X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fuser%2Fworld.itely;h=8550f4b291b70aaa2b783b69362a31a7dcb4556a;hb=3eb1e37e2e0b3966142cd04b85e30ab882308612;hp=054cccf6bc1b6c262b3d553fbd64d8f40bae90d4;hpb=78eb8695d44a5a5775457a14770093299b6d5fa6;p=lilypond.git

diff --git a/Documentation/user/world.itely b/Documentation/user/world.itely
index 054cccf6bc..8550f4b291 100644
--- a/Documentation/user/world.itely
+++ b/Documentation/user/world.itely
@@ -6,44 +6,47 @@
     version that you are working on.  See TRANSLATION for details.
 @end ignore
 
-@c \version "2.11.51"
+@c \version "2.12.0"
 
 @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::                
+* Arabic music::
 @end menu
 
 @node Arabic music
 @subsection Arabic music
 
-FIXME
+This section highlights issues that are relevant to notating Arabic
+music.
 
 @menu
-* Arabic music notation overview::  
-* Arabic note names ::          
-* Arabic key signatures::       
-* Arabic time signatures:: 
-* References for Arabic music::  
+* References for Arabic music::
+* Arabic note names ::
+* Arabic key signatures::
+* Arabic time signatures::
+* Arabic music example::
+* Further reading::
 @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 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. 
+communicate and preserve Arabic music.
 
 Some elements of Western musical notation such as the
 transcription of chords or independent parts, are not required to
@@ -53,44 +56,86 @@ 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 
+
+@node Arabic note names
 @unnumberedsubsubsec Arabic note names
 
-@cindex 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
-defined by the inclusion of @code{"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]    
+@lilypond[quote,verbatim]
 \include "arabic.ly"
-\relative do' { 
-  do re misb fa sol la sisb do sisb la sol fa misb re do 
+\relative do' {
+  do re misb fa sol la sisb do sisb la sol fa misb re do
 }
 @end lilypond
 
 
-@seealso 
+@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.
+
 
-Notation Reference:     
+@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:
@@ -98,180 +143,240 @@ Snippets:
 
 
 @node Arabic key signatures
-@unnumberedsubsubsec 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"}: 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
-common use. 
-
-In general, a maqam uses the key signature of its group, or a 
-neighbouring group, and varying accidentals are marked throughout 
+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:  
+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.
 
-  \key re \bayati
+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.
 
-Here re is the default pitch of the muhayer maqam, and bayati is the
-name of the base maqam in the group. 
+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:
 
-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.    
+@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. 
+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: 
+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 
+@headitem maqam group
+  @tab key
+  @tab finalis
+  @tab Other maqmas in group (finalis)
+@item ajam
+  @tab major
+  @tab sib
   @tab jaharka (fa)
-@item bayati 
+@item bayati
   @tab bayati
   @tab re
-  @tab hussaini, muhayer, saba, ushaq, nawa (sol) 
-@item hijaz 
+  @tab hussaini, muhayer, saba, ushaq, nawa (sol)
+@item hijaz
   @tab kurd
-  @tab re 
+  @tab re
   @tab shahnaz, shad arban (sol), hijazkar (do)
-@item iraq 
+@item iraq
   @tab iraq
   @tab sisb
-  @tab - 
-@item kurd 
+  @tab -
+@item kurd
   @tab kurd
   @tab re
-  @tab hijazkar kurd (do) 
-@item nahawand 
+  @tab hijazkar kurd (do)
+@item nahawand
   @tab minor
-  @tab do 
+  @tab do
   @tab busalik (re), farah faza (sol)
-@item nakriz 
+@item nakriz
   @tab minor
-  @tab do 
+  @tab do
   @tab nawa athar, hisar (re)
-@item rast 
+@item rast
   @tab rast
   @tab do
   @tab mahur, yakah (sol)
-@item sikah 
+@item sikah
   @tab sikah
   @tab misb
-  @tab huzam 
-@end multitable          
+  @tab huzam
+@end multitable
 
+@snippets
 
-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. 
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{non-traditional-key-signatures.ly}
 
-For example, you can set the key signature to do sharp, mi semi-flat, and 
-sol flat as follows : 
-
-@lilypond[quote,verbatim]
-\include "arabic.ly" 
-\relative re' {
-  \set Staff.keySignature = #`( (0 . ,SHARP) (2 . ,SEMI-FLAT) (4 . ,FLAT) )  
-  re misb fa solb la si dod re sisb la solb fa misb re    
-}
-@end lilypond
 
 @seealso
-
-Notation Reference:     
+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 
+@unnumberedsubsubsec Arabic time signatures
 
 @cindex Arabic time signatures
-@cindex Semai form 
-@cindex taqasim 
+@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.
 
-Some Arabic and Turkish music classical forms such as 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. You can override this by switching off automatic 
-beaming, and grouping the notes manually using @code{[ ]} to 
-surround grouped notes, as described in @ref{Manual beams}. 
+@snippets
 
-For improvisations or taqasim which are temporarily free, the time
-signature can be omitted, and @code{\cadenzaOn} can be used.  
-You might need to adjust the accidental style, since the absence 
-of bar lines will cause the accidental to be marked only once:
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{compound-time-signatures.ly}
 
-@example  
-#(set-accidental-style 'forget)
-@end example 
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{arabic-improvisation.ly}
 
-@seealso 
 
+@seealso
 Notation Reference:
 @ref{Manual beams},
 @ref{Automatic beams},
-@ref{Unmetered music}, 
-@ref{Automatic accidentals}. 
+@ref{Unmetered music},
+@ref{Automatic accidentals},
+@ref{Setting automatic beam behavior},
+@ref{Time signature}.
 
-@node References for Arabic music
-@unnumberedsubsubsec References for arabic music
+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], 
+@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 
+There are also various web sites that explain maqams and some
 provide audio examples such as :
 
-@itemize @bullet 
-@item 
+@itemize @bullet
+@item
 @uref{http://www.maqamworld.com/}
-@item 
+@item
 @uref{http://www.turath.org/}
-@end itemize  
+@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.  
+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 
+@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. 
+
+Oud methods by the following authors, contain examples of
+mainly Turkish and Arabic compositions.
 
 @itemize @bullet
-@item 
+@item
 Charbel Rouhana
-@item 
+@item
 George Farah
-@item 
+@item
 Ibrahim Ali Darwish Al-masri
 @end itemize
 @end enumerate