[musicians-guide/f15] updated Japanese translation.

Tadashi Jokagi elf at fedoraproject.org
Mon Aug 1 06:54:34 UTC 2011 

commit 0881932a1faaea1c6100e9cbacb98ae914d2e465
Author: Tadashi Jokagi <elf at elf.no-ip.org>
Date:   Mon Aug 1 15:54:32 2011 +0900

    updated Japanese translation.

 ja-JP/Ardour.po                                    | 3314 +++++++++++++++-----
 ja-JP/Audacity.po                                  | 1082 +++++--
 ja-JP/Audio_Vocabulary.po                          |  406 ++-
 ja-JP/Author_Group.po                              |   27 +-
 ja-JP/Book_Info.po                                 |   38 +-
 ja-JP/Chapter.po                                   |   18 +-
 ja-JP/Digital_Audio_Workstations.po                |  655 ++++-
 ja-JP/FluidSynth.po                                |  995 +++++--
 ja-JP/Frescobaldi.po                               |  259 ++-
 ja-JP/LilyPond/LilyPond-counterpoint.po            |  344 ++-
 ja-JP/LilyPond/LilyPond-orchestra.po               |  447 ++-
 ja-JP/LilyPond/LilyPond-piano.po                   |  471 +++-
 ja-JP/LilyPond/LilyPond-syntax.po                  |  996 +++++-
 ja-JP/LilyPond/LilyPond.po                         |  195 +-
 ja-JP/Musicians_Guide.po                           |   30 +-
 ja-JP/Planet_CCRMA_at_Home.po                      |  407 ++-
 ja-JP/Preface.po                                   |   23 +-
 ja-JP/Qtractor.po                                  | 1425 +++++++--
 ja-JP/Real_Time_and_Low_Latency.po                 |  252 ++-
 ja-JP/Revision_History.po                          |  106 +-
 ja-JP/Rosegarden.po                                |  685 ++++-
 ja-JP/Solfege.po                                   | 1103 +++++--
 ja-JP/Sound_Cards.po                               |  391 ++-
 ja-JP/Sound_Servers.po                             |  467 +++-
 .../SuperCollider-Basic_Programming.po             | 2573 +++++++++++++---
 ja-JP/SuperCollider/SuperCollider-Composing.po     |  824 ++++-
 ja-JP/SuperCollider/SuperCollider-Exporting.po     |  117 +-
 ja-JP/SuperCollider/SuperCollider.po               |  639 +++-
 28 files changed, 14573 insertions(+), 3716 deletions(-)
---
diff --git a/ja-JP/Ardour.po b/ja-JP/Ardour.po
index 8f0efce..a9e5a69 100644
--- a/ja-JP/Ardour.po
+++ b/ja-JP/Ardour.po
@@ -1,2939 +1,4789 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-11-02T04:33:08\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:02\n"
+"PO-Revision-Date: 2011-07-24 12:05+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "Ardour"
-msgstr ""
+msgstr "Ardour"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>Ardour</application> is a feature-rich application designed for multi-track recording situations."
+msgid ""
+"<application>Ardour</application> is a feature-rich application designed for"
+" multi-track recording situations."
 msgstr ""
+"<application>Ardour</application> はマルチトラック録音のために設計された豊富な機能を持つアプリケーションです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Requirements and Installation"
-msgstr ""
+msgstr "要件とインストール"
 
 #. Tag: title
 #, no-c-format
 msgid "Knowledge Requirements"
-msgstr ""
+msgstr "前提知識"
 
 #. Tag: para
 #, no-c-format
-msgid "The <application>Ardour</application> user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"The <application>Ardour</application> user interface is similar to other "
+"DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
 msgstr ""
+"<application>Ardour</application> のユーザインタフェースは他の DAW に似ています。もしあなたが DAW "
+"を使ったことがなければ、<xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> "
+"を読むことをお勧めします。"
 
 #. Tag: title
 #, no-c-format
 msgid "Software Requirements"
-msgstr ""
+msgstr "ソフトウエア要件"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK Audio Connection Kit</systemitem>. You should install <systemitem>JACK</systemitem> before installing <application>Ardour</application>. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install <systemitem>JACK</systemitem>."
-msgstr ""
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK Audio Connection"
+" Kit</systemitem>. You should install <systemitem>JACK</systemitem> before "
+"installing <application>Ardour</application>. Follow the instructions in "
+"<xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to "
+"install <systemitem>JACK</systemitem>."
+msgstr ""
+"<application>Ardour</application> は <systemitem>JACK Audio Connection "
+"Kit</systemitem> を使います。 <application>Ardour</application> "
+"をインストールする前に、<systemitem>JACK</systemitem> "
+"をインストール下さい。<systemitem>JACK</systemitem> をインストールするには、<xref linkend=\"sect-"
+"Musicians_Guide-Install_and_Configure_JACK\" /> の手順に従ってください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Hardware Requirements"
-msgstr ""
+msgstr "ハードウエア要件"
 
 #. Tag: para
 #, no-c-format
-msgid "You need an audio interface to use <application>Ardour</application>. If you will record audio with <application>Ardour</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <systemitem>JACK</systemitem>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
-msgstr ""
+msgid ""
+"You need an audio interface to use <application>Ardour</application>. If you"
+" will record audio with <application>Ardour</application>, you must have at "
+"least one microphone connected to your audio interface. You do not need a "
+"microphone to record audio signals from other "
+"<systemitem>JACK</systemitem>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
+msgstr ""
+"<application>Ardour</application> "
+"を使うには、オーディオインタフェースが必要です。<application>Ardour</application> "
+"でオーディオを録音するには、オーディオインタフェースに接続されたマイクが少なくても１つ必要です。<application>FluidSynth</application>"
+" や <application>SuperCollider</application> のような、JACK "
+"対応プログラムからのオーディオ信号を録音するには、マイクは必要ありません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Installation"
-msgstr ""
+msgstr "インストール"
 
 #. Tag: para
 #, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>ardour</package> package. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>ardour</package> package. Other required software is installed "
+"automatically."
 msgstr ""
+"<application>PackageKit</application> あるいは "
+"<application>KPackageKit</application> を使って <package>ardour</package> "
+"パッケージをインストールします。他の必要なソフトウエアは自動的にインストールされます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Recording a Session"
-msgstr ""
+msgstr "セッションを録音する"
 
 #. Tag: para
 #, no-c-format
-msgid "Recording a session usually happens all at once, but sometimes recording can happen over several days or even weeks. Mixing and mastering happen after a session has been recorded. Remember that <systemitem>JACK</systemitem> must have the same sample rate and sample format settings each time you open a session."
+msgid ""
+"Recording a session usually happens all at once, but sometimes recording can"
+" happen over several days or even weeks. Mixing and mastering happen after a"
+" session has been recorded. Remember that <systemitem>JACK</systemitem> must"
+" have the same sample rate and sample format settings each time you open a "
+"session."
 msgstr ""
+"セッションの録音は通常は全部、一度に行われます。しかし、ときには録音は何日あるいは何週間にもわたって行われることがあります。ミキシングとマスタリングは、セッションが録音された後で行われます。セッションをオープンする時に、毎回、<systemitem>JACK</systemitem>"
+" のサンプルレートとサンプルフォーマットの設定は同じでなければいけないことに注意下さい。"
 
 #. Tag: title
 #, no-c-format
 msgid "Running <application>Ardour</application>"
-msgstr ""
+msgstr "<application>Ardour</application> を実行する"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>Ardour</application> uses the <systemitem>JACK</systemitem> sound server. Use <application>QjackCtl</application> to start <systemitem>JACK</systemitem> before <application>Ardour</application>, or <application>Ardour</application> starts <systemitem>JACK</systemitem> for you."
+msgid ""
+"<application>Ardour</application> uses the <systemitem>JACK</systemitem> "
+"sound server. Use <application>QjackCtl</application> to start "
+"<systemitem>JACK</systemitem> before <application>Ardour</application>, or "
+"<application>Ardour</application> starts <systemitem>JACK</systemitem> for "
+"you."
 msgstr ""
+"<application>Ardour</application> は <systemitem>JACK</systemitem> "
+"サウンドサーバを使います。<application>Ardour</application> の前に "
+"<application>QjackCtl</application> を使って <systemitem>JACK</systemitem> "
+"を開始してください。あるいは <application>Ardour</application> は "
+"<systemitem>JACK</systemitem> をあなたの代わりに開始します。"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>Ardour</application> asks you to choose a location to save your new session. <application>Ardour</application> automatically creates a directory to store the session's files. You can also open an existing session."
+msgid ""
+"<application>Ardour</application> asks you to choose a location to save your"
+" new session. <application>Ardour</application> automatically creates a "
+"directory to store the session's files. You can also open an existing "
+"session."
 msgstr ""
+"<application>Ardour</application> "
+"は新しいセッションを保存する場所を選択するように聞いてきます。<application>Ardour</application> "
+"はセッションのファイルを保存するディレクトリを自動的に作成します。既存のセッションを開くこともできます。"
 
 #. Tag: title
 #, no-c-format
 msgid "The Interface"
-msgstr ""
+msgstr "インタフェース"
 
 #. Tag: para
 #, no-c-format
-msgid "This section explains some of the graphical interface components that are unique to <application>Ardour</application>. Components that are consistent through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" />."
+msgid ""
+"This section explains some of the graphical interface components that are "
+"unique to <application>Ardour</application>. Components that are consistent "
+"through most DAWs are explained in <xref linkend=\"sect-Musicians_Guide-"
+"DAW_Interface_Vocabulary\" />."
 msgstr ""
+"このセクションは <application>Ardour</application> "
+"に特有のいくつかのグラフィカルインタフェースコンポーネントを説明します。ほとんどの DAW で同じように使われるコンポーネントは、<xref "
+"linkend=\"sect-Musicians_Guide-DAW_Interface_Vocabulary\" /> で説明されています。"
 
 #. Tag: title
 #, no-c-format
 msgid "The Ardour interface"
-msgstr ""
+msgstr "Ardour インタフェース"
 
 #. Tag: para
 #, no-c-format
 msgid "Three graphical interface components specific to the Ardour interface."
-msgstr ""
+msgstr "Ardour インタフェースに固有の３つのグラフィカルインタフェースコンポーネント。"
 
 #. Tag: para
 #, no-c-format
 msgid "The <firstterm>editor mixer</firstterm>"
-msgstr ""
+msgstr "<firstterm> エディタミキサー </firstterm>"
 
 #. Tag: para
 #, no-c-format
 msgid "The <firstterm>session sidebar</firstterm>"
-msgstr ""
+msgstr "<firstterm> セッションサイドバー </firstterm>"
 
 #. Tag: para
 #, no-c-format
 msgid "The main toolbar"
-msgstr ""
+msgstr "メインツールバー"
 
 #. Tag: para
 #, no-c-format
-msgid "<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical interface components specific to the Ardour interface: the <firstterm>editor mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main toolbar."
+msgid ""
+"<xref linkend=\"ardour_interface_overview\" /> illustrates three graphical "
+"interface components specific to the Ardour interface: the <firstterm>editor"
+" mixer</firstterm>, the <firstterm>session sidebar</firstterm>, and the main"
+" toolbar."
 msgstr ""
+"<xref linkend=\"ardour_interface_overview\" /> は、Ardour "
+"インタフェースに固有の３つのグラフィカルインタフェースを説明します。<firstterm> エディタミキサー "
+"</firstterm>、<firstterm> セッションサイドバー </firstterm>、そしてメインツールバーです。"
 
 #. Tag: title
 #, no-c-format
 msgid "The Ardour editor mixer"
-msgstr ""
+msgstr "Ardour エディタミキサー"
 
 #. Tag: para
 #, no-c-format
 msgid "The Ardour editor mixer panel."
-msgstr ""
+msgstr "Ardour エディタミキサーパネル"
 
 #. Tag: para
 #, no-c-format
 msgid "The fader"
-msgstr ""
+msgstr "フェーダー"
 
 #. Tag: para
 #, no-c-format
 msgid "The fader control"
-msgstr ""
+msgstr "フェーダーコントロール"
 
 #. Tag: para
 #, no-c-format
 msgid "The fader level meter"
-msgstr ""
+msgstr "フェーダーレベルメーター"
 
 #. Tag: para
 #, no-c-format
 msgid "The panner"
-msgstr ""
+msgstr "パンナー"
 
 #. Tag: para
 #, no-c-format
 msgid "The output connection button"
-msgstr ""
+msgstr "出力コネクションボタン"
 
 #. Tag: para
 #, no-c-format
-msgid "<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, located at the left of the main <application>Ardour</application> window. The editor mixer shows only one mixer strip at a time. It shows the fader and its controls, in the middle of the mixer strip, the panner and its controls, at the bottom of the mixer strip, and the <guibutton>Comments</guibutton> and outgoing connections buttons."
-msgstr ""
+msgid ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> shows the editor mixer, "
+"located at the left of the main <application>Ardour</application> window. "
+"The editor mixer shows only one mixer strip at a time. It shows the fader "
+"and its controls, in the middle of the mixer strip, the panner and its "
+"controls, at the bottom of the mixer strip, and the "
+"<guibutton>Comments</guibutton> and outgoing connections buttons."
+msgstr ""
+"<xref linkend=\"ardour_interface_editor_mixer\" /> "
+"は、<application>Ardour</application> "
+"メインウインドウの左にあるエディタミキサーを示します。エディタミキサーは、一度に１つだけのミキサーストリップを表示します。ミキサーストリップの中間にフェーダーとそのコントロール、一番下にパンナーとそのコントロール、そして"
+" <guibutton>Comments</guibutton> と出力コネクションボタンがあります。"
 
 #. Tag: title
 #, no-c-format
 msgid "The Ardour session sidebar"
-msgstr ""
+msgstr "Ardour セッションサイドバー"
 
 #. Tag: para
 #, no-c-format
 msgid "The Ardour session sidebar."
-msgstr ""
+msgstr "Ardour セッションサイドバー。"
 
 #. Tag: para
 #, no-c-format
 msgid "The tab strip"
-msgstr ""
+msgstr "タブストリップ"
 
 #. Tag: para
 #, no-c-format
 msgid "The region list"
-msgstr ""
+msgstr "リージョンリスト"
 
 #. Tag: para
 #, no-c-format
-msgid "<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session sidebar, located at the right the main <application>Ardour</application> window. In this image, the <guilabel>Regions</guilabel> tab is selected, so the sidebar shows a list of regions currently in the session. You can see blue ones which were directly imported, white ones which were created from blue regions, and the arrows to the left of some blue regions, indicating that there are white-coloured sub-regions associated with those blue regions."
-msgstr ""
+msgid ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> shows the session "
+"sidebar, located at the right the main <application>Ardour</application> "
+"window. In this image, the <guilabel>Regions</guilabel> tab is selected, so "
+"the sidebar shows a list of regions currently in the session. You can see "
+"blue ones which were directly imported, white ones which were created from "
+"blue regions, and the arrows to the left of some blue regions, indicating "
+"that there are white-coloured sub-regions associated with those blue "
+"regions."
+msgstr ""
+"<xref linkend=\"ardour_interface_session_sidebar\" /> "
+"は、<application>Ardour</application> "
+"のメインウインドウの右にあるセッションサイドバーです。この図では、<guilabel>Regions</guilabel> "
+"タブが選択されているので、サイドバーには、現在セッションにあるリージョンのリストが表示されています。青いものは直接インポートされたもの、白いものは青いリージョンから作成されたもの、そしていくつかの青いリージョンの左にある矢印はこれらの青いリージョンに対応する白いサブリージョンがあることを示します。"
 
 #. Tag: title
 #, no-c-format
 msgid "The main Ardour toolbar"
-msgstr ""
+msgstr "メイン Ardour ツールバー"
 
 #. Tag: para
 #, no-c-format
 msgid "The main Ardour toolbar."
-msgstr ""
+msgstr "メイン Ardour ツールバー。"
 
 #. Tag: para
 #, no-c-format
 msgid "Tool selection buttons"
-msgstr ""
+msgstr "ツール選択ボタン"
 
 #. Tag: para
 #, no-c-format
 msgid "The <guibutton>select/edit object</guibutton> button"
-msgstr ""
+msgstr "<guibutton>select/edit object</guibutton> ボタン"
 
 #. Tag: para
 #, no-c-format
 msgid "The <guibutton>select/edit range</guibutton> button"
-msgstr ""
+msgstr "<guibutton>select/edit range</guibutton> ボタン"
 
 #. Tag: para
 #, no-c-format
 msgid "The snap mode"
-msgstr ""
+msgstr "snap mode"
 
 #. Tag: para
 #, no-c-format
 msgid "The grid mode"
-msgstr ""
+msgstr "grid mode"
 
 #. Tag: para
 #, no-c-format
 msgid "The edit point"
-msgstr ""
+msgstr "edit point"
 
 #. Tag: para
 #, no-c-format
-msgid "<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, located underneath the transport controls, and above the timeline and its rulers. In the middle of the toolbar are three unlabeled, but highly useful multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu (currently set to <literal>Bars</literal>); and then <guimenu>edit point</guimenu> menu (currently set to <literal>Mouse</literal>). To the left of these menus are the tool-selection buttons, the most important of which are the two left-most buttons: <guibutton>select/edit object</guibutton>, and <guibutton>select/edit range</guibutton>."
-msgstr ""
+msgid ""
+"<xref linkend=\"ardour_interface_toolbar\" /> shows the main toolbar, "
+"located underneath the transport controls, and above the timeline and its "
+"rulers. In the middle of the toolbar are three unlabeled, but highly useful "
+"multiple-choice menus: the <guimenu>snap mode</guimenu> menu (currently set "
+"to <literal>No Grid</literal>); the <guimenu>grid mode</guimenu> menu "
+"(currently set to <literal>Bars</literal>); and then <guimenu>edit "
+"point</guimenu> menu (currently set to <literal>Mouse</literal>). To the "
+"left of these menus are the tool-selection buttons, the most important of "
+"which are the two left-most buttons: <guibutton>select/edit "
+"object</guibutton>, and <guibutton>select/edit range</guibutton>."
+msgstr ""
+"<xref linkend=\"ardour_interface_toolbar\" /> "
+"は、メインツールバーです。それはトランスポートコントロールの下、タイムラインとそのルーラーの上にあります。ツールバーの中間には、３つのラベルの付いていない、しかしとても役に立つ複数選択可能なメニューがあります："
+" <guimenu>snap mode</guimenu> メニュー（現在、<literal>No Grid</literal> "
+"です）。<guimenu>grid mode</guimenu> メニュー（現在、<literal>Bars</literal> です）。そして "
+"<guimenu>edit point</guimenu> メニュー（現在、<literal>Mouse</literal> "
+"です）。これらメニューの左には、ツール選択ボタンがあり、その中で重要なのは、最も左にある２つ、<guibutton>select/edit "
+"object</guibutton> と <guibutton>select/edit range</guibutton> ボタンです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Setting up the Timeline"
-msgstr ""
+msgstr "タイムラインを設定する"
 
 #. Tag: para
 #, no-c-format
-msgid "At the top of the main <application>Ardour</application> window, to the right of the transport's toolbar, are two relatively large clocks. Right-click the clocks to choose what you want them to display:"
+msgid ""
+"At the top of the main <application>Ardour</application> window, to the "
+"right of the transport's toolbar, are two relatively large clocks. Right-"
+"click the clocks to choose what you want them to display:"
 msgstr ""
+"メイン <application>Ardour</application> "
+"ウインドウの一番上、トランスポートツールバーの右に、２つの比較的大きな時計があります。表示を変えるには、右クリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
-msgstr ""
+msgid ""
+"<guimenuitem>Bars:Beats</guimenuitem> displays the number of bars and beats"
+msgstr "<guimenuitem>Bars:Beats</guimenuitem> は、小節と拍を表示します。"
 
 #. Tag: para
 #, no-c-format
-msgid "<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning of track"
-msgstr ""
+msgid ""
+"<guimenuitem>Minutes:Seconds</guimenuitem> displays the time since beginning"
+" of track"
+msgstr "<guimenuitem>Minutes:Seconds</guimenuitem> はトラック先頭からの時間を示します。"
 
 #. Tag: para
 #, no-c-format
-msgid "<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode (usually for work with films)"
+msgid ""
+"<guimenuitem>Timecode</guimenuitem> displays frames-per-second timecode "
+"(usually for work with films)"
 msgstr ""
+"<guimenuitem>Timecode</guimenuitem> "
+"はフレーム／秒のタイムコード（通常、フィルムの作業をするときに使われます）を示します。"
 
 #. Tag: para
 #, no-c-format
 msgid "<guimenuitem>Samples</guimenuitem> displays the samples since start"
-msgstr ""
+msgstr "<guimenuitem>Samples</guimenuitem> は開始からのサンプル数を表示します。"
 
 #. Tag: para
 #, no-c-format
 msgid "If you do not need both clocks, you can turn one of them off."
-msgstr ""
+msgstr "２つの時計が不要なら、片方を消すことができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The <guimenu>snap mode</guimenu> menu is located between the timeline and the clocks. This menu controls where regions may move. You need to change these as you work with a session, depending on the current activity. The left menu contains:"
+msgid ""
+"The <guimenu>snap mode</guimenu> menu is located between the timeline and "
+"the clocks. This menu controls where regions may move. You need to change "
+"these as you work with a session, depending on the current activity. The "
+"left menu contains:"
 msgstr ""
+"<guimenu>snap mode</guimenu> "
+"メニューはタイムラインと時計の間にあります。このメニューはリージョンが移動できるところを制御します。あなたは現在のアクティビティによっては、セッションの作業をしているときにこれを変更する必要があるかもしれません。左のメニューには："
 
 #. Tag: para
 #, no-c-format
 msgid "<guimenuitem>No Grid</guimenuitem>: regions can move freely"
-msgstr ""
+msgstr "<guimenuitem>No Grid</guimenuitem>: リージョンは自由にどこへでも移動できます。"
 
 #. Tag: para
 #, no-c-format
-msgid "<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid point"
-msgstr ""
+msgid ""
+"<guimenuitem>Grid</guimenuitem>: regions must start on the nearest grid "
+"point"
+msgstr "<guimenuitem>Grid</guimenuitem>: リージョンは直近のグリッド点から開始しないといけません。"
 
 #. Tag: para
 #, no-c-format
-msgid "<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they are near a grid point, they automatically snap to it"
+msgid ""
+"<guimenuitem>Magnetic</guimenuitem> regions can move freely, but when they "
+"are near a grid point, they automatically snap to it"
 msgstr ""
+"<guimenuitem>Magnetic</guimenuitem> "
+"リージョンは自由に動けますが、グリッド点の近くに来ると、それに自動的にくっつきます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The middle menu controls where to place the grid lines; by timecode, by clock time, by beats and bars, or by regions."
-msgstr ""
+msgid ""
+"The middle menu controls where to place the grid lines; by timecode, by "
+"clock time, by beats and bars, or by regions."
+msgstr "中間のメニューはグリッド線をどこに置くかを制御します。タイムコード、時計の時刻、小節と拍、あるいはリージョンごとに置く、のいずれかです。"
 
 #. Tag: para
 #, no-c-format
-msgid "The timeline (which contains many <firstterm>rulers</firstterm> showing different time-marking scales) is located at the top of the canvas area, underneath the toolbars. Use the right-click menu to select which rulers you want to display. The rulers you should choose depends on the clock settings and the snap mode."
+msgid ""
+"The timeline (which contains many <firstterm>rulers</firstterm> showing "
+"different time-marking scales) is located at the top of the canvas area, "
+"underneath the toolbars. Use the right-click menu to select which rulers you"
+" want to display. The rulers you should choose depends on the clock settings"
+" and the snap mode."
 msgstr ""
+"タイムライン（そこには多くの、異なる時刻をマークする目盛りを示す <firstterm> ルーラー </firstterm> "
+"があります）は、キャンバスエリアの最上位、ツールバーの下にあります。右クリックメニューを使って、表示したいルーラーを選びます。使うルーラーは、時計の設定とスナップモードに依存します。"
 
 #. Tag: title
 #, no-c-format
 msgid "Connecting Audio Sources to <application>Ardour</application>"
-msgstr ""
+msgstr "オーディオソースを <application>Ardour</application> につなぐ"
 
 #. Tag: para
 #, no-c-format
-msgid "The name of the track onto which you want to record should be the name of the input in <systemitem>JACK</systemitem>."
-msgstr ""
+msgid ""
+"The name of the track onto which you want to record should be the name of "
+"the input in <systemitem>JACK</systemitem>."
+msgstr "そこに録音したいトラックの名前は、<systemitem>JACK</systemitem> での入力の名前と同じであるべきです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Setting up the Busses and Tracks"
-msgstr ""
+msgstr "バスとトラックを設定する"
 
 #. Tag: para
 #, no-c-format
-msgid "Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a general discussion of busses. By default, everything that you export from <application>Ardour</application> is sent to a master bus. Busses do not contain regions but function as a batch collecting zone, where you can subject the whole project to a particular filter or volume adjustment."
+msgid ""
+"Refer to <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> for a "
+"general discussion of busses. By default, everything that you export from "
+"<application>Ardour</application> is sent to a master bus. Busses do not "
+"contain regions but function as a batch collecting zone, where you can "
+"subject the whole project to a particular filter or volume adjustment."
 msgstr ""
+"バスの一般的な説明は <xref linkend=\"sect-Musicians_Guide-Vocabulary-Bus\" /> "
+"を参照下さい。デフォルトでは <application>Ardour</application> "
+"の出力はすべてマスターバスに行きます。バスはリージョンを含みませんが、とりまとめのための領域としてはたらき、それを使ってあなたはプロジェクト全体をあるフィルタにかけたり、ボリューム調整をしたりすることができます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Add a track for recording"
-msgstr ""
+msgstr "録音のためにトラックを追加する"
 
 #. Tag: para
 #, no-c-format
-msgid "Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>"
+msgid ""
+"Click <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>"
 msgstr ""
+"<menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice> を選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "ensure that <guilabel>Tracks</guilabel> is selected"
-msgstr ""
+msgstr "<guilabel>Tracks</guilabel> が選択されていることを確認下さい。"
 
 #. Tag: para
 #, no-c-format
 msgid "set the number (probably <literal>1</literal>)"
-msgstr ""
+msgstr "番号を設定します。（たぶん <literal>1</literal> でしょう）。"
 
 #. Tag: para
 #, no-c-format
-msgid "select the number of input channels (probably <literal>Stereo</literal>, meaning 2)"
-msgstr ""
+msgid ""
+"select the number of input channels (probably <literal>Stereo</literal>, "
+"meaning 2)"
+msgstr "入力チャネル数を選択します。（たぶん <literal>Stereo</literal> つまり２でしょう）"
 
 #. Tag: para
 #, no-c-format
 msgid "select the mode:"
-msgstr ""
+msgstr "モードを選択します："
 
 #. Tag: para
 #, no-c-format
-msgid "<literal>Normal</literal>: creates a new Region for each recording take"
-msgstr ""
+msgid ""
+"<literal>Normal</literal>: creates a new Region for each recording take"
+msgstr "<literal>Normal</literal>: それぞれの録音テイクごとに新しいリージョンを作ります。"
 
 #. Tag: para
 #, no-c-format
-msgid "<literal>Tape</literal>: destructively records over whatever is already recorded (like a tape)"
-msgstr ""
+msgid ""
+"<literal>Tape</literal>: destructively records over whatever is already "
+"recorded (like a tape)"
+msgstr "<literal>Tape</literal>: 何かが既に録音されていてもその上に、破壊的に録音します。（テープのように）"
 
 #. Tag: para
 #, no-c-format
 msgid "Click <guibutton>Add</guibutton> to create the track"
-msgstr ""
+msgstr "<guibutton>Add</guibutton> をクリックして、トラックを作成します。"
 
 #. Tag: title
 #, no-c-format
 msgid "Rename tracks, to identify them"
-msgstr ""
+msgstr "見分けがつくように、トラックの名前を変えます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click the existing track name in the label to the far left of the track area"
-msgstr ""
+msgid ""
+"Click the existing track name in the label to the far left of the track area"
+msgstr "トラックエリアの一番左の、今あるトラック名ラベルをクリックします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Type over the existing name"
-msgstr ""
+msgstr "今の名前の上にタイプします。"
 
 #. Tag: para
 #, no-c-format
 msgid "press <keycap>Enter</keycap>"
-msgstr ""
+msgstr "<keycap>Enter</keycap> を押します。"
 
 #. Tag: title
 #, no-c-format
 msgid "Adjusting Recording Level (Volume)"
-msgstr ""
+msgstr "録音レベル（ボリューム）を調整する"
 
 #. Tag: para
 #, no-c-format
-msgid "It is important to properly set the level of the inputs betfore recording."
-msgstr ""
+msgid ""
+"It is important to properly set the level of the inputs betfore recording."
+msgstr "録音の前に、入力レベルを正しく設定することは重要です。"
 
 #. Tag: para
 #, no-c-format
-msgid "The nature of audio equipment is such that it can only perceive sound pressures (perceived as volume) within a certain range. If a sound is too quiet, it will not be perceived, and if it is too loud, it will not be perceived accurately. Furthermore, and this is most important when thinking about your own ears — if a sound is far too loud, it may permanently damage the audio instrument."
+msgid ""
+"The nature of audio equipment is such that it can only perceive sound "
+"pressures (perceived as volume) within a certain range. If a sound is too "
+"quiet, it will not be perceived, and if it is too loud, it will not be "
+"perceived accurately. Furthermore, and this is most important when thinking "
+"about your own ears — if a sound is far too loud, it may permanently damage "
+"the audio instrument."
 msgstr ""
+"オーディオ機器の性質として、それは限られた範囲の音の圧力（ボリュームとして表される）だけを受け付けることができるということです。もし音が小さすぎるときは、聞き取れません。もし大きすぎるときは正しく聞き取れません。さらに、あなたの自分の耳のために最も大切なことですが、もし音がとても大きすぎるときは、オーディオ機器を永久に壊してしまうことがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "The nature of digital audio is such that there is a distinct number of volume levels at which something can be recorded. If a sound is either below or above that range, then it will not be correctly recorded. When such an improperly-recorded sound is played back, whether too quite or too loud, humans will usually perceive it as \"nothing but noise.\""
+msgid ""
+"The nature of digital audio is such that there is a distinct number of "
+"volume levels at which something can be recorded. If a sound is either below"
+" or above that range, then it will not be correctly recorded. When such an "
+"improperly-recorded sound is played back, whether too quite or too loud, "
+"humans will usually perceive it as \"nothing but noise.\""
 msgstr ""
+"デジタルオーディオの性質として、何かが録音できるボリュームレベルはきちんと決まっているということです。音がその範囲の下だったり上だったりしたときには、正しく録音されません。そのような、不適当に録音された音を再生したとき、小さすぎるときも大きすぎるときも、人は普通それを"
+" \"ただのノイズ \"として知覚します。"
 
 #. Tag: para
 #, no-c-format
-msgid "When <application>Ardour</application> records silence, it behaves no differently from when there is no input at all. When <application>Ardour</application> calculates that a portion of audio is too loud and therefore distorted, it outlines the wave-form representation in red, as shown in <xref linkend=\"ardour_red_peaks\" />."
+msgid ""
+"When <application>Ardour</application> records silence, it behaves no "
+"differently from when there is no input at all. When "
+"<application>Ardour</application> calculates that a portion of audio is too "
+"loud and therefore distorted, it outlines the wave-form representation in "
+"red, as shown in <xref linkend=\"ardour_red_peaks\" />."
 msgstr ""
+"<application>Ardour</application> "
+"が静寂を録音すると、それは、入力が何もないときと同じにふるまいます。<application>Ardour</application> "
+"がオーディオの部分が大きすぎるためにひずんでいると計算したときは、<xref linkend=\"ardour_red_peaks\" /> "
+"で示すように、波形を赤色でふちどります。"
 
 #. Tag: title
 #, no-c-format
 msgid "Audio that is too loud"
-msgstr ""
+msgstr "大きすぎるオーディオ"
 
 #. Tag: para
 #, no-c-format
 msgid "A waveform in Ardour, showing red peaks where the audio is too loud."
-msgstr ""
+msgstr "Ardour の波形。オーディオが大きすぎるとき、赤いピークを示す。"
 
 #. Tag: para
 #, no-c-format
-msgid "There are three simple strategies that can be used to change the input level of an audio signal:"
-msgstr ""
+msgid ""
+"There are three simple strategies that can be used to change the input level"
+" of an audio signal:"
+msgstr "オーディオ信号の入力レベルを変更するには、３つの単純のやりかたがあります："
 
 #. Tag: para
 #, no-c-format
 msgid "Move the microphone closer or farther from the source"
-msgstr ""
+msgstr "マイクを音源から離す、あるいは近づける。"
 
 #. Tag: para
 #, no-c-format
-msgid "Route the microphone through a mixer before it reaches the audio interface"
-msgstr ""
+msgid ""
+"Route the microphone through a mixer before it reaches the audio interface"
+msgstr "マイクが、オーディオインタフェースにつながる前に、ミキサーを通す。"
 
 #. Tag: para
 #, no-c-format
-msgid "Route the audio through a bus in <application>Ardour</application> before it gets recorded"
-msgstr ""
+msgid ""
+"Route the audio through a bus in <application>Ardour</application> before it"
+" gets recorded"
+msgstr "オーディオが録音される前に、<application>Ardour</application> のバスを通す。"
 
 #. Tag: para
 #, no-c-format
 msgid "Here are the advantages and disadvantages of each approach:"
-msgstr ""
+msgstr "それらのアプローチの利点と欠点は以下です："
 
 #. Tag: para
 #, no-c-format
-msgid "There are some circumstances where it is either impractical, impossible, or not advisable to move the microphone or route it through a hardware mixer. In these cases, you can use a bus in <application>Ardour</application> to modify the volume of the input signal before it is recorded."
+msgid ""
+"There are some circumstances where it is either impractical, impossible, or "
+"not advisable to move the microphone or route it through a hardware mixer. "
+"In these cases, you can use a bus in <application>Ardour</application> to "
+"modify the volume of the input signal before it is recorded."
 msgstr ""
+"マイクを動かしたり、ハードウエアミキサーを通すことが、現実的でない、不可能である、あるいはお勧めできない状況があるでしょうから、そういうときは入力信号が録音される前に"
+" <application>Ardour</application> のバスを使って信号のボリュームを変えるのがよいでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add Track/Bus</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice>."
 msgstr ""
+"<menuchoice><guimenu>Track</guimenu><guimenuitem>Add "
+"Track/Bus</guimenuitem></menuchoice> を選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select \"busses\" in the window that pops up."
-msgstr ""
+msgstr "ポップアップしたウインドウで、\"busses\"を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose the number of busses that you wish to add. You need one for every track that you are recording, and of which you want to adjust the volume. It is also possible to record at several different volumes."
+msgid ""
+"Choose the number of busses that you wish to add. You need one for every "
+"track that you are recording, and of which you want to adjust the volume. It"
+" is also possible to record at several different volumes."
 msgstr ""
+"追加したいバスの数を選択します。録音中にボリュームを調整したいトラックに１つづつ、バスが必要です。異なるいくつかのボリュームで録音することもできます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Set the number of channels that youw ant int he bus."
-msgstr ""
+msgstr "バスで必要なチャネルの数を入れます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Once you have the new bus, change its name by doing whatever. I suggest naming it something that makes it obvious you are using the bus for recording, rather than exporting, like \"REC-Bus.\""
+msgid ""
+"Once you have the new bus, change its name by doing whatever. I suggest "
+"naming it something that makes it obvious you are using the bus for "
+"recording, rather than exporting, like \"REC-Bus.\""
 msgstr ""
+"新しいバスができたら、その名前を変えます。バスを、出力のためでなくて録音のために使っていることがわかる、\"REC-"
+"Bus\"のような名前をつけることをお勧めします。"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>Ardour</application> automatically sets up busses to be used with audio being outputted. Furthermore, the volume/level control only works on audio beign outputted from a track or bus. This is why you cannot use the track's volume/level control to adjust the input volume for that track."
+msgid ""
+"<application>Ardour</application> automatically sets up busses to be used "
+"with audio being outputted. Furthermore, the volume/level control only works"
+" on audio beign outputted from a track or bus. This is why you cannot use "
+"the track's volume/level control to adjust the input volume for that track."
 msgstr ""
+"<application>Ardour</application> "
+"は、オーディオが出力されるとき、使われる自動的にバスを設定します。さらに、ボリューム／レベルコントロールは、トラックあるいはバスから出力されるオーディオに対してしかはたらきません。これが、あなたがトラックの入力ボリュームを調整するのにトラックのボリューム／レベルコントロールを使えない理由です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Use <application>QjackCtl</application> to reconnect like this (for help, refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" />):"
+msgid ""
+"Use <application>QjackCtl</application> to reconnect like this (for help, "
+"refer to <xref linkend=\"sect-Musicians_Guide-Ardour-Recording-"
+"Routing_Audio\" />):"
 msgstr ""
+"<application>QjackCtl</application> を使って、このように再接続します。（ヘルプは、<xref linkend"
+"=\"sect-Musicians_Guide-Ardour-Recording-Routing_Audio\" /> を参照下さい。）："
 
 #. Tag: para
 #, no-c-format
-msgid "Disconnect all of the connections to/from the bus you want to use for recording (\"recording bus\")."
-msgstr ""
+msgid ""
+"Disconnect all of the connections to/from the bus you want to use for "
+"recording (\"recording bus\")."
+msgstr "録音に使いたいバス (\"recording bus\") のすべての入出力接続を切断します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Ensure that nothing is connected to the input of the track onto which you want to record (\"recording track\")."
-msgstr ""
+msgid ""
+"Ensure that nothing is connected to the input of the track onto which you "
+"want to record (\"recording track\")."
+msgstr "録音したいトラック (\"recording track\") の入力には何も接続されていないことを確認下さい。"
 
 #. Tag: para
 #, no-c-format
 msgid "Connect the microphone (the input source) to the recording bus' input"
-msgstr ""
+msgstr "マイク（入力音源）を録音バスの入力につなぎます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Connect the input bus' output to the recording track's input."
-msgstr ""
+msgstr "入力バスの出力を録音トラックの入力につなぎます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Ensure that the recording track's output is connected to the \"master\" input (this is the master output bus, which should be present in all projects, and through which all output audio should be routed)."
+msgid ""
+"Ensure that the recording track's output is connected to the \"master\" "
+"input (this is the master output bus, which should be present in all "
+"projects, and through which all output audio should be routed)."
 msgstr ""
+"録音トラックの出力が "
+"\"master\"入力（これはマスター出力バスで、すべてのプロジェクトで存在するはずです。すべてのオーディオ出力はそこを通るはずです。）に接続されていることを確認下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "Remember: only one track-to-be-recorded can be routed through a bus for this purpose, because a bus can only output one stream of audio."
-msgstr ""
+msgid ""
+"Remember: only one track-to-be-recorded can be routed through a bus for this"
+" purpose, because a bus can only output one stream of audio."
+msgstr "注意：この目的のためにバスを通せるのは、ただ１つの録音されるトラックだけです。バスはオーディオの１つのストリームしか出力できないからです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Here is an algorithm to test whether your tracks are set at a good recording volume. This should be done before arming any tracks for recording. Unfortunately, you can never know that you have chosen the best input level until after a region is recorded. It takes both instinct and experience to be able to choose good input levels reliably."
+msgid ""
+"Here is an algorithm to test whether your tracks are set at a good recording"
+" volume. This should be done before arming any tracks for recording. "
+"Unfortunately, you can never know that you have chosen the best input level "
+"until after a region is recorded. It takes both instinct and experience to "
+"be able to choose good input levels reliably."
 msgstr ""
+"以下は、トラックの録音ボリュームが正しく設定されているかをテストするアルゴリズムです。これは、トラックを録音準備する前に行わなければいけません。不幸なことに、最適の入力レベルを選択したかどうかは、リージョンが録音された後でないとわかりません。良い入力レベルを安定して選択できるようになるためには本能と経験の両方が必要です。"
 
 #. Tag: para
 #, no-c-format
 msgid "Set up all microphones as required."
-msgstr ""
+msgstr "必要に応じてすべてのマイクを設定します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Set up connections in <systemitem>JACK</systemitem> as required."
-msgstr ""
+msgstr "必要に応じて <systemitem>JACK</systemitem> の接続を設定します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Set up any recording busses as required (see above)."
-msgstr ""
+msgstr "必要に応じて録音バス（前記を参照）を設定します。"
 
 #. Tag: para
 #, no-c-format
-msgid "On the audio tracks being recorded, set the \"metering point\" to \"input\" (here's how to do that)."
-msgstr ""
+msgid ""
+"On the audio tracks being recorded, set the \"metering point\" to \"input\" "
+"(here's how to do that)."
+msgstr "録音されるオーディオトラックで、\"metering point\"を \"input\"に設定します。（やり方は以下を見てください。）"
 
 #. Tag: para
 #, no-c-format
-msgid "Ask the performers to demonstrate the loudest passages they will be doing in the session. Adjust the input level so that the maximum level falls between -3&nbsp;dB and -6&nbsp;dB (by looking here). You can reset the maximum-level-seer by clicking on it."
+msgid ""
+"Ask the performers to demonstrate the loudest passages they will be doing in"
+" the session. Adjust the input level so that the maximum level falls between"
+" -3&nbsp;dB and -6&nbsp;dB (by looking here). You can reset the maximum-"
+"level-seer by clicking on it."
 msgstr ""
+"演奏者に、セッションで演奏する最も大きな音のパッセージをやってもらいます。入力レベルを調整して、最大レベルが -3&nbsp;dB から "
+"-6&nbsp;dB の間に来るようにします（ここを見ることで）。maximum-level-seer をクリックしてリセットすることができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Ask the performers to demonstrate the quietest passages they will be performing in the session. Adjust the input level so that this does not fall below -40&nbsp;dB; it should probably be between -30&nbsp;dB and -20&nbsp;dB."
+msgid ""
+"Ask the performers to demonstrate the quietest passages they will be "
+"performing in the session. Adjust the input level so that this does not fall"
+" below -40&nbsp;dB; it should probably be between -30&nbsp;dB and "
+"-20&nbsp;dB."
 msgstr ""
+"演奏者に、セッションで演奏する最も静かなパッセージをやってもらいます。入力レベルを調整して、これが -40&nbsp;dB "
+"以下にならないようにします。-30&nbsp;dB から -20&nbsp;dB の間にあるのがよいでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Ask the performers to demonstrate an average passage from what they will be performing in the session. This is usually less important than the previous two checks, but if most of the performance will be quieter, it may be worth risking a higher input level in order to capture more detail. Nevertheless, a \"moderate\" volume level should result in and input level reading of -20&nbsp;dB to -10&nbsp;dB."
+msgid ""
+"Ask the performers to demonstrate an average passage from what they will be "
+"performing in the session. This is usually less important than the previous "
+"two checks, but if most of the performance will be quieter, it may be worth "
+"risking a higher input level in order to capture more detail. Nevertheless, "
+"a \"moderate\" volume level should result in and input level reading of "
+"-20&nbsp;dB to -10&nbsp;dB."
 msgstr ""
+"演奏者に、セッションで演奏する平均的なパッセージをやってもらいます。これは、前の２つのチェックよりは重要ではありません。しかし、ほとんどの演奏が静かであれば、より詳細をとらえることができるように、より高い入力レベルというリスクをおかすのも価値があるかもしれません。いずれにしても、\"ほどほどの"
+" \"ボリュームレベルが得られて、入力レベルの値は -20&nbsp;dB から -10&nbsp;dB であるべきです。"
 
 #. Tag: para
 #, no-c-format
-msgid "When you are more experience both with the kind of group you are recording, and the software and equipment being used to do it, you may not need to do these level-checks every time. It's better to be safe than sorry, however, because once a musical moment has passed, it is impossible to re-create."
+msgid ""
+"When you are more experience both with the kind of group you are recording, "
+"and the software and equipment being used to do it, you may not need to do "
+"these level-checks every time. It's better to be safe than sorry, however, "
+"because once a musical moment has passed, it is impossible to re-create."
 msgstr ""
+"あなたが録音しようとするグループの種類と、それをするのに使われるソフトウエアと機器についてより経験をつんだならば、毎回このレベルチェックをする必要はないかもしれません。しかし、後悔するよりは安全をめざすのはよいことで、一度、音楽の時間が過ぎ去ってしまったらそれを再作成することができないのですから。"
 
 #. Tag: title
 #, no-c-format
 msgid "Recording a Region"
-msgstr ""
+msgstr "リージョンを録音する"
 
 #. Tag: para
 #, no-c-format
-msgid "As you progressively record a session, you will create at least one region. Warning about audio being put out the \"audition\" output by default (use headphones)"
+msgid ""
+"As you progressively record a session, you will create at least one region. "
+"Warning about audio being put out the \"audition\" output by default (use "
+"headphones)"
 msgstr ""
+"順々にセッションを録音するとき、少なくとも１つのリージョンを作成することになります。なお、オーディオは、デフォルトでは "
+"\"audition\"出力に流れることに注意下さい。（ヘッドホンを使うこと。）"
 
 #. Tag: para
 #, no-c-format
 msgid "Ensure that the inputs, timeline, and tracks are properly set up."
-msgstr ""
+msgstr "入力とタイムラインとトラックが正しく設定されているのを確認下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "if there is nothing to the left of the editor window, press Ctrl+E or 'View &gt; Show Editor Mixer'"
-msgstr ""
+msgid ""
+"if there is nothing to the left of the editor window, press Ctrl+E or 'View "
+"&gt; Show Editor Mixer'"
+msgstr "エディタウインドウの左に何もないときは、Ctrl+E を押すか、'View &gt; Show Editor Mixer'を選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select the track you're recording onto"
-msgstr ""
+msgstr "そこに録音しようとするトラックを選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "set the metering point to \"input\" and verify that it's working correctly and connected to the right thing (say what this does, and why you want to do it now)"
+msgid ""
+"set the metering point to \"input\" and verify that it's working correctly "
+"and connected to the right thing (say what this does, and why you want to do"
+" it now)"
 msgstr ""
+"メーターを "
+"\"input\"にして、それが正しく動き、正しいものに接続されているか確かめてください。（これで何が起きるか、あなたは今、なぜそれをしたいのか、言ってごらんなさい。）"
 
 #. Tag: para
 #, no-c-format
 msgid "See \"Adjusting Recording Volume\" below, and do it now"
-msgstr ""
+msgstr "以下の \"録音ボリュームを調整する \"を見て、今、そのとおりにしてください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Arm the track for recording: either press \"Record\" in the track's mixer in the left, or press the small red record button on the track itself"
-msgstr ""
+msgid ""
+"Arm the track for recording: either press \"Record\" in the track's mixer in"
+" the left, or press the small red record button on the track itself"
+msgstr "トラックを録音準備します：左のトラックのミキサーで \"Record\"を押すか、トラック自身の上にある小さい赤い録音ボタンを押します。"
 
 #. Tag: para
 #, no-c-format
 msgid "the buttons will remain lighted to show that the tracks are armed"
-msgstr ""
+msgstr "ボタンは、トラックが録音準備されたことを示すために、点灯したままとなります。"
 
 #. Tag: para
 #, no-c-format
-msgid "arm <application>Ardour</application> for recording by select the big red record button on the transport"
-msgstr ""
+msgid ""
+"arm <application>Ardour</application> for recording by select the big red "
+"record button on the transport"
+msgstr "トランスポートの大きい赤い録音ボタンを選択して、<application>Ardour</application> を録音準備します。"
 
 #. Tag: para
 #, no-c-format
 msgid "start the transport in in the normal way (big play button)"
-msgstr ""
+msgstr "トランスポートを、通常のやりかたで開始します（大きい再生ボタン）。"
 
 #. Tag: para
 #, no-c-format
-msgid "when you're done recording, stop the transport with the big stop button"
-msgstr ""
+msgid ""
+"when you're done recording, stop the transport with the big stop button"
+msgstr "録音が終わったら、大きい停止ボタンでトランスポートを止めます。"
 
 #. Tag: para
 #, no-c-format
 msgid "each time you start and stop the transport, a new \"region\" is produced"
-msgstr ""
+msgstr "トランスポートを開始、停止、するたびに、新しい \"リージョン \"が作成されます。"
 
 #. Tag: para
 #, no-c-format
-msgid "each time you stop the transport, <application>Ardour</application> \"un-arms\" itself, but any tracks that you selected are still armed"
+msgid ""
+"each time you stop the transport, <application>Ardour</application> \"un-"
+"arms\" itself, but any tracks that you selected are still armed"
 msgstr ""
+"トランスポートを止めるたびに、<application>Ardour</application> は、自分を \"録音準備を解除 "
+"\"します。しかし、あなたが選択したトラックはすべて、録音準備されたままです。"
 
 #. Tag: para
 #, no-c-format
-msgid "When you've finished recording a region, use the \"Regions\" box-thing on the right of the interface to rename the region:"
-msgstr ""
+msgid ""
+"When you've finished recording a region, use the \"Regions\" box-thing on "
+"the right of the interface to rename the region:"
+msgstr "リージョンを録音し終わったら、インタフェースの右の \"Regions\"のボックスのようなものを使って、リージョンの名前を変えます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Find the region that you just recorded (by default they are named like \"Audio 1-1\" which is the name of the recording track followed by a hyphen, then a number in ascending sequeuence representing the \"take\"). Select it."
+msgid ""
+"Find the region that you just recorded (by default they are named like "
+"\"Audio 1-1\" which is the name of the recording track followed by a hyphen,"
+" then a number in ascending sequeuence representing the \"take\"). Select "
+"it."
 msgstr ""
+"あなたが録音したばかりのリージョンを探します。（デフォルトではそれは、\"Audio "
+"1-1\"のように名前がついています。それは、録音トラックの名前と、ハイフン、そして \"テイク \"を示す昇順の通番です。）それを選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click on the title, and a box should surround it."
-msgstr ""
+msgstr "タイトルをクリックすると、ボックスが現れます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Change the name to what you want."
-msgstr ""
+msgstr "名前を、好きなように変えます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Press enter to finish editing the name."
-msgstr ""
+msgstr "エンターを押して、名前の編集を終わります。"
 
 #. Tag: title
 #, no-c-format
 msgid "Recording More"
-msgstr ""
+msgstr "続けて録音する"
 
 #. Tag: para
 #, no-c-format
-msgid "After you have recorded one region, you will probably not have everything that you want. There are many ways to continue recording, depending on what still remains to be recorded."
+msgid ""
+"After you have recorded one region, you will probably not have everything "
+"that you want. There are many ways to continue recording, depending on what "
+"still remains to be recorded."
 msgstr ""
+"１つのリージョンを録音した後、あなたはまだほしいものを全部持っていないでしょう。録音を続けるには多くの方法があり、何がまだ録音されていないかに依存します。"
 
 #. Tag: title
 #, no-c-format
 msgid "To Continue the Same Session"
-msgstr ""
+msgstr "同じセッションを続ける"
 
 #. Tag: para
 #, no-c-format
-msgid "This is what you'll want to do if, for example, you were recording a session and decided to take a ten-minute break. It will work for any situation where you want to continue a session that already started recording."
+msgid ""
+"This is what you'll want to do if, for example, you were recording a session"
+" and decided to take a ten-minute break. It will work for any situation "
+"where you want to continue a session that already started recording."
 msgstr ""
+"この機能は、例えば、セッションを録音していて、１０分の休みを入れようとしたときなどに、必要となるでしょう。これは、既に録音を始めたセッションを、続けて録音するというすべての状況で使われます。"
 
 #. Tag: para
 #, no-c-format
-msgid "move the transport to somewhere after what you've already capture. You can do this either by using the forward/reverse and play/stop buttons on the transport, or by finding the point in the timeline where you want the transport to be, and then left-clicking somewhere in the time-line."
+msgid ""
+"move the transport to somewhere after what you've already capture. You can "
+"do this either by using the forward/reverse and play/stop buttons on the "
+"transport, or by finding the point in the timeline where you want the "
+"transport to be, and then left-clicking somewhere in the time-line."
 msgstr ""
+"トランスポートをあなたが既に録音したところの少し後ろに移動します。これを行うには、トランスポートの、forward/reverse と "
+"play/stop ボタンを使うか、タイムラインの中でトランスポートを移動したい箇所を探して、そのあたりを左クリックします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Verify that the connections and levels are still set correctly."
-msgstr ""
+msgstr "コネクションとレベルが正しく設定されていることを確認下さい。"
 
 #. Tag: para
 #, no-c-format
 msgid "Verify that the recording tracks are still armed."
-msgstr ""
+msgstr "録音するトラックが録音準備されていることを確認下さい。"
 
 #. Tag: para
 #, no-c-format
 msgid "Arm the transport."
-msgstr ""
+msgstr "トランスポートを録音準備します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Start the transport when ready to record."
-msgstr ""
+msgstr "録音の準備ができたら、トランスポートを開始します。"
 
 #. Tag: title
 #, no-c-format
 msgid "To Capture an Additional Part of Something That Is already Recorded"
-msgstr ""
+msgstr "既に録音されているものにパートを追加で録音する"
 
 #. Tag: para
 #, no-c-format
-msgid "A technique often used for studio recordings is to separately record parts that would normally be played together, and which will later be made to sound together (see the \"Prepearing a Session\" section, below). For example, consider a recording where one trumpeter wants to record both parts of a solo written for two trumpets. The orchestra could be brought into the studio, and would play the entire solo piece without any trumpet solo. <application>Ardour</application> will record this on one track. Then, the trumpet soloist goes to the studio, and uses <application>Ardour</application> to simultaneously listen to the previously-recorded orchestra track while playing one of the solo trumpet parts, which is recorded onto another track. The next day, the trumpeter returns to the studio, and uses <application>Ardour</application> to listen to the previously-recorded orchestra track and previously-recorded solo trumpet part while playing the other solo trumpet part, whic
 h is recorded onto a third track. The recording engineer uses Audacity's mixing and editing features to make it sound as though the trumpeter played both solo parts at the same time, while the orchestra was there."
-msgstr ""
+msgid ""
+"A technique often used for studio recordings is to separately record parts "
+"that would normally be played together, and which will later be made to "
+"sound together (see the \"Prepearing a Session\" section, below). For "
+"example, consider a recording where one trumpeter wants to record both parts"
+" of a solo written for two trumpets. The orchestra could be brought into the"
+" studio, and would play the entire solo piece without any trumpet solo. "
+"<application>Ardour</application> will record this on one track. Then, the "
+"trumpet soloist goes to the studio, and uses "
+"<application>Ardour</application> to simultaneously listen to the "
+"previously-recorded orchestra track while playing one of the solo trumpet "
+"parts, which is recorded onto another track. The next day, the trumpeter "
+"returns to the studio, and uses <application>Ardour</application> to listen "
+"to the previously-recorded orchestra track and previously-recorded solo "
+"trumpet part while playing the other solo trumpet part, which is recorded "
+"onto a third track. The recording engineer uses Audacity's mixing and "
+"editing features to make it sound as though the trumpeter played both solo "
+"parts at the same time, while the orchestra was there."
+msgstr ""
+"スタジオ録音でよく使われるテクニックでは、本来一緒に演奏されるパートを別々に録音して、後で一緒に聞こえるようにするというものです。（以下の、\"セッションを準備する"
+" "
+"\"を参照下さい。）例えば、１人のトランペット演奏者が、２つのトランペットのために書かれた曲の両方のソロパートを録音したいとします。オーケストラをスタジオに持ってきて、トランペットのソロを除いた完全な曲を演奏するとしましょう。<application>Ardour</application>"
+" "
+"はそれを、１つのトラックに録音します。そして、トランペットソリストがスタジオに行って、<application>Ardour</application>"
+" "
+"を使って、以前に録音されたオーケストラのトラックを聞きながら同時に、トランペットのソロパートの１つを演奏し、それは別のトラックに録音されます。翌日、奏者はスタジオに戻って、<application>Ardour</application>"
+" "
+"を使って、以前に録音されたオーケストラのトラックと、以前に録音されたトランペットソロのパートを聞きながら同時に、トランペットのもうひとつのソロパートを演奏し、それは３つめのトラックに録音されます。録音技術者は"
+" Audacity のミキシングと編集の機能を使って、トランペット演奏者が、オーケストラと一緒に、両方のソロパートを演奏したように聞こえるようにします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Coordinating the timing of musicians across tracks recorded separately is difficult. A \"click track\" is a track with a consistent clicking noise at the desired tempo. Click tracks are played through headphones to the musicians being recorded, or to a musician who leads the others. Click tracks are not included in the final mix."
+msgid ""
+"Coordinating the timing of musicians across tracks recorded separately is "
+"difficult. A \"click track\" is a track with a consistent clicking noise at "
+"the desired tempo. Click tracks are played through headphones to the "
+"musicians being recorded, or to a musician who leads the others. Click "
+"tracks are not included in the final mix."
 msgstr ""
+"別々に録音されたトラックの間で、音楽家たちのタイミングを調和させるのは困難なことです。\"クリックトラック "
+"\"とは、目的のテンポに合わせた一定のクリックノイズが入っているトラックです。録音をする音楽家、あるいは他の人をリードする音楽家は、ヘッドホンで、クリックトラックを聞きます。クリックトラックは、ファイナルミックスには含まれません。"
 
 #. Tag: para
 #, no-c-format
 msgid "To do this:"
-msgstr ""
+msgstr "これをやるには："
 
 #. Tag: para
 #, no-c-format
-msgid "Record the first part. The order in which to record parts is up to the recording engineer (that means you). It will probably be easier to record whoever plays the most, or whoever plays the most rhythmically consistent part, before the others."
+msgid ""
+"Record the first part. The order in which to record parts is up to the "
+"recording engineer (that means you). It will probably be easier to record "
+"whoever plays the most, or whoever plays the most rhythmically consistent "
+"part, before the others."
 msgstr ""
+"最初のパートを録音します。パートを録音する順序は録音技術者（つまりあなたです）が決めます。最もたくさん演奏する人か、最もリズム的に一貫したパートを演奏する人を先に録音するのがたぶん、より簡単でしょう。"
 
 #. Tag: para
 #, no-c-format
 msgid "Add the track/s onto which you will next record."
-msgstr ""
+msgstr "次に録音するトラックを追加します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Set up the connections for the new track."
-msgstr ""
+msgstr "新しいトラックの接続を設定します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Do a level check to ensuer that the new track is neither too loud nor soft."
-msgstr ""
+msgid ""
+"Do a level check to ensuer that the new track is neither too loud nor soft."
+msgstr "新しいトラックの音が大きすぎたり小さすぎたりしないように、レベルチェックをします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Set the transport to the beginning of the passage where you want to begin recording the next track. You do not need to set up the start of the track very precisely, since you can change that later. You will need to make sure that the next player has enough time after the transport is started to hear where they are supposed to enter, and at what tempo."
+msgid ""
+"Set the transport to the beginning of the passage where you want to begin "
+"recording the next track. You do not need to set up the start of the track "
+"very precisely, since you can change that later. You will need to make sure "
+"that the next player has enough time after the transport is started to hear "
+"where they are supposed to enter, and at what tempo."
 msgstr ""
+"新しいトラックを録音し始めるパッセージの最初にトランスポートを位置づけます。トラックの開始点をそれほど厳密に決める必要はありません。後から変えられるからです。次の演奏者が、トランスポートが開始してから、彼らがどこから、どんなテンポで入ればいいのかわかるように、十分、聞き取る時間が取れることを確認下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "You will need to set up some way for the performers (or somebody conducting/leading them) to hear the already-recorded material. It is probably best to do this with headphones."
+msgid ""
+"You will need to set up some way for the performers (or somebody "
+"conducting/leading them) to hear the already-recorded material. It is "
+"probably best to do this with headphones."
 msgstr ""
+"演奏者（あるいは、指揮／リードする人）が今までに録音されたものを聴くことができる手段を準備する必要があります。ヘッドホンを使うのがよいかもしれません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Arm the tracks that you want to record. Make sure that already-recorded tracks are no longer armed, especially if they are in \"tape mode.\""
+msgid ""
+"Arm the tracks that you want to record. Make sure that already-recorded "
+"tracks are no longer armed, especially if they are in \"tape mode.\""
 msgstr ""
+"録音したいトラックを録音準備します。既に録音されたトラックはもはや録音準備されていないことを確認下さい。特に、\"テープモード \"のときは大変です。"
 
 #. Tag: para
 #, no-c-format
 msgid "When you are ready to record, start the transport rolling."
-msgstr ""
+msgstr "録音の準備ができたら、トランスポートを開始します。"
 
 #. Tag: title
 #, no-c-format
 msgid "To Capture a Better Recording of Something That Is already Recorded"
-msgstr ""
+msgstr "既に録音されたもののよりよい録音をする"
 
 #. Tag: para
 #, no-c-format
-msgid "If you have already recorded all or most of a session, you can re-record *part* of the session in order to \"fix up\" any issues. <application>Ardour</application> allows you to record onto the pre-existing tracks, keeping the first take, putting the newly-recorded region over it. Later, you will get to choose the exact points at which the outputted recording is to switch between regions/takes."
+msgid ""
+"If you have already recorded all or most of a session, you can re-record "
+"*part* of the session in order to \"fix up\" any issues. "
+"<application>Ardour</application> allows you to record onto the pre-existing"
+" tracks, keeping the first take, putting the newly-recorded region over it. "
+"Later, you will get to choose the exact points at which the outputted "
+"recording is to switch between regions/takes."
 msgstr ""
+"既に、セッションのすべてあるいはほとんどを録音し終わっていても、なんらかの問題を \"解決 \"するためにセッションの * 部分 * "
+"を再録音することができます。<application>Ardour</application> "
+"では、最初のテイクをこわさずに、今あるトラックの上に録音して、新しく録音したリージョンをその上にかぶせることができます。後で、録音の出力が、リージョン／テイクの間で切り替わる正確なポイントを決めれば良いのです。"
 
 #. Tag: para
 #, no-c-format
 msgid "Record the session."
-msgstr ""
+msgstr "セッションを録音する"
 
 #. Tag: para
 #, no-c-format
-msgid "Ensure that you have the connections and levels set as they were during the first time you recorded the regions over which you're recording now."
-msgstr ""
+msgid ""
+"Ensure that you have the connections and levels set as they were during the "
+"first time you recorded the regions over which you're recording now."
+msgstr "いま録音しようとするリージョンの接続とレベルが、最初に録音したものと同じであることを確認下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "You will need to set the transport location. Choose a place that is before the segment which you want to replace. The performers should probably also start playing before the section to be replaced, so you will need to start well enough in advance that they can pick up the tempo, get in the groove, and then start playing *all before* the part that needs replacement."
+msgid ""
+"You will need to set the transport location. Choose a place that is before "
+"the segment which you want to replace. The performers should probably also "
+"start playing before the section to be replaced, so you will need to start "
+"well enough in advance that they can pick up the tempo, get in the groove, "
+"and then start playing *all before* the part that needs replacement."
 msgstr ""
+"トランスポートの位置を決めます。入れ替えたいセグメントの前の場所を選びます。演奏者は入れ替えるセクションの前から演奏を開始する必要があるでしょう。彼らがテンポをつかんで、グルーブを得て、そして入れ替えが必要な部分の"
+" * ずっと前から * 演奏を開始できるように、あなたは十分に間隔をとる必要があります。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click in the time-line to move the transport."
-msgstr ""
+msgstr "タイムラインの中で、クリックして、トランスポートを移動します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Ensure that the correct tracks are armed."
-msgstr ""
+msgstr "正しいトラックが録音準備されていることを確認下さい。"
 
 #. Tag: para
 #, no-c-format
 msgid "Start the transport and record the revised section of music."
-msgstr ""
+msgstr "トランスポートを開始して、音楽の改訂版のセクションを録音します。"
 
 #. Tag: para
 #, no-c-format
-msgid "At some point, you will have recorded everything that you need, and you will want to progress to mixing and editing."
-msgstr ""
+msgid ""
+"At some point, you will have recorded everything that you need, and you will"
+" want to progress to mixing and editing."
+msgstr "いずれ、必要なものの録音が全部終わって、ミキシングと編集に進むときが来ます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Routing Audio and Managing <systemitem>JACK</systemitem> Connections"
-msgstr ""
+msgstr "オーディオのルーティングと <systemitem>JACK</systemitem> 接続の管理"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>Ardour</application> automatically saves the state of <systemitem>JACK</systemitem> connections when it saves a session."
+msgid ""
+"<application>Ardour</application> automatically saves the state of "
+"<systemitem>JACK</systemitem> connections when it saves a session."
 msgstr ""
+"<application>Ardour</application> は、セッションを保存するときに、自動的に "
+"<systemitem>JACK</systemitem> 接続の状態を保存します。"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>Ardour</application> offers the following output ports, assuming a stereo (two-channel) setup:"
-msgstr ""
+msgid ""
+"<application>Ardour</application> offers the following output ports, "
+"assuming a stereo (two-channel) setup:"
+msgstr "<application>Ardour</application> は、ステレオ設定（２チャンネル）で、以下の出力ポートを提供します："
 
 #. Tag: para
 #, no-c-format
-msgid "two channels per track, called \"track_name/out 1\" and \"track_name/out 2\". These will usually be connected to the master bus, or to a sub-mixing bus, when you are using one."
+msgid ""
+"two channels per track, called \"track_name/out 1\" and \"track_name/out "
+"2\". These will usually be connected to the master bus, or to a sub-mixing "
+"bus, when you are using one."
 msgstr ""
+"\"track_name/out 1\"と \"track_name/out "
+"2\"という名前の１トラックあたり２つのチャネル。これらは、通常、マスターバスあるいは、サブミキシングバスが使われているときはそこに接続されます。"
 
 #. Tag: para
 #, no-c-format
-msgid "two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". These will usually be connected to the master bus, unless you are using two levels of sub-mixing busses."
+msgid ""
+"two channels per bus, called \"bus_name/out 1\" and \"bus_name/out 2\". "
+"These will usually be connected to the master bus, unless you are using two "
+"levels of sub-mixing busses."
 msgstr ""
+"\"bus_name/out 1\"と \"bus_name/out "
+"2\"という名前の１バスあたり２つのチャネル。これらは、２レベルのサブミキシングバスが使われているとき以外は、通常、マスターバスに接続されます。"
 
 #. Tag: para
 #, no-c-format
-msgid "two channels for the auditioner, called \"auditioner/out 1\", which represents the channels used to audition a region; when you want to import it, for example, or in the \"Regions\" box on the right-side, when you select one and right-click and choose \"Audition\". These should not be connected to the master bus, but to an output device that you want to use when auditioning regions."
+msgid ""
+"two channels for the auditioner, called \"auditioner/out 1\", which "
+"represents the channels used to audition a region; when you want to import "
+"it, for example, or in the \"Regions\" box on the right-side, when you "
+"select one and right-click and choose \"Audition\". These should not be "
+"connected to the master bus, but to an output device that you want to use "
+"when auditioning regions."
 msgstr ""
+"\"auditioner/out "
+"1\"と呼ばれる、試聴者のための２つのチャネル。これは、リージョンを試聴するときに使われるチャネルです。例えば、リージョンをインポートするとき、あるいは、右側の"
+" \"Regions\"ボックスで右クリックして "
+"\"Audition\"を選択したときに使われます。これらはマスターバスに接続されてはいけません。あなたがリージョンを試聴するときに使う出力デバイスに接続してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "two channels for the click-track, called \"click/out 1\", which represents the channels used to play the click-track when recording. These should not be connected to the master bus, but to an output device that you want to use for the click-track."
+msgid ""
+"two channels for the click-track, called \"click/out 1\", which represents "
+"the channels used to play the click-track when recording. These should not "
+"be connected to the master bus, but to an output device that you want to use"
+" for the click-track."
 msgstr ""
+"\"click/out "
+"1\"と呼ばれるクリックトラックのための２つのチャネル。録音の時にクリックトラックを演奏するのに使われるチャネルです。これらはマスターバスに接続されてはいけません。クリックトラックに使う出力デバイスに接続してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "two channels for the master bus, called \"master/out 1\", which represents the output used by the master output bus. These should be connected to an output device that you wish to use for listening to the session when the transport is moving."
+msgid ""
+"two channels for the master bus, called \"master/out 1\", which represents "
+"the output used by the master output bus. These should be connected to an "
+"output device that you wish to use for listening to the session when the "
+"transport is moving."
 msgstr ""
+"\"master/out "
+"1\"と呼ばれる、マスターバスのための２つのチャネル。マスター出力バスにより使われる出力です。これらは、トランスポートが動くときにあなたがセッションを聞くために使う出力デバイスに接続してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>Ardour</application> offers the following input ports, for a stereo (two-channel) setup:"
-msgstr ""
+msgid ""
+"<application>Ardour</application> offers the following input ports, for a "
+"stereo (two-channel) setup:"
+msgstr "<application>Ardour</application> は、ステレオ設定（２チャンネル）で、以下の入力ポートを提供します："
 
 #. Tag: para
 #, no-c-format
-msgid "two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". These should both be connected to the same input device. If you are using a recording bus, then these should be connected to that bus."
+msgid ""
+"two channels per track, called \"track_name/in 1\" and \"track_name/in 2\". "
+"These should both be connected to the same input device. If you are using a "
+"recording bus, then these should be connected to that bus."
 msgstr ""
+"\"track_name/in 1\"と \"track_name/in "
+"2\"という名前の１トラックあたり２つのチャネル。これらは、どちらも同じ入力デバイスにつないでください。録音バスを使っているときは、そのバスにつないでください。"
 
 #. Tag: para
 #, no-c-format
-msgid "two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These should be connected to whatever channels you want to be mixed into them. If you are using it as a recording bus, then these should be connected to the same input device."
+msgid ""
+"two channels per bus, called \"bus_name/in 1\" and \"bus_name/in 2\". These "
+"should be connected to whatever channels you want to be mixed into them. If "
+"you are using it as a recording bus, then these should be connected to the "
+"same input device."
 msgstr ""
+"\"bus_name/in 1\"と \"bus_name/in "
+"2\"という名前の１バスあたり２つのチャネル。これらは、あなたがミックスしたいチャネルを全部つなぎます。録音バスを使っているときは、これらは同じ入力デバイスにつないでください。"
 
 #. Tag: para
 #, no-c-format
-msgid "two channels for the master bus, called \"master/in 1\", which represents the input used for the master bus. These should be connected to all of the tracks. If you are using sub-bus mixing, then all of the tracks should connect to the master bus' input either directly or through a sub-bus."
+msgid ""
+"two channels for the master bus, called \"master/in 1\", which represents "
+"the input used for the master bus. These should be connected to all of the "
+"tracks. If you are using sub-bus mixing, then all of the tracks should "
+"connect to the master bus' input either directly or through a sub-bus."
 msgstr ""
+"\"master/in "
+"1\"と呼ばれる、マスターバスのための２つのチャネル。マスターバスにより使われる入力です。これらは、すべてのトラックにつないでください。もし、サブバスミキシングを使っているときは、すべてのトラックは、マスターバスの入力に、直接か、そうでなければサブバスを経由してつながっていなくてはいけません。"
 
 #. Tag: para
 #, no-c-format
-msgid "In most setups, <application>Ardour</application> automatically sets the channel connections correctly. There are ways to change the connections from within <application>Ardour</application>, but they offer limited flexibility. For this reason, it is recommended that users use <application>QjackCtl</application> to monitor connections, since through <application>QjackCtl</application> it is also possible to monitor and change many other features of <systemitem>JACK</systemitem>."
+msgid ""
+"In most setups, <application>Ardour</application> automatically sets the "
+"channel connections correctly. There are ways to change the connections from"
+" within <application>Ardour</application>, but they offer limited "
+"flexibility. For this reason, it is recommended that users use "
+"<application>QjackCtl</application> to monitor connections, since through "
+"<application>QjackCtl</application> it is also possible to monitor and "
+"change many other features of <systemitem>JACK</systemitem>."
 msgstr ""
+"ほとんどの状況で、<application>Ardour</application> "
+"はチャネルの接続を自動的に正しく設定します。<application>Ardour</application> "
+"の中から、接続を変える方法はありますが、できることは限られます。このため、ユーザが "
+"<application>QjackCtl</application> "
+"を使って接続をモニタすることをお勧めします。<application>QjackCtl</application> "
+"を使えば、<systemitem>JACK</systemitem> のその他の多くの機能もモニタ、変更することができるからです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Learning to make the right connections is a valuable trick for people using <application>Ardour</application>. The fact that <application>Ardour</application> uses <systemitem>JACK</systemitem> for both its internal and external connections allows tricks such as the earlier-mentioned recording bus (which adjusts the input level of a source), flipping the left and right audio channels, and creating a multi-channel audio output by combining many input channels. Undoubtedly, other tricks exist."
-msgstr ""
+msgid ""
+"Learning to make the right connections is a valuable trick for people using "
+"<application>Ardour</application>. The fact that "
+"<application>Ardour</application> uses <systemitem>JACK</systemitem> for "
+"both its internal and external connections allows tricks such as the "
+"earlier-mentioned recording bus (which adjusts the input level of a source),"
+" flipping the left and right audio channels, and creating a multi-channel "
+"audio output by combining many input channels. Undoubtedly, other tricks "
+"exist."
+msgstr ""
+"<application>Ardour</application> "
+"を使う人たちにとって、正しい接続の仕方を学ぶことは貴重な技です。<application>Ardour</application> が "
+"<systemitem>JACK</systemitem> "
+"をその内部と外部の接続のために使っているという事実のために、以下の技が可能です。以前お話しした録音バス（音源の入力レベルを調整する）、左と右のオーディオチャネルをひっくり返す、そして多くの入力チャネルをまとめて、マルチチャネルオーディオ出力を作成する、などです。他にも技があることは疑うべくもありません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Importing Existing Audio"
-msgstr ""
+msgstr "既存のオーディオをインポートする"
 
 #. Tag: para
 #, no-c-format
-msgid "When you record audio, <application>Ardour</application> automatically save it to disk and adds a representation of that file in the program as a \"region.\" You can also use pre-existing audio files as regions, which can then be added to any track."
+msgid ""
+"When you record audio, <application>Ardour</application> automatically save "
+"it to disk and adds a representation of that file in the program as a "
+"\"region.\" You can also use pre-existing audio files as regions, which can "
+"then be added to any track."
 msgstr ""
+"オーディオを録音すると、<application>Ardour</application> "
+"は自動的にそれをディスクに保存して、そのファイルのプログラムでの表現を \"リージョン "
+"\"として追加します。既存のオーディオファイルをリージョンとして使うこともでき、それはどのトラックにも付け加えることができます。"
 
 #. Tag: para
 #, no-c-format
 msgid "To import an existing audio file:"
-msgstr ""
+msgstr "既存のオーディオファイルをインポートするには："
 
 #. Tag: para
 #, no-c-format
-msgid "Whip out the \"regions\" part of the panel on the right-hand side of the interface"
-msgstr ""
+msgid ""
+"Whip out the \"regions\" part of the panel on the right-hand side of the "
+"interface"
+msgstr "インタフェースの右側にあるパネルの \"regions\"部分をクリックします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Right-click anywhere in the box"
-msgstr ""
+msgstr "ボックスのどこかを右クリックします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select \"Import to Region List\""
-msgstr ""
+msgstr "\"Import to Region List\"を選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "The \"Add existing audio\" window will be opeend"
-msgstr ""
+msgstr "\"Add existing audio\"ウインドウが開きます。"
 
 #. Tag: para
 #, no-c-format
 msgid "You can use three different tabs to select an audio file to add:"
-msgstr ""
+msgstr "加えるオーディオファイルを選択するのに、３つの異なるタブを使います："
 
 #. Tag: para
 #, no-c-format
 msgid "\"Browse Files\" (does this) (covered here)"
-msgstr ""
+msgstr "\"Browse Files\"（ファイルをブラウズします）（以下で説明されています）"
 
 #. Tag: para
 #, no-c-format
 msgid "\"Search Tags\" (does this)"
-msgstr ""
+msgstr "\"Search Tags\"（タグを探します）"
 
 #. Tag: para
 #, no-c-format
 msgid "\"Search Freesound\" (does this)"
-msgstr ""
+msgstr "\"Search Freesound\" ( フリーサウンドを探します )"
 
 #. Tag: para
 #, no-c-format
-msgid "Using \"Browse Files,\" navigate to a sound that you want to add. Although certain other file formats are supported (like FLAC), it is probably best to add WAV or AIFF files."
+msgid ""
+"Using \"Browse Files,\" navigate to a sound that you want to add. Although "
+"certain other file formats are supported (like FLAC), it is probably best to"
+" add WAV or AIFF files."
 msgstr ""
+"\"Browse Files\"を使って、加えたいサウンドの場所に行きます。FLAC のようなファイル形式がサポートされていますが、WAV あるいは "
+"AIFF ファイルがたぶん、一番よいでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Certain information about the audio file will be displayed on the right-hand side of the window. This portion of the window also allows you to \"audition\" the file before importing it (that is, you can hear it by using the \"Play\" and \"Stop\" buttons in the window, without affecting your current project."
+msgid ""
+"Certain information about the audio file will be displayed on the right-hand"
+" side of the window. This portion of the window also allows you to "
+"\"audition\" the file before importing it (that is, you can hear it by using"
+" the \"Play\" and \"Stop\" buttons in the window, without affecting your "
+"current project."
 msgstr ""
+"ウインドウの右側に、オーディオファイルのいろいろな情報が表示されます。ウインドウのこの部分でそのファイルをインポートする前に、\"試聴 "
+"\"することもできます。つまり、あなたは自分の現在のプロジェクトに影響を与えることなく、ウインドウの \"Play\"と "
+"\"Stop\"ボタンを使ってそれを聞くことができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "If the file that you selected has a sample-rate that is not the same as that of the current project, then the sample-rate will be highlighted in red. You can choose to import it anyway, in which case <application>Ardour</application> warns you again. If you import a file in a different sample rate than that of the current project, it will be played back in the project's sample rate. This will result in incorrect speed and pitch."
+msgid ""
+"If the file that you selected has a sample-rate that is not the same as that"
+" of the current project, then the sample-rate will be highlighted in red. "
+"You can choose to import it anyway, in which case "
+"<application>Ardour</application> warns you again. If you import a file in a"
+" different sample rate than that of the current project, it will be played "
+"back in the project's sample rate. This will result in incorrect speed and "
+"pitch."
 msgstr ""
+"もし、選択したファイルが、今のプロジェクトと異なるサンプルレートを持っている場合、そのサンプルレートは赤色でハイライト表示されます。それでも選択してインポートすることはできます。そのとき"
+" <application>Ardour</application> "
+"は再び警告を出します。今のプロジェクトと異なるサンプルレートのファイルをインポートした場合、それはプロジェクトのサンプルレートで演奏されるので、間違った速度と音程になります。"
 
 #. Tag: para
 #, no-c-format
-msgid "There are a number of other options, displayed along the bottom of the window."
-msgstr ""
+msgid ""
+"There are a number of other options, displayed along the bottom of the "
+"window."
+msgstr "ウインドウの下には、他の多くのオプションが表示されています。"
 
 #. Tag: para
 #, no-c-format
 msgid "You can choose to add files:"
-msgstr ""
+msgstr "ファイルを追加するとき、以下の選択があります："
 
 #. Tag: para
 #, no-c-format
-msgid "\"as new tracks,\" which puts each file in its own track, set to normal mode, then adds it to the region list"
-msgstr ""
+msgid ""
+"\"as new tracks,\" which puts each file in its own track, set to normal "
+"mode, then adds it to the region list"
+msgstr "\"as new tracks\"の場合、それぞれのファイルはそれ専用のトラックに入り、ノーマルモードに設定され、リージョンリストに加わります。"
 
 #. Tag: para
 #, no-c-format
-msgid "\"as new tape tracks,\" which puts each file in its own track, set to tape mode, then adds it to the region list"
+msgid ""
+"\"as new tape tracks,\" which puts each file in its own track, set to tape "
+"mode, then adds it to the region list"
 msgstr ""
+"\"as new tape tracks\"の場合、それぞれのファイルはそれ専用のトラックに入り、テープモードに設定され、リージョンリストに加わります。"
 
 #. Tag: para
 #, no-c-format
-msgid "\"to region list,\" which puts each file in the region list, but does not automatically put it in any tracks."
-msgstr ""
+msgid ""
+"\"to region list,\" which puts each file in the region list, but does not "
+"automatically put it in any tracks."
+msgstr "\"to region list\"の場合、それぞれのファイルはリージョンリストに入りますが、自動的にどれかのトラックに入ることはありません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Note that when you choose to automatically create new tracks, <application>Ardour</application> adds the region to the new track, with the region starting at the current location of the transport."
+msgid ""
+"Note that when you choose to automatically create new tracks, "
+"<application>Ardour</application> adds the region to the new track, with the"
+" region starting at the current location of the transport."
 msgstr ""
+"自動的にトラックを作成するように選択した場合、<application>Ardour</application> "
+"は、トランスポートの現在の位置から始まるリージョンを新しいトラックに加えます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The other options in this list are self-explanatory. It is usually best to convert using the best quality, since quality can always be reduced later (which saves space)."
+msgid ""
+"The other options in this list are self-explanatory. It is usually best to "
+"convert using the best quality, since quality can always be reduced later "
+"(which saves space)."
 msgstr ""
+"このリストの他のオプションは、説明はいらないと思います。通常、最高の品質で変換をするのがよいです。なぜならば、品質は後からいつでも（スペースを節約するために）落とすことができるからです。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you chose not to automatically create tracks, then you will need to add the imported regions into a track before they will be played in your session. You can do this easily by selecting the region from the \"Regions\" box on the right, and dragging it to a track."
+msgid ""
+"If you chose not to automatically create tracks, then you will need to add "
+"the imported regions into a track before they will be played in your "
+"session. You can do this easily by selecting the region from the \"Regions\""
+" box on the right, and dragging it to a track."
 msgstr ""
+"もしトラックを自動的に作成しない選択をした場合、あなたはインポートしたリージョンをセッションで演奏する前にそれをトラックに加えなければいけません。これを行うのは簡単で、右にある"
+" \"Regions\"ボックスからそのリージョンを選んで、トラックにドラッグすればよいです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Files for the Tutorial"
-msgstr ""
+msgstr "チュートリアルのためのファイル"
 
 #. Tag: para
 #, no-c-format
-msgid "These tutorial files represent the material required to create a finished version of a song called \"Here Is How,\" written by Esther Wheaton. The song was released as part of her first album, \"Not Legendary,\" and she has released the source files for this song under !!I!! this licence (probably CC-BY-SA) !!I!! For more information on the artist, please refer to her <citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink url=\"http://www.myspace.com/estherwheaton\" />."
+msgid ""
+"These tutorial files represent the material required to create a finished "
+"version of a song called \"Here Is How,\" written by Esther Wheaton. The "
+"song was released as part of her first album, \"Not Legendary,\" and she has"
+" released the source files for this song under !!I!! this licence (probably "
+"CC-BY-SA) !!I!! For more information on the artist, please refer to her "
+"<citetitle>Esther Wheaton's MySpace Page</citetitle>, available at <ulink "
+"url=\"http://www.myspace.com/estherwheaton\" />."
 msgstr ""
+"これらのチュートリアルファイルは、Esther Wheaton 作曲の \"Here Is "
+"How\"という歌の最終版を作成するのに必要なものです。その歌は彼女のファーストアルバム \"Not "
+"Legendary\"の一部としてリリースされ、彼女はこの歌の無編集のソースファイルを Creative Commons Attribution-"
+"NonCommercial-ShareAlike licence、インターネットでは "
+"http://creativecommons.org/licenses/by-nc-sa/3.0/ "
+"で得られます、でリリースしました。このアーチストについて詳しくは、<ulink "
+"url=\"http://www.myspace.com/estherwheaton\" /> の <citetitle>Esther "
+"Wheaton's MySpace Page</citetitle> を参照下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "The material presented for your use is a folder containing an <application>Ardour</application> file and the associated audio files required to start the tutorial. The tutorial itself comprises the following sections about editing, mixing, and mastering (or exporting). The program used to record the audio files split the left and right channels into separate files, so they are imported into <application>Ardour</application>as separate regions. Therefore, the setup is more complex than it would be if the song were originally recorded in <application>Ardour</application>, but this gives the opportunity to learn in greater detail about busses, creating and using the stereo image, and volume level adjustments."
+msgid ""
+"The material presented for your use is a folder containing an "
+"<application>Ardour</application> file and the associated audio files "
+"required to start the tutorial. The tutorial itself comprises the following "
+"sections about editing, mixing, and mastering (or exporting). The program "
+"used to record the audio files split the left and right channels into "
+"separate files, so they are imported into "
+"<application>Ardour</application>as separate regions. Therefore, the setup "
+"is more complex than it would be if the song were originally recorded in "
+"<application>Ardour</application>, but this gives the opportunity to learn "
+"in greater detail about busses, creating and using the stereo image, and "
+"volume level adjustments."
 msgstr ""
+"あなたが使えるように用意されたものは、<application>Ardour</application> "
+"ファイルと、チュートリアルを始めるために必要な、関連するオーディオファイルの入ったフォルダです。チュートリアル自身は、編集、ミキシング、そしてマスタリング（あるいはエクスポーティング）についてのセクションから構成されます。オーディオファイルを録音するのに使われたプログラムは、右と左のチャネルを別々のファイルに分けて保存したので、<application>Ardour</application>"
+" には別々のリージョンとしてインポートされます。このため、曲を最初から <application>Ardour</application> "
+"で録音した場合と比べると、設定はずっと複雑です。しかし、これはバスや、ステレオイメージの作り方と使い方、そしてボリュームレベルの調整についてより詳しく学ぶよい機会です。"
 
 #. Tag: para
 #, no-c-format
-msgid "The unique setup also means that none of the audio regions are in the right place on the timeline, and most of them require extensive editing. This would be bad if the objective of the tutorial were to create a finished version of the song as quickly as possible; but the objective is to learn how to use <application>Ardour</application>, and this is almost guaranteed."
+msgid ""
+"The unique setup also means that none of the audio regions are in the right "
+"place on the timeline, and most of them require extensive editing. This "
+"would be bad if the objective of the tutorial were to create a finished "
+"version of the song as quickly as possible; but the objective is to learn "
+"how to use <application>Ardour</application>, and this is almost guaranteed."
 msgstr ""
+"この特殊な状況は、タイムライン上の正しい位置にいるオーディオリージョンはひとつもないということも意味します。ほとんどは多くの編集が必要です。チュートリアルの目的が、曲の最終版をできるだけ早く作成することであるならばこれは困ったことですが、目的は、<application>Ardour</application>"
+" の使い方を学ぶことであり、これは十分に保証されています。"
 
 #. Tag: para
 #, no-c-format
 msgid "!!EL!! Links to the files !!I!! I don't know where to put them!"
 msgstr ""
+"チュートリアルのファイルは、 Ardour "
+"のプロジェクトファイルと、オーディオファイルそのものです。以下の手順で、チュートリアルファイルをセットアップください。１．http://docs.fedoraproject.org"
+"/en-US/Fedora/15/html/Musicians_Guide/files/Ardour/FMG-HereIsHow.tar.lzma "
+"から、Ardour のプロジェクトファイルをダウンロードします。少なくとも 1 GiB "
+"の空きディスク容量のあるディレクトリで解凍します。２．http://soundcloud.com/fedoraproject/sets/fmg-"
+"ardour-tutorial にあるすべてのオーディオファイルをダウンロードします。それらのファイルを、前のステップで作った、Ardour "
+"のプロジェクトフォルダのサブディレクトリ、 Interchange/FMG-HereIsHow/audiofiles に置きます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Editing a Song (Tutorial)"
-msgstr ""
+msgstr "曲を編集する（チュートリアル）"
 
 #. Tag: para
 #, no-c-format
-msgid "This section covers the basics of preparing \"Here Is How.\" The focus is on trimming the regions and placing them in the right position on the timeline. Since the goal is to replicate the form of the original song, there is little room for artistic freedom."
+msgid ""
+"This section covers the basics of preparing \"Here Is How.\" The focus is on"
+" trimming the regions and placing them in the right position on the "
+"timeline. Since the goal is to replicate the form of the original song, "
+"there is little room for artistic freedom."
 msgstr ""
+"このセクションは \"Here Is "
+"How\"の基本的な準備について述べます。リージョンをトリムして、タイムラインの上の正しい位置に置くことが中心です。ゴールは、元の曲の複製を作り上げることなので、芸術的な自由度はほとんどありません。"
 
 #. Tag: para
 #, no-c-format
-msgid "To get the most out of this section, you should use the tutorial files provided above. By following the instructions with the tutorial file, you will be able to use real editing, mixing, and mastering techniques to create a real song. Instructions to get the tutorial files are available in <xref linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
+msgid ""
+"To get the most out of this section, you should use the tutorial files "
+"provided above. By following the instructions with the tutorial file, you "
+"will be able to use real editing, mixing, and mastering techniques to create"
+" a real song. Instructions to get the tutorial files are available in <xref "
+"linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" />."
 msgstr ""
+"このセクションを最大に活用するためには、上記のチュートリアルファイルを使ってください。チュートリアルファイルについての指示に従うことで、あなたは本物の曲を作成するために、実際に編集、ミキシング、そしてマスタリングする技術を得られるでしょう。チュートリアルファイルを得る手順は、<xref"
+" linkend=\"sect-Musicians_Guide-Ardour-Tutorial_Files\" /> を参照下さい。"
 
 #. Tag: title
 #, no-c-format
 msgid "Add Tracks and Busses"
-msgstr ""
+msgstr "トラックとバスを追加する"
 
 #. Tag: para
 #, no-c-format
-msgid "The program used to record these tracks was configured to record onto a separate track for the left and right channels, so <application>Ardour</application> will also have to be configured this way. It requires more setup, more memory, and more processing power, but it offers greater control over the stereo image and level balancing. We will use one track for vocals, clarinet, and strings, and two tracks for the marimba. This needs to be doubled to handle the stereo audio, so a total of ten tracks are needed. It might still be useful to manipulate the stereo tracks together, so we're going to combine them with five busses. This gives us the option of modifying both stereo channels or just one - you'll see how it works as the tutorial progresses. All of these actions take place within <application>Ardour</application>."
-msgstr ""
+msgid ""
+"The program used to record these tracks was configured to record onto a "
+"separate track for the left and right channels, so "
+"<application>Ardour</application> will also have to be configured this way. "
+"It requires more setup, more memory, and more processing power, but it "
+"offers greater control over the stereo image and level balancing. We will "
+"use one track for vocals, clarinet, and strings, and two tracks for the "
+"marimba. This needs to be doubled to handle the stereo audio, so a total of "
+"ten tracks are needed. It might still be useful to manipulate the stereo "
+"tracks together, so we're going to combine them with five busses. This gives"
+" us the option of modifying both stereo channels or just one - you'll see "
+"how it works as the tutorial progresses. All of these actions take place "
+"within <application>Ardour</application>."
+msgstr ""
+"このトラックを録音するのに使われたプログラムは、左と右を別々のトラックに録音するように設定されていました。このため、<application>Ardour</application>"
+" もそのように設定される必要があります。そうすると、セットアップが面倒で、メモリや CPU "
+"パワーもより必要としますが、ステレオイメージとレベルのバランスの制御についてはより完全となります。ボーカル、クラリネット、そして弦楽器について１トラックを、マリンバには２トラックを使います。ステレオオーディオですから、倍になって、全部で１０トラックが必要です。ステレオトラックを一緒に操作することができると便利なので、そのために５つのバスを使います。こうすることで、ステレオチャネルの両方を変更することも、片方だけを変更することもできるようになります。チュートリアルが進むに連れて、おわかりになると思います。これら全部は、<application>Ardour</application>"
+" の中で行われます。"
 
 #. Tag: para
 #, no-c-format
-msgid "There is already a master bus, named \"master\". All audio being outputted should be fed through this bus."
-msgstr ""
+msgid ""
+"There is already a master bus, named \"master\". All audio being outputted "
+"should be fed through this bus."
+msgstr "\"master\" という名前のマスターバスが既にあり、すべてのオーディオ出力はこのバスを経由して行われます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Create five new busses:"
-msgstr ""
+msgstr "５つの新しいバスを作成します："
 
 #. Tag: para
 #, no-c-format
 msgid "From the menu, select 'Track &gt; Add Track/Bus'"
-msgstr ""
+msgstr "メニューから、'Track &gt; Add Track/Bus' を選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Adjust the options to add five stereo busses."
-msgstr ""
+msgstr "５つのステレオバスを追加するようにオプションを変更します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click 'Add'"
-msgstr ""
+msgstr "'Add'をクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus 5\", underneath the master bus."
-msgstr ""
+msgid ""
+"Five busses should appear in the canvas area, named \"Bus 1\" through \"Bus "
+"5\", underneath the master bus."
+msgstr "５つのバスは、キャンバスエリアの、マスターバスの下に、\"Bus 1\" から \"Bus 5\" という名前で現れるはずです。"
 
 #. Tag: para
 #, no-c-format
 msgid "Change the busses' names:"
-msgstr ""
+msgstr "バスの名前を変更します："
 
 #. Tag: para
 #, no-c-format
-msgid "At the left-most side of the canvas area, each bus has a space with controls, including a box with the bus' name."
-msgstr ""
+msgid ""
+"At the left-most side of the canvas area, each bus has a space with "
+"controls, including a box with the bus' name."
+msgstr "キャンバスエリアの左端に、それぞれのバスの名前のついたボックスを含むコントロールのあるスペースがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "To rename a bus, use the mouse to left-click inside the box with the bus' name."
-msgstr ""
+msgid ""
+"To rename a bus, use the mouse to left-click inside the box with the bus' "
+"name."
+msgstr "バスの名前を変えるには、バスの名前が書かれたボックスの中をマウスで左クリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "The box will turn into a text-editing box. Erase the contents, and write the new name."
-msgstr ""
+msgid ""
+"The box will turn into a text-editing box. Erase the contents, and write the"
+" new name."
+msgstr "ボックスはテキスト編集ボックスになります。内容を消して、新しい名前を書きます。"
 
 #. Tag: para
 #, no-c-format
-msgid "When you have entered the new name, press \"Enter\" on the keyboard to set it in <application>Ardour</application>."
+msgid ""
+"When you have entered the new name, press \"Enter\" on the keyboard to set "
+"it in <application>Ardour</application>."
 msgstr ""
+"新しい名前を入れたら、キーボードで \"Enter\" を押して、 <application>Ardour</application> に設定します。"
 
 #. Tag: para
 #, no-c-format
 msgid "The box will no longer be a text-editing box."
-msgstr ""
+msgstr "ボックスは、テキスト編集ボックスではなくなります。"
 
 #. Tag: para
 #, no-c-format
 msgid "Bus-marimba1"
-msgstr ""
+msgstr "Bus-marimba1"
 
 #. Tag: para
 #, no-c-format
 msgid "Bus-marimba2"
-msgstr ""
+msgstr "Bus-marimba2"
 
 #. Tag: para
 #, no-c-format
 msgid "Bus-voice"
-msgstr ""
+msgstr "Bus-voice"
 
 #. Tag: para
 #, no-c-format
 msgid "Bus-strings"
-msgstr ""
+msgstr "Bus-strings"
 
 #. Tag: para
 #, no-c-format
 msgid "Bus-clarinet"
-msgstr ""
+msgstr "Bus-clarinet"
 
 #. Tag: para
 #, no-c-format
 msgid "Create ten new tracks:"
-msgstr ""
+msgstr "１０の新しいトラックを作成する。"
 
