From: Graham Percival <graham@percival-music.ca>
Date: Mon, 14 Jan 2008 06:35:25 +0000 (-0800)
Subject: Update from Kurt.
X-Git-Tag: release/2.11.38-1~78
X-Git-Url: https://git.donarmstrong.com/?a=commitdiff_plain;h=a8519816a6c645b3e29d697a3885d5fc314d56b3;p=lilypond.git

Update from Kurt.
---

diff --git a/Documentation/user/music-glossary.tely b/Documentation/user/music-glossary.tely
index a15c22fc6a..bdae271cfa 100644
--- a/Documentation/user/music-glossary.tely
+++ b/Documentation/user/music-glossary.tely
@@ -193,8 +193,11 @@ Languages in this order.
 * cluster::                     
 * comma::                       
 * common meter::                
-* compound interval::           
+* common time::                 
 * complement::                  
+* compound interval::           
+* compound meter::              
+* compound time::               
 * conjunct movement::           
 * consonance::                  
 * contralto::                   
@@ -271,6 +274,7 @@ Languages in this order.
 * half rest::                   
 * harmonic cadence::            
 * harmony::                     
+* hemiola::                     
 * homophony::                   
 * interval::                    
 * inverted interval::           
@@ -344,6 +348,7 @@ Languages in this order.
 * polyphony::                   
 * portato::                     
 * presto::                      
+* proportion::                  
 * Pythagorean comma::           
 * quadruplet::                  
 * quarter note::                
@@ -367,6 +372,7 @@ Languages in this order.
 * sextuplet::                   
 * shake::                       
 * sharp::                       
+* simple meter::                
 * sixteenth note::              
 * sixteenth rest::              
 * sixth::                       
@@ -1713,11 +1719,41 @@ same note derived from some other tuning method.
 @node common meter
 @section common meter
 
+@ref{common time}
+
 @seealso
 
 @ref{meter}.
 
 
+@node common time
+@section common time
+
+4/4 time.  The symbol, which resembles a capital letter C derives from
+mensural notation (q.v.).
+
+@seealso
+
+@ref{meter}.
+
+
+@node complement
+@section complement
+
+ES: intervalo invertido,
+I: rivolto,
+F: intervalle complémentaire,
+D: Komplementärintervall,
+NL: complementair interval,
+DK: komplementærinterval,
+S: komplementärintervall (?),
+FI: täydentävä intervalli.
+
+@seealso
+
+@ref{inverted interval}.
+
+
 @node compound interval
 @section compound interval
 
@@ -1737,21 +1773,43 @@ Intervals larger than an octave.
 @ref{interval}.
 
 
-@node complement
-@section complement
+@node compound meter
+@section compound meter
 
-ES: intervalo invertido,
-I: rivolto,
-F: intervalle complémentaire,
-D: Komplementärintervall,
-NL: complementair interval,
-DK: komplementærinterval,
-S: komplementärintervall (?),
-FI: täydentävä intervalli.
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A meter that includes a triplet subdivision within the beat, such as
+6/8, 9/8, 12/8.
 
 @seealso
 
-@ref{inverted interval}.
+@ref{meter}, @ref{simple meter}.
+
+
+@node compound time
+@section compound time
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@ref{compound meter}
+
+@seealso
+
+@ref{meter}.
 
 
 @node conjunct movement
@@ -1953,7 +2011,7 @@ performance, thus enhancing readability of a score.
 Custodes were frequently used in music notation until the 16th
 century.  There were different appearences for different notation
 styles.  Nowadays, they have survived only in special forms of musical
-notation such as via the editio vaticana dating back to the beginning
+notation such as via the Editio Vaticana dating back to the beginning
 of the 20th century
 
 @lilypond
@@ -2007,7 +2065,7 @@ S: da capo,
 FI: da capo, alusta.
 
 The term indicates repetition of the piece from the beginning to the
-end or to a certain place marked @emph{fine}.  Mostly abbreviated as
+end or to a certain place marked @emph{fine}.  Usually abbreviated as
 @samp{D.C.}.
 
 
@@ -3444,6 +3502,34 @@ Dissonances:
 Three note harmony @ref{chord}.
 
