-@c -*- coding: utf-8; mode: texinfo; -*-
-@ignore
- 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.
-@end ignore
-
-@c \version "2.12.0"
-
-@node World music
-@section World music
-
-The purpose of this section is to highlight musical notation issues
-that are relevant to traditions outside the Western tradition.
-
-@menu
-* Arabic music::
-@end menu
-
-@node Arabic music
-@subsection Arabic music
-
-This section highlights issues that are relevant to notating Arabic
-music.
-
-@menu
-* References for Arabic music::
-* Arabic note names ::
-* Arabic key signatures::
-* Arabic time signatures::
-* Arabic music example::
-* Further reading::
-@end menu
-
-
-@node References for Arabic music
-@unnumberedsubsubsec References for Arabic music
-
-@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.
-
-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
-@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
-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]
-\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
-
-
-@seealso
-Notation Reference:
-@ref{Note names in other languages}.
-
-Snippets:
-@rlsr{World music}.
-
-
-@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}: @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.
-
-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:
-
-@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
-Notation Reference:
-@ref{Key signature}.
-
-Learning Manual:
-@rlearning{Accidentals and key signatures}.
-
-Internals Reference:
-@rinternals{KeySignature}.
-
-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
-
-
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