@c -*- coding: utf-8; mode: texinfo; -*-
@ignore
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    When revising a translation, copy the HEAD committish of the
    version that you are working on.  For details, see the Contributors'
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@end ignore

@c \version "2.19.21"

@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::
* Persian 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}.

Some types of non-Western music and folk/traditional music often employ
alternative or extended tuning systems that do not fit easily into
standard, classical notation.

Standard notation is still used but with pitch differences being
implicit.  For example, @notation{Arabic music} is notated with semi and
quarter tone accidentals but with precise pitch alterations being
determined by context.  In the case of @notation{Arabic music}, the init
file @file{arabic.ly} provides a suitable set of macros and definitions
that extend the standard notation using Italian note names.  For more
details see @ref{Arabic music}.

@cindex tuning, non-Western
@cindex makam
@cindex makamlar
@cindex maqam
@cindex Turkish, classical music
@cindex Ottoman, classical music
@cindex Arabic maqam
@cindex Persian makam
@cindex Persian makam
@cindex Turkish makam

Other types of music require extended or unique notations, for example,
@notation{Turkish classical music} (also known as Ottoman classical
music) employs melodic forms known as @notation{makamlar} where
intervals are based on 1/9 divisions of the whole tone.  Standard,
Western staff notes are still used, but with special accidentals
uniquely defined in the files @file{turkish-makam.ly}.  For more
information on Turkish classical music and makamlar see
@ref{Turkish classical music}.

Other, related init files are also available; @file{hel-arabic.ly} and
@file{makam.ly}.

To locate these init files on your system, see
@rlearning{Other sources of information}.


@morerefs
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},
@ref{Persian classical music}.
@endmorerefs


@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 interval
@cindex maqam

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


@morerefs
Notation Reference:
@ref{Common notation for non-Western music},
@ref{Key signature},
@ref{Manual beams}.

Snippets:
@rlsr{World music}.
@endmorerefs


@node Arabic note names
@unnumberedsubsubsec Arabic note names

@cindex Arabic note name
@cindex Hel-arabic note name
@cindex note name, Arabic
@cindex note name, Hel-arabic

Traditional Arabic note names can be quite long and so may not always be
suitable for the purpose of music writing.

The @file{hel-arabic.ly} file allows English note names to be used.
This is a @code{rast} scale using @file{hel-arabic.ly};

@lilypond[quote,verbatim]
\include "hel-arabic.ly"
\relative {
\key c \rast
  c' d edb f | g a bdb c | c bb a g | f d c
}
@end lilypond

The @file{arabic.ly} file allows Italian (or Solfege) note names to be
used instead.  This is a @code{rast} scale using @file{arabic.ly};

@lilypond[quote,verbatim]
\include "arabic.ly"
\relative {
  do' re misb fa | sol la sisb do | sisb la sol fa | misb re do
}
@end lilypond

@noindent
@qq{Rast} is a heptatonic scale that uses quarter tone intervals and is
considered the most important and central scale of the
@qq{Arabic Maqamat}.  For the full list of supported Arabic scales
please refer to either the @file{hel-arabic.ly} or @file{arabic.ly}
files that are both included with LilyPond.

The use of standard Western notation to notate non-Western music is
discussed in @ref{Common notation for non-Western music}.  Also see
@ref{Note names in other languages}.


@cindex Arabic semi-flat symbol
@cindex semi-flat symbol, appearance

@funindex \dwn

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 {
  \set Staff.extraNatural = ##f
  dod' dob dosd \dwn dob dobsb dodsd do do
}
@end lilypond

@morerefs
Notation Reference:
@ref{Note names in other languages},
@ref{Common notation for non-Western music},
@ref{Including LilyPond files}.

Installed Files:
@file{ly/arabic.ly}
@file{ly/hel-arabic.ly}

Snippets:
@rlsr{World music}.
@endmorerefs


@node Arabic key signatures
@unnumberedsubsubsec Arabic key signatures

@cindex Arabic key signatures

In addition to the minor and major key signatures, Arabic key signatures
are defined in either @file{hel-arabic.ly} or @file{arabic.ly} files and
define many different maqam groups.

In general, a maqam uses the key signature of its group, or a
neighbouring group, and varying accidentals are marked throughout the
music.  Arabic maqams only allow for limited modulations, due to the
nature of Arabic musical instruments.

Here is an example of the key signature for a @qq{maqam muhayer} piece
of music:

@example
\key re \bayati
@end example

@noindent
Here @var{re} is the default pitch of the muhayer maqam, and
@notation{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 @qq{maqam muhayer} should also appear in the title.