 
+@node hemiola
+@section hemiola
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Greek: in Latin, @emph{sesquialtera}] The ratio 3:2. Refers to
+the use of three notes of equal value in the time normally occupied by
+of two notes of equal value.  The resulting rhythm can be expressed in
+modern terms as a substitution (for example) of a bar in 3/2 for one
+of 6/4, or of a bar in 3/4 for one of 6/8.  During the Baroque era,
+hemiola is most frequently as a special effect (or @emph{affect}) at
+cadences.
+
+@c TODO: prepare example - {\time 6/4 c2. c2. | c2 c c} or
+@c cont'd:	  {\time 6/4 c2. c2. | \time 3/2 c2 c2 c2 }
+
+@seealso
+
+@ref{mensural notation}, @ref{meter}
+
+
 @node homophony
 @section homophony
 
@@ -4005,14 +4091,27 @@ sung on one syllable, especially as applied to liturgical chant.
 @node mensural notation
 @section mensural notation
 
-@c TODO: add languages, definition, references
+@c FIXME: add languages
+
+ES: ?,
+I: ?,
+F: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+@c TODO: add definition (inc. info on proportional notation)
+
+@c FIXME: add cross-references.
 
 
 @node meter
 @section meter
 
-ES: compás,
-I: tempo, metro,
+ES: tiempo, compás,
+I: tempo, misura,
 F: indication de mesure, mesure,
 D: Taktart, Metrum,
 NL: maatsoort,
@@ -4020,38 +4119,146 @@ DK: taktart,
 S: taktart,
 FI: aika-arvo.
 
-The basic scheme of @ref{note value}s and @ref{accent}s which remains
-unaltered throughout a composition or a section of it.  For instance,
-3/4 meter means that the basic @ref{note value}s are quarter notes and
-that a @ref{measure} consists of three of those.  According to whether
-there are two, three, or four units to the measure, one speaks of
-@emph{duple} (2/2, 2/4, 2/8), @emph{triple} (3/2, 3/4, 3/8), or
-@emph{quadruple} (4/2, 4/4, 4/8) meter.  4/4 is also called common
-meter.
+The basic pattern of @ref{note value}s and @ref{accent}s that remains
+unaltered throughout a composition or a section of it. Meters can be
+@emph{duple} or @emph{triple} depending on how the beat is grouped in
+the composition (or in sections thereof):
+
+@itemize
+
+@item In duple meters, the beat recurs in groups of two.
+
+@item In triple meters, the beat recurs in groups of three.
+
+@end itemize
+
+Other recurrence patterns are possible:
+
+@itemize
+
+@item Quadruple meter: groups of four.  A special case of duple meter.
+
+@item Quintuple meter: groups of five
+
+@item Sextuple meter: groups of six.  A special case of:
+
+@itemize
+@item Duple meter, subdivided in three (less frequent); or
+@item Triple meter, subdivided in two (more frequent).
+@end itemize
+
+@item Septuple meter: groups of seven.
+
+@item etc.
+
+@end itemize
+
+Other than quadruple and sextuple meters, these other recurrence
+patterns were not frequently used prior to the 20th Century.
+
+In addition to classification by @emph{tactus}, meters can be further
+classified by how the tactus is subdivided: in two, the meter is
+@emph{simple}; in three, the meter is @emph{compound}.
+
+@itemize
+
+@item Simple meter
+
+@itemize
+@item duple: 2/2, 2/4, 2/8
+@item triple: 3/2, 3/4, 3/8
+@item quadruple: 4/2, 4/4 (also called common time), 4/8
+@end itemize
+
+@item Compound meter
+
+@itemize
+@item duple: 6/8
+@item triple: 9/8
+@item quadruple: 12/8
+@end itemize
+
+@end itemize
+
+Time signatures are placed at the beginning of a composition (or
+section) to indicate the meter.  For instance, a piece written in
+simple triple meter with a beat on each quarter note has a time
+signature of 3/4.
+
+Simple duple meter:
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+  \time 2/4
+  \key c \major
+  c4. d8 | e4 d | f e | d8 b c4 \bar "||"}
+@end lilypond
+
+Simple triple meter:
 
 @lilypond[fragment,line-width=13.0\cm]
 \relative c'' {
   \time 3/4
-  \key f \major
-  c es d | c bes8 a bes4 | c es d | c2 \bar "||"}
+  \key c \minor
+  c es d8 c | d4 b g | d' f es8 d | es d c2 \bar "||"}
 @end lilypond
 
+Simple quadruple meter (French folk tune, @emph{Au clair de la lune}):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+  \time 4/4
+  \key g \major
+  g4 g g a | b2 a | g4 b a a | g1 \bar "||"}
+@end lilypond
+
+Simple quintuple meter (B. Marcello, 1686-1739):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c'' {
+  \time 5/4
+  \key c \major
+  r4 cis8 bis ais4 dis c8 ais |
+  aes4 bes8 aes ges4 aes f8 es \bar "||"}
+@end lilypond
+
+Compound duple meter:
+
 @lilypond[fragment,line-width=13.0\cm]
 \relative c' {
   \time 6/8
   \key f \major
-  f8 f f f a16 g a f |
-  c'8 c c c e16 d e c \bar "||"}
+  f8 f g a bes16 a g f |
+  g8 g bes a c16 a bes g
+  \bar "||"}
 @end lilypond
 