 #. Tag: para
 #, no-c-format
 msgid "Adjust the options to add 10 normal mode mono tracks."
-msgstr ""
+msgstr "１０の、ノーマルモードのモノラルトラックを追加するようにオプションを設定します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Ten tracks should appear in the canvas area, named \"Audio 1\" through \"Audio 10\", underneath the busses."
-msgstr ""
+msgid ""
+"Ten tracks should appear in the canvas area, named \"Audio 1\" through "
+"\"Audio 10\", underneath the busses."
+msgstr "キャンバスエリアのバスの下に、 \"Audio 1\" から \"Audio 10\" という名前のトラックが現れるはずです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Change the tracks' names in the same way as you changed the busses' names. Remembering that each track here will hold only the left or right audio channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the left channel, or a \"1\" or \"R\" for the right channel. They should be called something like:"
+msgid ""
+"Change the tracks' names in the same way as you changed the busses' names. "
+"Remembering that each track here will hold only the left or right audio "
+"channel, each one should be pre- or post-fixed with a \"0\" or \"L\" for the"
+" left channel, or a \"1\" or \"R\" for the right channel. They should be "
+"called something like:"
 msgstr ""
+"バスの名前を変えたのと同じように、トラックの名前を変えます。ここのそれぞれのトラックはオーディオチャネルの左か右だけを保持することに注意ください。名前は、左チャネルなら"
+" \"0\" か \"L\" 、右チャネルなら \"1\" か \"R\" を先頭あるいは後尾につけるのがよいでしょう。このような名前になるでしょう："
 
 #. Tag: para
 #, no-c-format
 msgid "marimba1-L"
-msgstr ""
+msgstr "marimba1-L"
 
 #. Tag: para
 #, no-c-format
 msgid "marimba1-R"
-msgstr ""
+msgstr "marimba1-R"
 
 #. Tag: para
 #, no-c-format
 msgid "marimba2-L"
-msgstr ""
+msgstr "marimba2-L"
 
 #. Tag: para
 #, no-c-format
 msgid "marimba2-R"
-msgstr ""
+msgstr "marimba2-R"
 
 #. Tag: para
 #, no-c-format
 msgid "voice-L"
-msgstr ""
+msgstr "voice-L"
 
 #. Tag: para
 #, no-c-format
 msgid "voice-R"
-msgstr ""
+msgstr "voice-R"
 
 #. Tag: para
 #, no-c-format
 msgid "strings-L"
-msgstr ""
+msgstr "strings-L"
 
 #. Tag: para
 #, no-c-format
 msgid "strings-R"
-msgstr ""
+msgstr "strings-R"
 
 #. Tag: para
 #, no-c-format
 msgid "clarinet-L"
-msgstr ""
+msgstr "clarinet-L"
 
 #. Tag: para
 #, no-c-format
 msgid "clarinet-R"
-msgstr ""
+msgstr "clarinet-R"
 
 #. Tag: para
 #, no-c-format
-msgid "Finally, we'll re-arrange the order of the tracks and busses. This isn't strictly necessary, and you can user whichever order you think makes the most sense. You might choose, for example, to put the marimba at the bottom, since it will be playing through most of the song."
+msgid ""
+"Finally, we'll re-arrange the order of the tracks and busses. This isn't "
+"strictly necessary, and you can user whichever order you think makes the "
+"most sense. You might choose, for example, to put the marimba at the bottom,"
+" since it will be playing through most of the song."
 msgstr ""
+"最後に、トラックとバスの並び順を変えます。これは厳密には不要で、あなたが最もよいと思う順序を好きに採用ください。例えば、マリンバは、ほとんど曲の間ずっと演奏されるので、一番下に持ってくるのがよいかもしれません。"
 
 #. Tag: para
 #, no-c-format
 msgid "Find the session sidebar, to the right of the canvas area."
-msgstr ""
+msgstr "キャンバスエリアの右のセッションサイドバーを探します。"
 
 #. Tag: para
 #, no-c-format
-msgid "There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit Groups, and Chunks. Select 'Tracks/Busses'"
+msgid ""
+"There are five tabs to choose: Regions, Tracks/Busses, Snapshots, Edit "
+"Groups, and Chunks. Select 'Tracks/Busses'"
 msgstr ""
+"５つのタブがあります：Regions, Tracks/Busses, Snapshots, Edit Groups, そして Chunks "
+"です。'Tracks/Busses' を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "All of the tracks and busses are shown in a list, along with a check-box that will show or hide that track or bus in the canvas area. Now you can see why it's a good idea to keep the word \"bus\" in the names of the busses."
+msgid ""
+"All of the tracks and busses are shown in a list, along with a check-box "
+"that will show or hide that track or bus in the canvas area. Now you can see"
+" why it's a good idea to keep the word \"bus\" in the names of the busses."
 msgstr ""
+"すべてのトラックとバスはリストに表示され、それぞれにキャンバスエリアでそのトラックあるいはバスを表示するかどうかのチェックボックスがあります。これで、バスの名前に"
+" \"bus\" という語をつけるのがよい理由がわかったと思います。"
 
 #. Tag: para
 #, no-c-format
-msgid "To change the ordering of tracks and busses, use the mouse to click and drag the name of the track or bus that you want to move."
-msgstr ""
+msgid ""
+"To change the ordering of tracks and busses, use the mouse to click and drag"
+" the name of the track or bus that you want to move."
+msgstr "トラックとバスの並び順を変えるには、マウスで移動したいトラックあるいはバスの名前をクリックしてドラッグします。"
 
 #. Tag: para
 #, no-c-format
-msgid "When you start dragging a track or bus, a line will appear in the list, marking where the track or bus would go. It can be helpful to move the track or bus that you are dragging to the side a bit, so that you can see the list itself."
+msgid ""
+"When you start dragging a track or bus, a line will appear in the list, "
+"marking where the track or bus would go. It can be helpful to move the track"
+" or bus that you are dragging to the side a bit, so that you can see the "
+"list itself."
 msgstr ""
+"トラックあるいはバスのドラッグを始めると、リストに線が現れて、トラックあるいはバスの移動先を示します。リストが見えにくい時は、ドラッグしているトラックあるいはバスを少し横に動かすとよいです。"
 
 #. Tag: para
 #, no-c-format
-msgid "The interface makes it seem like you can move a track or bus on top of another track or bus. This is not the case. If it looks like a track or bus is going to be put on top of another track or bus, it will actually be placed into the list just above that track or bus."
+msgid ""
+"The interface makes it seem like you can move a track or bus on top of "
+"another track or bus. This is not the case. If it looks like a track or bus "
+"is going to be put on top of another track or bus, it will actually be "
+"placed into the list just above that track or bus."
 msgstr ""
+"インタフェースでは、トラックあるいはバスを他のトラックあるいはバスの上に重ねられるように見えるかもしれませんが、実はそうではありません。トラックあるいはバスが他のトラックあるいはバスの上に重なるように見えるとき、実際にはリストの上でそのトラックあるいはバスの１つ前に置かれます。"
 
 #. Tag: para
 #, no-c-format
-msgid "For editing, it is helpful to have each bus next to the tracks it will control. This can always be changed later."
-msgstr ""
+msgid ""
+"For editing, it is helpful to have each bus next to the tracks it will "
+"control. This can always be changed later."
+msgstr "編集するには、バスを、それが制御するトラックの次に置くと便利です。これはいつでも、後から変えることができます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Connect the Tracks and Busses"
-msgstr ""
+msgstr "トラックとバスを接続する"
 
 #. Tag: para
 #, no-c-format
-msgid "Although we have created a system of busses in our mind, we still have not told <application>Ardour</application> about it. You can use <application>QjackCtl</application> to confirm this: all of the additional tracks and busses are connected to output audio to the master bus. Worse still, the additional busses have no input signal at all. There are two approaches to letting <application>Ardour</application> know how we want to connect the tracks and busses. They will both be demonstrated, and you will be left to fill in the rest."
+msgid ""
+"Although we have created a system of busses in our mind, we still have not "
+"told <application>Ardour</application> about it. You can use "
+"<application>QjackCtl</application> to confirm this: all of the additional "
+"tracks and busses are connected to output audio to the master bus. Worse "
+"still, the additional busses have no input signal at all. There are two "
+"approaches to letting <application>Ardour</application> know how we want to "
+"connect the tracks and busses. They will both be demonstrated, and you will "
+"be left to fill in the rest."
 msgstr ""
+"私たちは、心の中ではバスのシステムを作り上げましたが、まだそれを <application>Ardour</application> "
+"には伝えていません。<application>QjackCtl</application> "
+"でそれを確かめることもできます。すべての追加されたトラックとバスはマスターバスのオーディオ出力につながっています。さらに悪いことに、バスには、入力信号は何もありません。私たちがトラックとバスをどのようにつなぎたいのかを"
+" <application>Ardour</application> "
+"に伝えるには、２つのアプローチがあります。これから両方の例をあげます。あなたが、残りを仕上げてください。"
 
 #. Tag: para
 #, no-c-format
-msgid "One way to connect tracks and busses is more suitable for small-scale connection changes."
-msgstr ""
+msgid ""
+"One way to connect tracks and busses is more suitable for small-scale "
+"connection changes."
+msgstr "トラックとバスをつなぐ１つの方法は、接続の変更が少ない時に適します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Select the \"marimba1-L\" track by clicking in the track's control area, underneath the controls."
-msgstr ""
+msgid ""
+"Select the \"marimba1-L\" track by clicking in the track's control area, "
+"underneath the controls."
+msgstr "コントロールの下、トラックのコントロールエリアをクリックして、\"marimba1-L\" トラックを選択ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "The editor mixer to the left of the canvas area should display the track's name near the top, and the track's colour (probably green in this case)."
-msgstr ""
+msgid ""
+"The editor mixer to the left of the canvas area should display the track's "
+"name near the top, and the track's colour (probably green in this case)."
+msgstr "キャンバスエリアの左のエディタミキサーが、トラックの名前と色（たぶん、今の場合、緑）を上の方に表示するはずです。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you can't see the editor mixer, open it by using the menu. Click 'View &gt; Show Editor Mixer' so that it is checked. You can also press 'Shift + E' on the keyboard to toggle its display."
+msgid ""
+"If you can't see the editor mixer, open it by using the menu. Click 'View "
+"&gt; Show Editor Mixer' so that it is checked. You can also press 'Shift + "
+"E' on the keyboard to toggle its display."
 msgstr ""
+"エディタミキサーが見えないときは、メニューから 'View &gt; Show Editor Mixer' "
+"をクリックして、チェックをつけます。キーボードから 'Shift + E' を押しても、表示をトグルできます。"
 
 #. Tag: para
 #, no-c-format
-msgid "After confirming that the editor mixer is showing the control for the \"marimba1-L\" track, look at the button on the bottom of the editor mixer, above 'Comments'. It should say \"master\", which means its output is connected to the master bus. This is not what we want, so click the \"master\" button."
+msgid ""
+"After confirming that the editor mixer is showing the control for the "
+"\"marimba1-L\" track, look at the button on the bottom of the editor mixer, "
+"above 'Comments'. It should say \"master\", which means its output is "
+"connected to the master bus. This is not what we want, so click the "
+"\"master\" button."
 msgstr ""
+"エディタミキサーが \"marimba1-L\" トラックのコントロールを表示しているのを確認したら、エディタミキサーの一番下、 'Comments' "
+"の上のボタンを見てください。\"master\" とあるはずです。出力がマスターバスにつながっていることを意味します。これは望むものではありません。 "
+"\"master\" ボタンをクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "When you click the 'master' button, a menu pops up, allowing you to choose a different output. We want to connect the track to the \"Bus-marimba1\" bus, which isn't in the list, so choose 'Edit' from the menu."
+msgid ""
+"When you click the 'master' button, a menu pops up, allowing you to choose a"
+" different output. We want to connect the track to the \"Bus-marimba1\" bus,"
+" which isn't in the list, so choose 'Edit' from the menu."
 msgstr ""
+"'master' ボタンをクリックすると、メニューがポップアップして、別の出力を選べるようになります。このトラックは、 \"Bus-marimba1\""
+" バスにつなぎたいのですが、リストにはありません。このためメニューから 'Edit' を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The connection window that appears looks confusing, but it isn't. Here's how it works:"
-msgstr ""
+msgid ""
+"The connection window that appears looks confusing, but it isn't. Here's how"
+" it works:"
+msgstr "コネクションウインドウが現れます。使い方がわかりにくいので、以下に説明します："
 
 #. Tag: para
 #, no-c-format
-msgid "The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" and \"out 2,\" along with a list of everything to which those outputs are connected."
+msgid ""
+"The left side, labeled \"Outputs,\" contains two output channels, \"out 1\" "
+"and \"out 2,\" along with a list of everything to which those outputs are "
+"connected."
 msgstr ""
+"左の、 \"Outputs\" のラベルのところは、 \"out 1\" と \"out 2\" "
+"の２つの出力チャネル、それに、それがつながっている先のすべてのもののリストがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "The 'Add' button adds an output channel. We're outputting the signal to a stereo bus, so two is enough."
-msgstr ""
+msgid ""
+"The 'Add' button adds an output channel. We're outputting the signal to a "
+"stereo bus, so two is enough."
+msgstr "'Add' ボタンは、出力チャネルを追加します。信号をステレオバスに出力するので、２つで十分です。"
 
 #. Tag: para
 #, no-c-format
 msgid "The 'Remove' button removes an output channel."
-msgstr ""
+msgstr "'Remove' ボタンは、出力チャネルを削除します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The 'Disconnect All' button removes all of the track's output connections."
-msgstr ""
+msgid ""
+"The 'Disconnect All' button removes all of the track's output connections."
+msgstr "'Disconnect All' ボタンは、トラックの出力コネクションをすべて削除します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Clicking a connection in this list will remove it."
-msgstr ""
+msgstr "このリストでコネクションをクリックすると、削除されます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The right side, labeled \"Available connections,\" contains a list of all of the inputs offered by <systemitem>JACK</systemitem>."
+msgid ""
+"The right side, labeled \"Available connections,\" contains a list of all of"
+" the inputs offered by <systemitem>JACK</systemitem>."
 msgstr ""
+"右側、\"Available connections\" とラベルのある方には、<systemitem>JACK</systemitem> "
+"が提供するすべての入力のリストがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Each <systemitem>JACK</systemitem>-aware application has a tab with its connections listed underneath."
+msgid ""
+"Each <systemitem>JACK</systemitem>-aware application has a tab with its "
+"connections listed underneath."
 msgstr ""
+"<systemitem>JACK</systemitem> 対応のアプリケーションは、それぞれ、タブがあり、その下にコネクションのリストがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Clicking a connection in this list will add it to the last-selected output channel."
-msgstr ""
+msgid ""
+"Clicking a connection in this list will add it to the last-selected output "
+"channel."
+msgstr "このリストのコネクションをクリックすると、最後に選択された出力チャネルに、それが加えられます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click the 'Disconnect All' button."
-msgstr ""
+msgstr "'Disconnect All' ボタンをクリックします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click in the empty \"out 1\" list."
-msgstr ""
+msgstr "空の \"out 1\" リストをクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" connection. It will be added to the \"out 1\" list."
+msgid ""
+"From the \"Available connections\" list, click on the \"Bus-marimba1/in 1\" "
+"connection. It will be added to the \"out 1\" list."
 msgstr ""
+"\"Available connections\" リストから、\"Bus-marimba1/in 1\" コネクションをクリックします。それは "
+"\"out 1\" リストに加えられます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the \"out 2\" list."
-msgstr ""
+msgid ""
+"Then click on the \"Bus-marimba1/in 2\" connection. It will be added to the "
+"\"out 2\" list."
+msgstr "次に、\"Bus-marimba1/in 2\" コネクションをクリックします。それは、 \"out 2\" リストに加えられます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The appearance of the connection lists will change to indicate that you've added a pair of connections."
-msgstr ""
+msgid ""
+"The appearance of the connection lists will change to indicate that you've "
+"added a pair of connections."
+msgstr "コネクションリストの表示が変わって、あなたがコネクションのペアを追加したことを示します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click 'Close' to enable the connection change."
-msgstr ""
+msgstr "'Close' をクリックして、コネクションの変更を有効にします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Note that the \"master\" button now says something like \"Bus-ma,\" because the track's output connection has changed."
-msgstr ""
+msgid ""
+"Note that the \"master\" button now says something like \"Bus-ma,\" because "
+"the track's output connection has changed."
+msgstr "\"master\" ボタンは、 \"Bus-ma\" のようになっていることに注意ください。トラックの出力コネクションが変わったためです。"
 
 #. Tag: para
 #, no-c-format
-msgid "The other way to change connections is much faster for large-scale changes like the ones required here."
-msgstr ""
+msgid ""
+"The other way to change connections is much faster for large-scale changes "
+"like the ones required here."
+msgstr "コネクションを変更するもう１つの方法は、今回必要となるような、大量の変更を行うのに、ずっと高速です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus Inspector</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice>."
 msgstr ""
+"<menuchoice><guimenu>Window</guimenu> <guimenuitem>Track/Bus "
+"Inspector</guimenuitem></menuchoice> を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The \"Track/Bus Inspector\" window will appear. It has a list of the tracks and busses on the left side, and four tabs of information on the right side."
-msgstr ""
+msgid ""
+"The \"Track/Bus Inspector\" window will appear. It has a list of the tracks "
+"and busses on the left side, and four tabs of information on the right side."
+msgstr "\"Track/Bus Inspector\" ウインドウが現れます。左側にトラックとバスのリストが、右側に４つの情報タブがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the input and output connections of the selected track or bus. The two \"Redirects\" tabs allow you to configure plug-in settings, which are not discussed in this tutorial."
+msgid ""
+"The \"Inputs\" and \"Outputs\" tabs allow you to view and configure the "
+"input and output connections of the selected track or bus. The two "
+"\"Redirects\" tabs allow you to configure plug-in settings, which are not "
+"discussed in this tutorial."
 msgstr ""
+"\"Inputs\" と \"Outputs\" タブで、選択されたトラックあるいはバスの入力と出力を見たり設定したりできます。２つの "
+"\"Redirects\" タブは、プラグインの設定を変えるのに使いますが、このチュートリアルでは扱いません。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select the \"Bus-marimba1\" bus from the list."
-msgstr ""
+msgstr "リストから \"Bus-marimba1\" バスを選択してください。"
 
 #. Tag: para
 #, no-c-format
 msgid "You should recognize the \"Input\" and \"Output\" tabs."
-msgstr ""
+msgstr "\"Input\" と \"Output\" タブを見てください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Verify that the \"marimba1-L\" track is connected to this bus' input, and that the bus' output is connected to the \"master\" bus' inputs."
-msgstr ""
+msgid ""
+"Verify that the \"marimba1-L\" track is connected to this bus' input, and "
+"that the bus' output is connected to the \"master\" bus' inputs."
+msgstr "\"marimba1-L\" トラックが、このバスの入力に接続され、このバスの出力が、 \"master\" バスの入力に接続されているのを確認ください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Add both outputs of the \"marimba1-R\" track to the bus' input list."
-msgstr ""
+msgstr "\"marimba1-R\" トラックの２つの出力を、このバスの入力リストに加えます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Check the outputs of the \"marimba1-R\" track. This isn't quite what we wanted, so remove the master bus connection."
-msgstr ""
+msgid ""
+"Check the outputs of the \"marimba1-R\" track. This isn't quite what we "
+"wanted, so remove the master bus connection."
+msgstr "\"marimba1-R\" トラックの出力を見てください。これは、望むものではありません。マスターバスへの接続を削除ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Adjust the remaining tracks so that they are connected as described in the table below."
-msgstr ""
+msgid ""
+"Adjust the remaining tracks so that they are connected as described in the "
+"table below."
+msgstr "他のトラックも修正して、以下のテーブルが示すような接続になるようにしてください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Verify the connections by viewing the busses' \"Input\" tabs."
-msgstr ""
+msgstr "それぞれのバスの \"Input\" タブを見て、接続を確認ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Verify that only the five busses are connected to the master bus' inputs."
-msgstr ""
+msgid ""
+"Verify that only the five busses are connected to the master bus' inputs."
+msgstr "マスターバスの入力には、５つのバスだけがつながっていることを確認ください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Connections in Ardour"
-msgstr ""
+msgstr "Ardour でのコネクション"
 
 #. Tag: title
 #, no-c-format
 msgid "Add Regions to Tracks"
-msgstr ""
+msgstr "トラックにリージョンを追加する"
 
 #. Tag: para
 #, no-c-format
-msgid "The next step is to add the regions into the tracks. It would be faster if we also cropped the regions at this point, but there are many reasons that it can be helpful to have longer regions, or rests (nearly silent space) within a region, so we'll keep them in tact for now."
+msgid ""
+"The next step is to add the regions into the tracks. It would be faster if "
+"we also cropped the regions at this point, but there are many reasons that "
+"it can be helpful to have longer regions, or rests (nearly silent space) "
+"within a region, so we'll keep them in tact for now."
 msgstr ""
+"次のステップは、トラックにリージョンを追加することです。この時点でリージョンを切り詰めると、後の作業が速くなるのですが、長いリージョン、あるいは休止（ほとんど静かなスペース）をリージョンに持つのは、便利な理由がいくつもあるので、今回はそのままとしましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "In the session sidebar (to the right of the canvas area), select the \"Regions\" tab. This list contains all of the regions in the session. Each region is listed once, regardless of how many times it appears in the timeline, or if it's even used at all."
+msgid ""
+"In the session sidebar (to the right of the canvas area), select the "
+"\"Regions\" tab. This list contains all of the regions in the session. Each "
+"region is listed once, regardless of how many times it appears in the "
+"timeline, or if it's even used at all."
 msgstr ""
+"セッションサイドバー（キャンバスエリアの右）で、\"Regions\" "
+"タブを選択します。リストには、セッションのすべてのリージョンが含まれます。それぞれのリージョンは、１度だけ表示されます。タイムラインの上で何回、現れようと、あるいは、全く使われなくても、です。"
 
 #. Tag: para
 #, no-c-format
-msgid "To add a region to the canvas area, simply click on the region's name, and drag it onto a track. The cursor will change as you do this, so that the vertical line of the cursor shows the point where the region will begin in the timeline."
+msgid ""
+"To add a region to the canvas area, simply click on the region's name, and "
+"drag it onto a track. The cursor will change as you do this, so that the "
+"vertical line of the cursor shows the point where the region will begin in "
+"the timeline."
 msgstr ""
+"キャンバスエリアにリージョンを追加するには、リージョンの名前をクリックして、トラックの上にドラッグするだけです。これをするときにカーソルが変化して、カーソルの垂直線が、タイムラインの上でリージョンが開始する点を示します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Adding regions is just that easy!"
-msgstr ""
+msgstr "リージョンの追加は、こんなに簡単！"
 
 #. Tag: para
 #, no-c-format
-msgid "You guessed it though - there's more to it than that, and it mostly has to do with the setup of this particular file. You will notice that the region list has many similarly-named regions, and that most of the names correspond to particular tracks and a bus. The files are named so that you know what's on them. They are given a number so that you know the sequence in which they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a letter \"L\" or \"R\" at the end to signify whether the region is the left or the right channel. Furthermore, the regions that start with \"ens-\" belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning that those regions contain a small vocal ensemble, whereas the \"Voice... \" regions contain just one singer). The \"Here_Is_How\" regions belong before the \"Create_the_Inconceivable\" regions. Remember: there is no technical reason that the regions are named as they are. The names are there to help you edit an
 d mix the song. We don't need to use the \"marimba2\" tracks or bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" tracks."
-msgstr ""
+msgid ""
+"You guessed it though - there's more to it than that, and it mostly has to "
+"do with the setup of this particular file. You will notice that the region "
+"list has many similarly-named regions, and that most of the names correspond"
+" to particular tracks and a bus. The files are named so that you know what's"
+" on them. They are given a number so that you know the sequence in which "
+"they're to be added (\"Marimba_1\" regions before \"Marimba_2\"), and a "
+"letter \"L\" or \"R\" at the end to signify whether the region is the left "
+"or the right channel. Furthermore, the regions that start with \"ens-\" "
+"belong on the \"voice\" tracks (\"ens\" is short for \"ensemble,\" meaning "
+"that those regions contain a small vocal ensemble, whereas the \"Voice... \""
+" regions contain just one singer). The \"Here_Is_How\" regions belong before"
+" the \"Create_the_Inconceivable\" regions. Remember: there is no technical "
+"reason that the regions are named as they are. The names are there to help "
+"you edit and mix the song. We don't need to use the \"marimba2\" tracks or "
+"bus yet, so just add all of the \"Marimba_\" regions to the \"marimba1\" "
+"tracks."
+msgstr ""
+"おわかりかもしれませんが、実はまだやることがあります。そしてそれは、この特定のファイルの構成に関係があります。リージョンリストには、多くの似た名前のリージョンがあるのに気がつかれるでしょう。そして、名前のほとんどは、特定のトラックとバスに対応します。ファイルは、中に何があるかわかるような名前がついています。番号がついていて、追加される順序がわかります"
+" (\"Marimba_1\" の次は、 \"Marimba_2\")。そして、末尾の \"L\" あるいは \"R\" "
+"は、リージョンが左チャネルか右かを示します。さらに、 \"ens-\" で始まるリージョンは、 \"voice\" トラックに属します。 "
+"(\"ens\" は、 \"ensemble\" の略で、このリージョンに短いボーカルのアンサンブルがあることを示します。また、 \"Voice... "
+"\" リージョンには、１人の歌手だけがあります)。\"Here_Is_How\" リージョンは、 "
+"\"Create_the_Inconceivable\" "
+"リージョンの前にあります。このようにリージョンを名付ける技術的な理由はありません。これらの名前は、あなたが曲を編集してミックスするのに便利なようにつけられました。今のところ、まだ"
+" \"marimba2\" トラックとバスは使わないので、 \"Marimba_\" リージョンは、全部、 \"marimba1\" "
+"トラックに入れておきます。"
 
 #. Tag: para
 #, no-c-format
-msgid "As you add the regions, you will learn a lot about manipulating regions in <application>Ardour</application>. Here are some tips to help:"
+msgid ""
+"As you add the regions, you will learn a lot about manipulating regions in "
+"<application>Ardour</application>. Here are some tips to help:"
 msgstr ""
+"リージョンを追加するうちに、あなたは <application>Ardour</application> "
+"でリージョンを操作することについて多くを学ぶでしょう。以下は、ためになるヒントです："
 
 #. Tag: para
 #, no-c-format
-msgid "Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing all the tracks."
-msgstr ""
+msgid ""
+"Use the mouse's scrollwheel (if you have one) to scroll vertically, seeing "
+"all the tracks."
+msgstr "すべてのトラックを見るには、マウスのスクロールホイール（それがあれば）を使って、垂直にスクロールしましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel to adjust the amount of time visible in the canvas window."
+msgid ""
+"Hold down the 'Ctrl' button on the keyboard and use the mouse's scrollwheel "
+"to adjust the amount of time visible in the canvas window."
 msgstr ""
+"キーボードで、 'Ctrl' ボタンを押したままにして、マウスのスクロールホイールを使えば、キャンバスウインドウで見ることのできる時間を調整できます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel to scroll horizontally, moving along the timeline."
-msgstr ""
+msgid ""
+"Hold down the 'Alt' button on the keyboard and use the mouse's scrollwheel "
+"to scroll horizontally, moving along the timeline."
+msgstr "キーボードで 'Alt' ボタンを押したままにして、マウスのスクロールホイールを使えば、横にスクロールして、タイムラインを移動できます。"
 
 #. Tag: para
 #, no-c-format
-msgid "After placing a region, you can move it around anywhere in the canvas area. You'll need to use the \"Select/Move Objects\" tool: click the pointing hand icon in the toolbar underneath the transport controls."
+msgid ""
+"After placing a region, you can move it around anywhere in the canvas area. "
+"You'll need to use the \"Select/Move Objects\" tool: click the pointing hand"
+" icon in the toolbar underneath the transport controls."
 msgstr ""
+"リージョンを置いた後も、キャンバスエリアの中でそれをどこへでも動かすことができます。\"Select/Move Objects\" "
+"ツールを使ってください。トランスポートコントロールの下、ツールバーの中で、指さす手のアイコンをクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you are moving a region, be sure to click and drag from the large area above the coloured bar. If you click in the coloured bar at the bottom of the region, you will reduce the region's size."
+msgid ""
+"If you are moving a region, be sure to click and drag from the large area "
+"above the coloured bar. If you click in the coloured bar at the bottom of "
+"the region, you will reduce the region's size."
 msgstr ""
+"リージョンを動かすときは、色のついたバーの上の大きなエリアをクリックしてドラッグするように注意ください。リージョンの下の方の色のついたバーをクリックすると、リージョンの大きさを短くしてしまいます。"
 
 #. Tag: para
 #, no-c-format
-msgid "When you're just adding tracks like this, it's not important that they are synchronized perfectly. But you can use the \"magnetic\" snapping feature to automatically align the beginning of tracks to the second. As you slowly drag a region, when the start nears a second (indicated by vertical lines through the canvas area), the region will seem to \"stick\" to the second. Later, you may want to turn off this feature."
+msgid ""
+"When you're just adding tracks like this, it's not important that they are "
+"synchronized perfectly. But you can use the \"magnetic\" snapping feature to"
+" automatically align the beginning of tracks to the second. As you slowly "
+"drag a region, when the start nears a second (indicated by vertical lines "
+"through the canvas area), the region will seem to \"stick\" to the second. "
+"Later, you may want to turn off this feature."
 msgstr ""
+"このようにトラックを追加しているときは、それらが完全に同期されていることは重要ではありません。しかし、トラックの開始を他のトラックに自動的にそろえる "
+"\"magnetic\" "
+"スナップ機能を使うこともできます。リージョンをゆっくりドラッグすると、開始点が他のリージョンに近づくと、（キャンバスエリアの垂直線で示されます）リージョンはそれに"
+" \"stick\" くっつく、ように見えます。終わったら、その機能を無効にします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Since we're just adding the regions imprecisely for now, put them into the appropriate track as tightly as possible, without overlapping."
-msgstr ""
+msgid ""
+"Since we're just adding the regions imprecisely for now, put them into the "
+"appropriate track as tightly as possible, without overlapping."
+msgstr "とりあえず、今は不正確でもよいので、リージョンを適当なトラックに、できるだけつめて、オーバラップしないように入れます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Cut the Regions Down to Size"
-msgstr ""
+msgstr "リージョンの大きさを切り詰める"
 
 #. Tag: para
 #, no-c-format
-msgid "Now it's appropriate to cut some of the regions down in size. We're going to do this by removing some of the nearly-silent space before and after the material that was intended to be recorded. There are a few special cases, so first there will be specific instructions on how to do this to a region, and then general instructions for each region."
+msgid ""
+"Now it's appropriate to cut some of the regions down in size. We're going to"
+" do this by removing some of the nearly-silent space before and after the "
+"material that was intended to be recorded. There are a few special cases, so"
+" first there will be specific instructions on how to do this to a region, "
+"and then general instructions for each region."
 msgstr ""
+"さて、リージョンの大きさを切り詰める準備ができました。本来録音対象とした部分の前と後にある、ほとんど静かなスペースを削除すします。特別ケースがいくつかあるので、まず、最初に、リージョンにこれを行うための一般的な説明をします。つぎに、それぞれのリージョンについて、具体的な説明をします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Let's start with the clarinet:"
-msgstr ""
+msgstr "クラリネットから始めましょう："
 
 #. Tag: para
 #, no-c-format
-msgid "First, set the clarinet bus to \"solo\" mode by pressing the 's' button on the bus' control space. This will allow us to hear only the clarinet bus."
+msgid ""
+"First, set the clarinet bus to \"solo\" mode by pressing the 's' button on "
+"the bus' control space. This will allow us to hear only the clarinet bus."
 msgstr ""
+"まず、クラリネットバスを \"solo\" モードにします。バスのコントロールスペースで、 's' "
+"ボタンを押してください。これで、クラリネットバスだけが聞こえるようになります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Listen to the first clarinet region by pressing \"Home\" on the keyboard to set the transport's playhead to the beginning, then pressing the space key to start the transport."
+msgid ""
+"Listen to the first clarinet region by pressing \"Home\" on the keyboard to "
+"set the transport's playhead to the beginning, then pressing the space key "
+"to start the transport."
 msgstr ""
+"最初のクラリネットリージョンを聞きます。キーボードで \"Home\"  "
+"を押して、トランスポートの再生ヘッドを最初に位置づけ、スペースキーを押して、トランスポートを開始します。"
 
 #. Tag: para
 #, no-c-format
-msgid "There is approximately 20 seconds of near-silence before the clarinet starts to play. If you listen carefully, you can hear the room, and somebody counting measure numbers."
+msgid ""
+"There is approximately 20 seconds of near-silence before the clarinet starts"
+" to play. If you listen carefully, you can hear the room, and somebody "
+"counting measure numbers."
 msgstr ""
+"クラリネットが演奏を始める前に、２０秒くらいのほとんど静かな部分があります。注意して聞くと、部屋の音や、誰かが小節数を数えている声が聞こえます。"
 
 #. Tag: para
 #, no-c-format
-msgid "If the channels aren't synchronized, you'll need to adjust their placement in the timeline. Use the yellow clock that appears when you drag regions - it's set to the same units as the secondary clock, and shows you the time of the beginning of the file. It's important to get it synchronized before the next step!"
+msgid ""
+"If the channels aren't synchronized, you'll need to adjust their placement "
+"in the timeline. Use the yellow clock that appears when you drag regions - "
+"it's set to the same units as the secondary clock, and shows you the time of"
+" the beginning of the file. It's important to get it synchronized before the"
+" next step!"
 msgstr ""
+"チャネルが同期していないときには、タイムラインの上で位置を調整する必要があります。リージョンをドラッグするときに現れる黄色い時計を使います。それは、２つめの時計と同じ単位に設定されていて、ファイルの最初からの時間を示します。次のステップに進む前に、同期させるのが重要です！"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose either the \"L\" or \"R\" region. If you're using edit groups, it doesn't matter which you choose, because <application>Ardour</application> will realize that the regions in both tracks are \"group equivalent\" (that is, they're basically the same, so they probably belong together)."
+msgid ""
+"Choose either the \"L\" or \"R\" region. If you're using edit groups, it "
+"doesn't matter which you choose, because <application>Ardour</application> "
+"will realize that the regions in both tracks are \"group equivalent\" (that "
+"is, they're basically the same, so they probably belong together)."
 msgstr ""
+"\"L\" あるいは \"R\" "
+"リージョンを選択します。エディットグループを使っているときは、どちらを選択してもかまいません。<application>Ardour</application>"
+" は ２つのトラックのリージョンが、\"group equivalent\" "
+"同じグループ、であることを知っているからです。（つまり、それらは基本的には同じもので、たぶん、同じ所に属するはずだと）"
 
 #. Tag: para
 #, no-c-format
-msgid "Use the mouse to click in the coloured bar of the region, close to where the clarinet starts."
-msgstr ""
+msgid ""
+"Use the mouse to click in the coloured bar of the region, close to where the"
+" clarinet starts."
+msgstr "クラリネットが開始する点の近くの、リージョンの色のついたバーをマウスでクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>Ardour</application> will automatically move the start of the region in <emphasis>both tracks</emphasis>."
+msgid ""
+"<application>Ardour</application> will automatically move the start of the "
+"region in <emphasis>both tracks</emphasis>."
 msgstr ""
+"<application>Ardour</application> は、 "
+"<emphasis>両方のトラック</emphasis>で自動的にリージョンの開始点を移動します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Move the playhead by clicking in the rulers at the point where you want the playhead to be, so that you can listen to the regions to ensure that you didn't cut out any of the useful audio."
+msgid ""
+"Move the playhead by clicking in the rulers at the point where you want the "
+"playhead to be, so that you can listen to the regions to ensure that you "
+"didn't cut out any of the useful audio."
 msgstr ""
+"再生ヘッドを位置づけたい先の点のルーラーをクリックして、再生ヘッドを動かし、重要なオーディオを切り取ったりしないように、リージョンの部分をよく聞いてみます。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you want to adjust the beginning of the region, carefully move the mouse cursor to the start of the region, in the coloured bar. The cursor should turn into a double-ended left-and-right arrow. If you happened to accidentally remove some of the useful clarinet sound, you'll notice that it's still there. In fact, the beauty of trimming regions in this way is that it's \"non-destructive,\" meaning that the entire original region is still there!"
+msgid ""
+"If you want to adjust the beginning of the region, carefully move the mouse "
+"cursor to the start of the region, in the coloured bar. The cursor should "
+"turn into a double-ended left-and-right arrow. If you happened to "
+"accidentally remove some of the useful clarinet sound, you'll notice that "
+"it's still there. In fact, the beauty of trimming regions in this way is "
+"that it's \"non-destructive,\" meaning that the entire original region is "
+"still there!"
 msgstr ""
+"リージョンの開始点を変更するには、注意深くマウスカーソルをリージョンの開始点の色のついたバーに移動します。カーソルは、左右の両側に矢印のついた形に変わります。間違って大切なクラリネットのサウンドの一部を削除してしまっても、それはそのままだとわかるでしょう。実際、このようにリージョンをトリミングするうえでのありがたいことは、それが「非破壊的」つまり、完全なオリジナルのリージョンがそのままあることです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Notice that when you made the first adjustment, <application>Ardour</application> put an arrow beside the region name in the region list of the session sidebar. If you click on the arrow, you will see that there is another copy of the same region underneath, but it's white. <application>Ardour</application> wants you to know that the white-coloured region is a modification of the blue-coloured region. If you drag the white-coloured region into the canvas area, you'll notice that it starts at the same time as the region you just modified. It can also be dragged out to the full size of the original region, which would create another modified version of the original. While it seems like <application>Ardour</application> stores multiple copies of the region, it actually just stores one copy, and the information required to make it seem like there are many."
-msgstr ""
+msgid ""
+"Notice that when you made the first adjustment, "
+"<application>Ardour</application> put an arrow beside the region name in the"
+" region list of the session sidebar. If you click on the arrow, you will see"
+" that there is another copy of the same region underneath, but it's white. "
+"<application>Ardour</application> wants you to know that the white-coloured "
+"region is a modification of the blue-coloured region. If you drag the white-"
+"coloured region into the canvas area, you'll notice that it starts at the "
+"same time as the region you just modified. It can also be dragged out to the"
+" full size of the original region, which would create another modified "
+"version of the original. While it seems like "
+"<application>Ardour</application> stores multiple copies of the region, it "
+"actually just stores one copy, and the information required to make it seem "
+"like there are many."
+msgstr ""
+"最初の変更をした時、<application>Ardour</application> "
+"はセッションサイドバーのリージョンリストにあるリージョン名の隣に、矢印をつけたことに注意ください。その矢印をクリックすると、下に、同じリージョンのもうひとつの、白色のコピーがあることがわかります。<application>Ardour</application>"
+" "
+"は、白色のリージョンは、青いリージョンの変更だということを示します。白いリージョンをキャンバスエリアにドラッグすると、あなたが変更したリージョンと同じ所から開始するのがわかります。元のリージョンと同じ大きさに引き伸ばすこともでき、そうするとオリジナルのもうひとつの変更されたバージョンが作られます。<application>Ardour</application>"
+" "
+"は、リージョンの複数のコピーを保存しているように見えますが、実際には１つだけを保存しており、たくさんあるように見えるために必要な情報を別に保存しているのです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Adjust the end of the region so that there isn't too much silence after the clarinet. Be extra careful with this, so that you don't cut out any of the clarinet, which gets very quiet at the end of the region. There isn't much to cut off! Note that you cannot click in the coloured bar when adjusting the end of a region, so you'll have to click-and-drag."
+msgid ""
+"Adjust the end of the region so that there isn't too much silence after the "
+"clarinet. Be extra careful with this, so that you don't cut out any of the "
+"clarinet, which gets very quiet at the end of the region. There isn't much "
+"to cut off! Note that you cannot click in the coloured bar when adjusting "
+"the end of a region, so you'll have to click-and-drag."
 msgstr ""
+"リージョンの終点を変更して、クラリネットの後の長すぎる静寂を取り除きます。このとき、クラリネットを切り取ってしまわないように特別に注意してください。クラリネットは、リージョンの終わりではとても小さい音になります。切り取るものはそれほどありません！リージョンの終点を変更するとき、色のついたバーをクリックすることはできないことに注意してください。クリックアンドドラッグしないといけません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Here are the instructions to edit the rest of the regions. As you trim the regions, you may find it helpful to move them all towards the start of the session. Remember to change the bus that's in \"solo mode\" when you move to different tracks, or else you won't be able to hear the tracks you're trying to edit You may also notice that some of these regions contain identical or nearly-identical music, which we'll deal with later."
+msgid ""
+"Here are the instructions to edit the rest of the regions. As you trim the "
+"regions, you may find it helpful to move them all towards the start of the "
+"session. Remember to change the bus that's in \"solo mode\" when you move to"
+" different tracks, or else you won't be able to hear the tracks you're "
+"trying to edit You may also notice that some of these regions contain "
+"identical or nearly-identical music, which we'll deal with later."
 msgstr ""
+"以下は、その他のリージョンを編集するための指示です。リージョンを切り詰めるとき、セッションの最初に向けて移動させるのがよいでしょう。別のトラックに行く時には、「ソロモード」にあるバスを変更するのを忘れないでください。さもないと、編集しようとするトラックを聞くことができません。また、リージョンのいくつかには、同じか、ほとんど同じ音楽が入っていることに気がつくかもしれません。それについては、後で説明します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Clarinet"
-msgstr ""
+msgstr "Clarinet"
 
 #. Tag: para
 #, no-c-format
 msgid "Clarinet_2:"
-msgstr ""
+msgstr "Clarinet_2:"
 
 #. Tag: para
 #, no-c-format
-msgid "Starts with sound, but it's not useful, so cut it out, along with the silence after it."
-msgstr ""
+msgid ""
+"Starts with sound, but it's not useful, so cut it out, along with the "
+"silence after it."
+msgstr "開始時に音が入りますが、不要です。削除します。その後の静寂も含めて。"
 
 #. Tag: para
 #, no-c-format
 msgid "End has a good chunk of silence to cut out."
-msgstr ""
+msgstr "終点には長い静寂がありますから、削除します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed, but leave the silence in the middle."
-msgstr ""
+msgid ""
+"Clarinet_3, Clarinet_4: the silence at the beginning and end can be removed,"
+" but leave the silence in the middle."
+msgstr "Clarinet_3, Clarinet_4: 最初と最後の静寂は削除しますが、途中の静寂は残してください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Strings:"
-msgstr ""
+msgstr "Strings:"
 
 #. Tag: para
 #, no-c-format
-msgid "Strings_1: Starts with grumbling noise, which was not intended to be captured. You can keep it or discard as you please - Esther decided to keep it in, and so will I."
+msgid ""
+"Strings_1: Starts with grumbling noise, which was not intended to be "
+"captured. You can keep it or discard as you please - Esther decided to keep "
+"it in, and so will I."
 msgstr ""
+"Strings_1: 開始時にぶつぶついうノイズが入ります。そのままにしても、削除してもよいです。Esther "
+"はそのままにする方を選んだので、私もそうしましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You can cut out the talking, or deal with it later."
-msgstr ""
+msgid ""
+"Strings_2, 3, 4: Silence at the beginning, but only a little at the end. You"
+" can cut out the talking, or deal with it later."
+msgstr "Strings_2, 3, 4: 開始時に静寂、終了時にはほんの少し。会話は削除しても、後で対策してもよいです。"
 
 #. Tag: para
 #, no-c-format
 msgid "Voice:"
-msgstr ""
+msgstr "Voice:"
 
 #. Tag: para
 #, no-c-format
-msgid "Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving the mistakes, which we'll take care of later."
-msgstr ""
+msgid ""
+"Voice_1, 2, 3, 4: Simply remove the silence from beginning and end, leaving "
+"the mistakes, which we'll take care of later."
+msgstr "Voice_1, 2, 3, 4: 最初と最後の静寂を単純に除きます。失敗はそのままにしておきます。後で、対策します。"
 
 #. Tag: para
 #, no-c-format
-msgid "ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra noise, so just get most of it. The breating and shuffling can be removed later."
+msgid ""
+"ens-Here_Is_How-1, 2, 3: It's too difficult for now to trim all of the extra"
+" noise, so just get most of it. The breating and shuffling can be removed "
+"later."
 msgstr ""
+"ens-Here_Is_How-1, 2, 3: 今のところ、すべての余分なノイズを除くのは大変むつかしいため、そのままとします。breating と "
+"shuffling は後で削除できます。訳注：breath, snuff 息と鼻をかむ音？"
 
 #. Tag: para
 #, no-c-format
-msgid "ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, we'll choose which one we prefer."
-msgstr ""
+msgid ""
+"ens-Create_the_Inconceivable: For now, keep both of the attempts. Later, "
+"we'll choose which one we prefer."
+msgstr "ens-Create_the_Inconceivable: とりあえず、両方のテイクをそのままとします。後で、どっちを採用するか決めます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Marimba:"
-msgstr ""
+msgstr "Marimba:"
 
 #. Tag: para
 #, no-c-format
-msgid "Marimba_1: Don't trim the beginning of this region; we'll use it to time the start of the session. You can trim the silence at the end, but be sure that you don't clip it while the sound of the marimba is still ringing."
+msgid ""
+"Marimba_1: Don't trim the beginning of this region; we'll use it to time the"
+" start of the session. You can trim the silence at the end, but be sure that"
+" you don't clip it while the sound of the marimba is still ringing."
 msgstr ""
+"Marimba_1: "
+"このリージョンの最初を切り詰めないでください。セッションの開始時刻として使います。終端の静寂を削除してもよいですが、マリンバがまだ鳴っているときに切り取ってしまわないように注意してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still being careful not to clip the marimba while it's still ringing. This may require cautious listening at high volume settings."
+msgid ""
+"Marimba_2, 3, 4, 5, 6, 7: Trim the silence around these as desired, still "
+"being careful not to clip the marimba while it's still ringing. This may "
+"require cautious listening at high volume settings."
 msgstr ""
+"Marimba_2, 3, 4, 5, 6, 7: "
+"まわりの静寂を削除してもよいです。マリンバがまだ鳴っているときに切り取ってしまわないように注意してください。ボリュームを上げてよく聞く必要があるでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Now that we have roughly trimmed the silence surrounding the portions of audio that we really want, we'll have an easier time putting them in the right order."
-msgstr ""
+msgid ""
+"Now that we have roughly trimmed the silence surrounding the portions of "
+"audio that we really want, we'll have an easier time putting them in the "
+"right order."
+msgstr "さて、本当に必要なオーディオ部分のまわりの静寂を、だいたい、取り終わったので、正しい順序に並べるのが簡単になりました。"
 
 #. Tag: title
 #, no-c-format
 msgid "Compare Multiple Recordings of the Same Thing"
-msgstr ""
+msgstr "同じものの複数の録音を比較する"
 
 #. Tag: para
 #, no-c-format
-msgid "Part of the power of recording with a DAW is that the same material can be capture multiple times. Mixing and matching like this allows us to seek the \"perfect\" performance of a piece of music. A few of the regions in this file are multiple takes of the same material. There are a few occasions where we can definitively say that one is better than the other, and there are a few occasions where it depends on your personal taste. This section covers techniques that can be used to further cut up the audio, in this case with the end goal of comparing and choosing preferred sections. Not all choices will be made yet."
-msgstr ""
+msgid ""
+"Part of the power of recording with a DAW is that the same material can be "
+"capture multiple times. Mixing and matching like this allows us to seek the "
+"\"perfect\" performance of a piece of music. A few of the regions in this "
+"file are multiple takes of the same material. There are a few occasions "
+"where we can definitively say that one is better than the other, and there "
+"are a few occasions where it depends on your personal taste. This section "
+"covers techniques that can be used to further cut up the audio, in this case"
+" with the end goal of comparing and choosing preferred sections. Not all "
+"choices will be made yet."
+msgstr ""
+"DAW "
+"を使った録音のパワーの１つは、同じものを何度でも録音できることです。このようなミキシングとマッチングを使えば、ある音楽の部分の「パーフェクト」な演奏を作り上げることができます。このファイルのいくつかのリージョンは同じものの複数のテイクです。片方が、もう片方より、どう見ても優れていると言えるときも、個人的な好みによって決めるしかないときもあります。このセクションでは、オーディオの部分を比較して優れた方を選択するという目的のために、さらにオーディオを切り刻むのに使うテクニックを説明します。ただ、まだすべての選択がなされる訳ではありません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Clarinet_1 and Clarinet_2 Regions"
-msgstr ""
+msgstr "Clarinet_1 と Clarinet_2 リージョン"
 
 #. Tag: para
 #, no-c-format
-msgid "Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical material, and they're nearly identical, so it's too early to decide which one to use. But, let's label them so that we know they're the same."
+msgid ""
+"Listen to the Clarinet_1 and Clarinet_2 regions. They're the same musical "
+"material, and they're nearly identical, so it's too early to decide which "
+"one to use. But, let's label them so that we know they're the same."
 msgstr ""
+"Clarinet_1 と Clarinet_2 "
+"リージョンを聞きます。同じ曲で、ほとんど等しいです。なので、まだ、どっちを使うか決めるのは早すぎます。しかし、同じだとわかるようにラベルを付けておきましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Select the \"Clarinet_1--L\" region from the region list in the session toolbar by left-clicking on the triangle to the left of the blue name, so the white name appears, and left-clicking once on the white name. Remember that the white region was created when you trimmed the empty area out of the original (blue) region."
+msgid ""
+"Select the \"Clarinet_1--L\" region from the region list in the session "
+"toolbar by left-clicking on the triangle to the left of the blue name, so "
+"the white name appears, and left-clicking once on the white name. Remember "
+"that the white region was created when you trimmed the empty area out of the"
+" original (blue) region."
 msgstr ""
+"セッションツールバーのリージョンリストから、青色の名前の左にある三角を左クリックして、\"Clarinet_1--L\" "
+"リージョンを選択します。白い名前が現れますから、それを１度左クリックします。白いリージョンは、元の（青い）リージョンの空のエリアを削除した時に作成されたものです。"
 
 #. Tag: para
 #, no-c-format
 msgid "Then click again on the white name, and a text box will appear."
-msgstr ""
+msgstr "もう一度、白い名前をクリックすると、テキストボックスが現れます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Change the textbox so it says \"Clarinet_1A--L\""
-msgstr ""
+msgstr "テキストボックスを、 \"Clarinet_1A--L\" に変更します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Press 'Enter' on the keyboard to set the name."
-msgstr ""
+msgstr "キーボードで 'Enter' を押して、名前を設定します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Rename the following regions as shown:"
-msgstr ""
+msgstr "以下のリージョンの名前をこのように変更します："
 
 #. Tag: para
 #, no-c-format
 msgid "\"Clarinet_1--R\" becomes \"Clarinet_1A--R\""
-msgstr ""
+msgstr "\"Clarinet_1--R\" は \"Clarinet_1A--R\" に。"
 
 #. Tag: para
 #, no-c-format
 msgid "\"Clarinet_2--L\" becomes \"Clarinet_1B--L\""
-msgstr ""
+msgstr "\"Clarinet_2--L\" は \"Clarinet_1B--L\" に。"
 
 #. Tag: para
 #, no-c-format
 msgid "\"Clarinet_2--R\" becomes \"Clarinet_1B--R\""
-msgstr ""
+msgstr "\"Clarinet_2--R\"は \"Clarinet_1B--R\" に。"
 
 #. Tag: para
 #, no-c-format
-msgid "Since Clarinet_1 and Clarinet_2 represent the same musical material, we've renamed them to show it. Now, they're both Clarinet_1, with two versions, \"A\" and \"B.\""
+msgid ""
+"Since Clarinet_1 and Clarinet_2 represent the same musical material, we've "
+"renamed them to show it. Now, they're both Clarinet_1, with two versions, "
+"\"A\" and \"B.\""
 msgstr ""
+"Clarinet_1 と Clarinet_2 は同じ音楽の素材なので、それを示す名前にしました。Clarinet_1 の２つのバージョン、 \"A\""
+" と \"B\" です。"
 
 #. Tag: para
 #, no-c-format
-msgid "There will be some naming inconsistencies at this point: the blue-coloured regions still have their original names, and the canvas area doesn't have any region called \"Clarinet_2\"! If this bothers you, you can rename the other regions to suit."
+msgid ""
+"There will be some naming inconsistencies at this point: the blue-coloured "
+"regions still have their original names, and the canvas area doesn't have "
+"any region called \"Clarinet_2\"! If this bothers you, you can rename the "
+"other regions to suit."
 msgstr ""
+"ここで、名前付けの矛盾が発生します。青色のリージョンは、まだ元の名前を使っており、キャンバスエリアには \"Clarinet_2\" "
+"というリージョンはありません！これが気になるようなら、他のリージョンの名前を正しく変更してください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Clarinet_3 and Clarinet_4 Regions"
-msgstr ""
+msgstr "Clarinet_3 と Clarinet_4 リージョン"
 
 #. Tag: para
 #, no-c-format
-msgid "Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the same material that's in Clarinet_3, and ends with the same material that's in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to \"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
+msgid ""
+"Listen to the Clarinet_3 and Clarinet_4 regions. Clarinet_4 starts with the "
+"same material that's in Clarinet_3, and ends with the same material that's "
+"in Clarinet_1A and Clarinet_1B. First rename the \"Clarinet_3\" regions to "
+"\"Clarinet_3A,\" and the \"Clarinet_4\" regions to \"Clarinet_3B.\" Then, "
+"we'll extract the Clarinet_1-like portion from the Clarinet_3B regions."
 msgstr ""
+"Clarinet_3 と Clarinet_4 リージョンを聞きます。Clarinet_4 は、最初、 Clarinet_3 "
+"にあるのと同じ演奏で始まり、 Clarinet_1A と Clarinet_1B にあるのと同じ演奏で終わります。まず、 \"Clarinet_3\" "
+"リージョンの名前を \"Clarinet_3A\" と変え、 \"Clarinet_4\" リージョンを \"Clarinet_3B\" "
+"とします。次に、Clarinet_3B リージョンから、 Clarinet_1 のような部分を抜き出します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Under the transport toolbar, select the \"Select/Move Ranges\" tool, which looks like a double-ended left-to-right arrow with vertical lines at the sides."
-msgstr ""
+msgid ""
+"Under the transport toolbar, select the \"Select/Move Ranges\" tool, which "
+"looks like a double-ended left-to-right arrow with vertical lines at the "
+"sides."
+msgstr "トランスポートツールバーから、垂直線に挟まれた両方向矢印のように見える、 \"Select/Move Ranges\" ツールを選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "The cursor will change to look like a text-editing \"I\""
-msgstr ""
+msgstr "カーソルがテキスト編集のときの \"I\" の形に変わります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part the sounds like the \"Clarinet_1\" regions."
-msgstr ""
+msgid ""
+"Scroll to the end of the \"Clarinet_3B\" regions, so you can see the part "
+"the sounds like the \"Clarinet_1\" regions."
+msgstr "\"Clarinet_3B\" の終わりにスクロールして、\"Clarinet_1\" リージョンと同じように聞こえる部分が見えるようにします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click and drag the mouse over the \"Clarinet_1\"-like region in one of the tracks, to select them."
-msgstr ""
+msgid ""
+"Click and drag the mouse over the \"Clarinet_1\"-like region in one of the "
+"tracks, to select them."
+msgstr "どちらかのトラックの中で、\"Clarinet_1\" のように見えるリージョンの上でクリックアンドドラッグして、それを選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Because of the edit group, <application>Ardour</application> will automatically select the same area of both tracks."
+msgid ""
+"Because of the edit group, <application>Ardour</application> will "
+"automatically select the same area of both tracks."
 msgstr ""
+"エディットグループのため、<application>Ardour</application> は、自動的に両方のトラックで同じエリアを選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "We have to be sure to select all of the \"Clarinet_1\"-like material, so after you've selected a range, right-click on the range, and select 'Play Range' from the menu."
+msgid ""
+"We have to be sure to select all of the \"Clarinet_1\"-like material, so "
+"after you've selected a range, right-click on the range, and select 'Play "
+"Range' from the menu."
 msgstr ""
+"\"Clarinet_1\" に似た部分をすべて選択したのを確認するため、範囲を選択したらそれを右クリックして、メニューから 'Play Range' "
+"を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you want to adjust the selected range, use the darker squares at the top corners of the range-selection box. When you put the cursor over one of these boxes, it will change into a double-ended, left-to-right arrow."
+msgid ""
+"If you want to adjust the selected range, use the darker squares at the top "
+"corners of the range-selection box. When you put the cursor over one of "
+"these boxes, it will change into a double-ended, left-to-right arrow."
 msgstr ""
+"選択した範囲を変更したい時は、範囲選択ボックスの上の角にある暗い色の四角を使います。このボックスの１つにカーソルを置くと、両方向の矢印に変わります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Now create a new region from the range. Right-click on the selected range, and select 'Bounce range to region list' from the menu."
+msgid ""
+"Now create a new region from the range. Right-click on the selected range, "
+"and select 'Bounce range to region list' from the menu."
 msgstr ""
+"さあ、その範囲から新しいリージョンを作成しましょう。選択した範囲を右クリックして、メニューから 'Bounce range to region "
+"list' を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The range will appear as independent regions in the region list, called something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the new regions are coloured white."
+msgid ""
+"The range will appear as independent regions in the region list, called "
+"something like \"clarinet-L-0-bounce-1\". This isn't very helpful, so rename"
+" the regions to \"Clarinet_1C--L\" and \"Clarinet_1C--R\". Notice that the "
+"new regions are coloured white."
 msgstr ""
+"その範囲は独立したリージョンとなり、リージョンリストに \"clarinet-L-0-bounce-1\" "
+"のような名前で現れます。使いにくいので、\"Clarinet_1C--L\" と \"Clarinet_1C--R\" "
+"とリージョンの名前を変えます。新しいリージョンは、白色であることに注意してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "We no longer need the range tool, so select the \"Select/Move Objects\" tool, which is the hand-shaped icon just to the left of the range tool, underneath the transport toolbar."
+msgid ""
+"We no longer need the range tool, so select the \"Select/Move Objects\" "
+"tool, which is the hand-shaped icon just to the left of the range tool, "
+"underneath the transport toolbar."
 msgstr ""
+"範囲ツールはもう使いません。次はトランスポートツールバーの下、範囲ツールの左にある、手の形のアイコンの \"Select/Move Objects\" "
+"ツールを選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The selected range will no longer be selected. Trim the end of the \"Clarinet_3B\" regions down to size, past the material that we just bounced to the region list, and past the near-silence before it."
+msgid ""
+"The selected range will no longer be selected. Trim the end of the "
+"\"Clarinet_3B\" regions down to size, past the material that we just bounced"
+" to the region list, and past the near-silence before it."
 msgstr ""
+"選択した範囲は、もう、選択されなくなります。 \"Clarinet_3B\" "
+"リージョンの最後を、今、リージョンリストに入れたものの後、その前の静寂に近いところまで、切り詰めます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Now move the \"Clarinet_3\" regions back, to make room for the newly-created \"Clarinet_1C\" regions."
-msgstr ""
+msgid ""
+"Now move the \"Clarinet_3\" regions back, to make room for the newly-created"
+" \"Clarinet_1C\" regions."
+msgstr "次に \"Clarinet_3\" リージョンを後ろに動かして、新しく作成された \"Clarinet_1C\" リージョンを入れる場所を作りましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Drag the new \"Clarinet_1C\" regions onto the canvas after the other \"Clarinet_1\" regions, and adjust the spacing of the other regions, if you wish."
+msgid ""
+"Drag the new \"Clarinet_1C\" regions onto the canvas after the other "
+"\"Clarinet_1\" regions, and adjust the spacing of the other regions, if you "
+"wish."
 msgstr ""
+"新しい \"Clarinet_1C\" リージョンを、キャンバスエリアの他の \"Clarinet_1\" "
+"の後にドラッグします。他のリージョンの間隔を調整してもよいです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Strings_1 Regions"
-msgstr ""
+msgstr "Strings_1 リージョン"
 
 #. Tag: para
 #, no-c-format
-msgid "These regions start with the grumbling noise that was accidentally recorded. If you decided to leave it in, you could bounce the grumbling to the region list, so it can be controlled independently of the strings that follow."
+msgid ""
+"These regions start with the grumbling noise that was accidentally recorded."
+" If you decided to leave it in, you could bounce the grumbling to the region"
+" list, so it can be controlled independently of the strings that follow."
 msgstr ""
+"これらのリージョンは、誤って録音されたぶつぶついうノイズで始まります。そのままにするならば、ノイズをリージョンリストに入れれば、その後に続く弦楽器とは別に独立して制御することができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The new regions are probably called something like \"strings-L-0-bounce-1\". Because I know that the sound is chairs being moved across the floor in a room upstairs from the recording studio, I'm going to call the regions \"Chairs--L\" and \"Chairs--R\"."
+msgid ""
+"The new regions are probably called something like \"strings-L-0-bounce-1\"."
+" Because I know that the sound is chairs being moved across the floor in a "
+"room upstairs from the recording studio, I'm going to call the regions "
+"\"Chairs--L\" and \"Chairs--R\"."
 msgstr ""
+"新しいリージョンは、 \"strings-L-0-bounce-1\" "
+"とでも名付ければよいでしょうか。私は、この音は、録音スタジオの上の階で椅子を床の上で動かす音だと知っているので、 \"Chairs--L\" と "
+"\"Chairs--R\" というリージョン名をつけました。"
 
 #. Tag: para
 #, no-c-format
 msgid "Then remove the noise of the chairs from the Strings_1 regions."
-msgstr ""
+msgstr "そして、 Strings_1 リージョンから椅子のノイズを除きましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Since the marimba2 tracks aren't yet being used, we can put the Chairs regions there - at least for now - just to remember that we have them."
-msgstr ""
+msgid ""
+"Since the marimba2 tracks aren't yet being used, we can put the Chairs "
+"regions there - at least for now - just to remember that we have them."
+msgstr "marimba2 トラックはまだ使っていないので、椅子のリージョンをそこに置くことができます。今はとりあえず、あることを忘れないために。"
 
 #. Tag: para
 #, no-c-format
-msgid "Listen to the Strings_1 region. You'll notice that the noise of the chairs continues throughout the region. We can remove it later."
-msgstr ""
+msgid ""
+"Listen to the Strings_1 region. You'll notice that the noise of the chairs "
+"continues throughout the region. We can remove it later."
+msgstr "Strings_1 リージョンを聞きます。椅子のノイズはリージョンの間じゅう続いていることがわかります。後で削除しましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "You wouldn't know this without carefully listening to the song, or having the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a mistake near the end of this region, which is why the violinist says, \"sorry,\" just after that."
+msgid ""
+"You wouldn't know this without carefully listening to the song, or having "
+"the sheet music for \"Here Is How,\" so I'll tell you: the musicians make a "
+"mistake near the end of this region, which is why the violinist says, "
+"\"sorry,\" just after that."
 msgstr ""
+"あなたが注意深く歌を聞くか、あるいは、 \"Here Is How\" "
+"の楽譜を持っていなければ気がつかれないでしょうから、教えてあげますが、演奏家はこのリージョンの終わり付近でミスをしました。バイオリン奏者が、そのすぐ後で、"
+"  \"sorry\" と言っているのはこのためです。"
 
 #. Tag: para
 #, no-c-format
-msgid "We'll need to remove the error, so adjust the end of the track to make it about six seconds earlier. In the canvas view, you want to put the end of the region just before the second-last \"blob.\""
+msgid ""
+"We'll need to remove the error, so adjust the end of the track to make it "
+"about six seconds earlier. In the canvas view, you want to put the end of "
+"the region just before the second-last \"blob.\""
 msgstr ""
+"誤りを除かないといけないので、トラックの終わりを調整して、約６秒、短くします。キャンバスビューで、リージョンの最後を、最後から２つめの \"blob\""
+" の前にします。"
 
 #. Tag: title
 #, no-c-format
 msgid "Strings Regions"
-msgstr ""
+msgstr "弦楽器リージョン"
 
 #. Tag: para
 #, no-c-format
-msgid "These four regions are all tied together, and the material overlaps between them."
-msgstr ""
+msgid ""
+"These four regions are all tied together, and the material overlaps between "
+"them."
+msgstr "これらの４つのリージョンは、すべて、関連していて、内容もオーバラップしています。"
 
 #. Tag: para
 #, no-c-format
-msgid "Strings_2 covers most of the same material as Strings_1, and goes for a bit longer. It doesn't have the noise of the chairs, but there is a playing mistake after about the first minute and 20 seconds (1:20), so we can't use the end."
+msgid ""
+"Strings_2 covers most of the same material as Strings_1, and goes for a bit "
+"longer. It doesn't have the noise of the chairs, but there is a playing "
+"mistake after about the first minute and 20 seconds (1:20), so we can't use "
+"the end."
 msgstr ""
+"Strings_2 は、 Strings_1 "
+"と同じ演奏のほとんどを含み、少し長いです。そこには、椅子のノイズはありません。しかし、最初の１分２０秒（１：２０）のあたりに、演奏ミスがあるので、終わりの方は使うことができません。"
 
 #. Tag: para
 #, no-c-format
 msgid "Trim the last 32 seconds or so."
-msgstr ""
+msgstr "最後の３２秒程度を切り詰めます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Rename this region to \"Strings_1B\""
-msgstr ""
+msgstr "このリージョンを、 \"Strings_1B\" という名前に変えます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Rename the \"Strings_1\" regions to \"Strings_1A,\" to match with 1B"
-msgstr ""
+msgstr "1B と合うように、 \"Strings_1\" リージョンの名前を \"Strings_1A\" と変えます。"
 
 #. Tag: para
 #, no-c-format
 msgid "We'll decide which of these regions to use later."
-msgstr ""
+msgstr "後で、どっちのリージョンを使うか決めます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Strings_3 is also the same material, so rename it to \"Strings_1C.\""
-msgstr ""
+msgstr "Strings_3 も同じ演奏なので、 \"Strings_1C\" という名前に変えます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Strings_4 starts with the place where Strings_1A went wrong, and goes on from there. Let's keep it as it is, for now."
-msgstr ""
+msgid ""
+"Strings_4 starts with the place where Strings_1A went wrong, and goes on "
+"from there. Let's keep it as it is, for now."
+msgstr "Strings_4 は、 Strings_1A が失敗したところから始まって、そこから続きます。今は、このままとしましょう。"
 
 #. Tag: title
 #, no-c-format
 msgid "Voice Regions"
-msgstr ""
+msgstr "ボイスリージョン"
 
 #. Tag: para
 #, no-c-format
-msgid "These regions contain some overlap, but it is relative simple to sort out."
-msgstr ""
+msgid ""
+"These regions contain some overlap, but it is relative simple to sort out."
+msgstr "これらのリージョンはいくらかのオーバラップがありますが、見分けるのはわりと簡単です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Voice_1 contains two chunks of audio. The first one is good, but the singer had a problem making the second one clear, so we're not going to use it."
+msgid ""
+"Voice_1 contains two chunks of audio. The first one is good, but the singer "
+"had a problem making the second one clear, so we're not going to use it."
 msgstr ""
+"Voice_1 には、２つのオーディオのチャンクがあります。最初のは良いですが、２つめは歌手の問題でクリアーでないため、これは使わないことにしましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Voice_2 contains the second chunk of audio that was recorded poorly in Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
+msgid ""
+"Voice_2 contains the second chunk of audio that was recorded poorly in "
+"Voice_1. She also has a bit of a problem in Voice_2. Let's fix this up now."
 msgstr ""
+"Voice_2 には、 Voice_1で録音が失敗していた２つめのオーディオのチャンクが入っています。 Voice_2 "
+"においても、彼女は少し問題を抱えているようです。今、それを直しましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Trim the Voice_1 regions to remove the second chunk of audio, and the near-silence that precedes it."
-msgstr ""
+msgid ""
+"Trim the Voice_1 regions to remove the second chunk of audio, and the near-"
+"silence that precedes it."
+msgstr "Voice_1 リージョンを切り詰めて、オーディオの２つめのチャンクと、その前の静寂に近い部分を除きます。"
 
 #. Tag: para
 #, no-c-format
-msgid "One way to deal with the Voice_2 region is simply to cut off the first part of the region, which contains the words \"I have your flax-\" and some near-silence."
+msgid ""
+"One way to deal with the Voice_2 region is simply to cut off the first part "
+"of the region, which contains the words \"I have your flax-\" and some near-"
+"silence."
 msgstr ""
+"Voice_2 リージョンの対策の１つの手は単純にリージョンの最初の部分を切り取ってしまうことです。\"I have your flax-\" "
+"という歌詞と静寂がある部分です。"
 
 #. Tag: para
 #, no-c-format
-msgid "The second time the singer sings, \"I have your flax-,\" it sounds a bit rushed, so I'm going to combine the first \"I have your flax-\" with the following \"golden tails to ... \""
+msgid ""
+"The second time the singer sings, \"I have your flax-,\" it sounds a bit "
+"rushed, so I'm going to combine the first \"I have your flax-\" with the "
+"following \"golden tails to ... \""
 msgstr ""
+"歌手が、２回目に \"I have your flax-\" と歌うところは、少し急いで聞こえます。それで、１番目の \"I have your "
+"flax-\" と、続く \"golden tails to ... \" をくっつけることにしました。"
 
 #. Tag: para
 #, no-c-format
-msgid "Use the \"Select/Move Ranges\" tool to select the first time the singer says \"I have your flax-,\" being careful to capture all of the word \"flax,\" but none of the near-silence that follows."
+msgid ""
+"Use the \"Select/Move Ranges\" tool to select the first time the singer says"
+" \"I have your flax-,\" being careful to capture all of the word \"flax,\" "
+"but none of the near-silence that follows."
 msgstr ""
+"\"Select/Move Ranges\" ツールを使って、歌手が最初に  \"I have your flax-\" と歌う部分を選択します。 "
+"\"flax\" という語が全部入るように、そしてその後の静寂が入らないように、注意します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Use the loop function of the transport to ensure you've got the right range selected:"
-msgstr ""
+msgid ""
+"Use the loop function of the transport to ensure you've got the right range "
+"selected:"
+msgstr "トランスポートのループ機能を使って、正しい範囲を選択したことを確認します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select a range, then right-click on the range and select 'loop range'."
-msgstr ""
+msgstr "範囲を選択して、右クリックし、 'loop range' を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you want to make an adjustment, stop the transport, and adjust the range as desired."
-msgstr ""
+msgid ""
+"If you want to make an adjustment, stop the transport, and adjust the range "
+"as desired."
+msgstr "直したい時は、トランスポートを止め、範囲を調整します。"
 
 #. Tag: para
 #, no-c-format
 msgid "To listen again, right-click on the range and select 'loop range'."
-msgstr ""
+msgstr "もう一度聞くには、範囲を右クリックして、 'loop range' を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "You may need to zoom in so that you can adjust the range with sufficient detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom in."
+msgid ""
+"You may need to zoom in so that you can adjust the range with sufficient "
+"detail. Hold the 'Ctrl' key on the keyboard, and use the scrollwheel to zoom"
+" in."
 msgstr ""
+"範囲を十分細かく調整するために、ズームインした方がよいかもしれません。キーボードで 'Ctrl' "
+"キーを押したまま、スクロールホイールを使ってズームインします。"
 
 #. Tag: para
 #, no-c-format
-msgid "When you're done with the looping function, remove the looping markers from the timeline. They look like green triangles with the word \"Loop\" written beside. Move the cursor over a triangle, so that it changes colour. Then press the 'Delete' button on the keyboard."
+msgid ""
+"When you're done with the looping function, remove the looping markers from "
+"the timeline. They look like green triangles with the word \"Loop\" written "
+"beside. Move the cursor over a triangle, so that it changes colour. Then "
+"press the 'Delete' button on the keyboard."
 msgstr ""
+"ループ機能を使い終わったら、タイムラインからループマーカーを除きます。 \"Loop\" "
+"と、書いてある、緑色の三角印です。三角の上にカーソルを置くと色が変わるので、キーボードで 'Delete' ボタンを押します。"
 
 #. Tag: para
 #, no-c-format
-msgid "When you are happy with the range that you've selected, right-click on the range and choose 'Consolidate range' from the menu."
-msgstr ""
+msgid ""
+"When you are happy with the range that you've selected, right-click on the "
+"range and choose 'Consolidate range' from the menu."
+msgstr "選択した範囲がそれでよければ、範囲を右クリックして、メニューから 'Consolidate range' を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>Ardour</application> will create a region from the range that you selected, leaving it in-place. It will also divide the space in the region before and after the new region, leaving you with many smaller regions, all conveniently collected in the session toolbar's Regions list, under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
+msgid ""
+"<application>Ardour</application> will create a region from the range that "
+"you selected, leaving it in-place. It will also divide the space in the "
+"region before and after the new region, leaving you with many smaller "
+"regions, all conveniently collected in the session toolbar's Regions list, "
+"under the blue-coloured \"Voice_2--L\" and \"Voice_2--R\" regions."
 msgstr ""
+"<application>Ardour</application> "
+"は、あなたが選択した範囲からリージョンを作ってそこに置きます。さらに、新しいリージョンの前と後ろのスペースも別リージョンとして分割するため、多くの小さいリージョンができることになります。すべては、セッションツールバーのリージョンリスト、青色の"
+" \"Voice_2--L\" と \"Voice_2--R\" リージョンの下に、わかりやすいようにまとめられます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Trim the rest of the original Voice_2 region, so that it starts with \"golden,\" and does not contain any of the previous word (\"flax-\"). You don't need to use the range tool, but you can if you wish."
+msgid ""
+"Trim the rest of the original Voice_2 region, so that it starts with "
+"\"golden,\" and does not contain any of the previous word (\"flax-\"). You "
+"don't need to use the range tool, but you can if you wish."
 msgstr ""
+"オリジナルの Voice_2 リージョンの残りを切り詰めて、それが \"golden\" "
+"で始まって、前の語（\"flax-\"）を含まないようにします。範囲ツールを使う必要はありませんが、使ってもよいです。 "
 
 #. Tag: para
 #, no-c-format
-msgid "Then, push the two regions together, so that it sounds like \"I have your flax-golden tails to... \""
-msgstr ""
+msgid ""
+"Then, push the two regions together, so that it sounds like \"I have your "
+"flax-golden tails to... \""
+msgstr "次に、２つのリージョンをくっつけて、 \"I have your flax-golden tails to... \" と聞こえるようにします。"
 
 #. Tag: para
 #, no-c-format
-msgid "This isn't going to sound perfect, but you might prefer it to simply trimming the beginning off the Voice_2 region."
-msgstr ""
+msgid ""
+"This isn't going to sound perfect, but you might prefer it to simply "
+"trimming the beginning off the Voice_2 region."
+msgstr "この方法は、完全とは言えませんが、単に、 Voice_2 リージョンの先頭を切り詰めてもなんとかなります。"
 
 #. Tag: para
 #, no-c-format
-msgid "It's important to remember to move both regions together. If they are accidentally separated, then you can easily enough move them back into place."
-msgstr ""
+msgid ""
+"It's important to remember to move both regions together. If they are "
+"accidentally separated, then you can easily enough move them back into "
+"place."
+msgstr "両方のリージョンを同時に動かすのを忘れないことが大事です。誤ってバラバラになっても、元の通りに戻すのは簡単です。"
 
 #. Tag: para
 #, no-c-format
 msgid "Voice_3 contains two chunks of audio. We'll leave it alone for now."
-msgstr ""
+msgstr "Voice_3 は２つのオーディオのチャンクがあります。今は、そのままにしましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Voice_4 contains the same two chunks of audio as Voice_3, but goes on to include more. We can't yet determine whether to use Voice_3 or Voice_4 for those two chunks, so we're going to leave them in both regions."
+msgid ""
+"Voice_4 contains the same two chunks of audio as Voice_3, but goes on to "
+"include more. We can't yet determine whether to use Voice_3 or Voice_4 for "
+"those two chunks, so we're going to leave them in both regions."
 msgstr ""
+"Voice_4 には Voice_3 と同じ２つのオーディオのチャンクがありますが、さらに続いて、他のものも含まれます。この２つのチャンクについて、 "
+"Voice_3 か Voice_4 のどちらを使うか、まだ決められないので、両方のリージョンに残すことにします。"
 
 #. Tag: title
 #, no-c-format
 msgid "ens-Here_Is_How Regions"
-msgstr ""
+msgstr "ens-Here_Is_How リージョン"
 
 #. Tag: para
 #, no-c-format
 msgid "ens-Here_Is_How-1 contains two chunks of similar audio, both correct."
-msgstr ""
+msgstr "ens-Here_Is_How-1 は、似たオーディオの２つのチャンクがあります。どちらも正しいです。"
 
 #. Tag: para
 #, no-c-format
-msgid "ens-Here_Is_How-2 contains two chunks of similar audio. It's different from ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but the timing between the two chunks is correct."
+msgid ""
+"ens-Here_Is_How-2 contains two chunks of similar audio. It's different from "
+"ens-Here_Is_How-1, but the second of these chunks has incorrect pitches, but"
+" the timing between the two chunks is correct."
 msgstr ""
+"ens-Here_Is_How-2 は、似たオーディオの２つのチャンクがあります。ens-Here_Is_How-1 "
+"とは異なります。２つめのチャンクは、音程がおかしいです。２つのチャンクの間のタイミングは正しいです。"
 
 #. Tag: para
 #, no-c-format
-msgid "* ens-Here_Is_How-3 contains the second chunk of audio from ens-Here_Is_How-2, with the correct pitches. Since we want to maintain the correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of -3 is as close to covering that of -2 as possible. These regions will also have to be carefully moved together."
+msgid ""
+"* ens-Here_Is_How-3 contains the second chunk of audio from ens-"
+"Here_Is_How-2, with the correct pitches. Since we want to maintain the "
+"correct timing from ens-Here_Is_How-2, simply drag ens-Here_Is_How-3 over "
+"top of ens-Here_Is_How-2. Align the regions so that the wave-form shape of "
+"-3 is as close to covering that of -2 as possible. These regions will also "
+"have to be carefully moved together."
 msgstr ""
+"ens-Here_Is_How-3 には、 ens-Here_Is_How-2 のオーディオの２つめのチャンクの正しい音程のものがあります。ens-"
+"Here_Is_How-2 の正しいタイミングを維持したいので、 ens-Here_Is_How-3 を ens-Here_Is_How-2 "
+"のちょうど上にドラッグします。２つのリージョンを並べて、３の波形ができるだけ２の波形をカバーするように調整します。これらのリージョンは、一緒に移動するように注意ください。"
 
 #. Tag: title
 #, no-c-format
 msgid "ens-Create_the_Inconceivable Regions"
-msgstr ""
+msgstr "ens-Create_the_Inconceivable リージョン"
 
 #. Tag: para
 #, no-c-format
 msgid "There are two takes of the same material in this region."
-msgstr ""
+msgstr "このリージョンには、同じ曲の２つのテイクがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Listen to them both, and decide which you prefer - it's up to your preference. Remember, you can also reverse your choice later, because <application>Ardour</application> will not delete the material that you remove by trimming the region."
+msgid ""
+"Listen to them both, and decide which you prefer - it's up to your "
+"preference. Remember, you can also reverse your choice later, because "
+"<application>Ardour</application> will not delete the material that you "
+"remove by trimming the region."
 msgstr ""
+"両方を聞いて、どちらが好きか決めます。あなたの好みの問題です。後から、選択を逆にすることもできます。 "
+"<application>Ardour</application> "
+"は、リージョンを切り詰めるときに削除されたものを本当に消してしまうわけではないためです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Use the range tool to select the range which includes the take that you prefer."
-msgstr ""
+msgid ""
+"Use the range tool to select the range which includes the take that you "
+"prefer."
+msgstr "範囲ツールを使って、あなたが好きな方のテイクを含む範囲を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Use the transport's looping mechanism, if you wish, to be sure that you selected the right range."
-msgstr ""
+msgid ""
+"Use the transport's looping mechanism, if you wish, to be sure that you "
+"selected the right range."
+msgstr "トランスポートのループ機能を使って、正しい範囲を選択したことを確認するのもよいでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Right-click on the range, then choose 'Crop region to range,' which will automatically trim the region for you."
-msgstr ""
+msgid ""
+"Right-click on the range, then choose 'Crop region to range,' which will "
+"automatically trim the region for you."
+msgstr "範囲を右クリックして、 'Crop region to range' を選択します。自動的に、リージョンを切り詰めてくれます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Marimba Regions"
-msgstr ""
+msgstr "マリンバリージョン"
 
 #. Tag: para
 #, no-c-format
 msgid "The marimba regions do not need adjustment."
-msgstr ""
+msgstr "マリンバリージョンは、調整が不要です。"
 
 #. Tag: title
 #, no-c-format
 msgid "Arrange Regions into the Right Places"
-msgstr ""
+msgstr "リージョンを正しい場所に並べる"
 
 #. Tag: para
 #, no-c-format
-msgid "We're going to start by arranging the marimba, since it plays a relatively consistent rhythm throughout most of the song. It is a good idea to start with something like this, so that the following tracks and regions can be related to it."
+msgid ""
+"We're going to start by arranging the marimba, since it plays a relatively "
+"consistent rhythm throughout most of the song. It is a good idea to start "
+"with something like this, so that the following tracks and regions can be "
+"related to it."
 msgstr ""
+"マリンバを並べることから始めましょう。それは曲のほとんどにわたって、比較的一定のリズムを演奏するからです。このようなものから始めるのはよい考えで、他のトラックとリージョンを、それに関連させることができるからです。"
 
 #. Tag: para
 #, no-c-format
-msgid "All of the times here are given in minutes and seconds. The tutorial file is configured to use this unit by default, but if you have changed it, you will need to keep that in mind. Also, I have not cropped or trimmed the \"Marimba_1\" region, and it is located in the \"marimba1\" track, starting at 00:00:00.000. If you have modified that region, I suggest restoring it to the original size."
+msgid ""
+"All of the times here are given in minutes and seconds. The tutorial file is"
+" configured to use this unit by default, but if you have changed it, you "
+"will need to keep that in mind. Also, I have not cropped or trimmed the "
+"\"Marimba_1\" region, and it is located in the \"marimba1\" track, starting "
+"at 00:00:00.000. If you have modified that region, I suggest restoring it to"
+" the original size."
 msgstr ""
+"ここでの時間はすべて、分と秒で示されます。チュートリアルのファイルはデフォルトでこの単位を使うように設定されています。しかし、あなたがそれを変更したなら、それを覚えておく必要があります。また、私は、"
+" \"Marimba_1\" リージョンを切り詰めたりはしておらず、それは \"marimba1\" トラックの 00:00:00.000 "
+"から開始します。もしあなたがこのリージョンを変更したなら、元の大きさに戻しておくことをおすすめします。"
 
 #. Tag: title
 #, no-c-format
 msgid "Start with the Marimba Regions"
-msgstr ""
+msgstr "マリンバリージョンから始める"
 
 #. Tag: para
 #, no-c-format
-msgid "When you have made sure that the \"Marimba_1\" regions are not cropped or trimmed, and that they start at 00:00:00.000, we can lock it in place."
+msgid ""
+"When you have made sure that the \"Marimba_1\" regions are not cropped or "
+"trimmed, and that they start at 00:00:00.000, we can lock it in place."
 msgstr ""
+" \"Marimba_1\" リージョンを切り詰めたりしてないことと、それが  00:00:00.000 "
+"から開始することを確かめたら、その場でロックしましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Right-click on the regions, and navigate to the 'Selected regions' menu, then click 'Lock' from that menu."
-msgstr ""
+msgid ""
+"Right-click on the regions, and navigate to the 'Selected regions' menu, "
+"then click 'Lock' from that menu."
+msgstr "リージョンを右クリックして、 'Selected regions' メニューに行って、メニューから 'Lock' をクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Notice that <application>Ardour</application> puts &gt; and &lt; around the name of the region, in the canvas area."
+msgid ""
+"Notice that <application>Ardour</application> puts &gt; and &lt; around the "
+"name of the region, in the canvas area."
 msgstr ""
+"<application>Ardour</application> が、キャンバスエリアで、 &gt; と &lt; "
+"を、名前のまわりにつけることに注意ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Also notice that you can no longer move the region with the \"Select/Move Objects\" tool."
-msgstr ""
+msgid ""
+"Also notice that you can no longer move the region with the \"Select/Move "
+"Objects\" tool."
+msgstr "また、そのリージョンを、 \"Select/Move Objects\" ツールで動かすことができなくなっていることにも注意ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Now place a marker to show the exact moment when it starts: six seconds into the session."
-msgstr ""
+msgid ""
+"Now place a marker to show the exact moment when it starts: six seconds into"
+" the session."
+msgstr "さて、それが開始する正確な時刻を示すためにマーカーを置きます。セッションが始まってから６秒です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Zoom in appropriately so that you can see where the six-second mark on the ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' button on the keyboard to zoom in and the '-' button to zoom out."
+msgid ""
+"Zoom in appropriately so that you can see where the six-second mark on the "
+"ruler should go (but you needn't see it yet). Hold the 'Ctrl' button on the "
+"keyboard, and use the mouse's scrollwheel to zoom in, or press the '=' "
+"button on the keyboard to zoom in and the '-' button to zoom out."
 msgstr ""
+"適当にズームインして、６秒のマークがルーラーの上でどこに行くかわかるようにしてください。（今すぐに、見える必要はありません。）キーボードで 'Ctrl'"
+" ボタンを押したままにして、マウスのスクロールホイールを使ってズームインして下さい。あるいは、キーボードの '=' でズームイン、 '-' "
+"でズームアウトすることもできます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Move the cursor to near the six-second mark (again, not important to be precise yet), and right-click in the \"Location Markers\" row. Select 'New location marker' from the menu."
+msgid ""
+"Move the cursor to near the six-second mark (again, not important to be "
+"precise yet), and right-click in the \"Location Markers\" row. Select 'New "
+"location marker' from the menu."
 msgstr ""
+"カーソルを６秒のマークの近くに移動します。（繰り返しますが、まだ、正確である必要はありません。）\"Location Markers\" "
+"行を右クリックして、メニューから 'New location marker' を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click-and-drag the yellow-green arrow that appears, so that the yellow clock shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
+msgid ""
+"Click-and-drag the yellow-green arrow that appears, so that the yellow clock"
+" shows 00:00:06.000, indicating six seconds precisely. Release the mouse."
 msgstr ""
+"黄緑色の矢印が現れますから、クリックアンドドラッグして、黄色の時計が 00:00:06.000 ちょうど６秒を指すようにして、マウスを離します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Move the cursor over the marker, so it changes colours from yellow-green to red-tan (coral). Right-click and select 'Lock' from the menu, so that the marker will not be accidentally moved."
+msgid ""
+"Move the cursor over the marker, so it changes colours from yellow-green to "
+"red-tan (coral). Right-click and select 'Lock' from the menu, so that the "
+"marker will not be accidentally moved."
 msgstr ""
+"カーソルをマーカーの上に移動すると、黄緑色から、赤褐色（コーラル）になります。右クリックして、メニューから 'Lock' "
+"を選び、マーカーが誤って動かないようにします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Again, right-click while the cursor is over the marker. Select 'Rename' from the menu."
-msgstr ""
+msgid ""
+"Again, right-click while the cursor is over the marker. Select 'Rename' from"
+" the menu."
+msgstr "カーソルをマーカーの上に置いて、もう一度、右クリックします。メニューから 'Rename' を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "A small window will appear. Write the name of the maker, \"marimba-start,\" and click 'Rename' to set the new name."
+msgid ""
+"A small window will appear. Write the name of the maker, \"marimba-start,\" "
+"and click 'Rename' to set the new name."
 msgstr ""
+"小さいウインドウが現れます。マーカーの名前を  \"marimba-start\" と書いて、 'Rename' をクリックして新しい名前を設定します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Since we will be adjusting the placement of regions in the timeline very precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is useful for a different kind of task."
+msgid ""
+"Since we will be adjusting the placement of regions in the timeline very "
+"precisely, we will need to use different \"Snap/Grid Mode.\" Each setting is"
+" useful for a different kind of task."
 msgstr ""
+"タイムラインの上でのリージョンの位置の調整を、とても正確に行う必要があるので、別の \"Snap/Grid Mode\" "
+"を使う必要があります。それぞれの設定は、異なる種類の作業に適しています。"
 
 #. Tag: para
 #, no-c-format
-msgid "We can change the mode using the toolbar just above the canvas area. The pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
+msgid ""
+"We can change the mode using the toolbar just above the canvas area. The "
+"pop-down menu probably says \"Magnetic,\" indicating that it's in \"Magnetic"
+" Snapping Mode,\" but it might also say \"No Grid\" or \"Grid.\""
 msgstr ""
+"キャンバスエリアの上のツールバーを使って、モードを変更します。ポップダウンメニューは、\"Magnetic\" つまり、現在 \"Magnetic "
+"Snapping Mode\" にあることを示しているかもしれません。その他に、 \"No Grid\" と \"Grid\" があるはずです。"
 
 #. Tag: para
 #, no-c-format
-msgid "No Grid: This mode gives the user full control over where they will place a region. It is useful for doing highly-precise alignment, as we're about to do."
+msgid ""
+"No Grid: This mode gives the user full control over where they will place a "
+"region. It is useful for doing highly-precise alignment, as we're about to "
+"do."
 msgstr ""
+"No Grid: "
+"このモードは、ユーザがリージョンを置く場所を完全にコントロールすることができます。私たちがやろうとしているような、とても正確な配置に適します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Grid: This mode only allows the user to place regions where they will start on a grid-line. Unless you changed it, your grid is set to two seconds, so you can only start regions in two-second intervals - <application>Ardour</application> will not allow you to place a region so that it starts on an odd-numbered second, or anywhere in between."
+msgid ""
+"Grid: This mode only allows the user to place regions where they will start "
+"on a grid-line. Unless you changed it, your grid is set to two seconds, so "
+"you can only start regions in two-second intervals - "
+"<application>Ardour</application> will not allow you to place a region so "
+"that it starts on an odd-numbered second, or anywhere in between."
 msgstr ""
+"Grid: "
+"このモードは、ユーザがリージョンを、グリッド線の上で始まるように置くことしか許しません。あなたが変更してないならば、グリッドは２秒に設定されているはずですから、リージョンは２秒間隔以外のところから開始することはできません。<application>Ardour</application>"
+" は、リージョンを奇数秒で始めたり、その間のどこかで始まるように配置することを許しません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Magnetic: This mode allows the user to place a region wherever they like, but when the start of the region is near a grid-line (an even-numbered second, in this session), the start of the region will automatically \"snap\" to that point. It behaves as if the start of regions were magnetically attracted to the grid lines."
+msgid ""
+"Magnetic: This mode allows the user to place a region wherever they like, "
+"but when the start of the region is near a grid-line (an even-numbered "
+"second, in this session), the start of the region will automatically "
+"\"snap\" to that point. It behaves as if the start of regions were "
+"magnetically attracted to the grid lines."
 msgstr ""
+"Magnetic: "
+"このモードは、リージョンをどこに置いてもよいです。しかし、リージョンの開始点がグリッド線（このセッションでは偶数秒）の近くにあるときには、開始点は、自動的にその地点に「くっつき」ます。リージョンの開始点が、グリッド線に、磁石で引き寄せられるようにふるまいます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Adjust the snap/grid mode to \"No Grid.\""
-msgstr ""
+msgstr "snap/grid モードを \"No Grid\" にする"
 
 #. Tag: para
 #, no-c-format
-msgid "Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000) on the timeline. You'll have to move the grinding of the chairs out of the way, if you decided to keep it. Move it to the \"strings\" tracks, before the \"Strings\" regions."
+msgid ""
+"Move the \"Marimba_2\" regions so that they are in the \"marimba2\" tracks, "
+"so that the sound in \"Marimba_2\" starts at about 15 seconds (00:00:15.000)"
+" on the timeline. You'll have to move the grinding of the chairs out of the "
+"way, if you decided to keep it. Move it to the \"strings\" tracks, before "
+"the \"Strings\" regions."
 msgstr ""
+"\"Marimba_2\" リージョンを動かして、 \"marimba2\" トラックに入れ、 \"Marimba_2\" "
+"のサウンドがタイムラインの約１５秒の (00:00:15.000) "
+"ところで始まるようにします。椅子を引きずる音をそのままにするならば、じゃまにならないところに置きましょう。\"strings\" トラックの "
+"\"Strings\" リージョンの前に移動します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, so you will be able to hear them both."
-msgstr ""
+msgid ""
+"Ensure that both the \"marimba1\" and \"marimba2\" busses are on solo mode, "
+"so you will be able to hear them both."
+msgstr "\"marimba1\" と \"marimba2\" バスが聞こえるように、それらが両方ともソロモードであるのを確認します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Now here's the difficult part: you'll have to align the two tracks, so that they start together."
-msgstr ""
+msgid ""
+"Now here's the difficult part: you'll have to align the two tracks, so that "
+"they start together."
+msgstr "さて、むつかしい仕事です。２つのトラックを並べて、一緒に始まるようにしなければいけません。"
 
 #. Tag: para
 #, no-c-format
-msgid "The sound in the \"Marimba_2\" regions should start at the same time as the second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on the timeline."
+msgid ""
+"The sound in the \"Marimba_2\" regions should start at the same time as the "
+"second pattern in the \"Marimba_1\" tracks, which is at about 15 seconds on "
+"the timeline."
 msgstr ""
+"\"Marimba_2\" リージョンのサウンドは、 \"Marimba_1\" "
+"トラックの２つめのパターン、タイムラインで約１５秒のところ、と同時に開始しなければいけません。"
 
 #. Tag: para
 #, no-c-format
-msgid "You'll need to zoom in - it helps to be able to see the wave-form shapes of the regions. More importantly, zooming in allows you to adjust the placement of the regions with greater precision."
+msgid ""
+"You'll need to zoom in - it helps to be able to see the wave-form shapes of "
+"the regions. More importantly, zooming in allows you to adjust the placement"
+" of the regions with greater precision."
 msgstr ""
+"リージョンの波形をよく見るために、ズームインする必要があります。もっと重要なことは、ズームインすれば、リージョンの配置をより細かく調整できます。"
 
 #. Tag: para
 #, no-c-format
-msgid "You may want to select a range, and use the loop mode of the transport. This will allow you to hear the start of the regions again and again, ensuring that they are aligned."
+msgid ""
+"You may want to select a range, and use the loop mode of the transport. This"
+" will allow you to hear the start of the regions again and again, ensuring "
+"that they are aligned."
 msgstr ""
+"範囲を選択して、トランスポートのループモードを使うとよいでしょう。２つのリージョンの開始点を何度も聞いて、それらがきちんと並んでいるのを確認下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you feel like you've got it close, but not quite together, then try moving it far away, listening, then adjusting it closer again."
-msgstr ""
+msgid ""
+"If you feel like you've got it close, but not quite together, then try "
+"moving it far away, listening, then adjusting it closer again."
+msgstr "だいたい良いのだが、きっちり一緒と言えないと感じたときは、一度ずっと遠くに動かして、聞いて、そして、また近づけましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Once you have aligned the first few seconds of this pattern, it will eventually become unsynchronized, which is okay. The beginning will be the most noticable part; when the listeners become accustomed to the sound of the two marimba tracks together, they will stop paying close attention. Furthermore, they are likely to be focussing on the words by the time the marimba tracks become unsynchronized."
+msgid ""
+"Once you have aligned the first few seconds of this pattern, it will "
+"eventually become unsynchronized, which is okay. The beginning will be the "
+"most noticable part; when the listeners become accustomed to the sound of "
+"the two marimba tracks together, they will stop paying close attention. "
+"Furthermore, they are likely to be focussing on the words by the time the "
+"marimba tracks become unsynchronized."
 msgstr ""
+"このパターンの最初の何秒かを整列させても、いずれ、同期が取れなくなるでしょう。それはかまいません。最初が、最も気になる部分です。リスナーが２つの同時演奏されるマリンバトラックのサウンドに慣れてきた頃、そんなに細かい注意をはらうことはなくなります。さらに、マリンバトラックが同期が取れなくなる頃には、リスナーは歌詞に注意が行っていることでしょう。"
 