Other maqams in the same @notation{bayati} group, as shown in the table
below (e.g., @notation{bayati}, @notation{hussaini}, @notation{saba}, and
@notation{ushaq}) can be indicated in the same way.  These are all
variations of the base and most common maqam in the group, which is
@notation{bayati}.  They usually differ from the base maqam in their
upper tetrachords, or certain flow details that do not change their
fundamental nature, as siblings.

The other maqam in the same group (@notation{nawa}) is related to
@notation{bayati} by modulation and is shown in the table in
parentheses for those that are modulations of their base maqam.
@notation{Nawa}, for example, can be indicated as follows:

@example
\key sol \bayati
@end example

In Arabic music, the same term, for example @notation{bayati}, that is
used to indicate a maqam group, will also be a maqam that is usually the
most important in the group so can also be thought of as a @emph{base
maqam}.

Here is one suggested grouping that maps the more common maqams to
key signatures:

@multitable @columnfractions 0.15 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

@c XXX also included in `pitches.itely'
@lilypondfile[verbatim,quote,texidoc,doctitle]
{snippets/non-traditional-key-signatures.ly}


@morerefs
Music Glossary:
@rglos{maqam},
@rglos{bayati},
@rglos{rast},
@rglos{sikah},
@rglos{iraq},
@rglos{kurd}.

Learning Manual:
@rlearning{Pitches and key signatures}.

Notation Reference:
@ref{Key signature}.

Installed Files:
@file{ly/arabic.ly}
@file{ly/hel-arabic.ly}

Snippets:
@rlsr{World music},
@rlsr{Pitches}.

Internals Reference:
@rinternals{KeySignature}.
@endmorerefs


@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 behavior and/or use compound time signatures.


@snippets

@cindex Arabic improvisation
@cindex improvisation, Arabic
@lilypondfile[verbatim,quote,texidoc,doctitle]
{snippets/arabic-improvisation.ly}


@morerefs
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}.

Installed Files:
@file{ly/arabic.ly}
@file{ly/hel-arabic.ly}

Snippets:
@rlsr{World music}.
@endmorerefs


@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 {
  \header {
    title = "Semai Muhayer"
    composer = "Jamil Bek"
  }
  \relative {
    \set Staff.extraNatural = ##f
    \set Staff.autoBeaming = ##f
    \key re \bayati
    \time 10/8

    re'4 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
  }
}
@end lilypond

@morerefs
Installed Files:
@file{ly/arabic.ly}
@file{ly/hel-arabic.ly}

Snippets:
@rlsr{World music}.
@endmorerefs


@node Further reading for Arabic music
@unnumberedsubsubsec Further reading for Arabic music

There are some variations in the details of how maqams are grouped,
despite agreement of grouping maqams related through common lower tetra
chords or by modulation.  There are also some inconsistencies, even
within the same texts, on how key signatures for a particular maqam
should be specified.  However, it is common to use a key signature per
@q{group} of maqams instead of individual key signatures for each maqam
separately.

@itemize

@item
@emph{The music of the Arabs} by Habib Hassan Touma
[Amadeus Press, 1996], contains a discussion of maqams and their method
of groupings.

@item
There are also some web sites that explain maqams and even provide audio
examples:

@itemize
@item
@uref{https://www.maqamworld.com/}

@item
@uref{https://www.turath.org/}
@end itemize

@item
Method books by the following authors for the Oud (the Arabic
lute) contain examples of mainly Turkish and Arabic compositions.

@itemize
@item
Charbel Rouhana

@item
George Farah

@item
Ibrahim Ali Darwish Al-masri
@end itemize

@end itemize


@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::
* Turkish key signatures::
* Further reading for Turkish music::
@end menu

@node References for Turkish classical music
@unnumberedsubsubsec References for Turkish classical music

@cindex Turkish music
@cindex Ottoman music
@cindex comma interval
@cindex makam
@cindex makamlar

Turkish classical music developed in the Ottoman Empire at roughly the
same time as 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}) are constructed.

Some issues relevant to Turkish classical music are covered elsewhere.
Special note names and accidentals are explained in
@ref{Common notation for non-Western music}.


@node Turkish note names
@unnumberedsubsubsec Turkish note names

@cindex Turkish note name
@cindex makam
@cindex makamlar

Pitches in Turkish classical music traditionally have unique names and
the basis of pitch on 1/9-tone divisions means that makamlar employ a
completely different set of intervals compared to Western scales and
modes:

From a modern, notational point of view it is convenient to use
standard, Western staff notes (c, d, e, etc.@:) but with custom
accidentals that raise or lower notes by intervals of 1/9, 4/9, 5/9 or
8/9 of a tone.

