--- /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. For details, see the Contributors'
+ Guide, node Updating translation committishes..
+@end ignore
+
+@c \version "2.14.0"
+
+@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
+* Common notation for non-Western music::
+* Arabic music::
+* Turkish classical music::
+@end menu
+
+
+@node Common notation for non-Western music
+@subsection Common notation for non-Western music
+
+This section discusses how to enter and print music scores
+that do not belong to the Western classical tradition,
+also referred to as @notation{Common Practice Period}.
+
+@menu
+* Extending notation and tuning systems::
+@end menu
+
+
+@node Extending notation and tuning systems
+@unnumberedsubsubsec Extending notation and tuning systems
+
+Standard classical notation (also known as
+@notation{Common Practice Period} notation) is commonly
+used in all sorts of music, not limited to @q{classical}
+Western music. This notation is discussed in
+@ref{Writing pitches}, and the various note names
+that may be used are explained in
+@ref{Note names in other languages}.
+
+However, many types of non-Western music (and
+some types of Western folk and traditional music) employ
+alternative or extended tuning systems that do not fit
+readily into standard classical notation.
+
+In some cases standard notation is still used, with the
+pitch differences being implicit. For example,
+@notation{Arabic music} is notated with standard
+semitone and quarter-tone accidentals, with the precise
+pitch alterations being determined by context. Italian
+note names are typically used, while the init file
+@file{arabic.ly} provides a suitable set of macros
+and definitions extending the standard
+notation. For more details, see
+@ref{Arabic music}.
+
+@cindex tuning, non-Western
+
+Other types of music require extended or unique notations.
+@notation{Turkish classical music} or Ottoman music, for
+example, employs melodic forms known as @notation{makamlar},
+whose intervals are based on 1/9 divisions of the whole tone.
+Standard Western staff notes are still used, but with special
+accidentals unique to Turkish music, that are defined in the file
+@file{makam.ly}. For further information on Turkish classical
+music and makamlar, see
+@ref{Turkish classical music}.
+
+To locate init files such as @file{arabic.ly} or
+@file{makam.ly} on your system, see
+@rlearning{Other sources of information}.
+
+@snippets
+
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{makam-example.ly}
+
+@seealso
+Music Glossary:
+@rglos{Common Practice Period},
+@rglos{makamlar}.
+
+Learning Manual:
+@rlearning{Other sources of information}.
+
+Notation Reference:
+@ref{Writing pitches},
+@ref{Note names in other languages},
+@ref{Arabic music},
+@ref{Turkish classical music}.
+
+
+@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 for Arabic music::
+@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{Common notation for non-Western music}.
+
+@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{Common notation for non-Western music},
+@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. Italian note names and accidentals are explained in
+@ref{Note names in other languages}; the use of standard
+Western notation to notate non-Western music is discussed in
+@ref{Common notation for non-Western music}.
+
+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
+@file{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},
+@ref{Common notation for non-Western music}.
+
+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 @file{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
+
+@noindent
+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
+Music Glossary:
+@rglos{maqam},
+@rglos{bayati},
+@rglos{rast},
+@rglos{sikah},
+@rglos{iraq},
+@rglos{kurd}.
+
+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. The alternative is to switch off automatic
+beaming and beam the notes manually. Even if a match to existing
+typeset music is not required, it may still be desirable to adjust
+the automatic 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
+Music Glossary:
+@rglos{semai},
+@rglos{taqasim}.
+
+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 @notation{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 for Arabic music
+@unnumberedsubsubsec Further reading for Arabic music
+
+@enumerate
+
+@item
+@emph{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.
+
+Method books by the following authors for the @dfn{Oud}, the Arabic lute,
+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
+
+
+@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 Special note names and accidentals are explained in
+@ref{Common notation for non-Western music}.
+
+@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}.
+
+The following table lists:
+@itemize
+@item
+the name of these special accidentals,
+@item
+the accidental suffix that must be added to notes,
+@item
+and their pitch alteration as a
+fraction of one whole tone.
+@end itemize
+
+@quotation
+@multitable {@b{büyük mücenneb (sharp)}} {@b{suffix}} {@b{pitch alteration}}
+@headitem Accidental name
+ @tab suffix @tab pitch alteration
+
+@item büyük mücenneb (sharp)
+ @tab -bm @tab +8/9
+@item kücük mücenneb (sharp)
+ @tab -k @tab +5/9
+@item bakiye (sharp)
+ @tab -b @tab +4/9
+@item koma (sharp)
+ @tab -c @tab +1/9
+
+@item koma (flat)
+ @tab -fc @tab -1/9
+@item bakiye (flat)
+ @tab -fb @tab -4/9
+@item kücük mücenneb (flat)
+ @tab -fk @tab -5/9
+@item büyük mücenneb (flat)
+ @tab -fbm @tab -8/9
+@end multitable
+@end quotation
+
+For a more general explanation of non-Western music notation, see
+@ref{Common notation for non-Western music}.
+
+@seealso
+Music Glossary:
+@rglos{makam},
+@rglos{makamlar}.
+
+Notation Reference:
+@ref{Common notation for non-Western music}.
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