 #. Tag: para
 #, no-c-format
 msgid "Remember to lock the \"Marimba_2\" region!"
-msgstr ""
+msgstr " \"Marimba_2\" リージョンのロックを忘れないように！"
 
 #. Tag: para
 #, no-c-format
-msgid "Listen to the rest of the regions together. The end of the regions, at about 00:02:20.000, should be aligned, if you aligned the start correctly. The higher and lower marimbas will alternate."
+msgid ""
+"Listen to the rest of the regions together. The end of the regions, at about"
+" 00:02:20.000, should be aligned, if you aligned the start correctly. The "
+"higher and lower marimbas will alternate."
 msgstr ""
+"リージョンの残りを一緒に聞いてみます。00:02:20.000 "
+"頃の、リージョンの終わりは、あなたが開始を正しく並べたならば、こちらも並んでいるはずです。高音と低音のマリンバが交代します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_3\" regions so they start at approximately 00:03:20.000, "
+"with \"Marmiba_3\" in the \"marimba1\" tracks. We will find a final "
+"alignment later."
 msgstr ""
+"\"Marimba_3\" リージョンを、\"marimba1\" トラックの約 00:03:20.000 "
+"に開始するように移動します。最終的な配置は後で決めます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Move the \"Marimba_4\" regions so they start at approximately the same time as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a final alignment later."
+msgid ""
+"Move the \"Marimba_4\" regions so they start at approximately the same time "
+"as the \"Marimba_3\" regions, but in the \"marimba2\" tracks. We will find a"
+" final alignment later."
 msgstr ""
+"\"Marimba_4\" リージョンを、\"Marimba_3\" リージョンとだいたい同じ時刻に始まるように、こちらは、 \"marimba2\" "
+"トラックに、移動します。最終的な配置は後で決めます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Continue with the Voice Regions"
-msgstr ""
+msgstr "ボイスリージョンの続き"
 
 #. Tag: para
 #, no-c-format
-msgid "Throughout this section, you will need to move un-placed regions out of the way, farter down the session, so that they don't interfere with the alignment process. Remember to lock the regions once you put them in place. They can be unlocked and re-aligned later, if you choose. Finally, it will help if you place a marker (like the \"marimba-start\" marker that we placed earlier) where each region will start. When you place a marker, you can click on it, and move the blue place-marker line. This will help you to align the start of sound in a region to the place where you want it to be."
+msgid ""
+"Throughout this section, you will need to move un-placed regions out of the "
+"way, farter down the session, so that they don't interfere with the "
+"alignment process. Remember to lock the regions once you put them in place. "
+"They can be unlocked and re-aligned later, if you choose. Finally, it will "
+"help if you place a marker (like the \"marimba-start\" marker that we placed"
+" earlier) where each region will start. When you place a marker, you can "
+"click on it, and move the blue place-marker line. This will help you to "
+"align the start of sound in a region to the place where you want it to be."
 msgstr ""
+"このセクションのあいだじゅう、配置が決まっていないリージョンを、他の整列処理にじゃまにならないようにどけることが必要になるでしょう。リージョンを正しい位置に置いたら、ロックするのを忘れないでください。後から、アンロックして、並べ直すこともできます。また、マーカー（前に使った"
+" \"marimba-start\" "
+"マーカーのように）を、それぞれのリージョンの開始点に置くと良いでしょう。マーカーを置けば、それをクリックして、青色のプレースマーカーラインを動かすことができます。こうすれば、リージョンの中のサウンドの開始点を好きなところに揃えて並べるのが簡単です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well as the marimba busses."
-msgstr ""
+msgid ""
+"Enable \"solo\" mode on the \"voice\" bus, so that you can hear it as well "
+"as the marimba busses."
+msgstr "\"voice\" バスで、 \"solo\" モードを有効にして、マリンババスと一緒に聞けるようにします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Slide the \"Voice_1\" regions so that the singer starts at about the same time as the higher marimba."
-msgstr ""
+msgid ""
+"Slide the \"Voice_1\" regions so that the singer starts at about the same "
+"time as the higher marimba."
+msgstr "\"Voice_1\" リージョンを動かして、歌手が高音のマリンバとほぼ同じに開始するようにします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Slide the \"Voice_2\" regions so that the singer starts at about <literal>00:00:48.00</literal>"
-msgstr ""
+msgid ""
+"Slide the \"Voice_2\" regions so that the singer starts at about "
+"<literal>00:00:48.00</literal>"
+msgstr "\"Voice_2\" リージョンを動かして、歌手が、約 <literal>00:00:48.00</literal> に開始するようにします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about <literal>00:01:33.300</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-1\" regions so that they start singing at about "
+"<literal>00:01:33.300</literal>"
 msgstr ""
+"\"ens-Here_Is_How-1\" リージョンを動かして、約 <literal>00:01:33.300</literal> "
+"に歌い出すようにします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") regions so that they start singing at about <literal>00:02:11.500</literal>"
+msgid ""
+"Slide the \"ens-Here_Is_How-2\" (and the adjoined \"ens-Here_Is_How-3\") "
+"regions so that they start singing at about <literal>00:02:11.500</literal>"
 msgstr ""
+"\"ens-Here_Is_How-2\" (と、結合された \"ens-Here_Is_How-3\" も) リージョンを動かして、約 "
+"<literal>00:02:11.500</literal> に歌い出すようにします。"
 
 #. Tag: para
 #, no-c-format
-msgid "After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
+msgid ""
+"After playing closer attention to \"Voice_3\" and \"Voice_4,\" you realize "
+"that the singer misses a word (\"plan <emphasis>in</emphasis> you spider's "
+"ear\") in \"Voice_4.\" Because \"Voice_3\" doesn't contain the second part "
+"of \"Voice_4,\" we'll need to trim the \"Voice_4\" region, and use both."
 msgstr ""
+"\"Voice_3\" と \"Voice_4\" をよく聞くと、\"Voice_4\" で歌手が歌詞を抜かした (\"plan "
+"<emphasis>in</emphasis> you spider's ear\") のに気がつくでしょう。 \"Voice_3\" には、 "
+"\"Voice_4\" の２つめのパートが含まれないので、 \"Voice_4\" リージョンを切り詰めて、両方を使う必要があります。"
 
 #. Tag: para
 #, no-c-format
-msgid "The singer should start singing in \"Voice_3\" at about <literal>00:02:24.500</literal>"
-msgstr ""
+msgid ""
+"The singer should start singing in \"Voice_3\" at about "
+"<literal>00:02:24.500</literal>"
+msgstr "歌手は、 \"Voice_3\" の約 <literal>00:02:24.500</literal> に開始するようにします。"
 
 #. Tag: para
 #, no-c-format
-msgid "The signer should start singing \"and here is how\" in \"Voice_4\" at about <literal>00:02:43.000</literal>"
+msgid ""
+"The signer should start singing \"and here is how\" in \"Voice_4\" at about "
+"<literal>00:02:43.000</literal>"
 msgstr ""
+"歌手は、\"Voice_4\" の、約 <literal>00:02:43.000</literal> に、 \"and here is how\" "
+"と歌い始めるようにします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Slide the \"ens-Create_the_Inconceivable\" regions so that they start singing at about <literal>00:02:59.000</literal>"
+msgid ""
+"Slide the \"ens-Create_the_Inconceivable\" regions so that they start "
+"singing at about <literal>00:02:59.000</literal>"
 msgstr ""
+"\"ens-Create_the_Inconceivable\" リージョンを動かして、約 "
+"<literal>00:02:59.000</literal> に開始するようにします。"
 
 #. Tag: title
 #, no-c-format
 msgid "Align the Marimba at the End"
-msgstr ""
+msgstr "マリンバの終わりをそろえる"
 
 #. Tag: para
 #, no-c-format
-msgid "Now that we have roughly placed all the singers' regions, we can figure out where to put the concluding marimba passage."
-msgstr ""
+msgid ""
+"Now that we have roughly placed all the singers' regions, we can figure out "
+"where to put the concluding marimba passage."
+msgstr "すべての歌手のリージョンを、ほぼ並べ終わったので、最後のマリンバのパッセージをどこに置くかを考えましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start the marimba's ending regions somewhere after the highest singer has said \"if you know what I mean,\" but before she stops singing the word \"mean.\""
+msgid ""
+"Listen to the \"ens-Create_the_Inconceivable\" regions. We're going to start"
+" the marimba's ending regions somewhere after the highest singer has said "
+"\"if you know what I mean,\" but before she stops singing the word \"mean.\""
 msgstr ""
+"\"ens-Create_the_Inconceivable\" リージョンを聞きます。マリンバの終了リージョンを、最高音の歌手が \"if you "
+"know what I mean\" と歌った後、\"mean\" という語を歌い終わる前のどこかに置きます。"
 
 #. Tag: para
 #, no-c-format
-msgid "It's up to you exactly where to re-start the marimba. Pick a place, and move the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the \"Marimba_4\" region in the \"marimba2\" bus."
+msgid ""
+"It's up to you exactly where to re-start the marimba. Pick a place, and move"
+" the two \"Marimba_3\" region to that place in the \"marimba1\" bus, and the"
+" \"Marimba_4\" region in the \"marimba2\" bus."
 msgstr ""
+"マリンバを再開始する正確なところは、あなたが決めればよいです。位置を決めて、２つの \"Marimba_3\" リージョンを、 \"marimba1\""
+" のその場所に動かし、 \"Marimba_4\" リージョンを \"marimba2\" で動かします。"
 
 #. Tag: para
 #, no-c-format
-msgid "You may need to set up a range and use the transport's looping function to get the alignment exact."
-msgstr ""
+msgid ""
+"You may need to set up a range and use the transport's looping function to "
+"get the alignment exact."
+msgstr "正確な整列をするために、範囲を設定し、トランスポートのループ機能を使うと良いかもしれません。"
 
 #. Tag: para
 #, no-c-format
-msgid "This particular entry is going to be difficult, because the low marimba enters quietly and blooms into sounding, while the higher marimba has a hard attack that dies. This means that, if you start both marimba tracks at the same time, the listener will perceive the lower track as starting after the higher track. If you don't believe me, try it out!"
+msgid ""
+"This particular entry is going to be difficult, because the low marimba "
+"enters quietly and blooms into sounding, while the higher marimba has a hard"
+" attack that dies. This means that, if you start both marimba tracks at the "
+"same time, the listener will perceive the lower track as starting after the "
+"higher track. If you don't believe me, try it out!"
 msgstr ""
+"この特別な開始点は、難しいかもしれません。低音のマリンバは静かに始まって、しだいに大きくなります。一方、高音のマリンバは、大きな音が減衰していくところです。ということは、もし両方のマリンバトラックを同時に開始すると、リスナーは、低音トラックが、高音トラックの後に開始するように感じます。私の言うことが信じられないなら、やってご覧なさい。"
 
 #. Tag: para
 #, no-c-format
-msgid "To solve this problem, the original editor (Esther) had the upper marimba start a bit later than the lower marimba."
-msgstr ""
+msgid ""
+"To solve this problem, the original editor (Esther) had the upper marimba "
+"start a bit later than the lower marimba."
+msgstr "この問題を解決するため、オリジナル編集者 (Esther) は、高音のマリンバが低音のマリンバより少し遅く開始するようにしました。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you were to listen to the session so far, you would notice that the marimba is way too loud compared to the singers, and that everything sounds very narrow. This is because we're only arranging regions, and we haven't done any of the mixing yet!"
+msgid ""
+"If you were to listen to the session so far, you would notice that the "
+"marimba is way too loud compared to the singers, and that everything sounds "
+"very narrow. This is because we're only arranging regions, and we haven't "
+"done any of the mixing yet!"
 msgstr ""
+"今までのセッションを聞くとわかりますが、マリンバが、歌手と比べるとずっと大きく、全体がとても狭い感じに聞こえるかと思います。これは、私たちがリージョンを並べただけで、まだミキシングを何もしていないからです！"
 
 #. Tag: title
 #, no-c-format
 msgid "Align the Strings Regions"
-msgstr ""
+msgstr "弦楽器リージョンを並べる"
 
 #. Tag: para
 #, no-c-format
-msgid "Slide the \"Strings_1A\" regions so that they start playing at about 00:00:28.00, which should leave plenty of room for the sound of the chairs, if you decided to keep it."
+msgid ""
+"Slide the \"Strings_1A\" regions so that they start playing at about "
+"00:00:28.00, which should leave plenty of room for the sound of the chairs, "
+"if you decided to keep it."
 msgstr ""
+"\"Strings_1A\" リージョンを動かして、約 00:00:28.00 "
+"から始まるようにします。そうすれば、椅子の音、それを消さないならば、に十分なスペースがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "The \"Strings_4\" region begins in the same way that the \"Strings_1A\" regions end. Listen to both, and choose which you prefer, then use the position of the sounds in the \"Strings_1A\" region to guide your trimming and alignment of the \"Strings_4\" region."
+msgid ""
+"The \"Strings_4\" region begins in the same way that the \"Strings_1A\" "
+"regions end. Listen to both, and choose which you prefer, then use the "
+"position of the sounds in the \"Strings_1A\" region to guide your trimming "
+"and alignment of the \"Strings_4\" region."
 msgstr ""
+"\"Strings_4\" リージョンの始まりは、 \"Strings_1A\" "
+"リージョンの終わりとほぼ同じです。両方を聞いて、どっちが好きか決め、\"Strings_1A\" リージョンの中のサウンドの位置を使って、 "
+"\"Strings_4\" リージョンの切り詰めと整列のガイドとしてください。"
 
 #. Tag: para
 #, no-c-format
-msgid "The other two strings regions contain the same musical material as the \"Strings_1A\" region. We can't decide between them yet, so move them both past the end of the concluding marimba regions, so they won't be heard."
+msgid ""
+"The other two strings regions contain the same musical material as the "
+"\"Strings_1A\" region. We can't decide between them yet, so move them both "
+"past the end of the concluding marimba regions, so they won't be heard."
 msgstr ""
+"他の２つの弦楽器リージョンは、 \"Strings_1A\" "
+"と同じ曲が入っています。どれを使うかまだ決められないので、それらを、マリンバリージョンの終了点の後ろに移動して、聞こえないようにします。"
 
 #. Tag: title
 #, no-c-format
 msgid "Align the Clarinet Regions"
-msgstr ""
+msgstr "クラリネットリージョンを並べる"
 
 #. Tag: para
 #, no-c-format
-msgid "As with the Strings regions, we will simply pick a suitable clarinet region, and move it into place, leaving the choice between multiples until later. When you're moving regions a long distance like this, it helps to zoom out for a bit."
+msgid ""
+"As with the Strings regions, we will simply pick a suitable clarinet region,"
+" and move it into place, leaving the choice between multiples until later. "
+"When you're moving regions a long distance like this, it helps to zoom out "
+"for a bit."
 msgstr ""
+"弦楽器リージョンと同じく、適当なクラリネットリージョンを１つ選んで、正しい位置に置きましょう。複数の演奏の間の選択は後回しにします。こんなふうにリージョンを大きく離れて動かすときは、少しズームアウトするとよいです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Slide the \"Clarinet_1A\" region so that the sound begins just after 00:01:06.200"
-msgstr ""
+msgid ""
+"Slide the \"Clarinet_1A\" region so that the sound begins just after "
+"00:01:06.200"
+msgstr "\"Clarinet_1A\" リージョンを動かして、サウンドが 00:01:06.200 の後に始まるようにします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Slide the \"Clarinet_3A\" region so that the sound begins just after 00:01:35.000"
-msgstr ""
+msgid ""
+"Slide the \"Clarinet_3A\" region so that the sound begins just after "
+"00:01:35.000"
+msgstr "\"Clarinet_3A\" リージョンを動かして、サウンドが 00:01:35.000 の後に始まるようにします。"
 
 #. Tag: title
 #, no-c-format
 msgid "Listen"
-msgstr ""
+msgstr "聞く"
 
 #. Tag: para
 #, no-c-format
-msgid "Before moving on to the mixing stage, listen to the whole song, to make sure that the ordering makes sense. When you're listening, remember that the volume levels and balances will sound off, and that the whole session will sound very \"centred\" in the stereo image."
+msgid ""
+"Before moving on to the mixing stage, listen to the whole song, to make sure"
+" that the ordering makes sense. When you're listening, remember that the "
+"volume levels and balances will sound off, and that the whole session will "
+"sound very \"centred\" in the stereo image."
 msgstr ""
+"ミキシング段階に進む前に、曲全体を聞いて、並び替えが正しいことを確認下さい。聞くときには、ボリュームレベルとバランスが変で、セッション全体が、ステレオイメージの中でとても、「中心にある」ように聞こえるのに注意ください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Mixing a Song (Tutorial)"
-msgstr ""
+msgstr "曲をミキシングする（チュートリアル）"
 
 #. Tag: para
 #, no-c-format
-msgid "The next stage is called \"mixing,\" and it primarily involves two tasks: setting volume levels, and adjusting the stereo pan settings. We'll use automation to store our fader and panning adjustments, and see how handy it can be to have left and right channels recorded on separate tracks, combined with sub-master busses."
+msgid ""
+"The next stage is called \"mixing,\" and it primarily involves two tasks: "
+"setting volume levels, and adjusting the stereo pan settings. We'll use "
+"automation to store our fader and panning adjustments, and see how handy it "
+"can be to have left and right channels recorded on separate tracks, combined"
+" with sub-master busses."
 msgstr ""
+"次の段階は「ミキシング」と呼ばれ、だいたい２つの作業からなります。ボリュームレベルを設定することと、ステレオパン設定を調整することです。フェーダーとパンの設定を保存するのに、オートメーションを使います。また、右と左のチャネルを別々のトラックに録音して、サブマスターバスで結合させるのが、どんなに便利か、見てください。"
 
 #. Tag: para
 #, no-c-format
-msgid "In terms of producing a recording of a live musical performance, it is the mixing stage where the audio engineer (in this case, you) has the most creative influence. Careful adjustment and tuning of the tracks will greatly affect the listeners' experience."
+msgid ""
+"In terms of producing a recording of a live musical performance, it is the "
+"mixing stage where the audio engineer (in this case, you) has the most "
+"creative influence. Careful adjustment and tuning of the tracks will greatly"
+" affect the listeners' experience."
 msgstr ""
+"ライブの音楽演奏の録音制作において、オーディオ技術者（今の場合、あなた）がもっとも創造的な影響を及ぼすのが、ミキシング段階です。トラックの注意深い調整とチューニングが、リスナーの体験に大きな違いをもたらします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Finally, it should be noted that, moreso than in the editing stage, the mixing stage should <emphasis>not</emphasis> be understood as progressing in a linear manner. This means you should not be following the tutorial from start to finish, but jumping between sections are desired. You should set up the tracks for stereo output first, and then read through all the sections and follow their advice as you wish, but sometimes returning to previous activities to re-tune those settings. When one setting is changed, it tends to have an effect on other settings, so if you set the level of a track once, then change its panning, you should check that the levels you set are still desirable - they'll probably need some tweaking, however minor it may be."
-msgstr ""
+msgid ""
+"Finally, it should be noted that, moreso than in the editing stage, the "
+"mixing stage should <emphasis>not</emphasis> be understood as progressing in"
+" a linear manner. This means you should not be following the tutorial from "
+"start to finish, but jumping between sections are desired. You should set up"
+" the tracks for stereo output first, and then read through all the sections "
+"and follow their advice as you wish, but sometimes returning to previous "
+"activities to re-tune those settings. When one setting is changed, it tends "
+"to have an effect on other settings, so if you set the level of a track "
+"once, then change its panning, you should check that the levels you set are "
+"still desirable - they'll probably need some tweaking, however minor it may "
+"be."
+msgstr ""
+"最後に、編集段階と比べて、ミキシング段階は、直線的に進行するのでは<emphasis>ない</emphasis> "
+"ということに注意ください。つまり、あなたはチュートリアルを最初から最後まで順にするのでなくて、セクション間をジャンプするのがよい、ということです。あなたはまず最初に、ステレオ出力のためにトラックを設定するでしょう、次にチュートリアルのセクションを順に全部読んで、そのアドバイスに従うかもしれません。しかし、時々、前の作業に戻って、設定をやり直すことになるでしょう。１つの設定が変更されたら、他の設定にも影響が出ることがあります。例えば、一度トラックのレベルを設定し、そのパニングを変更したら、設定したレベルが今でもそれでよいのかを確かめる必要があります。たぶん、少しかもしれませんが、調整が必要でしょう。"
 
 #. Tag: title
 #, no-c-format
 msgid "Setting the Session for Stereo Output and Disabling Edit Groups"
-msgstr ""
+msgstr "ステレオ出力のためにセッションの設定を行い、エディットグループを解除する"
 
 #. Tag: para
 #, no-c-format
-msgid "Part of the reason that the session sounds so bad is that all of the audio has been routed through both the left and right channels equally, making it a \"mono\" recording, even though we have the material of a \"stereo\" recording. This could easily have been done sooner, but it wouldn't have made much of a difference until now. Whereas mixing was focussed on getting the regions assembled so that they are like the song, mixing is about fine-tuning the regions and tracks so that they make the song sound great."
+msgid ""
+"Part of the reason that the session sounds so bad is that all of the audio "
+"has been routed through both the left and right channels equally, making it "
+"a \"mono\" recording, even though we have the material of a \"stereo\" "
+"recording. This could easily have been done sooner, but it wouldn't have "
+"made much of a difference until now. Whereas mixing was focussed on getting "
+"the regions assembled so that they are like the song, mixing is about fine-"
+"tuning the regions and tracks so that they make the song sound great."
 msgstr ""
+"セッションがずいぶん変に聞こえた理由のひとつは、すべてのオーディオが左と右のチャネルを等しく経由したため、「ステレオ」録音素材があるにもかかわらず、「モノラル」録音になってしまったことです。これはもっと前に対策できたのですが、今やっても、大差はありません。今までの作業は、リージョンを集めてそれらしい曲に聞こえるようにすることでしたが、ミキシングが行うのはリージョンとトラックを微調整して、曲がより優れたものに聞こえるようにすることです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Disabling the edit groups is also a good idea, because leaving them enabled actually <emphasis>reduces</emphasis> functionality in this stage of production. With edit groups enabled, any change that we make to one of the tracks will automatically be made to the other track, too. We want to be able to adjust the tracks independently; for cases where both tracks need the same adjustment, we will use the sub-master bus to which they're attached."
+msgid ""
+"Disabling the edit groups is also a good idea, because leaving them enabled "
+"actually <emphasis>reduces</emphasis> functionality in this stage of "
+"production. With edit groups enabled, any change that we make to one of the "
+"tracks will automatically be made to the other track, too. We want to be "
+"able to adjust the tracks independently; for cases where both tracks need "
+"the same adjustment, we will use the sub-master bus to which they're "
+"attached."
 msgstr ""
+"エディットグループを解除するのはよい考えです。そのままにしておくと、この制作段階で可能な機能を<emphasis>減らす</emphasis>ことになるからです。エディットグループが有効だと、１つのトラックにした変更が、自動的に他のトラックにもされてしまいます。私たちはトラックを独立に調整したいのです。両方のトラックに同じ調整が必要なときには、それがアタッチされているサブマスターバスを使います。"
 
 #. Tag: para
 #, no-c-format
-msgid "These steps will disable the edit groups, and re-configure this session's tracks for stereo output."
-msgstr ""
+msgid ""
+"These steps will disable the edit groups, and re-configure this session's "
+"tracks for stereo output."
+msgstr "以下のステップは、エディットグループを無効とし、セッションのトラックをステレオ出力のために再構成します。"
 
 #. Tag: para
 #, no-c-format
-msgid "We need to adjust tracks independently, so the edit groups must temporarily be disabled."
-msgstr ""
+msgid ""
+"We need to adjust tracks independently, so the edit groups must temporarily "
+"be disabled."
+msgstr "トラックを独立して調整したいので、エディットグループを一時的に無効にしなければいけません。"
 
 #. Tag: para
 #, no-c-format
 msgid "Flip to the \"Edit Groups\" tab of the session sidebar."
-msgstr ""
+msgstr "セッションサイドバーの \"Edit Groups\" タブを開きます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Uncheck the \"Active\" button for all the groups. If you want to re-enable an edit group later, simply re-check the \"Active\" button."
+msgid ""
+"Uncheck the \"Active\" button for all the groups. If you want to re-enable "
+"an edit group later, simply re-check the \"Active\" button."
 msgstr ""
+"すべてのグループの \"Active\" ボタンのチェックを外します。後でエディットグループを有効にしたい時は、\"Active\" "
+"ボタンをチェックすればよいです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Open the mixer window by selecting from the menu 'Window &gt; Show Mixer'. If you have a multiple-monitor setup, it can be very useful to keep the mixer window on a separate monitor from the main editor window. If you don't have a multiple-monitor setup, you can keep the mixer window on a separate virtual desktop. Of course, these are both optional steps."
+msgid ""
+"Open the mixer window by selecting from the menu 'Window &gt; Show Mixer'. "
+"If you have a multiple-monitor setup, it can be very useful to keep the "
+"mixer window on a separate monitor from the main editor window. If you don't"
+" have a multiple-monitor setup, you can keep the mixer window on a separate "
+"virtual desktop. Of course, these are both optional steps."
 msgstr ""
+"メニューから 'Window &gt; Show Mixer' "
+"を選択して、ミキサーウインドウを開きます。マルチモニター構成をお持ちなら、ミキサーウインドウを、メインのエディタウインドウとは別のモニターに置くと便利です。マルチモニターでないときは、ミキサーウインドウを、別の仮想デスクトップに置くと良いでしょう。もちろん、これはどちらもオプショナルな手順です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Near the bottom of each track's mixer, above the buttons, is a small black rectangle with three grey triangles and a green vertical line. Each of the busses have two of these rectangles. This controls the panner, which adjusts a track's left/right position in the stereo image."
+msgid ""
+"Near the bottom of each track's mixer, above the buttons, is a small black "
+"rectangle with three grey triangles and a green vertical line. Each of the "
+"busses have two of these rectangles. This controls the panner, which adjusts"
+" a track's left/right position in the stereo image."
 msgstr ""
+"それぞれのトラックのミキサーの一番下付近、ボタンの上、に小さい黒い四角があり、３つの灰色の三角と緑の垂直線があるはずです。それぞれのバスにはこの四角が２つあります。これが、パンナーを制御して、ステレオイメージでのトラックの左と右の位置の調整をするものです。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can adjust the panner by click-and-dragging in the panner display. You don't need to click on the green line, but the line will show you the approximate placement of the track in the stereo image."
+msgid ""
+"You can adjust the panner by click-and-dragging in the panner display. You "
+"don't need to click on the green line, but the line will show you the "
+"approximate placement of the track in the stereo image."
 msgstr ""
+"パンナーを調整するには、パンナーの表示をクリックアンドドラッグします。緑の線をクリックする必要はありません。線はステレオイメージでのトラックのだいたいの位置を示します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Each \"left\" track, ending with a capital \"L,\" should have the green line set all the way to the left."
-msgstr ""
+msgid ""
+"Each \"left\" track, ending with a capital \"L,\" should have the green line"
+" set all the way to the left."
+msgstr "大文字の \"L\" で終わる「左」トラックはすべて、緑の線を一番左に設定します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Each \"right\" track, ending with a capital \"R,\" should have the green line set all the way to the right."
-msgstr ""
+msgid ""
+"Each \"right\" track, ending with a capital \"R,\" should have the green "
+"line set all the way to the right."
+msgstr "大文字の \"R\" で終わる「右」トラックはすべて、緑の線を一番右に設定します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Each bus is probably already set correctly. The bus' upper window represents the left channel, and the green line should be all the way left. The bus' lower window represents the right channel, and the green line should be all the way right."
+msgid ""
+"Each bus is probably already set correctly. The bus' upper window represents"
+" the left channel, and the green line should be all the way left. The bus' "
+"lower window represents the right channel, and the green line should be all "
+"the way right."
 msgstr ""
+"バスは、既に正しく設定されていると思います。バスの上のウインドウは左チャネルを示し、緑の線は一番左、下のウインドウは右チャネルを示し、緑の線は一番右にあるはずです。"
 
 #. Tag: para
 #, no-c-format
-msgid "The mixer control located above the panner is called the \"fader,\" and it allows you to adjust a track's level."
-msgstr ""
+msgid ""
+"The mixer control located above the panner is called the \"fader,\" and it "
+"allows you to adjust a track's level."
+msgstr "パンナーの上のミキサーコントロールは、「フェーダー」と呼ばれ、トラックのレベルを変更します。"
 
 #. Tag: title
 #, no-c-format
 msgid "Set Initial Levels"
-msgstr ""
+msgstr "最初のレベルを設定する"
 
 #. Tag: para
 #, no-c-format
-msgid "As with editing, the point here is to get the levels set into the right general area, so they work for most of the track. When you start using an automation track later, the levels can be fine-tuned, and changed within the session. Here is one possible procedure to use for an initial level adjustment:"
+msgid ""
+"As with editing, the point here is to get the levels set into the right "
+"general area, so they work for most of the track. When you start using an "
+"automation track later, the levels can be fine-tuned, and changed within the"
+" session. Here is one possible procedure to use for an initial level "
+"adjustment:"
 msgstr ""
+"編集と同様、ここで大切なことは、レベルをほぼ正しい領域に設定して、トラック全体にわたってそれが使えるようにすることです。後でオートメーショントラックを使い始めると、レベルを微調整したり、セッションの中で変えたりできるようになります。以下は、最初のレベル設定のために使うことのできる１つの手順です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Open the mixer window with the menu, by choosing 'Window &gt; Mixer'. As mentioned earlier, it can be convenient to put the mixer window on another monitor or virtual desktop."
+msgid ""
+"Open the mixer window with the menu, by choosing 'Window &gt; Mixer'. As "
+"mentioned earlier, it can be convenient to put the mixer window on another "
+"monitor or virtual desktop."
 msgstr ""
+"メニューから 'Window &gt; Mixer' "
+"を選択して、ミキサーウインドウを開きます。以前に言ったように、ミキサーウインドウは別のモニターあるいは仮想デスクトップに置くと便利です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Set all of the faders to 0 dB. They are probably already set to this level, unless you changed them earlier."
-msgstr ""
+msgid ""
+"Set all of the faders to 0 dB. They are probably already set to this level, "
+"unless you changed them earlier."
+msgstr "すべてのフェーダーを 0 dB にします。あなたが以前に変えたりしていなければ、既にそのレベルになっているでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Take the quietest track, when set to 0 dB, as the limiting factor on how loud the other tracks should be. Since it's generally safer to avoid amplifying audio signals, if we use the quietest track as the \"base-line,\" then we'll have to adjust the level of the other tracks <emphasis>down</emphasis> to suit. In this case, the voice tracks are the quietest."
+msgid ""
+"Take the quietest track, when set to 0 dB, as the limiting factor on how "
+"loud the other tracks should be. Since it's generally safer to avoid "
+"amplifying audio signals, if we use the quietest track as the \"base-line,\""
+" then we'll have to adjust the level of the other tracks "
+"<emphasis>down</emphasis> to suit. In this case, the voice tracks are the "
+"quietest."
 msgstr ""
+"一番静かなトラックを選び、 0 dB "
+"に設定して、他のトラックのレベルの大きさの最大値として使います。一般的に言って、オーディオ信号を増幅するのは避けるのが安全なので、一番静かなトラックを「ベースライン」に使うということは、他のトラックのレベルを、それに合うように<emphasis>下げる</emphasis>必要があるということです。今の場合、ボイストラックが一番静かです。"
 
 #. Tag: para
 #, no-c-format
-msgid "At this point, it's best to stick with adjusting the busses' faders. If you adjust the faders on the tracks, this will affect the panning, and could lead to confusing problems later."
+msgid ""
+"At this point, it's best to stick with adjusting the busses' faders. If you "
+"adjust the faders on the tracks, this will affect the panning, and could "
+"lead to confusing problems later."
 msgstr ""
+"この時点で、バスのフェーダーだけを触るのがよいでしょう。トラックのフェーダーを触ると、パニングが変わって、後でわかりにくい問題になることがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Play through the session, and adjust the faders of the busses so that all of the tracks can be heard equally well. Remember that you're just aiming for <emphasis>most</emphasis> of the session to be balanced at this point; a single fader setting is unlikely to be acceptable for the entire session."
+msgid ""
+"Play through the session, and adjust the faders of the busses so that all of"
+" the tracks can be heard equally well. Remember that you're just aiming for "
+"<emphasis>most</emphasis> of the session to be balanced at this point; a "
+"single fader setting is unlikely to be acceptable for the entire session."
 msgstr ""
+"セッション全体を演奏して、バスのフェーダーを調整し、すべてのトラックが同じように良く聞こえるようにします。この時点では、セッションの<emphasis>ほとんど</emphasis>の部分がバランスされていることが目的だということに注意ください。セッション全体でただ１つのフェーダー設定でよいということはまずありません。"
 
 #. Tag: para
 #, no-c-format
 msgid "You can adjust the fader setting in two ways:"
-msgstr ""
+msgstr "フェーダー設定を変えるには、２つの方法があります："
 
 #. Tag: para
 #, no-c-format
-msgid "Click-and-drag the vertical, dotted control strip to the left of the level meter (which lights up as a track is playing)."
-msgstr ""
+msgid ""
+"Click-and-drag the vertical, dotted control strip to the left of the level "
+"meter (which lights up as a track is playing)."
+msgstr "レベルメーターの左にある垂直のドットのついたコントロールストリップ（トラックの演奏中に光ります。）をクリックアンドドラッグする。"
 
 #. Tag: para
 #, no-c-format
-msgid "Use the indicator box as a text field: click in the box, erase the number that it shows, and write in a new number. Press 'enter' on the keyboard to set the new value."
+msgid ""
+"Use the indicator box as a text field: click in the box, erase the number "
+"that it shows, and write in a new number. Press 'enter' on the keyboard to "
+"set the new value."
 msgstr ""
+"インジケーターボックスのテキストフィールドを使う。ボックスをクリックして、それが示す数字を削除し、新しい数字を入れ、キーボードで「エンター」を押す。"
 
 #. Tag: para
 #, no-c-format
-msgid "You might wish to change the order of tracks and busses in the canvas area, which will change the order in the mixer window. Putting all of the busses together makes it easier to see them."
+msgid ""
+"You might wish to change the order of tracks and busses in the canvas area, "
+"which will change the order in the mixer window. Putting all of the busses "
+"together makes it easier to see them."
 msgstr ""
+"キャンバスエリアで、トラックとバスの表示の順序を変えると、ミキサーウインドウの表示も変わります。バスを全部一緒にすると、見やすいかもしれません。"
 
 #. Tag: para
 #, no-c-format
-msgid "You could also choose to not display the tracks, again allowing you to focus on the busses that you will be changing. Do temporarily hide a track or bus in the mixer window, use the toolbox on the left side of the mixer window. Un-check the \"Show\" box for each of the tracks or busses that you want to temporarily hide."
+msgid ""
+"You could also choose to not display the tracks, again allowing you to focus"
+" on the busses that you will be changing. Do temporarily hide a track or bus"
+" in the mixer window, use the toolbox on the left side of the mixer window. "
+"Un-check the \"Show\" box for each of the tracks or busses that you want to "
+"temporarily hide."
 msgstr ""
+"あるいは、トラックを表示しないようにして、変更するバスだけに集中することもできます。一時的にトラックあるいはバスをミキサーウインドウで隠すには、ミキサーウインドウの左側のツールボックスを使います。隠したいトラックあるいはバスの"
+" \"Show\" ボックスのチェックを外します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The \"maximum level\" indicator on the fader tool might help you to judge how loud each track is. This indicator is located above the meter, underneath the \"Solo\" button. The indicator displays the highest level produced by the track since the indicator's last reset. You can reset the indicator by clicking on it."
+msgid ""
+"The \"maximum level\" indicator on the fader tool might help you to judge "
+"how loud each track is. This indicator is located above the meter, "
+"underneath the \"Solo\" button. The indicator displays the highest level "
+"produced by the track since the indicator's last reset. You can reset the "
+"indicator by clicking on it."
 msgstr ""
+"フェーダーツールの \"maximum level\" "
+"インジケータが、それぞれのトラックがどの程度大きな音かを判断する助けとなるでしょう。このインジケータは、メーターの上、 \"Solo\" "
+"ボタンの下にあります。インジケータは、インジケータが最後にリセットされて以来、トラックが生成した最大レベルを表示します。インジケータをリセットするには、それをクリックします。"
 
 #. Tag: title
 #, no-c-format
 msgid "Set Initial Panning"
-msgstr ""
+msgstr "最初のパニングを設定する"
 
 #. Tag: para
 #, no-c-format
-msgid "Setting up the initial panning takes quite a bit more thought than setting the initial levels. Different music will have different requirements, but the main purpose of adjusting the panning for this sort of recorded acoustic music is to ensure that each performer has a unique and unchanging position in the stereo image. When humans are listening to music, they implicitly ascribe a \"location\" to the sound - where their brain thinks it should be coming from. When listening to recorded music, we understand that the sound is actually coming from speakers or a set of headphones, and that the performers are not actually there. Even so, it can be difficult, tiring, and unpleasant to listen to music where the imagined position of a performer or sound is constantly changing - just as it's difficult and tiring to listen to music which is has poorly balanced levels."
+msgid ""
+"Setting up the initial panning takes quite a bit more thought than setting "
+"the initial levels. Different music will have different requirements, but "
+"the main purpose of adjusting the panning for this sort of recorded acoustic"
+" music is to ensure that each performer has a unique and unchanging position"
+" in the stereo image. When humans are listening to music, they implicitly "
+"ascribe a \"location\" to the sound - where their brain thinks it should be "
+"coming from. When listening to recorded music, we understand that the sound "
+"is actually coming from speakers or a set of headphones, and that the "
+"performers are not actually there. Even so, it can be difficult, tiring, and"
+" unpleasant to listen to music where the imagined position of a performer or"
+" sound is constantly changing - just as it's difficult and tiring to listen "
+"to music which is has poorly balanced levels."
 msgstr ""
+"最初のパニングを設定するのは、最初のレベルを設定するよりも、かなり多くの考察が必要です。異なる音楽には異なる要求があるでしょうが、この種類の録音されたアコースティック音楽のパニングを設定するときの主な目的は、それぞれの演奏者がステレオイメージの上で、ユニークで不変の位置を占めることを保証することです。人が音楽を聞くとき、暗黙的に、脳が音がそこからやってくるべきと思うところ、「位置」をサウンドに期待します。録音された音楽を聞くとき私たちはサウンドは実際にはスピーカーもしくはヘッドホンから来るのであって、演奏者はそこにいないことを理解しています。そうであっても、演奏者もしくはサウンドの空想上の場所が絶えず変化するような音楽を聞くのは難しい、疲れる、あるいã
 ¯ä¸æ„‰å¿«ãªã“とです。同じように、レベルのバランスが悪い音楽を聞くのは、難しくて疲れることです。"
 
 #. Tag: para
 #, no-c-format
-msgid "As if it weren't already difficult enough, the stereo image is created in our minds as a complex combination of many factors: quieter sounds and later sounds seem to be farther away than louder and earlier sounds. Although the DAW's panner can only put the signal somewhere in a straight line between \"all the way left\" and \"all the way right,\" our brains process sound as existing in a three-dimensional world. A master audio engineer will be able to control these factors with relative ease, but for us it's going to involve much more trial and error."
+msgid ""
+"As if it weren't already difficult enough, the stereo image is created in "
+"our minds as a complex combination of many factors: quieter sounds and later"
+" sounds seem to be farther away than louder and earlier sounds. Although the"
+" DAW's panner can only put the signal somewhere in a straight line between "
+"\"all the way left\" and \"all the way right,\" our brains process sound as "
+"existing in a three-dimensional world. A master audio engineer will be able "
+"to control these factors with relative ease, but for us it's going to "
+"involve much more trial and error."
 msgstr ""
+"困難さに輪をかけるように、ステレオイメージは私たちの心の中で多くの要素の複雑な組み合わせとして作られます。静かなサウンドと後から起きるサウンドは、大きなサウンドと最初からあるサウンドと比べると、遠くにあるように感じられます。DAW"
+" "
+"のパンナーは、信号を「全部左」と、「全部右」の直線上のどこかに置くことしかできないにもかかわらず、私たちの脳は３次元世界にサウンドがあるように処理します。優れたオーディオ技術者はこれらの要素を比較的簡単に制御できることでしょうが、私たちにとってはたくさんの試行錯誤が必要となるでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "A particular obstacle with this session is that the regions with the soloist put her in a different imagined position than the regions where the soloist is singing with other singers. Because these happen in the same tracks, we'll use automated panner and fader tracks to help solve this problem. Listen for yourself: start at about 00:02:40.000, and pay attention to where the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-Create_the_Inconceivable\" regions. It seems to me like she moves from nearby on the right to a farther distance just to the left; somehow without bumping into the other people in the vocal ensemble, or the strings, which also seem to be in the way! You might argue that most listeners would not pick this up, and that's probably the case. Even so, I would counter that the drastic change of level and panning would be passively detected by those same people, even if they only consciously perceive it as being \"not quite right.\""
-msgstr ""
+msgid ""
+"A particular obstacle with this session is that the regions with the soloist"
+" put her in a different imagined position than the regions where the soloist"
+" is singing with other singers. Because these happen in the same tracks, "
+"we'll use automated panner and fader tracks to help solve this problem. "
+"Listen for yourself: start at about 00:02:40.000, and pay attention to where"
+" the soloist seems to be standing in the \"Voice_4\" regions and the \"ens-"
+"Create_the_Inconceivable\" regions. It seems to me like she moves from "
+"nearby on the right to a farther distance just to the left; somehow without "
+"bumping into the other people in the vocal ensemble, or the strings, which "
+"also seem to be in the way! You might argue that most listeners would not "
+"pick this up, and that's probably the case. Even so, I would counter that "
+"the drastic change of level and panning would be passively detected by those"
+" same people, even if they only consciously perceive it as being \"not quite"
+" right.\""
+msgstr ""
+"このセッションの固有の問題は、ソリストを含むリージョンが、ソリストが他の歌手と一緒に歌っているリージョンと比較して、彼女を異なる空想上の場所に置くということです。これは同じトラックで起きるので、オートメーションのパンナーとフェーダーをトラックに使ってこの問題を解決しましょう。ご自分で聞いてみてください：00:02:40.000"
+" あたりから始めて、\"Voice_4\" リージョンと \"ens-Create_the_Inconceivable\" "
+"リージョンで、ソリストがどこに立っているように聞こえるか、注意してください。私には、彼女が右の近いところから、左の遠いところに、ボーカルアンサンブルの人たちや、通り道にいるはずの弦楽器にぶつかることなく通り抜けていったように聞こえます！ほとんどのリスナーはそんなこと気にしないだろうとあなたは言うかもしれません。そうかもしれません。そうであっても、レベルとパニングの大幅な変化は、それら同じ人たちによって、受動的に発見されるだろうと、私は反論します。彼らが、意識の上では、「なんか、変だ」と思うだけかもしれませんが。"
 
 #. Tag: para
 #, no-c-format
 msgid "Here's one way to start:"
-msgstr ""
+msgstr "こんなふうに始めてみましょう："
 
 #. Tag: para
 #, no-c-format
-msgid "Listen to the session as needed, and see if you can place the location of the instruments/singers throughout most of the session. You'll need to remember this, so consider writing it down, or drawing a map."
+msgid ""
+"Listen to the session as needed, and see if you can place the location of "
+"the instruments/singers throughout most of the session. You'll need to "
+"remember this, so consider writing it down, or drawing a map."
 msgstr ""
+"必要ならセッションを聞いて、ほとんどのセッションの間、楽器と歌手の位置を決められるか、考えます。これを覚えておく必要があるので、書き留めるか、地図を書くのがよいでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Now, draw a map of where you think everything should be. Especially in non-standard ensembles like this, there is no pre-defined seating or standing arrangement. Some tracks will need very little adjustment, but others may need extensive adjustment. In general, the less tweaking required, the better the session will sound - so if something seems like a track already has a consistent location, and it doesn't conflict with other tracks, then it's probably better to leave it alone."
+msgid ""
+"Now, draw a map of where you think everything should be. Especially in non-"
+"standard ensembles like this, there is no pre-defined seating or standing "
+"arrangement. Some tracks will need very little adjustment, but others may "
+"need extensive adjustment. In general, the less tweaking required, the "
+"better the session will sound - so if something seems like a track already "
+"has a consistent location, and it doesn't conflict with other tracks, then "
+"it's probably better to leave it alone."
 msgstr ""
+"さて、すべてのものがあるはずの場所の地図を書きましょう。このような普通でないアンサンブルの時には、特に、あらかじめ決められた座席や立ち位置の決まりはありません。トラックによってはほとんど調整が不要のものもあるでしょうし、大幅な調整が必要なものもあるでしょう。一般的に言って、いじりまわすのが少ないほど、セッションはよく聞こえるので、あるトラックが既に一貫した場所を持ち、他のトラックと矛盾しないならば、そのままにするのがよいでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Here's what I hear. It may be different from what you hear, especially if you happened to do your initial level-setting differently:"
-msgstr ""
+msgid ""
+"Here's what I hear. It may be different from what you hear, especially if "
+"you happened to do your initial level-setting differently:"
+msgstr "以下が、私の意見です。あなたが聞いたものとは違うかもしれません。特に、最初のレベル設定をあなたが独自にされたならば、違ってくるでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Both of the marimba tracks are consistent throughout. The \"marimba1\" tracks seem to be about 5 metres in front of me, of to the left a bit. The \"marimba2\" tracks seem to be about the same distance away, but almost directly to my right."
+msgid ""
+"Both of the marimba tracks are consistent throughout. The \"marimba1\" "
+"tracks seem to be about 5 metres in front of me, of to the left a bit. The "
+"\"marimba2\" tracks seem to be about the same distance away, but almost "
+"directly to my right."
 msgstr ""
+"マリンバトラックはどちらも、ずっと一定です。\"marimba1\" トラックは私の前、５メートル、少し左にあります。\"marimba2\" "
+"トラックは同じ距離で、右にあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "All of the strings regions seem to be consistent, with the violin placed just left-of-centre, and the 'cello just right-of-centre. They seem to be a bit closer than the marimbas."
-msgstr ""
+msgid ""
+"All of the strings regions seem to be consistent, with the violin placed "
+"just left-of-centre, and the 'cello just right-of-centre. They seem to be a "
+"bit closer than the marimbas."
+msgstr "弦楽器リージョンはすべて一定です。バイオリンが中心のすぐ左に、チェロがすぐ右に。マリンバより、少し近くにあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "The clarinet seems to be on the opposite side of the higher marimba; about 5 metres away, half-way between in front and to the left."
-msgstr ""
+msgid ""
+"The clarinet seems to be on the opposite side of the higher marimba; about 5"
+" metres away, half-way between in front and to the left."
+msgstr "クラリネットは、高音マリンバの反対側、５メートルの距離、中心と左の中間にあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "The vocal ensemble seems to be standing in the same place as the strings, but extending a bit more to the right."
-msgstr ""
+msgid ""
+"The vocal ensemble seems to be standing in the same place as the strings, "
+"but extending a bit more to the right."
+msgstr "ボーカルアンサンブルは弦楽器と同じ所にあります。右に少し、広がっています。"
 
 #. Tag: para
 #, no-c-format
-msgid "The solo vocalist seems to be standing in the same place as the male singers in the vocal ensemble."
-msgstr ""
+msgid ""
+"The solo vocalist seems to be standing in the same place as the male singers"
+" in the vocal ensemble."
+msgstr "ソロボーカリストはボーカルアンサンブルの男性歌手と同じ所に立っています。"
 
 #. Tag: para
 #, no-c-format
-msgid "Here's how I plan to fix it; directions are given assuming the listener is looking north:"
-msgstr ""
+msgid ""
+"Here's how I plan to fix it; directions are given assuming the listener is "
+"looking north:"
+msgstr "これが、私の修正プランです。リスナーが北を向いているとして方向を書きました。"
 
 #. Tag: para
 #, no-c-format
-msgid "Establish two rows of performers, surrounding the listener in a semi-circle."
-msgstr ""
+msgid ""
+"Establish two rows of performers, surrounding the listener in a semi-circle."
+msgstr "リスナーを半円形に囲む、２つの演奏者の列を確立します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The strings will be in the closer row, to the north-west. This requires moving them to the left a bit."
-msgstr ""
+msgid ""
+"The strings will be in the closer row, to the north-west. This requires "
+"moving them to the left a bit."
+msgstr "弦楽器は近い方の列の北西に置きます。左に少し動かす必要があります。"
 
 #. Tag: para
 #, no-c-format
-msgid "The vocal soloist will be in the closer row, just east of north (the middle). This requires moving her to the left <emphasis>just</emphasis> a little bit."
+msgid ""
+"The vocal soloist will be in the closer row, just east of north (the "
+"middle). This requires moving her to the left <emphasis>just</emphasis> a "
+"little bit."
 msgstr ""
+"ボーカルソリストは、近い方の列の北から少しだけ東（まんなか）に置きます。彼女を<emphasis>少しだけ</emphasis>左に動かす必要があります。"
 
 #. Tag: para
 #, no-c-format
-msgid "The vocal ensemble will be in the closer row, spread from north to north-east, allowing the soloist to remain in the same place. This will mostly require fader adjustment, to make the ensemble seem closer."
+msgid ""
+"The vocal ensemble will be in the closer row, spread from north to north-"
+"east, allowing the soloist to remain in the same place. This will mostly "
+"require fader adjustment, to make the ensemble seem closer."
 msgstr ""
+"ボーカルアンサンブルは、近い方の列の北から北西に広がって置きます。ソリストは、同じ場所にいることができます。アンサンブルを近く聞こえるようにするには、フェーダー設定が必要でしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "The lower marimba will be in the outer row, to the north-west. This may not require any adjustment, but perhaps a slight move to the left."
-msgstr ""
+msgid ""
+"The lower marimba will be in the outer row, to the north-west. This may not "
+"require any adjustment, but perhaps a slight move to the left."
+msgstr "低音マリンバは、外側の列の北西に置きます。これは調整が不要でしょう。あるいは少し左に移動。"
 
 #. Tag: para
 #, no-c-format
-msgid "The higher marimba will be in the outer row, to the north-east. This requires a slight move to the left."
-msgstr ""
+msgid ""
+"The higher marimba will be in the outer row, to the north-east. This "
+"requires a slight move to the left."
+msgstr "高音マリンバは、外側の列の北東に置きます。少し左に移動が必要です。"
 
 #. Tag: para
 #, no-c-format
-msgid "The clarinet will be in the outer row, to the north. This will require significant adjustment to the right."
-msgstr ""
+msgid ""
+"The clarinet will be in the outer row, to the north. This will require "
+"significant adjustment to the right."
+msgstr "クラリネットは外側の列の北。大きく右に動かす必要があります。"
 
 #. Tag: para
 #, no-c-format
-msgid "I chose that particular layout because it requires relatively minimal adjustment, and it makes a certain amount of sense in terms of traditional instrumental ensemble seating patterns. Also, the notes played by the clarinet in this song seem suitable to appear as if from far away, and the passages are played with good expression, so I think it will be relatively easy for me to acheive that effect. The most important consideration was the placement of the vocal ensemble and the solo vocalist within it. Although the solo vocalist sings the highest part in the ensemble (\"soprano\"), the stereo recording seems to indicate that she was not standing at the left-most position in the ensemble (I also know this because I was present during the recording). This adds an extra difficulty, in that the fader and panner settings for the whole voice track must be based on the moment in the \"ens-Create_the_Inconceivable\" region where the second-highest singer (\"alto\") sings just 
 after the highest singer, who is the soloist."
-msgstr ""
+msgid ""
+"I chose that particular layout because it requires relatively minimal "
+"adjustment, and it makes a certain amount of sense in terms of traditional "
+"instrumental ensemble seating patterns. Also, the notes played by the "
+"clarinet in this song seem suitable to appear as if from far away, and the "
+"passages are played with good expression, so I think it will be relatively "
+"easy for me to acheive that effect. The most important consideration was the"
+" placement of the vocal ensemble and the solo vocalist within it. Although "
+"the solo vocalist sings the highest part in the ensemble (\"soprano\"), the "
+"stereo recording seems to indicate that she was not standing at the left-"
+"most position in the ensemble (I also know this because I was present during"
+" the recording). This adds an extra difficulty, in that the fader and panner"
+" settings for the whole voice track must be based on the moment in the "
+"\"ens-Create_the_Inconceivable\" region where the second-highest singer "
+"(\"alto\") sings just after the highest singer, who is the soloist."
+msgstr ""
+"このようなレイアウトを選んだのは、それが比較的、小さな調整で済むことと、伝統的な器楽アンサンブルの座席パターンから見て、道理にかなったものだからです。また、この曲でクラリネットが演奏する音は、遠いところで鳴っているように聞こえるのが適当と思われ、パッセージは十分な情感をもって演奏されているので、そういう効果を得るのは割と簡単だと思えました。最も重要な考慮点は、ボーカルアンサンブルとその中のソロボーカリストの配置でした。ソロボーカリストはアンサンブルで最も高いパート（ソプラノ）を歌っていますが、ステレオ録音では、彼女はアンサンブルの最も左にいるようには聞こえません。（私はレコーディングの間、そこにいたので、そうでないことがわかるのです。）これはより難しã
 „ことになります。ボイストラック全体のフェーダーとパンナーの設定は、"
+" \"ens-Create_the_Inconceivable\" "
+"リージョンにおいて、２番目に高音の歌手（アルト）が、ソリストである最高音の歌手のすぐ後に歌う、その瞬間を基準としなければいけないということです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Make rought adjustments to most of the tracks, to place them in approximately the right space in the stereo image. You may wish to adjust an individual track's panner setting, in addition to the busses' panner settings; they will have a slightly different effect. For the marimba tracks, you may wish to fine-tune things now, adjusting the fader settings. Because these tracks are so consistent, they will require relatively little automation, and therefore will benefit more from a more thorough initial set-up procedure. Remember that it's better to be turning down the fader than turning it up!"
+msgid ""
+"Make rought adjustments to most of the tracks, to place them in "
+"approximately the right space in the stereo image. You may wish to adjust an"
+" individual track's panner setting, in addition to the busses' panner "
+"settings; they will have a slightly different effect. For the marimba "
+"tracks, you may wish to fine-tune things now, adjusting the fader settings. "
+"Because these tracks are so consistent, they will require relatively little "
+"automation, and therefore will benefit more from a more thorough initial "
+"set-up procedure. Remember that it's better to be turning down the fader "
+"than turning it up!"
 msgstr ""
+"ほぼ全部のトラックに、それをステレオイメージの中でだいたい正しい位置に置くために、おおまかな調整をしてください。バスのパンナー設定に加えて、個々のトラックのパンナーの設定を変える必要があるかもしれません。少し違う効果があります。マリンバトラックを、今、フェーダー設定を含めて微調整するのもよいでしょう。このトラックはとても一定なので、ほとんどオートメーションは使う必要がなく、最初の設定をより完全にすることで得られるものが大きいのです。フェーダーは、ターンアップするより、ターンダウンする方が良いのを忘れないように！"
 
 #. Tag: para
 #, no-c-format
 msgid "It's probably easier to avoid working with the voice tracks for now."
-msgstr ""
+msgstr "ボイストラックを操作するのは、今はやめといた方が良いでしょう。"
 
 #. Tag: title
 #, no-c-format
 msgid "Make Further Adjustments with an Automation Track"
-msgstr ""
+msgstr "オートメーショントラックで、さらに調整をする"
 
 #. Tag: para
 #, no-c-format
-msgid "So far, we've been crudely adjusting the fader and panner settings manually. This won't work if you want to change the settings while a session is playing; you would have to change all of the settings by yourself, every time you play the session. This quickly becomes complicated - not to mention difficult to remember. \"Automation\" allows effects (like the panner and fader) to be moved automatically during session playback. An automation track is simply a track that contains no audio, but rather instructions to adjust a particular effect. Automation tracks usually resemble audio tracks, but they hold lines and points, to show the settings changes. Automation tracks can, in effect, be \"recorded,\" but we're going to use a more basic editing method. Automation tracks can be assigned to busses and tracks."
+msgid ""
+"So far, we've been crudely adjusting the fader and panner settings manually."
+" This won't work if you want to change the settings while a session is "
+"playing; you would have to change all of the settings by yourself, every "
+"time you play the session. This quickly becomes complicated - not to mention"
+" difficult to remember. \"Automation\" allows effects (like the panner and "
+"fader) to be moved automatically during session playback. An automation "
+"track is simply a track that contains no audio, but rather instructions to "
+"adjust a particular effect. Automation tracks usually resemble audio tracks,"
+" but they hold lines and points, to show the settings changes. Automation "
+"tracks can, in effect, be \"recorded,\" but we're going to use a more basic "
+"editing method. Automation tracks can be assigned to busses and tracks."
 msgstr ""
+"今までは、雑ですが、フェーダーとパンナーの設定の調整は手でやってきました。これだと、セッションが演奏しているときに設定を変えようとしてもできません。セッションを演奏するときに毎回、あなたは自分ですべての設定を変更しなければいけません。これはすぐに複雑なことになります。覚えるのに大変、というのは言うまでもなく。「オートメーション」を使うと、セッション演奏の時に、エフェクト（パンナーやフェーダーなど）を、自動的にかけることができます。オートメーショントラックは、ただのトラックで、オーディオが何も入っておらず、かわりにそれぞれのエフェクトを調整する指示が入っています。オートメーショントラックは、普通のオーディオトラックに似ていますが、設定の変更を示すためのç
 ·šã¨ç‚¹ãŒè¡¨ç¤ºã•ã‚Œã¾ã™ã€‚オートメーショントラックは、実際、「録音」することもできるのですが、私たちはもっと基本的な編集手段を使いましょう。オートメーショントラックは、バスとトラックに割当てることができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Here's how to create an automation track, and fill it in. We're going to adjust the fader on the lower marimba, so that it is louder in the introduction, and becomes quieter as the higher marimba and solo vocalist join in."
+msgid ""
+"Here's how to create an automation track, and fill it in. We're going to "
+"adjust the fader on the lower marimba, so that it is louder in the "
+"introduction, and becomes quieter as the higher marimba and solo vocalist "
+"join in."
 msgstr ""
+"以下が、オートメーショントラックを作成して、設定する方法です。低音のマリンバが、最初は大きく、高音マリンバとソロボーカリストが加わるにつれて小さくなるように、そのフェーダーを設定します。"
 
 #. Tag: para
 #, no-c-format
-msgid "In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' control box, to open the \"automation\" menu."
+msgid ""
+"In the canvas area, click the 'a' button on the \"Bus-marimba1\" bus' "
+"control box, to open the \"automation\" menu."
 msgstr ""
+"キャンバスエリアで、 \"Bus-marimba1\" バスのコントロールボックスから 'a' ボタンをクリックして、 \"automation\" "
+"メニューを開きます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click 'Fader' in the automation menu."
-msgstr ""
+msgstr "オートメーションメニューから、 'Fader' をクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "An automation track, which controls the fader, will appear underneath the bus."
-msgstr ""
+msgid ""
+"An automation track, which controls the fader, will appear underneath the "
+"bus."
+msgstr "バスの下に、フェーダーを制御するオートメーショントラックが現れます。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you click in the automation track, a point will appear. Each point represents an absolute setting for the control. After the point appears, if you click-and-drag it, the yellow numbers by the cursor will tell you the fader's setting at that point."
+msgid ""
+"If you click in the automation track, a point will appear. Each point "
+"represents an absolute setting for the control. After the point appears, if "
+"you click-and-drag it, the yellow numbers by the cursor will tell you the "
+"fader's setting at that point."
 msgstr ""
+"オートメーショントラックの中をクリックすると、点が現れます。それぞれの点は、コントロールの設定の絶対値を示します。点が現れた後、それをクリックアンドドラッグすると、カーソルの横の黄色い数字が、その時のフェーダーの設定値を示します。"
 
 #. Tag: para
 #, no-c-format
-msgid "If there are two or more points in the automation track, lines will appear to connect them. The fader will be moved gradually between absolute settings, as shown by the line connecting the points."
+msgid ""
+"If there are two or more points in the automation track, lines will appear "
+"to connect them. The fader will be moved gradually between absolute "
+"settings, as shown by the line connecting the points."
 msgstr ""
+"オートメーショントラックに２つ以上の点があると、それらを結ぶ線が現れます。フェーダーは、点をつなぐ線が示すとおりに、絶対値の間でなめらかに変化します。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you make a mistake and want to start over, you can press the 'clear' button on the automation track's control box. Unfortunately, you can't remove a single point. This isn't really necessary anyway; if you accidentally add too many points, simply use the extra one to keep a setting constant."
+msgid ""
+"If you make a mistake and want to start over, you can press the 'clear' "
+"button on the automation track's control box. Unfortunately, you can't "
+"remove a single point. This isn't really necessary anyway; if you "
+"accidentally add too many points, simply use the extra one to keep a setting"
+" constant."
 msgstr ""
+"誤りをして最初からやり直したい時は、オートメーショントラックのコントロールボックスで  'clear' "
+"ボタンを押します。残念ですが、１つだけの点を削除することはできません。これは、実は、不要なのです。もし、誤って点を増やし過ぎたら、単に、余分なものは設定を一定にするために使えばよいです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Add one point to the beginning of the automation track, with a setting of 0.0 dB"
-msgstr ""
+msgid ""
+"Add one point to the beginning of the automation track, with a setting of "
+"0.0 dB"
+msgstr "オートメーショントラックの最初に、 0.0 dB の設定値の点を１つ、加えます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Add one point at about 00:00:15.000, with a setting of 0.0 dB"
-msgstr ""
+msgstr "約 00:00:15.000 のところに、 0.0 dB の設定値の点を１つ、加えます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Add one point at about 00:00:16.500 (where the singer starts), with a setting of -10.0 dB, or whatever you set earlier."
+msgid ""
+"Add one point at about 00:00:16.500 (where the singer starts), with a "
+"setting of -10.0 dB, or whatever you set earlier."
 msgstr ""
+"約 00:00:16.500 のところ（歌手が歌い始めるところ）に、 -10.0 dB "
+"あるいは、あなたが以前設定したもの、の設定値の点を１つ、加えます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Now you've set up an automation plan, but the fader is still in \"Manual\" mode, so the automation track will have no effect. Change the automation track's setting by clicking on the mode button in the track's control box. The button currently says \"Manual.\""
+msgid ""
+"Now you've set up an automation plan, but the fader is still in \"Manual\" "
+"mode, so the automation track will have no effect. Change the automation "
+"track's setting by clicking on the mode button in the track's control box. "
+"The button currently says \"Manual.\""
 msgstr ""
+"さて、これでオートメーションのプランができました。しかし、フェーダーはまだ、「マニュアル」モードのままですから、オートメーショントラックは何の効果も持ちません。オートメーショントラックの設定を、トラックのコントロールボックスの中のモードボタンをクリックして変更します。ボタンは、現在、\"Manual\""
+" です。"
 
 #. Tag: para
 #, no-c-format
-msgid "From the menu, select \"Play,\" which will cause the automation settings to be played. In \"Manual\" mode, you have to adjust all settings manually. In \"Write\" mode, changes that you make as the session plays will be recorded into the automation track, over-writing previous settings. In \"Touch\" mode, changes that you make as the session plays will be incorporated into the pre-existing automation settings."
+msgid ""
+"From the menu, select \"Play,\" which will cause the automation settings to "
+"be played. In \"Manual\" mode, you have to adjust all settings manually. In "
+"\"Write\" mode, changes that you make as the session plays will be recorded "
+"into the automation track, over-writing previous settings. In \"Touch\" "
+"mode, changes that you make as the session plays will be incorporated into "
+"the pre-existing automation settings."
 msgstr ""
+"メニューから、 \"Play\" を選択すると、オートメーション設定が演奏されます。\"Manual\" "
+"モードでは、すべての設定の調整を手で行う必要があります。\"Write\" "
+"モードでは、セッションが演奏される間、あなたが行う変更は、オートメーショントラックに、以前の設定を上書きして録音されます。\"Touch\" "
+"モードでは、セッションが演奏される間、あなたが行う変更は、以前のオートメーション設定に取り込まれます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Finally, listen to confirm that you like the automated panner change. If you don't, you can always adjust it now or later."
-msgstr ""
+msgid ""
+"Finally, listen to confirm that you like the automated panner change. If you"
+" don't, you can always adjust it now or later."
+msgstr "最後に、オートメーションされたパンナーの変更が気にいるか、聞いて確認します。良くないときは、今でも後からでも、常に変更することが可能です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Now - here's the difficult part! Use automation to change the fader and panner settings throughout the session. In particular, ensure that the voice tracks are consistent."
+msgid ""
+"Now - here's the difficult part! Use automation to change the fader and "
+"panner settings throughout the session. In particular, ensure that the voice"
+" tracks are consistent."
 msgstr ""
+"さて、ここが難しいところです！オートメーションを使って、セッション全体のフェーダーとパンナーの設定を変更します。特に、ボイストラックが一定であるように注意ください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Other Things You Might Want to Do"
-msgstr ""
+msgstr "その他、やると良いこと"
 
 #. Tag: para
 #, no-c-format
-msgid "The mixing stage involves a lot of minor (and major) tweaking. Here are some things that you might want to do, which aren't adjusting the fader and panner settings:"
+msgid ""
+"The mixing stage involves a lot of minor (and major) tweaking. Here are some"
+" things that you might want to do, which aren't adjusting the fader and "
+"panner settings:"
 msgstr ""
+"ミキシング段階は、たくさんの小さな（そして大きな）調整でいっぱいです。以下は、フェーダーとパンナーの設定変更以外に、あなたがやってみたいと思うかもしれないことです。"
 
 #. Tag: para
 #, no-c-format
 msgid "Re-align tracks to ensure that they're synchronized."
-msgstr ""
+msgstr "トラックを整列しなおして、それらが同期するようにする。"
 
 #. Tag: para
 #, no-c-format
-msgid "Find a meaningful way to incorporate the region with the sound of the chairs."
-msgstr ""
+msgid ""
+"Find a meaningful way to incorporate the region with the sound of the "
+"chairs."
+msgstr "椅子の音の入っているリージョンを使うことのできる、意味のある方法を探す。"
 
 #. Tag: para
 #, no-c-format
-msgid "Compare the currently-unused clarinet regions with the in-use ones. Try different combinations of the regions, and remove the unused regions from the session."
+msgid ""
+"Compare the currently-unused clarinet regions with the in-use ones. Try "
+"different combinations of the regions, and remove the unused regions from "
+"the session."
 msgstr ""
+"今は使ってない方のクラリネットのリージョンを、今使っているものと比べる。リージョンの他の組み合わせを試してみる。セッションから使わないリージョンを取り除く。"
 
 #. Tag: para
 #, no-c-format
-msgid "Compare the currently-unused strings regions with the in-use ones. These regions are much longer than the clarinet regions, so you might even want to pick and choose ranges of regions to switch back and forth."
+msgid ""
+"Compare the currently-unused strings regions with the in-use ones. These "
+"regions are much longer than the clarinet regions, so you might even want to"
+" pick and choose ranges of regions to switch back and forth."
 msgstr ""
+"今は使ってない方の弦楽器のリージョンを、今使っているものと比べる。このリージョンはクラリネットのリージョンよりずっと長いので、リージョンの中の範囲を選択して取り替えるのも良いかもしれません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Have a friend - or at least somebody else - listen to the mix you're preparing. Get their opinion on difficulties that you may be having, or use them as a more generic listener."
+msgid ""
+"Have a friend - or at least somebody else - listen to the mix you're "
+"preparing. Get their opinion on difficulties that you may be having, or use "
+"them as a more generic listener."
 msgstr ""
+"友達、あるいは、少なくても誰か他の人に、今準備中のミックスを聞いてもらう。今の問題についての意見を求めたり、もっと一般的なリスナーとして扱う。"
 
 #. Tag: para
 #, no-c-format
-msgid "Listen to the mix on different kinds of reproduction equipment (speakers and amplifiers). The same audio signals will sound different when played on different equipment."
+msgid ""
+"Listen to the mix on different kinds of reproduction equipment (speakers and"
+" amplifiers). The same audio signals will sound different when played on "
+"different equipment."
 msgstr ""
+"ミックスを、異なる種類の再生装置（スピーカーとアンプ）を使って聞く。同じオーディオ信号も、異なる装置で演奏すると違って聞こえることがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "When you have finished mixing the song, you must listen to it. You should listen to it with as many different devices as possible: headphones, speakers, home theater systems, and so on. You should also ask your friends and colleagues to listen to your work. Other people hear things differently from you, and will give you different feedback."
+msgid ""
+"When you have finished mixing the song, you must listen to it. You should "
+"listen to it with as many different devices as possible: headphones, "
+"speakers, home theater systems, and so on. You should also ask your friends "
+"and colleagues to listen to your work. Other people hear things differently "
+"from you, and will give you different feedback."
 msgstr ""
+"曲をミキシングし終わったら、それを聞かなくてはいけません。できるだけたくさんの異なるデバイスで聞きます。ヘッドホン、スピーカー、ホームシアターシステム、などです。あなたの友人や同僚にあなたの作品を聞いてくれるように頼みましょう。他の人は、あなたとは違った聞き方をするでしょうし、異なるフィードバックをくれるでしょう。"
 
 #. Tag: title
 #, no-c-format
 msgid "Mastering a Session"
-msgstr ""
+msgstr "セッションのマスタリング"
 
 #. Tag: para
 #, no-c-format
-msgid "To be a true master at mastering sessions requires years of experience and careful optimization for the target format. Knowing just the right equalization and filtering settings to apply is an art in itself, worth a full user guide. This section is concerned with getting the audio out of a session, to a useful format."
+msgid ""
+"To be a true master at mastering sessions requires years of experience and "
+"careful optimization for the target format. Knowing just the right "
+"equalization and filtering settings to apply is an art in itself, worth a "
+"full user guide. This section is concerned with getting the audio out of a "
+"session, to a useful format."
 msgstr ""
+"セッションマスタリングの真のマスターになるためには、何年もの経験と目的フォーマットのための注意深い最適化が必要です。適用すべきイコライゼーションとフィルタリングの設定を正しく知ることは、それ自身でアートであり、完全なユーザガイドが必要です。このセクションは、セッションからオーディオを取り出して、使いやすいフォーマットにすることを説明します。"
 
 #. Tag: title
 #, no-c-format
 msgid "Ways to Export Audio"
-msgstr ""
+msgstr "オーディオをエクスポートする方法"
 
 #. Tag: para
 #, no-c-format
-msgid "There are three ways to export audio from an <application>Ardour</application> session:"
-msgstr ""
+msgid ""
+"There are three ways to export audio from an "
+"<application>Ardour</application> session:"
+msgstr "<application>Ardour</application> セッションからオーディオをエクスポートするには、３つの方法があります。"
 
 #. Tag: para
 #, no-c-format
 msgid "by region,"
-msgstr ""
+msgstr "リージョンから"
 
 #. Tag: para
 #, no-c-format
 msgid "by range, or"
-msgstr ""
+msgstr "範囲から、あるいは、"
 
 #. Tag: para
 #, no-c-format
 msgid "by session."
-msgstr ""
+msgstr "セッションから。"
 
 #. Tag: para
 #, no-c-format
 msgid "To export a region:"
-msgstr ""
+msgstr "リージョンをエクスポートする："
 
 #. Tag: para
 #, no-c-format
 msgid "Ensure the region is placed in the canvas area."
-msgstr ""
+msgstr "リージョンがキャンバスエリアにあるのを確認します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Right-click on the region."
-msgstr ""
+msgstr "リージョンを右クリックします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select the region-name's menu, then 'Export'."
-msgstr ""
+msgstr "リージョン名のメニューを選択して、 'Export' します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Continue with the Export window."
-msgstr ""
+msgstr "エクスポートウインドウで続きをします。"
 
 #. Tag: para
 #, no-c-format
 msgid "To export all audio in a range on the timeline:"
-msgstr ""
+msgstr "タイムラインの上の、ある範囲のオーディオをすべてエクスポートする："
 
 #. Tag: para
 #, no-c-format
-msgid "Select the range with the \"Select/Move Ranges\" tool. Regardless of which track you select, all tracks can be exported."
+msgid ""
+"Select the range with the \"Select/Move Ranges\" tool. Regardless of which "
+"track you select, all tracks can be exported."
 msgstr ""
+"範囲を、 \"Select/Move Ranges\" "
+"ツールで選択します。あなたが選択したトラックにかかわらず、すべてのトラックがエクスポートされます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Right-click on the range."
-msgstr ""
+msgstr "範囲を右クリックします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select 'Export' from the menu."
-msgstr ""
+msgstr "メニューから 'Export' を選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "To export all audio in a session:"
-msgstr ""
+msgstr "セッションのすべてのオーディオをエクスポートする："
 
 #. Tag: para
 #, no-c-format
-msgid "From the menu, select 'Session &gt; Export &gt; Export &gt; Export session to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
+msgid ""
+"From the menu, select 'Session &gt; Export &gt; Export &gt; Export session "
+"to audiofile', or on the keyboard, press 'Ctrl + Alt + e'"
 msgstr ""
+"メニューから、 'Session &gt; Export &gt; Export &gt; Export session to audiofile' "
+"を選択するか、キーボードで 'Ctrl + Alt + e' を押します。"
 
 #. Tag: title
 #, no-c-format
 msgid "Using the Export Window"
-msgstr ""
+msgstr "エクスポートウインドウを使う"
 
 #. Tag: para
 #, no-c-format
-msgid "Regardless of which export method you choose, the \"Export\" window is similar. When you export a region, you do not get to choose which tracks to export (by definition you are only exporting that region's track)."
+msgid ""
+"Regardless of which export method you choose, the \"Export\" window is "
+"similar. When you export a region, you do not get to choose which tracks to "
+"export (by definition you are only exporting that region's track)."
 msgstr ""
+"どのエクスポート方法を使っても、 \"Export\" "
+"ウインドウは似ています。リージョンをエクスポートするときは、どのトラックをエクスポートするかを選択することはできません。（定義により、あなたはそのリージョンのトラックだけをエクスポートします。）"
 
 #. Tag: title
 #, no-c-format
 msgid "Choose Which Tracks to Export"
-msgstr ""
+msgstr "エクスポートするトラックを選ぶ"
 
 #. Tag: para
 #, no-c-format
-msgid "By default, <application>Ardour</application> will export all audio in the range or session being exported. What it actually exports is all audio routed through the master output bus. You can see the list of tracks to export on the right side of the \"Export\" window. If you click the 'Specific Tracks' button, you will be able to choose from a list of all the tracks and busses in a session. Choosing specific tracks only makes sense if you do not want to export the master bus' output, so you should probably de-select that first."
-msgstr ""
+msgid ""
+"By default, <application>Ardour</application> will export all audio in the "
+"range or session being exported. What it actually exports is all audio "
+"routed through the master output bus. You can see the list of tracks to "
+"export on the right side of the \"Export\" window. If you click the "
+"'Specific Tracks' button, you will be able to choose from a list of all the "
+"tracks and busses in a session. Choosing specific tracks only makes sense if"
+" you do not want to export the master bus' output, so you should probably "
+"de-select that first."
+msgstr ""
+"デフォルトで、<application>Ardour</application> "
+"はエクスポートされる範囲あるいはセッションに含まれるすべてのオーディオをエクスポートしようとします。実際にエクスポートされるのは、マスター出力バスを経由する、すべてのオーディオです。\"Export\""
+" ウインドウの右端で、エクスポートするトラックのリストを見ることができます。 'Specific Tracks' "
+"ボタンを押すと、セッションのすべてのトラックとバスのリストの中から選択することができます。特定のトラックを選択するのは、マスターバスの出力をエクスポートしないときでないと意味がありませんから、たぶん、最初にその選択を外すのが良いでしょう。"
 
 #. Tag: title
 #, no-c-format
 msgid "Choose the Export Format"
-msgstr ""
+msgstr "エクスポートフォーマットを選ぶ"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>Ardour</application> offers quite a variety of output formats, and knowing which to choose can be baffling. Not all options are available with all file types. Fedora Linux does not support MP3 files by default, for legal reasons. For more information, refer to <citetitle>MP3 (Fedora Project Wiki)</citetitle> <ulink url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
+msgid ""
+"<application>Ardour</application> offers quite a variety of output formats, "
+"and knowing which to choose can be baffling. Not all options are available "
+"with all file types. Fedora Linux does not support MP3 files by default, for"
+" legal reasons. For more information, refer to <citetitle>MP3 (Fedora "
+"Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" />."
 msgstr ""
+"<application>Ardour</application> "
+"は、とても多くの出力フォーマットを提供しており、どれを選んだら良いか困るでしょう。すべてのファイルタイプで、すべてのオプションが使えるわけではありません。Fedora"
+" Linux は、法律上の理由により、デフォルトでは MP3 ファイルをサポートしません。詳細は、 <citetitle>MP3 (Fedora "
+"Project Wiki)</citetitle> <ulink "
+"url=\"http://fedoraproject.org/wiki/Multimedia/MP3\" /> を参照下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. Exporting any part of the session with a higher sample format or sample rate is likely to result in decreased audio quality."
+msgid ""
+"The tutorial's regions have 24-bit samples, recorded at a 48 kHz rate. "
+"Exporting any part of the session with a higher sample format or sample rate"
+" is likely to result in decreased audio quality."
 msgstr ""
+"チュートリアルのリージョンは、２４ビットサンプル、48 kHz "
+"レートで録音されています。セッションのどこでも、より高いサンプルフォーマットあるいはサンプルレートでエクスポートすると、オーディオ品質が低下します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Recommended File Types:"
-msgstr ""
+msgstr "おすすめのファイルタイプ："
 
 #. Tag: para
 #, no-c-format
-msgid "WAV: An uncompressed format designed by Microsoft. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any device."
+msgid ""
+"WAV: An uncompressed format designed by Microsoft. Recommended only if "
+"further audio manipulation is intended. Carries only audio data, so "
+"information like title, artist, and composer will be lost. Playable with "
+"almost any device."
 msgstr ""
+"WAV: "
+"マイクロソフトにより設計された、非圧縮フォーマット。さらにオーディオ操作をする予定のあるときに限り、おすすめします。オーディオデータだけを含むので、タイトル、アーティスト、そして作曲者などの情報は失われます。ほとんど、どのデバイスでも演奏可能です。"
 
 #. Tag: para
 #, no-c-format
-msgid "AIFF: An uncompressed format designed by Apple. Recommended only if further audio manipulation is intended. Carries only audio data, so information like title, artist, and composer will be lost. Playable with almost any DAW and some audio players."
+msgid ""
+"AIFF: An uncompressed format designed by Apple. Recommended only if further "
+"audio manipulation is intended. Carries only audio data, so information like"
+" title, artist, and composer will be lost. Playable with almost any DAW and "
+"some audio players."
 msgstr ""
+"AIFF: "
+"アップルにより設計された、非圧縮フォーマット。さらにオーディオ操作をする予定のあるときに限り、おすすめします。オーディオデータだけを含むので、タイトル、アーティスト、そして作曲者などの情報は失われます。ほとんどの"
+" DAW と、いくつかのオーディオプレーヤーで演奏可能です。"
 
 #. Tag: para
 #, no-c-format
-msgid "FLAC: An open-source compressed format. A \"lossless\" format, meaning no audio information is lost during compression and decompression. Audio quality is equal to WAV or AIFF formats. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, refer to <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of applications and programs capable of playing FLAC files. This is usually the best choice for distributing high-quality audio to listeners."
-msgstr ""
+msgid ""
+"FLAC: An open-source compressed format. A \"lossless\" format, meaning no "
+"audio information is lost during compression and decompression. Audio "
+"quality is equal to WAV or AIFF formats. Capable of carrying metadata, so "
+"information like title, artist, and composer will be preserved. Widely "
+"supported in Linux by default. For other popular operating systems, refer to"
+" <citetitle>Download Extras (FLAC Website)</citetitle> at <ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> for a list of "
+"applications and programs capable of playing FLAC files. This is usually the"
+" best choice for distributing high-quality audio to listeners."
+msgstr ""
+"FLAC: "
+"オープンソースの圧縮フォーマット。「可逆」フォーマットです。つまり、圧縮と展開で、いかなるオーディオ情報も失われません。オーディオ品質は、WAV や "
+"AIFF フォーマットと同じです。メタデータを含むことができるので、タイトル、アーティスト、そして作曲家などの情報が保持されます。Linux "
+"において、デフォルトで広くサポートされています。他の主なオペレーティングシステムについては、<ulink "
+"url=\"http://flac.sourceforge.net/download.html#extras\" /> の "
+"<citetitle>Download Extras (FLAC Website)</citetitle> で、FLAC "
+"ファイルを演奏できるアプリケーションとプログラムのリストを得ることができます。これが、普通、リスナーに高品質のオーディオを配布するのに、最適な選択です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning some audio information is lost during compression and decompression. Audio quality is less than WAV or AIFF formats, but usually better than MP3. Capable of carrying metadata, so information like title, artist, and composer will be preserved. Widely supported in Linux by default. For other popular operating systems, following the instructions on the <citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" />. This is a good choice for distributing good-quality audio to listeners."
+msgid ""
+"Ogg/Vorbis: An open-source compressed format. A \"lossy\" format, meaning "
+"some audio information is lost during compression and decompression. Audio "
+"quality is less than WAV or AIFF formats, but usually better than MP3. "
+"Capable of carrying metadata, so information like title, artist, and "
+"composer will be preserved. Widely supported in Linux by default. For other "
+"popular operating systems, following the instructions on the "
+"<citetitle>Vorbis Website</citetitle> <ulink url=\"http://www.vorbis.com/\" "
+"/>. This is a good choice for distributing good-quality audio to listeners."
 msgstr ""
+"Ogg/Vorbis: "
+"オープンソースの圧縮フォーマット。「非可逆」フォーマット、つまり、圧縮と展開で、いくらかのオーディオ情報が失われます。オーディオ品質は WAV や "
+"AIFF に劣りますが、普通は、 MP3 "
+"より優れます。メタデータを含むことができるので、タイトル、アーティスト、そして作曲家などの情報が保持されます。Linux "
+"において、デフォルトで広くサポートされています。他の主なオペレーティングシステムについては、<citetitle>Vorbis "
+"Website</citetitle> <ulink url=\"http://www.vorbis.com/\" /> "
+"の手順に従ってください。これは、リスナーに高品質のオーディオを配布する、良い選択です。"
 
 #. Tag: para
 #, no-c-format
-msgid "A higher setting for the sample format (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Format\" />) allows a greater amount of audio information to be stored per sample. 32&nbsp;bit support is virtually non-existant, but and you will probably not need to use this format in the near future. The \"float\" format stores samples in a different internal format, and you will need it only rarely."
+msgid ""
+"A higher setting for the sample format (explained in <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Format\" />) allows a greater amount of audio "
+"information to be stored per sample. 32&nbsp;bit support is virtually non-"
+"existant, but and you will probably not need to use this format in the near "
+"future. The \"float\" format stores samples in a different internal format, "
+"and you will need it only rarely."
 msgstr ""
+"サンプルフォーマット（<xref linkend=\"sect-Musicians_Guide-Sample_Format\" /> "
+"で説明されています。）を高く設定すると、サンプルごとに保存されるオーディオ情報を増やすことができます。３２ビットサポートは、ほとんど存在しないので、近い将来にわたってもこのフォーマットを使う必要があることはないでしょう。\"float\""
+" フォーマットは、異なる内部的なフォーマットでサンプルを保存するもので、まず、必要とすることはないでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you are exporting audio for high-end equipment, or for further processing, choose the 24-bit format. Otherwise, choose the 16-bit format, which is the sample format of audio CDs."
+msgid ""
+"If you are exporting audio for high-end equipment, or for further "
+"processing, choose the 24-bit format. Otherwise, choose the 16-bit format, "
+"which is the sample format of audio CDs."
 msgstr ""
+"もしあなたが、オーディオをハイエンドの装置のためにエクスポートしているか、あるいは、さらに処理をするつもりならば、２４ビットフォーマットを選んでください。そうでないときは、オーディオ"
+" CD のサンプルフォーマットである、１６ビットフォーマットが良いでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "\"Sample endianness\" is a difficult concept to understand, and it has no effect on the resulting audio - just how it is stored.. Unless you are using a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
+msgid ""
+"\"Sample endianness\" is a difficult concept to understand, and it has no "
+"effect on the resulting audio - just how it is stored.. Unless you are using"
+" a rare PowerPC computer, choose the \"Little-endian (Intel)\" option."
 msgstr ""
+"\"Sample endianness\" "
+"は、理解が難しい概念で、結果となるオーディオには何の影響もありません。保存の形式を変えるだけです。もしあなたが、数少ない PowerPC "
+"コンピュータをお使いでない限り、 \"Little-endian (Intel)\" オプションを選択下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> allows a greater amount of audio information to be stored, but increases the size of audio files."
+msgid ""
+"A higher sample rate (explained in <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate\" /> allows a greater amount of audio information to be stored, "
+"but increases the size of audio files."
 msgstr ""
+"高いサンプルレート（<xref linkend=\"sect-Musicians_Guide-Sample_Rate\" /> "
+"で説明されています。）を使うと、オーディオ情報をよりたくさん保存することができますが、オーディオファイルのサイズが大きくなります。"
 
 #. Tag: para
 #, no-c-format
-msgid "\"Convesion quality\" and \"dither type\" are not available options for the file formats offered in Fedora Linux."
+msgid ""
+"\"Convesion quality\" and \"dither type\" are not available options for the "
+"file formats offered in Fedora Linux."
 msgstr ""
+"\"Convesion quality\" と \"dither type\" は、Fedora Linux "
+"で提供されるファイルフォーマットでは無効です。"
 
 #. Tag: para
 #, no-c-format
-msgid "The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list of CD tracks in the exported file. This is most useful when exporting a whole session, which contains a whole CD, that would be subsequently burned to disc."
+msgid ""
+"The \"CD Marker File Type\" allows you to export a CUE- or TOC-format list "
+"of CD tracks in the exported file. This is most useful when exporting a "
+"whole session, which contains a whole CD, that would be subsequently burned "
+"to disc."
 msgstr ""
+"\"CD Marker File Type\" を使うと、エクスポートされたファイルに、CD トラックの CUE- あるいは TOC- "
+"フォーマットのリストを書き出すことができます。これは、いずれディスクに焼かれる、CD 全体を含むセッション全体をエクスポートするときに最も便利です。"
+
+
diff --git a/ja-JP/Audacity.po b/ja-JP/Audacity.po
index 0e4ae65..bffd2ee 100644
--- a/ja-JP/Audacity.po
+++ b/ja-JP/Audacity.po
@@ -1,122 +1,213 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-11-02T04:33:08\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:02\n"
+"PO-Revision-Date: 2011-07-13 08:40+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "Audacity"
-msgstr ""
+msgstr "Audacity"
 
 #. Tag: para
 #, no-c-format
-msgid "Audacity is a high-quality sound recording application, designed to be easy to use. We recommend Audacity to most computer users, because it is simple but it has many features and capabilities. You do not need to understand advanced computer audio concepts before using Audacity. If you can connect your microphone to your computer, you know enough to use Audacity."
+msgid ""
+"Audacity is a high-quality sound recording application, designed to be easy "
+"to use. We recommend Audacity to most computer users, because it is simple "
+"but it has many features and capabilities. You do not need to understand "
+"advanced computer audio concepts before using Audacity. If you can connect "
+"your microphone to your computer, you know enough to use Audacity."
 msgstr ""
+"Audacity は、高品質のサウンド録音アプリケーションで、使いやすいように設計されています。Audacity "
+"はシンプルなのでほとんどのコンピュータユーザにお勧めできます。それでも、それは多くの機能と能力があります。Audacity "
+"を使うのに、進んだコンピュータオーディオの概念を理解する必要はありません。あなたがマイクをコンピュータにつなぐことができれば、Audacity "
+"を使うのに十分な知識があると言えます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Knowing When to Use Audacity"
-msgstr ""
+msgstr "Audacity をいつ使うか"
 
 #. Tag: para
 #, no-c-format
-msgid "Audacity has a simple user interface, it is easy to use, and it has many advanced capabilities. Audacity does not require advanced knowledge of computers, music, or recording. Audacity is the right tool to use for editing a single audio file, and it can also coordinate multiple audio files simultaneously. Most users will prefer Audacity over the other applications in the Musicians' Guide which can record."
+msgid ""
+"Audacity has a simple user interface, it is easy to use, and it has many "
+"advanced capabilities. Audacity does not require advanced knowledge of "
+"computers, music, or recording. Audacity is the right tool to use for "
+"editing a single audio file, and it can also coordinate multiple audio files"
+" simultaneously. Most users will prefer Audacity over the other applications"
+" in the Musicians' Guide which can record."
 msgstr ""
+"Audacity はシンプルなユーザインタフェースを持ち、使いやすく、たくさんの進んだ能力があります。Audacity "
+"はコンピュータ、音楽、あるいは録音についての進んだ知識は必要としません。Audacity "
+"は単一のオーディオファイルを編集するのにぴったりのツールです。それは同時に複数のオーディオファイルを協調させることもできます。ほとんどのユーザは、ミュージシャンのガイドで扱われている他の録音できるアプリケーションと比べたとき、Audacity"
+" を選ぶでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you need to record quickly, and you do not have time to learn complicated software, you should use Audacity."
-msgstr ""
+msgid ""
+"If you need to record quickly, and you do not have time to learn complicated"
+" software, you should use Audacity."
+msgstr "もしあなたが手っ取り早く録音がしたくて、複雑なソフトウエアを学ぶ時間がないならば、Audacity を使うべきです。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you have professional-quality audio equipment, if you want to do highly advanced processing, or if you need fine-grained control over the recording, you should use Ardour, Qtractor, or Rosegarden. If you have not used any of these applications, we recommend learning Qtractor before Ardour or Rosegarden. Ardour and Rosegarden are more complicated than Qtractor, and you may not need their advanced features."
-msgstr ""
+msgid ""
+"If you have professional-quality audio equipment, if you want to do highly "
+"advanced processing, or if you need fine-grained control over the recording,"
+" you should use Ardour, Qtractor, or Rosegarden. If you have not used any of"
+" these applications, we recommend learning Qtractor before Ardour or "
+"Rosegarden. Ardour and Rosegarden are more complicated than Qtractor, and "
+"you may not need their advanced features."
+msgstr ""
+"もしあなたがプロ品質のオーディオ機器を持っていたり、とても高度な処理をしたかったり、あるいは録音に関して細かい制御がしたいならば、 Ardour, "
+"Qtractor, あるいは Rosegarden を使うのがよいでしょう。これらのどのアプリケーションも使ったことがないならば、 Ardour "
+"あるいは Rosegarden の前に Qtractor を学ぶのをお勧めします。Ardour と Rosegarden は Qtractor "
+"に比べて複雑で、あなたはそれらの進んだ機能は必要ないかもしれません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Requirements and Installation"
-msgstr ""
+msgstr "要件とインストール"
 
 #. Tag: title
 #, no-c-format
 msgid "Software Requirements"
-msgstr ""
+msgstr "ソフトウエア要件"
 
 #. Tag: para
 #, no-c-format
-msgid "Audacity uses several \"libraries.\" Libraries are incomplete programs that add capabilities to other programs or applications. Libraries can be shared between programs. The libraries needed by Audacity will be installed automatically."
+msgid ""
+"Audacity uses several \"libraries.\" Libraries are incomplete programs that "
+"add capabilities to other programs or applications. Libraries can be shared "
+"between programs. The libraries needed by Audacity will be installed "
+"automatically."
 msgstr ""
+"Audacity "
+"はいくつかの\"ライブラリ\"を使います。ライブラリは、独立していないプログラムで、他のプログラムあるいはアプリケーションに能力を加えます。ライブラリはプログラムの間で共用できます。Audacity"
+" が必要とするライブラリは自動的にインストールされます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The version of Audacity from the Fedora repository does not use an MP3 library. If you do not want to use MP3 files with Audacity, you should follow the instructions in <xref linkend=\"sect-Musicians_Guide-Audacity-Installation\" />. If you want to use MP3 files with Audacity, you should follow the instructions in <xref linkend=\"sect-Musicians_Guide-Audacity-Installation_with_RPM_Fusion\" />."
+msgid ""
+"The version of Audacity from the Fedora repository does not use an MP3 "
+"library. If you do not want to use MP3 files with Audacity, you should "
+"follow the instructions in <xref linkend=\"sect-Musicians_Guide-Audacity-"
+"Installation\" />. If you want to use MP3 files with Audacity, you should "
+"follow the instructions in <xref linkend=\"sect-Musicians_Guide-Audacity-"
+"Installation_with_RPM_Fusion\" />."
 msgstr ""
+"Fedora リポジトリにあるバージョンの Audacity は、MP3 ライブラリを使いません。Audacity で MP3 "
+"ファイルを使わないならば、<xref linkend=\"sect-Musicians_Guide-Audacity-Installation\" "
+"/>の手順に従ってください。使いたいならば、<xref linkend=\"sect-Musicians_Guide-Audacity-"
+"Installation_with_RPM_Fusion\" />の手順に従ってください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Audacity can use the JACK Audio Connection Kit. You should install JACK before installing Audacity. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> to install JACK. We recommend using Audacity without JACK, but JACK is installed whether or not you use it."
+msgid ""
+"Audacity can use the JACK Audio Connection Kit. You should install JACK "
+"before installing Audacity. Follow the instructions in <xref linkend=\"sect-"
+"Musicians_Guide-Install_and_Configure_JACK\" /> to install JACK. We "
+"recommend using Audacity without JACK, but JACK is installed whether or not "
+"you use it."
 msgstr ""
+"Audacity は JACK Audio Connection Kit を使うことができます。Audacity をインストールする前に JACK "
+"をインストール下さい。JACK をインストールするには、<xref linkend=\"sect-Musicians_Guide-"
+"Install_and_Configure_JACK\" />の手順に従ってください。Audacity はJACK と一緒に使わないで、ただし、JACK"
+" はインストールされているのをお勧めします。"
 
 #. Tag: title
 #, no-c-format
 msgid "Hardware Requirements"
-msgstr ""
+msgstr "ハードウエア要件"
 
 #. Tag: para
 #, no-c-format
-msgid "You need an audio interface to use Audacity. If you will record audio with Audacity, you must have at least one microphone connected to your audio interface. You do not need a microphone to edit existing audio files."
+msgid ""
+"You need an audio interface to use Audacity. If you will record audio with "
+"Audacity, you must have at least one microphone connected to your audio "
+"interface. You do not need a microphone to edit existing audio files."
 msgstr ""
+"Audacity を使うにはオーディオインターフェイスが必要です。Audacity "
+"でオーディオを録音するならば、少なくとも１つの、オーディオインターフェイスに接続されたマイクが必要です。既存のオーディオファイルを編集するのにマイクはいりません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Standard Installation"
-msgstr ""
+msgstr "標準のインストール"
 
 #. Tag: para
 #, no-c-format
-msgid "This method installs Audacity from the Fedora repository. This version of Audacity does not use an MP3 library, and cannot process MP3 files."
+msgid ""
+"This method installs Audacity from the Fedora repository. This version of "
+"Audacity does not use an MP3 library, and cannot process MP3 files."
 msgstr ""
+"この方法はAudacity を Fedora リポジトリからインストールします。このバージョンの Audacity は MP3 "
+"ライブラリを使わないので、MP3 ファイルを処理することはできません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Use PackageKit or KPackageKit to install the <package>audacity</package> package."
+msgid ""
+"Use PackageKit or KPackageKit to install the <package>audacity</package> "
+"package."
 msgstr ""
+"PackageKit あるいは KPackageKit を使って<package>audacity</package>パッケージをインストールします。"
 