These custom accidentals are defined in the file
@file{turkish-makam.ly}.

For a more general explanation of non-Western music notation, see
@ref{Common notation for non-Western music}.

@morerefs
Music Glossary:
@rglos{makam},
@rglos{makamlar}.

Notation Reference:
@ref{Common notation for non-Western music}.
@endmorerefs


@node Turkish key signatures
@unnumberedsubsubsec Turkish key signatures

Lilypond supports over 200 makam key signature definitions -- well
beyond what is used in Turkish classical music -- with each makam having
its own specific tonic / finalis pitch (known as @q{karar} in Turkish).

It is important to be aware of the finalis of each makam.  Here is an
example where @var{g} is the default tonic and @var{rast} is the name of
the makam.

@example
\key g \rast
@end example

@noindent
The correct accidentals, koma flat (@var{b1}) and koma sharp
(@code{f4}), (both in relation to the tonic @var{g}), will be displayed
automatically.


@snippets

@cindex makam, example
@cindex Turkish makam, example
@lilypondfile[verbatim,quote,texidoc,doctitle]
{snippets/turkish-makam-example.ly}


@node Further reading for Turkish music
@unnumberedsubsubsec Further reading for Turkish music

@itemize

@item
@emph{Turk Musikisi Nazariyati ve Usulleri: Kudum Velveleleri} by Ismail
Hakki Ozkan [(Kultur serisi, 41) (Turkish) Paperback – 1986]

@noindent
contains information about the theory of makams and usul.

@item
@emph{Music of the Ottoman Court} by Walter Feldman
[VWB Hardback – 1996]

@noindent
contains information about the history of Ottoman court music.

@item
@emph{Turkish Music Makam Guide} by Murat Aydemir [Pan Paperback – 2010]

@noindent
contains information in English regarding Turkish makam including two
CDs.

@end itemize


@node Persian classical music
@subsection Persian classical music

@cindex Persian classical music

This section highlights issues that are relevant to notating
Persian classical music.

@menu
* Persian music notation::
* Persian tunings::
* Persian key signatures::
* Further reading on Persian music::
@end menu

@node Persian music notation
@unnumberedsubsubsec Persian music notation

@cindex sori
@cindex koron
@cindex semi-flat symbol, Persian (koron)
@cindex semi-sharp symbol, Persian (sori)
@cindex Persian accidentals (sori, koron)

The notation for Persian classical music commonly uses two
accidentals for microtones, @dfn{sori} and @dfn{koron}.  Invented
by Ali-Naqi Vaziri around 1935, they indicate raising and lowering
a pitch by (approximately) a quarter tone, respectively.

@lilypond[quote]
\markup {
  \center-column {
    "sori"
    \musicglyph "accidentals.sharp.sori"
  }
  \hspace #10
  \center-column {
    "koron"
    \musicglyph "accidentals.flat.koron"
  }
}
@end lilypond

The file @file{persian.ly}@footnote{There exists another, older
support file for Persian classical music also called
@file{persian.ly} (written by Kees van den Doel) that no longer
works with the current LilyPond version; while note names are
compatible, the selection of key signatures is not.} provides
support for koron and sori; they can be obtained by appending
@q{k} (koron) and @q{o} (sori) to the English note symbols.

LilyPond supports tunings for all major Persian modes in all keys,
sufficient to notate the @dfn{gusheh}s (central nuclear melodies)
of all @dfn{dastgah}s (musical modal systems).

The note immediately following a koron is sometimes@footnote{If
the interval defined by the note before the koron and after the
koron is a minor third.  The same is true for the note below the
finalis in the @q{Esfahan} dastgah according to some (but not all)
Persian musicians.} lowered by about 20@tie{}cents.  This is not
notated but considered part of the tuning.  However, for getting
better MIDI support you can make a sound flat by appending @q{v}
to the note name (@q{@emph{v}lat}).  This note should actually
also get a strong vibrato, and the vibrato and low tuning are
perceptually integrated (@emph{serialism}).  This is just for MIDI
and has no effect on the notation itself.

There are no further tuning issues in Persian music.  Since the
music is monophonic, the difference between just intonation (for
example) and equal temperament is merely academic -- there are no
chords where out-of-tune intervals would be noticeable.

The following suffixes to English note names are provided.