+Compound triple meter (J.S. Bach, 1685-1750):
+
 @lilypond[fragment,line-width=13.0\cm]
-\relative c'' {
-  \time 5/4
-  \key g \major
-  d4 b8 g b d d c a4 |
-  g8 g16 g g8 g16 g g8 fis16 g a8 fis16 e d4 \bar "||"}
+\relative c' {
+  \time 9/8
+  \key f \major
+  r8 g( a) b( d c) c( e d) |
+  d( c fis) g( d b) g( a b)
+  \bar "||"}
 @end lilypond
 
+Compound quadruple meter (P. Yon, 1886-1943):
+
+@lilypond[fragment,line-width=13.0\cm]
+\relative c' {
+  \time 12/8
+  \key e \major
+  b8.( a16) gis8 a8.( gis16) fis8 gis8.( fis16) e8 fis4 b,8 |
+  e4 e8 fis( gis) a b4.~ b4 b8
+  \bar "||"}
+@end lilypond
+
+@seealso
+
+@ref{hemiola}, @ref{time signature}
+
 
 @node metronome
 @section metronome
@@ -4067,6 +4274,8 @@ FI: metronomi.
 
 Device indicating the exact tempo of a piece.
 
+@seealso
+
 @ref{metronomic indication}.
 
 
@@ -4500,7 +4709,7 @@ FI: oktaavi.
 
 @seealso
 
-@ref{interval}.
+@ref{ottava}, @ref{interval}.
 
 
 @node ornament
@@ -4584,7 +4793,7 @@ of the music, for example for small hands.
 @node ottava
 @section ottava
 
-@c TODO
+@c TODO: translations
 
 ES: ?,
 I: ottava,
@@ -4622,14 +4831,18 @@ FI: stemma, instrumenttiosuus.
 
 @itemize
 
-@item In instrumental or choral music the music for the single instrument
-or voice.
+@item In instrumental or choral music, the music for a single
+instrument or voice.
 
-@item in contrapuntal music @ref{counterpoint} the single melodic line
-of the contrapunctal web.
+@item in contrapuntal music, a single melodic line in the contrapuntal
+web.
 
 @end itemize
 
+@seealso
+
+@ref{counterpoint}
+
 
 @node pause
 @section pause
@@ -4878,6 +5091,30 @@ Very quick, i.e., quicker than @ref{allegro}; @emph{prestissimo}
 denotes the highest possible degree of speed.
 
 
+@node proportion
+@section proportion
+
+ES: proporción,
+I: ?,
+F: proportion,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+[From Latin @emph{proportio}]  In mensural notation, a ratio that
+expresses the relationship between the note values that follow with
+those that precede; or between the note values of a passage and an
+assumed @q{normal} relationship of note values to the metrical pulse.
+
+@c TODO: add an example or two.  O => 4/3, and its modern equivalent
+
+@seealso
+
+@ref{mensural notation}
+
+
 @node Pythagorean comma
 @section Pythagorean comma
 
@@ -5038,9 +5275,6 @@ FI: toisto.
 }
 @end lilypond
 
-@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
-@c     specify the rest's value.
-
 
 @node rest
 @section rest
@@ -5054,6 +5288,9 @@ DK: pause,
 S: paus,
 FI: tauko.
 
+@c F: 'pause' if you mean a whole rest, 'silence' if you do not want to
+@c     specify the rest's value.
+
 @seealso
 
 @ref{note value}.
@@ -5332,6 +5569,27 @@ FI: korotusmerkki.
 @ref{accidental}.
 
 
+@node simple meter
+@section simple meter
+
+ES: ?,
+I: ?,
+F: ?,
+UK: ?,
+D: ?,
+NL: ?,
+DK: ?,
+S: ?,
+FI: ?.
+
+A meter in which the basic beat is subdivided in two: that is, a meter
+that does not include triplet subdivision of the beat.
+
+@seealso
+
+@ref{compound meter}, @ref{meter}.
+
+
 @node sixteenth note
 @section sixteenth note
 
@@ -6035,9 +6293,13 @@ DK: taktangivelse,
 S: taktartssignatur,
 FI: tahtiosoitus.
 
+The sign placed at the beginning of a composition to indicate its
+meter.  It most often takes the form of a fraction, but a few signs
+derived from mensural notation and proportions are also employed.
+
 @seealso
 
-@ref{meter}.
+@ref{mensural notation}, @ref{meter}.
 
 
 @node tone