 #. Tag: para
 #, no-c-format
-msgid "The proposed installation includes Audacity and all of the libraries that Audacity uses. Continue installing Audacity by reviewing and approving the proposed installation."
+msgid ""
+"The proposed installation includes Audacity and all of the libraries that "
+"Audacity uses. Continue installing Audacity by reviewing and approving the "
+"proposed installation."
 msgstr ""
+"提案されたインストールは、Audacity と Audacity が使うすべてのライブラリを含みます。提案を見て、承認し、Audacity "
+"のインストールを続けてください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Audacity configures itself automatically, but it may not use the configuration you want. You need to test Audacity before recording, so that you know that it works. Follow the instructions in <xref linkend=\"sect-Musicians_Guide-Audacity-Testing_Playback\" /> and <xref linkend=\"sect-Musicians_Guide-Audacity-Testing_Recording\" /> to test Audacity."
+msgid ""
+"Audacity configures itself automatically, but it may not use the "
+"configuration you want. You need to test Audacity before recording, so that "
+"you know that it works. Follow the instructions in <xref linkend=\"sect-"
+"Musicians_Guide-Audacity-Testing_Playback\" /> and <xref linkend=\"sect-"
+"Musicians_Guide-Audacity-Testing_Recording\" /> to test Audacity."
 msgstr ""
+"Audacity は自動的に自分で設定をします。しかし、あなたのほしい設定は使わないかもしれません。録音する前に、Audacity "
+"をテストして、うまく動くのを確認してください。<xref linkend=\"sect-Musicians_Guide-Audacity-"
+"Testing_Playback\" />と<xref linkend=\"sect-Musicians_Guide-Audacity-"
+"Testing_Recording\" />の手順に従って、Audacity をテストください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Installation with MP3 Support"
-msgstr ""
+msgstr "MP3 サポートを含むインストール"
 
 #. Tag: para
 #, no-c-format
-msgid "This method installs Audacity from the RPM Fusion repository. This version of Audacity uses an MP3 library, and can process MP3 files. The Fedora Project cannot provide support for this version of Audacity because it is not prepared by Fedora."
+msgid ""
+"This method installs Audacity from the RPM Fusion repository. This version "
+"of Audacity uses an MP3 library, and can process MP3 files. The Fedora "
+"Project cannot provide support for this version of Audacity because it is "
+"not prepared by Fedora."
 msgstr ""
+"この方法は、Audacity を、RPM Fusion リポジトリからインストールします。このバージョンの Audacity は MP3 "
+"ライブラリを使うので、MP3 ファイルを処理できます。これは Fedora プロジェクトによって用意されたものではないので、Fedora "
+"では、このバージョンのAudacity にサポートを提供することはできません。"
 
 #. Tag: para
 #, no-c-format
 msgid "Run this command in a terminal:"
-msgstr ""
+msgstr "ターミナルで、このコマンドを実行します："
 
 #. Tag: screen
 #, no-c-format
@@ -125,176 +216,263 @@ msgid ""
 "<command>rpmfusion-free-release-stable.noarch.rpmhttp://download1.rpmfusion.org/nonfree/\\</command>\n"
 "<command>fedora/rpmfusion-nonfree-release-stable.noarch.rpm'</command>"
 msgstr ""
+"<command>su -c 'yum localinstall --nogpgcheck http://download1.rpmfusion.org/free/fedora/\\</command>\n"
+"<command>rpmfusion-free-release-stable.noarch.rpmhttp://download1.rpmfusion.org/nonfree/\\</command>\n"
+"<command>fedora/rpmfusion-nonfree-release-stable.noarch.rpm'</command>"
 
 #. Tag: para
 #, no-c-format
-msgid "Note that this a single command, broken into three lines here for presentation reasons."
-msgstr ""
+msgid ""
+"Note that this a single command, broken into three lines here for "
+"presentation reasons."
+msgstr "これは１つのコマンドで、ここでは表示のために３行に分けてあることに注意ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Use PackageKit or KPackageKit to install the <code>audacity-freeworld</code> package."
+msgid ""
+"Use PackageKit or KPackageKit to install the <code>audacity-freeworld</code>"
+" package."
 msgstr ""
+"PackageKit あるいは KPackageKit を使って <code>audacity-freeworld</code> "
+"パッケージをインストールします。"
 
 #. Tag: title
 #, no-c-format
 msgid "Post-Installation Test: Playback"
-msgstr ""
+msgstr "インストール後のテスト：再生"
 
 #. Tag: para
 #, no-c-format
 msgid "Start Audacity."
-msgstr ""
+msgstr "Audacity を開始します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Set the volume of your audio interface and speakers to a safe level."
-msgstr ""
+msgstr "オーディオインターフェイスとスピーカーのボリュームを安全なレベルにします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose <menuchoice><guimenu>File</guimenu><guimenuitem>Open</guimenuitem></menuchoice> to open the Open File window."
+msgid ""
+"Choose "
+"<menuchoice><guimenu>File</guimenu><guimenuitem>Open</guimenuitem></menuchoice>"
+" to open the Open File window."
 msgstr ""
+"<menuchoice><guimenu>ファイル</guimenu><guimenuitem>開く</guimenuitem></menuchoice>を選択して、ファイルを開くウインドウを開きます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Open the <literal>/usr/share/sounds/alsa/Noise.wav</literal> file. This file is designed for testing audio equipment."
+msgid ""
+"Open the <literal>/usr/share/sounds/alsa/Noise.wav</literal> file. This file"
+" is designed for testing audio equipment."
 msgstr ""
+"<literal>/usr/share/sounds/alsa/Noise.wav</literal> "
+"ファイルを開きます。このファイルは、オーディオ機器をテストするために作られたものです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Play the file as many times as you need. Adjust the volume of your audio interface and speakers while the file is playing."
-msgstr ""
+msgid ""
+"Play the file as many times as you need. Adjust the volume of your audio "
+"interface and speakers while the file is playing."
+msgstr "必要な回数ファイルを演奏します。ファイルが演奏される間、オーディオインターフェイスとスピーカーのボリュームを調整してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you cannot hear sound when the file is played, check that your audio interface and speakers are correctly connected and powered on."
-msgstr ""
+msgid ""
+"If you cannot hear sound when the file is played, check that your audio "
+"interface and speakers are correctly connected and powered on."
+msgstr "ファイルが演奏される間、音が聞こえないときはオーディオインターフェイスとスピーカーが正しく接続されて、電源が入っているのを確認下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you still cannot hear sound when the file is played, see <xref linkend=\"sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware\" />."
+msgid ""
+"If you still cannot hear sound when the file is played, see <xref linkend"
+"=\"sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware\" />."
 msgstr ""
+"それでも、ファイルが演奏される間、音が聞こえないときは、<xref linkend=\"sect-Musicians_Guide-Audacity-"
+"Configure_to_Use_Your_Hardware\" /> を参照ください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Post-Installation Test: Recording"
-msgstr ""
+msgstr "インストール後のテスト：録音"
 
 #. Tag: para
 #, no-c-format
 msgid "Connect your microphones to your audio interface."
-msgstr ""
+msgstr "マイクをオーディオインターフェイスにつなぎます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Start Audacity. Do not open a file."
-msgstr ""
+msgstr "Audacity を開始します。ファイルは開かないでください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Locate the volume level meters on the toolbar, to the right of the transport controls. If you do not see the meters, choose <menuchoice><guimenu>View</guimenu><guisubmenu>Toolbars</guisubmenu><guimenuitem>Meter Toolbar</guimenuitem></menuchoice>, which should have a check mark next to it."
+msgid ""
+"Locate the volume level meters on the toolbar, to the right of the transport"
+" controls. If you do not see the meters, choose "
+"<menuchoice><guimenu>View</guimenu><guisubmenu>Toolbars</guisubmenu><guimenuitem>Meter"
+" Toolbar</guimenuitem></menuchoice>, which should have a check mark next to "
+"it."
 msgstr ""
+"トランスポートコントロールの右にある、ボリュームレベルメーターを、ツールバーの上で探してください。メーターが見えないときは、<menuchoice><guimenu>表示</guimenu><guisubmenu>ツールバー</guisubmenu><guimenuitem>メーターツールバー</guimenuitem></menuchoice>を選択してください。そのとなりに、チェックマークがついているのを確認下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click on the arrow next to the microphone to open the input meter's pop-up menu. Choose <menuchoice><guimenuitem>Start Monitoring</guimenuitem></menuchoice>."
+msgid ""
+"Click on the arrow next to the microphone to open the input meter's pop-up "
+"menu. Choose <menuchoice><guimenuitem>Start "
+"Monitoring</guimenuitem></menuchoice>."
 msgstr ""
+"マイクのとなりの矢印をクリックして、入力メーターのポップアップメニューを開きます。<menuchoice><guimenuitem>モニターを開始</guimenuitem></menuchoice>を選択してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Sing, talk, or make noise into the microphone. The volume level meter should show moving red bars."
-msgstr ""
+msgid ""
+"Sing, talk, or make noise into the microphone. The volume level meter should"
+" show moving red bars."
+msgstr "マイクの前で歌う、話す、あるいは雑音を立ててください。ボリュームレベルメーターで、赤いバーが動いて見えるはずです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Adjust the volume of the recording inputs on your audio interface. When there is no noise, the moving red bars should be very small."
-msgstr ""
+msgid ""
+"Adjust the volume of the recording inputs on your audio interface. When "
+"there is no noise, the moving red bars should be very small."
+msgstr "オーディオインターフェイスの録音入力のボリュームを調整してください。雑音がないときは、動く赤いバーはとても小さいべきです。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you do not see moving red bars in the volume level meter, check that your audio interface and microphone are correctly connected and powered on. If your equipment was not properly connected, adjust the volume of the recording inputs on your audio interface now."
+msgid ""
+"If you do not see moving red bars in the volume level meter, check that your"
+" audio interface and microphone are correctly connected and powered on. If "
+"your equipment was not properly connected, adjust the volume of the "
+"recording inputs on your audio interface now."
 msgstr ""
+"ボリュームレベルメーターで、動く赤いバーが見えないときは、オーディオインターフェイスとマイクが正しく接続されて、電源が入っているのを確認下さい。もし機器が正しく接続されていなかったときは、オーディオインタフェースの録音入力のボリュームを、今、調整してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you still do not see moving red bars, see <xref linkend=\"sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware\" />."
+msgid ""
+"If you still do not see moving red bars, see <xref linkend=\"sect-"
+"Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware\" />."
 msgstr ""
+"それでも動く赤いバーが見えないときは、<xref linkend=\"sect-Musicians_Guide-Audacity-"
+"Configure_to_Use_Your_Hardware\" />を参照ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click the <guibutton>Record</guibutton> button to start a test recording. Sing, talk, or make noise into the microphone."
+msgid ""
+"Click the <guibutton>Record</guibutton> button to start a test recording. "
+"Sing, talk, or make noise into the microphone."
 msgstr ""
+"<guibutton>録音</guibutton>ボタンをクリックして、テスト録音を始めます。マイクの前で歌う、話す、あるいは雑音を立ててください。"
 
 #. Tag: para
 #, no-c-format
-msgid "After a few seconds, click the <guibutton>Stop</guibutton> button to stop the test recording."
-msgstr ""
+msgid ""
+"After a few seconds, click the <guibutton>Stop</guibutton> button to stop "
+"the test recording."
+msgstr "何秒かしたら、<guibutton>停止</guibutton>ボタンをクリックして、テスト録音を止めます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click the <guibutton>Play</guibutton> button to hear the recorded audio."
-msgstr ""
+msgid ""
+"Click the <guibutton>Play</guibutton> button to hear the recorded audio."
+msgstr "<guibutton>再生</guibutton>ボタンをクリックして、録音されたオーディオを聞きます。"
 
 #. Tag: para
 #, no-c-format
-msgid "If the recording sounds bad, you configure Audacity manually. See <xref linkend=\"sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware\" />."
+msgid ""
+"If the recording sounds bad, you configure Audacity manually. See <xref "
+"linkend=\"sect-Musicians_Guide-Audacity-Configure_to_Use_Your_Hardware\" />."
 msgstr ""
+"録音の音が変なときは、手動で Audacity を設定してください。<xref linkend=\"sect-Musicians_Guide-"
+"Audacity-Configure_to_Use_Your_Hardware\" /> を参照ください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Configuration"
-msgstr ""
+msgstr "構成"
 
 #. Tag: title
 #, no-c-format
 msgid "When You Run Audacity for the First Time"
-msgstr ""
+msgstr "初めて Audacity を実行するとき"
 
 #. Tag: para
 #, no-c-format
-msgid "When you run Audacity for the first time, you will be asked to select a language to use for the interface. Before you use Audacity, we encourage you to follow the post-installation test instructions above."
+msgid ""
+"When you run Audacity for the first time, you will be asked to select a "
+"language to use for the interface. Before you use Audacity, we encourage you"
+" to follow the post-installation test instructions above."
 msgstr ""
+"初めて Audacity を実行するとき、インタフェースで使う言語を選ぶように言われます。Audacity "
+"を使う前に、前記のインストール後のテスト手順に従うことをお勧めします。"
 
 #. Tag: title
 #, no-c-format
 msgid "Configuring Audacity for Your Sound Card"
-msgstr ""
+msgstr "お使いのサウンドカードに合わせて Audacity を設定する"
 
 #. Tag: para
 #, no-c-format
-msgid "Audacity configures itself automatically. If your computer has multiple sound cards or your sound cards have an unusual setup, Audacity guesses which input and output you will use. Audacity sometimes guesses incorrectly, so you can configure it yourself."
+msgid ""
+"Audacity configures itself automatically. If your computer has multiple "
+"sound cards or your sound cards have an unusual setup, Audacity guesses "
+"which input and output you will use. Audacity sometimes guesses incorrectly,"
+" so you can configure it yourself."
 msgstr ""
+"Audacity "
+"は自動的に自分で設定をします。もしあなたのコンピュータに複数のサウンドカードがあったり、あなたのサウンドカードが特殊なセットアップを必要としたりすると、Audacity"
+" はあなたが使う入力と出力を推測します。Audacity の推測は間違うこともあり、そのときあなたは自分で設定することができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Audacity sometimes works, but has poor performance or low-quality audio. If Audacity runs poorly on your computer, you should configure the sound cards manually."
+msgid ""
+"Audacity sometimes works, but has poor performance or low-quality audio. If "
+"Audacity runs poorly on your computer, you should configure the sound cards "
+"manually."
 msgstr ""
+"ときには、Audacity は動いても、性能が悪かったり、オーディオ品質が悪いことがあります。あなたのコンピュータで、Audacity "
+"がうまく動かないときは、サウンドカードを手動で設定する必要があります。"
 
 #. Tag: para
 #, no-c-format
 msgid "Follow these steps to configure Audacity for your sound card:"
-msgstr ""
+msgstr "お使いのサウンドカードに合わせて Audacity を設定するには、以下のステップに従ってください。"
 
 #. Tag: para
 #, no-c-format
 msgid "You need to know the Linux name of your sound card."
-msgstr ""
+msgstr "あなたのサウンドカードの Linux での名前を知る必要があります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Open a terminal. In GNOME, choose <menuchoice><guimenu>Applications</guimenu> <guisubmenu>System</guisubmenu> <guimenuitem>Terminal</guimenuitem></menuchoice>. In KDE, open the application launcher, then choose <menuchoice><guimenu>System</guimenu><guimenuitem>Konsole</guimenuitem></menuchoice>."
+msgid ""
+"Open a terminal. In GNOME, choose "
+"<menuchoice><guimenu>Applications</guimenu> <guisubmenu>System</guisubmenu> "
+"<guimenuitem>Terminal</guimenuitem></menuchoice>. In KDE, open the "
+"application launcher, then choose "
+"<menuchoice><guimenu>System</guimenu><guimenuitem>Konsole</guimenuitem></menuchoice>."
 msgstr ""
+"ターミナルを開きます。GNOME では<menuchoice><guimenu>アプリケーション</guimenu> "
+"<guisubmenu>システムツール</guisubmenu> "
+"<guimenuitem>端末</guimenuitem></menuchoice>を選択します。KDE "
+"では、アプリケーションランチャーを開いて、<menuchoice><guimenu>システムツール</guimenu><guimenuitem>Konsole</guimenuitem></menuchoice>を選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Run this command: <command>cat /proc/asound/cards</command>."
-msgstr ""
+msgstr "このコマンドを実行します：<command>cat /proc/asound/cards</command>"
 
 #. Tag: para
 #, no-c-format
-msgid "The <command>cat</command> program outputs a list of sound cards in your computer, which looks similar to this list:"
+msgid ""
+"The <command>cat</command> program outputs a list of sound cards in your "
+"computer, which looks similar to this list:"
 msgstr ""
+"<command>cat</command>プログラムはあなたのコンピュータのサウンドカードのリストを出力します。それは、このリストのように見えるでしょう："
 
 #. Tag: screen
 #, no-c-format
@@ -304,698 +482,1122 @@ msgid ""
 "<computeroutput>1 [MobilePre      ]: USB-Audio - MobilePre</computeroutput>\n"
 "<computeroutput>                  M Audio MobilePre at usb-0000:00:13.0-2</computeroutput>"
 msgstr ""
+"<computeroutput>0 [SB             ]: HDA-Intel - HDA ATI SB</computeroutput>\n"
+"<computeroutput>                  HDA ATI SB at 0xf7ff4000 irq 16</computeroutput>\n"
+"<computeroutput>1 [MobilePre      ]: USB-Audio - MobilePre</computeroutput>\n"
+"<computeroutput>                  M Audio MobilePre at usb-0000:00:13.0-2</computeroutput>"
 
 #. Tag: para
 #, no-c-format
-msgid "In this example output, the square brackets surround the name of the sound card. The names of the sound cards in this example output are <literal>SB</literal> and <literal>MobilePre</literal>."
+msgid ""
+"In this example output, the square brackets surround the name of the sound "
+"card. The names of the sound cards in this example output are "
+"<literal>SB</literal> and <literal>MobilePre</literal>."
 msgstr ""
+"この出力例では、角かっこがサウンドカードの名前を囲みます。この出力例のサウンドカードの名前は <literal>SB</literal> と "
+"<literal>MobilePre</literal> です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Identify the name of the sound card that you want to use. If you do not see your sound card in the list outputted by <code>cat</code>, then your Fedora does not detect it. You should also remember the number of the sound card, which is printed to the left of the name. You can use two different sound cards for recording and playback."
+msgid ""
+"Identify the name of the sound card that you want to use. If you do not see "
+"your sound card in the list outputted by <code>cat</code>, then your Fedora "
+"does not detect it. You should also remember the number of the sound card, "
+"which is printed to the left of the name. You can use two different sound "
+"cards for recording and playback."
 msgstr ""
+"使いたいサウンドカードの名前を見つけます。あなたのカードが、<code>cat</code> の出力のリストの中にないときは、あなたの Fedora "
+"はそれを検出できなかったということです。サウンドカードの番号、それは名前の左に表示されます、も覚えておく必要があります。録音と再生に、２つの異なるサウンドカードを使うことができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Open the \"Preferences\" window. Choose <guimenu>File</guimenu> &gt; <guimenuitem>Preferences</guimenuitem>."
+msgid ""
+"Open the \"Preferences\" window. Choose <guimenu>File</guimenu> &gt; "
+"<guimenuitem>Preferences</guimenuitem>."
 msgstr ""
+"\"設定\"ウインドウを開きます。<guimenu>編集</guimenu> &gt; "
+"<guimenuitem>設定</guimenuitem>をクリックしてください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Set the \"Host\" to <literal>ALSA</literal>."
-msgstr ""
+msgstr "\"ホスト\"は <literal>ALSA</literal> にします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Set the recording and playback devices to the name of the sound card that you want to use. If there are many choices for your sound card, choose the one that ends with <literal>(hw:0)</literal>, where <literal>0</literal> is replaced by the number of the sound card that you want to use."
+msgid ""
+"Set the recording and playback devices to the name of the sound card that "
+"you want to use. If there are many choices for your sound card, choose the "
+"one that ends with <literal>(hw:0)</literal>, where <literal>0</literal> is "
+"replaced by the number of the sound card that you want to use."
 msgstr ""
+"録音と再生のデバイスを、あなたが使いたいサウンドカードの名前にします。サウンドカードの選択肢がたくさんあるならば、<literal>(hw:0)</literal>"
+" で終わるものを選択します。<literal>0</literal> の部分は、使いたいサウンドカードの番号に置換下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "Follow the post-installation test procedures to confirm that the configuration is correct."
-msgstr ""
+msgid ""
+"Follow the post-installation test procedures to confirm that the "
+"configuration is correct."
+msgstr "設定が正しいか、インストール後のテスト手順を行ってください。"
 
 #. Tag: para
 #, no-c-format
-msgid "You will see many choices in the list of playback and recording devices. When configured with the <code>default</code> device, Audacity lets ALSA determine which sound card to use. When configured with the <literal>pulse</literal> device, Audacity lets PulseAudio determine which sound card to use. Audacity works most efficiently when configured with a specific sound card, so you should not use the <literal>default</literal> or <literal>pulse</literal> devices unless the other choices do not work."
-msgstr ""
+msgid ""
+"You will see many choices in the list of playback and recording devices. "
+"When configured with the <code>default</code> device, Audacity lets ALSA "
+"determine which sound card to use. When configured with the "
+"<literal>pulse</literal> device, Audacity lets PulseAudio determine which "
+"sound card to use. Audacity works most efficiently when configured with a "
+"specific sound card, so you should not use the <literal>default</literal> or"
+" <literal>pulse</literal> devices unless the other choices do not work."
+msgstr ""
+"再生と録音のデバイスのリストにはたくさんの選択肢があります。<code>default</code> デバイスにすると、Audacity は ALSA "
+"にどのサウンドカードを使うかを決定させます。<literal>pulse</literal> デバイスにすると、Audacity は "
+"PulseAudio にどのサウンドカードを使うかを決定させます。Audacity "
+"は、特定のサウンドカードで設定されたときに最も効率よく動作しますから、 <literal>default</literal> や "
+"<literal>pulse</literal> デバイスは、他の選択肢がうまくいかないときだけ使うのがよいでしょう。"
 
 #. Tag: title
 #, no-c-format
 msgid "Setting the Project's Sample Rate and Format"
-msgstr ""
+msgstr "プロジェクトのサンプルレートとフォーマットを設定する"
 
 #. Tag: para
 #, no-c-format
-msgid "You can change the sample rate and sample format (see <xref linkend=\"sect-Musicians_Guide-Sample_Rate_and_Sample_Format\" /> for definitions). You should set the sample rate and sample format when you begin working on a project. You should not change the sample rate or sample format after you record audio. If you will use audio files that already exist, you should use the sample rate and sample format of the existing files."
+msgid ""
+"You can change the sample rate and sample format (see <xref linkend=\"sect-"
+"Musicians_Guide-Sample_Rate_and_Sample_Format\" /> for definitions). You "
+"should set the sample rate and sample format when you begin working on a "
+"project. You should not change the sample rate or sample format after you "
+"record audio. If you will use audio files that already exist, you should use"
+" the sample rate and sample format of the existing files."
 msgstr ""
+"サンプルレートとサンプルフォーマット（定義は<xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate_and_Sample_Format\" "
+"/>を参照下さい。）を変更することができます。プロジェクトで作業をし始めるときにサンプルレートとサンプルフォーマットを設定するべきです。オーディオを録音した後、サンプルレートとサンプルフォーマットを変更することはできません。既にあるオーディオファイルを使うならば、そのファイルのサンプルレートとサンプルフォーマットを使うべきです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose <menuchoice><guimenu>File</guimenu> <guimenuitem>Preferences</guimenuitem></menuchoice> to open the \"Preferences\" window."
+msgid ""
+"Choose <menuchoice><guimenu>File</guimenu> "
+"<guimenuitem>Preferences</guimenuitem></menuchoice> to open the "
+"\"Preferences\" window."
 msgstr ""
+"\"設定\"ウインドウを開きます。<guimenu>編集</guimenu> &gt; "
+"<guimenuitem>設定</guimenuitem>をクリックしてください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click <guibutton>Quality</guibutton> in the list on the left of the window."
-msgstr ""
+msgid ""
+"Click <guibutton>Quality</guibutton> in the list on the left of the window."
+msgstr "ウインドウの左にあるリストの中から<guibutton>品質</guibutton>をクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Change the settings as you need. We recommend a sample rate of 44&nbsp;100&nbsp;Hz and a sample format of 16&nbsp;bits for most projects."
+msgid ""
+"Change the settings as you need. We recommend a sample rate of "
+"44&nbsp;100&nbsp;Hz and a sample format of 16&nbsp;bits for most projects."
 msgstr ""
+"設定を必要に合わせて変更します。ほとんどのプロジェクトに対して、44&nbsp;100&nbsp;Hz のサンプルレートと 16&nbsp;bits "
+"のサンプルフォーマットをお勧めします。"
 
 #. Tag: title
 #, no-c-format
 msgid "The Interface"
-msgstr ""
+msgstr "インタフェース"
 
 #. Tag: title
 #, no-c-format
 msgid "The Audacity interface"
-msgstr ""
+msgstr "Audacity のインタフェース"
 
 #. Tag: para
 #, no-c-format
 msgid "An Audacity window, displaying a single stereo track."
-msgstr ""
+msgstr "１つのステレオトラックを表示する Audacity のウインドウ。"
 
 #. Tag: para
 #, no-c-format
-msgid "The <firstterm>transport controls</firstterm> play, stop, or pause playback of audio. The buttons to record and move quickly through a file are also located here."
+msgid ""
+"The <firstterm>transport controls</firstterm> play, stop, or pause playback "
+"of audio. The buttons to record and move quickly through a file are also "
+"located here."
 msgstr ""
+"<firstterm>トランスポートコントロール</firstterm>は、オーディオを再生、停止、あるいは再生を一時停止します。録音とファイルの中を素早く移動するためのボタンもここにあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "The <firstterm>tool-selection box</firstterm> changes the cursor's function."
-msgstr ""
+msgid ""
+"The <firstterm>tool-selection box</firstterm> changes the cursor's function."
+msgstr "<firstterm>ツール選択ボックス</firstterm>はカーソルのはたらきを変えます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The two <firstterm>volume level meters</firstterm> display the volume level of stereo audio. The left meter displays the volume level of the output signal. The right meter displays the volume level of the input signal."
+msgid ""
+"The two <firstterm>volume level meters</firstterm> display the volume level "
+"of stereo audio. The left meter displays the volume level of the output "
+"signal. The right meter displays the volume level of the input signal."
 msgstr ""
+"２つの<firstterm>ボリュームレベルメーター</firstterm>はステレオオーディオのボリュームレベルを表示します。左のメーターは出力信号のボリュームレベルを表示し、右のメーターは入力信号のボリュームレベルを表示します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The <firstterm>ruler</firstterm> displays the time since the start of the file, in minutes and seconds."
-msgstr ""
+msgid ""
+"The <firstterm>ruler</firstterm> displays the time since the start of the "
+"file, in minutes and seconds."
+msgstr "<firstterm>ルーラー</firstterm>は、ファイル先頭からの時間を分と秒で表示します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Each <firstterm>track</firstterm> contains two channels of audio signal data. Audacity stacks tracks vertically in the main window. Audacity plays back all tracks simultaneously."
+msgid ""
+"Each <firstterm>track</firstterm> contains two channels of audio signal "
+"data. Audacity stacks tracks vertically in the main window. Audacity plays "
+"back all tracks simultaneously."
 msgstr ""
+"それぞれの<firstterm>トラック</firstterm>には２チャネルのオーディオ信号データがあります。Audacity "
+"はトラックをメインウインドウで垂直に並べて表示します。Audacity はすべてのトラックを同時に演奏します。"
 
 #. Tag: title
 #, no-c-format
 msgid "A track in Audacity"
-msgstr ""
+msgstr "Audacity のトラック"
 
 #. Tag: para
 #, no-c-format
 msgid "A single stereo track, displayed in Audacity."
-msgstr ""
+msgstr "Audacity で表示された１つのステレオトラック"
 
 #. Tag: para
 #, no-c-format
-msgid "Each track has a <firstterm>track info area</firstterm>, which holds settings like the fader, panner, and <guibutton>mute</guibutton> and <guibutton>solo</guibutton> buttons."
+msgid ""
+"Each track has a <firstterm>track info area</firstterm>, which holds "
+"settings like the fader, panner, and <guibutton>mute</guibutton> and "
+"<guibutton>solo</guibutton> buttons."
 msgstr ""
+"それぞれのトラックには<firstterm>トラック情報エリア</firstterm>があり、そこにはフェーダーやパンナーのような設定と、<guibutton>ミュート</guibutton>と<guibutton>ソロ</guibutton>ボタンがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "The <firstterm>timeline</firstterm> is the main area of the main window of Audacity. The leftmost point is the beginning of the audio file."
+msgid ""
+"The <firstterm>timeline</firstterm> is the main area of the main window of "
+"Audacity. The leftmost point is the beginning of the audio file."
 msgstr ""
+"<firstterm>タイムライン</firstterm>は Audacity "
+"のメインウインドウのメインのエリアです。最も左の点がオーディオファイルの先頭です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Refer to the image above as you read about the user interface of Audacity."
-msgstr ""
+msgid ""
+"Refer to the image above as you read about the user interface of Audacity."
+msgstr "Audacity のユーザインタフェースについて読み進むとき、前記の図を見てください。"
 
 #. Tag: para
 #, no-c-format
-msgid "The \"transport controls\" play, stop, or pause playback of audio. The buttons to record and move quickly through a file are also located here."
+msgid ""
+"The \"transport controls\" play, stop, or pause playback of audio. The "
+"buttons to record and move quickly through a file are also located here."
 msgstr ""
+"\"トランスポートコントロール\"は、オーディオを再生、停止、あるいは再生を一時停止します。録音とファイルの中を素早く移動するためのボタンもここにあります。"
 
 #. Tag: para
 #, no-c-format
 msgid "The \"tool-selection box\" changes the cursor's function."
-msgstr ""
+msgstr "\"ツール選択ボックス\"はカーソルのはたらきを変えます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The two \"volume level meters\" display the volume level of stereo audio. The left meter displays the volume level of the output signal. The right meter displays the volume level of the input signal."
+msgid ""
+"The two \"volume level meters\" display the volume level of stereo audio. "
+"The left meter displays the volume level of the output signal. The right "
+"meter displays the volume level of the input signal."
 msgstr ""
+"２つの\"ボリュームレベルメーター\"はステレオオーディオのボリュームレベルを表示します。左のメーターは出力信号のボリュームレベルを表示し、右のメーターは入力信号のボリュームレベルを表示します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The \"ruler\" displays the time since the start of the file, in minutes and seconds."
-msgstr ""
+msgid ""
+"The \"ruler\" displays the time since the start of the file, in minutes and "
+"seconds."
+msgstr "\"ルーラー\"は、ファイル先頭からの時間を分と秒で表示します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The \"timeline\" is the main area of the main window of Audacity. The leftmost point is the beginning of the audio file."
-msgstr ""
+msgid ""
+"The \"timeline\" is the main area of the main window of Audacity. The "
+"leftmost point is the beginning of the audio file."
+msgstr "\"タイムライン\"は Audacity のメインウインドウのメインのエリアです。最も左の点がオーディオファイルの先頭です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Each \"track\" contains two channels of audio signal data. Audacity stacks tracks vertically in the main window. Audacity plays back all tracks simultaneously."
+msgid ""
+"Each \"track\" contains two channels of audio signal data. Audacity stacks "
+"tracks vertically in the main window. Audacity plays back all tracks "
+"simultaneously."
 msgstr ""
+"それぞれの\"トラック\"は２チャネルのオーディオ信号データを持ちます。Audacity "
+"はトラックをメインウインドウで垂直に並べて表示します。Audacity はすべてのトラックを同時に演奏します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Each track has a \"track info area,\" which holds settings like the fader, panner, and <guibutton>mute</guibutton> and <guibutton>solo</guibutton> buttons."
+msgid ""
+"Each track has a \"track info area,\" which holds settings like the fader, "
+"panner, and <guibutton>mute</guibutton> and <guibutton>solo</guibutton> "
+"buttons."
 msgstr ""
+"それぞれのトラックには\"トラック情報エリア\"があり、そこにはフェーダーやパンナーのような設定と、<guibutton>ミュート</guibutton>と<guibutton>ソロ</guibutton>ボタンがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "<xref linkend=\"chap-Musicians_Guide-Digital_Audio_Workstations\" /> contains more information about the Audacity user interface. That chapter defines the purpose and use of many user interface components."
+msgid ""
+"<xref linkend=\"chap-Musicians_Guide-Digital_Audio_Workstations\" /> "
+"contains more information about the Audacity user interface. That chapter "
+"defines the purpose and use of many user interface components."
 msgstr ""
+"<xref linkend=\"chap-Musicians_Guide-Digital_Audio_Workstations\" "
+"/>には、Audacity "
+"のユーザインタフェースについてより詳しく書いてあります。その章は、多くのユーザインタフェースコンポーネントの目的と用途を説明しています。"
 
 #. Tag: title
 #, no-c-format
 msgid "Recording"
-msgstr ""
+msgstr "録音"
 
 #. Tag: para
 #, no-c-format
 msgid "This section explains possible ways to use Audacity to record."
-msgstr ""
+msgstr "このセクションでは、Audacity で録音をするいくつかの方法を説明します。"
 
 #. Tag: title
 #, no-c-format
 msgid "Start to Record"
-msgstr ""
+msgstr "録音を開始する"
 
 #. Tag: para
 #, no-c-format
-msgid "This procedure can be used whether you want to record from microphones or from another application on your computer."
-msgstr ""
+msgid ""
+"This procedure can be used whether you want to record from microphones or "
+"from another application on your computer."
+msgstr "この手順は、あなたがマイクから録音するときにも、あなたのコンピュータの他のアプリケーションから録音するときにも使えます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Prepare your computer to record. Connect the microphones you want to use, and test them. See <xref linkend=\"sect-Musicians_Guide-Audacity-Testing_Playback\" /> and <xref linkend=\"sect-Musicians_Guide-Audacity-Testing_Recording\" /> for instructions to test your equipment."
+msgid ""
+"Prepare your computer to record. Connect the microphones you want to use, "
+"and test them. See <xref linkend=\"sect-Musicians_Guide-Audacity-"
+"Testing_Playback\" /> and <xref linkend=\"sect-Musicians_Guide-Audacity-"
+"Testing_Recording\" /> for instructions to test your equipment."
 msgstr ""
+"コンピュータを録音準備します。使いたいマイクをつないで、テストします。機器をテストする手順は、<xref linkend=\"sect-"
+"Musicians_Guide-Audacity-Testing_Playback\" />と<xref linkend=\"sect-"
+"Musicians_Guide-Audacity-Testing_Recording\" />を参照下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "Check the sample rate and sample format. See <xref linkend=\"sect-Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format\" /> for instructions to change the sample rate and sample format."
+msgid ""
+"Check the sample rate and sample format. See <xref linkend=\"sect-"
+"Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format\" /> for "
+"instructions to change the sample rate and sample format."
 msgstr ""
+"サンプルレートとサンプルフォーマットをチェックします。サンプルレートとサンプルフォーマットを変える手順は、<xref linkend=\"sect-"
+"Musicians_Guide-Audacity-Setting_Sample_Rate_and_Format\" />を参照下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "The <guibutton>Record</guibutton> button shows a red circle. When you are ready to record, click the <guibutton>Record</guibutton> button."
+msgid ""
+"The <guibutton>Record</guibutton> button shows a red circle. When you are "
+"ready to record, click the <guibutton>Record</guibutton> button."
 msgstr ""
+"<guibutton>録音</guibutton>ボタンは赤い丸が書いてあります。録音の準備ができたら "
+"<guibutton>録音</guibutton>ボタンをクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "The <guibutton>Stop</guibutton> button shows an orange square. Click the <guibutton>Stop</guibutton> button to stop the recorder."
+msgid ""
+"The <guibutton>Stop</guibutton> button shows an orange square. Click the "
+"<guibutton>Stop</guibutton> button to stop the recorder."
 msgstr ""
+"<guibutton>停止</guibutton>ボタンはオレンジの四角が書いてあります。録音を止めるには、<guibutton>停止</guibutton>ボタンをクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "* Audacity displays the recorded audio in the timeline of a track, as a blue, sound-wave-like shape that represents the volume level. Audacity sometimes displays the blue shape immediately, and sometimes only after you click <guibutton>Stop</guibutton>. When Audacity does not show the blue shape immediately, it does not have enough processor power, and decides to process the audio instead of the blue shape."
+msgid ""
+"* Audacity displays the recorded audio in the timeline of a track, as a "
+"blue, sound-wave-like shape that represents the volume level. Audacity "
+"sometimes displays the blue shape immediately, and sometimes only after you "
+"click <guibutton>Stop</guibutton>. When Audacity does not show the blue "
+"shape immediately, it does not have enough processor power, and decides to "
+"process the audio instead of the blue shape."
 msgstr ""
+"* Audacity "
+"は録音されたオーディオをトラックのタイムラインの中で、青色の、ボリュームレベルに対応する音波のような図形で表します。Audacity "
+"はときには青い図形をすぐに表示し、ときにはあなたが<guibutton>停止</guibutton>ボタンを押した後にだけ表示します。Audacityが青い図形をすぐに表示しないときは、十分なプロセッサパワーが得られないために、青い図形を処理する代わりにオーディオを処理することに決めたということです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Continue to Record"
-msgstr ""
+msgstr "続けて録音する"
 
 #. Tag: para
 #, no-c-format
-msgid "You can record more audio after the first recording in one of these ways:"
-msgstr ""
+msgid ""
+"You can record more audio after the first recording in one of these ways:"
+msgstr "最初の録音の後でさらにオーディオを録音するには、以下の手段があります："
 
 #. Tag: para
 #, no-c-format
 msgid "You can continue to record from the end of the already-recorded audio."
-msgstr ""
+msgstr "既に録音されたオーディオの最後に続けて録音することができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Press <keycombo><keycap>Shift</keycap></keycombo> then click <guibutton>Record</guibutton>."
+msgid ""
+"Press <keycombo><keycap>Shift</keycap></keycombo> then click "
+"<guibutton>Record</guibutton>."
 msgstr ""
+"<keycombo><keycap>シフト</keycap></keycombo>を押しながら<guibutton>録音</guibutton>をクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Audacity starts to record from the end of the already-recorded audio. The new audio is put in the previously-selected track."
-msgstr ""
+msgid ""
+"Audacity starts to record from the end of the already-recorded audio. The "
+"new audio is put in the previously-selected track."
+msgstr "Audacity は既に録音されたオーディオの最後から録音を開始します。新しいオーディオは以前に選択されたトラックに入ります。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can record new audio that will play at the same time as the already-recorded audio."
-msgstr ""
+msgid ""
+"You can record new audio that will play at the same time as the already-"
+"recorded audio."
+msgstr "新しいオーディオを、既に録音されたオーディオと同時に演奏されるが、少し遅れて開始するように録音することもできます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose <menuchoice><guimenu>Transport</guimenu> <guimenuitem>Skip to Start</guimenuitem></menuchoice> or press <keycombo><keycap>Home</keycap></keycombo> to move the transport head to the start of the file."
+msgid ""
+"Choose <menuchoice><guimenu>Transport</guimenu> <guimenuitem>Skip to "
+"Start</guimenuitem></menuchoice> or press "
+"<keycombo><keycap>Home</keycap></keycombo> to move the transport head to the"
+" start of the file."
 msgstr ""
+"<menuchoice><guimenu>録音と再生</guimenu> "
+"<guimenuitem>初期位置まで進める</guimenuitem></menuchoice> "
+"を選択するか、<keycombo><keycap>Home</keycap></keycombo>を押して、トランスポートヘッドをファイルの先頭に移動します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click <guibutton>Record</guibutton>."
-msgstr ""
+msgstr "<guibutton>録音</guibutton>をクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Audacity starts to record from the beginning. The new audio is put in a new track, and does not erase existing audio."
-msgstr ""
+msgid ""
+"Audacity starts to record from the beginning. The new audio is put in a new "
+"track, and does not erase existing audio."
+msgstr "Audacity は最初から録音を開始します。新しいオーディオは新しいトラックに入り、既にあるオーディオを消すことはありません。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can record new audio that will play at the same time as the already-recorded audio, but start after the beginning."
-msgstr ""
+msgid ""
+"You can record new audio that will play at the same time as the already-"
+"recorded audio, but start after the beginning."
+msgstr "新しいオーディオを、既に録音されたオーディオと同時に演奏されるが、少し遅れて開始するように録音することもできます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Find the timeline position when you want to record new audio. Click on an existing track at that time."
-msgstr ""
+msgid ""
+"Find the timeline position when you want to record new audio. Click on an "
+"existing track at that time."
+msgstr "新しいオーディオを録音したいタイムラインの位置を探します。既にあるトラックのその時刻をクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Audacity starts to record from the position of the transport head. The new audio is put in a new track, and does not erase existing audio."
+msgid ""
+"Audacity starts to record from the position of the transport head. The new "
+"audio is put in a new track, and does not erase existing audio."
 msgstr ""
+"Audacity はトランスポートヘッドの位置から録音を開始します。新しいオーディオは新しいトラックに入り、既にあるオーディオを消すことはありません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Creating a New Login Sound (Tutorial)"
-msgstr ""
+msgstr "新しいログインサウンドを作る（チュートリアル）"
 
 #. Tag: title
 #, no-c-format
 msgid "Files for the Tutorial"
-msgstr ""
+msgstr "チュートリアルのためのファイル"
 
 #. Tag: para
 #, no-c-format
-msgid "Use the <citetitle>Tutorial Start</citetitle> file if you want to do the tutorial. The <citetitle>Tutorial End</citetitle> file and <citetitle>Exported FLAC</citetitle> file are completed examples. When you finish the tutorial, your project will probably not be the same as ours."
+msgid ""
+"Use the <citetitle>Tutorial Start</citetitle> file if you want to do the "
+"tutorial. The <citetitle>Tutorial End</citetitle> file and "
+"<citetitle>Exported FLAC</citetitle> file are completed examples. When you "
+"finish the tutorial, your project will probably not be the same as ours."
 msgstr ""
+"チュートリアルをするには、<citetitle>Tutorial "
+"Start</citetitle>ファイルを使います。<citetitle>Tutorial End</citetitle> "
+"ファイルと<citetitle>Exported "
+"FLAC</citetitle>ファイルは完成された例です。あなたがチュートリアルを終わったとき、あなたのプロジェクトは私たちのものとたぶん同じではないでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Tutorial Start</citetitle> is available at <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/14/Musicians_Guide/files/Audacity/Audacity-start.tar.lzma\" />"
+msgid ""
+"<citetitle>Tutorial Start</citetitle> is available at <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Audacity/Audacity-start.tar.lzma\" "
+"/>"
 msgstr ""
+"<citetitle>Tutorial Start</citetitle> は、 <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Audacity/Audacity-start.tar.lzma\" "
+"/> にあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Tutorial End</citetitle> is available at <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/14/Musicians_Guide/files/Audacity/Audacity-start.tar.lzma\" />"
+msgid ""
+"<citetitle>Tutorial End</citetitle> is available at <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Audacity/Audacity-start.tar.lzma\" "
+"/>"
 msgstr ""
+"<citetitle>Tutorial End</citetitle> is available at <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Audacity/Audacity-start.tar.lzma\" "
+"/>"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Exported FLAC</citetitle>is available at <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/14/Musicians_Guide/files/Audacity/Audacity-export.flac\" />"
+msgid ""
+"<citetitle>Exported FLAC</citetitle>is available at <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Audacity/Audacity-export.flac\" />"
 msgstr ""
+"<citetitle>Exported FLAC</citetitle> は、 <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/Audacity/Audacity-export.flac\" /> "
+"にあります。"
 
 #. Tag: title
 #, no-c-format
 msgid "Scenario"
-msgstr ""
+msgstr "シナリオ"
 
 #. Tag: para
 #, no-c-format
-msgid "You tell a friend about some open-source audio applications in Fedora Linux. Your friend wants you to help them make a new sound that will play when they log in to their computer. You search your music CD collection, and find a favourite recording. You and your friend decide to use a few clips from the CD to start your new log-in sound."
+msgid ""
+"You tell a friend about some open-source audio applications in Fedora Linux."
+" Your friend wants you to help them make a new sound that will play when "
+"they log in to their computer. You search your music CD collection, and find"
+" a favourite recording. You and your friend decide to use a few clips from "
+"the CD to start your new log-in sound."
 msgstr ""
+"あなたは友達に、Fedora Linux "
+"にあるいくつかのオープンソースのオーディオアプリケーションの話をしました。あなたの友達はコンピュータにログインしたときに演奏される新しいサウンドを作るのを手伝ってくれといいました。あなたは自分の音楽"
+" CD コレクションを探して、お気に入りの録音を見つけました。あなたとあなたの友達はその CD "
+"からいくつかのクリップを使って新しいログインサウンドを作り始めることにしました。"
 
 #. Tag: title
 #, no-c-format
 msgid "Align Tracks"
-msgstr ""
+msgstr "トラックを揃える"
 
 #. Tag: para
 #, no-c-format
 msgid "You adjust the starting time of the segments."
-msgstr ""
+msgstr "セグメントの開始時刻を調整します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click the <guibutton>Time Shift</guibutton> button in the tool-selection toolbar."
-msgstr ""
+msgid ""
+"Click the <guibutton>Time Shift</guibutton> button in the tool-selection "
+"toolbar."
+msgstr "Audacity ツール　ツールバーから、<guibutton>タイムシフト</guibutton>ボタンをクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Select the track with the segment you want to move. Drag the segment to the left or right to change the time when it starts to play."
-msgstr ""
+msgid ""
+"Select the track with the segment you want to move. Drag the segment to the "
+"left or right to change the time when it starts to play."
+msgstr "移動したいセグメントのあるトラックを選択します。セグメントを右か左にドラッグして、それが演奏開始する時刻を変更します。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can align the start of one segment with end of another segment. Drag the segment so that the beginning is near the end of the other segment. Drag the track back and forth slowly so a yellow line appears. The yellow line means that there is no silence between the segments, and that the segments do not overlap."
+msgid ""
+"You can align the start of one segment with end of another segment. Drag the"
+" segment so that the beginning is near the end of the other segment. Drag "
+"the track back and forth slowly so a yellow line appears. The yellow line "
+"means that there is no silence between the segments, and that the segments "
+"do not overlap."
 msgstr ""
+"１つのセグメントの開始点を他のセグメントの終了点にそろえることができます。セグメントをドラッグして、開始点を他のセグメントの終了点に近づけます。セグメントをゆっくり前後にドラッグすると黄色い線が現れます。黄色い線は、２つのセグメントの間に静寂がなくて、セグメントが重なっていないことを示します。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can move a segment to start at the selection cursor. Click the <guibutton>Selection Tool</guibutton> button, then click on the track where you want the segment to start to play. Choose <menuchoice><guimenu>Tracks</guimenu> <guisubmenu>Align Tracks</guisubmenu> <guimenuitem>Align with Cursor</guimenuitem></menuchoice> to move the track."
+msgid ""
+"You can move a segment to start at the selection cursor. Click the "
+"<guibutton>Selection Tool</guibutton> button, then click on the track where "
+"you want the segment to start to play. Choose "
+"<menuchoice><guimenu>Tracks</guimenu> <guisubmenu>Align Tracks</guisubmenu> "
+"<guimenuitem>Align with Cursor</guimenuitem></menuchoice> to move the track."
 msgstr ""
+"セグメントを、選択カーソルの位置から開始するように移動することもできます。<guibutton>選択ツール</guibutton>ボタンをクリックして、セグメントが演奏開始する点をトラック上でクリックします。<menuchoice><guimenu>トラック</guimenu>"
+" <guisubmenu>トラックを揃える</guisubmenu> "
+"<guimenuitem>カーソルに揃える</guimenuitem></menuchoice>を選択して、トラックを移動します。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can move tracks in other ways by using the <menuchoice><guimenu>Tools</guimenu> <guisubmenu>Align Tracks</guisubmenu></menuchoice> menu choices."
+msgid ""
+"You can move tracks in other ways by using the "
+"<menuchoice><guimenu>Tools</guimenu> <guisubmenu>Align "
+"Tracks</guisubmenu></menuchoice> menu choices."
 msgstr ""
+"<menuchoice><guimenu>トラック</guimenu><guisubmenu>トラックを揃える</guisubmenu></menuchoice>のメニューの選択肢を使えば、その他の方法でトラックを移動できます。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can select multiple tracks at the same time. Press <keycombo><keycap>Shift</keycap></keycombo> while you click on each track."
+msgid ""
+"You can select multiple tracks at the same time. Press "
+"<keycombo><keycap>Shift</keycap></keycombo> while you click on each track."
 msgstr ""
+"複数トラックを同時に選択できます。それぞれのトラックを選択するときに、<keycombo><keycap>シフト</keycap></keycombo>を押してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "You should listen to each adjustment to confirm that it is correct. Click <guibutton>Selection Tool</guibutton> in the tool-selection toolbar, then click on a track where you want to begin to listen. Press <guibutton>Play</guibutton> to hear the audio."
+msgid ""
+"You should listen to each adjustment to confirm that it is correct. Click "
+"<guibutton>Selection Tool</guibutton> in the tool-selection toolbar, then "
+"click on a track where you want to begin to listen. Press "
+"<guibutton>Play</guibutton> to hear the audio."
 msgstr ""
+"調整をしたら、正しくできたか聞いて確認する必要があります。Audacity ツール　"
+"ツールバーから<guibutton>選択ツール</guibutton>をクリックして、聞きたいトラックをクリックします。<guibutton>再生</guibutton>を押してオーディオを聞いてください。"
 
 #. Tag: para
 #, no-c-format
-msgid "We aligned the tracks so that they sound nice to us. We tried to make the sound short, and interesting but not confusing. We changed the positions of the tracks many times after this step."
+msgid ""
+"We aligned the tracks so that they sound nice to us. We tried to make the "
+"sound short, and interesting but not confusing. We changed the positions of "
+"the tracks many times after this step."
 msgstr ""
+"私たちは自分たちにとって良く聞こえるようにトラックを揃えました。サウンドは短く、面白く、しかし混乱させることのないようにしました。このステップの後、何度もトラックの位置を変更しました。"
 
 #. Tag: title
 #, no-c-format
 msgid "Stretching Tracks"
-msgstr ""
+msgstr "トラックを伸ばす"
 
 #. Tag: para
 #, no-c-format
-msgid "You can stretch or compress tracks, so that they take up more or less time."
-msgstr ""
+msgid ""
+"You can stretch or compress tracks, so that they take up more or less time."
+msgstr "トラックを伸ばしたり縮めたりして、演奏時間を長く、あるいは短くすることもできます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The \"Change Tempo\" tool adjusts speed but not pitch. Sound quality is lowered significantly."
-msgstr ""
+msgid ""
+"The \"Change Tempo\" tool adjusts speed but not pitch. Sound quality is "
+"lowered significantly."
+msgstr "\"テンポの変更\"ツールは速度を変え、音程は変えません。音の品質は大いに低下します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The \"Change Speed\" tool adjusts speed and pitch. Sound quality is less affected."
-msgstr ""
+msgid ""
+"The \"Change Speed\" tool adjusts speed and pitch. Sound quality is less "
+"affected."
+msgstr "\"スピードの変更\"ツールは速度と音程を変えます。音の品質はあまり変わりません。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click on the track info portion of the track that you want to adjust."
-msgstr ""
+msgstr "調整したいトラックのトラック情報の部分をクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose <menuchoice><guimenu>Effect</guimenu> <guimenuitem>Change Tempo</guimenuitem></menuchoice> or <menuchoice><guimenu>Effect</guimenu> <guimenuitem>Change Speed</guimenuitem></menuchoice>. If you input a positive number, the speed increases and the audio takes less time. If you input a negative number, the speed decreases and the audio takes more time."
+msgid ""
+"Choose <menuchoice><guimenu>Effect</guimenu> <guimenuitem>Change "
+"Tempo</guimenuitem></menuchoice> or <menuchoice><guimenu>Effect</guimenu> "
+"<guimenuitem>Change Speed</guimenuitem></menuchoice>. If you input a "
+"positive number, the speed increases and the audio takes less time. If you "
+"input a negative number, the speed decreases and the audio takes more time."
 msgstr ""
+"<menuchoice><guimenu>エフェクト</guimenu> "
+"<guimenuitem>テンポの変更</guimenuitem></menuchoice>あるいは<menuchoice><guimenu>エフェクト</guimenu>"
+" "
+"<guimenuitem>スピードの変更</guimenuitem></menuchoice>を選択します。正の数を入れると、スピードは増して、オーディオは短い時間で終わります。負の数を入れると、スピードは減って、オーディオは長い時間かかります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click <guibutton>Preview</guibutton> to hear some of the audio with the adjusted speed. Audacity does not change the audio when you preview the change."
+msgid ""
+"Click <guibutton>Preview</guibutton> to hear some of the audio with the "
+"adjusted speed. Audacity does not change the audio when you preview the "
+"change."
 msgstr ""
+"<guibutton>プレビュー</guibutton>をクリックして、調整されたスピードでいくらかのオーディオを聞いてみます。Audacity "
+"は変更をプレビューするとき、オーディオを変更しません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click <guibutton>OK</guibutton> to apply the change. Audacity processes the audio. Your change does not appear immediately."
+msgid ""
+"Click <guibutton>OK</guibutton> to apply the change. Audacity processes the "
+"audio. Your change does not appear immediately."
 msgstr ""
+"変更を適用するには<guibutton>OK</guibutton>をクリックします。Audacity "
+"はオーディオを処理します。変更はすぐには現れません。"
 
 #. Tag: para
 #, no-c-format
-msgid "We changed the speed of one of our tracks. We are not concerned about the sound quality, because this is a start-up sound for us. When you edit audio to which other people will listen, you should be careful to preserve the sound quality."
+msgid ""
+"We changed the speed of one of our tracks. We are not concerned about the "
+"sound quality, because this is a start-up sound for us. When you edit audio "
+"to which other people will listen, you should be careful to preserve the "
+"sound quality."
 msgstr ""
+"１つのトラックのスピードを変更しました。これは私たちにとって初めての音であるので、音の品質には注意していません。あなたが他の人に聴いてもらうオーディオを編集するときには音の品質を保つように注意してください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Adjust the Volume Level"
-msgstr ""
+msgstr "ボリュームレベルを調整する"
 
 #. Tag: para
 #, no-c-format
-msgid "You can adjust the volume level of tracks by adjusting the fader in the track info box. The fader is a horizontal line with a <literal>-</literal> sign on the left and a <literal>+</literal> sign on the right. The fader does not change the audio signal itself."
+msgid ""
+"You can adjust the volume level of tracks by adjusting the fader in the "
+"track info box. The fader is a horizontal line with a <literal>-</literal> "
+"sign on the left and a <literal>+</literal> sign on the right. The fader "
+"does not change the audio signal itself."
 msgstr ""
+"トラック情報ボックスのフェーダーを使って、トラックのボリュームレベルを調整できます。フェーダーは、左に<literal>-</literal>記号、右に<literal>+</literal>記号が書かれた水平線です。フェーダーはオーディオ信号そのものは変更しません。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can also adjust the volume level of a portion of audio, which does modify the audio signal itself. Follow these instructions to adjust the volume level of a portion of audio."
+msgid ""
+"You can also adjust the volume level of a portion of audio, which does "
+"modify the audio signal itself. Follow these instructions to adjust the "
+"volume level of a portion of audio."
 msgstr ""
+"オーディオの一部分のボリュームレベルを調整することもできます。この場合、オーディオ信号そのものが変更されます。オーディオの一部分のボリュームレベルを調整するには、以下の手順に従ってください。"
 
 #. Tag: para
 #, no-c-format
-msgid "The tutorial's lowest track is very quiet. Click the track's <guibutton>solo</guibutton> button, then listen to the track alone. Most of the track is quiet humming."
+msgid ""
+"The tutorial's lowest track is very quiet. Click the track's "
+"<guibutton>solo</guibutton> button, then listen to the track alone. Most of "
+"the track is quiet humming."
 msgstr ""
+"チュートリアルの一番下のトラックはとても静かです。トラックの<guibutton>ソロ</guibutton>ボタンをクリックして、そのトラックだけを聞いてみましょう。トラックのほとんどは静かなうなりが聞こえるだけです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click <guibutton>Selection Tool</guibutton>, then hold down the mouse button to select some audio in one track."
+msgid ""
+"Click <guibutton>Selection Tool</guibutton>, then hold down the mouse button"
+" to select some audio in one track."
 msgstr ""
+"<guibutton>選択ツール</guibutton>をクリックし、マウスボタンを押して、１つのトラックのいくらかのオーディオを選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose <menuchoice><guimenu>Effect</guimenu> <guimenuitem>Amplify</guimenuitem></menuchoice>. When the \"Amplify\" window opens, it is set for the greatest volume level increase that will not decrease sound quality. You can enable \"clipping,\" which allows you to increase the volume level even more, but will decrease the sound quality."
+msgid ""
+"Choose <menuchoice><guimenu>Effect</guimenu> "
+"<guimenuitem>Amplify</guimenuitem></menuchoice>. When the \"Amplify\" window"
+" opens, it is set for the greatest volume level increase that will not "
+"decrease sound quality. You can enable \"clipping,\" which allows you to "
+"increase the volume level even more, but will decrease the sound quality."
 msgstr ""
+"<menuchoice><guimenu>エフェクト</guimenu> "
+"<guimenuitem>増幅...</guimenuitem></menuchoice>を選択します。\"増幅\"ウインドウが開いたら音の品質を低下させない最大のボリュームレベルの増大値に設定されています。\"クリッピングを許可\"を有効にするとボリュームレベルをさらに上げることができますが、音の品質は低下します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Use the Amplify tool to adjust the volume level as you wish."
-msgstr ""
+msgstr "増幅ツールを使って、ボリュームレベルを気にいるまで調整ください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Remove Noise"
-msgstr ""
+msgstr "ノイズを除く"
 
 #. Tag: para
 #, no-c-format
-msgid "\"Noise\" is part of an audio signal that is not the intended signal. When you listen to music on the radio, you can hear the music, and usually also some noise. When computers record or play audio, the electronic components sometimes create extra noise. The lowest track of the tutorial file has noise created by electronic components in the old notebook computer used to play the CD. Follow these steps to use the \"Noise Removal\" tool."
+msgid ""
+"\"Noise\" is part of an audio signal that is not the intended signal. When "
+"you listen to music on the radio, you can hear the music, and usually also "
+"some noise. When computers record or play audio, the electronic components "
+"sometimes create extra noise. The lowest track of the tutorial file has "
+"noise created by electronic components in the old notebook computer used to "
+"play the CD. Follow these steps to use the \"Noise Removal\" tool."
 msgstr ""
+"\"ノイズ\"は、オーディオ信号のうち、期待されない信号部分です。ラジオで音楽を聞くと、音楽とともに、普通はいくらかのノイズが聞こえます。コンピュータがオーディオを録音あるいは再生するとき、電子部品が余分なノイズを作り出すことがあります。チュートリアルの一番下のトラックは、CD"
+" "
+"を演奏するときに使われた古いノートパソコンの電子部品が作りだしたノイズが含まれます。\"ノイズの除去\"ツールを使うには、以下のステップに従ってください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click <guibutton>Selection Tool</guibutton>, then select a small portion of the lowest track."
-msgstr ""
+msgid ""
+"Click <guibutton>Selection Tool</guibutton>, then select a small portion of "
+"the lowest track."
+msgstr "<guibutton>選択ツール</guibutton>をクリックして、一番下のトラックの小さい部分を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose <menuchoice><guimenu>Effect</guimenu> <guimenuitem>Noise Removal</guimenuitem></menuchoice>. The \"Noise Removal\" window appears. Click <guibutton>Get Profile</guibutton>. The Noise Removal tool uses the selected audio as an example of the noise to remove."
+msgid ""
+"Choose <menuchoice><guimenu>Effect</guimenu> <guimenuitem>Noise "
+"Removal</guimenuitem></menuchoice>. The \"Noise Removal\" window appears. "
+"Click <guibutton>Get Profile</guibutton>. The Noise Removal tool uses the "
+"selected audio as an example of the noise to remove."
 msgstr ""
+"<menuchoice><guimenu>エフェクト</guimenu> "
+"<guimenuitem>ノイズの除去</guimenuitem></menuchoice>を選択します。\"ノイズの除去\"ウインドウが現れます。<guibutton>ノイズプロファイルの取得</guibutton>をクリックします。ノイズの除去ツールは、選択されたオーディオを、除去するべきノイズの例として使います。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select the whole track."
-msgstr ""
+msgstr "トラック全体を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Open the \"Noise Removal\" window. Click <guibutton>OK</guibutton>. The Noise Removal tool processes the audio. The Noise Removal tool is not effective in this example because most of the signal is noise."
+msgid ""
+"Open the \"Noise Removal\" window. Click <guibutton>OK</guibutton>. The "
+"Noise Removal tool processes the audio. The Noise Removal tool is not "
+"effective in this example because most of the signal is noise."
 msgstr ""
+"\"ノイズの除去\"ウインドウを開きます。<guibutton>OK</guibutton>をクリックします。ノイズの除去ツールはオーディオを処理します。この例では、ほとんどの信号がノイズなので、ノイズの除去ツールは効果的ではありません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Fade In or Out"
-msgstr ""
+msgstr "フェードイン・フェードアウト"
 
 #. Tag: para
 #, no-c-format
-msgid "Audacity has tools to fade in and out. When you \"fade in,\" it means to gradually increase the volume level from silence to the original level. When you \"fade out,\" it means to gradually decreased the volume level from the original level to silence. Professional recordings of concerts often fade out after a song, while the audience applauds. Fading out avoids an abrupt stop at the end of the recording, because the volume level is decreased gradually to silence."
+msgid ""
+"Audacity has tools to fade in and out. When you \"fade in,\" it means to "
+"gradually increase the volume level from silence to the original level. When"
+" you \"fade out,\" it means to gradually decreased the volume level from the"
+" original level to silence. Professional recordings of concerts often fade "
+"out after a song, while the audience applauds. Fading out avoids an abrupt "
+"stop at the end of the recording, because the volume level is decreased "
+"gradually to silence."
 msgstr ""
+"Audacity "
+"にはフェードイン・フェードアウトのためのツールがあります。\"フェードイン\"するときは、静寂から元のレベルに、ボリュームレベルをゆっくり上げていくということです。\"フェードアウト\"するときは、元のレベルから静寂に、ボリュームレベルをゆっくり下げていくということです。プロのコンサート録音では、しばしば歌の後、聴衆が拍手をしている間にフェードアウトします。フェードアウトは、ボリュームレベルが徐々に小さくなるので、録音の最後での突然の停止を防ぐことができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "You generally fade in at the beginning of an audio segment, and fade out at the end of an audio segment. You can use Audacity to create special effects if you fade in or fade out in the middle of an audio segment. You can make a surprising effect by setting Audacity to fade in or out over a few second, then adding the opposite fade inside the first fade."
+msgid ""
+"You generally fade in at the beginning of an audio segment, and fade out at "
+"the end of an audio segment. You can use Audacity to create special effects "
+"if you fade in or fade out in the middle of an audio segment. You can make a"
+" surprising effect by setting Audacity to fade in or out over a few second, "
+"then adding the opposite fade inside the first fade."
 msgstr ""
+"一般的に、オーディオセグメントの開始でフェードインし、オーディオセグメントの最後でフェードアウトします。オーディオセグメントの中間でフェードインあるいはフェードアウトするときに、Audacity"
+" を使って特殊効果を使うことができます。Audacity "
+"の設定によって、数秒の間にフェードインあるいはフェードアウトし、最初のフェードの中で逆のフェードを加えるという驚くようなエフェクトを使うことができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click <guibutton>Selection Tool</guibutton>, then select a portion of audio to fade in or out."
+msgid ""
+"Click <guibutton>Selection Tool</guibutton>, then select a portion of audio "
+"to fade in or out."
 msgstr ""
+"<guibutton>選択ツール</guibutton>をクリックして、フェードインあるいはフェードアウトするオーディオの部分を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose <menuchoice><guimenu>Effect</guimenu> <guimenuitem>Fade In</guimenuitem></menuchoice> or <menuchoice><guimenu>Effect</guimenu> <guimenuitem>Fade Out</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>Effect</guimenu> <guimenuitem>Fade "
+"In</guimenuitem></menuchoice> or <menuchoice><guimenu>Effect</guimenu> "
+"<guimenuitem>Fade Out</guimenuitem></menuchoice>."
 msgstr ""
+"<menuchoice><guimenu>エフェクト</guimenu> "
+"<guimenuitem>フェードイン</guimenuitem></menuchoice>あるいは<menuchoice><guimenu>エフェクト</guimenu>"
+" <guimenuitem>フェードアウト</guimenuitem></menuchoice>を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "We created a long fade out in one of our tracks, so that the track is quieter. We then adjusted the spacing of the other tracks, moving them closer."
+msgid ""
+"We created a long fade out in one of our tracks, so that the track is "
+"quieter. We then adjusted the spacing of the other tracks, moving them "
+"closer."
 msgstr ""
+"私たちは、トラックの１つで、長いフェードアウトを作って、トラックが静かになるようにしました。それから他のトラックの間隔を調整して、それらを近づけました。"
 
 #. Tag: title
 #, no-c-format
 msgid "Remove Some Audio"
-msgstr ""
+msgstr "オーディオを削除する"
 
 #. Tag: para
 #, no-c-format
-msgid "You can remove portions of a track. This procedure removes audio at the end of a track. You can use a similar method to remove audio in other ways."
+msgid ""
+"You can remove portions of a track. This procedure removes audio at the end "
+"of a track. You can use a similar method to remove audio in other ways."
 msgstr ""
+"トラックの一部を削除できます。この手続きは、トラックの最後のオーディオを削除します。似た方法で、その他のオーディオ部分を削除することもできます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click <guibutton>Selection Tool</guibutton>, then place the editing cursor at the point where you want the track to end."
-msgstr ""
+msgid ""
+"Click <guibutton>Selection Tool</guibutton>, then place the editing cursor "
+"at the point where you want the track to end."
+msgstr "<guibutton>選択ツール</guibutton>クリックして、編集カーソルをトラックを終えたい点に置きます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose <menuchoice><guimenu>Edit</guimenu> <guisubmenu>Select</guisubmenu> <guimenuitem>Cursor to Track End</guimenuitem></menuchoice>. There are many other choices in the <menuchoice><guimenu>Edit</guimenu> <guisubmenu>Select</guisubmenu></menuchoice> menu."
+msgid ""
+"Choose <menuchoice><guimenu>Edit</guimenu> <guisubmenu>Select</guisubmenu> "
+"<guimenuitem>Cursor to Track End</guimenuitem></menuchoice>. There are many "
+"other choices in the <menuchoice><guimenu>Edit</guimenu> "
+"<guisubmenu>Select</guisubmenu></menuchoice> menu."
 msgstr ""
+"<menuchoice><guimenu>編集</guimenu> <guisubmenu>選択</guisubmenu> "
+"<guimenuitem>カーソルから最後まで</guimenuitem></menuchoice>を選択します。<menuchoice><guimenu>編集</guimenu>"
+" <guisubmenu>選択</guisubmenu></menuchoice>メニューには、その他の選択肢もたくさんあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Press <keycombo><keycap>Delete</keycap></keycombo>. The selected audio is deleted."
-msgstr ""
+msgid ""
+"Press <keycombo><keycap>Delete</keycap></keycombo>. The selected audio is "
+"deleted."
+msgstr "<keycombo><keycap>Delete</keycap></keycombo>を押します。選択されたオーディオは削除されます。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you make a mistake, you can undo the previous action. Choose <menuchoice><guimenu>Edit</guimenu> <guimenuitem>Undo</guimenuitem></menuchoice>."
+msgid ""
+"If you make a mistake, you can undo the previous action. Choose "
+"<menuchoice><guimenu>Edit</guimenu> "
+"<guimenuitem>Undo</guimenuitem></menuchoice>."
 msgstr ""
+"間違えたら、前の動作を取り消すことができます。<menuchoice><guimenu>編集</guimenu> "
+"<guimenuitem>取り消し</guimenuitem></menuchoice>を選択ください。"
 
 #. Tag: para
 #, no-c-format
 msgid "We removed the end of the lowest track."
-msgstr ""
+msgstr "最も下のトラックの終端を削除しました。"
 
 #. Tag: title
 #, no-c-format
 msgid "Repeat an Already-Recorded Segment"
-msgstr ""
+msgstr "既に録音されたセグメントを繰り返す"
 
 #. Tag: para
 #, no-c-format
 msgid "You can repeat a segment of audio that is already recorded."
-msgstr ""
+msgstr "既に録音されたオーディオのセグメントを繰り返すことができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click <guibutton>Selection Tool</guibutton>, then select a portion of audio."
-msgstr ""
+msgid ""
+"Click <guibutton>Selection Tool</guibutton>, then select a portion of audio."
+msgstr "<guibutton>選択ツール</guibutton>をクリックして、オーディオの部分を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose <menuchoice><guimenu>Edit</guimenu> <guimenuitem>Copy</guimenuitem></menuchoice> or press <keycombo><keycap>Control</keycap> <keycap>c</keycap></keycombo>."
+msgid ""
+"Choose <menuchoice><guimenu>Edit</guimenu> "
+"<guimenuitem>Copy</guimenuitem></menuchoice> or press "
+"<keycombo><keycap>Control</keycap> <keycap>c</keycap></keycombo>."
 msgstr ""
+"<menuchoice><guimenu>編集</guimenu> "
+"<guimenuitem>コピー</guimenuitem></menuchoice>を選択するか、 "
+"<keycombo><keycap>Control</keycap> <keycap>c</keycap></keycombo>を押します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click in a track near where you want the copy to start playing."
-msgstr ""
+msgstr "トラックの中でコピーが演奏し始めるべき付近をクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose <menuchoice><guimenu>Edit</guimenu> <guimenuitem>Paste</guimenuitem></menuchoice> or press <keycombo><keycap>Control</keycap> <keycap>v</keycap></keycombo>."
+msgid ""
+"Choose <menuchoice><guimenu>Edit</guimenu> "
+"<guimenuitem>Paste</guimenuitem></menuchoice> or press "
+"<keycombo><keycap>Control</keycap> <keycap>v</keycap></keycombo>."
 msgstr ""
+"<menuchoice><guimenu>編集</guimenu> "
+"<guimenuitem>ペースト</guimenuitem></menuchoice>を選択するか、 "
+"<keycombo><keycap>Control</keycap> <keycap>v</keycap></keycombo>を押します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click <guibutton>Time Shift Tool</guibutton>, then adjust the timeline position of the new audio clip."
-msgstr ""
+msgid ""
+"Click <guibutton>Time Shift Tool</guibutton>, then adjust the timeline "
+"position of the new audio clip."
+msgstr "<guibutton>タイムシフトツール</guibutton>をクリックして、新しいオーディオクリップのタイムラインの位置を調整します。"
 
 #. Tag: para
 #, no-c-format
-msgid "We repeated the end of a segment twice, to make the end of the startup sound more interesting."
-msgstr ""
+msgid ""
+"We repeated the end of a segment twice, to make the end of the startup sound"
+" more interesting."
+msgstr "ログインサウンドの終わりをより面白くするため、セグメントの終わりを２回繰り返しました。"
 
 #. Tag: title
 #, no-c-format
 msgid "Add a Special Effect (the Phaser)"
-msgstr ""
+msgstr "特殊効果を加える（フェーザー）"
 
 #. Tag: para
 #, no-c-format
-msgid "Audacity has many effect plugins, and you can add more. The Phaser adjusts reverberation, panning, and frequency to create a spinning-like sound."
+msgid ""
+"Audacity has many effect plugins, and you can add more. The Phaser adjusts "
+"reverberation, panning, and frequency to create a spinning-like sound."
 msgstr ""
+"Audacity "
+"にはたくさんのエフェクトプラグインがあり、もっと追加することもできます。フェーザーは、反響、パニング、そして周波数を調整して、こまのようなサウンドを作ります。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select a portion of any track when only one track is playing."
-msgstr ""
+msgstr "１つのトラックだけが演奏されているときに、どれかのトラックの部分を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose <menuchoice><guimenu>Effect</guimenu> <guimenuitem>Phaser</guimenuitem></menuchoice>, then experiment with the settings. Click <guibutton>Preview</guibutton> to hear the effect of your settings. Audacity does not modify the audio file when you preview your settings."
+msgid ""
+"Choose <menuchoice><guimenu>Effect</guimenu> "
+"<guimenuitem>Phaser</guimenuitem></menuchoice>, then experiment with the "
+"settings. Click <guibutton>Preview</guibutton> to hear the effect of your "
+"settings. Audacity does not modify the audio file when you preview your "
+"settings."
 msgstr ""
+"<menuchoice><guimenu>エフェクト</guimenu> "
+"<guimenuitem>フェーザー</guimenuitem></menuchoice>を選択して、設定を実験します。<guibutton>プレビュー</guibutton>をクリックして、あなたの設定の効果を聞きます。Audacityは、あなたが設定をプレ>ビューするときに、オーディオは変更しません。"
 
 #. Tag: para
 #, no-c-format
 msgid "The tutorial uses the phaser at the end, with these settings:"
-msgstr ""
+msgstr "チュートリアルでは、フェーザーを、最後に、この設定で使います："
 
 #. Tag: para
 #, no-c-format
 msgid "Stages: 2"
-msgstr ""
+msgstr "Stages: 2"
 
 #. Tag: para
 #, no-c-format
 msgid "Dry/Wet: 128"
-msgstr ""
+msgstr "Dry/Wet: 128"
 
 #. Tag: para
 #, no-c-format
 msgid "LFO Frequency: 0.4"
-msgstr ""
+msgstr "LFO Frequency: 0.4"
 
 #. Tag: para
 #, no-c-format
 msgid "LFO Start Phase: 0"
-msgstr ""
+msgstr "LFO Start Phase: 0"
 
 #. Tag: para
 #, no-c-format
 msgid "Depth: 128"
-msgstr ""
+msgstr "Depth: 128"
 
 #. Tag: para
 #, no-c-format
 msgid "Feedback: 90"
-msgstr ""
+msgstr "Feedback: 90"
 
 #. Tag: title
 #, no-c-format
 msgid "Conclusion"
-msgstr ""
+msgstr "結論"
 
 #. Tag: para
 #, no-c-format
-msgid "Your startup file sounds different than the one that we completed. The tutorial instructions are intentionally vague. You used your own creativity to complete the tutorial. You also learned how to use these tools for many different purposes."
+msgid ""
+"Your startup file sounds different than the one that we completed. The "
+"tutorial instructions are intentionally vague. You used your own creativity "
+"to complete the tutorial. You also learned how to use these tools for many "
+"different purposes."
 msgstr ""
+"あなたのログインサウンドファイルは私たちが完成したものとは異なる音がするでしょう。チュートリアルの指示は意図的にあいまいでした。あなたは自分の創造性を使ってチュートリアルを完成させたのです。あなたはさらに、これらのツールをいろいろな異なる目的のためにどのように使うか学んだことでしょう。"
 
 #. Tag: title
 #, no-c-format
 msgid "Save and Export"
-msgstr ""
+msgstr "保存と書き出し"
 
 #. Tag: para
 #, no-c-format
-msgid "Audacity saves its data in a format that only Audacity can use. Audacity saves more information than just the audio files, and this information cannot be stored in conventional audio files like OGG, FLAC, or AIFF."
+msgid ""
+"Audacity saves its data in a format that only Audacity can use. Audacity "
+"saves more information than just the audio files, and this information "
+"cannot be stored in conventional audio files like OGG, FLAC, or AIFF."
 msgstr ""
+"Audacity はそのデータを、Audacity だけが使うことのできる形式で保存します。Audacity "
+"は単なるオーディオファイル以上に多くの情報を保存し、この情報は、通常の OGG, FLAC, あるいは AIFF "
+"のようなオーディオファイルでは格納できません。"
 
 #. Tag: para
 #, no-c-format
-msgid "When you want to share your work, or use it in another application, you must export it. When you \"export\" audio, Audacity converts the Audacity-only file into a conventional audio file. Audacity does not delete the original Audacity-only file, but the exported file cannot be converted into the Audacity-only format."
+msgid ""
+"When you want to share your work, or use it in another application, you must"
+" export it. When you \"export\" audio, Audacity converts the Audacity-only "
+"file into a conventional audio file. Audacity does not delete the original "
+"Audacity-only file, but the exported file cannot be converted into the "
+"Audacity-only format."
 msgstr ""
+"あなたが自分の作品を共用したり、他のアプリケーションで使いたいときは、エクスポート、書き出す必要があります。オーディオを\"書き出す\"と、Audacity"
+" は Audacity 専用のファイルを通常のオーディオファイル形式に変換します。Audacity は元の Audacity "
+"専用のファイルを削除しませんが、書き出されたファイルは元の Audacity 専用形式に変換することはできません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Export Part of a File"
-msgstr ""
+msgstr "ファイルの部分を書き出す"
 
 #. Tag: para
 #, no-c-format
 msgid "Select the portion of audio that you want to export."
-msgstr ""
+msgstr "書き出したいオーディオの部分を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose <menuchoice><guimenu>File</guimenu> <guimenuitem>Export Selection</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>File</guimenu> <guimenuitem>Export "
+"Selection</guimenuitem></menuchoice>."
 msgstr ""
+"<menuchoice><guimenu>ファイル</guimenu> "
+"<guimenuitem>選択範囲を書き出し</guimenuitem></menuchoice>を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Select the format, filename, and directory of the audio that will be exported. Click <guibutton>Save</guibutton> when you are finished."
+msgid ""
+"Select the format, filename, and directory of the audio that will be "
+"exported. Click <guibutton>Save</guibutton> when you are finished."
 msgstr ""
+"書きだされるオーディオの形式、ファイル名、そしてディレクトリを選択します。終わったら<guibutton>保存</guibutton>をクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Depending on which format you choose, the \"Metadata\" window appears. You can input this information if you wish."
-msgstr ""
+msgid ""
+"Depending on which format you choose, the \"Metadata\" window appears. You "
+"can input this information if you wish."
+msgstr "あなたが選ぶフォーマットによっては、\"メタデータ\"ウインドウが現れます。望むならこの情報を入力します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Audacity processes the audio to export. This may take some time, depending on the audio."
-msgstr ""
+msgid ""
+"Audacity processes the audio to export. This may take some time, depending "
+"on the audio."
+msgstr "Audacity は書き出すオーディオを処理します。これはオーディオによってはしばらくかかります。"
 
 #. Tag: title
 #, no-c-format
 msgid "Export a Whole File"
-msgstr ""
+msgstr "ファイルを全部書き出す"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose <menuchoice><guimenu>File</guimenu> <guimenuitem>Export</guimenuitem></menuchoice>."
+msgid ""
+"Choose <menuchoice><guimenu>File</guimenu> "
+"<guimenuitem>Export</guimenuitem></menuchoice>."
 msgstr ""
+"<menuchoice><guimenu>ファイル</guimenu> "
+"<guimenuitem>選択範囲を書き出し</guimenuitem></menuchoice>を選択します。"
+
+
diff --git a/ja-JP/Audio_Vocabulary.po b/ja-JP/Audio_Vocabulary.po
index b9a7757..7c84c7b 100644
--- a/ja-JP/Audio_Vocabulary.po
+++ b/ja-JP/Audio_Vocabulary.po
@@ -1,289 +1,547 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-11-02T04:33:08\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-07-13 08:47+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "Other Digital Audio Concepts"
-msgstr ""
+msgstr "その他のデジタルオーディオの概念"
 
 #. Tag: para
 #, no-c-format
-msgid "These terms are used in many different audio contexts. Understanding them is important to knowing how to operate audio equipment in general, whether computer-based or not."
+msgid ""
+"These terms are used in many different audio contexts. Understanding them is"
+" important to knowing how to operate audio equipment in general, whether "
+"computer-based or not."
 msgstr ""
+"これらの用語は多くの異なるオーディオの文脈で使われます。これらを理解することはコンピュータベースであるかどうかにかかわらず、オーディオ機器をどのように操作するかを知るために重要です。"
 
 #. Tag: title
 #, no-c-format
 msgid "MIDI Sequencer"
-msgstr ""
+msgstr "MIDI シーケンサー"
 
 #. Tag: para
 #, no-c-format
-msgid "A <firstterm>sequencer</firstterm> is a device or software program that produces signals that a synthesizer turns into sound. You can also use a sequencer to arrange MIDI signals into music. The Musicians' Guide covers two digital audio workstations (DAWs) that are primarily MIDI sequencers, Qtractor and Rosegarden. All three DAWs in this guide use MIDI signals to control other devices or effects."
-msgstr ""
+msgid ""
+"A <firstterm>sequencer</firstterm> is a device or software program that "
+"produces signals that a synthesizer turns into sound. You can also use a "
+"sequencer to arrange MIDI signals into music. The Musicians' Guide covers "
+"two digital audio workstations (DAWs) that are primarily MIDI sequencers, "
+"Qtractor and Rosegarden. All three DAWs in this guide use MIDI signals to "
+"control other devices or effects."
+msgstr ""
+"<firstterm>シーケンサー</firstterm>とは、デバイスあるいはソフトウエアプログラムで、シンセサイザが音に変換する信号を生成するものです。他にも、MIDI"
+" 信号を音楽にするためにもシーケンサーを使うことができます。ミュージシャンのガイドは、主に MIDI "
+"シーケンサーである２つのデジタルオーディオワークステーション（DAW）、Qtractor と Rosegarde "
+"をとりあげます。このガイドのすべての3つの DAW は、MIDI 信号を、他のデバイスやエフェクトを制御するのに使います。"
 
 #. Tag: title
 #, no-c-format
 msgid "Busses, Master Bus, and Sub-Master Bus"
-msgstr ""
+msgstr "バス、マスターバス　そしてサブマスターバス"
 
 #. Tag: para
 #, no-c-format
-msgid "An <firstterm>audio bus</firstterm> sends audio signals from one place to another. Many different signals can be inputted to a bus simultaneously, and many different devices or applications can read from a bus simultaneously. Signals inputted to a bus are mixed together, and cannot be separated after entering a bus. All devices or applications reading from a bus receive the same signal."
+msgid ""
+"An <firstterm>audio bus</firstterm> sends audio signals from one place to "
+"another. Many different signals can be inputted to a bus simultaneously, and"
+" many different devices or applications can read from a bus simultaneously. "
+"Signals inputted to a bus are mixed together, and cannot be separated after "
+"entering a bus. All devices or applications reading from a bus receive the "
+"same signal."
 msgstr ""
+"<firstterm>オーディオバス</firstterm>はオーディオ信号をあるところから他に送信します.多くの異なる信号が同時にバスに入力され、多くの異なるデバイスあるいはアプリケーションが同時にバスから読み出すことができます。バスに入力された信号は一緒に混ぜられ、バスに入った後は分離することができません。バスから読み出すすべてのデバイスあるいはアプリケーションは同じ信号を受信します."
 