@indentedBlock
@multitable @columnfractions .03 .77
@item @code{ff} @tab double-flat
@item @code{f}  @tab flat
@item @code{k}  @tab koron (about quarter flat, -3/10 of whole
                     tone, 60@tie{}cents)
@item @code{o}  @tab sori (about quarter sharp, 2/10 of whole
                     tone, 40@tie{}cents)
@item @code{s}  @tab sharp
@item @code{x}  @tab double-sharp
@item @code{v}  @tab 20@tie{}cent flat-tuned note (@qq{vlat}, not
                     notated)
@item @code{fv} @tab flat, tuned 20@tie{}cents down (notated as a
                     normal flat)
@item @code{sv} @tab sharp, tuned 20@tie{}cents down (notated as a
                     normal sharp; does never occur in traditional
                     Persian music)
@end multitable
@endIndentedBlock


@node Persian tunings
@unnumberedsubsubsec Persian tunings

Dastgahs can have many tunings; it has become common to name
tunings after representative dastgahs featuring them.  The
following Persian tunings are provided to be used as the second
argument of the @code{\key} command.  Note that in practice not
all tunings are used in all keys.

@indentedBlock
@multitable @columnfractions .2 .6
@item @code{\shur}          @tab @q{Shur} gushehs with natural 5th
                                 degree
@item @code{\shurk}         @tab @q{Shur} gushehs with koron 5th
                                 degree
@item @code{\esfahan}       @tab
@item @code{\mokhalefsegah} @tab
@item @code{\chahargah}     @tab
@item @code{\mahur}         @tab the same as @code{\major} but
                                 used in a completely different
                                 context
@item @code{\delkashMahur}  @tab
@end multitable
@endIndentedBlock

In dastgah @q{Shur}, the 5th degree can either be natural or
koron, so two tunings are provided (@code{\shur}, @code{\shurk}).
Secondary dastgahs @q{Dashti}, @q{Abuata}, and @q{Bayat-e-tork}
use @code{\shur}, the derived dastgah @q{Afshari} uses
@code{\shurk}.  @q{Nava} on@tie{}G is like @q{Shur} on@tie{}D (a
4th apart).  The tuning of @q{Segah} is @code{\shurk}.  Other
tunings are @code{\esfahan} (@q{Homayoun} on@tie{}C is like
@q{Esfahan} on@tie{}G, a 5th apart), @code{\chahargah}, and
@code{\mokhalefsegah}.  For dastgahs @q{Mahur} and
@q{Rast-panjgah} the same tuning @code{\mahur} can be used.

All the various modulatory gushehs in all dastgahs can be notated
with these tunings, with the exception of @q{Delkash} in
@q{Mahur}, but traditionally the peculiar accidentals there are
notated explicitly (however, @file{persian.ly} also defines a
tuning @code{\delkashMahur}).

As an example, Chahargah in@tie{}D can be input with the
following.

@lilypond[verbatim,quote]
\include "persian.ly"

\relative c' {
  \key d \chahargah
  bk'8 a gs fo r g ak g |
  fs ek d c d ef16 d c4 |
}
@end lilypond


@node Persian key signatures
@unnumberedsubsubsec Persian key signatures

By default, the order of accidentals in Persian key signatures is
flats followed by korons, then sharps followed by soris (then
double flats, then double sharps).

An alternative key order, similar to the one used in
@file{turkish-makam.ly}, can be selected.  Here, the order is
flats or korons (or double flats), then sharps or soris (or double
sharps).  In other words, korons and soris are handled equal to
flats and sharps, respectively.

@lilypond[verbatim,quote]
\include "persian.ly"

{
  \key b \chahargah b'1 |
  \set Staff.keyAlterationOrder = \persianAltKeyAlterationOrder
  \key b \chahargah b'1 |
}
@end lilypond


@node Further reading on Persian music
@unnumberedsubsubsec Further reading on Persian music

@itemize

@item
@emph{Traditional Persian Art Music} by Dariush Tala'i
[Bibliotheca Persica, Costa Mesa CA, 2000]

@noindent
The provided Persian tunings closely follow this book.

@item
@emph{The Dastgah Concept in Persian Music} by Hormoz Farhat
[Cambridge University Press, Cambridge, 1990]

@item
@emph{Le répertoire-modèle de la musique iranienne} by Jean During
(in French) [Sourush, Tehran, 1995]

@noindent
This book contains measurements of the intervals in actual
practice, consistent with the tunings of @file{persian.ly}.

@item
@emph{Armoni-e Musiqi-e Iran} by Ali-Naqi Vaziri (in Persian)
[1935]

@item
@emph{Scales and Modes Around the World} by Herman Rechberger
[Fennica Gehrman, 2018, ISBN 978-952-5489-07-1]

@end itemize