 #. Tag: title
 #, no-c-format
 msgid "How audio busses work"
-msgstr ""
+msgstr "オーディオバスがどのように動作するか"
 
 #. Tag: para
 #, no-c-format
-msgid "An example audio bus combining three signals. The combined output is sent to two separate devices or applications."
-msgstr ""
+msgid ""
+"An example audio bus combining three signals. The combined output is sent to"
+" two separate devices or applications."
+msgstr "３つの信号をまとめるオーディオバスの例。まとめられた出力は２つの別々のデバイスあるいはアプリケーションに送られます。"
 
 #. Tag: para
 #, no-c-format
-msgid "All audio routed out of a program passes through the master bus. The <firstterm>master bus</firstterm> combines all audio tracks, allowing for final level adjustments and simpler mastering. The primary purpose of the master bus is to mix all of the tracks into two channels."
+msgid ""
+"All audio routed out of a program passes through the master bus. The "
+"<firstterm>master bus</firstterm> combines all audio tracks, allowing for "
+"final level adjustments and simpler mastering. The primary purpose of the "
+"master bus is to mix all of the tracks into two channels."
 msgstr ""
+"プログラムから出力されたすべてのオーディオは、マスターバスを経由します.<firstterm>マスターバス</firstterm>はすべてのオーディオトラックをまとめて、最終レベルの調整を可能とし、マスタリングを容易とします。マスターバスの主な目的はすべてのトラックを２つのチャネルにミックスすることです。"
 
 #. Tag: para
 #, no-c-format
-msgid "A <firstterm>sub-master bus</firstterm> combines audio signals before they reach the master bus. Using a sub-master bus is optional. They allow you to adjust more than one track in the same way, without affecting all the tracks."
+msgid ""
+"A <firstterm>sub-master bus</firstterm> combines audio signals before they "
+"reach the master bus. Using a sub-master bus is optional. They allow you to "
+"adjust more than one track in the same way, without affecting all the "
+"tracks."
 msgstr ""
+"<firstterm>サブマスターバス</firstterm>はオーディオ信号がマスターバスに届く前に、それらをまとめます。サブマスターバスの使用はオプショナルです。それを使うと、すべてのトラックに影響を与えることなく、１つ以上のトラックを同じ方法で調整することができます。"
 
 #. Tag: title
 #, no-c-format
 msgid "The relationship between the master bus and sub-master busses"
-msgstr ""
+msgstr "マスターバスとサブマスターバスの関係"
 
 #. Tag: para
 #, no-c-format
-msgid "Two example sub-master busses, each combining two different signals and sending them to a master bus. The master bus combines the two signals into one signal that contains all four original signals."
+msgid ""
+"Two example sub-master busses, each combining two different signals and "
+"sending them to a master bus. The master bus combines the two signals into "
+"one signal that contains all four original signals."
 msgstr ""
+"２つのサブマスターバスの例。それぞれ、２つの異なる信号をまとめて、マスターバスに送っています。マスターバスは２つの信号を１つにし、それがすべての４つのオリジナルの信号を含みます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Audio busses are also used to send audio into effects processors."
-msgstr ""
+msgstr "オーディオバスはオーディオをエフェクトプロセッサに送るためにも使われます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Level (Volume/Loudness)"
-msgstr ""
+msgstr "レベル(ボリューム／ラウドネス）"
 
 #. Tag: para
 #, no-c-format
-msgid "The perceived <firstterm>volume</firstterm> or <firstterm>loudness</firstterm> of sound is a complex phenomenon, not entirely understood by experts. One widely-agreed method of assessing loudness is by measuring the sound pressure level (SPL), which is measured in decibels (dB) or bels (B, equal to ten decibels). In audio production communities, this is called level. The <firstterm>level</firstterm> of an audio signal is one way of measuring the signal's perceived loudness. The level is part of the information stored in an audio file."
+msgid ""
+"The perceived <firstterm>volume</firstterm> or "
+"<firstterm>loudness</firstterm> of sound is a complex phenomenon, not "
+"entirely understood by experts. One widely-agreed method of assessing "
+"loudness is by measuring the sound pressure level (SPL), which is measured "
+"in decibels (dB) or bels (B, equal to ten decibels). In audio production "
+"communities, this is called level. The <firstterm>level</firstterm> of an "
+"audio signal is one way of measuring the signal's perceived loudness. The "
+"level is part of the information stored in an audio file."
 msgstr ""
+"音の知覚される<firstterm>ボリューム</firstterm>あるいは<firstterm>ラウドネス</firstterm>は複雑な現象で、専門家によっても完全に理解されているものではありません。ラウドネスを判定する１つの広く合意されている方法は、音圧レベル（sound"
+" pressure level, SPL）を測定する事です。それはデシベル(dB) あるいはベル(B, "
+"１０デシベルに等しい)で表されます。オーディオを作成する人々の間で、これはレベルと呼ばれます。オーディオ信号の<firstterm>レベル</firstterm>は、信号の知覚されるラウドネスを測定する１つの方法です。レベルはオーディオファイルに記録されている情報の一部です。"
 
 #. Tag: para
 #, no-c-format
-msgid "There are many different ways to monitor and adjust the level of an audio signal, and there is no widely-agreed practice. One reason for this situation is the technical limitations of recorded audio. Most level meters are designed so that the average level is -6&nbsp;dB on the meter, and the maximum level is 0&nbsp;dB. This practice was developed for analog audio. We recommend using an external meter and the \"K-system,\" described in a link below. The K-system for level metering was developed for digital audio."
+msgid ""
+"There are many different ways to monitor and adjust the level of an audio "
+"signal, and there is no widely-agreed practice. One reason for this "
+"situation is the technical limitations of recorded audio. Most level meters "
+"are designed so that the average level is -6&nbsp;dB on the meter, and the "
+"maximum level is 0&nbsp;dB. This practice was developed for analog audio. We"
+" recommend using an external meter and the \"K-system,\" described in a link"
+" below. The K-system for level metering was developed for digital audio."
 msgstr ""
+"オーディオ信号のレベルを測定して調整するには多くの異なる方法があり、広く合意されている手段はありません。この状況の１つの理由は、オーディオ録音の技術的制限です。ほとんどのレベルメーターは目盛の上で"
+" -6&nbsp;dB が平均で、0&nbsp;dB "
+"が最大であるように設計されています。この慣習はアナログオーディオのために開発されました。私たちは外部のメーターと以下のリンクで記述される "
+"\"K-system\" を使うことをお勧めします.レベル測定のための K-system は、デジタルオーディオのために開発されました。"
 
 #. Tag: para
 #, no-c-format
-msgid "In the Musicians' Guide, this term is called \"volume level,\" to avoid confusion with other levels, or with perceived volume or loudness."
-msgstr ""
+msgid ""
+"In the Musicians' Guide, this term is called \"volume level,\" to avoid "
+"confusion with other levels, or with perceived volume or loudness."
+msgstr "ミュージシャンのガイドでは、この用語は、他のレベルや、知覚されるボリュームやラウドネスとの混乱を避けるために\"ボリュームレベル\"と呼びます。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Level Practices</citetitle>, available at <ulink url=\"http://www.digido.com/level-practices-part-2-includes-the-k-system.html\" />. The type of meter described here is available in the \"jkmeter\" package from Planet CCRMA at Home."
+msgid ""
+"<citetitle>Level Practices</citetitle>, available at <ulink "
+"url=\"http://www.digido.com/level-practices-part-2-includes-"
+"the-k-system.html\" />. The type of meter described here is available in the"
+" \"jkmeter\" package from Planet CCRMA at Home."
 msgstr ""
+"<ulink url=\"http://www.digido.com/level-practices-part-2-includes-"
+"the-k-system.html\" /> の <citetitle>Level "
+"Practices</citetitle>。ここで記述されているタイプのメーターは、Planet CCRMA at Home の \"jkmeter\""
+" パッケージとして入手可能です。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>K-system (Wikipedia)</citetitle>, available at <ulink url=\"http://en.wikipedia.org/wiki/K-system\" />."
+msgid ""
+"<citetitle>K-system (Wikipedia)</citetitle>, available at <ulink "
+"url=\"http://en.wikipedia.org/wiki/K-system\" />."
 msgstr ""
+"<ulink url=\"http://en.wikipedia.org/wiki/K-system\" /> の "
+"<citetitle>K-system (Wikipedia)</citetitle>。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Headroom (Wikipedai)</citetitle>, available at <ulink url=\"http://en.wikipedia.org/wiki/Headroom_%28audio_signal_processing%29\" />."
+msgid ""
+"<citetitle>Headroom (Wikipedai)</citetitle>, available at <ulink "
+"url=\"http://en.wikipedia.org/wiki/Headroom_%28audio_signal_processing%29\" "
+"/>."
 msgstr ""
+"<ulink "
+"url=\"http://en.wikipedia.org/wiki/Headroom_%28audio_signal_processing%29\" "
+"/> の <citetitle>Headroom (Wikipedai)</citetitle>。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Equal-Loudness Contour (Wikipedia)</citetitle>, available at <ulink url=\"http://en.wikipedia.org/wiki/Equal-loudness_contour\" />."
+msgid ""
+"<citetitle>Equal-Loudness Contour (Wikipedia)</citetitle>, available at "
+"<ulink url=\"http://en.wikipedia.org/wiki/Equal-loudness_contour\" />."
 msgstr ""
+"<ulink url=\"http://en.wikipedia.org/wiki/Equal-loudness_contour\" /> の "
+"<citetitle>Equal-Loudness Contour (Wikipedia)</citetitle>。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Sound Level Meter (Wikipedia)</citetitle>, available at <ulink url=\"http://en.wikipedia.org/wiki/Sound_level_meter\" />."
+msgid ""
+"<citetitle>Sound Level Meter (Wikipedia)</citetitle>, available at <ulink "
+"url=\"http://en.wikipedia.org/wiki/Sound_level_meter\" />."
 msgstr ""
+"<ulink url=\"http://en.wikipedia.org/wiki/Sound_level_meter\" /> の "
+"<citetitle>Sound Level Meter (Wikipedia)</citetitle>。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Listener Fatigue (Wikipedia)</citetitle>, available at <ulink url=\"http://en.wikipedia.org/wiki/Listener_fatigue\" />."
+msgid ""
+"<citetitle>Listener Fatigue (Wikipedia)</citetitle>, available at <ulink "
+"url=\"http://en.wikipedia.org/wiki/Listener_fatigue\" />."
 msgstr ""
+"<ulink url=\"http://en.wikipedia.org/wiki/Listener_fatigue\" /> の "
+"<citetitle>Listener Fatigue (Wikipedia)</citetitle>。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Dynamic Range Compression (Wikipedia)</citetitle>, available at <ulink url=\"http://en.wikipedia.org/wiki/Dynamic_range_compression\" />."
+msgid ""
+"<citetitle>Dynamic Range Compression (Wikipedia)</citetitle>, available at "
+"<ulink url=\"http://en.wikipedia.org/wiki/Dynamic_range_compression\" />."
 msgstr ""
+"<ulink url=\"http://en.wikipedia.org/wiki/Dynamic_range_compression\" /> の "
+"<citetitle>Dynamic Range Compression (Wikipedia)</citetitle>。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Alignment Level (Wikipedia)</citetitle>, available at <ulink url=\"http://en.wikipedia.org/wiki/Alignment_level\" />."
+msgid ""
+"<citetitle>Alignment Level (Wikipedia)</citetitle>, available at <ulink "
+"url=\"http://en.wikipedia.org/wiki/Alignment_level\" />."
 msgstr ""
+"<ulink url=\"http://en.wikipedia.org/wiki/Alignment_level\" /> の "
+"<citetitle>Alignment Level (Wikipedia)</citetitle>。"
 
 #. Tag: title
 #, no-c-format
 msgid "Panning and Balance"
-msgstr ""
+msgstr "パニングとバランス"
 
 #. Tag: para
 #, no-c-format
-msgid "<firstterm>Panning</firstterm> adjusts the portion of a channel's signal that is sent to each output channel. In a stereophonic (two-channel) setup, the two channels represent the \"left\" and the \"right\" speakers. Two channels of recorded audio are available in the DAW, and the default setup sends all of the \"left\" recorded channel to the \"left\" output channel, and all of the \"right\" recorded channel to the \"right\" output channel. Panning sends some of the left recorded channel's level to the right output channel, or some of the right recorded channel's level to the left output channel. Each recorded channel has a constant total output level, which is divided between the two output channels."
-msgstr ""
+msgid ""
+"<firstterm>Panning</firstterm> adjusts the portion of a channel's signal "
+"that is sent to each output channel. In a stereophonic (two-channel) setup, "
+"the two channels represent the \"left\" and the \"right\" speakers. Two "
+"channels of recorded audio are available in the DAW, and the default setup "
+"sends all of the \"left\" recorded channel to the \"left\" output channel, "
+"and all of the \"right\" recorded channel to the \"right\" output channel. "
+"Panning sends some of the left recorded channel's level to the right output "
+"channel, or some of the right recorded channel's level to the left output "
+"channel. Each recorded channel has a constant total output level, which is "
+"divided between the two output channels."
+msgstr ""
+"<firstterm>パニング</firstterm>とは、別々の出力チャネルに送られるチャネルの信号の割合を調整することです。ステレオ設定（２チャネル）では、２つのチャネルは\"左\"と\"右\"のスピーカーをあらわします。DAW"
+" "
+"において、録音されたオーディオの２つのチャネルがあり、デフォルト設定では\"左\"に録音されたチャネルはすべて\"左\"の出力チャネルに送られ、\"右\"に録音されたチャネルはすべて\"右\"の出力チャネルに送られます。パニングは、左に録音されたチャネルのレベルのいくらかを右の出力チャネルに送り、右に録音されたチャネルのレベルのいくらかを左の出力チャネルに送ります。それぞれの録音チャネルは合計で一定の出力レベルを持ち、それが２つの出力チャネルの間で分けられます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Panning"
-msgstr ""
+msgstr "パニング"
 
 #. Tag: para
 #, no-c-format
-msgid "The left and right recorded channels being sent to the left output channel; the left recorded channel being sent to the left output channel and the right recorded channel being sent to the right output channel, and the left and right recorded channels being sent to the right output channel."
+msgid ""
+"The left and right recorded channels being sent to the left output channel; "
+"the left recorded channel being sent to the left output channel and the "
+"right recorded channel being sent to the right output channel, and the left "
+"and right recorded channels being sent to the right output channel."
 msgstr ""
+"左と右の録音チャネルが左の出力チャネルに送られているところ；左の録音チャネルが左の出力チャネルに送られ、右の録音チャネルが右の出力チャネルに送られるところ、そして、左と右の録音チャネルが右の出力チャネルに送られているところ"
 
 #. Tag: para
 #, no-c-format
-msgid "The default setup for a left recorded channel is for \"full left\" panning, meaning that 100% of the output level is output to the left output channel. An audio engineer might adjust this so that 80% of the recorded channel's level is output to the left output channel, and 20% of the level is output to the right output channel. An audio engineer might make the left recorded channel sound like it is in front of the listener by setting the panner to \"center,\" meaning that 50% of the output level is output to both the left and right output channels."
+msgid ""
+"The default setup for a left recorded channel is for \"full left\" panning, "
+"meaning that 100% of the output level is output to the left output channel. "
+"An audio engineer might adjust this so that 80% of the recorded channel's "
+"level is output to the left output channel, and 20% of the level is output "
+"to the right output channel. An audio engineer might make the left recorded "
+"channel sound like it is in front of the listener by setting the panner to "
+"\"center,\" meaning that 50% of the output level is output to both the left "
+"and right output channels."
 msgstr ""
+"左の録音チャネルのデフォルト設定は、\"全左\"パニング、つまり出力レベルの１００％が左の出力チャネルに行くというものです。オーディオ技術者はこれを調整して、録音チャネルのレベルの８０％が左の出力チャネルに行き、レベルの２０％が右の出力チャネルに行くようにするかもしれません。オーディオ技術者は、パンナーを\"センター\"にすることで、左の録音チャネルがリスナーのまん前にいるかのようにすることもできます。つまり、出力レベルの５０％が左と右の出力チャネルの両方に行くわけです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Balance is sometimes confused with panning, even on commercially-available audio equipment. Adjusting the <firstterm>balance</firstterm> changes the volume level of the output channels, without redirecting the recorded signal. The default setting for balance is \"center,\" meaning 0% change to the volume level. As you adjust the dial from \"center\" toward the \"full left\" setting, the volume level of the right output channel is decreased, and the volume level of the left output channel remains constant. As you adjust the dial from \"center\" toward the \"full right\" setting, the volume level of the left output channel is decreased, and the volume level of the right output channel remains constant. If you set the dial to \"20% left,\" the audio equipment would reduce the volume level of the right output channel by 20%, increasing the perceived loudness of the left output channel by approximately 20%."
-msgstr ""
+msgid ""
+"Balance is sometimes confused with panning, even on commercially-available "
+"audio equipment. Adjusting the <firstterm>balance</firstterm> changes the "
+"volume level of the output channels, without redirecting the recorded "
+"signal. The default setting for balance is \"center,\" meaning 0% change to "
+"the volume level. As you adjust the dial from \"center\" toward the \"full "
+"left\" setting, the volume level of the right output channel is decreased, "
+"and the volume level of the left output channel remains constant. As you "
+"adjust the dial from \"center\" toward the \"full right\" setting, the "
+"volume level of the left output channel is decreased, and the volume level "
+"of the right output channel remains constant. If you set the dial to \"20% "
+"left,\" the audio equipment would reduce the volume level of the right "
+"output channel by 20%, increasing the perceived loudness of the left output "
+"channel by approximately 20%."
+msgstr ""
+"バランスはときによりパニングと混同され、それは市販のオーディオ機器においてもみかけられます。<firstterm>バランス</firstterm>を調整することは出力チャネルのボリュームレベルを変えますが、録音された信号を移動することはありません。バランスのデフォルト設定は\"センター\"で、ボリュームレベルの変化は０％ということです。ダイアルを\"センター\"から\"全左\"設定にするにつれ、右の出力チャネルのボリュームレベルは小さくなり、左の出力チャネルのボリュームレベルは変わりません。ダイアルを\"センター\"から\"全右\"設定にするにつれ、左の出力チャネルのボリュームレベルは小さくなり、右の出力チャネルのボリュームレベルは変わりません。ダイアルを\"２０％"
+" 左\"にすると、オーディオ装置は右の出力チャネルのボリュームレベルを２０％下げ、左の出力チャネルの知覚されるラウドネスを約２０％上げるのです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Balance"
-msgstr ""
+msgstr "バランス"
 
 #. Tag: para
 #, no-c-format
-msgid "The right output channel silenced (balance full left), the left and right channels at equal volume (balance centered), the left output channel silenced (balance full right)."
+msgid ""
+"The right output channel silenced (balance full left), the left and right "
+"channels at equal volume (balance centered), the left output channel "
+"silenced (balance full right)."
 msgstr ""
+"右の出力チャネルは消音されている（バランスは全左）、左と右のチャネルは同じボリューム（バランスはセンター）、左の出力チャネルは消音されている（バランスは全右）"
 
 #. Tag: para
 #, no-c-format
-msgid "You should adjust the balance so that you perceive both speakers as equally loud. Balance compensates for poorly set up listening environments, where the speakers are not equal distances from the listener. If the left speaker is closer to you than the right speaker, you can adjust the balance to the right, which decreases the volume level of the left speaker. This is not an ideal solution, but sometimes it is impossible or impractical to set up your speakers correctly. You should adjust the balance only at final playback."
+msgid ""
+"You should adjust the balance so that you perceive both speakers as equally "
+"loud. Balance compensates for poorly set up listening environments, where "
+"the speakers are not equal distances from the listener. If the left speaker "
+"is closer to you than the right speaker, you can adjust the balance to the "
+"right, which decreases the volume level of the left speaker. This is not an "
+"ideal solution, but sometimes it is impossible or impractical to set up your"
+" speakers correctly. You should adjust the balance only at final playback."
 msgstr ""
+"２つのスピーカーが同じくらいの音の大きさになるように、バランスを調整するとよいです。バランスにより、２つのスピーカーが、リスナから等距離でないような、悪いリスニング環境を補正することできます。もし右より左のスピーカーの方が、あなたの近くにあるなら、バランスを右にして、左のスピーカーのボリュームレベルを下げればよいです。これは理想的な解決策ではありませんが、ときには、スピーカーを正しく置くのが不可能、あるいは現実的でないこともあるでしょう。バランスを調整するのは、最後の再生のときだけにしてください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Time, Timeline, and Time-Shifting"
-msgstr ""
+msgstr "タイム、タイムライン、そしてタイムシフティング"
 
 #. Tag: para
 #, no-c-format
-msgid "There are many ways to measure musical time. The four most popular time scales for digital audio are:"
-msgstr ""
+msgid ""
+"There are many ways to measure musical time. The four most popular time "
+"scales for digital audio are:"
+msgstr "音楽の時間を測るにはいくつもの方法があります。デジタルオーディオのための時間の単位の最も一般的な四つは："
 
 #. Tag: para
 #, no-c-format
-msgid "Bars and Beats: Usually used for MIDI work, and called \"BBT,\" meaning \"Bars, Beats, and Ticks.\" A tick is a partial beat."
+msgid ""
+"Bars and Beats: Usually used for MIDI work, and called \"BBT,\" meaning "
+"\"Bars, Beats, and Ticks.\" A tick is a partial beat."
 msgstr ""
+"Bars and Beats、小節と拍:普通、MIDI 作品で使われ、\"BBT,\"つまり\"Bars, Beats, and "
+"Ticks\"と呼ばれます。チックは、部分的な拍です。"
 
 #. Tag: para
 #, no-c-format
 msgid "Minutes and Seconds: Usually used for audio work."
-msgstr ""
+msgstr "分と秒：普通、オーディオ作品で使われます。"
 
 #. Tag: para
 #, no-c-format
-msgid "SMPTE Timecode: Invented for high-precision coordination of audio and video, but can be used with audio alone."
-msgstr ""
+msgid ""
+"SMPTE Timecode: Invented for high-precision coordination of audio and video,"
+" but can be used with audio alone."
+msgstr "SMPTE タイムコード: オーディオとビデオの高精度の同期のために発明されましたが、オーディオだけの時にも使うことができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Samples: Relating directly to the format of the underlying audio file, a sample is the shortest possible length of time in an audio file. See <xref linkend=\"sect-Musicians_Guide-Sample_Rate_and_Sample_Format\" /> for more information."
+msgid ""
+"Samples: Relating directly to the format of the underlying audio file, a "
+"sample is the shortest possible length of time in an audio file. See <xref "
+"linkend=\"sect-Musicians_Guide-Sample_Rate_and_Sample_Format\" /> for more "
+"information."
 msgstr ""
+"サンプル：使用されるオーディオファイルの形式に直接関連しており、サンプルは、オーディオファイルにおける最小の時間の長さです。詳しくは、<xref "
+"linkend=\"sect-Musicians_Guide-Sample_Rate_and_Sample_Format\" />を参照下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "Most audio software, particularly digital audio workstations (DAWs), allow the user to choose which scale they prefer. DAWs use a <firstterm>timeline</firstterm> to display the progression of time in a session, allowing you to do <firstterm>time-shifting</firstterm>; that is, adjust the time in the timeline when a region starts to be played."
+msgid ""
+"Most audio software, particularly digital audio workstations (DAWs), allow "
+"the user to choose which scale they prefer. DAWs use a "
+"<firstterm>timeline</firstterm> to display the progression of time in a "
+"session, allowing you to do <firstterm>time-shifting</firstterm>; that is, "
+"adjust the time in the timeline when a region starts to be played."
 msgstr ""
+"ほとんどのオーディオソフトウエア、特にデジタルオーディオワークステーション（DAW）は、ユーザが、どの時間単位を使うか、選ぶことができます。DAW "
+"はセッションにおける時間の進行を<firstterm>タイムライン</firstterm>を使って表し、あなたが<firstterm>タイムシフティング</firstterm>、つまり、リージョンがタイムラインの中で再生を開始する時間を調整することを可能とします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Time is represented horizontally, where the leftmost point is the beginning of the session (zero, regardless of the unit of measurement), and the rightmost point is some distance after the end of the session."
+msgid ""
+"Time is represented horizontally, where the leftmost point is the beginning "
+"of the session (zero, regardless of the unit of measurement), and the "
+"rightmost point is some distance after the end of the session."
 msgstr ""
+"時間は水平に表され、最も左の点が、セッションの開始（測定の単位にかかわらず、ゼロ）で、最も右の点がセッションの終わりから少しすぎたところです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Synchronization"
-msgstr ""
+msgstr "同期"
 
 #. Tag: para
 #, no-c-format
-msgid "<firstterm>Synchronization</firstterm> coordinates the operation of multiple tools, most often the movement of the transport. Synchronization also controls automation across applications and devices. MIDI signals are usually used for synchronization."
+msgid ""
+"<firstterm>Synchronization</firstterm> coordinates the operation of multiple"
+" tools, most often the movement of the transport. Synchronization also "
+"controls automation across applications and devices. MIDI signals are "
+"usually used for synchronization."
 msgstr ""
+"<firstterm>同期</firstterm>は、複数のツール、多くの場合トランスポートの移動、の動作を調整するものです。さらに、同期は、アプリケーションとデバイスの間のオートメーションを制御します。MIDI"
+" 信号が、通常は同期のために使われます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Routing and Multiplexing"
-msgstr ""
+msgstr "ルーティングと多重化"
 
 #. Tag: para
 #, no-c-format
-msgid "<firstterm>Routing</firstterm> audio transmits a signal from one place to another — between applications, between parts of applications, or between devices. On Linux systems, the <systemitem>JACK Audio Connection Kit</systemitem> is used for audio routing. <systemitem>JACK</systemitem>-aware applications (and <systemitem>PulseAudio</systemitem> ones, if so configured) provide inputs and outputs to the <systemitem>JACK</systemitem> server, depending on their configuration. The <application>QjackCtl</application> application can adjust the default connections. You can easily reroute the output of a program like FluidSynth so that it can be recorded by <application>Ardour</application>, for example, by using <application>QjackCtl</application>."
-msgstr ""
+msgid ""
+"<firstterm>Routing</firstterm> audio transmits a signal from one place to "
+"another — between applications, between parts of applications, or between "
+"devices. On Linux systems, the <systemitem>JACK Audio Connection "
+"Kit</systemitem> is used for audio routing. "
+"<systemitem>JACK</systemitem>-aware applications (and "
+"<systemitem>PulseAudio</systemitem> ones, if so configured) provide inputs "
+"and outputs to the <systemitem>JACK</systemitem> server, depending on their "
+"configuration. The <application>QjackCtl</application> application can "
+"adjust the default connections. You can easily reroute the output of a "
+"program like FluidSynth so that it can be recorded by "
+"<application>Ardour</application>, for example, by using "
+"<application>QjackCtl</application>."
+msgstr ""
+"<firstterm>ルーティング</firstterm>は、オーディオ信号を１つのところから他に転送します。アプリケーションの間、アプリケーションの部分の間、そして、デバイスの間です。Linux"
+" システムでは、<systemitem>JACK Audio Connection Kit</systemitem> "
+"がオーディオルーティングのために使われます。<systemitem>JACK</systemitem> "
+"対応のアプリケーション（そして、設定により、<systemitem>PulseAudio</systemitem> "
+"対応のものも）は、自分の設定により、入力と出力を <systemitem>JACK</systemitem> "
+"サーバに提供します。<application>QjackCtl</application> "
+"アプリケーションはデフォルトの接続を調整することができます。あなたは <application>QjackCtl</application> "
+"を使って、FluidSynth のようなプログラムの出力を、例えば、<application>Ardour</application> "
+"で録音されるように、ルーティングすることができます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Routing and multiplexing"
-msgstr ""
+msgstr "ルーティングと多重化"
 
 #. Tag: para
 #, no-c-format
-msgid "Illustration of routing and multiplexing in the <guilabel>Connections</guilabel> window of the <application>QjackCtl</application> interface."
+msgid ""
+"Illustration of routing and multiplexing in the "
+"<guilabel>Connections</guilabel> window of the "
+"<application>QjackCtl</application> interface."
 msgstr ""
+"<application>QjackCtl</application> インタフェースの "
+"<guilabel>Connections</guilabel> ウインドウでのルーティングと多重化の図"
 
 #. Tag: para
 #, no-c-format
 msgid "Master bus inputs accept multiplexed audio from many sources."
-msgstr ""
+msgstr "マスターバスの入力は多くのソースからの多重化されたオーディオを受け付けます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Master bus outputs routed to system playback inputs."
-msgstr ""
+msgstr "システム再生入力にルーティングされたマスターバスの出力"
 
 #. Tag: para
 #, no-c-format
-msgid "<firstterm>Multiplexing</firstterm> allows you to connect multiple devices and applications to a single input or output. <application>QjackCtl</application> allows you to easily perform multiplexing. This may not seem important, but remember that only one connection is possible with a physical device like an audio interface. Before computers were used for music production, multiplexing required physical devices to split or combine the signals."
-msgstr ""
+msgid ""
+"<firstterm>Multiplexing</firstterm> allows you to connect multiple devices "
+"and applications to a single input or output. "
+"<application>QjackCtl</application> allows you to easily perform "
+"multiplexing. This may not seem important, but remember that only one "
+"connection is possible with a physical device like an audio interface. "
+"Before computers were used for music production, multiplexing required "
+"physical devices to split or combine the signals."
+msgstr ""
+"<firstterm>多重化</firstterm>により、複数のデバイスとアプリケーションを１つの入力あるいは出力に接続することができます。<application>QjackCtl</application>"
+" "
+"により、簡単に多重化ができます。これは、重要とは思えないかもしれませんが、オーディオインタフェースのような物理デバイスには、ただ１つの接続しかできないことを覚えておいて下さい。コンピュータが音楽製作に使われる前は、多重化は信号を分離あるいは結合する物理デバイスを必要としました。"
 
 #. Tag: title
 #, no-c-format
 msgid "Multichannel Audio"
-msgstr ""
+msgstr "マルチチャネルオーディオ"
 
 #. Tag: para
 #, no-c-format
-msgid "An <firstterm>audio channel</firstterm> is a single path of audio data. <firstterm>Multichannel audio</firstterm> is any audio which uses more than one channel simultaneously, allowing the transmission of more audio data than single-channel audio."
+msgid ""
+"An <firstterm>audio channel</firstterm> is a single path of audio data. "
+"<firstterm>Multichannel audio</firstterm> is any audio which uses more than "
+"one channel simultaneously, allowing the transmission of more audio data "
+"than single-channel audio."
 msgstr ""
+"<firstterm>オーディオチャネル</firstterm>とは、オーディオデータの単一のパスです。<firstterm>マルチチャネルオーディオ</firstterm>とは同時に１つ以上のチャネルを使い、シングルチャネルオーディオより多くのオーディオデータの転送が可能なオーディオのことです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Audio was originally recorded with only one channel, producing \"monophonic,\" or \"mono\" recordings. Beginning in the 1950s, stereophonic recordings, with two independent channels, began replacing monophonic recordings. Since humans have two independent ears, it makes sense to record and reproduce audio with two independent channels, involving two speakers. Most sound recordings available today are stereophonic, and people have found this mostly satisfying."
+msgid ""
+"Audio was originally recorded with only one channel, producing "
+"\"monophonic,\" or \"mono\" recordings. Beginning in the 1950s, stereophonic"
+" recordings, with two independent channels, began replacing monophonic "
+"recordings. Since humans have two independent ears, it makes sense to record"
+" and reproduce audio with two independent channels, involving two speakers. "
+"Most sound recordings available today are stereophonic, and people have "
+"found this mostly satisfying."
 msgstr ""
+"オーディオは昔はただ１つのチャネルで録音され、\"モノフォニック\"あるいは\"モノ\"録音を作成しました。１９５０年代に、２つの独立のチャネルを持つステレオ録音が始まり、モノフォニック録音に代わり始めました。人間は２つの独立した耳を持つので、２つの独立したチャネル、２つのスピーカーでオーディオを録音、再生するのは自然なことです。現在入手可能なサウンド録音はステレオであり、人々はこれにほぼ満足しています。"
 
 #. Tag: para
 #, no-c-format
-msgid "There is a growing trend toward five- and seven-channel audio, driven primarily by \"surround-sound\" movies, and not widely available for music. Two \"surround-sound\" formats exist for music: DVD Audio (DVD-A) and Super Audio CD (SACD). The development of these formats, and the devices to use them, is held back by the proliferation of headphones with personal MP3 players, a general lack of desire for improvement in audio quality amongst consumers, and the copy-protection measures put in place by record labels. The result is that, while some consumers are willing to pay higher prices for DVD-A or SACD recordings, only a small number of recordings are available. Even if you buy a DVD-A or SACD-capable player, you would need to replace all of your audio equipment with models that support proprietary copy-protection software. Without this equipment, the player is often forbidden from outputting audio with a higher sample rate or sample format than a conventional audio C
 D. None of these factors, unfortunately, seem like they will change in the near future."
-msgstr ""
+msgid ""
+"There is a growing trend toward five- and seven-channel audio, driven "
+"primarily by \"surround-sound\" movies, and not widely available for music. "
+"Two \"surround-sound\" formats exist for music: DVD Audio (DVD-A) and Super "
+"Audio CD (SACD). The development of these formats, and the devices to use "
+"them, is held back by the proliferation of headphones with personal MP3 "
+"players, a general lack of desire for improvement in audio quality amongst "
+"consumers, and the copy-protection measures put in place by record labels. "
+"The result is that, while some consumers are willing to pay higher prices "
+"for DVD-A or SACD recordings, only a small number of recordings are "
+"available. Even if you buy a DVD-A or SACD-capable player, you would need to"
+" replace all of your audio equipment with models that support proprietary "
+"copy-protection software. Without this equipment, the player is often "
+"forbidden from outputting audio with a higher sample rate or sample format "
+"than a conventional audio CD. None of these factors, unfortunately, seem "
+"like they will change in the near future."
+msgstr ""
+"主に\"サラウンディングサウンド\"映画によってもたらされつつある、５あるいは７チャネルオーディオの潮流があります。これは音楽についてはあまり普及していません。２つの音楽用\"サラウンディングサウンド\"形式が存在します：DVD"
+" オーディオ（DVDA）と、スーパーオーディオ CD（SACD）です。これらの形式とそれを使うデバイスの開発は、個人用の "
+"MP３プレイヤーのヘッドフォンの普及や、一般消費者はそれほどオーディオ品質の向上に興味がなかったこと、レコード会社によるコピープロテクションの仕組み、などにより成功しませんでした。その結果、DVDーA"
+" や SACD 録音のためにより高いお金を払ってもよいとするいくらかのお客さんがいるものの、少数の録音しか入手可能ではありません。もしあなたが "
+"DVDーA や SACD "
+"が扱えるプレイヤーを買ったとしても、あなたはお持ちのオーディオ機器をすべて、プロプライエタリなコピープロテクションソフトウエアをサポートするモデルに買い替えないといけないのです。この装置がないと、プレイヤーは、通常のオーディオ"
+" CD 以上のサンプルレートやサンプルフォーマットでの音楽の出力ができなくされています。不幸なことに、これらのことが近い将来に変わるとは思えません。"
+
+
diff --git a/ja-JP/Author_Group.po b/ja-JP/Author_Group.po
index b8495ba..f1a0f3b 100644
--- a/ja-JP/Author_Group.po
+++ b/ja-JP/Author_Group.po
@@ -1,29 +1,32 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-09-08T03:01:42\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-06-12 10:40+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: firstname
 #, no-c-format
 msgid "Christopher"
-msgstr ""
+msgstr "Christopher"
 
 #. Tag: surname
 #, no-c-format
 msgid "Antila"
-msgstr ""
+msgstr "Antila"
 
 #. Tag: orgname
 #, no-c-format
 msgid "Fedora Documentation Project"
-msgstr ""
+msgstr "Fedora ドキュメンテーションプロジェクト"
+
+
diff --git a/ja-JP/Book_Info.po b/ja-JP/Book_Info.po
index ef59c96..0facf4d 100644
--- a/ja-JP/Book_Info.po
+++ b/ja-JP/Book_Info.po
@@ -1,34 +1,42 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-09-08T03:01:42\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-06-12 10:39+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "Musicians' Guide"
-msgstr ""
+msgstr "ミュージシャンのガイド"
 
 #. Tag: subtitle
 #, no-c-format
-msgid "A guide to Fedora Linux's audio creation and music capabilities."
-msgstr ""
+msgid "Audio creation and music software in Fedora Linux."
+msgstr "Fedora Linux のオーディオ作成と音楽機能へのガイド"
 
 #. Tag: productname
 #, no-c-format
-msgid "Fedora"
-msgstr ""
+msgid "Fedora Draft Documentation"
+msgstr "Fedora ドラフト文書"
 
 #. Tag: para
 #, no-c-format
-msgid "This document explores some audio-creation and music activities possible with Fedora Linux. Computer audio concepts are explained, and a selection of programs are demonstrated with tutorials showing typical usage."
+msgid ""
+"This document explores some audio creation and music activities possible "
+"with Fedora Linux. Computer audio concepts are explained, and a selection of"
+" programs are demonstrated with tutorials that show their typical usage."
 msgstr ""
+"このドキュメントでは、Fedora Linuxで可能な、いくつかのオーディオ作成と音楽の活動を探ります。 "
+"コンピュータオーディオの概念を説明し、選ばれたいくつかのプログラムを、一般的な使用方法を示すチュートリアルとともに紹介します。\n"
+
+
diff --git a/ja-JP/Chapter.po b/ja-JP/Chapter.po
index 07f5158..e28720a 100644
--- a/ja-JP/Chapter.po
+++ b/ja-JP/Chapter.po
@@ -1,17 +1,17 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-09-08T03:01:42\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-07-28 21:42+0000\n"
 "Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
@@ -47,3 +47,5 @@ msgstr ""
 #, no-c-format
 msgid "listitem text"
 msgstr ""
+
+
diff --git a/ja-JP/Digital_Audio_Workstations.po b/ja-JP/Digital_Audio_Workstations.po
index 11e5e94..575da00 100644
--- a/ja-JP/Digital_Audio_Workstations.po
+++ b/ja-JP/Digital_Audio_Workstations.po
@@ -1,519 +1,922 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-11-02T04:33:08\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-07-13 09:03+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "Digital Audio Workstations"
-msgstr ""
+msgstr "デジタルオーディオワークステーション"
 
 #. Tag: para
 #, no-c-format
-msgid "The term <firstterm>Digital Audio Workstation</firstterm> (henceforth <firstterm>DAW</firstterm>) refers to the entire hardware and software setup used for professional (or professional-quality) audio recording, manipulation, synthesis, and production. It originally referred to devices purpose-built for the task, but as personal computers have become more powerful and wide-spread, certain specially-designed personal computers can also be thought of as DAWs. The software running on these computers, especially software capable of multi-track recording, playback, and synthesis, is simply called \"DAW software,\" which is often shortened to \"DAW.\" So, the term \"DAW\" and its usage are moderately ambiguous, but generally refer to one of the things mentioned."
-msgstr ""
+msgid ""
+"The term <firstterm>Digital Audio Workstation</firstterm> (henceforth "
+"<firstterm>DAW</firstterm>) refers to the entire hardware and software setup"
+" used for professional (or professional-quality) audio recording, "
+"manipulation, synthesis, and production. It originally referred to devices "
+"purpose-built for the task, but as personal computers have become more "
+"powerful and wide-spread, certain specially-designed personal computers can "
+"also be thought of as DAWs. The software running on these computers, "
+"especially software capable of multi-track recording, playback, and "
+"synthesis, is simply called \"DAW software,\" which is often shortened to "
+"\"DAW.\" So, the term \"DAW\" and its usage are moderately ambiguous, but "
+"generally refer to one of the things mentioned."
+msgstr ""
+"<firstterm>デジタルオーディオワークステーション</firstterm> (以降、<firstterm>DAW</firstterm>) "
+"という用語は、プロフェッショナルな、（あるいは、プロフェッショナル品質の）オーディオの録音、操作、合成、そして製作に使われる、ハードウエアとソフトウエアの全体のセットアップのことです。それは元々は、その目的のために専用に作られたデバイスを意味しましたが、パーソナルコンピュータがより強力で一般的になって来るにつれ、ある種の特別に設計されたパーソナルコンピュータも、DAW"
+" とみなせるようになりました。これらのコンピュータで動いているソフトウエア、特にマルチトラック録音、再生、そして合成ができるソフトウエアは、単に "
+"\"DAW ソフトウエア\"、多くの場合、短く \"DAW\" と呼ばれます.そのため、\"DAW\" "
+"という用語とその使い方は少しあいまいですが、一般的に、これまで述べたもののうちの１つを指します."
 
 #. Tag: para
 #, no-c-format
-msgid "For other terms related to digital audio, see <xref linkend=\"chap-Musicians_Guide-Sound_Cards\" />."
+msgid ""
+"For other terms related to digital audio, see <xref linkend=\"chap-"
+"Musicians_Guide-Sound_Cards\" />."
 msgstr ""
+"その他のデジタルオーディオに関する用語については、<xref linkend=\"chap-Musicians_Guide-Sound_Cards\" "
+"/>を参照ください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Knowing Which DAW to Use"
-msgstr ""
+msgstr "どの DAW を使うか"
 
 #. Tag: para
 #, no-c-format
-msgid "The Musicians' Guide covers three widely-used DAWs: <application>Ardour</application>, <application>Qtractor</application>, and <application>Rosegarden</application>. All three use <systemitem>JACK</systemitem> extensively, are highly configurable, share a similar user interface, and allow users to work with both audio and MIDI signals. Many other DAWs exist, including a wide selection of commercially-available solutions. Here is a brief description of the programs documented in the Musicians' Guide:"
+msgid ""
+"The Musicians' Guide covers three widely-used DAWs: "
+"<application>Ardour</application>, <application>Qtractor</application>, and "
+"<application>Rosegarden</application>. All three use "
+"<systemitem>JACK</systemitem> extensively, are highly configurable, share a "
+"similar user interface, and allow users to work with both audio and MIDI "
+"signals. Many other DAWs exist, including a wide selection of commercially-"
+"available solutions. Here is a brief description of the programs documented "
+"in the Musicians' Guide:"
 msgstr ""
+"ミュージシャンのガイドは３つの広く使われているDAW をとりあげます：<application>Ardour</application>, "
+"<application>Qtractor</application>, そして "
+"<application>Rosegarden</application> です。これら３つはすべて "
+"<systemitem>JACK</systemitem> を活用し、高度に構成可能で、似たユーザインタフェースを持ち、そしてユーザはオーディオと "
+"MIDI 信号の両方を扱うことができます.他の多くの DAW "
+"があり、商品として利用可能なソリューションもたくさんあります。以下は、ミュージシャンのガイドで述べるプログラムの簡単な記述です："
 
 #. Tag: para
 #, no-c-format
-msgid "<application>Ardour</application> is the open-source standard for audio manipulation. Flexible and extensible."
+msgid ""
+"<application>Ardour</application> is the open-source standard for audio "
+"manipulation. Flexible and extensible."
 msgstr ""
+"<application>Ardour</application> は、オーディオ操作のための、オープンソース標準です.柔軟で、拡張できます."
 
 #. Tag: para
 #, no-c-format
-msgid "<application>Qtractor</application> is a relative new-comer, but easy to use; a \"lean and mean,\" MIDI-focused DAW. Available from Planet CCRMA at Home or RPM Fusion."
+msgid ""
+"<application>Qtractor</application> is a relative new-comer, but easy to "
+"use; a \"lean and mean,\" MIDI-focused DAW. Available from Planet CCRMA at "
+"Home or RPM Fusion."
 msgstr ""
+"<application>Qtractor</application> は比較的新しく出てきたものですが、使用が簡単な、 \"必要最小限の\"、MIDI"
+" に集中した DAW です。Planet CCRMA at Home あるいは RPM Fusionから入手可能です."
 
 #. Tag: para
 #, no-c-format
-msgid "<application>Rosegarden</application> is a well-tested, feature-packed workhorse of Linux audio, especially MIDI. Includes a visual score editor for creating MIDI tracks."
+msgid ""
+"<application>Rosegarden</application> is a well-tested, feature-packed "
+"workhorse of Linux audio, especially MIDI. Includes a visual score editor "
+"for creating MIDI tracks."
 msgstr ""
+"<application>Rosegarden</application> は十分テストされた、機能が充実した Linux オーディオ、特に "
+"MIDI、の働き者です。MIDI トラックを作成するためのビジュアルな譜面エディタがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you are unsure of where to start, then you may not need a DAW at all:"
-msgstr ""
+msgid ""
+"If you are unsure of where to start, then you may not need a DAW at all:"
+msgstr "もしあなたが、どれから始めればいいか分からないときは、あなたは DAW を全然必要としないのかもしれません："
 
 #. Tag: para
 #, no-c-format
-msgid "If you are looking for a high-quality recording application, or a tool for manipulating one audio file at a time, then you would probably be better off with <application>Audacity</application>. This will be the choice of most computer users, especially those new to computer audio, or looking for a quick solution requiring little specialized knowledge. <application>Audacity</application> is also a good way to get your first computer audio experiences, specifically because it is easier to use than most other audio software."
+msgid ""
+"If you are looking for a high-quality recording application, or a tool for "
+"manipulating one audio file at a time, then you would probably be better off"
+" with <application>Audacity</application>. This will be the choice of most "
+"computer users, especially those new to computer audio, or looking for a "
+"quick solution requiring little specialized knowledge. "
+"<application>Audacity</application> is also a good way to get your first "
+"computer audio experiences, specifically because it is easier to use than "
+"most other audio software."
 msgstr ""
+"もしあなたが、高品質の録音アプリケーション、あるいはオーディオファイルを１つづつ操作するためのツールを探しているなら、もしかすると "
+"<application>Audacity</application> "
+"がよいでしょう。これは、ほとんどのコンピュータユーザ、特に初めてコンピュータオーディオをする人や、特別な知識を必要としない迅速なソリューションを探している人にとって、よい選択です.<application>Audacity</application>"
+" は、他の多くのオーディオソフトウエアと比べて、より使いやすいので、あなたが最初のコンピュータオーディオの経験をするにはよい手段です."
 
 #. Tag: para
 #, no-c-format
-msgid "To take full advantage of the features offered by <application>Ardour</application>, <application>Qtractor</application>, and <application>Rosegarden</application>, your computer should be equipped with professional-quality audio equipment, including an after-market audio interface and input devices like microphones. If you do not have access to such equipment, then Audacity may be a better choice for you."
+msgid ""
+"To take full advantage of the features offered by "
+"<application>Ardour</application>, <application>Qtractor</application>, and "
+"<application>Rosegarden</application>, your computer should be equipped with"
+" professional-quality audio equipment, including an after-market audio "
+"interface and input devices like microphones. If you do not have access to "
+"such equipment, then Audacity may be a better choice for you."
 msgstr ""
+"<application>Ardour</application>、<application>Qtractor</application>, そして "
+"<application>Rosegarden</application> "
+"が提供する機能をぞんぶんに活用するには、あなたのコンピュータには、プロフェッショナル品質のオーディオ機器、追加で購入されるオーディオインタフェースとマイクのような入力デバイスが備わっているべきです.もしあながたそのような機器を持たない場合、Audacity"
+" があなたにとってよい選択かもしれません."
 
 #. Tag: para
 #, no-c-format
-msgid "If you are simply hoping to create a \"MIDI recording\" of some sheet music, you are probably better off using <application>LilyPond</application>. This program is designed primarily to create printable sheet music, but it will produce a MIDI-format version of a score if you include the following command in the <literal>score</literal> section of your <application>LilyPond</application> source file: <code>\\midi { }</code>. There are a selection of options that can be put in the <literal>midi</literal> section; refer to the <application>LilyPond</application> help files for a listing."
-msgstr ""
+msgid ""
+"If you are simply hoping to create a \"MIDI recording\" of some sheet music,"
+" you are probably better off using <application>LilyPond</application>. This"
+" program is designed primarily to create printable sheet music, but it will "
+"produce a MIDI-format version of a score if you include the following "
+"command in the <literal>score</literal> section of your "
+"<application>LilyPond</application> source file: <code>\\midi { }</code>. "
+"There are a selection of options that can be put in the "
+"<literal>midi</literal> section; refer to the "
+"<application>LilyPond</application> help files for a listing."
+msgstr ""
+"もしあなたが、単に、ある楽譜の \"MIDI 録音\"を作成したいならば、たぶん、<application>LilyPond</application>"
+" を使うのが良いでしょう.このプログラムは、主に、印刷可能な楽譜を作成するために設計されていますが、あなたの "
+"<application>LilyPond</application> ソースファイルの <literal>score</literal> "
+"セクションに以下のコマンドを含めると、MIDI 形式のバージョンの楽譜を生成します：<code>\\midi { "
+"}</code>。<literal>midi</literal> "
+"セクションに入れることのできるオプションがいくつかあります：そのリストについては、<application>LilyPond</application>"
+" のヘルプファイルを参照下さい."
 
 #. Tag: title
 #, no-c-format
 msgid "Stages of Recording"
-msgstr ""
+msgstr "録音のステージ"
 
 #. Tag: para
 #, no-c-format
-msgid "There are three main stages involved in the the process of recording something and preparing it for listeners: recording, mixing, and mastering. Each step of the process has distinct characteristics, yet they can sometimes be mixed together."
+msgid ""
+"There are three main stages involved in the the process of recording "
+"something and preparing it for listeners: recording, mixing, and mastering. "
+"Each step of the process has distinct characteristics, yet they can "
+"sometimes be mixed together."
 msgstr ""
+"あるものを録音して、リスナに届ける準備をするためには３つの大きなステージがあります：録音、ミキシング、そしてマスタリングです。それぞれの処理のステップは独自の特性を持ちますが、時には、一緒に混ぜ合わせられることもあります."
 
 #. Tag: title
 #, no-c-format
 msgid "Recording"
-msgstr ""
+msgstr "録音"
 
 #. Tag: para
 #, no-c-format
-msgid "Recording is the process of capturing audio regions (also called \"clips\" or \"segments\") into the DAW software, for later processing. Recording is a complex process, involving a microphone that captures sound energy, translates it into electrical energy, and transmits it to an audio interface. The audio interface converts the electrical energy into digital signals, and sends it through the operating system to the DAW software. The DAW stores regions in memory and on the hard drive as required. Every time the musicians perform some (or all) of the performance to be recorded, while the DAW is recording, it is considered to be a <firstterm>take</firstterm>. A successful recording usually requires several takes, due to the inconsistencies of musical performance and of the related technological aspects."
-msgstr ""
+msgid ""
+"Recording is the process of capturing audio regions (also called \"clips\" "
+"or \"segments\") into the DAW software, for later processing. Recording is a"
+" complex process, involving a microphone that captures sound energy, "
+"translates it into electrical energy, and transmits it to an audio "
+"interface. The audio interface converts the electrical energy into digital "
+"signals, and sends it through the operating system to the DAW software. The "
+"DAW stores regions in memory and on the hard drive as required. Every time "
+"the musicians perform some (or all) of the performance to be recorded, while"
+" the DAW is recording, it is considered to be a <firstterm>take</firstterm>."
+" A successful recording usually requires several takes, due to the "
+"inconsistencies of musical performance and of the related technological "
+"aspects."
+msgstr ""
+"録音は、オーディオリージョン（\"クリップ\"あるいは \"セグメント\"とも呼ばれます）を、後の処理のためにDAW "
+"ソフトウエアに取り込む処理です.録音は複雑なプロセスで、音のエネルギーをとらえ、電気エネルギーに変換し、オーディオインタフェースに送信するマイクを含みます.オーディオインタフェースは電気エネルギーをデジタル信号に変換して、オペレーティングシステム経由で"
+" DAW ソフトウエアに送ります。DAW "
+"はメモリと、必要に応じてハードディスクに、オーディオリージョンを保存します。DAWが録音している時に、ミュージシャンが録音のために曲の一部あるいは全部を演奏するとき、それは、<firstterm>テイク</firstterm>と呼ばれます。録音が成功するまで、普通は何回かのテイクが必要です。音楽演奏が不完全であったり、技術的な側面が不完全であったりするのが原因です。"
 
 #. Tag: title
 #, no-c-format
 msgid "Mixing"
-msgstr ""
+msgstr "ミキシング"
 
 #. Tag: para
 #, no-c-format
-msgid "Mixing is the process through which recorded audio regions (also called \"clips\") are coordinated to produce an aesthetically-appealing musical output. This usually takes place after recording, but sometimes additional takes will be needed. Mixing often involves reducing audio from multiple tracks into two channels, for stereo audio - a process known as \"down-mixing,\" because it decreases the amount of audio data."
+msgid ""
+"Mixing is the process through which recorded audio regions (also called "
+"\"clips\") are coordinated to produce an aesthetically-appealing musical "
+"output. This usually takes place after recording, but sometimes additional "
+"takes will be needed. Mixing often involves reducing audio from multiple "
+"tracks into two channels, for stereo audio - a process known as \"down-"
+"mixing,\" because it decreases the amount of audio data."
 msgstr ""
+"ミキシングは、録音されたオーディオリージョン、 ( "
+"\"クリップ\"とも呼ばれます)を集めて、美的に優れた音楽出力を作成するプロセスです.これは普通、録音の後に行われますが、時には、追加のテイクが必要となることもあります.ミキシングは多くの場合、ステレオオーディオのために、複数のトラックからのオーディオを２つのチャネルに集約します。オーディオデータの量を減らすため、\"ダウンミキシング\"として知られる処理です."
+" "
 
 #. Tag: para
 #, no-c-format
 msgid "Mixing includes the following procedures, among others:"
-msgstr ""
+msgstr "ミキシングには主に以下の処理があります："
 
 #. Tag: para
 #, no-c-format
 msgid "automating effects,"
-msgstr ""
+msgstr "エフェクトをオートメイトする、"
 
 #. Tag: para
 #, no-c-format
 msgid "adjusting levels,"
-msgstr ""
+msgstr "レベルを調整する、"
 
 #. Tag: para
 #, no-c-format
 msgid "time-shifting,"
-msgstr ""
+msgstr "タイムシフトする、"
 
 #. Tag: para
 #, no-c-format
 msgid "filtering,"
-msgstr ""
+msgstr "フィルタする、"
 
 #. Tag: para
 #, no-c-format
 msgid "panning,"
-msgstr ""
+msgstr "パンする、"
 
 #. Tag: para
 #, no-c-format
 msgid "adding special effects."
-msgstr ""
+msgstr "特殊効果を加える、"
 
 #. Tag: para
 #, no-c-format
-msgid "When the person performing the mixing decides that they have finished, their finalized production is called the <firstterm>final mix</firstterm>."
+msgid ""
+"When the person performing the mixing decides that they have finished, their"
+" finalized production is called the <firstterm>final mix</firstterm>."
 msgstr ""
+"ミキシングを行っている人が完了したと思ったとき、その完了した結果は<firstterm>ファイナルミックス</firstterm>と呼ばれます."
 
 #. Tag: title
 #, no-c-format
 msgid "Mastering"
-msgstr ""
+msgstr "マスタリング"
 
 #. Tag: para
 #, no-c-format
-msgid "Mastering is the process through which a version of the final mix is prepared for distribution and listening. Mastering can be performed for many target formats, including CD, tape, SuperAudio CD, or hard drive. Mastering often involves a reduction in the information available in an audio file: audio CDs are commonly recorded with 20- or 24-bit samples, for example, and reduced to 16-bit samples during mastering. While most physical formats (like CDs) also specify the audio signal's format, audio recordings mastered to hard drive can take on many formats, including OGG, FLAC, AIFF, MP3, and many others. This allows the person doing the mastering some flexibility in choosing the quality and file size of the resulting audio."
+msgid ""
+"Mastering is the process through which a version of the final mix is "
+"prepared for distribution and listening. Mastering can be performed for many"
+" target formats, including CD, tape, SuperAudio CD, or hard drive. Mastering"
+" often involves a reduction in the information available in an audio file: "
+"audio CDs are commonly recorded with 20- or 24-bit samples, for example, and"
+" reduced to 16-bit samples during mastering. While most physical formats "
+"(like CDs) also specify the audio signal's format, audio recordings mastered"
+" to hard drive can take on many formats, including OGG, FLAC, AIFF, MP3, and"
+" many others. This allows the person doing the mastering some flexibility in"
+" choosing the quality and file size of the resulting audio."
 msgstr ""
+"マスタリングは、ファイナルミックスのバージョンが、配布と聴取のために準備されるプロセスです.マスタリングは CD、テープ、スーパーオーディオ "
+"CD、あるいはハードディスクを含む、多くの対象フォーマット向けに実行されることがあります.マスタリングは、多くの場合、オーディオファイルにある情報を縮小することがあります：例えば、オーディオ"
+" CD は普通、２０あるいは２４ビットサンプルで録音されマスタリングの間に１６ビットサンプルに縮小されます.ほとんどの物理フォーマット（CD "
+"のような）はオーディオ信号のフォーマットを規定しますが、ハードディスクにマスタリングされたオーディオ録音は、OGG, FLAC, AIFF, MP3 "
+"を含む、多くの他のフォーマットをとることができます。これにより、マスタリングをする人は、結果となるオーディオの品質とファイルサイズを選ぶに当たって、いくらかの柔軟性を得ることができます."
 
 #. Tag: para
 #, no-c-format
-msgid "Even though they are both distinct activities, mixing and mastering sometimes use the same techniques. For example, a mastering technician might apply a specific equalization filter to optimize the audio for a particular physical medium."
+msgid ""
+"Even though they are both distinct activities, mixing and mastering "
+"sometimes use the same techniques. For example, a mastering technician might"
+" apply a specific equalization filter to optimize the audio for a particular"
+" physical medium."
 msgstr ""
+"ミキシングとマスタリングはどちらも独立した作業ですが、時には同じ技術を使います.例えば、マスタリングの技術者はオーディオをある物理媒体に最適化するために、特別なイコライゼーションフィルタを使うことがあります."
 
 #. Tag: title
 #, no-c-format
 msgid "More Information"
-msgstr ""
+msgstr "参考"
 
 #. Tag: para
 #, no-c-format
-msgid "It takes experience and practice to gain the skills involved in successful recording, mixing, and mastering. Further information about these procedures is available from many places, including these web pages:"
+msgid ""
+"It takes experience and practice to gain the skills involved in successful "
+"recording, mixing, and mastering. Further information about these procedures"
+" is available from many places, including these web pages:"
 msgstr ""
+"録音、ミキシング、そしてマスタリングを成功させる技術を習得するには、経験と実践が必要です.これらの手続きについてのこれ以上の情報は、以下のウエブページをはじめとして、いろいろなところで得られます："
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Mastering Your Final Mix (64studio)</citetitle>, available at <ulink url=\"http://www.64studio.com/howto-mastering\" />."
+msgid ""
+"<citetitle>Mastering Your Final Mix (64studio)</citetitle>, available at "
+"<ulink url=\"http://www.64studio.com/howto-mastering\" />."
 msgstr ""
+"<ulink url=\"http://www.64studio.com/howto-mastering\" /> "
+"で利用可能な、<citetitle>Mastering Your Final Mix (64studio)</citetitle>。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Audio Mixing (Wikipedia)</citetitle>, available at <ulink url=\"http://en.wikipedia.org/wiki/Audio_mixing_%28recorded_music%29\" />."
+msgid ""
+"<citetitle>Audio Mixing (Wikipedia)</citetitle>, available at <ulink "
+"url=\"http://en.wikipedia.org/wiki/Audio_mixing_%28recorded_music%29\" />."
 msgstr ""
+"<ulink "
+"url=\"http://en.wikipedia.org/wiki/Audio_mixing_%28recorded_music%29\" /> "
+"で利用可能な<citetitle>Audio Mixing (Wikipedia)</citetitle>。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Multitrack Recording (Wikipedia)</citetitle>, available at <ulink url=\"http://en.wikipedia.org/wiki/Multitrack_recording\" />."
+msgid ""
+"<citetitle>Multitrack Recording (Wikipedia)</citetitle>, available at <ulink"
+" url=\"http://en.wikipedia.org/wiki/Multitrack_recording\" />."
 msgstr ""
+"<ulink url=\"http://en.wikipedia.org/wiki/Multitrack_recording\" /> "
+"で利用可能な<citetitle>Multitrack Recording (Wikipedia)</citetitle>。"
 
 #. Tag: title
 #, no-c-format
 msgid "Interface Vocabulary"
-msgstr ""
+msgstr "インタフェース用語"
 
 #. Tag: para
 #, no-c-format
-msgid "Understanding these concepts is essential to understanding how to use the DAW software's interface."
-msgstr ""
+msgid ""
+"Understanding these concepts is essential to understanding how to use the "
+"DAW software's interface."
+msgstr "以下の概念を理解することが、DAW ソフトウエアのインタフェースの使い方を理解するために重要です."
 
 #. Tag: title
 #, no-c-format
 msgid "Session"
-msgstr ""
+msgstr "セッション"
 
 #. Tag: para
 #, no-c-format
-msgid "A <firstterm>session</firstterm> is all of the tracks, regions, automation settings, and everything else that goes along with one \"file\" saved by the DAW software. Some software DAWs manage to hide the entire session within one file, but others instead create a new directory to hold the regions and other data."
+msgid ""
+"A <firstterm>session</firstterm> is all of the tracks, regions, automation "
+"settings, and everything else that goes along with one \"file\" saved by the"
+" DAW software. Some software DAWs manage to hide the entire session within "
+"one file, but others instead create a new directory to hold the regions and "
+"other data."
 msgstr ""
+"<firstterm>セッション</firstterm>は、すべての、トラック、リージョン、オートメーションの設定、そして DAW "
+"ソフトウエアによって、１つの\"ファイル\"に保存されるその他すべてのものです。 ある DAW "
+"ソフトウエアはセッション全体を1つのファイルに隠蔽しますが、そのかわりに、リージョンや他のデータを保存するための新しいディレクトリを作成するものもあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Typically, one session is used to hold an entire recording session; it is broken up into individual songs or movements after recording. Sometimes, as in the tutorial examples with the Musicians' Guide, one session holds only one song or movement. There is no strict rule as to how much music should be held within one session, so your personal preference can determine what you do here."
+msgid ""
+"Typically, one session is used to hold an entire recording session; it is "
+"broken up into individual songs or movements after recording. Sometimes, as "
+"in the tutorial examples with the Musicians' Guide, one session holds only "
+"one song or movement. There is no strict rule as to how much music should be"
+" held within one session, so your personal preference can determine what you"
+" do here."
 msgstr ""
+"典型的には、１つのセッションは、録音セッション全体を入れるのに使われます.それは、録音の後で、個々の歌や、楽章に分けられます.ときには、ミュージシャンのガイドのチュートリアルの例のように、１つのセッションに１つの歌あるいは楽章だけが入ることもあります.どのくらいの量の音楽が１つのセッションに入るべきか、きちんとした規則はないので、今の場合、あなたがどうするかは、あなたの個人的な好みで決めても良いです."
 
 #. Tag: title
 #, no-c-format
 msgid "A session in Ardour"
-msgstr ""
+msgstr "Ardour のセッション"
 
 #. Tag: para
 #, no-c-format
 msgid "A session in Ardour, containing multiple instrumental tracks."
-msgstr ""
+msgstr "複数の楽器のトラックを含む、Ardour のセッション"
 
 #. Tag: title
 #, no-c-format
 msgid "Track and Multitrack"
-msgstr ""
+msgstr "トラックとマルチトラック"
 
 #. Tag: para
 #, no-c-format
-msgid "A <firstterm>track</firstterm> represents one channel, or a predetermined collection of simultaneous, inseparable channels (as is often the case with stereo audio). In the DAW's main window, tracks are usually represented as rows, whereas time is represented by columns. A track may hold multiple regions, but usually only one of those regions can be heard at a time. The <firstterm>multitrack</firstterm> capability of modern software-based DAWs is one of the reasons for their success. Although each individual track can play only one region at a time, the use of multiple tracks allows the DAW's outputted audio to contain a virtually unlimited number of simultaneous regions. The most powerful aspect of this is that audio does not have to be recorded simultaneously in order to be played back simultaneously; you could sing a duet with yourself, for example."
-msgstr ""
+msgid ""
+"A <firstterm>track</firstterm> represents one channel, or a predetermined "
+"collection of simultaneous, inseparable channels (as is often the case with "
+"stereo audio). In the DAW's main window, tracks are usually represented as "
+"rows, whereas time is represented by columns. A track may hold multiple "
+"regions, but usually only one of those regions can be heard at a time. The "
+"<firstterm>multitrack</firstterm> capability of modern software-based DAWs "
+"is one of the reasons for their success. Although each individual track can "
+"play only one region at a time, the use of multiple tracks allows the DAW's "
+"outputted audio to contain a virtually unlimited number of simultaneous "
+"regions. The most powerful aspect of this is that audio does not have to be "
+"recorded simultaneously in order to be played back simultaneously; you could"
+" sing a duet with yourself, for example."
+msgstr ""
+"<firstterm>トラック</firstterm>は、１つのチャネル、もしくは、あらかじめ決められた、分割不可能で同時に演奏されるチャネル（ステレオオーディオのように）の集まりです.DAW"
+" "
+"のメインウインドウでは、トラックは普通、行として表されます.そして、時間が列として表されます.トラックは複数のリージョンを持つことがありますが、普通は、それらのリージョンのただ１つだけが1度に聞くことができます。最近の、ソフトウエアによる"
+" DAW "
+"は、<firstterm>マルチトラック</firstterm>の機能を持ち、それが、その成功の１つの理由です.それぞれの独立したトラックは、一度にただ1つのリージョンしか演奏することはできませんが、マルチトラックの使用により、DAW"
+" "
+"が出力するオーディオはほとんど無限の同時に演奏されるリージョンを持つことができます.この最もパワフルな側面は、オーディオは同時に録音しなくても、同時に演奏されることができるということです。例えば、あなたは、一人でデュエットを歌うことができます."
 
 #. Tag: title
 #, no-c-format
 msgid "A track in Ardour"
-msgstr ""
+msgstr "Ardour のトラック"
 
 #. Tag: para
 #, no-c-format
-msgid "A track in Ardour, containing a single region amid a period of silence during which this instrument is not heard."
-msgstr ""
+msgid ""
+"A track in Ardour, containing a single region amid a period of silence "
+"during which this instrument is not heard."
+msgstr "Ardour のトラック.この楽器が聞こえない静寂な期間の真ん中にある１つのリージョンを持ちます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Region, Clip, or Segment"
-msgstr ""
+msgstr "リージョン、クリップ、あるいはセグメント"
 
 #. Tag: para
 #, no-c-format
-msgid "Region, clip, and segment are synonyms: different software uses a different word to refer to the same thing. A x<firstterm>multitrack</firstterm> (or <firstterm>clip</firstterm> or <firstterm>segment</firstterm>) is the portion of audio recorded into one track during one take. Regions are represented in the main DAW interface window as a rectangle, usually coloured, and always contained in only one track. Regions containing audio signal data usually display a spectrographic representation of that data. Regions containing MIDI signal data usually displayed as matrix-based representation of that data."
+msgid ""
+"Region, clip, and segment are synonyms: different software uses a different "
+"word to refer to the same thing. A <firstterm>region</firstterm> (or "
+"<firstterm>clip</firstterm> or <firstterm>segment</firstterm>) is the "
+"portion of audio recorded into one track during one take. Regions are "
+"represented in the main DAW interface window as a rectangle, usually "
+"coloured, and always contained in only one track. Regions containing audio "
+"signal data usually display a spectrographic representation of that data. "
+"Regions containing MIDI signal data usually displayed as matrix-based "
+"representation of that data."
 msgstr ""
+"リージョン、クリップそしてセグメントは、同義語です：異なるソフトウエアは同じものを示すのに異なる用語を使います.<firstterm>リージョン</firstterm>"
+" (あるいは <firstterm>クリップ</firstterm> "
+"あるいは<firstterm>セグメント</firstterm>)は、１つのテイクの中で１つのトラックに録音されたオーディオの部分のことです。リージョンは、DAW"
+" "
+"のメインのインタフェースウインドウで、通常は色がついた四角形で表現されます。そして、ただ１つのトラックに含まれます。オーディオ信号データを持つリージョンは普通、そのデータの周波数分布グラフが表示されます。MIDI信号データを持つリージョンは普通、そのデータのマトリクス表示がされます。"
 
 #. Tag: para
 #, no-c-format
 msgid "For the three DAW applications in the Musicians' Guide:"
-msgstr ""
+msgstr "ミュージシャンのガイドの３つの DAW アプリケーションについていえば："
 
 #. Tag: para
 #, no-c-format
 msgid "<application>Ardour</application> calls them \"regions,\""
-msgstr ""
+msgstr "<application>Ardour</application> はそれを\"リージョン\"と呼び、"
 
 #. Tag: para
 #, no-c-format
 msgid "<application>Qtractor</application> calls them \"clips,\" and,"
-msgstr ""
+msgstr "<application>Qtractor</application> はそれを\"クリップ\"と呼び、そして、"
 
 #. Tag: para
 #, no-c-format
 msgid "<application>Rosegarden</application> calls them \"segments.\""
-msgstr ""
+msgstr "<application>Rosegarden</application> はそれを\"セグメント\"と呼びます。"
 
 #. Tag: title
 #, no-c-format
 msgid "A region in Ardour"
-msgstr ""
+msgstr "Ardour のリージョン"
 
 #. Tag: para
 #, no-c-format
 msgid "A region in Ardour."
-msgstr ""
+msgstr "Ardour のリージョン"
 
 #. Tag: title
 #, no-c-format
 msgid "Transport and Playhead"
-msgstr ""
+msgstr "トランスポートと再生ヘッド"
 
 #. Tag: para
 #, no-c-format
-msgid "The <firstterm>transport</firstterm> is responsible for managing the current time in a session, and with it the playhead. The <firstterm>playhead</firstterm> marks the point on the timeline from where audio audio would be played, or to where audio would be recorded. The transport controls the playhead, and whether it is set for recording or only playback. The transport can move the playhead forward or backward, in slow motion, fast motion, or real time. In most computer-based DAWs, the playhead can also be moved with the cursor. The playhead is represented on the DAW interface as a vertical line through all tracks. The transport's buttons and displays are usually located in a toolbar at the top of the DAW window, but some people prefer to have the transport controls detached from the main interface, and this is how they appear by default in Rosegarden."
-msgstr ""
+msgid ""
+"The <firstterm>transport</firstterm> is responsible for managing the current"
+" time in a session, and with it the playhead. The "
+"<firstterm>playhead</firstterm> marks the point on the timeline from where "
+"audio would be played, or to where audio would be recorded. The transport "
+"controls the playhead, and whether it is set for recording or only playback."
+" The transport can move the playhead forward or backward, in slow motion, "
+"fast motion, or real time. In most computer-based DAWs, the playhead can "
+"also be moved with the cursor. The playhead is represented on the DAW "
+"interface as a vertical line through all tracks. The transport's buttons and"
+" displays are usually located in a toolbar at the top of the DAW window, but"
+" some people prefer to have the transport controls detached from the main "
+"interface, and this is how they appear by default in Rosegarden."
+msgstr ""
+"<firstterm>トランスポート</firstterm>は、セッション内の現在時刻と、それとともに再生ヘッドを管理する役割を持ちます。 "
+"<firstterm>再生ヘッド</firstterm>は、時間軸の上でオーディオが再生される、あるいは、録音される点を示します。トランスポートは、再生ヘッドと、それが録音位置か再生位置かを制御します。トランスポートは、再生ヘッドを、前あるいは後ろに動かしたり、スローモーション、早送り、あるいは実時間で動かしたりもできます。ほとんどの、コンピュータをもとにした"
+" DAW では、再生ヘッドはカーソルで動かすこともできます。DAW "
+"インタフェースでは、再生ヘッドはすべてのトラックを横切る垂直の線で表されます。トランスポートのボタンと表示は普通は、DAW "
+"ウインドウの一番上のツールバーの中にありますが、トランスポートコントロールがメインインタフェースから切り離されるのを好む人もおり、Rosegardenでは、これがデフォルトの見え方になっています。"
 
 #. Tag: title
 #, no-c-format
 msgid "Automation"
-msgstr ""
+msgstr "オートメーション"
 
 #. Tag: para
 #, no-c-format
-msgid "Automation of the DAW sounds like it might be an advanced topic, or something used to replace decisions made by a human. This is absolutely not the case - <firstterm>automation</firstterm> allows the user to automatically make the same adjustments every time a session is played. This is superior to manual-only control because it allows very precise, gradual, and consistent adjustments, because it relieves you of having to remember the adjustments, and because it allows many more adjustments to be made simultaneously than you could make manually. The reality is that automation allows super-human control of a session. Most settings can be adjusted by means of automation; the most common are the fader and the panner."
+msgid ""
+"Automation of the DAW sounds like it might be an advanced topic, or "
+"something used to replace decisions made by a human. This is absolutely not "
+"the case - <firstterm>automation</firstterm> allows the user to "
+"automatically make the same adjustments every time a session is played. This"
+" is superior to manual-only control because it allows very precise, gradual,"
+" and consistent adjustments, because it relieves you of having to remember "
+"the adjustments, and because it allows many more adjustments to be made "
+"simultaneously than you could make manually. The reality is that automation "
+"allows super-human control of a session. Most settings can be adjusted by "
+"means of automation; the most common are the fader and the panner."
 msgstr ""
+"DAW "
+"でのオートメーションは、進んだ話題であるか、あるいは人間が行う決定を代わりに行うために使われるもののように聞こえるかもしれません。これは全く誤りです。<firstterm>オートメーション</firstterm>は、ユーザが、セッションが再生される度に同じ設定を自動的にすることを可能とします。これは以下の点で手動だけの制御より優れています。それは、とても正確で、なめらかで、一貫した調整ができます。あなたは調整を記憶しなくてもよいです。そして、それは、あなたが手動でできるよりずっとたくさんの調整を同時に行うことができます。オートメーションを使えば、セッションの超人的な制御ができるということです。ほとんどの設定はオートメーションにより調整できます。最も一般的なのは、フェーダとパンナーã
 §ã—ょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "The most common method of automating a setting is with a two-dimensional graph called an <firstterm>envelope</firstterm>, which is drawn on top of an audio track, or underneath it in an <firstterm>automation track</firstterm>. The user adds adjustment points by adding and moving points on the graph. This method allows for complex, gradual changes of the setting, as well as simple, one-time changes. Automation is often controlled by means of MIDI signals, for both audio and MIDI tracks. This allows for external devices to adjust settings in the DAW, and vice-versa - you can actually automate your own hardware from within a software-based DAW! Of course, not all hardware supports this, so refer to your device's user manual."
-msgstr ""
+msgid ""
+"The most common method of automating a setting is with a two-dimensional "
+"graph called an <firstterm>envelope</firstterm>, which is drawn on top of an"
+" audio track, or underneath it in an <firstterm>automation "
+"track</firstterm>. The user adds adjustment points by adding and moving "
+"points on the graph. This method allows for complex, gradual changes of the "
+"setting, as well as simple, one-time changes. Automation is often controlled"
+" by means of MIDI signals, for both audio and MIDI tracks. This allows for "
+"external devices to adjust settings in the DAW, and vice-versa - you can "
+"actually automate your own hardware from within a software-based DAW! Of "
+"course, not all hardware supports this, so refer to your device's user "
+"manual."
+msgstr ""
+"設定をオートメーションで行う最も一般的な方法は、<firstterm>エンベロープ</firstterm>と呼ばれる2次元のグラフを使うことです。それはオーディオトラックの上に描かれているか、あるいはその下、<firstterm>オートメーショントラック</firstterm>の中に描かれています。ユーザは、調整位置をグラフの上に追加し、移動することで設定します。この方法で、複雑な、なめらかな設定の変化もできますし、簡単な、1回だけの変化もできます。オートメーションは、しばしば、オーディオとMIDIトラックのどちらの場合でも、MIDI"
+" 信号で制御されます。これにより、外部デバイスが DAW の設定を変えたり、その逆も可能です。あなたは、ソフトウエアの DAW "
+"から、あなた自身のハードウエアを実際にオートメーション操作できるのです！もちろん、すべてのハードウエアがこれをサポートしているわけではないので、あなたのデバイスのユーザマニュアルを参照してください。"
 
 #. Tag: title
 #, no-c-format
 msgid "User Interface"
-msgstr ""
+msgstr "ユーザインタフェース"
 
 #. Tag: para
 #, no-c-format
-msgid "This section describes various components of software-based DAW interfaces. Although the <application>Qtractor</application> application is visible in the images, both <application>Ardour</application> and <application>Rosegarden</application> (along with most other DAW software) have an interface that differs only in details, such as which buttons are located where."
-msgstr ""
+msgid ""
+"This section describes various components of software-based DAW interfaces. "
+"Although the <application>Qtractor</application> application is visible in "
+"the images, both <application>Ardour</application> and "
+"<application>Rosegarden</application> (along with most other DAW software) "
+"have an interface that differs only in details, such as which buttons are "
+"located where."
+msgstr ""
+"このセクションではソフトウエア DAW "
+"インタフェースのいろいろなコンポーネントを見てみましょう。<application>Qtractor</application>アプリケーションの画像を使いますが、<application>Ardour</application>"
+" と <application>Rosegarden</application>（他のほとんどの DAW "
+"ソフトウエアと同じように）も、どのボタンがどこにあるか、のような細かい点だけが異なるインタフェースを持っています。"
 
 #. Tag: title
 #, no-c-format
 msgid "Messages Pane"
-msgstr ""
+msgstr "メッセージペイン"
 
 #. Tag: title
 #, no-c-format
 msgid "The Qtractor messages pane"
-msgstr ""
+msgstr "Qtractor のメッセージペイン"
 
 #. Tag: para
 #, no-c-format
 msgid "The messages pane at the bottom of the Qtractor window."
-msgstr ""
+msgstr "Qtractor のウインドウの下にあるメッセージペイン"
 
 #. Tag: para
 #, no-c-format
-msgid "The <guilabel>messages</guilabel> pane, shown in <xref linkend=\"qtractor_messages\" />, contains messages produced by the DAW, and sometimes messages produced by software used by the DAW, such as <systemitem>JACK</systemitem>. If an error occurs, or if the DAW does not perform as expected, you should check the <guilabel>messages</guilabel> pane for information that may help you to get the desired results. The <guilabel>messages</guilabel> pane can also be used to determine whether <systemitem>JACK</systemitem> and the DAW were started successfully, with the options you prefer."
-msgstr ""
+msgid ""
+"The <guilabel>messages</guilabel> pane, shown in <xref "
+"linkend=\"qtractor_messages\" />, contains messages produced by the DAW, and"
+" sometimes messages produced by software used by the DAW, such as "
+"<systemitem>JACK</systemitem>. If an error occurs, or if the DAW does not "
+"perform as expected, you should check the <guilabel>messages</guilabel> pane"
+" for information that may help you to get the desired results. The "
+"<guilabel>messages</guilabel> pane can also be used to determine whether "
+"<systemitem>JACK</systemitem> and the DAW were started successfully, with "
+"the options you prefer."
+msgstr ""
+"<xref linkend=\"qtractor_messages\" "
+"/>に示した<guilabel>messages</guilabel>ペインは、DAW "
+"により生成されたメッセージを持ち、そしてときには<systemitem>JACK</systemitem>のように、DAW "
+"が使うソフトウエアにより生成されたメッセージも含みます。もしエラーが起きたり、DAW "
+"が期待通りに動かないときは<guilabel>messages</guilabel>ペインを調べて、あなたが期待する結果を得るために役立つ情報を探して下さい。<guilabel>messages</guilabel>ペインは<systemitem>JACK</systemitem>と"
+" DAW があなたがのぞむオプションで正常に開始したかどうかを判断するのにも使われます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Clock"
-msgstr ""
+msgstr "クロック"
 
 #. Tag: title
 #, no-c-format
 msgid "The Qtractor clock"
-msgstr ""
+msgstr "Qtractor のクロック"
 
 #. Tag: para
 #, no-c-format
 msgid "The clock in the Qtractor window."
-msgstr ""
+msgstr "Qtractor のウインドウの中のクロック"
 
 #. Tag: para
 #, no-c-format
-msgid "The clock shows the current place in the file, as indicated by the transport. In <xref linkend=\"qtractor_clocks\" />, you can see that the transport is at the beginning of the session, so the clock indicates <literal>0</literal>. This clock is configured to show time in minutes and seconds, so it is a <firstterm>time clock</firstterm>. Other possible settings for clocks are to show <firstterm>BBT</firstterm> (bars, beats, and ticks — a <firstterm>MIDI clock</firstterm>), samples (a <firstterm>sample clock</firstterm>), or an <firstterm>SMPTE timecode</firstterm> (used for high-precision synchronization, usually with video — a <firstterm>timecode clock</firstterm>). Some DAWs allow the use of multiple clocks simultaneously."
-msgstr ""
+msgid ""
+"The clock shows the current place in the file, as indicated by the "
+"transport. In <xref linkend=\"qtractor_clocks\" />, you can see that the "
+"transport is at the beginning of the session, so the clock indicates "
+"<literal>0</literal>. This clock is configured to show time in minutes and "
+"seconds, so it is a <firstterm>time clock</firstterm>. Other possible "
+"settings for clocks are to show <firstterm>BBT</firstterm> (bars, beats, and"
+" ticks — a <firstterm>MIDI clock</firstterm>), samples (a <firstterm>sample "
+"clock</firstterm>), or an <firstterm>SMPTE timecode</firstterm> (used for "
+"high-precision synchronization, usually with video — a <firstterm>timecode "
+"clock</firstterm>). Some DAWs allow the use of multiple clocks "
+"simultaneously."
+msgstr ""
+"クロックは、トランスポートが示す、ファイルの中の現在の位置を表します。<xref linkend=\"qtractor_clocks\" "
+"/>で、トランスポートはセッションの最初にいますから、クロックは<literal>0</literal>を示しています。このクロックは、時間を、分と秒で表すように構成されていますから、これは<firstterm>タイムクロック</firstterm>です。クロックの他の設定には、<firstterm>BBT</firstterm>をあらわすもの(bars,"
+" beats, and ticks "
+"小節、拍、チック<firstterm>MIDIクロック</firstterm>)、サンプルをあらわすもの(<firstterm>サンプルクロック</firstterm>)、そして<firstterm>SMPTE"
+" "
+"タイムコード</firstterm>をあらわすもの(通常、ビデオでの、高精度な同期のために使われる、<firstterm>タイムコードクロック</firstterm>)があります。DAWによっては、複数のクロックを同時に使うこともできます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Note that this particular time clock in <application>Qtractor</application> also offers information about the MIDI tempo and metre (120.0 beats per minute, and 4/4 metre), along with a quantization setting for MIDI recording."
+msgid ""
+"Note that this particular time clock in <application>Qtractor</application> "
+"also offers information about the MIDI tempo and metre (120.0 beats per "
+"minute, and 4/4 metre), along with a quantization setting for MIDI "
+"recording."
 msgstr ""
+"<application>Qtractor</application> での、ここに示したタイムクロックは、MIDI "
+"テンポと拍子についての（毎分120.0拍、4/4拍子）情報と、MIDI 録音での量子化の設定も示していることに注意下さい。"
 
 #. Tag: title
 #, no-c-format
 msgid "Track Info Pane"
-msgstr ""
+msgstr "トラック情報ペイン"
 
 #. Tag: title
 #, no-c-format
 msgid "The Qtractor track info pane"
-msgstr ""
+msgstr "Qtractor のトラック情報ペイン"
 
 #. Tag: para
 #, no-c-format
 msgid "The track info pane in the Qtractor window."
-msgstr ""
+msgstr "Qtractor のウインドウのトラック情報のペイン"
 
 #. Tag: para
 #, no-c-format
-msgid "The track info pane: note a separate track info space for each of the two tracks that appear in the pane to the right."
-msgstr ""
+msgid ""
+"The track info pane: note a separate track info space for each of the two "
+"tracks that appear in the pane to the right."
+msgstr "トラック情報のペイン：ペインに２つのトラックがあり、右側に、それぞれのトラック情報のスペースがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "The <firstterm>track info</firstterm> pane contains information and settings for each track and bus in the session. Here, you can usually adjust settings like the routing of a track's or bus' input and output routing, the instrument, bank, program, and channel of MIDI tracks, and the three buttons shown in <xref linkend=\"qtractor_track_info\" />: <guibutton>R</guibutton> for \"arm to record,\" <guibutton>M</guibutton> for \"mute/silence track's output,\" and <guibutton>S</guibutton> for \"solo mode,\" where only the selected tracks and busses are heard."
+msgid ""
+"The <firstterm>track info</firstterm> pane contains information and settings"
+" for each track and bus in the session. Here, you can usually adjust "
+"settings like the routing of a track's or bus' input and output routing, the"
+" instrument, bank, program, and channel of MIDI tracks, and the three "
+"buttons shown in <xref linkend=\"qtractor_track_info\" />: "
+"<guibutton>R</guibutton> for \"arm to record,\" <guibutton>M</guibutton> for"
+" \"mute/silence track's output,\" and <guibutton>S</guibutton> for \"solo "
+"mode,\" where only the selected tracks and busses are heard."
 msgstr ""
+"<firstterm>トラック情報</firstterm>ペインには、セッションに含まれるトラックとバスのそれぞれの情報と設定があります。普通、ここであなたは、トラックあるいはバスの入力と出力のルーティングの設定、MIDIトラックのインストゥルメント、バンク、プログラム、チャネルの設定などを調整することができます。さらに、<xref"
+" linkend=\"qtractor_track_info\" "
+"/>にある３つのボタン：<guibutton>R</guibutton>は\"録音の準備をする\" "
+"<guibutton>M</guibutton>は\"ミュート、トラックの出力を無音にする\"そして<guibutton>S</guibutton>は\"ソロモード\"、を操作することもできます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The information provided, and the layout of buttons, can change dramatically between DAWs, but they all offer the same basic functionality. Often, right-clicking on a track info box will give access to extended configuration options. Left-clicking on a portion of the track info box that is not a button allows you to select a track without selecting a particular moment in <firstterm>track pane</firstterm>."
+msgid ""
+"The information provided, and the layout of buttons, can change dramatically"
+" between DAWs, but they all offer the same basic functionality. Often, "
+"right-clicking on a track info box will give access to extended "
+"configuration options. Left-clicking on a portion of the track info box that"
+" is not a button allows you to select a track without selecting a particular"
+" moment in <firstterm>track pane</firstterm>."
 msgstr ""
+"DAW "
+"によって、提供される情報とボタンのレイアウトは大きく変わることがありますが、基本的な機能はどれも同じです。多くの場合、トラック情報ボックスを右クリックすると、高度な構成オプションにアクセスすることができます。トラック情報ボックスのボタンではない部分を左クリックすると、<firstterm>トラックペイン</firstterm>の特定の時刻を選択することなく、あるトラックを選択することができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The track info pane does not scroll out of view as the track pane is adjusted, but is independent."
-msgstr ""
+msgid ""
+"The track info pane does not scroll out of view as the track pane is "
+"adjusted, but is independent."
+msgstr "トラック情報ペインは、トラックペインの大きさが変わったとき、ビューの外にスクロールして出ることはなく、独立しています。"
 
 #. Tag: title
 #, no-c-format
 msgid "Track Pane"
-msgstr ""
+msgstr "トラックペイン"
 
 #. Tag: title
 #, no-c-format
 msgid "The Qtractor track pane"
-msgstr ""
+msgstr "Qtractor のトラックペイン"
 
 #. Tag: para
 #, no-c-format
 msgid "The track pane in the Qtractor window."
-msgstr ""
+msgstr "Qtractor のウインドウの中のトラックペイン"
 
 #. Tag: para
 #, no-c-format
-msgid "The <firstterm>ruler</firstterm>, set here to <firstterm>BBT</firstterm> (bars, beats, ticks)."
+msgid ""
+"The <firstterm>ruler</firstterm>, set here to <firstterm>BBT</firstterm> "
+"(bars, beats, ticks)."
 msgstr ""
+"<firstterm>ルーラー</firstterm>はここでは、<firstterm>BBT</firstterm>（bars, beats, "
+"ticks　小節、拍、チック）に設定されています。"
 
 #. Tag: para
 #, no-c-format
-msgid "Two tracks, presented as graphical representations. The horizontal axis repesents time."
-msgstr ""
+msgid ""
+"Two tracks, presented as graphical representations. The horizontal axis "
+"repesents time."
+msgstr "グラフィカルに表現された２つのトラック。水平軸は時間を表します。"
 
 #. Tag: para
 #, no-c-format
-msgid "A MIDI <firstterm>clip</firstterm> (known as a <firstterm>region</firstterm> in other applications)"
+msgid ""
+"A MIDI <firstterm>clip</firstterm> (known as a <firstterm>region</firstterm>"
+" in other applications)"
 msgstr ""
+"MIDI "
+"<firstterm>クリップ</firstterm>(他のアプリケーションでは、<firstterm>リージョン</firstterm>と呼ばれます）"
 
 #. Tag: para
 #, no-c-format
-msgid "An audio <firstterm>clip</firstterm> (known as a <firstterm>region</firstterm> in other applications)"
+msgid ""
+"An audio <firstterm>clip</firstterm> (known as a "
+"<firstterm>region</firstterm> in other applications)"
 msgstr ""
+"オーディオ<firstterm>クリップ</firstterm>(他のアプリケーションでは、<firstterm>リージョン</firstterm>と呼ばれます）"
 
 #. Tag: para
 #, no-c-format
-msgid "Scrollbar for the track pane; note that this pane scrolls independently."
-msgstr ""
+msgid ""
+"Scrollbar for the track pane; note that this pane scrolls independently."
+msgstr "トラックペインのスクロールバー：このペインは独立してスクロールすることに注意下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "The <firstterm>track pane</firstterm> is the main workspace in a DAW. It shows <firstterm>regions</firstterm> (also called <firstterm>clips</firstterm>) with a rough overview of the audio wave-form or MIDI notes, allows you to adjust the starting-time and length of regions, and also allows you to assign or re-assign a region to a track. The track pane shows the transport as a vertical line; in <xref linkend=\"qtractor_track\" /> it is the left-most red line in the track pane."
+msgid ""
+"The <firstterm>track pane</firstterm> is the main workspace in a DAW. It "
+"shows <firstterm>regions</firstterm> (also called "
+"<firstterm>clips</firstterm>) with a rough overview of the audio wave-form "
+"or MIDI notes, allows you to adjust the starting-time and length of regions,"
+" and also allows you to assign or re-assign a region to a track. The track "
+"pane shows the transport as a vertical line; in <xref "
+"linkend=\"qtractor_track\" /> it is the left-most red line in the track "
+"pane."
 msgstr ""
+"<firstterm>トラックペイン</firstterm>は、DAW "
+"における主要なワークスペースです。それは、<firstterm>リージョン</firstterm> "
+"(<firstterm>クリップ</firstterm>とも呼ばれます)をオーディオ波形あるいは MIDI "
+"ノートのおおまかな概観とともに表示します。あなたは、そこで、リージョンの開始時刻と長さを変えたり、リージョンをトラックに割り当てたり、再割り当てしたりできます。トラックペインでは、トランスポートは垂直の線として表されます。<xref"
+" linkend=\"qtractor_track\" />では、それはトラックペインの中の最も左の赤い線です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Scrolling the track pane horizontally allows you to view the regions throughout the session. The left-most point is the start of the session; the right-most point is after the end of the session. Most DAWs allow you to scroll well beyond the end of the session. Scrolling vertically in the track pane allows you to view the regions and tracks in a particular time range."
+msgid ""
+"Scrolling the track pane horizontally allows you to view the regions "
+"throughout the session. The left-most point is the start of the session; the"
+" right-most point is after the end of the session. Most DAWs allow you to "
+"scroll well beyond the end of the session. Scrolling vertically in the track"
+" pane allows you to view the regions and tracks in a particular time range."
 msgstr ""
+"トラックペインを水平にスクロールすることで、あなたはセッションの全体に渡ってリージョンを見ることができます。最も左の点が、セッションの開始点です。最も右の点が、セッションの終了点の後を示します。ほとんどの"
+" DAW "
+"では、セッションの終了点をはるかに越えてスクロールすることができます。トラックペインを垂直にスクロールすることで、あなたは特定の時間の範囲でのリージョンとトラックを見ることができます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Transport Controls"
-msgstr ""
+msgstr "トランスポートコントロール"
 
 #. Tag: title
 #, no-c-format
 msgid "The Qtractor transport controls"
-msgstr ""
+msgstr "Qtractor のトランスポートコントロール"
 
 #. Tag: para
 #, no-c-format
 msgid "The transport controls in the Qtractor window."
-msgstr ""
+msgstr "Qtractor のウインドウ内のトランスポートコントロール"
 
 #. Tag: para
 #, no-c-format
 msgid "Transport skip to beginning"
-msgstr ""
+msgstr "最初に戻る"
 
 #. Tag: para
 #, no-c-format
 msgid "Transport fast reverse"
-msgstr ""
+msgstr "早戻し"
 
 #. Tag: para
 #, no-c-format
 msgid "Transport fast forward"
-msgstr ""
+msgstr "早送り"
 
 #. Tag: para
 #, no-c-format
 msgid "Transport skip to end"
-msgstr ""
+msgstr "最後に進む"
 
 #. Tag: para
 #, no-c-format
 msgid "Transport forward at real time"
-msgstr ""
+msgstr "リアルタイムで進む"
 
 #. Tag: para
 #, no-c-format
 msgid "Arm for recording"
-msgstr ""
+msgstr "録音の準備をする"
 
 #. Tag: para
 #, no-c-format
-msgid "The transport controls allow you to manipulate the transport in various ways. The shape of the buttons is somewhat standardized; a similar-looking button will usually perform the same function in all DAWs, as well as in consumer electronic devices like CD players and DVD players."
+msgid ""
+"The transport controls allow you to manipulate the transport in various "
+"ways. The shape of the buttons is somewhat standardized; a similar-looking "
+"button will usually perform the same function in all DAWs, as well as in "
+"consumer electronic devices like CD players and DVD players."
 msgstr ""
+"トランスポートコントロールを使い、トランスポートをいろいろと操作することができます。ボタンの形はほぼ標準化されています。似たように見えるボタンは普通、すべての"
+" DAW で同じ機能をはたします。それは CD プレイヤーや DVD プレイヤーなどの家庭用電子機器と同じです。"
 
 #. Tag: para
 #, no-c-format
-msgid "The single, left-pointing arrow with a vertical line will move the transport to the start of the session, without playing or recording any material. In <application>Qtractor</application>, if there is a blue place-marker between the transport and the start of the session, the transport will skip to the blue place-marker. Press the button again to the next blue place-marker or the beginning of the session."
+msgid ""
+"The single, left-pointing arrow with a vertical line will move the transport"
+" to the start of the session, without playing or recording any material. In "
+"<application>Qtractor</application>, if there is a blue place-marker between"
+" the transport and the start of the session, the transport will skip to the "
+"blue place-marker. Press the button again to the next blue place-marker or "
+"the beginning of the session."
 msgstr ""
+"垂直線のある１重の左を向いた矢印は、再生や録音をすることなく、トランスポートをセッションの開始点に位置づけます。<application>Qtractor</application>"
+" "
+"では、トランスポートとセッションの開始点の間に、青いプレースマーカーがあれば、トランスポートは青いプレースマーカーの所までスキップします。もう一度ボタンを押すと、次の青いプレースマーカーもしくは、セッションの開始点に移動します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The double left-pointing arrows move the transport in fast motion, towards the start of the session. The double right-pointing arrows move the transport in fast motion, towards the end of the session."
+msgid ""
+"The double left-pointing arrows move the transport in fast motion, towards "
+"the start of the session. The double right-pointing arrows move the "
+"transport in fast motion, towards the end of the session."
 msgstr ""
+"左向きの二重の矢印は、トランスポートをセッションの開始点へ向けて速く移動します。右向きの二重の矢印は、トランスポートをセッションの終了点へ向けて速く移動します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The single, right-pointing arrow with a vertical line will move the transport to the end of the last region currently in a session. In <application>Qtractor</application>, if there is a blue place-marker between the transport and the end of the last region in the session, the transport will skip to the blue place-marker. Press the button again to skip to the next blue place-marker or the end of the last region in the session."
+msgid ""
+"The single, right-pointing arrow with a vertical line will move the "
+"transport to the end of the last region currently in a session. In "
+"<application>Qtractor</application>, if there is a blue place-marker between"
+" the transport and the end of the last region in the session, the transport "
+"will skip to the blue place-marker. Press the button again to skip to the "
+"next blue place-marker or the end of the last region in the session."
 msgstr ""
+"垂直線のある１重の右向きの矢印はトランスポートを、現在セッションにある最後のリージョンの終了点に移動します。<application>Qtractor</application>"
+" "
+"では、トランスポートとセッションの最後のリージョンの間に、青いプレースマーカーがあれば、トランスポートは青いプレースマーカーの所までスキップします。もう一度ボタンを押すと、次の青いプレースマーカーもしくは、セッションの最後のリージョンに移動します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The single, right-pointing arrow is commonly called \"play,\" but it actually moves the transport forward in real-time. When it does this, if the transport is armed for recording, any armed tracks will record. Whether or not the transport is armed, pressing the \"play\" button causes all un-armed tracks to play all existing regions."
+msgid ""
+"The single, right-pointing arrow is commonly called \"play,\" but it "
+"actually moves the transport forward in real-time. When it does this, if the"
+" transport is armed for recording, any armed tracks will record. Whether or "
+"not the transport is armed, pressing the \"play\" button causes all un-armed"
+" tracks to play all existing regions."
 msgstr ""
+"１重の右向き矢印は普通、\"再生\" "
+"と呼ばれますが、正確には、それはトランスポートをリアルタイムで前向きに移動します。そのとき、もしもトランスポートが録音準備されているときは、録音準備されているトラックはすべて録音されます。トランスポートが録音準備されているかいないかにかかわらず、\"再生\"ボタンを押すと、すべての録音準備されていないトラックはすべての存在するリージョンを再生します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The circular button arms the transport for recording. It is conventionally red in colour. In <application>Qtractor</application>, the transport can only be armed <emphasis>after</emphasis> at least one track has been armed; to show this, the transport's arm button only turns red if a track is armed."
+msgid ""
+"The circular button arms the transport for recording. It is conventionally "
+"red in colour. In <application>Qtractor</application>, the transport can "
+"only be armed <emphasis>after</emphasis> at least one track has been armed; "
+"to show this, the transport's arm button only turns red if a track is armed."
 msgstr ""
+"丸いボタンはトランスポートを、録音準備します.それは、慣習的に、赤い色をしています。<application>Qtractor</application>"
+" "
+"では、トランスポートは、少なくても1つのトラックが録音準備された<emphasis>後</emphasis>でないと録音準備できません.これを示すために、トランスポートの録音ボタンはトラックが録音準備されるまで赤くなりません."
+
+
diff --git a/ja-JP/FluidSynth.po b/ja-JP/FluidSynth.po
index 7b9e5bd..5cd1d34 100644
--- a/ja-JP/FluidSynth.po
+++ b/ja-JP/FluidSynth.po
@@ -1,724 +1,1351 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-09-08T03:01:42\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-07-13 09:13+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "FluidSynth"
-msgstr ""
+msgstr "FluidSynth"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>FluidSynth</application> is a software-based MIDI synthesizer. <application>FluidSynth</application> accepts MIDI input from programs like Qtractor and Rosegarden, and uses SoundFont technology to create audio signals. This makes <application>FluidSynth</application> a very flexible tool; it can be used even on low-power computers, doesn't require specialized hardware, and can take advantage of a wide selection of high-quality MIDI instruments. When used with the <application>Qsynth</application> graphical interface, <application>FluidSynth</application> becomes even more powerful: users can easily control basic effects like chorus and reverb, and they can start multiple <application>FluidSynth</application> synthesizers, each with their own settings and MIDI instrument assignments. Finally, because <application>Qsynth</application> was created and is maintained by the same developers as Qtractor and QjackCtl, it provides a familiar interface, and integra
 tes well with these other applications."
-msgstr ""
+msgid ""
+"<application>FluidSynth</application> is a software-based MIDI synthesizer. "
+"<application>FluidSynth</application> accepts MIDI input from programs like "
+"Qtractor and Rosegarden, and uses SoundFont technology to create audio "
+"signals. This makes <application>FluidSynth</application> a very flexible "
+"tool; it can be used even on low-power computers, doesn't require "
+"specialized hardware, and can take advantage of a wide selection of high-"
+"quality MIDI instruments. When used with the "
+"<application>Qsynth</application> graphical interface, "
+"<application>FluidSynth</application> becomes even more powerful: users can "
+"easily control basic effects like chorus and reverb, and they can start "
+"multiple <application>FluidSynth</application> synthesizers, each with their"
+" own settings and MIDI instrument assignments. Finally, because "
+"<application>Qsynth</application> was created and is maintained by the same "
+"developers as Qtractor and QjackCtl, it provides a familiar interface, and "
+"integrates well with these other applications."
+msgstr ""
+"<application>FluidSynth</application> はソフトウェアベースの MIDI "
+"シンセサイザです。<application>FluidSynth</application> は Qtractor や Rosegarden "
+"のようなプログラムから MIDI 入力を受け取り、サウンドフォント技術を使用してオーディオ信号を作成します.これにより、 "
+"<application>FluidSynth</application> は非常に柔軟なツールとなります; "
+"それは、低いパワーのコンピュータでも使うことができ、特別なハードウェアを必要とせず、高品質な MIDI "
+"機器を自由に選ぶことができるという利点を持ちます。<application>Qsynth</application> "
+"グラフィカルインターフェイスとともに使うとき、<application>FluidSynth</application> "
+"はいっそう強力になります。ユーザーはリバーブやコーラスのような基本的なエフェクトを簡単に制御することができます。複数の  "
+"<application>FluidSynth</application> を、それぞれ別の設定と MIDI "
+"機器の接続のもとで動かすことができます。最後に、<application>Qsynth</application> は、Qtractor や "
+"QjackCtl "
+"と同じ開発者により、開発、維持されているので、それは、使い慣れたインターフェイスを提供し、これらのアプリケーションと、うまく統合されます。"
 
 #. Tag: title
 #, no-c-format
 msgid "SoundFont Technology and MIDI"
-msgstr ""
+msgstr "サウンドフォント技術と MIDI"
 
 #. Tag: para
 #, no-c-format
-msgid "SoundFont technology was developed in the early 1990s, and comprises a file format and certain hardware technologies designed to allow the creation of MIDI instruments that sound like acoustic instruments. It would be virtually impossible to make an electronically-synthesized instrument sound identical to an acoustic counterpart, but SoundFont technology enables the gap to narrow considerably. Heard in the right context, most people would not notice that music was recorded by a SoundFont-capable MIDI synthesizer, but results can vary widely."
+msgid ""
+"SoundFont technology was developed in the early 1990s, and comprises a file "
+"format and certain hardware technologies designed to allow the creation of "
+"MIDI instruments that sound like acoustic instruments. It would be virtually"
+" impossible to make an electronically-synthesized instrument sound identical"
+" to an acoustic counterpart, but SoundFont technology enables the gap to "
+"narrow considerably. Heard in the right context, most people would not "
+"notice that music was recorded by a SoundFont-capable MIDI synthesizer, but "
+"results can vary widely."
 msgstr ""
+"サウンドフォント技術は、1990年代初頭に開発され、アコースティック楽器のような音が出せる MIDI "
+"機器の作成を可能にするように設計された、ファイル形式およびある種のハードウェア技術からなるものです。アコースティック楽器と全く同じに聞こえる、電子的に合成された楽器を作るのはほとんど不可能であるものの、サウンドフォント技術はそのギャップをかなり縮小することができます。適切な状況で聞かれたときに、ほとんどの人は、音楽がサウンドフォント対応の"
+" MIDI シンセサイザによって録音されたことに気づかないでしょう。なお、結果は大きく異なる場合があります。"
 
 #. Tag: para
 #, no-c-format
-msgid "What <application>FluidSynth</application> enables users to do is eliminate the hardware component of using SoundFonts, so that any computer becomes capable of synthesizing from SoundFont files, which are often simply referred to as \"a SoundFont.\" As fonts change the look of text characters, SoundFonts change the sound of MIDI notes - the overall meaning is the same when conveyed by any font (or SoundFont), but the particular nuance is changed."
+msgid ""
+"What <application>FluidSynth</application> enables users to do is eliminate "
+"the hardware component of using SoundFonts, so that any computer becomes "
+"capable of synthesizing from SoundFont files, which are often simply "
+"referred to as \"a SoundFont.\" As fonts change the look of text characters,"
+" SoundFonts change the sound of MIDI notes - the overall meaning is the same"
+" when conveyed by any font (or SoundFont), but the particular nuance is "
+"changed."
 msgstr ""
+"<application>FluidSynth</application> "
+"がユーザに可能とするのは、サウンドフォントを使う際のハードウエアコンポーネントを不要とすることです。これにより、どんなコンピュータでもサウンドフォントファイル、多くの場合、単に\"サウンドフォント\"と呼ばれます、を使ったシンセサイザになることができます。フォントがテキスト文字の見た目を変更するように、サウンドフォントは、MIDI"
+" "
+"ノートのサウンドを変更します。-全体的な意味というものは、任意のフォント（またはサウンドフォント）を使っても同じです。ただ、特定のニュアンスが変更されます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Fedora offers a few SoundFonts in the default repositories. By default, <application>FluidSynth</application> installs the FluidR3 General MIDI (\"GM\") SoundFont, which contains a wide array of conventional (and some non-conventional) \"patches.\" To see the other options that are available, use PackageKit, KPackageKit, or yum to search for \"soundfont\"."
-msgstr ""
+msgid ""
+"Fedora offers a few SoundFonts in the default repositories. By default, "
+"<application>FluidSynth</application> installs the FluidR3 General MIDI "
+"(\"GM\") SoundFont, which contains a wide array of conventional (and some "
+"non-conventional) \"patches.\" To see the other options that are available, "
+"use PackageKit, KPackageKit, or yum to search for \"soundfont\"."
+msgstr ""
+"Fedora "
+"はデフォルトのリポジトリ内にいくつかのサウンドフォントを提供しています。デフォルトでは、<application>FluidSynth</application>"
+" はFluidR3 General MIDI (\"GM\") "
+"サウンドフォントをインストールします。それは、幅広い一般的な（そして、いくつかは一般的でない）\"パッチ\"を含みます。入手可能な他のオプションを見るには、PackageKit、KPackageKit"
+"　 あるいは yum を使い、\"soundfont\"を検索してください。"
 
 #. Tag: title
 #, no-c-format
 msgid "How to Get a SoundFont"
-msgstr ""
+msgstr "どのようにサウンドフォントを得るか"
 
 #. Tag: para
 #, no-c-format
-msgid "There is a large selection of SoundFonts available for free on the internet, and some are also available for purchase, including a few very high quality SoundFonts. The following three websites have links to SoundFont resources, and some SoundFonts available for paid or free download. No guarantee is made of the quality of the material provided, or of the quality and security of the websites."
+msgid ""
+"There is a large selection of SoundFonts available for free on the internet,"
+" and some are also available for purchase, including a few very high quality"
+" SoundFonts. The following three websites have links to SoundFont resources,"
+" and some SoundFonts available for paid or free download. No guarantee is "
+"made of the quality of the material provided, or of the quality and security"
+" of the websites."
 msgstr ""
+"インターネット上には、無料で利用できるたくさんのサウンドフォントがありますし、購入が可能なものもいくつかあります。その中には、非常に高品質のサウンドフォントもあります。"
+" "
+"次の3つのウェブサイトはサウンドフォントのリソースへのリンクおよびいくつかの有料または無料でダウンロードできるサウンドフォントへのリンクを持ちます。そこで提供されるものの品質あるいは、そのウェブサイトの品質とセキュリティについては、何も保証されません。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>S. Christian Collins' \"General User\" SoundFont</citetitle>, available from <ulink url=\"http://www.schristiancollins.com/generaluser.php\" />."
+msgid ""
+"<citetitle>S. Christian Collins' \"General User\" SoundFont</citetitle>, "
+"available from <ulink "
+"url=\"http://www.schristiancollins.com/generaluser.php\" />."
 msgstr ""
+"<ulink url=\"http://www.schristiancollins.com/generaluser.php\" /> "
+"で利用可能な、<citetitle>S. Christian Collins' \"General User\" "
+"SoundFont</citetitle>"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>HammerSound SoundFont Library</citetitle>, available at <ulink url=\"http://www.hammersound.net/cgi-bin/soundlink.pl\" />."
+msgid ""
+"<citetitle>HammerSound SoundFont Library</citetitle>, available at <ulink "
+"url=\"http://www.hammersound.net/cgi-bin/soundlink.pl\" />."
 msgstr ""
+"<ulink url=\"http://www.hammersound.net/cgi-bin/soundlink.pl\" /> "
+"で利用可能な<citetitle>HammerSound SoundFont Library</citetitle>"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>homemusician.net SoundFont Library</citetitle>, available at <ulink url=\"http://soundfonts.homemusician.net/\" />."
+msgid ""
+"<citetitle>homemusician.net SoundFont Library</citetitle>, available at "
+"<ulink url=\"http://soundfonts.homemusician.net/\" />."
 msgstr ""
+"<ulink url=\"http://soundfonts.homemusician.net/\" /> "
+"で利用可能な、<citetitle>homemusician.net SoundFont Library</citetitle>"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Synth Zone</citetitle>, available at <ulink url=\"http://www.synthzone.com/soundfont.htm\" />."
+msgid ""
+"<citetitle>Synth Zone</citetitle>, available at <ulink "
+"url=\"http://www.synthzone.com/soundfont.htm\" />."
 msgstr ""
+"<ulink url=\"http://www.synthzone.com/soundfont.htm\" /> "
+"で利用可能な<citetitle>Synth Zone</citetitle>"
 
 #. Tag: para
 #, no-c-format
-msgid "See the \"Optional Installation: SoundFont ...\" below for installation instructions."
-msgstr ""
+msgid ""
+"See the \"Optional Installation: SoundFont ...\" below for installation "
+"instructions."
+msgstr "インストール手順については、下記の\"オプションのインストール：サウンドフォント...\"を参照してください 。"
 
 #. Tag: title
 #, no-c-format
 msgid "MIDI Instruments, Banks, Programs, and Patches"
-msgstr ""
+msgstr "MIDI インストゥルメント、バンク、プログラム、およびパッチ"
 
 #. Tag: para
 #, no-c-format
-msgid "A \"MIDI instrument\" is the synthesizer itself. If the synthesizer uses SoundFonts, then the SoundFont also constitutes part of the instrument. Each instrument can be thought of as a library, which stores books."
+msgid ""
+"A \"MIDI instrument\" is the synthesizer itself. If the synthesizer uses "
+"SoundFonts, then the SoundFont also constitutes part of the instrument. Each"
+" instrument can be thought of as a library, which stores books."
 msgstr ""
+"\"MIDI インストゥルメント\"はシンセサイザそのものです。 "
+"シンセサイザがサウンドフォントを使用する場合は、サウンドフォントもインストゥルメントの一部を構成しています。 "
+"各インストゥルメントは、本が置いてある図書館と考えることができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Each instrument offers at least one, but possibly several \"banks,\" which store programs. If a MIDI instrument is a library, then a bank is like a particular shelf. You must first select a shelf before choosing a book."
+msgid ""
+"Each instrument offers at least one, but possibly several \"banks,\" which "
+"store programs. If a MIDI instrument is a library, then a bank is like a "
+"particular shelf. You must first select a shelf before choosing a book."
 msgstr ""
+"それぞれのインストゥルメントは、少なくとも1つ、たぶんいくつかの\"バンク\"を提供し、それはプログラムを格納しています。 MIDI "
+"インストゥルメントが、図書館とすると、バンクは特定の棚のようなものです。 あなたはまず、本を選ぶ前に、棚を選ぶ必要があります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Each bank offers between one and one hundred and twenty seven \"programs,\" (also called \"patches\") which are the sounds themselves. If a MIDI instrument is a library and a bank is a shelf, then a program is a book. Programs need not necessarily be related, but banks with a large number of programs (like the \"General MIDI\" bank) usually follow some sort of order. It is the program alone which determines the sound of the synthesized audio; the bank and instrument simply limit the possible choices of program."
-msgstr ""
+msgid ""
+"Each bank offers between one and one hundred and twenty seven \"programs,\" "
+"(also called \"patches\") which are the sounds themselves. If a MIDI "
+"instrument is a library and a bank is a shelf, then a program is a book. "
+"Programs need not necessarily be related, but banks with a large number of "
+"programs (like the \"General MIDI\" bank) usually follow some sort of order."
+" It is the program alone which determines the sound of the synthesized "
+"audio; the bank and instrument simply limit the possible choices of program."
+msgstr ""
+"各バンクは、（\"パッチ\"とも呼ばれる）１から１２７の\"プログラム\"を提供しています。それらは、音そのものです。MIDI "
+"インストゥルメントが図書館でバンクが棚なら、プログラムは本です。各プログラムは、必ずしも関連する必要はありませんが、（\"汎用 MIDI "
+"\"バンクのように）多数のプログラムを持つバンクは、通常、規則的な並び方をしています。 "
+"合成されるオーディオの音を決めるのはプログラムだけであり、バンクとインストゥルメントは可能なプログラムの選択を制限するだけです。"
 
 #. Tag: title
 #, no-c-format
 msgid "MIDI Channels"
-msgstr ""
+msgstr "MIDIチャンネル"
 
 #. Tag: para
 #, no-c-format
-msgid "A MIDI synthesizer will accept input on multiple channels. Although each \"instance\" of the synthesizer can only have one MIDI instrument assigned to it, each channel can be assigned a program independently. This allows the synthesis of a virtual instrumental ensemble."
+msgid ""
+"A MIDI synthesizer will accept input on multiple channels. Although each "
+"\"instance\" of the synthesizer can only have one MIDI instrument assigned "
+"to it, each channel can be assigned a program independently. This allows the"
+" synthesis of a virtual instrumental ensemble."
 msgstr ""
+"MIDI シンセサイザは、複数のチャンネルの入力を受け入れます。シンセサイザの各\"インスタンス\"には、MIDI "
+"インストゥルメントを１つしか割り当てられませんが、各チャネルには別々にプログラムを割り当てることができます。これにより仮想的な楽器のアンサンブルの合成をすることができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The General MIDI (\"GM\") standard, used partially by the default FluidR3 SoundFont and by <application>FluidSynth</application> itself, further specifies that there will be 16 channels, and that channel 10 will be used for (mostly unpitched) percussion instruments. Any program change message sent to channel 10 will be ignored, and although <application>FluidSynth</application> can be configured to use a non-percussion program on channel 10, this use is discouraged."
+msgid ""
+"The General MIDI (\"GM\") standard, used partially by the default FluidR3 "
+"SoundFont and by <application>FluidSynth</application> itself, further "
+"specifies that there will be 16 channels, and that channel 10 will be used "
+"for (mostly unpitched) percussion instruments. Any program change message "
+"sent to channel 10 will be ignored, and although "
+"<application>FluidSynth</application> can be configured to use a non-"
+"percussion program on channel 10, this use is discouraged."
 msgstr ""
+"デフォルトの FluidR3 サウンドフォントと、<application>FluidSynth</application> "
+"そのものによって部分的に使われている、汎用 MIDI(\"GM\") "
+"標準は、１６チャネルがあること、チャネル１０は、（多くが音階のない）打楽器に使われることを定めます。チャネル１０に送られるプログラムチェンジメッセージは、無視されます。<application>FluidSynth</application>"
+" の設定により、チャネル１０に、打楽器以外のプログラムを使うことはできますが、おすすめしません。"
 
 #. Tag: para
 #, no-c-format
-msgid "For cases where <application>FluidSynth</application> does not adhere to the General MIDI standard, it is adding functionality, rather than removing it."
+msgid ""
+"For cases where <application>FluidSynth</application> does not adhere to the"
+" General MIDI standard, it is adding functionality, rather than removing it."
 msgstr ""
+"<application>FluidSynth</application>が汎用 MIDI "
+"標準に従わない場合、それは機能を削除するのでなく、追加しています."
 
 #. Tag: title
 #, no-c-format
 msgid "Requirements and Installation"
-msgstr ""
+msgstr "要件とインストール"
 
 #. Tag: title
 #, no-c-format
 msgid "Software Requirements"
-msgstr ""
+msgstr "ソフトウェア要件"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>FluidSynth</application> requires the <systemitem><application>JACK</application> Audio Connection Kit</systemitem>. If you have not already installed the <application>JACK</application> packages from the Planet CCRMA at Home repository, then it is recommended that you do so <emphasis>before</emphasis> installing <application>FluidSynth</application>. See <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> for instructions."
-msgstr ""
+msgid ""
+"<application>FluidSynth</application> requires the "
+"<systemitem><application>JACK</application> Audio Connection "
+"Kit</systemitem>. If you have not already installed the "
+"<application>JACK</application> packages, we recommend that you do so "
+"<emphasis>before</emphasis> you install "
+"<application>FluidSynth</application>. See <xref linkend=\"sect-"
+"Musicians_Guide-Install_and_Configure_JACK\" /> for instructions."
+msgstr ""
+"<application>FluidSynth</application> は "
+"<systemitem><application>JACK</application> Audio Connection "
+"Kit</systemitem> を必要とします。もしあなたが <application>JACK</application> "
+"パッケージをインストールしていないなら、<application>FluidSynth</application> "
+"をインストールする<emphasis>前に</emphasis>そうしてください。手順は <xref linkend=\"sect-"
+"Musicians_Guide-Install_and_Configure_JACK\" /> を参照してください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Thare Are Two Ways to Install <application>FluidSynth</application>"
-msgstr ""
+msgstr "<application>FluidSynth</application> をインストールするには２つの方法があります。"
 
 #. Tag: para
 #, no-c-format
-msgid "There are two ways to install <application>FluidSynth</application>. The first, to install <application>FluidSynth</application> with <application>Qsynth</application>, allows <application>FluidSynth</application> to be used with the <application>Qsynth</application> graphical interface. It also installs a default SoundFont, which can be used by any SoundFont-aware application (like <application>timidity++</application>). This installation method does not - by default - allow <application>FluidSynth</application> to be used from a terminal, although this ability can be easily added later. This is the installation method recommended for most users."
-msgstr ""
+msgid ""
+"There are two ways to install <application>FluidSynth</application>. The "
+"first, to install <application>FluidSynth</application> with "
+"<application>Qsynth</application>, allows "
+"<application>FluidSynth</application> to be used with the "
+"<application>Qsynth</application> graphical interface. It also installs a "
+"default SoundFont, which can be used by any SoundFont-aware application "
+"(like <application>timidity++</application>). This installation method does "
+"not - by default - allow <application>FluidSynth</application> to be used "
+"from a terminal, although this ability can be easily added later. This is "
+"the installation method recommended for most users."
+msgstr ""
+"<application>FluidSynth</application> "
+"をインストールするには２つの方法があります。第1、<application>FluidSynth</application> を "
+"<application>Qsynth</application> といっしょにインストールする方法は、 "
+"<application>FluidSynth</application> ã‚’ <application>Qsynth</application> "
+"グラフィカルユーザインタフェースとともに使うことができます。デフォルトサウンドフォントもインストールされ、（<application>timidity++</application>"
+" "
+"のような）サウンドフォント対応の任意のアプリケーションから使うことができます。このインストール方法は、デフォルトでは、<application>FluidSynth</application>"
+" をターミナルから使うことはできません。しかし、それは後から簡単に追加できます。これが、ほとんどのユーザにすすめられるインストール方法です。"
 
 #. Tag: para
 #, no-c-format
-msgid "The second way to install <application>FluidSynth</application> is without the <application>Qsynth</application> graphical interface. This method allows <application>FluidSynth</application> to be run from a terminal, and does not install a default SoundFont. This installation is recommended only for advanced users."
+msgid ""
+"The second way to install <application>FluidSynth</application> is without "
+"the <application>Qsynth</application> graphical interface. This method "
+"allows <application>FluidSynth</application> to be run from a terminal, and "
+"does not install a default SoundFont. This installation is recommended only "
+"for advanced users."
 msgstr ""
+"第2の <application>FluidSynth</application> "
+"をインストールする方法は、<application>Qsynth</application> "
+"グラフィカルインタフェースを含めないで行うことです。この方法だと、<application>FluidSynth</application> "
+"を、ターミナルから実行することができ、デフォルトのサウンドフォントはインストールされません。このインストール方法は、高度なユーザーにのみすすめられます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Installation with <application>Qsynth</application>"
-msgstr ""
+msgstr "<application>Qsynth</application> とともにインストール"
 
 #. Tag: para
 #, no-c-format
-msgid "This installation method is recommended for most users, and will install everything you need to start using <application>FluidSynth</application>."
+msgid ""
+"This installation method is recommended for most users, and will install "
+"everything you need to start using <application>FluidSynth</application>."
 msgstr ""
+"このインストール方法は、ほとんどのユーザーにとっておすすめです。<application>FluidSynth</application>.を使い始めるために必要なすべてをインストールします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Use \"PackageKit\" or \"KPackageKit\" to install the \"qsynth\" package."
-msgstr ""
+msgstr "\"qsynth\" パッケージをインストールするために、\"PackageKit\" または \"KPackageKit\" を使用します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Review and approve the proposed installation:"
-msgstr ""
+msgstr "提案されたインストールをよく見て，承認します："
 
 #. Tag: para
 #, no-c-format
-msgid "The installation may include the \"fluid-soundfont-gm\" package, which is quite large."
-msgstr ""
+msgid ""
+"The installation may include the \"fluid-soundfont-gm\" package, which is "
+"quite large."
+msgstr "インストールは非常に大きい \"fluid - soundfont - gm\" パッケージを含むことがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you wish to use <application>FluidSynth</application> from a terminal, without the <application>Qsynth</application> graphical interface, you can enable this capability by installing the <package>fluidsynth</package> package. This package is not needed if you only intend to run <application>FluidSynth</application> with <application>Qsynth</application>, because <application>Qsynth</application> only uses files in the <package>fluidsynth-libs</package> package, which is automatically installed with <application>Qsynth</application>. If you are unsure of whether you should install the <package>fluidsynth</package> package, you can safely install it, even if you never use it. It only uses a small amount of hard drive space."
-msgstr ""
+msgid ""
+"If you wish to use <application>FluidSynth</application> from a terminal, "
+"without the <application>Qsynth</application> graphical interface, you can "
+"enable this capability by installing the <package>fluidsynth</package> "
+"package. This package is not needed if you only intend to run "
+"<application>FluidSynth</application> with "
+"<application>Qsynth</application>, because <application>Qsynth</application>"
+" only uses files in the <package>fluidsynth-libs</package> package, which is"
+" automatically installed with <application>Qsynth</application>. If you are "
+"unsure of whether you should install the <package>fluidsynth</package> "
+"package, you can safely install it, even if you never use it. It only uses a"
+" small amount of hard drive space."
+msgstr ""
+"もしあなたが、<application>FluidSynth</application> "
+"を、<application>Qsynth</application> "
+"グラフィカルインタフェースでなく、ターミナルから使いたいときは、<package>fluidsynth</package> "
+"パッケージをインストールすればよいです。このパッケージは、あなたが <application>FluidSynth</application> "
+"を、<application>Qsynth</application> "
+"からしか実行しないならば不要です。なぜなら、<application>Qsynth</application> は、<package"
+">fluidsynth-libs</package> パッケージにあるファイルだけを使い、それは "
+"<application>Qsynth</application> とともに自動でインストールされるからです。もしあなたが "
+"<package>fluidsynth</package> "
+"パッケージをインストールするべきかわからないなら、それをインストールしてもかまいません。まるで使うことがなくてもよいです。ハードディスクのわずかなスペースを使うだけですから。"
 
 #. Tag: title
 #, no-c-format
 msgid "Installation without <application>Qsynth</application>"
-msgstr ""
+msgstr "<application>Qsynth</application> なしのインストール"
 
 #. Tag: para
 #, no-c-format
-msgid "This installation method is recommended only for advanced users. You will have to use <application>FluidSynth</application> from a terminal. You will also have to install a SoundFont file before using <application>FluidSynth</application>."
+msgid ""
+"This installation method is recommended only for advanced users. You will "
+"have to use <application>FluidSynth</application> from a terminal. You will "
+"also have to install a SoundFont file before using "
+"<application>FluidSynth</application>."
 msgstr ""
+"このインストール方法は、高度なユーザーにのみおすすめします。あなたは <application>FluidSynth</application> "
+"をターミナルから使う必要があります。<application>FluidSynth</application> "
+"を使う前に、サウンドフォントファイルをインストールする必要もあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>fluidsynth</package> package."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>fluidsynth</package> package."
 msgstr ""
+"<application>PackageKit</application> または "
+"<application>KPackageKit</application> を使って、<package>fluidsynth</package> "
+"パッケージをインストールします."
 
 #. Tag: title
 #, no-c-format
 msgid "Installation of SoundFont Files"
-msgstr ""
+msgstr "サウンドフォントファイルのインストール"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>Qsynth</application> automatically installs a SoundFont for use with <application>FluidSynth</application>, but if you did not install <application>Qsynth</application>, or if you want to add additional SoundFont files with additional programs, you will need to install them separately. The Fedora package repositories offer a small selection of SoundFont files, which you can find by searching for \"soundfont\" with PackageKit, KPackageKit, or yum. These files will automatically be installed correctly. If you wish to install additional SoundFont files, it is recommended that you install them in the same location - and with the same security settings - as the ones available from the Fedora repositories. If you do this, then you enable all users of the computer system to access the files, you will not \"lose\" them if you forget where they are stored, and you help to minimize the potential security risk of using software downloaded from the internet."
-msgstr ""
+msgid ""
+"<application>Qsynth</application> automatically installs a SoundFont for use"
+" with <application>FluidSynth</application>, but if you did not install "
+"<application>Qsynth</application>, or if you want to add additional "
+"SoundFont files with additional programs, you will need to install them "
+"separately. The Fedora package repositories offer a small selection of "
+"SoundFont files, which you can find by searching for \"soundfont\" with "
+"PackageKit, KPackageKit, or yum. These files will automatically be installed"
+" correctly. If you wish to install additional SoundFont files, it is "
+"recommended that you install them in the same location - and with the same "
+"security settings - as the ones available from the Fedora repositories. If "
+"you do this, then you enable all users of the computer system to access the "
+"files, you will not \"lose\" them if you forget where they are stored, and "
+"you help to minimize the potential security risk of using software "
+"downloaded from the internet."
+msgstr ""
+"<application>Qsynth</application> は、<application>FluidSynth</application> "
+"が使用するサウンドフォントを自動的にインストールします。しかし、もしあなたが <application>Qsynth</application> "
+"をインストールなかった場合、または別のプログラムといっしょに別のサウンドフォントファイルを入れたい場合、あなたはそれらを個別にインストールする必要があります。Fedora"
+" のパッケージのリポジトリは、少数のサウンドフォントファイルを提供しており、あなたはそれらを yum、KPackageKit、PackageKit "
+"で、\"soundfont\" "
+"を検索して見つけることができます。これらのファイルは自動的に正しくインストールされるはずです。あなたがさらに別のサウンドフォントファイルをインストールしたい場合、それらを、Fedora"
+" "
+"のリポジトリからのものと同じ場所、同じセキュリティの設定でインストールするのをおすすめします。そうすれば、そのコンピュータシステムのすべてのユーザがそのファイルをアクセスできますし、それがどこに格納されているか忘れてもそれを\"失う\"ことはないですし、インターネットでダウンロードしたソフトウエアを使うことによる潜在的なセキュリティリスクを最小限にすることができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The following steps move a SoundFont file called <filename>myFont.sf2</filename> to the default folder (<filename>/usr/share/soundfonts</filename>), and correctly set the security settings. Note that you will need the system administrator's password (belonging to the \"root\" account) to complete this operation. If you do not have this password, it is best to ask the system administrator to install the files for you. Alternately, you may simply use the SoundFont file from your a sub-folder in your home folder."
+msgid ""
+"The following steps move a SoundFont file called "
+"<filename>myFont.sf2</filename> to the default folder "
+"(<filename>/usr/share/soundfonts</filename>), and correctly set the security"
+" settings. Note that you will need the system administrator's password "
+"(belonging to the \"root\" account) to complete this operation. If you do "
+"not have this password, it is best to ask the system administrator to "
+"install the files for you. Alternately, you may simply use the SoundFont "
+"file from your a sub-folder in your home folder."
 msgstr ""
+"次の手順では、<filename>myFont.sf2</filename> "
+"と呼ばれるサウンドフォントファイルを、デフォルトのフォルダ（<filename>/usr/share/soundfonts</filename> "
+"）に移動して、正しくセキュリティ設定を行います。この操作を完了するには、システム管理者のパスワード（\"root\" "
+"アカウントに所属する）が必要なことに注意ください。あなたがそのパスワードを持っていない場合は、システム管理者にあなたのためにファイルをインストールしてくれるように頼むのが一番です。あるいは、単純に、あなたのホームフォルダ内のサブフォルダに置いたサウンドフォントファイルを使うという手段もあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Start a shell or terminal and navigate to the folder where the SoundFont file is currently stored."
-msgstr ""
+msgid ""
+"Start a shell or terminal and navigate to the folder where the SoundFont "
+"file is currently stored."
+msgstr "シェルまたはターミナルを起動し、サウンドフォントファイルが現在格納されているフォルダに移動します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Run <command>su -c 'cp <replaceable>myFont.sf2</replaceable> /usr/share/soundfonts'</command>"
+msgid ""
+"Run <command>su -c 'cp <replaceable>myFont.sf2</replaceable> "
+"/usr/share/soundfonts'</command>"
 msgstr ""
+"<command>su -c 'cp <replaceable>myFont.sf2</replaceable> "
+"/usr/share/soundfonts'</command> を実行します."
 
 #. Tag: para
 #, no-c-format
-msgid "Modify the command as necessary to copy your SoundFont file, rather than <filename>myFont.sf2</filename>."
+msgid ""
+"Modify the command as necessary to copy your SoundFont file, rather than "
+"<filename>myFont.sf2</filename>."
 msgstr ""
+"必要に応じて、<filename>myFont.sf2</filename> "
+"でなく、あなたのサウンドフォントファイルをコピーするようにコマンドを変更ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "You will be asked for the password to the <literal>root</literal> account."
-msgstr ""
+msgid ""
+"You will be asked for the password to the <literal>root</literal> account."
+msgstr "あなたは、<literal>root</literal> アカウントのパスワードを要求されます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Run <command>cd /usr/share/soundfonts</command> to change to the directory of the SoundFont"
+msgid ""
+"Run <command>cd /usr/share/soundfonts</command> to change to the directory "
+"of the SoundFont"
 msgstr ""
+"<command>cd /usr/share/soundfonts</command> を実行して、サウンドフォントのディレクトリに移動ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Run <command>su -c 'chmod 644 <replaceable>myFont.sf2</replaceable>'</command>"
+msgid ""
+"Run <command>su -c 'chmod 644 "
+"<replaceable>myFont.sf2</replaceable>'</command>"
 msgstr ""
+"<command>su -c 'chmod 644 <replaceable>myFont.sf2</replaceable>'</command> "
+"を実行します."
 
 #. Tag: para
 #, no-c-format
-msgid "Modify the command as necessary to refer to your SoundFont file, rather than <filename>myFont.sf2</filename>."
+msgid ""
+"Modify the command as necessary to refer to your SoundFont file, rather than"
+" <filename>myFont.sf2</filename>."
 msgstr ""
+"必要に応じて、<filename>myFont.sf2</filename> "
+"でなくてあなたのサウンドフォントファイルを指定するようにコマンドを変更ください。 "
 
 #. Tag: para
 #, no-c-format
-msgid "This will set the file-system permissions to \"read-write\" for the owner (the \"root\" user, in this case), and \"read-only\" for all other users. This way, only the system administrator should be able to change the file, but all users will be able to use it."
+msgid ""
+"This will set the file-system permissions to \"read-write\" for the owner "
+"(the \"root\" user, in this case), and \"read-only\" for all other users. "
+"This way, only the system administrator should be able to change the file, "
+"but all users will be able to use it."
 msgstr ""
+"これにより、ファイルシステムのアクセス許可は、所有者（この場合は\"root\" "
+"ユーザ）に、\"読み書き可能\"に設定され、他のすべてのユーザーに\"読み取り専用\"となります。これで、システム管理者だけが、ファイルを変更することができ、すべてのユーザーがそれを使用できるようになります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Run <command>ll <replaceable>myFont.sf2</replaceable></command> to verify that the permissions were set correctly."
+msgid ""
+"Run <command>ll <replaceable>myFont.sf2</replaceable></command> to verify "
+"that the permissions were set correctly."
 msgstr ""
+"<command>ll <replaceable>myFont.sf2</replaceable></command> "
+"を実行して、アクセス許可が正しく設定されていることを確認ください。"
 
 #. Tag: para
 #, no-c-format
 msgid "The output should resemble this:"
-msgstr ""
+msgstr "出力は、こんなふうになるはずです："
 
 #. Tag: programlisting
 #, no-c-format
 msgid "-rw-r--r--. 1 root root 9 2010-06-23 02:28 myFont.sf2"
-msgstr ""
+msgstr "-rw-r--r--. 1 root root 9 2010-06-23 02:28 myFont.sf2"
 
 #. Tag: para
 #, no-c-format
 msgid "but with a different date, time, and filename."
-msgstr ""
+msgstr "ただし、日付、時刻、ファイル名は異なります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Highly-observant users may notice that the SELinux context of the new file is different from that of any Fedora-installed SoundFont file. As long as the type is <literal>usr_t</literal>, which it should be by default, then there is no practical difference (no difference in enforcement) between this and a Fedora-installed SoundFont file. If you don't know what this means, or if you hadn't noticed it, then it means that this additional SoundFont file should not create a new potential security problem."
-msgstr ""
+msgid ""
+"Highly-observant users may notice that the SELinux context of the new file "
+"is different from that of any Fedora-installed SoundFont file. As long as "
+"the type is <literal>usr_t</literal>, which it should be by default, then "
+"there is no practical difference (no difference in enforcement) between this"
+" and a Fedora-installed SoundFont file. If you don't know what this means, "
+"or if you hadn't noticed it, then it means that this additional SoundFont "
+"file should not create a new potential security problem."
+msgstr ""
+"注意深いユーザーは、新しいファイルの SELinux のコンテキストは、Fedora "
+"でインストールされている他のサウンドフォントファイルと異なることに気がつくかもしれません。タイプがデフォルトの "
+"<literal>usr_t</literal> である限りは、このファイルと Fedora "
+"でインストールされたサウンドフォントファイルとで、実用的な違い（エンフォースメントにおいての違い）はありません。あなたがこれがなんのことだかわからない時や、それに気がつかなかったときは、この新しいサウンドフォントファイルは新たな潜在的なセキュリティ上の問題は生み出さないということです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Using <application>FluidSynth</application> in a Terminal"
-msgstr ""
+msgstr "<application>FluidSynth</application> をターミナルで使う"
 
 #. Tag: para
 #, no-c-format
-msgid "This is not the recommended way to use <application>FluidSynth</application>, because the <application>Qsynth</application> graphical interface is much easier to use. <application>Qsynth</application> automatically configures most of <application>FluidSynth</application>'s settings by default, allowing you to avoid focus on how you want to use <application>FluidSynth</application>, rather than on how to use <application>FluidSynth</application>."
+msgid ""
+"This is not the recommended way to use "
+"<application>FluidSynth</application>, because the "
+"<application>Qsynth</application> graphical interface is much easier to use."
+" <application>Qsynth</application> automatically configures most of "
+"<application>FluidSynth</application>'s settings by default, allowing you to"
+" avoid focus on how you want to use <application>FluidSynth</application>, "
+"rather than on how to use <application>FluidSynth</application>."
 msgstr ""
+"これは、<application>FluidSynth</application> "
+"を使用する方法としてはおすすめできません。<application>Qsynth</application> "
+"グラフィカルインターフェイスはずっと使いやすいです。<application>Qsynth</application> は、 "
+"自動的にほとんどの<application>FluidSynth</application> "
+"の設定をデフォルトで構成します。あなたが<application>FluidSynth</application> "
+"でやりたいことに集中することを助けます。どのように <application>FluidSynth</application> を使うか、ではなく。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you want to use <application>FluidSynth</application> in a terminal, you can use the <command>fluidsynth</command> command. The default sample-rate is 44.1 kHz, so if you want to use <application>JACK</application> at a different sample rate, you need to use the <command>-r</command> flag, like this: <command>fluidsynth -r 48000</command>"
+msgid ""
+"If you want to use <application>FluidSynth</application> in a terminal, you "
+"can use the <command>fluidsynth</command> command. The default sample-rate "
+"is 44.1 kHz, so if you want to use <application>JACK</application> at a "
+"different sample rate, you need to use the <command>-r</command> flag, like "
+"this: <command>fluidsynth -r 48000</command>"
 msgstr ""
+" <application>FluidSynth</application> "
+"をターミナルで使用するには、<command>fluidsynth</command> コマンドを使います。 "
+"デフォルトのサンプルレートは、44.1kHzです。もしあなたが <application>JACK</application> "
+"を別のサンプルレートで使いたいときは、 <command>-r</command> "
+"フラグをつけて、この様にする必要があります：<command>fluidsynth -r 48000</command>"
 
 #. Tag: para
 #, no-c-format
-msgid "When you start <application>FluidSynth</application> from a terminal, it will normally start a shell of its own. How to use this shell is beyond the scope of the Musicians' Guide, but you can get basic help by running the \"help\" command from the <application>FluidSynth</application> command line."
+msgid ""
+"When you start <application>FluidSynth</application> from a terminal, it "
+"will normally start a shell of its own. How to use this shell is beyond the "
+"scope of the Musicians' Guide, but you can get basic help by running the "
+"\"help\" command from the <application>FluidSynth</application> command "
+"line."
 msgstr ""
+"<application>FluidSynth</application> "
+"をターミナルから起動すると、それは普通、自分のシェルを起動します。どのようにこのシェルを使用するかは、このミュージシャンのガイドの範囲を越えています。しかし、あなたは"
+" <application>FluidSynth</application> のコマンドライン(訳注：シェルのプロンプト）で \"help\" "
+"と打つことで、基本的なヘルプを得ることができます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Configuring <application>Qsynth</application>"
-msgstr ""
+msgstr "<application>Qsynth</application> を構成する"
 
 #. Tag: para
 #, no-c-format
-msgid "When you quit <application>Qsynth</application>, all settings are preserved, and re-used when <application>Qsynth</application> is re-started. This includes settings for additional instances of <application>Qsynth</application> (described below), which are also re-created when <application>Qsynth</application> is re-started."
-msgstr ""
+msgid ""
+"When you quit <application>Qsynth</application>, all settings are preserved,"
+" and re-used when <application>Qsynth</application> is re-started. This "
+"includes settings for additional instances of "
+"<application>Qsynth</application> (described below), which are also re-"
+"created when <application>Qsynth</application> is re-started."
+msgstr ""
+"あなたが <application>Qsynth</application> "
+"を終了するとき、すべての設定は保存されます。そして、<application>Qsynth</application> "
+"が再開始するとき、ふたたび使われます。これは、他の <application>Qsynth</application> "
+"のインスタンス、(以下で説明します)の設定も含み、それらインスタンスは <application>Qsynth</application> "
+"が再開始するとき、同じように再生成されます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Starting <application>FluidSynth</application>"
-msgstr ""
+msgstr "<application>FluidSynth</application> を開始する"
 
 #. Tag: para
 #, no-c-format
-msgid "Start <application>Qsynth</application> from the Applications menu, or the K Menu"
+msgid ""
+"Start <application>Qsynth</application> from the Applications menu, or the K"
+" Menu"
 msgstr ""
+"アプリケーションメニューあるいは K Menu から <application>Qsynth</application> を開始してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "The <application>FluidSynth</application> engine will be started automatically."
-msgstr ""
+msgid ""
+"The <application>FluidSynth</application> engine will be started "
+"automatically."
+msgstr "<application>FluidSynth</application> エンジンは自動的に開始します."
 
 #. Tag: para
 #, no-c-format
-msgid "The row of buttons at the right of the <application>Qsynth</application> window control <application>Qsynth</application>. The other settings control <application>FluidSynth</application>."
+msgid ""
+"The row of buttons at the right of the <application>Qsynth</application> "
+"window control <application>Qsynth</application>. The other settings control"
+" <application>FluidSynth</application>."
 msgstr ""
+"<application>Qsynth</application> "
+"ウインドウの右にある一列のボタンが、<application>Qsynth</application> "
+"を制御します.そのほかの設定は、<application>FluidSynth</application> を制御します."
 
 #. Tag: para
 #, no-c-format
-msgid "You can use the \"Messages\" button to display a window containing <application>FluidSynth</application>'s output. If <application>FluidSynth</application> doesn't work as expected, you can use this window to view any error message that might have been produced."
+msgid ""
+"You can use the \"Messages\" button to display a window containing "
+"<application>FluidSynth</application>'s output. If "
+"<application>FluidSynth</application> doesn't work as expected, you can use "
+"this window to view any error message that might have been produced."
 msgstr ""
+"\"Messages\"ボタンで、<application>FluidSynth</application> の出力を示すウインドウを表示できます。  "
+"<application>FluidSynth</application> "
+"が期待どおりに動作しない場合、このウインドウで生成されているかもしれないエラーメッセージを表示してください。"
 
 #. Tag: title
 #, no-c-format
 msgid "SoundFont Configuration"
-msgstr ""
+msgstr "サウンドフォントの構成"
 
 #. Tag: para
 #, no-c-format
-msgid "The default \"FluidR3\" SoundFont, installed with <application>Qsynth</application>, is automatically configured."
+msgid ""
+"The default \"FluidR3\" SoundFont, installed with "
+"<application>Qsynth</application>, is automatically configured."
 msgstr ""
+"<application>Qsynth</application> といっしょにインストールされたデフォルトの \"FluidR3\" "
+"サウンドフォントは、自動的に構成されます。"
 
 #. Tag: para
 #, no-c-format
 msgid "To configure an additional Soundfount:"
-msgstr ""
+msgstr "別のサウンドフォントを構成するには："
 
 #. Tag: para
 #, no-c-format
-msgid "Click on the 'Open' button, and navigate to the path of the SoundFont you wish to add. This should be <filename>/usr/share/soundfonts</filename>, if installed to the standard location specified in <xref linkend=\"sect-Musicians_Guide-FluidSynth-Req_and_Inst\" />."
+msgid ""
+"Click on the 'Open' button, and navigate to the path of the SoundFont you "
+"wish to add. This should be <filename>/usr/share/soundfonts</filename>, if "
+"installed to the standard location specified in <xref linkend=\"sect-"
+"Musicians_Guide-FluidSynth-Req_and_Inst\" />."
 msgstr ""
+"'Setup' ボタンをクリック、'Soundfonts' タブを選択し、'Open' "
+"ボタンをクリックして、追加したいサウンドフォントのパスへ移動します。 これは、<xref linkend=\"sect-Musicians_Guide-"
+"FluidSynth-Req_and_Inst\" /> "
+"で指定した標準の場所にインストールされている場合、<filename>/usr/share/soundfonts</filename> です。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select the additional SoundFont, then click the 'Open' button."
-msgstr ""
+msgstr "追加のサウンドフォントを選択して、'Open' ボタンをクリックください。"
 
 #. Tag: para
 #, no-c-format
-msgid "To change the SoundFont ID (SFID), use the 'Up' and 'Down' buttons to change the position of the SoundFonts, as desired. This does not directly change the function of <application>FluidSynth</application> - any SoundFont should work with any SoundFont ID number."
+msgid ""
+"To change the SoundFont ID (SFID), use the 'Up' and 'Down' buttons to change"
+" the position of the SoundFonts, as desired. This does not directly change "
+"the function of <application>FluidSynth</application> - any SoundFont should"
+" work with any SoundFont ID number."
 msgstr ""
+"サウンドフォント ID（SFID）を変更するには、 'Up' と 'Down' ボタンを使って、望みの位置にサウンドフォントを移動ください。 これは "
+"<application>FluidSynth</application> "
+"の機能を直接変更することはありません。すべてのサウンドフォントは、任意のサウンドフォント ID 番号で動くはずです。"
 
 #. Tag: title
 #, no-c-format
 msgid "<application>JACK</application> Output Configuration"
-msgstr ""
+msgstr "<application>JACK</application>出力の構成"
 
 #. Tag: para
 #, no-c-format
-msgid "It is possible to configure <application>FluidSynth</application> to output synthesized audio either to <application>JACK</application> or to ALSA. The default, and recommended, method is to output synthesized audio to <application>JACK</application>. This allows the greatest control over audio quality, and the greatest flexibility in terms of routing and multiplexing (for definition see <xref linkend=\"sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing\" />), which allows you to simultaneously record the synthesized audio signal and listen to it."
+msgid ""
+"It is possible to configure <application>FluidSynth</application> to output "
+"synthesized audio either to <application>JACK</application> or to ALSA. The "
+"default, and recommended, method is to output synthesized audio to "
+"<application>JACK</application>. This allows the greatest control over audio"
+" quality, and the greatest flexibility in terms of routing and multiplexing "
+"(for definition see <xref linkend=\"sect-Musicians_Guide-Vocabulary-"
+"Routing_and_Multiplexing\" />), which allows you to simultaneously record "
+"the synthesized audio signal and listen to it."
 msgstr ""
+"<application>FluidSynth</application> が、合成された音声を "
+"<application>JACK</application> に出力するようにも、ALSA "
+"にするようにも、構成することが可能です。デフォルトで、おすすめの方法は、合成された音声を <application>JACK</application>"
+" に出力することです。これは、オーディオ品質を最大限に制御することができ、ルーティングと多重化（定義 は <xref linkend=\"sect-"
+"Musicians_Guide-Vocabulary-Routing_and_Multiplexing\" /> "
+"を参照ください。）を最も柔軟にできます.あなたは、合成されたオーディオ信号を聞きながら、同時に録音することができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you are having problems, you may wish to confirm that <application>Qsynth</application> is configured correctly to use <application>JACK</application>."
+msgid ""
+"If you are having problems, you may wish to confirm that "
+"<application>Qsynth</application> is configured correctly to use "
+"<application>JACK</application>."
 msgstr ""
+"問題がある場合は、<application>Qsynth</application> が <application>JACK</application>"
+" を使うように正しく構成されているか確認するとよいです。"
 
 #. Tag: para
 #, no-c-format
 msgid "Open <application>Qsynth</application>'s \"Setup\" window."
-msgstr ""
+msgstr " <application>Qsynth</application>の \"Setup\"ウインドウを開きます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select the 'Audio' tab, and ensure that \"Audio Driver\" is set to \"jack\"."
-msgstr ""
+msgstr " 'Audio' タブを選択して、 \"Audio Driver\" が \"jack\" になっているのを確認ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "You should also ensure that the other settings are correct - especially that the \"sample rate\" is set to the same sample rate as <application>JACK</application> (through <application>QjackCtl</application>)."
+msgid ""
+"You should also ensure that the other settings are correct - especially that"
+" the \"sample rate\" is set to the same sample rate as "
+"<application>JACK</application> (through "
+"<application>QjackCtl</application>)."
 msgstr ""
+"他の設定が正しいことも確認ください。特に、\"sample rate\" が、<application>JACK</application> "
+"と同じサンプルレートになっていることを（<application>QjackCtl</application> によって）。"
 
 #. Tag: para
 #, no-c-format
-msgid "The default settings for most things should work. If you changed a default setting, they are these:"
-msgstr ""
+msgid ""
+"The default settings for most things should work. If you changed a default "
+"setting, they are these:"
+msgstr "ほとんどの場合、デフォルト設定がうまくいくはずです。もしあなたがデフォルト設定を変更したならば、以下がそれです："
 
 #. Tag: para
 #, no-c-format
 msgid "Buffer Size: 1024"
-msgstr ""
+msgstr "Buffer Size: 1024"
 
 #. Tag: para
 #, no-c-format
 msgid "Buffer Count: 2"
-msgstr ""
+msgstr "Buffer Count: 2"
 
 #. Tag: para
 #, no-c-format
 msgid "Audio Channels: 1"
-msgstr ""
+msgstr "Audio Channels: 1"
 
 #. Tag: para
 #, no-c-format
 msgid "Audio Groups: 1"
-msgstr ""
+msgstr "Audio Groups: 1"
 
 #. Tag: para
 #, no-c-format
 msgid "Polyphony: 256"
-msgstr ""
+msgstr "Polyphony: 256"
 
 #. Tag: para
 #, no-c-format
-msgid "If you are having problems with audio cut-outs, you may wish to increase the buffer settings. The size should be increased in multiples of 1024, and the buffer count should not be increased much. The default setting or one \"Audio Channel\" provides stereo output, and each additional channel produces another set of stereo outputs. Increasing the \"polyphony\" setting will allow a higher number of simultaneous notes (\"MIDI events,\" really), which will be useful in exteremely complex situations."
-msgstr ""
+msgid ""
+"If you are having problems with audio cut-outs, you may wish to increase the"
+" buffer settings. The size should be increased in multiples of 1024, and the"
+" buffer count should not be increased much. The default setting or one "
+"\"Audio Channel\" provides stereo output, and each additional channel "
+"produces another set of stereo outputs. Increasing the \"polyphony\" setting"
+" will allow a higher number of simultaneous notes (\"MIDI events,\" really),"
+" which will be useful in exteremely complex situations."
+msgstr ""
+"オーディオカットアウトで問題がある場合は、バッファの設定値を大きくしてください。サイズは、1024 "
+"の倍数で増加させてください。バッファの数は大幅に増加する必要はありません。デフォルトの設定、または1つの\"オーディオチャンネル\"は、ステレオ出力を提供します。追加の各チャンネルは、ステレオ出力の別のセットを生成します。"
+" \"polyphony\" の設定を増やせば、同時に鳴る音（実は、 \"MIDI "
+"イベント\"）の数を増やすことができ、複雑な状況では役に立つでしょう。"
 
 #. Tag: title
 #, no-c-format
 msgid "MIDI Input Configuration"
-msgstr ""
+msgstr "MIDI 入力の構成"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>FluidSynth</application> will only produce sound as instructed by a connected (software- or hardware-based) MIDI device. If you are having problems configuring <application>FluidSynth</application> to accept MIDI input, verify the following options."
+msgid ""
+"<application>FluidSynth</application> will only produce sound as instructed "
+"by a connected (software- or hardware-based) MIDI device. If you are having "
+"problems configuring <application>FluidSynth</application> to accept MIDI "
+"input, verify the following options."
 msgstr ""
+"<application>FluidSynth</application> は、接続された（ソフトウェアもしくはハードウェアベースの）MIDI "
+"デバイスの指示にしたがって音を出すことしかできません。 <application>FluidSynth</application> が MIDI "
+"入力を受け付けるようにする設定で問題があるときは、以下のオプションを確認してください。"
 
 #. Tag: para
 #, no-c-format
 msgid "The \"Enable MIDI Input\" setting must be enabled."
-msgstr ""
+msgstr "\"Enable MIDI Input\" 設定は有効であること。"
 
 #. Tag: para
 #, no-c-format
 msgid "There are two settings for \"MIDI Driver\" that you would likely want."
-msgstr ""
+msgstr "\"MIDI Driver\" の設定は、以下の２つが一般的です。"
 
 #. Tag: para
 #, no-c-format
-msgid "When set to \"alsa_seq\", the input will appear on <application>QjackCtl</application>'s \"ALSA\" tab in the \"Connect\" window. This is useful if the MIDI generator device that you are using, such as a MIDI-enabled keyboard, is connected directly to ALSA."
+msgid ""
+"When set to \"alsa_seq\", the input will appear on "
+"<application>QjackCtl</application>'s \"ALSA\" tab in the \"Connect\" "
+"window. This is useful if the MIDI generator device that you are using, such"
+" as a MIDI-enabled keyboard, is connected directly to ALSA."
 msgstr ""
+"\"alsa_seq\" と設定すると、入力は、<application>QjackCtl</application> の \"Connect\" "
+"ウィンドウの \"ALSA\" タブに表示されます。これはあなたがお使いの MIDI 対応のキーボードなどの MIDI ジェネレータデバイスが、直接 "
+"ALSA につながっているときには便利です。"
 
 #. Tag: para
 #, no-c-format
-msgid "When set to \"jack\", the input will appear on <application>QjackCtl</application>'s \"MIDI\" tab in the \"Connect\" window. This is useful if the MIDI generator device that you are using, such as <application>Rosegarden</application>, is connected directly to <application>JACK</application>."
+msgid ""
+"When set to \"jack\", the input will appear on "
+"<application>QjackCtl</application>'s \"MIDI\" tab in the \"Connect\" "
+"window. This is useful if the MIDI generator device that you are using, such"
+" as <application>Rosegarden</application>, is connected directly to "
+"<application>JACK</application>."
 msgstr ""
+"\"jack\" と設定すると、入力は、<application>QjackCtl</application> の \"Connect\" ウィンドウの"
+" \"MIDI\" タブに表示されます。これはあなたがお使いの <application>Rosegarden</application> などの "
+"MIDI ジェネレータデバイスが、直接<application>JACK</application> "
+"につながっているときには便利です。訳注：9.2.1. Setup JACK and Qsynth によれば、Rosegarden "
+"などのときも、\"alsa_seq\" にするべきだそうです。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can set the number of MIDI input channels provided by <application>FluidSynth</application>. Refer to <xref linkend=\"sect-Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels\" /> below."
+msgid ""
+"You can set the number of MIDI input channels provided by "
+"<application>FluidSynth</application>. Refer to <xref linkend=\"sect-"
+"Musicians_Guide-FluidSynth-Changing_Number_of_Input_Channels\" /> below."
 msgstr ""
+"<application>FluidSynth</application> が提供する MIDI 入力チャネルの数を設定できます。以下の<xref "
+"linkend=\"sect-Musicians_Guide-FluidSynth-"
+"Changing_Number_of_Input_Channels\" /> を参照ください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Viewing all <application>FluidSynth</application> Settings"
-msgstr ""
+msgstr "<application>FluidSynth</application> の設定のすべてを見る。"
 
 #. Tag: para
 #, no-c-format
 msgid "Open the \"Setup\" window"
-msgstr ""
+msgstr "\"Setup\" ウインドウを開いてください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select the \"Settings\" tab"
-msgstr ""
+msgstr "\"Settings\" タブを選択ください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Scroll through the list to the setting you wish to see."
-msgstr ""
+msgstr "あなたが見たい設定まで、リストをスクロールください。"
 
 #. Tag: para
 #, no-c-format
 msgid "The settings in this tab are not editable in this tab."
-msgstr ""
+msgstr "このタブの設定は、このタブからは編集できません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Assigning Programs to Channels with <application>Qsynth</application>"
-msgstr ""
+msgstr "<application>Qsynth</application> で、プログラムをチャネルに割り当てる"
 
 #. Tag: para
 #, no-c-format
-msgid "The best way to do this is through your MIDI sequencer, like <application>Qtractor</application> or <application>Rosegarden</application>. If you are using an application which doesn't allow you to send program-change messages, or if you need to configure programs for another reason, you can follow these instructions."
+msgid ""
+"The best way to do this is through your MIDI sequencer, like "
+"<application>Qtractor</application> or "
+"<application>Rosegarden</application>. If you are using an application which"
+" doesn't allow you to send program-change messages, or if you need to "
+"configure programs for another reason, you can follow these instructions."
 msgstr ""
+"これを行う最もよい方法は、<application>Qtractor</application> あるいは "
+"<application>Rosegarden</application> などの MIDI "
+"シーケンサーからすることです。もしあなたが、プログラムチェンジメッセージを送ることができないアプリケーションをお使いであるか、あるいは別の理由でプログラムの設定をしたいならば、以下の手順にしたがってください。"
 
 #. Tag: para
 #, no-c-format
-msgid "In the main <application>Qsynth</application> window, click \"Channels\" to open the \"Channels\" window."
+msgid ""
+"In the main <application>Qsynth</application> window, click \"Channels\" to "
+"open the \"Channels\" window."
 msgstr ""
+"<application>Qsynth</application> のメインウインドウで、\"Channels\" "
+"をクリックして、\"Channels\" ウインドウを開きます。"
 
 #. Tag: para
 #, no-c-format
 msgid "In the Channels window, each channel will, by default, look like"
-msgstr ""
+msgstr "チャネルウインドウで、それぞれのチャネルは、デフォルトで、こんなふうに見えます。"
 
 #. Tag: programlisting
 #, no-c-format
 msgid "1   -   -   -"
-msgstr ""
+msgstr "1   -   -   -"
 
 #. Tag: para
 #, no-c-format
-msgid "To assign a program to a channel, click on the row of the channel that you want to assign."
-msgstr ""
+msgid ""
+"To assign a program to a channel, click on the row of the channel that you "
+"want to assign."
+msgstr "プログラムをチャネルに割り当てるには、割り当てたいチャネルの行をクリックします."
 
 #. Tag: para
 #, no-c-format
-msgid "Select the bank and program number that you want, using the name, SFID, and Soundfont columns to guide you."
-msgstr ""
+msgid ""
+"Select the bank and program number that you want, using the name, SFID, and "
+"Soundfont columns to guide you."
+msgstr "お望みのバンクとプログラム番号を選択します.名前、 SFID, サウンドフォントの列を参考にしてください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Repeat this process for all of the channels that you wish to assign."
-msgstr ""
+msgstr "割り当てたいすべてのチャネルについて、このプロセスを繰り替えします."
 
 #. Tag: para
 #, no-c-format
-msgid "If you are not going to use a channel, there is no harm in assigning it a program anyway. However, assigning a program to a channel that you will not use can lead to confusion, especially if you later forget that you intended to not use that channel."
+msgid ""
+"If you are not going to use a channel, there is no harm in assigning it a "
+"program anyway. However, assigning a program to a channel that you will not "
+"use can lead to confusion, especially if you later forget that you intended "
+"to not use that channel."
 msgstr ""
+"あなたがチャネルを使用する予定がない場合は、それにプログラムを割り当てても害はありません。 "
+"しかし、使用しないチャネルにプログラムを割り当てると、後で、あなたがそのチャネルを使用しないつもりだったことを忘れたときなど特に、混乱を招くことがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Remember that channel 10 is reserved for percussion instruments, and should not be changed from a General MIDI percussion program."
-msgstr ""
+msgid ""
+"Remember that channel 10 is reserved for percussion instruments, and should "
+"not be changed from a General MIDI percussion program."
+msgstr "チャネル１０は打楽器に予約されており、汎用 MIDI 打楽器プログラムから変更してはいけないことに注意ください."
 
 #. Tag: title
 #, no-c-format
 msgid "Changing the Number of MIDI Input Channels"
-msgstr ""
+msgstr "MIDI 入力チャネル数を変更する"
 
 #. Tag: para
 #, no-c-format
-msgid "You can increase the number of MIDI input channels offered by <application>FluidSynth</application>. Although <application>QSynth</application> will let you set any number between 1 and 256, channels will be added and removed only in sets of 16. <application>Qsynth</application> will automatically create the lowest number of channels that will allow as many channels as you need. Each set of 16 channels will be indicated in <application>JACK</application> with an additional MIDI input device. The name of the device indicates which channels are listening: channels 1 through 16 listen to the device ending in 0; channels 17 through 32 listen to the device ending in 1; channels 33 through 58 listen to the device ending in 2; and so on."
-msgstr ""
+msgid ""
+"You can increase the number of MIDI input channels offered by "
+"<application>FluidSynth</application>. Although "
+"<application>QSynth</application> will let you set any number between 1 and "
+"256, channels will be added and removed only in sets of 16. "
+"<application>Qsynth</application> will automatically create the lowest "
+"number of channels that will allow as many channels as you need. Each set of"
+" 16 channels will be indicated in <application>JACK</application> with an "
+"additional MIDI input device. The name of the device indicates which "
+"channels are listening: channels 1 through 16 listen to the device ending in"
+" 0; channels 17 through 32 listen to the device ending in 1; channels 33 "
+"through 58 listen to the device ending in 2; and so on."
+msgstr ""
+"<application>FluidSynth</application> が提供する MIDI "
+"入力チャネルの数を増やすことができます.<application>QSynth</application> "
+"では１から２５６までの任意の数を設定することができますが、チャネルは、１６単位でしか、追加、削除できません.<application>Qsynth</application>"
+" "
+"は、自動的に、あなたが望むチャネル数に必要な最小のチャネル数を生成します.それぞれの１６チャネルのセットは、<application>JACK</application>"
+" において、追加の MIDI "
+"入力デバイスとして表示されます.デバイスの名前は、どのチャネルがそれを受信しているかを示します。チャネル１から１６は０で終わるデバイスを受信します.チャネル１７から３２は、１で終わるデバイスを受信します.チャネル３３から５８は、２で終わるデバイス、などです。"
 
 #. Tag: para
 #, no-c-format
-msgid "To change the number of MIDI input channels, follow these instructions."
-msgstr ""
+msgid ""
+"To change the number of MIDI input channels, follow these instructions."
+msgstr "MIDI 入力チャネル数を変更するには、以下の手順にしたがってください."
 
 #. Tag: para
 #, no-c-format
 msgid "Open the <application>Qsynth</application> \"Setup\" window."
-msgstr ""
+msgstr "<application>Qsynth</application> の \"Setup\" ウインドウを開いてください."
 
 #. Tag: para
 #, no-c-format
 msgid "Input the number of channels that you wish to use, between 1 and 256."
-msgstr ""
+msgstr "１から２５６までの間の、使いたいチャネル数を入力ください."
 
 #. Tag: title
 #, no-c-format
 msgid "Saving and Reusing Channel Assignments"
-msgstr ""
+msgstr "チャネルの割り当てを保存、再使用する"
 
 #. Tag: para
 #, no-c-format
-msgid "QSynth allows you to save multiple sets of program assignments, which you can restore later. This means that you will not have to re-configure all of the channels every time you want to change them."
+msgid ""
+"QSynth allows you to save multiple sets of program assignments, which you "
+"can restore later. This means that you will not have to re-configure all of "
+"the channels every time you want to change them."
 msgstr ""
+"QSynth "
+"では、複数のプログラム割り当てを保存して、後に回復することができます。つまり、あなたは、変えたい時に毎回、すべてのチャネルを再構成する必要はないということです。"
 
 #. Tag: para
 #, no-c-format
 msgid "To save the settings for later:"
-msgstr ""
+msgstr "後のために設定を保存するには："
 
 #. Tag: para
 #, no-c-format
-msgid "Ensure that <application>Qsynth</application> is correctly configured, and working with the program assignments as desired."
+msgid ""
+"Ensure that <application>Qsynth</application> is correctly configured, and "
+"working with the program assignments as desired."
 msgstr ""
+"<application>Qsynth</application> が正しく構成され、期待するプログラム割り当てで動いていることを確認ください."
 
 #. Tag: para
 #, no-c-format
-msgid "In <application>Qsynth</application>'s \"Channels\" window, erase the contents of the \"Preset Name\" text field, and replace it with whatever name you would like."
+msgid ""
+"In <application>Qsynth</application>'s \"Channels\" window, erase the "
+"contents of the \"Preset Name\" text field, and replace it with whatever "
+"name you would like."
 msgstr ""
+"<application>Qsynth</application> の \"Channels\" ウインドウで、\"Preset Name\" "
+"テキストフィールドの内容を削除して、あなたの好きな名前に入れ替えてください."
 
 #. Tag: para
 #, no-c-format
 msgid "Click \"Save\" to preserve the settings under that name."
-msgstr ""
+msgstr "\"Save\" をクリックしてその名前で設定を保存します. "
 
 #. Tag: para
 #, no-c-format
 msgid "To restore settings from earlier:"
-msgstr ""
+msgstr "以前の設定を回復するには："
 
 #. Tag: para
 #, no-c-format
 msgid "Open <application>Qsynth</application>'s \"Channels\" window."
-msgstr ""
+msgstr "<application>Qsynth</application>の\"Channels\" ウインドウを開きます."
 
 #. Tag: para
 #, no-c-format
-msgid "Search through the \"Preset Name\" drop-down box to find the name of the preset that you wish to restore."
-msgstr ""
+msgid ""
+"Search through the \"Preset Name\" drop-down box to find the name of the "
+"preset that you wish to restore."
+msgstr "\"Preset Name\" のドロップダウンボックスから、あなたが回復したいプリセットの名前を探します."
 
 #. Tag: para
 #, no-c-format
-msgid "Select it, and verify that the correct channel assignments were restored."
-msgstr ""
+msgid ""
+"Select it, and verify that the correct channel assignments were restored."
+msgstr "それを選択し、正しいチャネル割り当てが回復されたのを確認ください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Using Reverb and Chorus with <application>Qsynth</application>"
-msgstr ""
+msgstr "<application>Qsynth</application> で、リバーブとコーラスを使う"
 
 #. Tag: para
 #, no-c-format
-msgid "While \"reverb\" (meaning \"reverberation\") and \"chorus\" effects are not part of the General MIDI standard, they are offered by most MIDI synthesizers. <application>FluidSynth</application> is no exception, and the <application>Qsynth</application> interface provides a convenient and easy way to adjust settings of the reverb and chorus effect-generators. Experimentation is the only way to know whether you have chosen the right settings, and they will probably change depending on the music you are working on, and even during a piece. Most MIDI sequencers and players (including Qtractor and Rosegarden) allow you to send MIDI messages changing the reverb and chorus settings while a session is playing."
-msgstr ""
+msgid ""
+"While \"reverb\" (meaning \"reverberation\") and \"chorus\" effects are not "
+"part of the General MIDI standard, they are offered by most MIDI "
+"synthesizers. <application>FluidSynth</application> is no exception, and the"
+" <application>Qsynth</application> interface provides a convenient and easy "
+"way to adjust settings of the reverb and chorus effect-generators. "
+"Experimentation is the only way to know whether you have chosen the right "
+"settings, and they will probably change depending on the music you are "
+"working on, and even during a piece. Most MIDI sequencers and players "
+"(including Qtractor and Rosegarden) allow you to send MIDI messages changing"
+" the reverb and chorus settings while a session is playing."
+msgstr ""
+" \"reverb\" (\"残響\"の意味)と \"chorus\" エフェクトは、汎用 MIDI 標準に含まれませんが、それらはほとんどの MIDI"
+" シンセサイザで提供されます.<application>FluidSynth</application> "
+"も例外ではなく、<application>Qsynth</application> "
+"インタフェースは、リバーブとコーラスエフェクトのジェネレータの設定を調整する便利で簡単な方法を提供します.あなたが正しい設定を選んだかを知る唯一の方法は実験であり、それはたぶん、あなたがどんな音楽に取り組んでいるかにより違うでしょう.１つの作品の中でも、違うかもしれません.ほとんどの"
+" MIDI シーケンサとプレイヤ（Qtractor と Rosegarden を含む、）は、セッションを演奏中に、リバーブとコーラスの設定を変更する "
+"MIDI メッセージを送ることができます."
 
 #. Tag: para
 #, no-c-format
-msgid "The reverb and chorus effects can be turned off temporarily if you do not plan to use them. To do this in <application>Qsynth</application>, uncheck the \"Active\" check-box underneath the respective effect generator's settings dials."
+msgid ""
+"The reverb and chorus effects can be turned off temporarily if you do not "
+"plan to use them. To do this in <application>Qsynth</application>, uncheck "
+"the \"Active\" check-box underneath the respective effect generator's "
+"settings dials."
 msgstr ""
+"あなたがそれを使う予定がないなら、リバーブとコーラスエフェクトは、一時的に無効にすることができます.<application>Qsynth</application>"
+" でこれをするには、それぞれのジェネレータの設定ダイアルの下の \"Active\" チェックボックスのチェックを外します."
 
 #. Tag: para
 #, no-c-format
-msgid "The <firstterm>reverb</firstterm> effect generator creates artificial reverberation (like an \"echo,\" but more complex), which occurs naturally in almost all performing environments. The effect generator works by creating a virtual room, and pretending that the user is listening within it. These are the settings offered by <application>Qsynth</application>:"
+msgid ""
+"The <firstterm>reverb</firstterm> effect generator creates artificial "
+"reverberation (like an \"echo,\" but more complex), which occurs naturally "
+"in almost all performing environments. The effect generator works by "
+"creating a virtual room, and pretending that the user is listening within "
+"it. These are the settings offered by <application>Qsynth</application>:"
 msgstr ""
+"<firstterm>reverb</firstterm> "
+"エフェクトジェネレータは、人工的な残響（\"こだま\"のようなものですが、もっと複雑です)を作り出します.それは、ほとんどすべての演奏環境で自然に発生するものです.エフェクトジェネレータは、仮想的な部屋を作り、ユーザがその中で聞いているかのようにするはたらきをします。以下は、<application>Qsynth</application>"
+" が提供する設定です："
 
 #. Tag: para
 #, no-c-format
-msgid "Room: Adjusts the size of the virtual room. Settings higher than 100 can cause a situation that escalates in volume to dangerously high levels, even with the lowest possible \"level\" settings. This is an interesting effect, but caution is advised so that listener do not incur accidental hearing damage. Remember also that the reverb effect can accumulate as time goes on, so it may even take many minutes for the volume level to build to a dangerously high level, depending on the settings."
+msgid ""
+"Room: Adjusts the size of the virtual room. Settings higher than 100 can "
+"cause a situation that escalates in volume to dangerously high levels, even "
+"with the lowest possible \"level\" settings. This is an interesting effect, "
+"but caution is advised so that listener do not incur accidental hearing "
+"damage. Remember also that the reverb effect can accumulate as time goes on,"
+" so it may even take many minutes for the volume level to build to a "
+"dangerously high level, depending on the settings."
 msgstr ""
+"Room: 仮想的な部屋の大きさを調整します.１００より大きい設定は、 \"level\" "
+"設定を最小にしたときでも、危険なレベルまで音量が大きくなる状況を作り出すことがあります。これは面白いエフェクトですが、リスナーが聴覚障害事故を起こさないように、注意が必要です.また、リバーブエフェクトは、時間とともに蓄積されるので、設定によっては、音量が危険な高レベルになるのに何分もかかることがあることを覚えておいてください."
 
 #. Tag: para
 #, no-c-format
-msgid "Damp: Adjusts the amount of \"sound damping\" in the virtual room, affecting not only the time it takes for the sound to die, but the frequencies which are most affected. The greater the damping, the shorter the higher frequencies last."
+msgid ""
+"Damp: Adjusts the amount of \"sound damping\" in the virtual room, affecting"
+" not only the time it takes for the sound to die, but the frequencies which "
+"are most affected. The greater the damping, the shorter the higher "
+"frequencies last."
 msgstr ""
+"Damp:  "
+"仮想的な部屋での\"音の減衰\"量を調整します.音が消えるまでの時間の外に,最も影響される周波数を変えます.減衰が大きければ大きいほど、高い周波数は短時間しか続きません."
 
 #. Tag: para
 #, no-c-format
-msgid "Width: Adjusts the perceived \"width\" of the stereo image of the virtual room, and also has a large effect on the volume level."
-msgstr ""
+msgid ""
+"Width: Adjusts the perceived \"width\" of the stereo image of the virtual "
+"room, and also has a large effect on the volume level."
+msgstr "Width: 仮想的な部屋のステレオイメージで知覚される \"広さ\"を調整します.ボリュームレベルにも大きな影響があります."
 
 #. Tag: para
 #, no-c-format
 msgid "Level: Adjusts the volume level of the reverberation."
-msgstr ""
+msgstr "Level: 残響のボリュームレベルを調整します."
 
 #. Tag: para
 #, no-c-format
-msgid "All of the settings interact in ways that make it difficult to describe any sort of recommended settings. Users are strongly encouraged to experiment with the various settings to find ones that suit their needs. A wide variety of listening environments can be simulated, and the settings required do not always reflect the most logical choice - it is possible to emulate a concert hall with a relatively small \"room\" setting, for example. Effective use of the reverb effect can greatly enhance the MIDI listening experience."
+msgid ""
+"All of the settings interact in ways that make it difficult to describe any "
+"sort of recommended settings. Users are strongly encouraged to experiment "
+"with the various settings to find ones that suit their needs. A wide variety"
+" of listening environments can be simulated, and the settings required do "
+"not always reflect the most logical choice - it is possible to emulate a "
+"concert hall with a relatively small \"room\" setting, for example. "
+"Effective use of the reverb effect can greatly enhance the MIDI listening "
+"experience."
 msgstr ""
+"すべての設定は相互作用するので、推奨されるなんらかの設定を示すことはむつかしいです。ユーザは、自分の要求に合う設定を探すために、いろいろな設定を実験することを強くおすすめします.幅広い聴取環境をシミュレートすることができ、必要な設定は最も論理的な選択を反映するとは限らないことがあります.例えば、比較的小さな"
+" \"room\" 設定で、コンサートホールをエミュレートすることができます。リバーブエフェクトの効果的な使用は、MIDI "
+"聴取経験をとても優れたものにすることができます."
 
 #. Tag: para
 #, no-c-format
-msgid "The <firstterm>chorus</firstterm> effect generator creates the impression that more than one real-world instrument is playing each MIDI line. The effect generator works by slightly responding to each MIDI note several times, with slightly inaccuracies in pitch and time in each response. Although it may seem overly negative to say so, humans intuitively recognize that this inaccuracy is part of real-world, acoustic music, so the chorus effect helps to add a realistic sound to some performances. These are the settings offered by <application>Qsynth</application>:"
+msgid ""
+"The <firstterm>chorus</firstterm> effect generator creates the impression "
+"that more than one real-world instrument is playing each MIDI line. The "
+"effect generator works by slightly responding to each MIDI note several "
+"times, with slightly inaccuracies in pitch and time in each response. "
+"Although it may seem overly negative to say so, humans intuitively recognize"
+" that this inaccuracy is part of real-world, acoustic music, so the chorus "
+"effect helps to add a realistic sound to some performances. These are the "
+"settings offered by <application>Qsynth</application>:"
 msgstr ""
+"<firstterm>chorus</firstterm>エフェクトジェネレータは、それぞれの MIDIラ "
+"インを、１つ以上の実際の楽器が演奏しているかのような印象を作り出します.エフェクトジェネレータは、それぞれの MIDI "
+"ノートに、かすかに、複数回、応答することで動作します.そのとき、それぞれの応答で、音程と時間を微妙にずらします。このように言うのは、ずいぶんネガティブに聞こえるかもしれませんが、人間の直感は、この不正確さが、実世界のアコースティック音楽の一部であると認識するので、コーラスエフェクトは、演奏によっては、リアルな感じを加えるのに役に立ちます。以下が、<application>Qsynth</application>"
+" が提供する設定です："
 
 #. Tag: para
 #, no-c-format
-msgid "N: Adjusts the number of effect \"stages,\" which allows you to control the approximate number of discrete instruments perceived."
-msgstr ""
+msgid ""
+"N: Adjusts the number of effect \"stages,\" which allows you to control the "
+"approximate number of discrete instruments perceived."
+msgstr "N: エフェクトの \"stages\" の数を調整します.知覚される個々の楽器のだいたいの数をコントロールできます."
 
 #. Tag: para
 #, no-c-format
 msgid "Level: Adjusts the volume level of the effect."
-msgstr ""
+msgstr "Level: エフェクトのボリュームレベルを調整します."
 
 #. Tag: para
 #, no-c-format
-msgid "Speed: Adjusts the speed of the chorus, and so the range of time over which the notes are spread."
-msgstr ""
+msgid ""
+"Speed: Adjusts the speed of the chorus, and so the range of time over which "
+"the notes are spread."
+msgstr "Speed: コーラスの速度を調整します.音が拡散される時間の範囲を変えます."
 
 #. Tag: para
 #, no-c-format
 msgid "Depth: Adjusts the perceived \"depth\" of the stereo image."
-msgstr ""
+msgstr "Depth: ステレオイメージで知覚される \"depth\" を調整します."
 
 #. Tag: title
 #, no-c-format
-msgid "Multiple <application>FluidSynth</application> Instances with <application>Qsynth</application>"
+msgid ""
+"Multiple <application>FluidSynth</application> Instances with "
+"<application>Qsynth</application>"
 msgstr ""
+"<application>Qsynth</application> で、複数の "
+"<application>FluidSynth</application> インスタンスを使う"
 
 #. Tag: para
 #, no-c-format
-msgid "Rarely will you need more than one instance of <application>FluidSynth</application>, because QSynth/<application>FluidSynth</application> together offer up to 256 independent input channels, and the ability to control the reverb and chorus effects independently by channel. The most common use of multiple <application>FluidSynth</application> instances is if you want to use multiple MIDI instruments. In other words, if you want to use multiple SoundFonts at the same time, you will need to use one instance of <application>FluidSynth</application> for each SoundFont."
-msgstr ""
+msgid ""
+"Rarely will you need more than one instance of "
+"<application>FluidSynth</application>, because "
+"QSynth/<application>FluidSynth</application> together offer up to 256 "
+"independent input channels, and the ability to control the reverb and chorus"
+" effects independently by channel. The most common use of multiple "
+"<application>FluidSynth</application> instances is if you want to use "
+"multiple MIDI instruments. In other words, if you want to use multiple "
+"SoundFonts at the same time, you will need to use one instance of "
+"<application>FluidSynth</application> for each SoundFont."
+msgstr ""
+"<application>FluidSynth</application> "
+"の１つ以上のインスタンスを必要とすることはまれでしょう。なぜなら、QSynth/<application>FluidSynth</application>"
+" "
+"の組み合わせは、２５６までの独立した入力チャネルを提供し、リバーブとコーラスエフェクトをチャネルごとに独立してコントロールできるからです.最も一般的な、複数の"
+" <application>FluidSynth</application> インスタンスの使い方は、あなたが複数の MIDI "
+"楽器を使いたいときでしょう.別の言葉で言うと、もしあなたが複数のサウンドフォントを同時に使いたいときは、それぞれのサウンドフォントに１つずつ "
+"<application>FluidSynth</application> インスタンスが必要です."
 
 #. Tag: para
 #, no-c-format
-msgid "Thankfully, <application>Qsynth</application> allows us to do this almost effortlessly! Each \"instance\" of <application>FluidSynth</application> is created and controlled by, in effect, running the <application>FluidSynth</application> synthesis application multiple times. The reality is that, since <application>Qsynth</application> controls the <application>FluidSynth</application> engine directly, it simply starts the synthesis engine directly, creating multiple instance of that engine. This is much more efficient than actually running <application>Qsynth</application> multiple time, or even than running <application>FluidSynth</application> directly from a terminal. Each such instance is represented in <application>Qsynth</application> by a \"tab,\" displayed at the bottom of the <application>Qsynth</application> window."
-msgstr ""
+msgid ""
+"Thankfully, <application>Qsynth</application> allows us to do this almost "
+"effortlessly! Each \"instance\" of <application>FluidSynth</application> is "
+"created and controlled by, in effect, running the "
+"<application>FluidSynth</application> synthesis application multiple times. "
+"The reality is that, since <application>Qsynth</application> controls the "
+"<application>FluidSynth</application> engine directly, it simply starts the "
+"synthesis engine directly, creating multiple instance of that engine. This "
+"is much more efficient than actually running "
+"<application>Qsynth</application> multiple time, or even than running "
+"<application>FluidSynth</application> directly from a terminal. Each such "
+"instance is represented in <application>Qsynth</application> by a \"tab,\" "
+"displayed at the bottom of the <application>Qsynth</application> window."
+msgstr ""
+"ありがたいことに、<application>Qsynth</application> ではこれをほとんど努力なしにすることができます！ "
+"<application>FluidSynth</application> の \"インスタンス\" "
+"は、実際、<application>FluidSynth</application> "
+"合成アプリケーションを複数回実行することで、生成され、制御されます.現実はこうです。<application>Qsynth</application> "
+"は <application>FluidSynth</application> "
+"エンジンを直接制御するので、それは合成エンジンを単に直接開始し、エンジンの複数のインスタンスを作るのです.これは、<application>Qsynth</application>"
+" を実際に複数回実行することや、<application>FluidSynth</application> "
+"を直接ターミナルから実行することよりもずっと効率がよいです.それらのインスタンスは、<application>Qsynth</application> "
+"の \"タブ\"、<application>Qsynth</application>ウ インドウの下のところに表示される、によって表されます."
 
 #. Tag: para
 #, no-c-format
-msgid "To create an additional instance of <application>FluidSynth</application>:"
-msgstr ""
+msgid ""
+"To create an additional instance of <application>FluidSynth</application>:"
+msgstr "<application>FluidSynth</application> の追加のインスタンスを生成するには："
 
 #. Tag: para
 #, no-c-format
-msgid "Press the green \"+\" button in the bottom-left corner of <application>Qsynth</application>'s main window"
-msgstr ""
+msgid ""
+"Press the green \"+\" button in the bottom-left corner of "
+"<application>Qsynth</application>'s main window"
+msgstr "<application>Qsynth</application >のメインウインドウの左下にある緑の \"+\" ボタンを押してください. "
 
 #. Tag: para
 #, no-c-format
-msgid "Adjust the settings as desired, by using the Setup window that pops up."
-msgstr ""
+msgid ""
+"Adjust the settings as desired, by using the Setup window that pops up."
+msgstr "ポップアップするセットアップウインドウを使って、希望するように設定を調整します."
 
 #. Tag: para
 #, no-c-format
 msgid "Press \"OK\" to start the additional instance."
-msgstr ""
+msgstr " \"OK\" を押して、追加のインスタンスを開始します."
 
 #. Tag: para
 #, no-c-format
-msgid "To close an additional instance, use the red \"X\" near the lower-right corner."
-msgstr ""
+msgid ""
+"To close an additional instance, use the red \"X\" near the lower-right "
+"corner."
+msgstr "追加のインスタンスを閉じるには、右下すみの赤い \"X\" ボタンを使います."
 
 #. Tag: para
 #, no-c-format
-msgid "Each instance of the <application>FluidSynth</application> engine has its own settings in the \"Setup\" window. <application>Qsynth</application> supports a theoretically unlimited number of <application>FluidSynth</application> instances, but your computer's memory will probably not allow many more than ten, depending on the SoundFonts used."
+msgid ""
+"Each instance of the <application>FluidSynth</application> engine has its "
+"own settings in the \"Setup\" window. <application>Qsynth</application> "
+"supports a theoretically unlimited number of "
+"<application>FluidSynth</application> instances, but your computer's memory "
+"will probably not allow many more than ten, depending on the SoundFonts "
+"used."
 msgstr ""
+"<application>FluidSynth</application> エンジンのそれぞれのインスタンスは、\"Setup\" "
+"ウインドウに、自分の設定を持ちます.<application>Qsynth</application> は、理論的には無限の数の "
+"<application>FluidSynth</application> "
+"インスタンスをサポートしますが、お使いのコンピュータのメモリの制限のため、おそらく、使われるサウンドフォントにもよりますが、１０よりそんなに多くはできないでしょう。"
+
+
diff --git a/ja-JP/Frescobaldi.po b/ja-JP/Frescobaldi.po
index f6d82a2..9d51a73 100644
--- a/ja-JP/Frescobaldi.po
+++ b/ja-JP/Frescobaldi.po
@@ -1,209 +1,358 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-09-08T03:01:42\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-06-12 09:44+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "Frescobaldi"
-msgstr ""
+msgstr "Frescobaldi"
 
 #. Tag: para
 #, no-c-format
-msgid "Frescobaldi is an advanced text editor, designed specifically for use with LilyPond source files. Its interface has been crafted in such a way that it aids the average workflow of creating and editing musical scores in LilyPond. Frescobaldi's tight integration with various system tools is similar to the way LilyPond itself is tightly integrated with various other software programs."
+msgid ""
+"Frescobaldi is an advanced text editor, designed specifically for use with "
+"LilyPond source files. Its interface has been crafted in such a way that it "
+"aids the average workflow of creating and editing musical scores in "
+"LilyPond. Frescobaldi's tight integration with various system tools is "
+"similar to the way LilyPond itself is tightly integrated with various other "
+"software programs."
 msgstr ""
+"Frescobaldi は進んだテキストエディタで、LilyPond ソースファイルで使うために設計されました。そのインタフェースは LilyPond "
+"で音楽の楽譜を作成し、編集する平均的なワークフローを助ける用に工夫されています。Frescobaldi "
+"はいろいろなシステムツールと密接に統合されており、それは LilyPond そのものが他のソフトウエアプログラムと密接に統合されている方法に似ています。"
 
 #. Tag: para
 #, no-c-format
-msgid "Frescobaldi is designed to take advantage of several features of the KDE 4 desktop system. Regular KDE users will immediately recognize Frescobaldi's components as being identical to several other key KDE applications - specifically Kate, Okular, and Konqueror. The key advantage to this approach is that KDE users will already know how to use most of the features of Frescobaldi, because those other applications are not just replicated, but actually used by Frescobaldi. There are many other advantages to this development approach."
+msgid ""
+"Frescobaldi is designed to take advantage of several features of the KDE 4 "
+"desktop system. Regular KDE users will immediately recognize Frescobaldi's "
+"components as being identical to several other key KDE applications - "
+"specifically Kate, Okular, and Konqueror. The key advantage to this approach"
+" is that KDE users will already know how to use most of the features of "
+"Frescobaldi, because those other applications are not just replicated, but "
+"actually used by Frescobaldi. There are many other advantages to this "
+"development approach."
 msgstr ""
+"Frescobaldi は KDE4 デスクトップシステムのいくつかの機能を有効に使うように設計されています。いつも KDE "
+"を使っている人はすぐに、Frescobaldi のコンポーネントがほかのいくつかの KDE "
+"の主要アプリケーションと同じであることに気がつくでしょう。特に、Kate, Okular, そして Konqueror "
+"です。このアプローチの主な利点は、KDE ユーザは Frescobaldi "
+"のほとんどの機能をどう使うのか既に知っているということです。なぜなら、これらの他のアプリケーションは、複製されているのではなく、Frescobaldi "
+"により、実際に使われているからです。この開発アプローチには、多くの他の利点もあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "For non-KDE users - especially those with older computers, this KDE-based approach may be more of a hassle than a help. An unfortunate side-effect of this development choice is that Frescobaldi has many \"dependencies\" in KDE packages, meaning that some KDE software will need to be installed in order to use Frescobaldi. This is a significant disadvantage for some users, but the benefits of using Frescobaldi far outweigh the extra hard drive space that will be required."
-msgstr ""
+msgid ""
+"For non-KDE users - especially those with older computers, this KDE-based "
+"approach may be more of a hassle than a help. An unfortunate side-effect of "
+"this development choice is that Frescobaldi has many \"dependencies\" in KDE"
+" packages, meaning that some KDE software will need to be installed in order"
+" to use Frescobaldi. This is a significant disadvantage for some users, but "
+"the benefits of using Frescobaldi far outweigh the extra hard drive space "
+"that will be required."
+msgstr ""
+"KDE 以外のユーザ、特に古いコンピュータの持ち主、にとって、この KDE "
+"ベースのアプローチは助けとなるよりむしろ面倒のもとかもしれません。この開発上の選択の不幸な副産物は Frescobaldi が KDE "
+"パッケージに多くの \"依存性 \"を持つことです。つまり、Frescobaldi を使うためにいくつかの KDE "
+"ソフトウエアをインストールしないといけません。これはあるユーザにとっては大きな欠点ですが、Frescobaldi "
+"を使うことによる利益のほうが、余分に必要になるハードディスクのスペースよりはずっと勝ると思います。"
 
 #. Tag: title
 #, no-c-format
 msgid "Frescobaldi Makes LilyPond Easier"
-msgstr ""
+msgstr "Frescobaldi は LilyPond をより簡単にします"
 
 #. Tag: para
 #, no-c-format
-msgid "Using LilyPond with Frescobaldi is the recommended method for this User Guide. All three case studies in the \"LilyPond\" chapter (link? maybe?) use Frescobaldi. This is because the writers feel that Frescobaldi truly makes using LilyPond an easier thing to do."
+msgid ""
+"Using LilyPond with Frescobaldi is the recommended method for this User "
+"Guide. All three case studies in the \"LilyPond\" chapter (link? maybe?) use"
+" Frescobaldi. This is because the writers feel that Frescobaldi truly makes "
+"using LilyPond an easier thing to do."
 msgstr ""
+"Frescobaldi とともに LilyPond を使うことはこのガイドでお勧めする方法です。\"LilyPond\"の章の ( リンク？たぶんね？ "
+") すべての３つのケーススタディは Frescobaldi を使っています。これは著者が Frescobaldi は本当に LilyPond "
+"を使うのをより簡単にすると感じるからです。"
 
 #. Tag: para
 #, no-c-format
 msgid "Here are some of the benefits:"
-msgstr ""
+msgstr "以下は、いくつかの利点です："
 
 #. Tag: para
 #, no-c-format
-msgid "The text-editing component (from Kate), PDF-preview component (from Okular), and help file component (from Konqueror) are from applications that you may already know how to use."
+msgid ""
+"The text-editing component (from Kate), PDF-preview component (from Okular),"
+" and help file component (from Konqueror) are from applications that you may"
+" already know how to use."
 msgstr ""
+"（Kate に由来する）テキスト編集コンポーネント、（Okular に由来する） PDF プレビューコンポーネント、そして（Konqueror "
+"に由来する）ヘルプファイルコンポーネントは、あなたが既にどう使うかを知っているアプリケーションのものです。"
 
 #. Tag: para
 #, no-c-format
-msgid "The one-window setup of the application allows you to view either the source file and its output, or the source file and a help document, side-by-side. This is perfect for today's widescreen monitors."
+msgid ""
+"The one-window setup of the application allows you to view either the source"
+" file and its output, or the source file and a help document, side-by-side. "
+"This is perfect for today's widescreen monitors."
 msgstr ""
+"アプリケーションの１ーウインドウの体裁はソースファイルとその出力か、あるいはソースファイルとヘルプ文書かのいずれかを横に並べて表示します。これは今日のワイドスクリーンモニターにとって、最適です。"
 
 #. Tag: para
 #, no-c-format
-msgid "The \"Setup new score\" tool greatly increases the speed of creating a new score, and offers some advanced configuration options that might otherwise take hours to discover."
+msgid ""
+"The \"Setup new score\" tool greatly increases the speed of creating a new "
+"score, and offers some advanced configuration options that might otherwise "
+"take hours to discover."
 msgstr ""
+"\"Setup new "
+"score\"ツールは新しい楽譜を作成するスピードを著しく高めます。そして、いくつかの進んだ構成オプションを提供します。それなしにオプションを探そうとしたら、何時間もかかるかもしれません。"
 
 #. Tag: para
 #, no-c-format
-msgid "The \"Quick Insert\" sidebar on the left-hand side of the window makes it easy to insert articulation, trill, and other marks. These would often otherwise require checking a reference document."
+msgid ""
+"The \"Quick Insert\" sidebar on the left-hand side of the window makes it "
+"easy to insert articulation, trill, and other marks. These would often "
+"otherwise require checking a reference document."
 msgstr ""
+"ウインドウの左側の \"Quick "
+"Insert\"サイドバーはアーティキュレーション、トリル、そして他の記号を簡単に入れることができます。これらはさもないと、レファレンス文書をチェックしないとできないことが多いです。"
 
 #. Tag: para
 #, no-c-format
-msgid "The 'LilyPond' menu provides several further tools to help adjust and troubleshoot your scores."
-msgstr ""
+msgid ""
+"The 'LilyPond' menu provides several further tools to help adjust and "
+"troubleshoot your scores."
+msgstr "'LilyPond'メニューはあなたの楽譜を調整したりトラブルシュートするためのいくつかの他のツールを提供します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Careful integration with system tools allows you to input notes with a MIDI keyboard, listen to the MIDI output of your LilyPond score, and print the PDF file of your score, all from within Frescobaldi. These features are not covered in this Guide."
+msgid ""
+"Careful integration with system tools allows you to input notes with a MIDI "
+"keyboard, listen to the MIDI output of your LilyPond score, and print the "
+"PDF file of your score, all from within Frescobaldi. These features are not "
+"covered in this Guide."
 msgstr ""
+"システムツールと注意深く統合されているため、あなたは音符を MIDI キーボードから入れたり、あなたの LilyPond 楽譜の MIDI "
+"出力を聴いたり、そしてあなたの楽譜の PDF ファイルを印刷したり、すべてを Frescobaldi "
+"の中から行うことができます。このガイドでは、これらの機能は扱われていません。"
 
 #. Tag: para
 #, no-c-format
-msgid "For more information refer to the <citetitle>Frescobaldi Website</citetitle> <ulink url=\"at http://www.frescobaldi.org/\" />."
+msgid ""
+"For more information refer to the <citetitle>Frescobaldi Website</citetitle>"
+" <ulink url=\"at http://www.frescobaldi.org/\" />."
 msgstr ""
+"詳しくは、<citetitle>Frescobaldi Website</citetitle><ulink url=\"at "
+"http://www.frescobaldi.org/\" /> を参照ください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Requirements and Installation"
-msgstr ""
+msgstr "要件とインストール"
 
 #. Tag: para
 #, no-c-format
-msgid "Install the <package>frescobaldi</package> package with <application>PackageKit</application> or <application>KPackageKit</application>."
+msgid ""
+"Install the <package>frescobaldi</package> package with "
+"<application>PackageKit</application> or "
+"<application>KPackageKit</application>."
 msgstr ""
+"<application>PackageKit</application> あるいは "
+"<application>KPackageKit</application> で <package>frescobaldi</package> "
+"パッケージをインストールください。"
 
 #. Tag: para
 #, no-c-format
-msgid "There are a lot of dependencies, including <package>perl-<replaceable>*</replaceable></package> packages, <package>kde-<replaceable>*</replaceable></package> packages, and <application>timidity++</application> including <package>fluid-soundfont-gm</package> (which is 114&nbsp;MB)"
+msgid ""
+"There are a lot of dependencies, including "
+"<package>perl-<replaceable>*</replaceable></package> packages, "
+"<package>kde-<replaceable>*</replaceable></package> packages, and "
+"<application>timidity++</application> including <package>fluid-soundfont-"
+"gm</package> (which is 114&nbsp;MB)"
 msgstr ""
+"たくさんの依存関係があります。例えば、<package>perl-<replaceable>*</replaceable></package> "
+"パッケージ、<package>kde-<replaceable>*</replaceable></package> パッケージ、そして "
+"<application>timidity++</application> と <package>fluid-soundfont-"
+"gm</package> （これは、１１４ MB あります。）。"
 
 #. Tag: para
 #, no-c-format
 msgid "Review and approve the list of dependencies."
-msgstr ""
+msgstr "依存関係のリストを見て、承認します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The application can be found in the K Menu under 'Multimedia' or somewhere in the GNOME 'Applications' menu (probably under 'Multimedia'... for some reason)"
+msgid ""
+"The application can be found in the K Menu under 'Multimedia' or somewhere "
+"in the GNOME 'Applications' menu (probably under 'Multimedia'... for some "
+"reason)"
 msgstr ""
+"アプリケーションは、K Menu の'Multimedia'の下、あるいは、GNOME "
+"'Applications'メニューのどこか（たしか、なぜか'Multimedia'の下 ... ）に見えるはずです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Configuration"
-msgstr ""
+msgstr "構成"
 
 #. Tag: para
 #, no-c-format
-msgid "Changing these default settings is not necessary, but it may result in a more productive experience."
-msgstr ""
+msgid ""
+"Changing these default settings is not necessary, but it may result in a "
+"more productive experience."
+msgstr "以下のデフォルト設定を変えるのは必要ではありませんが、より生産的な経験につながるかもしれません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Chose <menuchoice><guimenu>Settings</guimenu><guimenuitem>Configure Frescobaldi</guimenuitem></menuchoice>"
+msgid ""
+"Chose <menuchoice><guimenu>Settings</guimenu><guimenuitem>Configure "
+"Frescobaldi</guimenuitem></menuchoice>"
 msgstr ""
+"<menuchoice><guimenu>Settings</guimenu><guimenuitem>Configure "
+"Frescobaldi</guimenuitem></menuchoice> を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "In 'General Preferences' check 'Save document when LilyPond is run', or else you will have to save it manually"
+msgid ""
+"In 'General Preferences' check 'Save document when LilyPond is run', or else"
+" you will have to save it manually"
 msgstr ""
+"'General Preferences'では、'Save document when LilyPond is "
+"run'をチェックします。そうしないと、自分でセーブする必要があります。"
 
 #. Tag: para
 #, no-c-format
 msgid "Review the other options on this page"
-msgstr ""
+msgstr "このページの他のオプションを見てみましょう。"
 
 #. Tag: para
 #, no-c-format
 msgid "In 'Paths', only some of the fields will be filled; this is okay."
-msgstr ""
+msgstr "'Paths'では、一部のフィールドだけが設定されています。これはかまいません。"
 
 #. Tag: para
 #, no-c-format
-msgid "GNOME users might want to set \"PDF Viewer\" to 'evince'; this will not change the embedded PDF viewer, but it will change what opens when you click \"Open PDF\" in the bottom pane's 'LilyPond Log'. If left blank, this will open KDE's \"Okular\"."
+msgid ""
+"GNOME users might want to set \"PDF Viewer\" to 'evince'; this will not "
+"change the embedded PDF viewer, but it will change what opens when you click"
+" \"Open PDF\" in the bottom pane's 'LilyPond Log'. If left blank, this will "
+"open KDE's \"Okular\"."
 msgstr ""
+"GNOME ユーザは \"PDF Viewer\"を'evince'にしたいかもしれません。これは、組み込みの PDF "
+"ビューアは変更しません。底のペインの'LilyPond Log'の \"Open "
+"PDF\"をクリックしたときに開くものを変更します。空白のままであるとき、これは KDE の \"Okular\"を開きます。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can fill in the \"MIDI Player\" path, so that the \"Play MIDI\" button will work"
-msgstr ""
+msgid ""
+"You can fill in the \"MIDI Player\" path, so that the \"Play MIDI\" button "
+"will work"
+msgstr "\"MIDI Player\"パスを設定すれば、\"Play MIDI\"ボタンが使えます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The program \"pmidi\" is available from the Planet CCRMA at Home repositories, and is a command-line MIDI player; install it with yum; run 'pmidi -l' to see which ports are available; then put \"pmidi -p 14:0\" in the \"MIDI Player\" field where \"14:0\" is instead whatever port you want to use; you'll need a MIDI synthesizer (like FluidSynth) listening"
+msgid ""
+"The program \"pmidi\" is available from the Planet CCRMA at Home "
+"repositories, and is a command-line MIDI player; install it with yum; run "
+"'pmidi -l' to see which ports are available; then put \"pmidi -p 14:0\" in "
+"the \"MIDI Player\" field where \"14:0\" is instead whatever port you want "
+"to use; you'll need a MIDI synthesizer (like FluidSynth) listening"
 msgstr ""
+"\"pmidi\"プログラムは Planet CCRMA at Home リポジトリから入手可能なコマンドライン MIDI プレイヤーです。yum "
+"でインストールください。'pmidi -l'で、どのポートが使えるかを見ます。そして、\"MIDI Player\"フィールドに、\"pmidi -p "
+"14:0\"と入れます。\"14:0\"は、あなたが使いたいポートに変えてください。MIDI シンセサイザー（FluidSynth "
+"のような）が、待機している必要があります。"
 
 #. Tag: para
 #, no-c-format
 msgid "or you can use timidity++"
-msgstr ""
+msgstr "あるいは timidity++ を使ってもよいです。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can change the \"Default Directory\" to the place where you store your LilyPond files"
-msgstr ""
+msgid ""
+"You can change the \"Default Directory\" to the place where you store your "
+"LilyPond files"
+msgstr "\"Default Directory\"を、あなたが LilyPond ファイルを置いているところに変更します。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can change \"LilyPond documentation\" if you don't want the right-side-bar \"LilyPond Documentation\" thing to internet it every time"
+msgid ""
+"You can change \"LilyPond documentation\" if you don't want the right-side-"
+"bar \"LilyPond Documentation\" thing to internet it every time"
 msgstr ""
+"\"LilyPond documentation\"を変更して、右のサイドバーの \"LilyPond "
+"Documentation\"が毎回インターネットアクセスをするのを止めることもできます。"
 
 #. Tag: para
 #, no-c-format
 msgid "install the 'lilypond-doc' package (it's 44 MB)"
-msgstr ""
+msgstr "'lilypond-doc'パッケージをインストールします。（４４ MB あります。）"
 
 #. Tag: para
 #, no-c-format
-msgid "put \"/usr/share/doc/lilypond-doc-2.12.2/index.html\" in the field (or in another language if that's what you want)"
+msgid ""
+"put \"/usr/share/doc/lilypond-doc-2.12.2/index.html\" in the field (or in "
+"another language if that's what you want)"
 msgstr ""
+"\"/usr/share/doc/lilypond-"
+"doc-2.12.2/index.html\"をフィールドに入れます。（あるいは、あなたが望みの別の言語の版を）"
 
 #. Tag: para
 #, no-c-format
-msgid "this will need to be updated when LilyPond is updated; if you don't update it, then the built-in \"LilyPond Documentation\" tab will simply show up blank, instead of with the user guide - so it's harmless if you forget to update"
+msgid ""
+"this will need to be updated when LilyPond is updated; if you don't update "
+"it, then the built-in \"LilyPond Documentation\" tab will simply show up "
+"blank, instead of with the user guide - so it's harmless if you forget to "
+"update"
 msgstr ""
+"ここは、LilyPond を更新したら更新する必要があります。更新をしないと、組み込みの \"LilyPond "
+"Documentation\"タブは単にユーザガイドの代わりに真っ白なページを見せます。なので、更新し忘れても害はないです。"
 
 #. Tag: para
 #, no-c-format
 msgid "options for the \"Editor Component\" are the same as those for KWrite"
-msgstr ""
+msgstr "\"Editor Component\"のオプションは、KWrite のそれと同じです。"
 
 #. Tag: para
 #, no-c-format
-msgid "I recommend going to the Editing tab, then \"Auto Completion\" and ensuring that both boxes are un-checked"
-msgstr ""
+msgid ""
+"I recommend going to the Editing tab, then \"Auto Completion\" and ensuring "
+"that both boxes are un-checked"
+msgstr "Editing タブ、そして \"Auto Completion\"へ行って、両方のボックスがチェックされていないのを確認するのをお勧めします。"
 
 #. Tag: para
 #, no-c-format
-msgid "You may want to change other settings here; highly-flexible, customizable, powerful; applies only in Frescobaldi"
-msgstr ""
+msgid ""
+"You may want to change other settings here; highly-flexible, customizable, "
+"powerful; applies only in Frescobaldi"
+msgstr "ここで他の設定を変えてもよいです。高度に柔軟、カスタマイズ可能、パワフル。Frescobaldi にだけ適用されます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Using Frescobaldi"
-msgstr ""
+msgstr "Frescobaldi を使う"
 
 #. Tag: para
 #, no-c-format
-msgid "The practical use of Frescobaldi for editing LilyPond source files is described in <xref linkend=\"chap-Musicians_Guide-LilyPond\" />."
+msgid ""
+"The practical use of Frescobaldi for editing LilyPond source files is "
+"described in <xref linkend=\"chap-Musicians_Guide-LilyPond\" />."
 msgstr ""
+"実際に Frescobaldi を使って LilyPond ソースファイルを編集するところは、<xref linkend=\"chap-"
+"Musicians_Guide-LilyPond\" /> に書いてあります。"
+
+
diff --git a/ja-JP/LilyPond/LilyPond-counterpoint.po b/ja-JP/LilyPond/LilyPond-counterpoint.po
index e127613..83dc25f 100644
--- a/ja-JP/LilyPond/LilyPond-counterpoint.po
+++ b/ja-JP/LilyPond/LilyPond-counterpoint.po
@@ -1,339 +1,483 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-11-02T04:33:08\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-06-12 10:09+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
-msgid "Working on a Counterpoint Exercise (Tutorial)"
-msgstr ""
+msgid "Work on a Counterpoint Exercise (Tutorial)"
+msgstr "対位法の課題をする（チュートリアル）"
 
 #. Tag: para
 #, no-c-format
-msgid "Imagine you're in Counterpoint class, and you've been asked to submit a very clean copy of your next assignment. Since you don't want to pay $450,000 for a commercially-available engraving solution and a fruity computer to use it, you decide that LilyPond is the solution for you."
+msgid ""
+"Imagine you're in Counterpoint class, and you've been asked to submit a very"
+" clean copy of your next assignment. Since you don't want to pay $450,000 "
+"for a commercially-available engraving solution and a fruity computer to use"
+" it, you decide that LilyPond is the solution for you."
 msgstr ""
+"あなたが、対位法の授業をとっていて、次の宿題のとてもきれいなコピーを提出するように言われたとします。あなたは商用の記譜ソリューションとそれを使うための立派なコンピュータに、４５００００ドルも出すのはいやなので、"
+" Lilypond が自分にはぴったりだと決めました。"
 
 #. Tag: title
 #, no-c-format
 msgid "Files for the Tutorial"
-msgstr ""
+msgstr "チュートリアルのためのファイル"
 
 #. Tag: para
 #, no-c-format
-msgid "You do not need these files to do the tutorial. They are example completions."
-msgstr ""
+msgid ""
+"You do not need these files to do the tutorial. They are example "
+"completions."
+msgstr "チュートリアルをするのに、これらのファイルは不要です。これは、完成した例です。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>LilyPond Input File</citetitle> at <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/14/Musicians_Guide/files/LilyPond/Counterpoint-source.ly\" />"
+msgid ""
+"<citetitle>LilyPond Input File</citetitle> at <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/LilyPond/Counterpoint-source.ly\" />"
 msgstr ""
+"<citetitle>LilyPond Input File</citetitle> at <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/LilyPond/Counterpoint-source.ly\" />"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>PDF Output File</citetitle> at <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/14/Musicians_Guide/files/files/LilyPond/Counterpoint-result.pdf\" />"
+msgid ""
+"<citetitle>PDF Output File</citetitle> at <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/files/LilyPond/Counterpoint-"
+"result.pdf\" />"
 msgstr ""
+"<citetitle>PDF Output File</citetitle> at <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/files/LilyPond/Counterpoint-"
+"result.pdf\" />"
 
 #. Tag: title
 #, no-c-format
-msgid "Starting the Score"
-msgstr ""
+msgid "Start the Score"
+msgstr "楽譜を開始する"
 
 #. Tag: para
 #, no-c-format
 msgid "Open Frescobaldi into a blank document"
-msgstr ""
+msgstr "Frescobaldi で新規文書を開きます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Use the 'LilyPond &gt; Setup New Score' dialogue"
-msgstr ""
+msgstr "'LilyPond &gt; Setup New Score'ダイアログを使います。"
 
 #. Tag: para
 #, no-c-format
-msgid "Set the title and composer (and any other field) on the 'Titles and Headers' tab"
-msgstr ""
+msgid ""
+"Set the title and composer (and any other field) on the 'Titles and Headers'"
+" tab"
+msgstr "'Titles and Headers'タブで、タイトルと作曲家（そして他のフィールドも）を設定します。"
 
 #. Tag: para
 #, no-c-format
-msgid "You need a two staves, so you go to 'Parts' then 'Keyboard' then 'Piano'"
-msgstr ""
+msgid ""
+"You need a two staves, so you go to 'Parts' then 'Keyboard' then 'Piano'"
+msgstr "２つの譜表が必要です。'Parts'、'Keyboard'、そして'Piano'へ行きます。"
 
 #. Tag: para
 #, no-c-format
-msgid "You need to label the intervals between the notes, so you choose 'Special' then 'Figured Bass' (we'll put it in the right spot later"
-msgstr ""
+msgid ""
+"You need to label the intervals between the notes, so you choose 'Special' "
+"then 'Figured Bass' (we'll put it in the right spot later"
+msgstr "音符の間隔をラベルで示す必要があります。'Special'そして'Figured Bass'を選択します。（後で、正しい場所に置きます。）"
 
 #. Tag: para
 #, no-c-format
 msgid "You go to the 'Score settings' tab"
-msgstr ""
+msgstr "'Score settings'タブに行きます。"
 
 #. Tag: para
 #, no-c-format
-msgid "since you've already played through this example, uncheck \"Create MIDI output\" and save processing time"
-msgstr ""
+msgid ""
+"since you've already played through this example, uncheck \"Create MIDI "
+"output\" and save processing time"
+msgstr "あなたは既にこの例を演奏したことがあるので、\"Create MIDI output\"のチェックを外して、処理時間を節約します。"
 
 #. Tag: para
 #, no-c-format
 msgid "your example is in F Major"
-msgstr ""
+msgstr "例はヘ長調です。"
 
 #. Tag: para
 #, no-c-format
-msgid "You want only whole notes, with no barlines; choose a 4/4 time signature, since we'll change this later."
-msgstr ""
+msgid ""
+"You want only whole notes, with no barlines; choose a 4/4 time signature, "
+"since we'll change this later."
+msgstr "全音符だけが必要です。縦線はなし。４／４拍子を選択します。どうせ、後で変更します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Press 'Try' to get a preview of the score setup - the notes are demonstrative and will not be there"
-msgstr ""
+msgid ""
+"Press 'Try' to get a preview of the score setup - the notes are "
+"demonstrative and will not be there"
+msgstr "'Try'を押して、楽譜の設定のプレビューをします。音符は表示例として見えているだけで、実際には入力されません。"
 
 #. Tag: para
 #, no-c-format
-msgid "If the setup looks like you want it, then press 'OK' to generate the template"
-msgstr ""
+msgid ""
+"If the setup looks like you want it, then press 'OK' to generate the "
+"template"
+msgstr "設定がそれでよければ、'OK'を押して、テンプレートを作ります。"
 
 #. Tag: title
 #, no-c-format
-msgid "Adjusting Frescobaldi's Output"
-msgstr ""
+msgid "Adjust Frescobaldi's Output"
+msgstr "Frescobaldi の出力を調整する"
 
 #. Tag: para
 #, no-c-format
 msgid "For this tutorial, Frescobaldi's default output is good enough."
-msgstr ""
+msgstr "このチュートリアルのためには、Frescobaldi のデフォルトの出力で十分です。"
 
 #. Tag: title
 #, no-c-format
-msgid "Inputting"
-msgstr ""
+msgid "Input Notes"
+msgstr "音符を入力する"
 
 #. Tag: para
 #, no-c-format
-msgid "Look over the template. It's not important to understand what any of this means, but it's good if you can figure it out."
-msgstr ""
+msgid ""
+"Look over the template. It's not important to understand what any of this "
+"means, but it's good if you can figure it out."
+msgstr "テンプレートをざっと見ましょう。その中のそれぞれを理解するのは重要ではありませんが、推測ができれば、それは良いことです。"
 
 #. Tag: para
 #, no-c-format
-msgid "The piano's upper staff will contain the notes between the <literal>{</literal> and <literal>}</literal> following the <code>right = \\relative c''</code> portion"
+msgid ""
+"The piano's upper staff will contain the notes between the "
+"<literal>{</literal> and <literal>}</literal> following the <code>right = "
+"\\relative c''</code> portion"
 msgstr ""
+"ピアノの上の譜表の、<code>right = \\relative c''</code> の部分に続く、<literal>{</literal> と "
+"<literal>}</literal> の間に、音符をこれから入れます。"
 
 #. Tag: para
 #, no-c-format
 msgid "The piano's lower ... left"
-msgstr ""
+msgstr "ピアノの下の譜表は、上と同じで、 left のところだけが違います。"
 
 #. Tag: para
 #, no-c-format
 msgid "The figured bass will say what you put in figBass"
-msgstr ""
+msgstr "数字付き低音は、あなたが figBass に入れたようになります。訳注：通奏低音のコードを数字で指定する表記です。"
 
 #. Tag: para
 #, no-c-format
-msgid "start with the piano's upper part. Input \"f1 g a f d e f c a f g f\" (explain)"
-msgstr ""
+msgid ""
+"start with the piano's upper part. Input \"f1 g a f d e f c a f g f\" "
+"(explain)"
+msgstr "ピアノの上声部から始めます。\"f1 g a f d e f c a f g f\" ( 説明を追加すること ) を入力します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Check that it's right. Preview by press the \"LilyPond\" button on the toolbar"
-msgstr ""
+msgid ""
+"Check that it's right. Preview by press the \"LilyPond\" button on the "
+"toolbar"
+msgstr "正しいことを確認します。ツールバーの \"LilyPond\"ボタンを押して、プレビューをします。"
 
 #. Tag: para
 #, no-c-format
-msgid "The exercise starts too high, and it ends too low. Change the starting pitch by \" right = \\relative c' \""
-msgstr ""
+msgid ""
+"The exercise starts too high, and it ends too low. Change the starting pitch"
+" by \" right = \\relative c' \""
+msgstr "例は、高すぎる音で始まり、終わりは低すぎます。最初の音程を、\" right = \\relative c' \"によって変更しましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Preview again; of course, it still ends too low (these simple exercises usually start and end on the same pitch)."
-msgstr ""
+msgid ""
+"Preview again; of course, it still ends too low (these simple exercises "
+"usually start and end on the same pitch)."
+msgstr "もう一度プレビューをします。もちろん、まだ終わりは低すぎます。（こういうシンプルな課題は、普通は、開始と終了が同じ音です。）"
 
 #. Tag: para
 #, no-c-format
 msgid "Put a ' right after the c so that it goes to the upper C"
-msgstr ""
+msgstr "c のすぐ後に、' を置きます。それで、オクターブ上の C になります。"
 
 #. Tag: para
 #, no-c-format
 msgid "Preview again, and this time it's right."
-msgstr ""
+msgstr "もう一度プレビューをします。今回は、うまくいきました。"
 
 #. Tag: para
 #, no-c-format
-msgid "Now, enter the notes that you've written for the piano's lower staff: \"f1 e d c bes c bes f d bes e f\""
-msgstr ""
+msgid ""
+"Now, enter the notes that you've written for the piano's lower staff: \"f1 e"
+" d c bes c bes f d bes e f\""
+msgstr "次は、ピアノの下の譜表のためにあなたが書いた音を入力します： \"f1 e d c bes c bes f d bes e f\""
 
 #. Tag: para
 #, no-c-format
-msgid "Preview the output again, and see that it starts too high, but ends on the right pitch."
-msgstr ""
+msgid ""
+"Preview the output again, and see that it starts too high, but ends on the "
+"right pitch."
+msgstr "出力をもう一度プレビューします。開始は高すぎますが、終了は正しい音程です。"
 
 #. Tag: para
 #, no-c-format
 msgid "Fix the start-too-high by changing to \" left = \\relative c { \""
-msgstr ""
+msgstr "開始が高すぎるのを、\" left = \\relative c { \"に変えて、なおします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Preview again, and decide where to fix the other change (NB: I end up with \"f1 e d c bes c bes f' d bes e f\""
+msgid ""
+"Preview again, and decide where to fix the other change (NB: I end up with "
+"\"f1 e d c bes c bes f' d bes e f\""
 msgstr ""
+"もう一度プレビューをして、どこをもう一箇所直すか、決めます。（注意：私は、\"f1 e d c bes c bes f' d bes e "
+"f\"にしました。）"
 
 #. Tag: para
 #, no-c-format
-msgid "Enter the interval number between the top and bottom between the { and } preceded by \" figBass = \\figuremode \""
-msgstr ""
+msgid ""
+"Enter the interval number between the top and bottom between the { and } "
+"preceded by \" figBass = \\figuremode \""
+msgstr "\" figBass = \\figuremode \"の後の、{ と } の間に、最高音と最低音の間隔の数を入れます。"
 
 #. Tag: para
 #, no-c-format
-msgid "You have to put each interval between &lt; &gt; brackets. The note-length of the figure's duration goes after the &gt;, so I end up with \"&lt;1&gt;1 &lt;3&gt; &lt;5&gt; &lt;4&gt; &lt;3&gt; &lt;3&gt; &lt;5&gt; &lt;5&gt; &lt;5&gt; &lt;5&gt; &lt;3&gt; &lt;1&gt;\""
+msgid ""
+"You have to put each interval between &lt; &gt; brackets. The note-length of"
+" the figure's duration goes after the &gt;, so I end up with \"&lt;1&gt;1 "
+"&lt;3&gt; &lt;5&gt; &lt;4&gt; &lt;3&gt; &lt;3&gt; &lt;5&gt; &lt;5&gt; "
+"&lt;5&gt; &lt;5&gt; &lt;3&gt; &lt;1&gt;\""
 msgstr ""
+"それぞれの数字は、&lt; &gt; かっこの中に入れます。音の長さは &gt; の後に書きます。こんな風にしました。\"&lt;1&gt;1 "
+"&lt;3&gt; &lt;5&gt; &lt;4&gt; &lt;3&gt; &lt;3&gt; &lt;5&gt; &lt;5&gt; "
+"&lt;5&gt; &lt;5&gt; &lt;3&gt; &lt;1&gt;\""
 
 #. Tag: para
 #, no-c-format
-msgid "Now you realize that there are some signficant errors in your work. The top staff is the cantus, and cannot change. You have to correct the lower staff."
-msgstr ""
+msgid ""
+"Now you realize that there are some signficant errors in your work. The top "
+"staff is the cantus, and cannot change. You have to correct the lower staff."
+msgstr "さて、この作品にはいくつかの重大な誤りがあることに気が付きました。一番上の譜表は定旋律なので、変えることはできません。下の譜表を直します。"
 
 #. Tag: para
 #, no-c-format
-msgid "I've ended up with a lower part that is \"f1 e d a bes c d e f d c f\", which gives figures that are \"&lt;1&gt;1 &lt;3&gt; &lt;5&gt; &lt;6&gt; &lt;3&gt; &lt;3&gt; &lt;3&gt; &lt;6&gt; &lt;3&gt; &lt;3&gt; &lt;5&gt; &lt;1&gt;\""
+msgid ""
+"I've ended up with a lower part that is \"f1 e d a bes c d e f d c f\", "
+"which gives figures that are \"&lt;1&gt;1 &lt;3&gt; &lt;5&gt; &lt;6&gt; "
+"&lt;3&gt; &lt;3&gt; &lt;3&gt; &lt;6&gt; &lt;3&gt; &lt;3&gt; &lt;5&gt; "
+"&lt;1&gt;\""
 msgstr ""
+"私は、下のパートを \"f1 e d a bes c d e f d c f\"にして、低音番号を \"&lt;1&gt;1 &lt;3&gt; "
+"&lt;5&gt; &lt;6&gt; &lt;3&gt; &lt;3&gt; &lt;3&gt; &lt;6&gt; &lt;3&gt; "
+"&lt;3&gt; &lt;5&gt; &lt;1&gt;\"にしました。"
 
 #. Tag: title
 #, no-c-format
-msgid "Formatting the Score"
-msgstr ""
+msgid "Format the Score"
+msgstr "楽譜をフォーマットする"
 
 #. Tag: para
 #, no-c-format
-msgid "We recommend formatting the score after the notes have been inputting. Formatting after inputting helps you avoid making formatting errors. LilyPond works effectively with this approach."
+msgid ""
+"We recommend formatting the score after the notes have been inputting. "
+"Formatting after inputting helps you avoid making formatting errors. "
+"LilyPond works effectively with this approach."
 msgstr ""
+"楽譜をフォーマットするのは、音符を入れ終わってからにすることをお勧めします。入力を終わってからフォーマットすれば、フォーマットのエラーを避けるのに役立ちます。LilyPond"
+" は、このアプローチに関して、効率的です。"
 
 #. Tag: title
 #, no-c-format
 msgid "Move the Figured Bass"
-msgstr ""
+msgstr "数字付き低音を移動する"
 
 #. Tag: para
 #, no-c-format
-msgid "Normally, figured bass parts are below the staves. This example is using the figured-bass feature of LilyPond to do something else, so we're going to move the figured bass so that it's where it needs to be."
+msgid ""
+"Normally, figured bass parts are below the staves. This example is using the"
+" figured-bass feature of LilyPond to do something else, so we're going to "
+"move the figured bass so that it's where it needs to be."
 msgstr ""
+"通常、数字付き低音部は譜表の下にあります。この例は LilyPond "
+"の数字付き低音のためのいろいろな機能を使って変わったことをします。数字付き低音を、移動してみましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "the \\score{ } section contains everything in the score; notice that the figured bass has the identifier \\bassFiguresPart; remove this"
+msgid ""
+"the \\score{ } section contains everything in the score; notice that the "
+"figured bass has the identifier \\bassFiguresPart; remove this"
 msgstr ""
+"\\score{ } セクションは、楽譜にあるすべてを含みます。数字付き低音は、\\bassFiguresPart "
+"という識別子を持っています。これを削除しましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "scroll up to where it says \"bassFiguresPart = ... \" and comment it with %"
-msgstr ""
+msgid ""
+"scroll up to where it says \"bassFiguresPart = ... \" and comment it with %"
+msgstr "\"bassFiguresPart = ... \"と書いてあるところまでスクロールアップして、% でコメントアウトします。"
 
 #. Tag: para
 #, no-c-format
-msgid "scroll up to where it says \"pianoPart = ... \" and enter the \"\\new FiguredBass \\figBass\" line that you just commented out, on a line between the \"right\" and \"left\" staves"
+msgid ""
+"scroll up to where it says \"pianoPart = ... \" and enter the \"\\new "
+"FiguredBass \\figBass\" line that you just commented out, on a line between "
+"the \"right\" and \"left\" staves"
 msgstr ""
+"\"pianoPart = ... \"と書いてあるところまでスクロールアップして、今コメントアウトした\"\n"
+"\"\\new FiguredBass \\figBass\"行を、\"right\"と\"left\"譜表の間に入れます。"
 
 #. Tag: para
 #, no-c-format
 msgid "now erase the part that you commented in (2) (or leave it there)"
-msgstr ""
+msgstr "(2) でコメントにした部分を削除します。（あるいは、そのままにします。）"
 
 #. Tag: para
 #, no-c-format
-msgid "Preview the file, and see that the figures now appear between the piano staves"
-msgstr ""
+msgid ""
+"Preview the file, and see that the figures now appear between the piano "
+"staves"
+msgstr "ファイルをプレビューして、数字付き低音がピアノの譜表の間に現れるのを確認ください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Remove the Word \"Piano\" at the Start"
-msgstr ""
+msgstr "最初の、\"Piano\"という語を削除します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Find the part that begins \"pianoPart = ... \" and erase the \"instrumentName ... \" line (or comment it)"
+msgid ""
+"Find the part that begins \"pianoPart = ... \" and erase the "
+"\"instrumentName ... \" line (or comment it)"
 msgstr ""
+" \"pianoPart = ... \" で始まる部分を探して、 \"instrumentName ... "
+"\"の行を削除します。（あるいは、コメントにします。）"
 
 #. Tag: para
 #, no-c-format
 msgid "Preview the file, and see that it no longer says, \"Piano\""
-msgstr ""
+msgstr "ファイルをプレビューして、今回は、\"Piano\"と表示されないのを確認ください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Make some Elements Transparent"
-msgstr ""
+msgstr "いくつかの要素を透明にする"
 
 #. Tag: para
 #, no-c-format
-msgid "This involves some more advanced tweaking. Explain this sort of command."
-msgstr ""
+msgid ""
+"This involves some more advanced tweaking. Explain this sort of command."
+msgstr "これは、より進んだ技を使います。これらのコマンドを説明します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Every layout object has a \"stencil\" property. By default, this is set to whatever function draws the object. If you set that property to #f, which means \"false\", then the drawing function is not called, and the object will not appear on the score."
+msgid ""
+"Every layout object has a \"stencil\" property. By default, this is set to "
+"whatever function draws the object. If you set that property to #f, which "
+"means \"false\", then the drawing function is not called, and the object "
+"will not appear on the score."
 msgstr ""
+"すべてのレイアウトオブジェクトは、\"stencil\"属性を持ちます。デフォルトでこれは、オブジェクトを描画するなんらかの関数になっています。もしこの属性を"
+" #f, つまり \"false\"にすると、描画関数は呼ばれず、オブジェクトは楽譜に現れなくなります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Every layout object also has a \"transparent\" property. By default, this is set to #f (\"false\"). Setting it to #t (\"true\") will make the object transparent."
+msgid ""
+"Every layout object also has a \"transparent\" property. By default, this is"
+" set to #f (\"false\"). Setting it to #t (\"true\") will make the object "
+"transparent."
 msgstr ""
+"また、すべてのレイアウトオブジェクトは、\"transparent\"属性を持ちます。デフォルトでこれは、#f, （ \"false\"）です。これを "
+"#t (\"true\") にすると、オブジェクトは透明になります。"
 
 #. Tag: para
 #, no-c-format
 msgid "You can use \"\\once \\override ...\" or \\revert ...\" too"
-msgstr ""
+msgstr " \"\\once \\override ...\"あるいは \"\\revert ...\"も使うことができます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Find the \"global\" section"
-msgstr ""
+msgstr "\"global\"セクションを探します。"
 
 #. Tag: para
 #, no-c-format
 msgid "After \\key and \\time, put \" \\override Score.BarLine #'stencil = ##f \""
-msgstr ""
+msgstr "\\key と \\time の後に \" \\override Score.BarLine #'stencil = ##f \"を入れます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Preview the file, and see that this doesn't work quite as intended."
-msgstr ""
+msgstr "ファイルをプレビューします。これは、期待通りにはいかなかったようです。"
 
 #. Tag: para
 #, no-c-format
-msgid "It so happens that, while measure lines within a staff are handled by Staff.BarLine, measure lines between staves are handled by Staff.SpanBar; so you'll need to set its 'transparent symbol to #t also"
+msgid ""
+"It so happens that, while measure lines within a staff are handled by "
+"Staff.BarLine, measure lines between staves are handled by Staff.SpanBar; so"
+" you'll need to set its 'transparent symbol to #t also"
 msgstr ""
+"というのも、譜表の中の小節線は、Staff.BarLine で扱われますが、複数の譜表の間の小節線は Staff.SpanBar "
+"で扱われるからです。その'transparent シンボルも #t にする必要があります。"
 
 #. Tag: para
 #, no-c-format
-msgid "But there's still no measure-line at the end! You want a barline at the end, so pick one of the staves (right, left, figBass - it doesn't matter in this case) and use the \\revert command (don't know if I should put this in, but: \"\\revert Score.BarLine #'transparent and \\revert Score.SpanBar #'transparent\")"
+msgid ""
+"But there's still no measure-line at the end! You want a barline at the end,"
+" so pick one of the staves (right, left, figBass - it doesn't matter in this"
+" case) and use the \\revert command (don't know if I should put this in, "
+"but: \"\\revert Score.BarLine #'transparent and \\revert Score.SpanBar "
+"#'transparent\")"
 msgstr ""
+"しかし、終わりには、小節線がありません！縦線を入れるには、譜表を１つ選んで（右、左、figBass  今の場合、どれでもいいです） \\revert "
+"コマンドを使います。（これが必要かわかりませんが： \"\\revert Score.BarLine #'transparent と \\revert "
+"Score.SpanBar #'transparent\"）"
 
 #. Tag: para
 #, no-c-format
-msgid "But even this isn't quite right. You want a double-barline at the end. So, put the cursor after the \\revert lines, and then from the menu, 'LilyPond &gt; Bar Lines &gt; Ending Bar Line' . It knows what you want, remembers the symbol for you, so you don't have to!"
+msgid ""
+"But even this isn't quite right. You want a double-barline at the end. So, "
+"put the cursor after the \\revert lines, and then from the menu, 'LilyPond "
+"&gt; Bar Lines &gt; Ending Bar Line' . It knows what you want, remembers the"
+" symbol for you, so you don't have to!"
 msgstr ""
+"しかし、これでも、実は正しくありません。曲の終わりには、副縦線が必要です。カーソルを \\revert の行の後に置いて、メニュー'LilyPond "
+"&gt; Bar Lines &gt; Ending Bar Line' を選択します。LilyPond "
+"はあなたのしたいことがわかり、シンボルをあなたに代わって記憶していますから、あなたは終止線の記号を覚えている必要はありません。"
 
 #. Tag: para
 #, no-c-format
 msgid "explain in there the difference between a Staff.* and Score.* override"
-msgstr ""
+msgstr "Staff.* と Score.* の上書きについて説明すること。"
 
 #. Tag: para
 #, no-c-format
-msgid "Unlike with some other elements, if you simply remove the \"\\time 4/4\" indicator, it will still print the default 4/4 time signature."
-msgstr ""
+msgid ""
+"Unlike with some other elements, if you simply remove the \"\\time 4/4\" "
+"indicator, it will still print the default 4/4 time signature."
+msgstr "他の要素と違って、\"\\time 4/4\"の指示を除いてしまっても、デフォルトの４／４の拍子記号が表示されます。"
 
 #. Tag: para
 #, no-c-format
-msgid "This example is musically simple, but it includes some advanced concepts, and importantly helps to get over a couple of common (and understandable) fears, especially for beginners, and especially for musically-simple things like this"
+msgid ""
+"This example is musically simple, but it includes some advanced concepts, "
+"and importantly helps to get over a couple of common (and understandable) "
+"fears, especially for beginners, and especially for musically-simple things "
+"like this"
 msgstr ""
+"この例は、音楽的には単純でしたが、進んだ概念を含み、初心者が持ちがちなよくある、（たしかにもっともな）おそれを克服するのに大いに役に立ったと思います。"
+
+
diff --git a/ja-JP/LilyPond/LilyPond-orchestra.po b/ja-JP/LilyPond/LilyPond-orchestra.po
index c563831..ccc5048 100644
--- a/ja-JP/LilyPond/LilyPond-orchestra.po
+++ b/ja-JP/LilyPond/LilyPond-orchestra.po
@@ -1,36 +1,46 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-11-02T04:33:08\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-07-28 21:42+0000\n"
 "Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
-msgid "Working on an Orchestral Score (Tutorial)"
+msgid "Work on an Orchestral Score (Tutorial)"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Scenario: You volunteer at a community orchestra, and the conductor decides to play a Haydn symphony. The orchestra does not own any Haydn symphonies, so the conductor asks you if you can help to find a full score and parts. You find a book with the conductor's score, but no parts. You decide to input the score in LilyPond, which will allow you to easily create the missing parts."
+msgid ""
+"Scenario: You volunteer at a community orchestra, and the conductor decides "
+"to play a Haydn symphony. The orchestra does not own any Haydn symphonies, "
+"so the conductor asks you if you can help to find a full score and parts. "
+"You find a book with the conductor's score, but no parts. You decide to "
+"input the score in LilyPond, which will allow you to easily create the "
+"missing parts."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This tutorial uses the first movement of Joseph Haydn's \"Sinfonia No. 92: Oxford.\""
+msgid ""
+"This tutorial uses the first movement of Joseph Haydn's \"Sinfonia No. 92: "
+"Oxford.\""
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "When following this tutorial, it is recommended that the reader follows along, creating their replica of this tutorial's PDF."
+msgid ""
+"When following this tutorial, it is recommended that the reader follows "
+"along, creating their replica of this tutorial's PDF."
 msgstr ""
 
 #. Tag: title
@@ -40,22 +50,31 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "You do not need the <application>LilyPond</application> input file to do the tutorial. You do need the PDF output file to do the tutorial. Use the input file if you encounter problems, or to check your result."
+msgid ""
+"You do not need the <application>LilyPond</application> input file to do the"
+" tutorial. You do need the PDF output file to do the tutorial. Use the input"
+" file if you encounter problems, or to check your result."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>LilyPond Input File</citetitle> at <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/14/Musicians_Guide/files/LilyPond/Orchestra-source.ly\" />"
+msgid ""
+"<citetitle>LilyPond Input File</citetitle> at <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/LilyPond/Orchestra-source.ly\" />"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>PDF Output File</citetitle> at <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/14/Musicians_Guide/files/LilyPond/Orchestra-result.pdf\" />"
+msgid ""
+"<citetitle>PDF Output File</citetitle> at <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/LilyPond/Orchestra-result.pdf\" />"
 msgstr ""
 
 #. Tag: title
 #, no-c-format
-msgid "Starting the Score"
+msgid "Start the Score"
 msgstr ""
 
 #. Tag: para
@@ -140,12 +159,16 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "other settings as desired; I recommend not remocing bar numbers, and removing the default tagline"
+msgid ""
+"other settings as desired; I recommend not remocing bar numbers, and "
+"removing the default tagline"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Click \"Try\" to see if it works. The instrument names will not be the same as the PDF score. This will be fixed later."
+msgid ""
+"Click \"Try\" to see if it works. The instrument names will not be the same "
+"as the PDF score. This will be fixed later."
 msgstr ""
 
 #. Tag: para
@@ -155,17 +178,27 @@ msgstr ""
 
 #. Tag: title
 #, no-c-format
-msgid "Adjusting Frescobaldi's Output"
+msgid "Adjust Frescobaldi's Output"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "These steps are useful in establishing a consistent input style for LilyPond. The things suggested here are also useful for getting used to working with large scores, which can be a challenge in any text editor. Thankfully, careful (and consistent!) code organization goes a long way in helping you to quickly find your way around your files. Setting up files the right way to begin with makes this much easier in the end."
+msgid ""
+"These steps are useful in establishing a consistent input style for "
+"LilyPond. The things suggested here are also useful for getting used to "
+"working with large scores, which can be a challenge in any text editor. "
+"Thankfully, careful (and consistent!) code organization goes a long way in "
+"helping you to quickly find your way around your files. Setting up files the"
+" right way to begin with makes this much easier in the end."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "When you first setup the score, Frescobaldi will have created many sections for you by default. The program avoids making too many stylistic choices for you, which allows you to create your own style. It also sets up the default sections in a logical way:"
+msgid ""
+"When you first setup the score, Frescobaldi will have created many sections "
+"for you by default. The program avoids making too many stylistic choices for"
+" you, which allows you to create your own style. It also sets up the default"
+" sections in a logical way:"
 msgstr ""
 
 #. Tag: literallayout
@@ -181,7 +214,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The specific ordering will become more obvious to you as you get used to LilyPond."
+msgid ""
+"The specific ordering will become more obvious to you as you get used to "
+"LilyPond."
 msgstr ""
 
 #. Tag: para
@@ -191,17 +226,22 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Use section-dividers (like <code>%%%%%%%% NOTES %%%%%%%%</code> for individual parts) to demarcate sections."
+msgid ""
+"Use section-dividers (like <code>%%%%%%%% NOTES %%%%%%%%</code> for "
+"individual parts) to demarcate sections."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Use different levels of dividers (like <code>%%%% OBOE %%%%</code> for the oboe) to show sub-sections"
+msgid ""
+"Use different levels of dividers (like <code>%%%% OBOE %%%%</code> for the "
+"oboe) to show sub-sections"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Add blank lines between large sections, to separate them more obviously"
+msgid ""
+"Add blank lines between large sections, to separate them more obviously"
 msgstr ""
 
 #. Tag: para
@@ -237,22 +277,35 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This is simply a matter of personal taste, resulting from prior experience with C and C-like programming languages."
+msgid ""
+"This is simply a matter of personal taste, resulting from prior experience "
+"with C and C-like programming languages."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Familiarize myself with the sections and commands created by Frescobaldi, getting a sense of what the section/command does (even if I don't understand what each specific command does). This makes it easier to sort out problems and customization down the road. Sometimes, when the setup is quite complex, I make comments about what seems to be going on."
+msgid ""
+"Familiarize myself with the sections and commands created by Frescobaldi, "
+"getting a sense of what the section/command does (even if I don't understand"
+" what each specific command does). This makes it easier to sort out problems"
+" and customization down the road. Sometimes, when the setup is quite "
+"complex, I make comments about what seems to be going on."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Change the instrument names to replicate what my score indicates. You don't necessarily need to do this, so long as the people using your score will understand what the instruments are. Since my goal is to replicate this Dover edition score, I will change the names."
+msgid ""
+"Change the instrument names to replicate what my score indicates. You don't "
+"necessarily need to do this, so long as the people using your score will "
+"understand what the instruments are. Since my goal is to replicate this "
+"Dover edition score, I will change the names."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "In the \"PARTS\" section, each xPart section has an \"instrumentName = \"something\"\" field."
+msgid ""
+"In the \"PARTS\" section, each xPart section has an \"instrumentName = "
+"\"something\"\" field."
 msgstr ""
 
 #. Tag: para
@@ -282,12 +335,15 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Horn in F --&gt; 2 Corni in Sol (NB: these would have been \"natural horns\")"
+msgid ""
+"Horn in F --&gt; 2 Corni in Sol (NB: these would have been \"natural "
+"horns\")"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Trumpet in C --&gt; 2 Clarini in Do (NB: a clarino is a kind of trumpet)"
+msgid ""
+"Trumpet in C --&gt; 2 Clarini in Do (NB: a clarino is a kind of trumpet)"
 msgstr ""
 
 #. Tag: para
@@ -312,42 +368,59 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Now we have to change the horns' transposition to match the name. This is because Frescobaldi added a \"Horn in F\" part, which is the most common horn transposition. However, Haydn's score uses horns in G (or \"Sol\" in Italian)."
+msgid ""
+"Now we have to change the horns' transposition to match the name. This is "
+"because Frescobaldi added a \"Horn in F\" part, which is the most common "
+"horn transposition. However, Haydn's score uses horns in G (or \"Sol\" in "
+"Italian)."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Scroll up to the \"hornF\" section under the NOTES marker. Change the line <code>\\transposition f</code> to <code>\\transposition g</code>."
+msgid ""
+"Scroll up to the \"hornF\" section under the NOTES marker. Change the line "
+"<code>\\transposition f</code> to <code>\\transposition g</code>."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "As it turns out, transposition can be a little more complicated than that. We'll deal with that when we get there."
+msgid ""
+"As it turns out, transposition can be a little more complicated than that. "
+"We'll deal with that when we get there."
 msgstr ""
 
 #. Tag: title
 #, no-c-format
-msgid "Inputting"
+msgid "Input Notes"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This tutorial offers step-by-step instructions representing one way to input the score. Only the part before \"Allegretto\" will be inputted. The full first movement is included in the PDF file, so you can input it yourself."
+msgid ""
+"This tutorial offers step-by-step instructions representing one way to input"
+" the score. Only the part before \"Allegretto\" will be inputted. The full "
+"first movement is included in the PDF file, so you can input it yourself."
 msgstr ""
 
 #. Tag: title
 #, no-c-format
-msgid "Starting with the Easy Part"
+msgid "Start with the Easy Part"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The best way to get started on large scores is to just start with something easy. Nothing can be easier than doing nothing, so let's first input the multi-measure rests in the wind sections and timpani."
+msgid ""
+"The best way to get started on large scores is to just start with something "
+"easy. Nothing can be easier than doing nothing, so let's first input the "
+"multi-measure rests in the wind sections and timpani."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Count the number of measures of rests. In this case, all of the winds and the timpani have thirteen or more measures of rests before their first entrance."
+msgid ""
+"Count the number of measures of rests. In this case, all of the winds and "
+"the timpani have thirteen or more measures of rests before their first "
+"entrance."
 msgstr ""
 
 #. Tag: para
@@ -357,17 +430,25 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "In the NOTES section, find the flute section, and put in <code>R2.*13 |</code>."
+msgid ""
+"In the NOTES section, find the flute section, and put in <code>R2.*13 "
+"|</code>."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The <literal>R</literal> symbol means \"full-bar rest\" (or \"full-measure rest\"). LilyPond draws full-bar rests differently than rests than rests that simply take up the length of a whole bar."
+msgid ""
+"The <literal>R</literal> symbol means \"full-bar rest\" (or \"full-measure "
+"rest\"). LilyPond draws full-bar rests differently than rests than rests "
+"that simply take up the length of a whole bar."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The <literal>|</literal> symbol is a bar-check symbol. See <xref linkend=\"sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol\" /> for more information."
+msgid ""
+"The <literal>|</literal> symbol is a bar-check symbol. See <xref linkend"
+"=\"sect-Musicians_Guide-LilyPond-Syntax-Avoiding_Errors-Bar_Check_Symbol\" "
+"/> for more information."
 msgstr ""
 
 #. Tag: para
@@ -377,42 +458,66 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The timpani and trumpet/clarini parts have six further full measures of rest, before the measure with a fermata. The fermata can't be included in the multi-measure rest, so we'll treat it separately. Add <code>R2.*6 |</code> to the timpani and trumpets parts."
+msgid ""
+"The timpani and trumpet/clarini parts have six further full measures of "
+"rest, before the measure with a fermata. The fermata can't be included in "
+"the multi-measure rest, so we'll treat it separately. Add <code>R2.*6 "
+"|</code> to the timpani and trumpets parts."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The horns, bassoons, and second oboe have one further measure of rests, so add <code>R2. |</code> to those parts. Full-measure rests should always have a capital letter R. This tells LilyPond to properly center the rest in the bar."
+msgid ""
+"The horns, bassoons, and second oboe have one further measure of rests, so "
+"add <code>R2. |</code> to those parts. Full-measure rests should always have"
+" a capital letter R. This tells LilyPond to properly center the rest in the "
+"bar."
 msgstr ""
 
 #. Tag: title
 #, no-c-format
-msgid "Continuing with the Wind and Timpani Parts"
+msgid "Continue with the Wind and Timpani Parts"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Now we need to start adding notes. We'll start with the parts that have only rests:"
+msgid ""
+"Now we need to start adding notes. We'll start with the parts that have only"
+" rests:"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The trumpets and timpani have no notes in the slow introduction, so all they need is the three-beat measure with a fermata on the third beat."
+msgid ""
+"The trumpets and timpani have no notes in the slow introduction, so all they"
+" need is the three-beat measure with a fermata on the third beat."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Rests are notated as though they were a pitch called \"r\". That is to say, if you want to input a rest, then you input the pitch r. This three-quarter-rest measure will be notated as <code>r4 r r |</code>. Put this into the trumpets and timpani parts. Remember: it's always a good idea to indicate the duration at the beginning of a measure, but it's not necessary to indicate a repeated duration."
+msgid ""
+"Rests are notated as though they were a pitch called \"r\". That is to say, "
+"if you want to input a rest, then you input the pitch r. This three-quarter-"
+"rest measure will be notated as <code>r4 r r |</code>. Put this into the "
+"trumpets and timpani parts. Remember: it's always a good idea to indicate "
+"the duration at the beginning of a measure, but it's not necessary to "
+"indicate a repeated duration."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Frescobaldi allows you to insert common musical signs with the \"Quick Insert\" tab on the left of the screen. It may be hidden; to show it, click \"Quick Insert\" on the left-most edge of the Frescobaldi window."
+msgid ""
+"Frescobaldi allows you to insert common musical signs with the \"Quick "
+"Insert\" tab on the left of the screen. It may be hidden; to show it, click "
+"\"Quick Insert\" on the left-most edge of the Frescobaldi window."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "We need a regular fermata on the third quarter rest of this measure. So, place the text-input caret just after the third quarter rest, and click the fermata symbol in the \"Quick Insert\" toolbar-thing."
+msgid ""
+"We need a regular fermata on the third quarter rest of this measure. So, "
+"place the text-input caret just after the third quarter rest, and click the "
+"fermata symbol in the \"Quick Insert\" toolbar-thing."
 msgstr ""
 
 #. Tag: para
@@ -422,7 +527,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "While the word for a fermata symbol is easy to remember, other symbols have less-obvious LilyPond notations, so the \"Quick Insert\" toolbar-thing is very handy."
+msgid ""
+"While the word for a fermata symbol is easy to remember, other symbols have "
+"less-obvious LilyPond notations, so the \"Quick Insert\" toolbar-thing is "
+"very handy."
 msgstr ""
 
 #. Tag: para
@@ -437,22 +545,35 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "We've already input the bassoons' full-measure rests, so we can start with the first measure in which they play. It should be notated as <code>r8 d g bes d bes |</code>. Input this, and preview the score to see what happens."
+msgid ""
+"We've already input the bassoons' full-measure rests, so we can start with "
+"the first measure in which they play. It should be notated as <code>r8 d g "
+"bes d bes |</code>. Input this, and preview the score to see what happens."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Success! When first starting an instrument, it's important to check that the notes begin in the right register. If they don't, it can be adjusted easily by changing the pitch indication that follows the <code>\\relative</code> declaration. In this case, the bassoon happened to be in the right register for us by default."
+msgid ""
+"Success! When first starting an instrument, it's important to check that the"
+" notes begin in the right register. If they don't, it can be adjusted easily"
+" by changing the pitch indication that follows the <code>\\relative</code> "
+"declaration. In this case, the bassoon happened to be in the right register "
+"for us by default."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The next measure is <code>g8 cis cis4 r |</code>. Remember to indicate \"cis\" twice. Put it in and check that it's correct."
+msgid ""
+"The next measure is <code>g8 cis cis4 r |</code>. Remember to indicate "
+"\"cis\" twice. Put it in and check that it's correct."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "It is, but we're still missing some formatting. Use the \"Quick Insert\" toolbar-thing to add staccato markings to the first measure. You can add a staccato to the eighth-rest, but this doesn't make sense, so you shouldn't."
+msgid ""
+"It is, but we're still missing some formatting. Use the \"Quick Insert\" "
+"toolbar-thing to add staccato markings to the first measure. You can add a "
+"staccato to the eighth-rest, but this doesn't make sense, so you shouldn't."
 msgstr ""
 
 #. Tag: para
@@ -462,7 +583,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Preview the score to make sure that you entered these articulations correctly. Your code should be:"
+msgid ""
+"Preview the score to make sure that you entered these articulations "
+"correctly. Your code should be:"
 msgstr ""
 
 #. Tag: literallayout
@@ -474,7 +597,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Now to add the \"forte\" marking. You can add text (or any object, for that matter) onto a note (or rest, etc.) with one of these three symbols:"
+msgid ""
+"Now to add the \"forte\" marking. You can add text (or any object, for that "
+"matter) onto a note (or rest, etc.) with one of these three symbols:"
 msgstr ""
 
 #. Tag: para
@@ -494,32 +619,52 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "As you saw earlier, Frescobaldi attached our staccato markings with the \"as you think best\" symbol, which is almost always the right choice for articulations. By convention, dynamic markings always go below the staff to which they apply, so we won't want to give LilyPond so much freedom, this time."
+msgid ""
+"As you saw earlier, Frescobaldi attached our staccato markings with the \"as"
+" you think best\" symbol, which is almost always the right choice for "
+"articulations. By convention, dynamic markings always go below the staff to "
+"which they apply, so we won't want to give LilyPond so much freedom, this "
+"time."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The easiest way to add (unformatted) text to a note is to simply attach it in quotation marks. For the \"forte\" marking, put this on the eighth-rest: <code>r8_\"f\" <replaceable>and so on</replaceable></code>"
+msgid ""
+"The easiest way to add (unformatted) text to a note is to simply attach it "
+"in quotation marks. For the \"forte\" marking, put this on the eighth-rest: "
+"<code>r8_\"f\" <replaceable>and so on</replaceable></code>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "When you preview this, you'll notice that the result is thoroughly underwhelming. It looks quite unlike a \"forte\" marking, and people reading the score would probably be confused, if just momentarily."
+msgid ""
+"When you preview this, you'll notice that the result is thoroughly "
+"underwhelming. It looks quite unlike a \"forte\" marking, and people reading"
+" the score would probably be confused, if just momentarily."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Thankfully, LilyPond provides a very easy and elegant way to input well-formatted dynamic markings. Change the eighth-rest to this: <code>r8\\f <replaceable>and so on</replaceable></code>"
+msgid ""
+"Thankfully, LilyPond provides a very easy and elegant way to input well-"
+"formatted dynamic markings. Change the eighth-rest to this: <code>r8\\f "
+"<replaceable>and so on</replaceable></code>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "When you preview this, you will see that it now looks exactly like a typical \"forte\" marking. Not all dynamic markings have these short-forms, but most do."
+msgid ""
+"When you preview this, you will see that it now looks exactly like a typical"
+" \"forte\" marking. Not all dynamic markings have these short-forms, but "
+"most do."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The \"a 2\" marking, meaning \"to be played by two players,\" does need the text-in-quotes format, however. Put that marking <emphasis>above</emphasis> the d following the eighth rest."
+msgid ""
+"The \"a 2\" marking, meaning \"to be played by two players,\" does need the "
+"text-in-quotes format, however. Put that marking <emphasis>above</emphasis> "
+"the d following the eighth rest."
 msgstr ""
 
 #. Tag: para
@@ -536,7 +681,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Note that <code>d-.^\"a 2\"</code> gives the same result as <code>d^\"a 2\"-.</code>"
+msgid ""
+"Note that <code>d-.^\"a 2\"</code> gives the same result as <code>d^\"a "
+"2\"-.</code>"
 msgstr ""
 
 #. Tag: title
@@ -546,42 +693,72 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "You can complete the oboe parts and the flute part. If you get stuck, read these tips."
+msgid ""
+"You can complete the oboe parts and the flute part. If you get stuck, read "
+"these tips."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "You will need to adjust the range of the flute and oboe, to read <code>flute = \\relative c'''</code> and <code>oboeI = \\relative c'''</code>"
+msgid ""
+"You will need to adjust the range of the flute and oboe, to read <code>flute"
+" = \\relative c'''</code> and <code>oboeI = \\relative c'''</code>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "You may want to use [ and ] to control eighth-note beaming in the Oboe I and Flauto parts. You may not"
+msgid ""
+"You may want to use [ and ] to control eighth-note beaming in the Oboe I and"
+" Flauto parts. You may not"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The Flauto will need more multi-measure rests with R, <emphasis>after</emphasis> some of the notes are inputted."
+msgid ""
+"The Flauto will need more multi-measure rests with R, "
+"<emphasis>after</emphasis> some of the notes are inputted."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "All of the parts will end with the same three-quarter-note-rests-with-fermata measure."
+msgid ""
+"All of the parts will end with the same three-quarter-note-rests-with-"
+"fermata measure."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "And now for the horns part. Transposing instruments pose a small problem for LilyPond, as with any human or computerized engraving tool. These steps first ensure that the transposition is set correctly."
+msgid ""
+"And now for the horns part. Transposing instruments pose a small problem for"
+" LilyPond, as with any human or computerized engraving tool. These steps "
+"first ensure that the transposition is set correctly."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The \"hornF\" section should already have a <code>\\transposition g</code> segment from earlier. This tells LilyPond that the following notes are not in concert pitch, but rather are \"in G.\" A transposition statement tells LilyPond, in absolute pitch, which pitch actually sounds when the player plays a written c' . In this case, the sound pitch is a perfect fourth below c' . If we wanted it to be a perfect fifth higher, then we would need to write <code>\\transposition g'</code>, but that's not accurate for this case."
+msgid ""
+"The \"hornF\" section should already have a <code>\\transposition g</code> "
+"segment from earlier. This tells LilyPond that the following notes are not "
+"in concert pitch, but rather are \"in G.\" A transposition statement tells "
+"LilyPond, in absolute pitch, which pitch actually sounds when the player "
+"plays a written c' . In this case, the sound pitch is a perfect fourth below"
+" c' . If we wanted it to be a perfect fifth higher, then we would need to "
+"write <code>\\transposition g'</code>, but that's not accurate for this "
+"case."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Our next obstacle is not actually a problem with LilyPond, but with how Frescobaldi set up the score for us. The score that we wish to notate does not have a written key signature for the horn, but the \"global\" section (near the top of the file) includes one: G Major. If this score were particularly complicated, or if it contained a large number of transposing instruments, then it would be best to remove the <code>\\key g</code> declartion from the \"global\" section (and including it in every instrument as necessary). However, since there is only one transposing instrument, we might be better off simply removing the global from the horn."
+msgid ""
+"Our next obstacle is not actually a problem with LilyPond, but with how "
+"Frescobaldi set up the score for us. The score that we wish to notate does "
+"not have a written key signature for the horn, but the \"global\" section "
+"(near the top of the file) includes one: G Major. If this score were "
+"particularly complicated, or if it contained a large number of transposing "
+"instruments, then it would be best to remove the <code>\\key g</code> "
+"declartion from the \"global\" section (and including it in every instrument"
+" as necessary). However, since there is only one transposing instrument, we "
+"might be better off simply removing the global from the horn."
 msgstr ""
 
 #. Tag: para
@@ -596,12 +773,18 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "While you're at it, do the same for the trumpets and timpani parts, which also do not use a printed key signature."
+msgid ""
+"While you're at it, do the same for the trumpets and timpani parts, which "
+"also do not use a printed key signature."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The other issue with the horn part is that two pitches are to be played at once, and they are both notated in the same voice. This is solved in the piano example like this: <code>&lt;g g'&gt;</code>. You can copy-and-paste this as needed."
+msgid ""
+"The other issue with the horn part is that two pitches are to be played at "
+"once, and they are both notated in the same voice. This is solved in the "
+"piano example like this: <code>&lt;g g'&gt;</code>. You can copy-and-paste "
+"this as needed."
 msgstr ""
 
 #. Tag: para
@@ -611,32 +794,43 @@ msgstr ""
 
 #. Tag: title
 #, no-c-format
-msgid "Moving on to the Strings"
+msgid "Continue with the Strings"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "After correctly finishing all of the wind and timpani parts, you can move on to the strings."
+msgid ""
+"After correctly finishing all of the wind and timpani parts, you can move on"
+" to the strings."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Input all of the pitches and note lengths first, then return to fill in the other markings."
+msgid ""
+"Input all of the pitches and note lengths first, then return to fill in the "
+"other markings."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If you get stuck, then put in some filler notes, and finish the rest of that part. Make a note for yourself, as a comment in the source file, so that you know to return later to finish the part."
+msgid ""
+"If you get stuck, then put in some filler notes, and finish the rest of that"
+" part. Make a note for yourself, as a comment in the source file, so that "
+"you know to return later to finish the part."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If twenty measures at once is too many, then break it into smaller chunks and input those."
+msgid ""
+"If twenty measures at once is too many, then break it into smaller chunks "
+"and input those."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Here are some tips to help you through this passage. Use the LilyPond help files if you need further assistance."
+msgid ""
+"Here are some tips to help you through this passage. Use the LilyPond help "
+"files if you need further assistance."
 msgstr ""
 
 #. Tag: para
@@ -646,17 +840,28 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "To write any tuplet, use the formula <code>\\times x/y { notes in here }</code>, where x is the number of notes actually space to use, and y is the number of notes to let you display."
+msgid ""
+"To write any tuplet, use the formula <code>\\times x/y { notes in here "
+"}</code>, where x is the number of notes actually space to use, and y is the"
+" number of notes to let you display."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "For an eighth-note triplet that takes up one beat, you might use this: <code>\\times 2/3 { c8 d e }</code>, because in the space of 2 eighth notes you want to fit three instead."
+msgid ""
+"For an eighth-note triplet that takes up one beat, you might use this: "
+"<code>\\times 2/3 { c8 d e }</code>, because in the space of 2 eighth notes "
+"you want to fit three instead."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This is much more powerful than it seems at first. You might want to make it seem as though the measures have stopped being marked, and write something like <code>\\times 4/40 { ... }</code>, which will allow you to fit forty of something into the number of beat usually occupied by four of them. This is especially useful with cadenzas, and cadenza-like passages."
+msgid ""
+"This is much more powerful than it seems at first. You might want to make it"
+" seem as though the measures have stopped being marked, and write something "
+"like <code>\\times 4/40 { ... }</code>, which will allow you to fit forty of"
+" something into the number of beat usually occupied by four of them. This is"
+" especially useful with cadenzas, and cadenza-like passages."
 msgstr ""
 
 #. Tag: para
@@ -666,22 +871,36 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Anything between <literal>&lt;&lt;</literal> and <literal>&gt;&gt;</literal> is interpreted by LilyPond as happening together. If you take a look at the \"score\" section at the bottom of the file, you will see that all of the parts are listed in that kind of bracket. This ensures that they all happen simultaneously."
+msgid ""
+"Anything between <literal>&lt;&lt;</literal> and <literal>&gt;&gt;</literal>"
+" is interpreted by LilyPond as happening together. If you take a look at the"
+" \"score\" section at the bottom of the file, you will see that all of the "
+"parts are listed in that kind of bracket. This ensures that they all happen "
+"simultaneously."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "For short-term polyphonic input, use the formula <code>&lt;&lt; { upper-voice notes } \\\\ { lower-voice notes } &gt;&gt;</code>. Remember that the \"upper voice\" has upward-pointing stems, and the \"lower voice\" has downward-pointing stems."
+msgid ""
+"For short-term polyphonic input, use the formula <code>&lt;&lt; { upper-"
+"voice notes } \\\\ { lower-voice notes } &gt;&gt;</code>. Remember that the "
+"\"upper voice\" has upward-pointing stems, and the \"lower voice\" has "
+"downward-pointing stems."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Ties: These can be written by adding ~ to the end of the note beginning the tie: <code>c4~ c8</code>"
+msgid ""
+"Ties: These can be written by adding ~ to the end of the note beginning the "
+"tie: <code>c4~ c8</code>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Grace Notes: These take up no logical time, and are smaller than ordinary notes. Any notes appearing <code>\\grace { in here }</code> would be considered grace notes."
+msgid ""
+"Grace Notes: These take up no logical time, and are smaller than ordinary "
+"notes. Any notes appearing <code>\\grace { in here }</code> would be "
+"considered grace notes."
 msgstr ""
 
 #. Tag: para
@@ -691,17 +910,24 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "These are added like other dynamic markings, attached with a backslash to the note where they begin. A crescendo is triggered with <literal>\\&lt;</literal> and a diminuendo with <literal>\\&gt;</literal>."
+msgid ""
+"These are added like other dynamic markings, attached with a backslash to "
+"the note where they begin. A crescendo is triggered with "
+"<literal>\\&lt;</literal> and a diminuendo with <literal>\\&gt;</literal>."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The left-most point of the marking (its beginning) is indicated by where you put <literal>\\&lt;</literal> or <literal>\\&gt;</literal>"
+msgid ""
+"The left-most point of the marking (its beginning) is indicated by where you"
+" put <literal>\\&lt;</literal> or <literal>\\&gt;</literal>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The right-most (or end-)point is indicated by either another dynamic marking of any sort, or the special cancellation character <literal>\\!</literal>"
+msgid ""
+"The right-most (or end-)point is indicated by either another dynamic marking"
+" of any sort, or the special cancellation character <literal>\\!</literal>"
 msgstr ""
 
 #. Tag: para
@@ -711,32 +937,50 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Source File Measure Numbers: One of the techniques that can be used when inputting larger scores is writing measure numbers into the source file as comments. I usually write measure numbers every five measures, but it depends on the speed of the music, and what seems like it's useful."
+msgid ""
+"Source File Measure Numbers: One of the techniques that can be used when "
+"inputting larger scores is writing measure numbers into the source file as "
+"comments. I usually write measure numbers every five measures, but it "
+"depends on the speed of the music, and what seems like it's useful."
 msgstr ""
 
 #. Tag: title
 #, no-c-format
-msgid "To Continue to the Fast Section"
+msgid "Continue to the Fast Section"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If you want to finish inputting the first movement, as an exercise, then you will also need to know how to write a tempo-change in an orchestral score:"
+msgid ""
+"If you want to finish inputting the first movement, as an exercise, then you"
+" will also need to know how to write a tempo-change in an orchestral score:"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "In order to continue, we'll need to include a special measure-line (barline) and a change-of-tempo indicator. This would be easy, and would display correctly, if we simply inputted the change in one particular voice. However, if we did that, the change would only appear in one of the orchestral parts exported from the score."
+msgid ""
+"In order to continue, we'll need to include a special measure-line (barline)"
+" and a change-of-tempo indicator. This would be easy, and would display "
+"correctly, if we simply inputted the change in one particular voice. "
+"However, if we did that, the change would only appear in one of the "
+"orchestral parts exported from the score."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "We're going to define a new whatever-thing, like the \"global\" section created for us by Frescobaldi, and include it in all of the parts."
+msgid ""
+"We're going to define a new whatever-thing, like the \"global\" section "
+"created for us by Frescobaldi, and include it in all of the parts."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The code needed for this is a little bit complicated, but you don't need to write it yourself: just take it from the \"tempoMark\" section created by Frescobaldi. All you need to do is change \"Adagio\" to \"Allegro spiritoso,\" and add the barline indicator. This is also easy because of Frescobaldi: 'LilyPond &gt; Bar Lines &gt; Repeat start'"
+msgid ""
+"The code needed for this is a little bit complicated, but you don't need to "
+"write it yourself: just take it from the \"tempoMark\" section created by "
+"Frescobaldi. All you need to do is change \"Adagio\" to \"Allegro "
+"spiritoso,\" and add the barline indicator. This is also easy because of "
+"Frescobaldi: 'LilyPond &gt; Bar Lines &gt; Repeat start'"
 msgstr ""
 
 #. Tag: para
@@ -758,7 +1002,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Add the reference to this in all of your parts. Because of how I named it, this also serves as a handy way to find your way through the LilyPond markup file."
+msgid ""
+"Add the reference to this in all of your parts. Because of how I named it, "
+"this also serves as a handy way to find your way through the LilyPond markup"
+" file."
 msgstr ""
 
 #. Tag: literallayout
@@ -773,5 +1020,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The barline and tempo-change will not appear unless you write some music after them, so put in some or all of the rests that follow, just to test it."
+msgid ""
+"The barline and tempo-change will not appear unless you write some music "
+"after them, so put in some or all of the rests that follow, just to test it."
 msgstr ""
+
+
diff --git a/ja-JP/LilyPond/LilyPond-piano.po b/ja-JP/LilyPond/LilyPond-piano.po
index fa4c904..078c348 100644
--- a/ja-JP/LilyPond/LilyPond-piano.po
+++ b/ja-JP/LilyPond/LilyPond-piano.po
@@ -1,161 +1,212 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-11-02T04:33:08\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-07-27 12:24+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
-msgid "Working on a Piano Score (Tutorial)"
-msgstr ""
+msgid "Work on a Piano Score (Tutorial)"
+msgstr "ピアノソナタの作業（チュートリアル）"
 
 #. Tag: para
 #, no-c-format
-msgid "Scenario: At a used music store, you encounter a 60-year-old, hand-engraved copy of a Schubert \"Impromptu,\" but it's been badly damaged by a flood. The store's owner says that, if you can use the score, you can keep it for free. The score is barely legible, so you decide to prepare a copy with a computer notation program."
+msgid ""
+"Scenario: At a used music store, you encounter a 60-year-old, hand-engraved "
+"copy of a Schubert \"Impromptu,\" but it's been badly damaged by a flood. "
+"The store's owner says that, if you can use the score, you can keep it for "
+"free. The score is barely legible, so you decide to prepare a copy with a "
+"computer notation program."
 msgstr ""
+"シナリオ：中古音楽店であなたは６０年前の、手書きのシューベルト\"即興曲\"のコピーをみつけました。しかしそれは水害でずいぶん傷んでいます。店主は、その楽譜が役に立つならただで持って行っていいと言いました。楽譜はかろうじて読めるくらいだったので、あなたは、コンピュータ記譜プログラムでコピーを作ることにしました。"
 
 #. Tag: para
 #, no-c-format
-msgid "I'm using Schubert's \"Impromptu\" Op.90 (D.899) Nr.4, in A-flat major. Published by Edition Peters: 10463, edited by Walter Niemann. We'll be setting the \"A\" section (from the beginning to the \"Trio\")."
+msgid ""
+"I'm using Schubert's \"Impromptu\" Op.90 (D.899) Nr.4, in A-flat major. "
+"Published by Edition Peters: 10463, edited by Walter Niemann. We'll be "
+"setting the \"A\" section (from the beginning to the \"Trio\")."
 msgstr ""
+"私はシューベルト作曲\"即興曲\"作品番号９０（D.８９９）第４番、変イ長調を使います。Edition Peters: 10463 出版、Walter "
+"Niemann編集。\"A\"セクション（最初から\"トリオ\"まで）を入力しましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "When following this tutorial, it is recommended that the reader follows along, creating their replica of this tutorial's PDF."
-msgstr ""
+msgid ""
+"When following this tutorial, it is recommended that the reader follows "
+"along, creating their replica of this tutorial's PDF."
+msgstr "このチュートリアルをするとき、読者はこのチュートリアルの PDF と同じものを、自分で作りながら読み進むとよいでしょう。"
 
 #. Tag: title
 #, no-c-format
 msgid "Files for the Tutorial"
-msgstr ""
+msgstr "チュートリアルのためのファイル"
 
 #. Tag: para
 #, no-c-format
-msgid "You do not need the <application>LilyPond</application> input file to do the tutorial. You should use the input file if you encounter problems, and to compare your completion. You do need the PDF output file to do the tutorial."
+msgid ""
+"You do not need the <application>LilyPond</application> input file to do the"
+" tutorial. You should use the input file if you encounter problems, and to "
+"compare your completion. You do need the PDF output file to do the tutorial."
 msgstr ""
+"チュートリアルをするのに<application>LilyPond</application>入力ファイルは不要です。入力ファイルは、なにか問題が起きて、あなたの結果を比較するために使うのがよいでしょう。PDF"
+" 出力ファイルも、チュートリアルをするのには不要です。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle><application>LilyPond</application> Input File</citetitle> at <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/14/Musicians_Guide/files/LilyPond/Piano-source.ly\" />"
+msgid ""
+"<citetitle><application>LilyPond</application> Input File</citetitle> at "
+"<ulink url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/LilyPond/Piano-source.ly\" />"
 msgstr ""
+"<ulink url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/14/Musicians_Guide/files/LilyPond/Piano-source.ly\" "
+"/>の<citetitle><application>LilyPond</application> Input File</citetitle>"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>PDF Output File</citetitle> at <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/14/Musicians_Guide/files/LilyPond/Piano-result.pdf\" />."
+msgid ""
+"<citetitle>PDF Output File</citetitle> at <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/LilyPond/Piano-result.pdf\" />."
 msgstr ""
+"<ulink url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/14/Musicians_Guide/files/LilyPond/Piano-result.pdf\" "
+"/>の<citetitle>PDF Output File</citetitle>。"
 
 #. Tag: title
 #, no-c-format
-msgid "Starting the Score"
-msgstr ""
+msgid "Start the Score"
+msgstr "楽譜を開始する"
 
 #. Tag: para
 #, no-c-format
 msgid "Open Frescobaldi with a new document."
-msgstr ""
+msgstr "Frescobaldi で新しい文書を開きます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Start the \"Setup New Score\" tool, by clicking '<application>LilyPond</application> &gt; Setup New Score' in the menu."
+msgid ""
+"Start the \"Setup New Score\" tool, by clicking "
+"'<application>LilyPond</application> &gt; Setup New Score' in the menu."
 msgstr ""
+"'<application>LilyPond</application> &gt; Setup New Score' をクリックして、\"Setup "
+"New Score\" ツールを開始します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Fill in the following fields on the \"Titles and Headers\" tab:"
-msgstr ""
+msgstr "\"Titles and Headers\" タブで以下のフィールドを入れます："
 
 #. Tag: para
 #, no-c-format
 msgid "Title: Impromptu"
-msgstr ""
+msgstr "Title: Impromptu"
 
 #. Tag: para
 #, no-c-format
 msgid "Compuser: Schubert, Franz"
-msgstr ""
+msgstr "Compuser: Schubert, Franz"
 
 #. Tag: para
 #, no-c-format
 msgid "Opus: Opus 90/4"
-msgstr ""
+msgstr "Opus: Opus 90/4"
 
 #. Tag: para
 #, no-c-format
 msgid "Switch to the \"Parts\" tab:"
-msgstr ""
+msgstr "\"Parts\" タブに移ります："
 
 #. Tag: para
 #, no-c-format
 msgid "From the \"Available parts\" list, select \"Keyboard instruments\""
-msgstr ""
+msgstr "\"Available parts\" リストから \"Keyboard instruments\" を選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select \"Piano\""
-msgstr ""
+msgstr "\"Piano\" を選択し、"
 
 #. Tag: para
 #, no-c-format
 msgid "Click \"Add\""
-msgstr ""
+msgstr "\"Add\" をクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "On the right-hand side of the window, it's possible to add multiple voices from the start. We won't be using this feature, because most of the score is not polyphonic. It is especially convenient in fugues."
+msgid ""
+"On the right-hand side of the window, it's possible to add multiple voices "
+"from the start. We won't be using this feature, because most of the score is"
+" not polyphonic. It is especially convenient in fugues."
 msgstr ""
+"ウインドウの右側に、最初から複数の声部を加えることができます。私たちはこの機能は使いません。ここのほとんどの楽譜はポリフォニックではないからです。この機能はフーガで特に便利です。"
 
 #. Tag: para
 #, no-c-format
 msgid "Switch to the \"Score settings\" tab, and adjust the following settings:"
-msgstr ""
+msgstr "\"Score settings\" タブに切り替えて、以下の設定を調整します："
 
 #. Tag: para
 #, no-c-format
 msgid "Key signature: As Major"
-msgstr ""
+msgstr "Key signature: As Major"
 
 #. Tag: para
 #, no-c-format
 msgid "Time signature: 3/4"
-msgstr ""
+msgstr "Time signature: 3/4"
 
 #. Tag: para
 #, no-c-format
 msgid "Tempo indication: Allegretto"
-msgstr ""
+msgstr "Tempo indication: Allegretto"
 
 #. Tag: para
 #, no-c-format
 msgid "Remove default tagline: checked"
-msgstr ""
+msgstr "Remove default tagline: チェックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Adjust other settings as desired - it is recommended to keep the default pitch name language."
-msgstr ""
+msgid ""
+"Adjust other settings as desired - it is recommended to keep the default "
+"pitch name language."
+msgstr "必要に応じて、他の設定も変更します。pitch name languageは、defaultのままにするのがよいです。"
 
 #. Tag: title
 #, no-c-format
-msgid "Adjusting Frescobaldi's Output"
-msgstr ""
+msgid "Adjust Frescobaldi's Output"
+msgstr "Frescobaldi の出力を調整する"
 
 #. Tag: para
 #, no-c-format
-msgid "These steps are useful in establishing a consistent input style for <application>LilyPond</application>. The things suggested here are also useful for getting used to working with large scores, which can be a challenge in any text editor. Thankfully, careful (and consistent!) code organization goes a long way in helping you to quickly find your way around your files. Setting up files the right way to begin with makes this much easier in the end."
-msgstr ""
+msgid ""
+"These steps are useful in establishing a consistent input style for "
+"<application>LilyPond</application>. The things suggested here are also "
+"useful for getting used to working with large scores, which can be a "
+"challenge in any text editor. Thankfully, careful (and consistent!) code "
+"organization goes a long way in helping you to quickly find your way around "
+"your files. Setting up files the right way to begin with makes this much "
+"easier in the end."
+msgstr "以下のステップは、XXX"
 
 #. Tag: para
 #, no-c-format
-msgid "When you first setup the score, Frescobaldi will have created many sections for you by default. The program avoids making too many stylistic choices for you, which allows you to create your own style. It also sets up the default sections in a logical way:"
+msgid ""
+"When you first setup the score, Frescobaldi will have created many sections "
+"for you by default. The program avoids making too many stylistic choices for"
+" you, which allows you to create your own style. It also sets up the default"
+" sections in a logical way:"
 msgstr ""
 
 #. Tag: para
@@ -185,7 +236,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The specific ordering will become more obvious to you as you get used to <application>LilyPond</application>."
+msgid ""
+"The specific ordering will become more obvious to you as you get used to "
+"<application>LilyPond</application>."
 msgstr ""
 
 #. Tag: para
@@ -195,17 +248,22 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Use section-dividers (like <code>%%%%%%%% NOTES %%%%%%%%</code> for individual parts) to demarcate sections."
+msgid ""
+"Use section-dividers (like <code>%%%%%%%% NOTES %%%%%%%%</code> for "
+"individual parts) to demarcate sections."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Use different levels of dividers (like <code>%%%% RIGHT HAND %%%%</code> for the right hand) to show sub-sections"
+msgid ""
+"Use different levels of dividers (like <code>%%%% RIGHT HAND %%%%</code> for"
+" the right hand) to show sub-sections"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Add blank lines between large sections, to separate them more obviously"
+msgid ""
+"Add blank lines between large sections, to separate them more obviously"
 msgstr ""
 
 #. Tag: para
@@ -241,82 +299,133 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This is simply a matter of personal taste, resulting from prior experience with C and C-like programming languages."
+msgid ""
+"This is simply a matter of personal taste, resulting from prior experience "
+"with C and C-like programming languages."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Familiarize myself with the sections and commands created by Frescobaldi, getting a sense of what the section/command does (even if I don't understand what each specific command does). This makes it easier to sort out problems and customization down the road. Sometimes, when the setup is quite complex, I make comments about what seems to be going on."
+msgid ""
+"Familiarize myself with the sections and commands created by Frescobaldi, "
+"getting a sense of what the section/command does (even if I don't understand"
+" what each specific command does). This makes it easier to sort out problems"
+" and customization down the road. Sometimes, when the setup is quite "
+"complex, I make comments about what seems to be going on."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "At this point, I also added the \"Dynamics Context\" commands, as described below in the \"Piano Dynamics\" section"
+msgid ""
+"At this point, I also added the \"Dynamics Context\" commands, as described "
+"below in the \"Piano Dynamics\" section"
 msgstr ""
 
 #. Tag: title
 #, no-c-format
-msgid "Inputting"
+msgid "Input Notes"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Piano scores present some unique challenges with <application>LilyPond</application>, but they're easy to overcome with some careful thought. This tutorial will avoid step-by-step instructions on how to input particular notes, instead focussing on those unique piano challenges presented in this particular composition. The <application>LilyPond</application> \"Notation Reference\" provides a section dedicated to keyboard and piano music. Most of the situations described there are not present or discussed in this score, which gives this tutorial unique material."
+msgid ""
+"Piano scores present some unique challenges with "
+"<application>LilyPond</application>, but they're easy to overcome with some "
+"careful thought. This tutorial will avoid step-by-step instructions on how "
+"to input particular notes, instead focussing on those unique piano "
+"challenges presented in this particular composition. The "
+"<application>LilyPond</application> \"Notation Reference\" provides a "
+"section dedicated to keyboard and piano music. Most of the situations "
+"described there are not present or discussed in this score, which gives this"
+" tutorial unique material."
 msgstr ""
 
 #. Tag: title
 #, no-c-format
-msgid "Order of Inputting"
+msgid "Order of Input"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Choosing the right order to input your scores can make things much easier to troubleshoot. Here are some suggestions:"
+msgid ""
+"Choosing the right order to input your scores can make things much easier to"
+" troubleshoot. Here are some suggestions:"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Input music in small sections at a time. Two, four, or eight measures is usually a good size, but it depends on the size of the composition, the size of its sections, and the form of the music. It doesn't make sense to input a passage of 9 whole-notes in stages of two measures, but two measures may be too long for passages composed primarily of 128th-notes."
+msgid ""
+"Input music in small sections at a time. Two, four, or eight measures is "
+"usually a good size, but it depends on the size of the composition, the size"
+" of its sections, and the form of the music. It doesn't make sense to input "
+"a passage of 9 whole-notes in stages of two measures, but two measures may "
+"be too long for passages composed primarily of 128th-notes."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Input one staff at a time, then check its accuracy using Frescobaldi's preview function (press the \"LilyPond\" button on the toolbar)"
+msgid ""
+"Input one staff at a time, then check its accuracy using Frescobaldi's "
+"preview function (press the \"LilyPond\" button on the toolbar)"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Input the pitch and rhythms first, then slurs, articulations, ties, and fingerings. It's easier to correct errors with pitch and rhythm (and register!) before the extra markings are added."
+msgid ""
+"Input the pitch and rhythms first, then slurs, articulations, ties, and "
+"fingerings. It's easier to correct errors with pitch and rhythm (and "
+"register!) before the extra markings are added."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "To help make sixteenth-note passages easier to read, you can use double- or triple-spaces to separate beats. Such passages often feature repeated patterns; before copy-and-pasting, make sure that the pattern repetition is truly exact!"
+msgid ""
+"To help make sixteenth-note passages easier to read, you can use double- or "
+"triple-spaces to separate beats. Such passages often feature repeated "
+"patterns; before copy-and-pasting, make sure that the pattern repetition is "
+"truly exact!"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "When you progress to a new four-measure section (or two- or six-, etc.), input the less difficult staff first (if there is one). This way, you will have a better visual reference when verifying the more difficult part. It's easier to see differences if your score looks closer to the original."
+msgid ""
+"When you progress to a new four-measure section (or two- or six-, etc.), "
+"input the less difficult staff first (if there is one). This way, you will "
+"have a better visual reference when verifying the more difficult part. It's "
+"easier to see differences if your score looks closer to the original."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The same idea applies for multi-measure polyphonic passages in the same staff: input the easier part first, so you have a visual reference."
+msgid ""
+"The same idea applies for multi-measure polyphonic passages in the same "
+"staff: input the easier part first, so you have a visual reference."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "To help ensure that you don't get lost, write measure numbers in the source file every five measures or so. See the example source file to see how this is done. Even if you don't want to have measure numbers in the final score, it can be helpful to include them during inputting and error-checking."
+msgid ""
+"To help ensure that you don't get lost, write measure numbers in the source "
+"file every five measures or so. See the example source file to see how this "
+"is done. Even if you don't want to have measure numbers in the final score, "
+"it can be helpful to include them during inputting and error-checking."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Save the dynamics and pedal markings for last! Sometimes, they can help you to keep your place in the score while double-checking that it's correct, but I don't usually put them in with the rest of the notes, for reasons described below in the \"Piano Dynamics\" section."
+msgid ""
+"Save the dynamics and pedal markings for last! Sometimes, they can help you "
+"to keep your place in the score while double-checking that it's correct, but"
+" I don't usually put them in with the rest of the notes, for reasons "
+"described below in the \"Piano Dynamics\" section."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Most importantly, remember that these are just suggestions! The order in which you do things should change depending on what suits you best. Different kinds of scores will require different strategies."
+msgid ""
+"Most importantly, remember that these are just suggestions! The order in "
+"which you do things should change depending on what suits you best. "
+"Different kinds of scores will require different strategies."
 msgstr ""
 
 #. Tag: title
@@ -326,17 +435,40 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "There are two ways to input chords, but one will be used much more often."
+msgid ""
+"There are two ways to input chords, but one will be used much more often."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This style of chord notation is more common: <literal>&lt;as ces&gt;4-_</literal> Notice how only the pitches are notated inside the <literal>&lt; &gt;</literal> brackets, and everything else attached to the end. There is one exception to this: fingering should be indicated on the pitch associated with that finger: <literal>&lt;as-1 ces-3&gt;4-_</literal> Not only does this help you to sort out what was probably intended, but it allows <application>LilyPond</application> to stack the fingering in the right order. When using \"relative\" entry mode, it is the lowest note of the chord that is taken into consideration when placing the next note."
+msgid ""
+"This style of chord notation is more common: <literal>&lt;as "
+"ces&gt;4-_</literal> Notice how only the pitches are notated inside the "
+"<literal>&lt; &gt;</literal> brackets, and everything else attached to the "
+"end. There is one exception to this: fingering should be indicated on the "
+"pitch associated with that finger: <literal>&lt;as-1 ces-3&gt;4-_</literal> "
+"Not only does this help you to sort out what was probably intended, but it "
+"allows <application>LilyPond</application> to stack the fingering in the "
+"right order. When using \"relative\" entry mode, it is the lowest note of "
+"the chord that is taken into consideration when placing the next note."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This style of chord notation is less common: <literal>&lt;&lt;as4-&gt; ces&gt;&gt;</literal> Notice how everything must be notated inside the <literal>&lt;&lt; &gt;&gt;</literal> brackets. This can make it more difficult to read the chord in the source file, but it also allows much greater flexibility: only some chord members can have ties; certain chord members can last for longer than others; certain chord members can \"break out\" into or out of polyphonic passages. This notation is rarely <emphasis>needed</emphasis>, but you may be inclined to over-use it if you are trying to exactly copy the look of a hand-engraved score. Like the \"times\" command for tuplets, this is one of <application>LilyPond</application>'s deceptively powerful techniques. When using \"relative\" entry mode, it is the last note of the chord that is taken into consideration when placing the next note."
+msgid ""
+"This style of chord notation is less common: <literal>&lt;&lt;as4-&gt; "
+"ces&gt;&gt;</literal> Notice how everything must be notated inside the "
+"<literal>&lt;&lt; &gt;&gt;</literal> brackets. This can make it more "
+"difficult to read the chord in the source file, but it also allows much "
+"greater flexibility: only some chord members can have ties; certain chord "
+"members can last for longer than others; certain chord members can \"break "
+"out\" into or out of polyphonic passages. This notation is rarely "
+"<emphasis>needed</emphasis>, but you may be inclined to over-use it if you "
+"are trying to exactly copy the look of a hand-engraved score. Like the "
+"\"times\" command for tuplets, this is one of "
+"<application>LilyPond</application>'s deceptively powerful techniques. When "
+"using \"relative\" entry mode, it is the last note of the chord that is "
+"taken into consideration when placing the next note."
 msgstr ""
 
 #. Tag: title
@@ -346,17 +478,37 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<application>LilyPond</application> allows you to indicate fingering by attaching the digit number to a note as an articulation mark: <code>a16-5</code> will show a \"5\" as a fingering mark. As with all other articulation marks indicated in this way, you can use <literal>^</literal> or <literal>_</literal> to instruct <application>LilyPond</application> to put the mark above or below the note, respectively. It is usually better to let <application>LilyPond</application> decide for itself by using a <literal>-</literal>."
+msgid ""
+"<application>LilyPond</application> allows you to indicate fingering by "
+"attaching the digit number to a note as an articulation mark: "
+"<code>a16-5</code> will show a \"5\" as a fingering mark. As with all other "
+"articulation marks indicated in this way, you can use <literal>^</literal> "
+"or <literal>_</literal> to instruct <application>LilyPond</application> to "
+"put the mark above or below the note, respectively. It is usually better to "
+"let <application>LilyPond</application> decide for itself by using a "
+"<literal>-</literal>."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "When entering chords, it is recommended that you enter the fingering with the note to which it is attached, like <literal>&lt;as-1 ces-4&gt;4-_</literal>. It is possible to enter this as <literal>&lt;as ces&gt;4-1-4-&gt;</literal>, but this not only looks confusing, it may confuse <application>LilyPond</application> as to which digit is intended for which note."
+msgid ""
+"When entering chords, it is recommended that you enter the fingering with "
+"the note to which it is attached, like <literal>&lt;as-1 "
+"ces-4&gt;4-_</literal>. It is possible to enter this as <literal>&lt;as "
+"ces&gt;4-1-4-&gt;</literal>, but this not only looks confusing, it may "
+"confuse <application>LilyPond</application> as to which digit is intended "
+"for which note."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Because the extra digits look like they indicate note-lengths, it is recommended to mark them consistently. For this same reason, it is also recommended that fingering marks be added to source files only after the pitch and rhythm have been double-checked. The source file included with this tutorial puts fingering marks after any other articulation and length marking."
+msgid ""
+"Because the extra digits look like they indicate note-lengths, it is "
+"recommended to mark them consistently. For this same reason, it is also "
+"recommended that fingering marks be added to source files only after the "
+"pitch and rhythm have been double-checked. The source file included with "
+"this tutorial puts fingering marks after any other articulation and length "
+"marking."
 msgstr ""
 
 #. Tag: title
@@ -366,32 +518,57 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Musical Definition: This score makes some use of <firstterm>cautionary accidentals</firstterm>. These are accidentals which don't change the pitches to be played, but rather are used as a precaution against forgetting that they are there. This usually happens when an accidental in the written key signature is changed for a significant number of measures, and then suddenly changes back. The cautionary accidental would be applied when the standard key signature returns, to remind the musician of the key signature."
+msgid ""
+"Musical Definition: This score makes some use of <firstterm>cautionary "
+"accidentals</firstterm>. These are accidentals which don't change the "
+"pitches to be played, but rather are used as a precaution against forgetting"
+" that they are there. This usually happens when an accidental in the written"
+" key signature is changed for a significant number of measures, and then "
+"suddenly changes back. The cautionary accidental would be applied when the "
+"standard key signature returns, to remind the musician of the key signature."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<application>LilyPond</application> Notation: These are notated in <application>LilyPond</application> with an exclamation mark placed before the note-value: <code>ces!16</code>"
+msgid ""
+"<application>LilyPond</application> Notation: These are notated in "
+"<application>LilyPond</application> with an exclamation mark placed before "
+"the note-value: <code>ces!16</code>"
 msgstr ""
 
 #. Tag: title
 #, no-c-format
-msgid "Changing the Style of Crescendo"
+msgid "Change the Style of Crescendo"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Sometimes the composer or editor prefers to use the words <foreignphrase>crescendo</foreignphrase> or its abbreviation, <foreignphrase>cresc.</foreignphrase>, instead of the <literal>\\&lt;</literal> style of crescendo. In <application>LilyPond</application> these are handled by the same source-file notation (<literal>\\&lt;</literal> to start and <code>\\!</code> to end explicitly). However, if you want to use text and a \"spanner\" (dotted or dashed line, for example) instead of the &lt; sign, you need to tell <application>LilyPond</application>. This can be accomplished with the following command: <code>\\crescTextCresc</code>."
+msgid ""
+"Sometimes the composer or editor prefers to use the words "
+"<foreignphrase>crescendo</foreignphrase> or its abbreviation, "
+"<foreignphrase>cresc.</foreignphrase>, instead of the "
+"<literal>\\&lt;</literal> style of crescendo. In "
+"<application>LilyPond</application> these are handled by the same source-"
+"file notation (<literal>\\&lt;</literal> to start and <code>\\!</code> to "
+"end explicitly). However, if you want to use text and a \"spanner\" (dotted "
+"or dashed line, for example) instead of the &lt; sign, you need to tell "
+"<application>LilyPond</application>. This can be accomplished with the "
+"following command: <code>\\crescTextCresc</code>."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "After changing to this style of <foreignphrase>crescendo</foreignphrase>, you can revert to the standard &lt; style with the following command: <literal>\\crescHairpin</literal>."
+msgid ""
+"After changing to this style of <foreignphrase>crescendo</foreignphrase>, "
+"you can revert to the standard &lt; style with the following command: "
+"<literal>\\crescHairpin</literal>."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The <literal>\\dimTextDim</literal> and <literal>\\dimHairpin</literal> commands do the same for a <foreignphrase>diminuendo</foreignphrase>."
+msgid ""
+"The <literal>\\dimTextDim</literal> and <literal>\\dimHairpin</literal> "
+"commands do the same for a <foreignphrase>diminuendo</foreignphrase>."
 msgstr ""
 
 #. Tag: title
@@ -401,12 +578,24 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Sometimes, especially in piano music, a passage of some measures will require polyphonic (multi-Voice) notation in <application>LilyPond</application>, even though most of the music does not. In this case, you would use the following format: <literal> &lt;&lt; { % upper voice notes go here } \\\\ { % lower voice notes go here } &gt;&gt; </literal> This is used a few times in both hands in the example score file."
+msgid ""
+"Sometimes, especially in piano music, a passage of some measures will "
+"require polyphonic (multi-Voice) notation in "
+"<application>LilyPond</application>, even though most of the music does not."
+" In this case, you would use the following format: <literal> &lt;&lt; { % "
+"upper voice notes go here } \\\\ { % lower voice notes go here } &gt;&gt; "
+"</literal> This is used a few times in both hands in the example score file."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "When writing these sections in \"relative\" entry mode, it is a good idea to use the \"octave-check\" mechanism, at least at the beginning of the lower voice. This is because, when judging the relative starting pitch of the first note of the lower voice, <application>LilyPond</application> judges from the last note of the upper voice - <emphasis>not</emphasis> the last note before the polyphonic section began."
+msgid ""
+"When writing these sections in \"relative\" entry mode, it is a good idea to"
+" use the \"octave-check\" mechanism, at least at the beginning of the lower "
+"voice. This is because, when judging the relative starting pitch of the "
+"first note of the lower voice, <application>LilyPond</application> judges "
+"from the last note of the upper voice - <emphasis>not</emphasis> the last "
+"note before the polyphonic section began."
 msgstr ""
 
 #. Tag: title
@@ -416,97 +605,155 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Musical Definition: In order to most conveniently notate over large ranges, composers and editors sometimes use text spanners to indicate that a passage should be played one or two octaves higher or lower than written. This allows the notes to stay mostly within the staff lines, thereby decreasing the number of ledger lines required."
+msgid ""
+"Musical Definition: In order to most conveniently notate over large ranges, "
+"composers and editors sometimes use text spanners to indicate that a passage"
+" should be played one or two octaves higher or lower than written. This "
+"allows the notes to stay mostly within the staff lines, thereby decreasing "
+"the number of ledger lines required."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<application>LilyPond</application> Notation: The <code>\\ottava</code> command is used to notate all five states of transposition:"
+msgid ""
+"<application>LilyPond</application> Notation: The <code>\\ottava</code> "
+"command is used to notate all five states of transposition:"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "15va (play two octaves higher than written) is engaged with <code>\\ottava #2</code>"
+msgid ""
+"15va (play two octaves higher than written) is engaged with <code>\\ottava "
+"#2</code>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "8va (play one octave higher than written) is engaged with <code>\\ottava #1</code>"
+msgid ""
+"8va (play one octave higher than written) is engaged with <code>\\ottava "
+"#1</code>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<foreignphrase>loco</foreignphrase> (play in the octave written) is engaged with <code>\\ottava #0</code>, which also cancels another sign."
+msgid ""
+"<foreignphrase>loco</foreignphrase> (play in the octave written) is engaged "
+"with <code>\\ottava #0</code>, which also cancels another sign."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "8vb (play one octave lower than written) is engaged with <code>\\ottava #-1</code>"
+msgid ""
+"8vb (play one octave lower than written) is engaged with <code>\\ottava "
+"#-1</code>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "15vb (play two octaves lower than written) is engaged with <code>\\ottava #-2</code>"
+msgid ""
+"15vb (play two octaves lower than written) is engaged with <code>\\ottava "
+"#-2</code>"
 msgstr ""
 
 #. Tag: title
 #, no-c-format
-msgid "Troubleshooting Errors"
+msgid "Troubleshoot Errors"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "It can be difficult to troubleshoot inputting errors, especially when you find them days or weeks after originally inputting that section of a score. The best way to fix errors is to input scores in a way that doesn't allow them in the first place. As they say, \"an ounce of prevention is worth a pound of cure,\" which means \"if you input your <application>LilyPond</application> files carefully, then you will encounter fewer problems.\" Such practices as proper spacing, and regular use of the octave- and bar-check features will deal with many common problems."
+msgid ""
+"It can be difficult to troubleshoot inputting errors, especially when you "
+"find them days or weeks after originally inputting that section of a score. "
+"The best way to fix errors is to input scores in a way that doesn't allow "
+"them in the first place. As they say, \"an ounce of prevention is worth a "
+"pound of cure,\" which means \"if you input your "
+"<application>LilyPond</application> files carefully, then you will encounter"
+" fewer problems.\" Such practices as proper spacing, and regular use of the "
+"octave- and bar-check features will deal with many common problems."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "However, when searching for an error in your score, Frescobaldi does offer some features to help you find it:"
+msgid ""
+"However, when searching for an error in your score, Frescobaldi does offer "
+"some features to help you find it:"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If you have written something in the text-input window that is obviously incorrect, then Frescobaldi will sometimes catch your mistake and underline and highlight the erroneous code in red. This is most useful for catching typographical errors (\"typos\")."
+msgid ""
+"If you have written something in the text-input window that is obviously "
+"incorrect, then Frescobaldi will sometimes catch your mistake and underline "
+"and highlight the erroneous code in red. This is most useful for catching "
+"typographical errors (\"typos\")."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If <application>LilyPond</application> encounters a processing error, it will show up in the \"<application>LilyPond</application> Log\" window below the text-input window. You can click on the blue, underlined text to move the text-selection caret to the error."
+msgid ""
+"If <application>LilyPond</application> encounters a processing error, it "
+"will show up in the \"<application>LilyPond</application> Log\" window below"
+" the text-input window. You can click on the blue, underlined text to move "
+"the text-selection caret to the error."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If you can see an error in the PDF preview, but you can't find it in the source file, you can click on the problematic note or object in the PDF preview, and Frescobaldi will automatically move the text-selection caret to that object."
+msgid ""
+"If you can see an error in the PDF preview, but you can't find it in the "
+"source file, you can click on the problematic note or object in the PDF "
+"preview, and Frescobaldi will automatically move the text-selection caret to"
+" that object."
 msgstr ""
 
 #. Tag: title
 #, no-c-format
-msgid "Formatting the Score (Piano Dynamics)"
+msgid "Format the Score (Piano Dynamics)"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Keyboard instruments use a unique notation when it comes to dynamics. Most instruments use only one staff per player, so the dynamics are, by convention, notated underneath that staff. Keyboard instruments usually use two staves (organs and complex piano music may use three). Because the dynamics are usually meant to apply to both staves, they are usually notated between the two staves. This is similar to notation beneath the upper staff, but in truth, piano dynamics tend to be placed in the middle between the staves - entering the dynamics as belonging to the upper staff, in <application>LilyPond</application>, will not produce that effect."
+msgid ""
+"Keyboard instruments use a unique notation when it comes to dynamics. Most "
+"instruments use only one staff per player, so the dynamics are, by "
+"convention, notated underneath that staff. Keyboard instruments usually use "
+"two staves (organs and complex piano music may use three). Because the "
+"dynamics are usually meant to apply to both staves, they are usually notated"
+" between the two staves. This is similar to notation beneath the upper "
+"staff, but in truth, piano dynamics tend to be placed in the middle between "
+"the staves - entering the dynamics as belonging to the upper staff, in "
+"<application>LilyPond</application>, will not produce that effect."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "There is a way to notate dynamics between two staves in <application>LilyPond</application>, and it involves a little bit of thought to get it right. It also requires the addition of a significant number of commands, and the creation of a new context."
+msgid ""
+"There is a way to notate dynamics between two staves in "
+"<application>LilyPond</application>, and it involves a little bit of thought"
+" to get it right. It also requires the addition of a significant number of "
+"commands, and the creation of a new context."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This process looks difficult, and may seem daunting. It's not necessary to understand all of the commands in the \"PianoDynamics\" Context in order to use the context, so there is no need to worry!"
+msgid ""
+"This process looks difficult, and may seem daunting. It's not necessary to "
+"understand all of the commands in the \"PianoDynamics\" Context in order to "
+"use the context, so there is no need to worry!"
 msgstr ""
 
 #. Tag: title
 #, no-c-format
-msgid "Preparing the \"PianoDynamics\" Context"
+msgid "Prepare the \"PianoDynamics\" Context"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "It is probably easier to add these commands before inputting most of the score, but there is no reason why this context cannot be added to any score at any time."
+msgid ""
+"It is probably easier to add these commands before inputting most of the "
+"score, but there is no reason why this context cannot be added to any score "
+"at any time."
 msgstr ""
 
 #. Tag: para
@@ -516,7 +763,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Between the left and right staves of the PianoStaff, add \"<code>\\new PianoDynamics = \"dynamics\" \\dynamics</code>\". For the Schubert score, this looks like:"
+msgid ""
+"Between the left and right staves of the PianoStaff, add \"<code>\\new "
+"PianoDynamics = \"dynamics\" \\dynamics</code>\". For the Schubert score, "
+"this looks like:"
 msgstr ""
 
 #. Tag: programlisting
@@ -580,7 +830,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This creates a \"PianoDynamics\" context, and modifies the \"PianoStaff\" context so that it will accept a \"PianoDynamics\" context."
+msgid ""
+"This creates a \"PianoDynamics\" context, and modifies the \"PianoStaff\" "
+"context so that it will accept a \"PianoDynamics\" context."
 msgstr ""
 
 #. Tag: para
@@ -606,20 +858,33 @@ msgstr ""
 
 #. Tag: title
 #, no-c-format
-msgid "Inputting the Dynamics"
+msgid "Input Dynamics"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Now you can input the dynamic markings. These are inputted with a special note called a \"spacer,\" that uses the letter \"s\" rather than a note name. You can also use rests (both partial- and multi-measure, r and R), but dynamic markings cannot be assigned to them."
+msgid ""
+"Now you can input the dynamic markings. These are inputted with a special "
+"note called a \"spacer,\" that uses the letter \"s\" rather than a note "
+"name. You can also use rests (both partial- and multi-measure, r and R), but"
+" dynamic markings cannot be assigned to them."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "For example, if you want a <foreignphrase>piano</foreignphrase> marking on the first beat, and a <foreignphrase>diminuendo</foreignphrase> from the third to the fourth beat, you could write this: <code>s4\\p r s\\&gt; s\\!</code>, or this: <code>s2\\p s4\\&gt; s\\!</code>"
+msgid ""
+"For example, if you want a <foreignphrase>piano</foreignphrase> marking on "
+"the first beat, and a <foreignphrase>diminuendo</foreignphrase> from the "
+"third to the fourth beat, you could write this: <code>s4\\p r s\\&gt; "
+"s\\!</code>, or this: <code>s2\\p s4\\&gt; s\\!</code>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "That's all there is to it! Think of the dynamics part as an invisible, pitch-free line between the two staves, for the sole purpose of dynamics (and other expression markings)."
+msgid ""
+"That's all there is to it! Think of the dynamics part as an invisible, "
+"pitch-free line between the two staves, for the sole purpose of dynamics "
+"(and other expression markings)."
 msgstr ""
+
+
diff --git a/ja-JP/LilyPond/LilyPond-syntax.po b/ja-JP/LilyPond/LilyPond-syntax.po
index c84aace..30edfd4 100644
--- a/ja-JP/LilyPond/LilyPond-syntax.po
+++ b/ja-JP/LilyPond/LilyPond-syntax.po
@@ -1,477 +1,866 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-11-02T04:33:08\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-07-13 09:27+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "<application>LilyPond</application> Basics"
-msgstr ""
+msgstr "<application>LilyPond</application> の基本"
 
 #. Tag: para
 #, no-c-format
-msgid "The syntax of <application>LilyPond</application> files offers the most flexibility through the most diverse musical conditions. Over time, you will realize that features which seem too complex at first are really a very powerful and simple way to solve complex problems that commercial programs cannot."
+msgid ""
+"The syntax of <application>LilyPond</application> files offers the most "
+"flexibility through the most diverse musical conditions. Over time, you will"
+" realize that features which seem too complex at first are really a very "
+"powerful and simple way to solve complex problems that commercial programs "
+"cannot."
 msgstr ""
+"<application>LilyPond</application> "
+"ファイルのシンタックスは、すべての音楽状況において、最大の柔軟性を提供します。あなたは何度も、最初は複雑すぎると思われた機能が、実は、複雑な問題を解くためのとてもパワフルでシンプルな方法であり、それは市販のプログラムでは不可能だということに気がつくでしょう。"
 
 #. Tag: title
 #, no-c-format
 msgid "Letters Are Pitches"
-msgstr ""
+msgstr "文字は音程"
 
 #. Tag: para
 #, no-c-format
-msgid "One letter is all that's required to create a note in <application>LilyPond</application>. There are additional symbols and letters that are added to indicate further details, like the register, and whether the note is \"sharp\" or \"flat.\""
+msgid ""
+"One letter is all that's required to create a note in "
+"<application>LilyPond</application>. There are additional symbols and "
+"letters that are added to indicate further details, like the register, and "
+"whether the note is \"sharp\" or \"flat.\""
 msgstr ""
+"<application>LilyPond</application> で１つの音を作るには、１文字だけで済みます。音域や、音が \"シャープ "
+"\"であるか \"フラット \"であるかなどの詳細を指定するためのその他の文字と記号があります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Although it can be changed, the default (and recommended) way to indicate \"sharp\" or \"flat\" is by using Dutch note-names: \"-is\" to indicate a sharp, and \"-es\" to indicate a flat. For example, the following command would create b-double-flat, b-flat, b, b-sharp, and b-double-sharp: <code>beses bes b bis bisis</code> Getting used to these names happens quickly, and they take less time to input than the English alternative. Furthermore, with these names, it becomes possible to sing note-names when you are ear training!"
+msgid ""
+"Although it can be changed, the default (and recommended) way to indicate "
+"\"sharp\" or \"flat\" is by using Dutch note-names: \"-is\" to indicate a "
+"sharp, and \"-es\" to indicate a flat. For example, the following command "
+"would create b-double-flat, b-flat, b, b-sharp, and b-double-sharp: "
+"<code>beses bes b bis bisis</code> Getting used to these names happens "
+"quickly, and they take less time to input than the English alternative. "
+"Furthermore, with these names, it becomes possible to sing note-names when "
+"you are ear training!"
 msgstr ""
+"変更は可能ですが、\"シャープ \"と \"フラット \"を指定するデフォルトで（お勧めの）方法は、ドイツ語の音名を使うことです： "
+"\"-is\"はシャープを、\"-es\"はフラットを意味します。例えば、以下のコマンドは b ダブルフラット、b フラット、b、b シャープ、b "
+"ダブルシャープを生成します： <code>beses bes b bis bisis</code> "
+"あなたはこれらの名前にすぐに慣れるでしょうし、代わりに英語で入力するのと比べると時間がかからないでしょう。さらに、これらの名前を使えば、耳のトレーニングをしているときに、音名で歌うこともできるのです！"
 
 #. Tag: para
 #, no-c-format
-msgid "Pitch can be entered either absolutely, or relative to the preceding notes. Usually (for music without frequent large leaps) it is more convenient to use the \"relative\" mode. The symbols <literal>,</literal> and <literal>'</literal> (comma and apostrophe) are used to indicate register."
+msgid ""
+"Pitch can be entered either absolutely, or relative to the preceding notes. "
+"Usually (for music without frequent large leaps) it is more convenient to "
+"use the \"relative\" mode. The symbols <literal>,</literal> and "
+"<literal>'</literal> (comma and apostrophe) are used to indicate register."
 msgstr ""
+"音程の入力は絶対的に行うことも、前の音からの相対位置で行うこともできます。通常、（大きな飛びがあまりない音楽では） \"相対 "
+"\"モードを使うほうが便利です。<literal>,</literal> と <literal>'</literal> "
+"記号（コンマとアポストロフィ）は、音域を指定するのに使われます。"
 
 #. Tag: para
 #, no-c-format
-msgid "When entering absolute pitches, the register is indicated mostly as in the Helmholtz system (see <citetitle>Helmholtz Pitch Notation (Wikipedia)</citetitle> at <ulink url=\"http://en.wikipedia.org/wiki/Helmholtz_pitch_notation\" />: octaves begin on the pitch \"C,\" and end eleven tones higher on the pitch \"B.\" The octave below \"middle C\" (octave 3 in scientific pitch notation - see <citetitle>Scientific Pitch Notation (Wikipedia)</citetitle> at <ulink url=\"http://en.wikipedia.org/wiki/Scientific_pitch_notation Scientific Pitch Notation\" />) has no commas or apostrophes. The octave starting on \"middle C\" (octave 4) has one apostrophe; the octave above that (octave 5) has two apostrophes, and so on. Octave 2 (starting two octaves below \"middle C\") has one comma, the octave below that has two commas, and so on. It is usually not necessary to understand how to use this in <application>LilyPond</application>, or to be able to use it quickly, because most scores 
 will use \"relative mode.\""
-msgstr ""
+msgid ""
+"When entering absolute pitches, the register is indicated mostly as in the "
+"Helmholtz system (see <citetitle>Helmholtz Pitch Notation "
+"(Wikipedia)</citetitle> at <ulink "
+"url=\"http://en.wikipedia.org/wiki/Helmholtz_pitch_notation\" />: octaves "
+"begin on the pitch \"C,\" and end eleven tones higher on the pitch \"B.\" "
+"The octave below \"middle C\" (octave 3 in scientific pitch notation - see "
+"<citetitle>Scientific Pitch Notation (Wikipedia)</citetitle> at <ulink "
+"url=\"http://en.wikipedia.org/wiki/Scientific_pitch_notation Scientific "
+"Pitch Notation\" />) has no commas or apostrophes. The octave starting on "
+"\"middle C\" (octave 4) has one apostrophe; the octave above that (octave 5)"
+" has two apostrophes, and so on. Octave 2 (starting two octaves below "
+"\"middle C\") has one comma, the octave below that has two commas, and so "
+"on. It is usually not necessary to understand how to use this in "
+"<application>LilyPond</application>, or to be able to use it quickly, "
+"because most scores will use \"relative mode.\""
+msgstr ""
+"絶対音程を入力するときは、音域は、ほぼヘルムホルツシステム（ <ulink "
+"url=\"http://en.wikipedia.org/wiki/Helmholtz_pitch_notation\" /> の "
+"<citetitle>Helmholtz Pitch Notation (Wikipedia)</citetitle> "
+"を参照。）に従って指定されます：オクターブは \"C\"音程で始まり、１１音高いところ、\"B\"音程で終わります。\"middle "
+"C\"の下のオクターブ（ scientific pitch notation で、オクターブ３、<ulink "
+"url=\"http://en.wikipedia.org/wiki/Scientific_pitch_notation Scientific "
+"Pitch Notation\" /> の <citetitle>Scientific Pitch Notation "
+"(Wikipedia)</citetitle> を参照）はコンマもアポストロフィもついていません。\"middle "
+"C\"から始まるオクターブ（オクターブ４）は、１つのアポストロフィがつきます。その上のオクターブ（オクターブ５）は２つのアポストロフィがつく、と続きます。通常は、<application>LilyPond</application>"
+" でこれをどう使うか理解したり、それを素早く使えるようになることは必要ではありません。なぜならば、ほとんどの楽譜は \"相対モード \"を使うからです。"
 
 #. Tag: para
 #, no-c-format
-msgid "When entering pitches relative to the previous one, the register is still indicated with commas or apostrophes, but usually none are needed. When using this input mode, the octave of each note is guessed based on the octave of the previous note. Think of it this way: the next note will always be placed so it produces the smaller interval. For example, after a C, an E could be placed as a major third, a minor sixth, a major tenth, a minor thirteenth, and so on. In relative mode, <application>LilyPond</application> will always choose the \"major third\" option. If you wanted <application>LilyPond</application> to notate the E so that it's a minor sixth, you would tell <application>LilyPond</application> with a comma appended: <code>c e,</code> so that <application>LilyPond</application> knows what you want. It's the same case if you were to input <code>c aes</code> (meaning \"C then A-flat\"): the A-flat will be notated so that it is a major third from the C; if you wan
 ted <application>LilyPond</application> to notate it so that the A-flat is a minor sixth higher than the C, you would need to append an apostrophe: <code>c aes'</code>"
-msgstr ""
+msgid ""
+"When entering pitches relative to the previous one, the register is still "
+"indicated with commas or apostrophes, but usually none are needed. When "
+"using this input mode, the octave of each note is guessed based on the "
+"octave of the previous note. Think of it this way: the next note will always"
+" be placed so it produces the smaller interval. For example, after a C, an E"
+" could be placed as a major third, a minor sixth, a major tenth, a minor "
+"thirteenth, and so on. In relative mode, <application>LilyPond</application>"
+" will always choose the \"major third\" option. If you wanted "
+"<application>LilyPond</application> to notate the E so that it's a minor "
+"sixth, you would tell <application>LilyPond</application> with a comma "
+"appended: <code>c e,</code> so that <application>LilyPond</application> "
+"knows what you want. It's the same case if you were to input <code>c "
+"aes</code> (meaning \"C then A-flat\"): the A-flat will be notated so that "
+"it is a major third from the C; if you wanted "
+"<application>LilyPond</application> to notate it so that the A-flat is a "
+"minor sixth higher than the C, you would need to append an apostrophe: "
+"<code>c aes'</code>"
+msgstr ""
+"前の音符に相対的に音符を入力するとき、コンマとアポストロフィで音域を指定することもできますが、通常は、どちらも使われません。この入力モードでは、それぞれの音符のオクターブは前の音符のオクターブをもとに推測されます。このように考えてください；次の音符は常に、最小の音程差になるように置かれます。例えば、C"
+" の後で E "
+"を置くと、それは長３度、短６度、長１０度、短１３度、などに置くことができます。<application>LilyPond</application> "
+"は、相対モードでは、常に \"長３度 \"を選びます。もしあなたが、<application>LilyPond</application> が E "
+"を短６度に置くことを望むなら、あなたは <application>LilyPond</application> に、コンマを加えて指示をします： "
+"<code>c e,</code> こうすれば、<application>LilyPond</application> "
+"はあなたの意図がわかります。同じように、<code>c aes</code> （ C そして、A フラットの意味）を入力すると、A フラットは C "
+"から長３度に置かれます。もしあなたが、<application>LilyPond</application> に A フラットを C "
+"より短６度高く置いてほしいならアポストロフィを加えて、<code>c aes'</code> としてください。"
 
 #. Tag: para
 #, no-c-format
-msgid "The only possible ambiguity with this method is with a tritone. <application>LilyPond</application> solves this by not recognizing \"tritones,\" per se, and thinking of them as \"augmented fourth\" or \"diminished fifth.\" Unless instructed otherwise (with a comma or apostrophe), <application>LilyPond</application> will always notate the interval as an augmented fourth."
+msgid ""
+"The only possible ambiguity with this method is with a tritone. "
+"<application>LilyPond</application> solves this by not recognizing "
+"\"tritones,\" per se, and thinking of them as \"augmented fourth\" or "
+"\"diminished fifth.\" Unless instructed otherwise (with a comma or "
+"apostrophe), <application>LilyPond</application> will always notate the "
+"interval as an augmented fourth."
 msgstr ""
+"この方法の唯一の曖昧な点は、トライトーンのときです。<application>LilyPond</application> は \"トライトーン "
+"\"それ自身は認識しないものとして、それらを \"増４度 \"あるいは \"減５度 "
+"\"として扱うことで曖昧さを解決します。<application>LilyPond</application> "
+"は、（コンマかアポストロフィで指示されないときは、）音程を増４度として記譜します。"
 
 #. Tag: para
 #, no-c-format
-msgid "You must always indicate a sharp or flat, even if it is already in a key signature. This ultimately helps to reduce the number of errors."
+msgid ""
+"You must always indicate a sharp or flat, even if it is already in a key "
+"signature. This ultimately helps to reduce the number of errors."
 msgstr ""
+"シャープとフラットは、五線譜の最初の調号で指定があるときでも、常に指定しなくてはいけません。これは、最終的には、誤りの数を減らすのに役に立ちます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Letters used to indicate pitch are always in lower-case."
-msgstr ""
+msgstr "音程を示すのに使われる文字は、常に小文字です。"
 
 #. Tag: title
 #, no-c-format
 msgid "Numbers Are Durations"
-msgstr ""
+msgstr "数字は長さ"
 
 #. Tag: para
 #, no-c-format
-msgid "A number appended to a letter is understood by <application>LilyPond</application> to indicate that particular note's note-value. A whole note is indicated with a 1, and all other durations are indicated with a number representing the fraction of a whole note that they occupy: half notes are 2 (like \"1/2 note\"); quarter notes are 4 (like \"1/4 note\"); eighth notes are 8 (like \"1/8 note\") and so on."
+msgid ""
+"A number appended to a letter is understood by "
+"<application>LilyPond</application> to indicate that particular note's note-"
+"value. A whole note is indicated with a 1, and all other durations are "
+"indicated with a number representing the fraction of a whole note that they "
+"occupy: half notes are 2 (like \"1/2 note\"); quarter notes are 4 (like "
+"\"1/4 note\"); eighth notes are 8 (like \"1/8 note\") and so on."
 msgstr ""
+"文字に付与された数字は、<application>LilyPond</application> "
+"により、その音符の音の長さを示すと解釈されます。全音符は１で、それ以外の長さは、音の占める全音符の割合を示す数字で表されます：２分音符は２（ \"1/2"
+" 音符 \"ですから）。４分音符は４ (\"1/4 音符 \") ８分音符は８ (\"1/8 音符 \") など、です。 "
 
 #. Tag: para
 #, no-c-format
-msgid "To add a \"dot\" to a note (thereby increasing its length by one half), you simply include a period after the number. For example, <literal>e4.</literal> means \"dotted quarter note on E.\""
+msgid ""
+"To add a \"dot\" to a note (thereby increasing its length by one half), you "
+"simply include a period after the number. For example, "
+"<literal>e4.</literal> means \"dotted quarter note on E.\""
 msgstr ""
+"音符に \"ドット "
+"\"を加える（その長さを、１／２、長くする）には、数字の後にピリオドを加えればよいです。例えば、<literal>e4.</literal> は、\"E"
+" の付点４分音符 \"の意味です。"
 
 #. Tag: para
 #, no-c-format
-msgid "To add a \"tie\" from one note to the next (thereby continuing its duration across a measure-line), add a tilde ( <literal>~</literal> ) after the pitch and duration."
+msgid ""
+"To add a \"tie\" from one note to the next (thereby continuing its duration "
+"across a measure-line), add a tilde ( <literal>~</literal> ) after the pitch"
+" and duration."
 msgstr ""
+"１つの音符から次の音符にタイを加える（音符の長さを小節線をまたがって続けるため）には、音程と長さの後にチルド（ <literal>~</literal>"
+" ）を加えます。"
 
 #. Tag: para
 #, no-c-format
-msgid "After indicating a duration, it is assumed that all subsequent notes have the same duration, until indicated otherwise."
-msgstr ""
+msgid ""
+"After indicating a duration, it is assumed that all subsequent notes have "
+"the same duration, until indicated otherwise."
+msgstr "長さを指定した後は、別の指示があるまで、すべての続く音符は同じ長さを持つものとされます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Articulations"
-msgstr ""
+msgstr "アーティキュレーション、表情記号"
 
 #. Tag: para
 #, no-c-format
-msgid "Many different symbols are used to tell <application>LilyPond</application> to add articulation signs to a note. They are all appended after the pitch and (if included) duration, and many have a position indicator, too."
+msgid ""
+"Many different symbols are used to tell <application>LilyPond</application> "
+"to add articulation signs to a note. They are all appended after the pitch "
+"and (if included) duration, and many have a position indicator, too."
 msgstr ""
+"多くの異なる記号が、<application>LilyPond</application> "
+"に、音符に表情記号を加えるために使われます。それは、すべて、音程と（もしあれば）長さの後に付加されます。多くは、位置の指定も持ちます。"
 
 #. Tag: para
 #, no-c-format
-msgid "A full list of articulation markings is available in the <application>LilyPond</application> manual, and <application>Frescobaldi</application> remembers most of them for you (they are stored in the left-side panel)."
+msgid ""
+"A full list of articulation markings is available in the "
+"<application>LilyPond</application> manual, and "
+"<application>Frescobaldi</application> remembers most of them for you (they "
+"are stored in the left-side panel)."
 msgstr ""
+"表情記号の完全なリストは <application>LilyPond</application> "
+"マニュアルにあり、<application>Frescobaldi</application> "
+"はあなたのためにそのほとんどを記憶しています。（左側のパネルにあります。）"
 
 #. Tag: para
 #, no-c-format
-msgid "These are some of the most common articulation marks, which use a position indicator unless specified otherwise:"
-msgstr ""
+msgid ""
+"These are some of the most common articulation marks, which use a position "
+"indicator unless specified otherwise:"
+msgstr "以下に、よく使われるいくつかの表情記号をあげます。特に指定がないときは、位置の指定も必要です。"
 
 #. Tag: para
 #, no-c-format
 msgid "<literal>(</literal> to begin a slur (no position indicator)"
-msgstr ""
+msgstr "<literal>(</literal> は、スラーを開始します。（位置の指定はありません。）"
 
 #. Tag: para
 #, no-c-format
 msgid "<literal>)</literal> to end a slur (no position indicator)"
-msgstr ""
+msgstr "<literal>)</literal> は、スラーを終了します。（位置の指定はありません。）"
 
 #. Tag: para
 #, no-c-format
-msgid "<literal>~</literal> to begin a tie (which needs no end; no position indicator)"
-msgstr ""
+msgid ""
+"<literal>~</literal> to begin a tie (which needs no end; no position "
+"indicator)"
+msgstr "<literal>~</literal> はタイを開始します。（終了は必要ありません。位置の指定はありません。）"
 
 #. Tag: para
 #, no-c-format
 msgid "<literal>.</literal> for a \"staccato\" mark"
-msgstr ""
+msgstr "<literal>.</literal> はスタッカートマークです。"
 
 #. Tag: para
 #, no-c-format
 msgid "<literal>&gt;</literal> for an \"accent\""
-msgstr ""
+msgstr "<literal>&gt;</literal> は、\"アクセント \"です。"
 
 #. Tag: para
 #, no-c-format
 msgid "<literal>-</literal> for a \"tenuto\" mark"
-msgstr ""
+msgstr "<literal>-</literal> は \"テヌート \"マークです。"
 
 #. Tag: para
 #, no-c-format
 msgid "<literal>^</literal> for a \"marcato\" mark"
-msgstr ""
+msgstr "<literal>^</literal> は \"マルカート \"マークです。"
 
 #. Tag: para
 #, no-c-format
 msgid "<literal>_</literal> for a \"portato\" mark (dot and line)"
-msgstr ""
+msgstr "<literal>_</literal> は、\"ポルタート \"マークです。（ドットと下線）"
 
 #. Tag: para
 #, no-c-format
 msgid "There are three position indicators:"
-msgstr ""
+msgstr "３つの位置指定子があります："
 
 #. Tag: para
 #, no-c-format
-msgid "<literal>-</literal> which means to put the articulation mark wherever <application>LilyPond</application> thinks it makes sense"
+msgid ""
+"<literal>-</literal> which means to put the articulation mark wherever "
+"<application>LilyPond</application> thinks it makes sense"
 msgstr ""
+"<literal>-</literal> は、<application>LilyPond</application> "
+"が妥当と判断したところにどこでも、表情記号を入れることを意味します。"
 
 #. Tag: para
 #, no-c-format
-msgid "<literal>_</literal> which means to put the articulation mark <emphasis>below</emphasis> the note-head"
+msgid ""
+"<literal>_</literal> which means to put the articulation mark "
+"<emphasis>below</emphasis> the note-head"
 msgstr ""
+"<literal>_</literal> は、表情記号を音符の玉の <emphasis> 下 </emphasis> に入れることを意味します。"
 
 #. Tag: para
 #, no-c-format
-msgid "<literal>^</literal> which means to put the articulation mark <emphasis>above</emphasis> the note-head"
+msgid ""
+"<literal>^</literal> which means to put the articulation mark "
+"<emphasis>above</emphasis> the note-head"
 msgstr ""
+"<literal>^</literal> は、表情記号を音符の玉の <emphasis> 上 </emphasis> に入れることを意味します。"
 
 #. Tag: para
 #, no-c-format
-msgid "These position indicators will sometimes result in notes like: <code>g4--</code>, <code>g4__</code>, and <code>g4^^</code>, but although this may look incorrect, it is perfectly acceptable."
+msgid ""
+"These position indicators will sometimes result in notes like: "
+"<code>g4--</code>, <code>g4__</code>, and <code>g4^^</code>, but although "
+"this may look incorrect, it is perfectly acceptable."
 msgstr ""
+"３つの位置指定子は、ときには、このような音符になることがあります： <code>g4--</code>, <code>g4__</code>, そして "
+"<code>g4^^</code>。これは正しくないように見えるかもしれませんが、完全に受け付けられる表記です。訳注：ハイフン２つはテヌートの任意位置、ということ。"
 
 #. Tag: title
 #, no-c-format
 msgid "Simultaneity"
-msgstr ""
+msgstr "同時性"
 
 #. Tag: para
 #, no-c-format
-msgid "Simply put, anything enclosed inside <literal>&lt;&lt;</literal> and <literal>&gt;&gt;</literal> is considered by <application>LilyPond</application> to happen simultaneously. This can be used in any context (and any Context - see above/below). It is possible to tell <application>LilyPond</application> that you want two notes to happen at the same time in the same voice (yielding a chord), at the same time on the same staff (yielding polyphony), and so on. Moreover, any score with multiple staves will use <literal>&lt;&lt;</literal> and <literal>&gt;&gt;</literal> to tell <application>LilyPond</application> that the parts should begin at the same time, and creative use of <literal>&lt;&lt;</literal> and <literal>&gt;&gt;</literal> is one of the keys to advanced notation."
-msgstr ""
+msgid ""
+"Simply put, anything enclosed inside <literal>&lt;&lt;</literal> and "
+"<literal>&gt;&gt;</literal> is considered by "
+"<application>LilyPond</application> to happen simultaneously. This can be "
+"used in any context (and any Context - see above/below). It is possible to "
+"tell <application>LilyPond</application> that you want two notes to happen "
+"at the same time in the same voice (yielding a chord), at the same time on "
+"the same staff (yielding polyphony), and so on. Moreover, any score with "
+"multiple staves will use <literal>&lt;&lt;</literal> and "
+"<literal>&gt;&gt;</literal> to tell <application>LilyPond</application> that"
+" the parts should begin at the same time, and creative use of "
+"<literal>&lt;&lt;</literal> and <literal>&gt;&gt;</literal> is one of the "
+"keys to advanced notation."
+msgstr ""
+"単純に言うと、<literal>&lt;&lt;</literal> と <literal>&gt;&gt;</literal> "
+"の間に囲まれたものはすべて、<application>LilyPond</application> "
+"によって、同時に起きるものと解釈されます。これはいかなる状況でも（そしていかなるコンテキスト、以下を参照、でも）使えます。<application>LilyPond</application>"
+" "
+"に、同じ声部において、２つの音が同時に鳴る（和音になります）ように指示したり、１つの五線譜において同時に演奏される（ポリフォニーになります）ように指示したりできます。さらに、複数の譜表からなる総譜では、<literal>&lt;&lt;</literal>"
+" と <literal>&gt;&gt;</literal> を使って、各パートが同時に始まるべきであることを "
+"<application>LilyPond</application> に指示するでしょう。<literal>&lt;&lt;</literal> と "
+"<literal>&gt;&gt;</literal> を創造的に使うことは、進んだ記譜のための１つの鍵となります。"
 
 #. Tag: para
 #, no-c-format
-msgid "It is not important to understand simultaneity at first. By observing how <application>Frescobaldi</application> creates scores for you, and how examples on the internet take advantage of these symbols, you will eventually understand how to use them."
+msgid ""
+"It is not important to understand simultaneity at first. By observing how "
+"<application>Frescobaldi</application> creates scores for you, and how "
+"examples on the internet take advantage of these symbols, you will "
+"eventually understand how to use them."
 msgstr ""
+"最初は、同時性を理解することは重要ではありません。<application>Frescobaldi</application> "
+"があなたに代わってどのように楽譜を作成するか、そして、インターネット上の例がこれらの記号をどのように使っているかを観察することで、あなたはいずれその使い方を理解するでしょう。"
 
 #. Tag: title
 #, no-c-format
 msgid "Chords"
-msgstr ""
+msgstr "和音"
 
 #. Tag: para
 #, no-c-format
-msgid "Making use of the <literal>&lt;&lt;</literal> and <literal>&gt;&gt;</literal> idea to indicate simultaneity, if a note has multiple pitches indicated between <literal>&gt;</literal> and <literal>&lt;</literal> then <application>LilyPond</application> assumes that they are in a chord together. Notating a single chord with single <literal>&lt; &gt;</literal> brackets has two advantages: firstly, it is easier to see that they are a chord and not something more complex; secondly, it allows you to enter information more clearly."
+msgid ""
+"Making use of the <literal>&lt;&lt;</literal> and "
+"<literal>&gt;&gt;</literal> idea to indicate simultaneity, if a note has "
+"multiple pitches indicated between <literal>&gt;</literal> and "
+"<literal>&lt;</literal> then <application>LilyPond</application> assumes "
+"that they are in a chord together. Notating a single chord with single "
+"<literal>&lt; &gt;</literal> brackets has two advantages: firstly, it is "
+"easier to see that they are a chord and not something more complex; "
+"secondly, it allows you to enter information more clearly."
 msgstr ""
+"<literal>&lt;&lt;</literal> と <literal>&gt;&gt;</literal> "
+"で同時性を指定するというルールに従って、<application>LilyPond</application> "
+"は、<literal>&lt;&lt;</literal> と <literal>&gt;&gt;</literal> "
+"の間に複数の音程があると、それらを和音を構成するものだと認識します。１つの和音を１つの <literal>&lt; &gt;</literal> "
+"かっこで表すことは、２つの利点があります。１つは、それらが和音であって、何か他のもっと複雑なものではないということが簡単に分かることです。２つめは、情報をよりはっきりと入力できることです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Consider the following examples, which should produce equivalent output: <code>&lt;&lt;g'4-&gt;-5 b d&gt;&gt;</code> and <code>&lt;g' b d&gt;4-&gt;-5</code> With the first example, it is more difficult to see the chord notes, the duration, and what the <literal>5</literal> means. With the second example, it is easy to see that the chord notes are a <literal>G</literal>, a <literal>B</literal>, and a <literal>D</literal>, that they have quarter-note duration, and that the <literal>5</literal> is actually a fingering indication."
+msgid ""
+"Consider the following examples, which should produce equivalent output: "
+"<code>&lt;&lt;g'4-&gt;-5 b d&gt;&gt;</code> and <code>&lt;g' b "
+"d&gt;4-&gt;-5</code> With the first example, it is more difficult to see the"
+" chord notes, the duration, and what the <literal>5</literal> means. With "
+"the second example, it is easy to see that the chord notes are a "
+"<literal>G</literal>, a <literal>B</literal>, and a <literal>D</literal>, "
+"that they have quarter-note duration, and that the <literal>5</literal> is "
+"actually a fingering indication."
 msgstr ""
+"以下の例を見てください。どちらも同じ出力を得るはずです： <code>&lt;&lt;g'4-&gt;-5 b d&gt;&gt;</code> と "
+"<code>&lt;g' b d&gt;4-&gt;-5</code>。最初の例では、和音を構成する音、長さ、そして "
+"<literal>5</literal> の意味を見分けるのは難しいです。２つめの例では、和音は "
+"<literal>G</literal>、<literal>B</literal>、そして <literal>D</literal> "
+"であり、４分音符であり、<literal>5</literal> は実際には指使いの指定であることが簡単に分かります。"
 
 #. Tag: para
 #, no-c-format
-msgid "There is another advantage to using <literal>&lt;</literal> and <literal>&gt;</literal> for notation of simple chords: they preserve logical continuity in \"relative\" mode. The following note will always be notated as relative to the lowest note in the chord, regardless of how many octaves the chord covers. This is not true with <literal>&lt;&lt;</literal> and <literal>&gt;&gt;</literal>, where where following notes will be notated as relative to the last note between the <literal>&lt;&lt;</literal> and <literal>&gt;&gt;</literal>"
-msgstr ""
+msgid ""
+"There is another advantage to using <literal>&lt;</literal> and "
+"<literal>&gt;</literal> for notation of simple chords: they preserve logical"
+" continuity in \"relative\" mode. The following note will always be notated "
+"as relative to the lowest note in the chord, regardless of how many octaves "
+"the chord covers. This is not true with <literal>&lt;&lt;</literal> and "
+"<literal>&gt;&gt;</literal>, where where following notes will be notated as "
+"relative to the last note between the <literal>&lt;&lt;</literal> and "
+"<literal>&gt;&gt;</literal>"
+msgstr ""
+"単純な和音を書き表すのに <literal>&lt;</literal> と <literal>&gt;</literal> "
+"を使うもうひとつの利点があります。論理的な連続性が、\"相対 "
+"\"モードで保たれるということです。和音に続く音は、和音が何オクターブにわたっていたとしても、常に和音の最も低い音からの相対音程で表記されます。<literal>&lt;</literal>"
+" と <literal>&gt;</literal> 表記ではそうではありません。その場合、続く音は、<literal>&lt;</literal> と"
+" <literal>&gt;</literal> の中の最後の音からの相対音程で表記されます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Commands"
-msgstr ""
+msgstr "コマンド"
 
 #. Tag: para
 #, no-c-format
-msgid "There are a wide variety of commands available in <application>LilyPond</application>, some of them quite simple, and other quite complex. They all begin with a backslash, followed by the name of the command, and subsequent \"arguments\" that give the command further information about what you want it to do. Just like using a letter to indicate a note, commands are simply another way for you to tell <application>LilyPond</application> how you want your score to be rendered."
+msgid ""
+"There are a wide variety of commands available in "
+"<application>LilyPond</application>, some of them quite simple, and other "
+"quite complex. They all begin with a backslash, followed by the name of the "
+"command, and subsequent \"arguments\" that give the command further "
+"information about what you want it to do. Just like using a letter to "
+"indicate a note, commands are simply another way for you to tell "
+"<application>LilyPond</application> how you want your score to be rendered."
 msgstr ""
+"<application>LilyPond</application> "
+"では、幅広い種類のコマンドがあります。とてもシンプルなものも、複雑なものもあります。それらはすべて、バックスラッシュで始まり、次にコマンド名、最後に "
+"\"引数 \"、つまりあなたがコマンドにさせたいことについての詳しい情報からなります。音を指定するのに文字を使ったように、コマンドはあなたが "
+"<application>LilyPond</application> にあなたの楽譜をどのように展開させたいかを伝えるもうひとつの手段です。"
 
 #. Tag: para
 #, no-c-format
-msgid "For example, <code>\\time 2/4</code> and <code>\\clef bass</code> are two commands that you are likely to use quite often. They happen to do precisely what it seems like they should: <literal>\\time</literal> changes the time signature and metre, and <literal>\\clef</literal> changes the clef. they belong to differen contexts (<literal>\\time</literal> applies for the whole Score, but <literal>\\clef</literal> for only one Staff)."
+msgid ""
+"For example, <code>\\time 2/4</code> and <code>\\clef bass</code> are two "
+"commands that you are likely to use quite often. They happen to do precisely"
+" what it seems like they should: <literal>\\time</literal> changes the time "
+"signature and metre, and <literal>\\clef</literal> changes the clef. they "
+"belong to differen contexts (<literal>\\time</literal> applies for the whole"
+" Score, but <literal>\\clef</literal> for only one Staff)."
 msgstr ""
+"例えば、<code>\\time 2/4</code> と <code>\\clef bass</code> "
+"は、とてもよく使われるだろう２つのコマンドです。それらはまさに、見たとおりの機能を持ちます： <literal>\\time</literal> "
+"は拍子記号を変え、<literal>\\clef</literal> は音部記号を変えます。この２つは、異なるコンテキストに属します（ "
+"<literal>\\time</literal> は楽譜全体に有効ですが、<literal>\\clef</literal> "
+"はただ１つの五線譜にだけ有効です。）。"
 
 #. Tag: para
 #, no-c-format
-msgid "It can take some time to remember even these basic commands and the way you should format their input, and this is where <application>Frescobaldi</application>'s built-in documentation viewer can help out. All of the official <application>LilyPond</application> documentation is made available in <application>Frescobaldi</application>, which makes it easy for you to view the documentation and make changes to your score in the same window of the same application."
-msgstr ""
+msgid ""
+"It can take some time to remember even these basic commands and the way you "
+"should format their input, and this is where "
+"<application>Frescobaldi</application>'s built-in documentation viewer can "
+"help out. All of the official <application>LilyPond</application> "
+"documentation is made available in <application>Frescobaldi</application>, "
+"which makes it easy for you to view the documentation and make changes to "
+"your score in the same window of the same application."
+msgstr ""
+"これらの基本的なコマンドとその入力をフォーマットする方法を覚えるだけでもしばらくかかるかもしれません。このときこそ、<application>Frescobaldi</application>"
+" の組み込みドキュメントビューアが役に立ちます。すべてのオフィシャルな <application>LilyPond</application> "
+"ドキュメントは <application>Frescobaldi</application> "
+"から見ることができます。そのため、あなたは、同じアプリケーションの同じウインドウで、ドキュメントを見ながら楽譜をなおすことが簡単にできるのです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Customization"
-msgstr ""
+msgstr "カスタマイズ"
 
 #. Tag: para
 #, no-c-format
-msgid "It is rarely necessary to customize the output in a way that is very specific, and not allowed for in the standard <application>LilyPond</application> syntax. As a beginner, this can happen quite often when you are trying to exactly emulate the look of a pre-existing score. Remember that <application>LilyPond</application> provides a content-focussed way to express music, and that it will usually produce meaningful output without advanced interference. If in doubt about whether a customization is really necessary, ask yourself this: will it change the music that is played from the score?"
+msgid ""
+"It is rarely necessary to customize the output in a way that is very "
+"specific, and not allowed for in the standard "
+"<application>LilyPond</application> syntax. As a beginner, this can happen "
+"quite often when you are trying to exactly emulate the look of a pre-"
+"existing score. Remember that <application>LilyPond</application> provides a"
+" content-focussed way to express music, and that it will usually produce "
+"meaningful output without advanced interference. If in doubt about whether a"
+" customization is really necessary, ask yourself this: will it change the "
+"music that is played from the score?"
 msgstr ""
+"出力がとても特別で、<application>LilyPond</application> "
+"の標準シンタックスでは許されないために、カスタマイズしなくてはいけないということはまれです。初心者にとっては、既存の楽譜の見た目を正確に再現しようとすると、こういうことはよく起きます。<application>LilyPond</application>"
+" "
+"は、内容にフォーカスした、音楽を表現する方式を提供し、それは通常は、高度なカスタマイゼーションなしでも意味のある出力を生成することを思い出してください。カスタマイズが本当に必要か、迷ったときは、それはその楽譜から演奏される音楽を変えるのか、と自分に問いかけてください。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you really must customize some setting, then keep in mind these two points:"
-msgstr ""
+msgid ""
+"If you really must customize some setting, then keep in mind these two "
+"points:"
+msgstr "本当になんらかの設定のカスタマイズが必要なときは、以下の２点を覚えておいてください："
 
 #. Tag: para
 #, no-c-format
-msgid "Tinkering with <application>LilyPond</application> can become as complex as you want."
-msgstr ""
+msgid ""
+"Tinkering with <application>LilyPond</application> can become as complex as "
+"you want."
+msgstr "<application>LilyPond</application> のカスタマイズは、要求に比例して複雑になります。"
 
 #. Tag: para
 #, no-c-format
 msgid "Ultimately all tinkering takes the form of commands."
-msgstr ""
+msgstr "最終的に、カスタマイズは、コマンドの形をとります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Searching the internet for <application>LilyPond</application> tips and tricks can be a life-saver, but it can also lead to needlessly complex solutions. Sometimes this is the result of poor solutions being posted on the internet, but more often it is the result of the ongoing development of <application>LilyPond</application>, which makes better solutions available regularly. For this reason, it is recommended to search the official <application>LilyPond</application> documentation first, then the \"<application>LilyPond</application> Snippet Repository\" (LSR - link here), and then Google."
-msgstr ""
+msgid ""
+"Searching the internet for <application>LilyPond</application> tips and "
+"tricks can be a life-saver, but it can also lead to needlessly complex "
+"solutions. Sometimes this is the result of poor solutions being posted on "
+"the internet, but more often it is the result of the ongoing development of "
+"<application>LilyPond</application>, which makes better solutions available "
+"regularly. For this reason, it is recommended to search the official "
+"<application>LilyPond</application> documentation first, then the "
+"\"<application>LilyPond</application> Snippet Repository\" (LSR - link "
+"here), and then Google."
+msgstr ""
+"<application>LilyPond</application> "
+"のヒントとトリックをインターネットで探すのは助け舟になるかもしれませんが、同時に必要以上に複雑な解決策となることもあります。ときには、これはインターネットに投稿される貧弱な回答の結果でもありますが、多くの場合、それは"
+" <application>LilyPond</application> "
+"開発が常に進められており、定期的により優れた解決策が得られるようになっていくことの結果です。このため、最初にオフィシャルな "
+"<application>LilyPond</application> ドキュメントを探し、次に "
+"\"<application>LilyPond</application> Snippet Repository\" (LSR - リンクを入れること "
+") を探し、それから、グーグル、にすることをお勧めします。"
 
 #. Tag: title
 #, no-c-format
 msgid "Contexts"
-msgstr ""
+msgstr "コンテキスト"
 
 #. Tag: para
 #, no-c-format
-msgid "Another aspect of <application>LilyPond</application> that often confuses beginners is the idea of contexts. It is an essential concept for modifying default behaviour. Like everything in <application>LilyPond</application>, it makes perfect sense: \"context\" means \"context.\" The three primary contexts are \"Voice,\" \"Staff,\" and \"Score.\" Everything that happens in a score happens in a context - it's just that simple - everything happens in a context! Everything that happens in a score happens in Score context, everything that happens on a staff happens in a Staff context, and everything that happens in a voice happens in a Voice context."
-msgstr ""
+msgid ""
+"Another aspect of <application>LilyPond</application> that often confuses "
+"beginners is the idea of contexts. It is an essential concept for modifying "
+"default behaviour. Like everything in <application>LilyPond</application>, "
+"it makes perfect sense: \"context\" means \"context.\" The three primary "
+"contexts are \"Voice,\" \"Staff,\" and \"Score.\" Everything that happens in"
+" a score happens in a context - it's just that simple - everything happens "
+"in a context! Everything that happens in a score happens in Score context, "
+"everything that happens on a staff happens in a Staff context, and "
+"everything that happens in a voice happens in a Voice context."
+msgstr ""
+"<application>LilyPond</application> "
+"のもうひとつの側面で、初心者をしばしば混乱させるのは、コンテキスト、文脈の概念です。それはデフォルトの振る舞いを変えるための重要な概念です。<application>LilyPond</application>"
+" のすべてのものと同じく、それは完全に明らかです： \"コンテキスト \"は、\"コンテキスト "
+"\"という意味です。３つの主要なコンテキストは、\"Voice\"、\"Staff\"そして "
+"\"Score\"です。（訳注：声部、五線譜、楽譜と訳しました。総譜の方がよかったかもしれません。http://lilypond.web.fc2.com/"
+" では、Score、 "
+"譜、ボイス、と訳しておられます。）楽譜の中で起きることはすべて、コンテキストの中で起きます。実に単純なことです。すべてはコンテキストの中で起きる！楽譜の中で起きることはすべて、楽譜コンテキストで起き、五線譜の上で起きることはすべて、五線譜コンテキストで起き、そして声部で起きることはすべて、声部コンテキストで起きるのです。"
 
 #. Tag: para
 #, no-c-format
 msgid "To help clear things up a little, here are three examples:"
-msgstr ""
+msgstr "少しわかりやすくするために、３つの例をあげましょう。"
 
 #. Tag: para
 #, no-c-format
 msgid "Where does the title of a composition belong?"
-msgstr ""
+msgstr "曲のタイトルはどこに属しますか？"
 
 #. Tag: para
 #, no-c-format
 msgid "Does it belong on the score? Yes, so it belongs in the Score context."
-msgstr ""
+msgstr "楽譜でしょうか。そうです。なので、それは楽譜コンテキストに属します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Does it belong on a staff? No, so it doesn't belong in a Staff context."
-msgstr ""
+msgid ""
+"Does it belong on a staff? No, so it doesn't belong in a Staff context."
+msgstr "それは、五線譜に属しますか？いいえ。なので、それは五線譜コンテキストには属しません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Does it belong in a voice? No, since it would have to be on a staff to be in a voice."
-msgstr ""
+msgid ""
+"Does it belong in a voice? No, since it would have to be on a staff to be in"
+" a voice."
+msgstr "それは、声部に属しますか？いいえ。なぜなら、声部にあるためには、五線譜になくてはいけません。"
 
 #. Tag: para
 #, no-c-format
-msgid "The composition's title doesn't belong on a staff or in a voice, but it does belong on the score, so we say that it happens in the Score context."
-msgstr ""
+msgid ""
+"The composition's title doesn't belong on a staff or in a voice, but it does"
+" belong on the score, so we say that it happens in the Score context."
+msgstr "曲のタイトルは、五線譜にも声部にも属さず、楽譜に属しますから、私たちはそれは楽譜コンテキストで起きる、と言います。"
 
 #. Tag: para
 #, no-c-format
 msgid "Where does a clef belong?"
-msgstr ""
+msgstr "音部記号はどこに属しますか？"
 
 #. Tag: para
 #, no-c-format
 msgid "Does it belong on the score? Yes, because it is a part of notation."
-msgstr ""
+msgstr "それは楽譜に属しますか？はい。それは音符の一部ですから。"
 
 #. Tag: para
 #, no-c-format
-msgid "Does it belong on a staff? Yes, because it wouldn't make sense to have a clef off a staff."
-msgstr ""
+msgid ""
+"Does it belong on a staff? Yes, because it wouldn't make sense to have a "
+"clef off a staff."
+msgstr "それは五線譜に属しますか？はい。五線譜を離れて音部記号を置いても意味がありませんから。"
 
 #. Tag: para
 #, no-c-format
-msgid "Does it belong in a voice? No, because it's not related to a specific \"line\" or voice."
-msgstr ""
+msgid ""
+"Does it belong in a voice? No, because it's not related to a specific "
+"\"line\" or voice."
+msgstr "それは声部に属しますか？いいえ。それは特定の \"ライン \"や声部に関係したものではありませんから。"
 
 #. Tag: para
 #, no-c-format
-msgid "Clefs usually belong on the staff, at the beginning of every line, so we say that they happen in a Staff context."
-msgstr ""
+msgid ""
+"Clefs usually belong on the staff, at the beginning of every line, so we say"
+" that they happen in a Staff context."
+msgstr "音部記号は普通は五線譜に属し、それぞれのラインの最初にあります。なので、それは五線譜のコンテキストで起きる、と言います。"
 
 #. Tag: para
 #, no-c-format
 msgid "Where does a note-head belong?"
-msgstr ""
+msgstr "音符の玉はどこに属しますか？"
 
 #. Tag: para
 #, no-c-format
-msgid "Does it belong on a staff? Yes - even if it's on a ledger line, note-heads are meaningless unless they're on a staff."
-msgstr ""
+msgid ""
+"Does it belong on a staff? Yes - even if it's on a ledger line, note-heads "
+"are meaningless unless they're on a staff."
+msgstr "それは五線譜に属しますか？はい。五線譜の加線、上や下にはみ出たところ、にあっても、音符は五線譜に置かれていなければ意味がありません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Does it belong in a voice? Yes, because one particular musical line is indicated primarily with note-heads."
-msgstr ""
+msgid ""
+"Does it belong in a voice? Yes, because one particular musical line is "
+"indicated primarily with note-heads."
+msgstr "それは声部に属しますか？はい。１つの特定の音楽ラインは主に、音符の玉で示されますから。"
 
 #. Tag: para
 #, no-c-format
-msgid "Note-heads belong to a particular voice, so we say they happen in a Voice context."
-msgstr ""
+msgid ""
+"Note-heads belong to a particular voice, so we say they happen in a Voice "
+"context."
+msgstr "音符の玉は、特定の声部に属しますから、それは声部コンテキストで起きる、と言います。"
 
 #. Tag: para
 #, no-c-format
 msgid "To help further clarify, consider the following:"
-msgstr ""
+msgstr "さらに理解を深めるため、以下を考えてください；"
 
 #. Tag: para
 #, no-c-format
-msgid "As in the real world, objects in <application>LilyPond</application> can potentially happen in any context..."
+msgid ""
+"As in the real world, objects in <application>LilyPond</application> can "
+"potentially happen in any context..."
 msgstr ""
+"本当の世界と同じように、<application>LilyPond</application> "
+"のオブジェクトは潜在的には、どんなコンテキストにでも現れることができます。"
 
 #. Tag: para
 #, no-c-format
 msgid "(like a doorknob on a door)"
-msgstr ""
+msgstr "（ドアのとってのように）"
 
 #. Tag: para
 #, no-c-format
 msgid "(like a bus driver sitting in a bus' drivers' seat)"
-msgstr ""
+msgstr "（バスの運転席に座っているバスの運転手のように）"
 
 #. Tag: para
 #, no-c-format
 msgid "(like a person buying groceries at a supermarket)"
-msgstr ""
+msgstr "（スーパーマーケットで食料品を買っている人のように）"
 
 #. Tag: para
 #, no-c-format
 msgid "(like a flat-sign next to a note-head)"
-msgstr ""
+msgstr "（音符の玉の隣のフラット記号のように）"
 
 #. Tag: para
 #, no-c-format
 msgid "... some contexts are unusual, but make sense..."
-msgstr ""
+msgstr "... コンテキストのいくつかは普通ではありませんが、意味はあります。..."
 
 #. Tag: para
 #, no-c-format
-msgid "(like a doorknob on a wall, if the wall is designed to look like a door)"
-msgstr ""
+msgid ""
+"(like a doorknob on a wall, if the wall is designed to look like a door)"
+msgstr "（壁についたドアのとって。もし、壁がドアのように見えるように設計されたならば）"
 
 #. Tag: para
 #, no-c-format
-msgid "(like a bus driver sitting in a passenger seat, if they are going to the garage)"
-msgstr ""
+msgid ""
+"(like a bus driver sitting in a passenger seat, if they are going to the "
+"garage)"
+msgstr "（客席に座っているバスの運転手。もし、車庫に行くところならば。）"
 
 #. Tag: para
 #, no-c-format
-msgid "(like a person buying groceries from a corner store, if the supermarkets are closed)"
-msgstr ""
+msgid ""
+"(like a person buying groceries from a corner store, if the supermarkets are"
+" closed)"
+msgstr "（角のお店で食料品を買う人。もし、スーパーマーケットが閉まっているなら。）"
 
 #. Tag: para
 #, no-c-format
-msgid "(like a flat sign in a paragraph of text, if that paragraph describes what flat signs do)"
-msgstr ""
+msgid ""
+"(like a flat sign in a paragraph of text, if that paragraph describes what "
+"flat signs do)"
+msgstr "（文章のパラグラフについているフラット記号。もし、そのパラグラフがフラット記号のことを書いているなら。）"
 
 #. Tag: para
 #, no-c-format
 msgid "... and some contexts do not make sense, but can still happen..."
-msgstr ""
+msgstr "... そして、コンテキストのいくつかは意味を成しません。しかし、それでも起き得ます。..."
 
 #. Tag: para
 #, no-c-format
 msgid "(like a doorknob on a television)"
-msgstr ""
+msgstr "（テレビについたドアのとって）"
 
 #. Tag: para
 #, no-c-format
 msgid "(like a bus driver serving patrons at a restaurant)"
-msgstr ""
+msgstr "（レストランでお客さんに給仕するバスの運転手）"
 
 #. Tag: para
 #, no-c-format
 msgid "(like a person buying groceries at a governmental office)"
-msgstr ""
+msgstr "（政府機関のオフィスで食料品を買う人）"
 
 #. Tag: para
 #, no-c-format
-msgid "(like a flat sign in the top corner of a score, where the page number should be)"
-msgstr ""
+msgid ""
+"(like a flat sign in the top corner of a score, where the page number should"
+" be)"
+msgstr "（ページ番号のあるべきところ、楽譜の上の角にあるフラット記号）"
 
 #. Tag: para
 #, no-c-format
-msgid "The <application>LilyPond</application> designers wisely decided that they could not think of all possible uses for their software, so <application>LilyPond</application> allows most engravers to be used in most contexts. Furthermore, a context can happen within an other context, which makes sense - a <literal>Voice</literal> context only makes sense if it appears on a <literal>Staff</literal>, and a <literal>Staff</literal> only makes sense if it appears in a <literal>Score</literal>."
+msgid ""
+"The <application>LilyPond</application> designers wisely decided that they "
+"could not think of all possible uses for their software, so "
+"<application>LilyPond</application> allows most engravers to be used in most"
+" contexts. Furthermore, a context can happen within an other context, which "
+"makes sense - a <literal>Voice</literal> context only makes sense if it "
+"appears on a <literal>Staff</literal>, and a <literal>Staff</literal> only "
+"makes sense if it appears in a <literal>Score</literal>."
 msgstr ""
+"<application>LilyPond</application> "
+"の設計者は、このソフトウエアのすべての可能な使い方を考えるのは無理だと、賢明にも決定しました。このため、<application>LilyPond</application>"
+" "
+"はほとんどのコンテキストでほとんどの製版記号を使えるようにしました。さらに、コンテキストは他のコンテキストの中で起きることもできます。それは、もっともなことです。<literal>"
+" 声部 </literal> コンテキストは、<literal> 五線譜 </literal> に現れてこそ意味があり、<literal> 五線譜 "
+"</literal> は <literal> 楽譜 </literal> にあってこそ意味があるのです。"
 
 #. Tag: para
 #, no-c-format
-msgid "So, when trying to sort out the context in which something should apply, ask yourself exactly that: \"In what context does this apply?\" Beams and flags happen in one voice, accidentals apply to a whole staff, and tempo markings apply to the whole score. Although it may take some careful thought to get used to the idea, contexts ultimately make perfect sense."
+msgid ""
+"So, when trying to sort out the context in which something should apply, ask"
+" yourself exactly that: \"In what context does this apply?\" Beams and flags"
+" happen in one voice, accidentals apply to a whole staff, and tempo markings"
+" apply to the whole score. Although it may take some careful thought to get "
+"used to the idea, contexts ultimately make perfect sense."
 msgstr ""
+"ですから、あるものがはたらくコンテキストを考えるとき、\"これは、どのコンテキストに適用されるだろうか？ "
+"\"と、自身に問いかけてください。連桁と音符の旗は１つの声部に現れます。臨時記号は五線譜全体に適用されます。そして速度標語は楽譜全体に適用されます。この考えに慣れるのにはいくらかの注意深い考察が必要かもしれませんが、コンテキストはいずれは完全に意味のあるものと思えてくるでしょう。"
 
 #. Tag: title
 #, no-c-format
-msgid "Source Files and Their Formatting"
-msgstr ""
+msgid "Source Files"
+msgstr "ソースファイルとそのフォーマット"
 
 #. Tag: para
 #, no-c-format
-msgid "Source files are the text files prepared with instructions telling <application>LilyPond</application> the content of the score you want it to create. They are so called because these files are the \"source\" of what you wish to create. As with programming languages, the text inside these files is often referred to as \"source code.\" It sounds scary to think that you must edit code in order to use <application>LilyPond</application>, but \"code\" just means that it isn't normal English (or insert-language-here)."
+msgid ""
+"Source files are the text files prepared with instructions telling "
+"<application>LilyPond</application> the content of the score you want it to "
+"create. They are so called because these files are the \"source\" of what "
+"you wish to create. As with programming languages, the text inside these "
+"files is often referred to as \"source code.\" It sounds scary to think that"
+" you must edit code in order to use <application>LilyPond</application>, but"
+" \"code\" just means that it isn't normal English (or insert-language-here)."
 msgstr ""
+"ソースファイルは <application>LilyPond</application> "
+"にあなたが作成してほしい楽譜の内容を伝えるための指示が書かれたテキストファイルです。このファイルは、あなたが作成したいことの \"源泉 "
+"\"であるので、こう呼ばれます。プログラミング言語のときと同じように、このファイルの中のテキストは、\"ソースコード "
+"\"と呼ばれることが多いです。<application>LilyPond</application> "
+"を使うためにコードを編集しないといけないというのは、ぞっとするかもしれませんが、\"コード "
+"\"は、それが普通の英語（あるいは、何か他の、言語）でないことを示しているだけです。"
 
 #. Tag: para
 #, no-c-format
-msgid "The particular formatting (the placement of tabs, spaces, and newlines) is not determined by <application>LilyPond</application>, but by individual users. This can be a headache when you encounter somebody else's formatting, but it is one of the keys to the application's flexibility. This guide uses a very specific style of formatting, but it should be understood that this is simply the style of one user, affected by their experiences, and the tasks they usually perform in <application>LilyPond</application>."
+msgid ""
+"The particular formatting (the placement of tabs, spaces, and newlines) is "
+"not determined by <application>LilyPond</application>, but by individual "
+"users. This can be a headache when you encounter somebody else's formatting,"
+" but it is one of the keys to the application's flexibility. This guide uses"
+" a very specific style of formatting, but it should be understood that this "
+"is simply the style of one user, affected by their experiences, and the "
+"tasks they usually perform in <application>LilyPond</application>."
 msgstr ""
+"特定のフォーマット、（タブ、空白、そして改行の配置）は、<application>LilyPond</application> "
+"でなくて、個々のユーザによって決められます。これは、あなたが他の人のフォーマットを見るときには頭の痛いことかもしれません。しかし、これはアプリケーションの柔軟さの１つのキーです。このガイドは、特定のフォーマットスタイルを使いますが、それは１人のユーザのスタイルに過ぎないと理解されるべきです。スタイルは、その人の経験と、その人が"
+" <application>LilyPond</application> でよく行う作業によって影響されるのです。"
 
 #. Tag: para
 #, no-c-format
-msgid "You will eventually develop your own style, better-suited to the kinds of tasks that you accomplish. When you do this, there is only one rule to keep in mind: be consistent within source files. When source files are programmed in a consistent way, it means that anybody who wants to use those files (like yourself, in the future) will easily be able to determine how they are organized."
+msgid ""
+"You will eventually develop your own style, better-suited to the kinds of "
+"tasks that you accomplish. When you do this, there is only one rule to keep "
+"in mind: be consistent within source files. When source files are programmed"
+" in a consistent way, it means that anybody who wants to use those files "
+"(like yourself, in the future) will easily be able to determine how they are"
+" organized."
 msgstr ""
+"あなたはいずれ、自分のやりたいことにあった、自分独自のスタイルをつくり上げるでしょう。そのとき、心においてほしいルールはただ１つです：ソースファイルの中で、一貫していること。ソースファイルが一貫した方法でプログラムされているならば、そのファイルを使いたいと思う人（未来のあなたかもしれません）は誰でも、それがどのように構成されているか簡単に判断できます。"
 
 #. Tag: title
 #, no-c-format
-msgid "Organizing Files, and Where to Put the Notes"
-msgstr ""
+msgid "Organizing Source Files"
+msgstr "ソースファイルの構成"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>LilyPond</application> files are constructed as a series of commands. For better or worse, the <application>LilyPond</application> interpreter allows a great deal of flexibility when it comes to source file setup. This can lead to confusion about where things should be done, especially when using automated score-setup tools like <application>Frescobaldi</application>."
+msgid ""
+"<application>LilyPond</application> files are constructed as a series of "
+"commands. For better or worse, the <application>LilyPond</application> "
+"interpreter allows a great deal of flexibility when it comes to source file "
+"setup. This can lead to confusion about where things should be done, "
+"especially when using automated score-setup tools like "
+"<application>Frescobaldi</application>."
 msgstr ""
+"<application>LilyPond</application> "
+"ファイルは、コマンドの連続として作られます。良いことか悪いことか、<application>LilyPond</application> "
+"インタプリタは、ソースファイルの構成に関しては、とても許容範囲が広いです。これは、<application>Frescobaldi</application>"
+" のような自動楽譜設定ツールを使うときには特に、どこに何を置くかについて、誤解をまねくことがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "The generic structure of a <application>LilyPond</application> source file is this:"
-msgstr ""
+msgid ""
+"The generic structure of a <application>LilyPond</application> source file "
+"is this:"
+msgstr "<application>LilyPond</application> ソースファイルの一般的な構成は、以下です："
 
 #. Tag: programlisting
 #, no-c-format
@@ -496,41 +885,92 @@ msgid ""
 "\t<replaceable>and so on</replaceable>\n"
 "}\n"
 msgstr ""
+"\n"
+"\\version <replaceable>version_number</replaceable>\n"
+"\n"
+"\\header { <replaceable>things like title, composer, and so on</replaceable> }\n"
+"\n"
+"\\score\n"
+"{\n"
+"\t\n"
+"ew Staff\n"
+"\t{\n"
+"\t\t<replaceable>notes go here</replaceable>\n"
+"\t}\n"
+"\n"
+"\t\\layout\n"
+"\t{\n"
+"\t}\n"
+"\n"
+"\t<replaceable>and so on</replaceable>\n"
+"}\n"
 
 #. Tag: para
 #, no-c-format
-msgid "Confusion arises here: for maximum flexibility, <application>LilyPond</application> allows source files to create its own commands. On hearing this, you may think, \"Okay that's it - I don't need advanced commands or any of this stuff, so I'm packing it in and just using Finale!\" There's no need to do that just yet - commands are easy! Think of commands - whether you wrote them or they were included with <application>LilyPond</application> - as a means of text-substition."
+msgid ""
+"Confusion arises here: for maximum flexibility, "
+"<application>LilyPond</application> allows source files to create its own "
+"commands. On hearing this, you may think, \"Okay that's it - I don't need "
+"advanced commands or any of this stuff, so I'm packing it in and just using "
+"Finale!\" There's no need to do that just yet - commands are easy! Think of "
+"commands - whether you wrote them or they were included with "
+"<application>LilyPond</application> - as a means of text-substition."
 msgstr ""
+"誤解はここで生じます：柔軟性を最大にするために <application>LilyPond</application> "
+"はソースファイルがそれ自身のコマンドを作成するのを許します。これを聞くと、あなたは、「オーケー。私は高度なコマンドやらなにやらはいりません。私はこれを片付けて、フィナーレを使うから。」と思うかもしれません。そうする必要はありません。コマンドは簡単です！コマンドは、あなたが書いたものでも、<application>LilyPond</application>"
+" に含まれるものでも、テキスト置換の方法と考えてください。"
 
 #. Tag: para
 #, no-c-format
 msgid "It works like this:"
-msgstr ""
+msgstr "こんな風にはたらきます："
 
 #. Tag: para
 #, no-c-format
-msgid "You \"define\" (create) a command with the form <code><replaceable>commandName</replaceable> = { <replaceable>lots of commands</replaceable> }</code>"
+msgid ""
+"You \"define\" (create) a command with the form "
+"<code><replaceable>commandName</replaceable> = { <replaceable>lots of "
+"commands</replaceable> }</code>"
 msgstr ""
+"コマンドを \"定義 \"（作成）するには、<code><replaceable> コマンド名 </replaceable> = { "
+"<replaceable> たくさんのコマンド </replaceable> }</code> とします。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can then use the command anywhere below that, as many times as you want, by writing <code>\\commandName</code> in your source file. When <application>LilyPond</application> processes that portion of text, it will instead see whatever you wrote in the definition."
+msgid ""
+"You can then use the command anywhere below that, as many times as you want,"
+" by writing <code>\\commandName</code> in your source file. When "
+"<application>LilyPond</application> processes that portion of text, it will "
+"instead see whatever you wrote in the definition."
 msgstr ""
+"そこより後で、どこでも、何度でも、好きなだけ、ソースファイルに <code>\\ コマンド名 </code> "
+"と書けばそのコマンドを使うことができます。<application>LilyPond</application> "
+"がテキストのその部分を処理するとき、あなたが定義のところに書いたものに置き換わります。"
 
 #. Tag: para
 #, no-c-format
 msgid "It's as easy as 1-2!"
-msgstr ""
+msgstr "１−２のように簡単です！"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>Frescobaldi</application> (along with most <application>LilyPond</application> users) take advantage of this functionality to provide well-organized, easy-to-use source files."
+msgid ""
+"<application>Frescobaldi</application> (along with most "
+"<application>LilyPond</application> users) take advantage of this "
+"functionality to provide well-organized, easy-to-use source files."
 msgstr ""
+"<application>Frescobaldi</application> （そしてほとんどの "
+"<application>LilyPond</application> "
+"ユーザ）はこの機能を利用して、よく構成され、使いやすいソースファイルを作成します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Here is a good template source file, that might be created for you by <application>Frescobaldi</application>:"
+msgid ""
+"Here is a good template source file, that might be created for you by "
+"<application>Frescobaldi</application>:"
 msgstr ""
+"これは、<application>Frescobaldi</application> "
+"があなたのために生成したかもしれない、良いテンプレートソースファイルです："
 
 #. Tag: programlisting
 #, no-c-format
@@ -540,14 +980,16 @@ msgid ""
 "\n"
 "\\header\n"
 "{\n"
-"\ttitle = \"<replaceable>Example</replaceable>\"\n"
+"\ttitle = \"Empty Example\"\n"
 "}\n"
 "\n"
-"<replaceable>something</replaceable> = \\relative c''\n"
+"violin = \\relative c''\n"
 "{\n"
-"\t\\key <replaceable>c \\major</replaceable>\n"
-"\t\\time <replaceable>4/4</replaceable>\n"
+"\t\\key c \\major\n"
+"\t\\time 4/4\n"
 "\t% Music follows here.\n"
+"\t\n"
+"\t<replaceable>Put your music here</replaceable>\n"
 "}\n"
 "\n"
 "\\score\n"
@@ -555,87 +997,201 @@ msgid ""
 "\t\n"
 "ew Staff \\with\n"
 "\t\t{\n"
-"\t\t\tinstrumentName = \"<replaceable>Something</replaceable>\"\n"
+"\t\t\tinstrumentName = \"Violin\"\n"
 "\t\t}\n"
-"\t\t\\<replaceable>something</replaceable>\n"
+"\t\t\\violin\n"
 "\t\\layout { }\n"
 "}\n"
 msgstr ""
+"\n"
+"\\version \"2.12.2\"\n"
+"\n"
+"\\header\n"
+"{\n"
+"\ttitle = \"Empty Example\"\n"
+"}\n"
+"\n"
+"violin = \\relative c''\n"
+"{\n"
+"\t\\key c \\major\n"
+"\t\\time 4/4\n"
+"\t% Music follows here.\n"
+"\t\n"
+"\t<replaceable>Put your music here</replaceable>\n"
+"}\n"
+"\n"
+"\\score\n"
+"{\n"
+"\t\n"
+"ew Staff \\with\n"
+"\t\t{\n"
+"\t\t\tinstrumentName = \"Violin\"\n"
+"\t\t}\n"
+"\t\t\\violin\n"
+"\t\\layout { }\n"
+"}\n"
 
 #. Tag: para
 #, no-c-format
-msgid "This source file makes use of many commands, and even defines \"violin\" for its own use. It may not be easy to see from this simple example, but keeping your notes separated from the formatting of a complex <literal>\\score</literal> section will greatly improve the readability of both sections. Furthermore, you will easily be able to search through thousands of lines of source file to find the section that you want."
+msgid ""
+"This example uses many built-in commands (like <literal>\\relative</literal>"
+" and <literal>\\key</literal>), and it defines the <literal>violin</literal>"
+" command. <application>Frescobaldi</application> places a <literal>% Music "
+"follows here.</literal> comment where you should input your notes. Notice "
+"that your notes belong in the <literal>violin</literal> section. This means "
+"that you write part of the <literal>violin</literal> command."
 msgstr ""
+"この例は多くの組み込みコマンド (<literal>\\relative</literal> や <literal>\\key</literal>) "
+"を使い、 <literal>violin</literal> コマンドを定義します。 "
+"<application>Frescobaldi</application> は、 <literal>% Music follows "
+"here.</literal> コメントを、そこに音符を入力するべき場所に入れます。あなたの音符は、 <literal>violin</literal>"
+" セクションに属することに注意ください。あなたは、 <literal>violin</literal> コマンドの部分を書くということです。"
 
 #. Tag: para
 #, no-c-format
-msgid "So where do the notes go? In this template, they should go in the \"violin\" section. <application>Frescobaldi</application> usually marks this off with a friendly comment, stating \"% Music follows here.\" That's exactly what it means: most of your time will be spent working with what follows there."
+msgid ""
+"<application>Frescobaldi</application> separates the violin's notes from the"
+" <literal>\\score</literal> section so that the source file is easier to "
+"read. You can fix errors more easily in well-organized source files. If you "
+"complete the following tutorials, you will learn three strategies to "
+"organize sources files."
 msgstr ""
+"<application>Frescobaldi</application> は、バイオリンの音符を、 "
+"<literal>\\score</literal> "
+"セクションから分離します。ソースファイルが読み易くなる為です。良い構成のソースファイルだと、誤りの修正も簡単です。以下のチュートリアルを終えると、あなたも、ソースファイルを構成するための三つの戦略がわかるでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "As a final note, we caution against removing the \"layout\" section of the \"score\" section. Removing the \"layout\" section would cause <application>LilyPond</application> not to create a score as output."
+msgid ""
+"The <literal>\\layout</literal> section is empty in this example. Like the "
+"<literal>\\score</literal> section, <literal>\\layout</literal> is a "
+"command. The <literal>\\layout</literal> command tells LilyPond to output a "
+"musical score. Advanced users sometimes remove the "
+"<literal>\\layout</literal> command, but most source files use it."
 msgstr ""
+"<literal>\\layout</literal> セクションは、この例では空です。<literal>\\score</literal> "
+"セクションと同じように、 <literal>\\layout</literal> はコマンドです。 "
+"<literal>\\layout</literal> コマンドは、 LilyPond に、楽譜を出力するように指示します。進んだユーザはときには、 "
+"<literal>\\layout</literal> コマンドを削除することもありますが、ほとんどのソースファイルはそれを使います。"
 
 #. Tag: title
 #, no-c-format
-msgid "Avoiding Errors"
-msgstr ""
+msgid "How to Avoid Errors"
+msgstr "誤りを避けるには"
 
 #. Tag: para
 #, no-c-format
-msgid "The <application>LilyPond</application> syntax has two built-in symbols for helping to avoid musical errors. The octave-check symbol ensures that your notes are in the octave you intend. The bar-check symbols ensures that your barlines are where you intend."
+msgid ""
+"The <application>LilyPond</application> syntax has two built-in symbols for "
+"helping to avoid musical errors. The octave-check symbol ensures that your "
+"notes are in the octave you intend. The bar-check symbols ensures that your "
+"barlines are where you intend."
 msgstr ""
+"<application>LilyPond</application> "
+"シンタックスは、音楽の誤りを避けるのを助ける２つの組み込みシンボルを持ちます。オクターブチェックシンボルは音符が意図したオクターブにあることを保証します。小節線チェックシンボルは、小節線が意図したとおりであることを保証します。"
 
 #. Tag: title
 #, no-c-format
-msgid "Octave-Check Symbol"
-msgstr ""
+msgid "The Octave-Check Symbol"
+msgstr "オクターブチェックシンボル"
 
 #. Tag: para
 #, no-c-format
-msgid "The octave-check symbol compares a relative pitch with its absolute pitch equivalent. <application>LilyPond</application> prints a warning if the pitches do not match, then continues with the absolute pitch. You should correct the relative pitch when <application>LilyPond</application> prints a warning."
+msgid ""
+"The octave-check symbol compares a relative pitch with its absolute pitch "
+"equivalent. <application>LilyPond</application> prints a warning if the "
+"pitches do not match, then continues with the absolute pitch. You should "
+"correct the relative pitch when <application>LilyPond</application> prints a"
+" warning."
 msgstr ""
+"オクターブチェックシンボルは、相対音程を、その対応する絶対音程と比べます。もし音程が違うと、<application>LilyPond</application>"
+" は警告を表示し、絶対音程で続けます。<application>LilyPond</application> "
+"が警告を表示したら、相対音程を修正してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "The octave-check symbols is <literal>=</literal>. The symbol appears after the note, and is followed by a comma (<literal>,</literal>), apostrophe (<literal>'</literal>), or neither, depending on the intended relative octave of the pitch."
+msgid ""
+"The octave-check symbols is <literal>=</literal>. The symbol appears after "
+"the note, and is followed by a comma (<literal>,</literal>), apostrophe "
+"(<literal>'</literal>), or neither, depending on the intended relative "
+"octave of the pitch."
 msgstr ""
+"オクターブチェックシンボルは、<literal>=</literal> です。シンボルは、音符の後に書かれ、コンマ "
+"(<literal>,</literal>)、アポストロフィ (<literal>'</literal>) "
+"が続くか、何もないか、です。それは、その音程の意図される相対オクターブによります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Here is an example use of the octave-check symbol: <code>c'='''</code>. In this example, the absolute pitch is <code>c'''</code>, which <application>LilyPond</application> knows because of the <code>c</code> at the left, and the <code>'''</code> after the <code>=</code> symbol."
+msgid ""
+"Here is an example use of the octave-check symbol: <code>c'='''</code>. In "
+"this example, the absolute pitch is <code>c'''</code>, which "
+"<application>LilyPond</application> knows because of the <code>c</code> at "
+"the left, and the <code>'''</code> after the <code>=</code> symbol."
 msgstr ""
+"以下は、オクターブチェックシンボルを使う例です： <code>c'='''</code> この例で、絶対音程は、<code>c'''</code> "
+"で、<application>LilyPond</application> は、左の <code>c</code> と、<code>=</code> "
+"シンボルの後の <code>'''</code> から、そのように判断します。"
 
 #. Tag: para
 #, no-c-format
-msgid "How does this example work: <code>c'=4</code> ? There is a <code>4</code> after the <code>=</code> symbol instead of a comma or apostrophe. The absolute pitch is <code>c</code>, which <application>LilyPond</application> knows because of the <code>c</code> to the left of the <code>=</code> symbol, and because there is no comma or apostrophe to the right of the <code>=</code> symbol. <application>LilyPond</application> understands the <code>4</code> as \"quarter note.\""
+msgid ""
+"How does this example work: <code>c'=4</code> ? There is a <code>4</code> "
+"after the <code>=</code> symbol instead of a comma or apostrophe. The "
+"absolute pitch is <code>c</code>, which <application>LilyPond</application> "
+"knows because of the <code>c</code> to the left of the <code>=</code> "
+"symbol, and because there is no comma or apostrophe to the right of the "
+"<code>=</code> symbol. <application>LilyPond</application> understands the "
+"<code>4</code> as \"quarter note.\""
 msgstr ""
+"この例はどうなるでしょう： <code>c'=4</code> ？ <code>=</code> "
+"シンボルの後には、コンマやアポストロフィの代わりに、<code>4</code> があります。絶対音程は <code>c</code> "
+"で、<application>LilyPond</application> は、左の <code>c</code> と、<code>=</code> "
+"シンボルの右にコンマもアポストロフィもないことから、そのように判断します。<application>LilyPond</application> "
+"は、<code>4</code> を \"４分音符 \"と判断します。"
 
 #. Tag: para
 #, no-c-format
-msgid "You should use the octave-check symbol when you need it. New users use the octave-check symbol more frequently than experienced users."
+msgid ""
+"You should use the octave-check symbol when you need it. New users use the "
+"octave-check symbol more frequently than experienced users."
 msgstr ""
+"オクターブチェックシンボルは、必要と思うときに使ってください。新しいユーザは、経験豊かなユーザに比べて、オクターブチェックシンボルをより頻繁に使うようです。"
 
 #. Tag: title
 #, no-c-format
-msgid "Bar-Check Symbol"
-msgstr ""
+msgid "The Bar-Check Symbol"
+msgstr "小節線チェックシンボル"
 
 #. Tag: para
 #, no-c-format
-msgid "The bar-check symbol tests whether a barline is printed at that point in the music. <application>LilyPond</application> prints a warning if the bar-check symbol does not line up with a barline in the score, then processes the rest of the file. You must correct an inputting mistake when <application>LilyPond</application> prints a warning."
+msgid ""
+"The bar-check symbol tests whether a measure line is printed at that point "
+"in the music. <application>LilyPond</application> prints a warning if the "
+"bar-check symbol does not line up with a measure line in the score. "
+"<application>LilyPond</application> continues to process the music, and does"
+" not automatically change any durations."
 msgstr ""
+"小節線チェックシンボルは、小節線が音楽のその部分に描かれているかをテストします。小節線チェックシンボルと、楽譜の小節線が一致していないと、<application>LilyPond</application>"
+" は警告を表示します。<application>LilyPond</application> "
+"は、音楽の処理を続行し、自動的になんらかの音の長さを変更することはありません。"
 
 #. Tag: para
 #, no-c-format
-msgid "The bar-check symbol is <literal>|</literal>. We recommend including a bar-check symbol at the end of every bar, and inputting only one bar on every line, so that errors are easier to find."
+msgid ""
+"The bar-check symbol is the pipe character, <literal>|</literal>. We "
+"recommend that you put a bar-check symbol at the end of every measure, and "
+"that you input only one measure on every line. If you follow this "
+"recommendation, you will make fewer mistakes."
 msgstr ""
+"小節線チェックシンボルは、パイプ文字、<literal>|</literal> "
+"です。すべての小節線の後に小節線チェックシンボルを置き、１行に１小節だけを入力するのを勧めます。その方が、誤りをするのが少なくなるはずです。"
 
 #. Tag: para
 #, no-c-format
-msgid "This example is correct, and will not trigger a warning:"
-msgstr ""
+msgid ""
+"This example is correct, so <application>LilyPond</application> will not "
+"print a warning:"
+msgstr "この例は正しく、<application>LilyPond</application> は警告を表示しません："
 
 #. Tag: programlisting
 #, no-c-format
@@ -645,16 +1201,60 @@ msgid ""
 "c4 c c c |\n"
 "c4 c c c |\n"
 msgstr ""
+"\n"
+"\\time 4/4\n"
+"c4 c c c |\n"
+"c4 c c c |\n"
 
 #. Tag: para
 #, no-c-format
-msgid "There are four quarter-notes between each bar-check symbol, which is the right number of beats."
+msgid ""
+"There are four quarter notes between each bar-check symbol, which is the "
+"right number of beats in the indicated metre."
+msgstr "４つの４分音符がそれぞれの小節線チェックシンボルの間にあり、この拍子における正しい数の拍です。"
+
+#. Tag: para
+#, no-c-format
+msgid ""
+"This example is incorrect, so <application>LilyPond</application> will print"
+" a warning."
+msgstr "この例は誤りで、<application>LilyPond</application> は警告を表示します。"
+
+#. Tag: programlisting
+#, no-c-format
+msgid ""
+"\n"
+"\\time 4/4\n"
+"c4 c2 c4 |\n"
+"c4 c2 c |\n"
+"c4 c2 c4 |\n"
 msgstr ""
+"\n"
+"\\time 4/4\n"
+"c4 c2 c4 |\n"
+"c4 c2 c |\n"
+"c4 c2 c4 |\n"
 
 #. Tag: para
 #, no-c-format
-msgid "This example is incorrect, and will trigger a warning:"
+msgid ""
+"This example shows three measures of the same pattern: <literal>c4 c2 "
+"c4</literal>. The second measure is missing the last quarter-note symbol (a "
+"<literal>4</literal>), so <application>LilyPond</application> outputs one "
+"quarter note followed by two half notes. The second measure is five beats, "
+"so the bar-check symbol does not coincide with the measure line after the "
+"fourth beat. <application>LilyPond</application> prints a warning when it "
+"reaches the bar-check symbol at the end of the second measure."
 msgstr ""
+"この例は、同じパターンの３つの小節があります： <literal>c4 c2 c4</literal> 。二小節目は最後の４分音符 "
+"(<literal>4</literal>) がなく、<application>LilyPond</application> "
+"は、１つの４分音符と、それに続く２つの２分音符を出力します。二小節は、５拍になるので、小節線チェックシンボルと小節線は、４つめの拍以降、一致しなくなります。<application>LilyPond</application>"
+" は、二小節目の最後の小節線チェックシンボルに来たところで警告を表示します。"
+
+#. Tag: para
+#, no-c-format
+msgid "Consider this example."
+msgstr "この例を見てください。"
 
 #. Tag: programlisting
 #, no-c-format
@@ -664,13 +1264,77 @@ msgid ""
 "c2 c c c |\n"
 "c4 c c c |\n"
 msgstr ""
+"\n"
+"\\time 4/4\n"
+"c2 c c c |\n"
+"c4 c c c |\n"
+
+#. Tag: para
+#, no-c-format
+msgid ""
+"The first bar has four half-notes, which is twice as many beats as are "
+"allowed in one measure. A bar-check symbol only triggers a warning if it is "
+"placed where there is no bar line. Therefore, "
+"<application>LilyPond</application> will not print a warning for this "
+"example, even though only two of the three bar lines has a bar-line check "
+"symbol."
+msgstr ""
+"最初の小節は、４つの２分音符があり、許される拍の倍です。<application>LilyPond</application> "
+"は、最初の小節線チェックシンボルのところで警告を表示します。"
+
+#. Tag: para
+#, no-c-format
+msgid ""
+"One mistake in a file will sometimes cause "
+"<application>LilyPond</application> to print multiple warnings. A bar-check "
+"symbol does not force <application>LilyPond</application> to insert a bar "
+"line. <application>LilyPond</application> continues to insert notes with the"
+" duration shown in the file. Look at the following example, and the "
+"<application>LilyPond</application> output."
+msgstr ""
+"ファイルの１つの誤りのために、ときには <application>LilyPond</application> "
+"がたくさんの警告を表示することがあります。小節線チェックシンボルが、 <application>LilyPond</application> "
+"に、小節線を挿入させるということはありません。 <application>LilyPond</application> "
+"は、ファイルのとおりの長さで音符を入れ続けます。以下の例と、 <application>LilyPond</application> "
+"の出力を見てください。"
+
+#. Tag: programlisting
+#, no-c-format
+msgid ""
+"\n"
+"Interpreting music...\n"
+"example.ly:3:10: warning: barcheck failed at: 1/4\n"
+"  c4 c2 c\n"
+"\t  |\n"
+msgstr ""
+"\n"
+"Interpreting music...\n"
+"example.ly:3:10: warning: barcheck failed at: 1/4\n"
+"  c4 c2 c\n"
+"\t  |\n"
 
 #. Tag: para
 #, no-c-format
-msgid "The first bar has four half-notes, which is twice as many beats as are allowed. <application>LilyPond</application> will print a warning at the first bar-check symbol."
+msgid ""
+"The mistake in the second measure causes a warning at the bar-check symbol. "
+"<application>LilyPond</application> does not modify note durations, so the "
+"half note at the end of the second measure occupies the fourth beat of the "
+"second measure <emphasis>and</emphasis> the first beat of the third measure."
+" The third measure is correct, with four beats, but the bar-check symbol "
+"causes a warning to be printed because <application>LilyPond</application> "
+"expects a bar line before the last quarter note, not after it."
 msgstr ""
+"二小節目の誤りのため、小節線チェックシンボルのところで警告が出ます。 <application>LilyPond</application> "
+"は音符の長さを変えないので、二小節目の終わりの２分音符は二小節目の４拍目 <emphasis>と</emphasis> "
+"三小節目の最初の拍を占めます。三小節目は四拍あって正しいですが、 <application>LilyPond</application> "
+"は最後の４分音符の後でなく、その前に小節線を期待するため、小節線チェックシンボルは警告を表示します。"
 
 #. Tag: para
 #, no-c-format
-msgid "You should always fix the first warning printed by <application>LilyPond</application>, then reprocess the file and fix remaining warnings. One mistake sometimes triggers more than one bar-check warning, so if you fix the first warning, the rest may disappear."
+msgid ""
+"You can avoid confusion if you fix the first warning, then reprocess the "
+"file before you fix other warnings. One mistake may cause many warnings."
 msgstr ""
+"混乱を防ぐためにも、まず最初の警告を修正して、ファイルを再度処理し、残りの警告を修正するのがよいです。１つの誤りが、多くの警告を生むことがあります。"
+
+
diff --git a/ja-JP/LilyPond/LilyPond.po b/ja-JP/LilyPond/LilyPond.po
index 2db43c1..dda6204 100644
--- a/ja-JP/LilyPond/LilyPond.po
+++ b/ja-JP/LilyPond/LilyPond.po
@@ -1,129 +1,258 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-09-08T03:01:42\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-06-12 09:46+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "<application>LilyPond</application>"
-msgstr ""
+msgstr "<application>LilyPond</application>"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>LilyPond</application> is a notation engraving program, with a focus on creating a visually appealing product. <application>LilyPond</application> is text-based, and allows you to focus on the (semantic?) content of your musical scores, rather than on their visual appearance. Conventional commercial notation engraving programs allow users to edit the score visually. While this approach has its benefits, especially because it's very easy to see exactly what the printed score will look like, it also has disadvantages - chief among these is the fact that users of those programs are constantly worrying about what their score looks like."
+msgid ""
+"<application>LilyPond</application> is a notation engraving program, with a "
+"focus on creating a visually appealing product. "
+"<application>LilyPond</application> is text-based, and allows you to focus "
+"on the (semantic?) content of your musical scores, rather than on their "
+"visual appearance. Conventional commercial notation engraving programs allow"
+" users to edit the score visually. While this approach has its benefits, "
+"especially because it's very easy to see exactly what the printed score will"
+" look like, it also has disadvantages - chief among these is the fact that "
+"users of those programs are constantly worrying about what their score looks"
+" like."
 msgstr ""
+"<application>LilyPond</application> "
+"は、見た目が素晴らしい作品を作ることに注力した楽譜作成プログラムです。<application>LilyPond</application> "
+"はテキストベースで、あなたは楽譜の見た目ではなくて、その（意味的？）内容に集中できます。今までの商用の楽譜作成プログラムではユーザはビジュアルに楽譜を編集できます。このアプローチは利点もあります。特に、印刷された楽譜が正確にどうなるかをとても簡単に見ることができます。一方で、欠点もあります。その中で最も大きいものは、これらのプログラムのユーザは、常に、楽譜がどう見えるか、気にし続けないといけない点です。"
 
 #. Tag: para
 #, no-c-format
-msgid "This is where <application>LilyPond</application> comes in - users don't need to worry about how their score will work, because they know that the expertly-crafted methods of <application>LilyPond</application> will automatically configure the objects on the score so that they look good, and are easy to read. <application>LilyPond</application>'s users focus on <emphasis>what</emphasis> needs to be displayed, rather than on <emphasis>how</emphasis> it is going to be displayed."
+msgid ""
+"This is where <application>LilyPond</application> comes in - users don't "
+"need to worry about how their score will work, because they know that the "
+"expertly-crafted methods of <application>LilyPond</application> will "
+"automatically configure the objects on the score so that they look good, and"
+" are easy to read. <application>LilyPond</application>'s users focus on "
+"<emphasis>what</emphasis> needs to be displayed, rather than on "
+"<emphasis>how</emphasis> it is going to be displayed."
 msgstr ""
+"ここで <application>LilyPond</application> "
+"が登場します。ユーザは楽譜がどうなるかは気にする必要がありません。というのも、<application>LilyPond</application> "
+"の巧妙に作られたメソッドが楽譜の上のオブジェクトをきれいに見えて、しかも読みやすく、自動的に構成することがわかっているからです。<application>LilyPond</application>"
+" のユーザは表示される必要のある <emphasis> 何か </emphasis> に集中します。それが <emphasis> いかに "
+"</emphasis> 表示されるであろうかではなく。"
 
 #. Tag: para
 #, no-c-format
-msgid "As with any particular approach, the <application>LilyPond</application> approach is not for everybody. However, once you have become accustomed to working with the software, and once you have learned methods to help deal with problems and organize your scores' source-files, you will probably realize that <application>LilyPond</application> is both much faster, and much more flexible, than traditional, commercially-available music engraving programs."
+msgid ""
+"As with any particular approach, the <application>LilyPond</application> "
+"approach is not for everybody. However, once you have become accustomed to "
+"working with the software, and once you have learned methods to help deal "
+"with problems and organize your scores' source-files, you will probably "
+"realize that <application>LilyPond</application> is both much faster, and "
+"much more flexible, than traditional, commercially-available music engraving"
+" programs."
 msgstr ""
+"すべてのアプローチにいえることですが、<application>LilyPond</application> "
+"のアプローチがすべての人に適するわけではありません。しかし、あなたがこのソフトウエアで作業することに慣れ、あなたが問題に対処し、あなたの楽譜のソースファイルを編成するための方式を学んだならば、きっとあなたは"
+" <application>LilyPond</application> "
+"が今までの商用の音楽記譜プログラムよりもずっと速く、かつずっと柔軟であることがわかるでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>LilyPond</application> offers many other features, too. Some of these features include:"
-msgstr ""
+msgid ""
+"<application>LilyPond</application> offers many other features, too. Some of"
+" these features include:"
+msgstr "<application>LilyPond</application> は他にもたくさんの機能があります。これらの機能のいくつかは："
 
 #. Tag: para
 #, no-c-format
 msgid "Putting scores into LaTeX or HTML documents."
-msgstr ""
+msgstr "楽譜を LaTeX あるいは HTML 文書にする。"
 
 #. Tag: para
 #, no-c-format
-msgid "Putting scores into <application>OpenOffice.org</application> documents, with the <application>ooolilypond</application> program."
+msgid ""
+"Putting scores into <application>OpenOffice.org</application> documents, "
+"with the <application>ooolilypond</application> program."
 msgstr ""
+"<application>ooolilypond</application> プログラムを使って、楽譜を "
+"<application>OpenOffice.org</application> 文書にする。"
 
 #. Tag: para
 #, no-c-format
 msgid "Being compatible with all major operating systems."
-msgstr ""
+msgstr "すべての主なオペレーティングシステムと互換である。"
 
 #. Tag: para
 #, no-c-format
 msgid "Managing parts and full scores for large compositions."
-msgstr ""
+msgstr "大きな作品のパート別あるいは全体の楽譜を管理できる。"
 
 #. Tag: para
 #, no-c-format
 msgid "Allowing new musical symbols with the Scheme programming language."
-msgstr ""
+msgstr "Scheme プログラム言語を使って新しい音楽記号を作成できる。"
 
 #. Tag: para
 #, no-c-format
-msgid "It is the goal of this guide to help users more quickly overcome the initial learning handicap incurred because of the text-based approach. Making use of tools such as the <application>Frescobaldi</application> text-editor will help to increase productivity, to make trouble-shooting easier, and to ease the memory burden associated with the text-based approach."
+msgid ""
+"It is the goal of this guide to help users more quickly overcome the initial"
+" learning handicap incurred because of the text-based approach. Making use "
+"of tools such as the <application>Frescobaldi</application> text-editor will"
+" help to increase productivity, to make trouble-shooting easier, and to ease"
+" the memory burden associated with the text-based approach."
 msgstr ""
+"ユーザを助けて、テキストベースのアプローチからくる初期学習の困難さをより早く克服するのが、このガイドの目的です。<application>Frescobaldi</application>"
+" "
+"テキストエディタのようなツールを使うことで、生産性を上げ、トラブルシュートを容易にし、そしてテキストベースのアプローチにまつわる記憶力の負荷を減らすことができるでしょう。"
 
 #. Tag: title
 #, no-c-format
 msgid "How <application>LilyPond</application> Works"
-msgstr ""
+msgstr "<application>LilyPond</application> がいかに動作するか"
 
 #. Tag: para
 #, no-c-format
-msgid "Think of <application>LilyPond</application> as an automobile mechanic. When your car breaks down, the mechanic knows which tools to use. You can buy tools to fix your car by yourself, but the mechanic is specialized. The mechanic knows what tools to use, how to prepare the tools, and how to fix your car faster than you can fix it. <application>LilyPond</application> uses many programs that you can use by yourself, but <application>LilyPond</application> is specialized. <application>LilyPond</application> knows what programs to use, what settings to use, and most importantly, <application>LilyPond</application> takes much less time than if you use the programs directly."
+msgid ""
+"Think of <application>LilyPond</application> as an automobile mechanic. When"
+" your car breaks down, the mechanic knows which tools to use. You can buy "
+"tools to fix your car by yourself, but the mechanic is specialized. The "
+"mechanic knows what tools to use, how to prepare the tools, and how to fix "
+"your car faster than you can fix it. <application>LilyPond</application> "
+"uses many programs that you can use by yourself, but "
+"<application>LilyPond</application> is specialized. "
+"<application>LilyPond</application> knows what programs to use, what "
+"settings to use, and most importantly, <application>LilyPond</application> "
+"takes much less time than if you use the programs directly."
 msgstr ""
+"<application>LilyPond</application> "
+"を自動車の修理工と思ってください。あなたの車がこわれたとき、修理工はどの工具を使うかわかります。あなたは自分で工具を買って車をなおすこともできますが、修理工は専門家です。使う工具を知り、工具をいかに用意するか知り、あなたより速く車をなおすにはどうするかわかっています。<application>LilyPond</application>"
+" はあなたも自分で使うことのできるプログラムをたくさん使います。しかし <application>LilyPond</application> "
+"は専門家なので、使うプログラム、使う設定を知っています。そして最も大事なことに、<application>LilyPond</application> "
+"はあなたが直接それらのプログラムを使うより、ずっと少ない時間でできるのです。"
 
 #. Tag: para
 #, no-c-format
-msgid "We give instructions to <application>LilyPond</application> in specially-formed text files. <application>LilyPond</application> input files describe the music to notate. <application>LilyPond</application> decides how the music will look, then creates an output file. The input file does not contain instructions about how the music looks. Sometimes you must make an adjustment to how the output file looks, so <application>LilyPond</application> lets you change the settings of its internal tools."
+msgid ""
+"We give instructions to <application>LilyPond</application> in specially-"
+"formed text files. <application>LilyPond</application> input files describe "
+"the music to notate. <application>LilyPond</application> decides how the "
+"music will look, then creates an output file. The input file does not "
+"contain instructions about how the music looks. Sometimes you must make an "
+"adjustment to how the output file looks, so "
+"<application>LilyPond</application> lets you change the settings of its "
+"internal tools."
 msgstr ""
+"我々は <application>LilyPond</application> "
+"に、特別な形式のテキストファイルで命令を与えます。<application>LilyPond</application> "
+"の入力ファイルは記譜する音楽を記述します。<application>LilyPond</application> "
+"が音楽がどう見えるかを決定して、出力ファイルを作成します。入力ファイルには、音楽がどう見えるかについての指示は含まれません。ときには、あなたは出力ファイルがどう見えるかを調整しなくてはいけないでしょう。そのために"
+" <application>LilyPond</application> はその内部的なツールの設定を変更する手段を提供します。"
 
 #. Tag: title
 #, no-c-format
 msgid "The <application>LilyPond</application> Approach"
-msgstr ""
+msgstr "<application>LilyPond</application> アプローチ"
 
 #. Tag: para
 #, no-c-format
-msgid "For an extensive explanation of the following section, please see the <citetitle><application>LilyPond</application> Website</citetitle> at <ulink url=\"http://www.lilypond.org/about/automated-engraving/\" />, from where this was sourced."
+msgid ""
+"For an extensive explanation of the following section, please see the "
+"<citetitle><application>LilyPond</application> Website</citetitle> at <ulink"
+" url=\"http://www.lilypond.org/about/automated-engraving/\" />, from where "
+"this was sourced."
 msgstr ""
+"以下のセクションの完全な説明は、<ulink url=\"http://www.lilypond.org/about/automated-"
+"engraving/\" /> の <citetitle><application>LilyPond</application> "
+"Website</citetitle> を参照ください。以下の内容もそこから得られたものです。"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>LilyPond</application> works by separating the tasks of what to put, and where to put it. Each aspect of an object's position is controlled by a specific plug-in. You can think of the plug-ins as tools. <application>LilyPond</application> knows how and when to use each tool; if it doesn't know enough about a tool, then it isn't used."
+msgid ""
+"<application>LilyPond</application> works by separating the tasks of what to"
+" put, and where to put it. Each aspect of an object's position is controlled"
+" by a specific plug-in. You can think of the plug-ins as tools. "
+"<application>LilyPond</application> knows how and when to use each tool; if "
+"it doesn't know enough about a tool, then it isn't used."
 msgstr ""
+"<application>LilyPond</application> "
+"は何を置くかという仕事を、どこに置くか、という仕事と分離して動作します。オブジェクトの位置のそれぞれの側面はそれぞれのプラグインにより制御されます。プラグインのことは工具だと思ってください。<application>LilyPond</application>"
+" はそれぞれの工具をどのように、いつ使うかを知っています。もしその工具について十分知らないならば、それは使われません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Before <application>LilyPond</application> places an object, it first considers many different possibilities for the specific alignment and layout of that object. Then it evaluates the possibilities according to aesthetic criteria set out to reflect those used in hand-engraved notation. After assigning each possibility a score representing how closely it resembles to the aesthetic ideal, <application>LilyPond</application> then chooses the better possibility."
+msgid ""
+"Before <application>LilyPond</application> places an object, it first "
+"considers many different possibilities for the specific alignment and layout"
+" of that object. Then it evaluates the possibilities according to aesthetic "
+"criteria set out to reflect those used in hand-engraved notation. After "
+"assigning each possibility a score representing how closely it resembles to "
+"the aesthetic ideal, <application>LilyPond</application> then chooses the "
+"better possibility."
 msgstr ""
+"<application>LilyPond</application> "
+"がオブジェクトを置く前に、それはまずそのオブジェクトのそれぞれのアラインメントとレイアウトの多くの可能性について考察します。次に、<application>LilyPond</application>"
+" "
+"はそれらの可能性を、手で書かれた楽譜で使われるのと同じ美的な基準に従って評価します。それぞれに、美的な理想にどのくらい近づけたかを示す点数を付けた後、<application>LilyPond</application>"
+" はよりよい候補を選びます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Requirements and Installation"
-msgstr ""
+msgstr "要件とインストール"
 
 #. Tag: para
 #, no-c-format
-msgid "Use PackageKit or KPackageKit to install the <literal>lilypond</literal> package."
+msgid ""
+"Use PackageKit or KPackageKit to install the <literal>lilypond</literal> "
+"package."
 msgstr ""
+"PackageKit あるいは KPackageKit を使って <literal>lilypond</literal> "
+"パッケージをインストールします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Review the dependencies. Many packages called <literal>lilypond-*-fonts</literal> are installed."
+msgid ""
+"Review the dependencies. Many packages called "
+"<literal>lilypond-*-fonts</literal> are installed."
 msgstr ""
+"依存関係を見ます。<literal>lilypond-*-fonts</literal> と呼ばれる多くのパッケージがインストールされます。"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>LilyPond</application> is run from the command line, with the command <command>lilypond</command>."
+msgid ""
+"<application>LilyPond</application> is run from the command line, with the "
+"command <command>lilypond</command>."
 msgstr ""
+"<application>LilyPond</application> はコマンドラインから、<command>lilypond</command> "
+"コマンドにより実行されます。"
 
 #. Tag: para
 #, no-c-format
-msgid "We recommend that you use the <application>Frescobaldi</application> text editor, which is designed specifically for <application>LilyPond</application>. It has many features that enhance productivity when editing <application>LilyPond</application> files, and that greatly speed up the learning process. Refer to <xref linkend=\"chap-Musicians_Guide-Frescobaldi\" /> for more information."
+msgid ""
+"We recommend that you use the <application>Frescobaldi</application> text "
+"editor, which is designed specifically for "
+"<application>LilyPond</application>. It has many features that enhance "
+"productivity when editing <application>LilyPond</application> files, and "
+"that greatly speed up the learning process. Refer to <xref linkend=\"chap-"
+"Musicians_Guide-Frescobaldi\" /> for more information."
 msgstr ""
+"<application>Frescobaldi</application> テキストエディタを使うことをお勧めします。それは "
+"<application>LilyPond</application> のために特別に設計されたものです。それは "
+"<application>LilyPond</application> "
+"ファイルを編集するときに生産性を上げる多くの機能があります。そして、学習プロセスを大いにスピードアップします。詳しくは、<xref linkend"
+"=\"chap-Musicians_Guide-Frescobaldi\" /> を参照ください。"
+
+
diff --git a/ja-JP/Musicians_Guide.po b/ja-JP/Musicians_Guide.po
index cc673c4..5658462 100644
--- a/ja-JP/Musicians_Guide.po
+++ b/ja-JP/Musicians_Guide.po
@@ -1,29 +1,27 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-09-08T03:01:42\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-06-07 00:01+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "Linux Audio Basics"
-msgstr ""
-
-#. Tag: para
-#, no-c-format
-msgid "asdf"
-msgstr ""
+msgstr "Linux オーディオの基本"
 
 #. Tag: title
 #, no-c-format
 msgid "Audio and Music Software"
-msgstr ""
+msgstr "オーディオと音楽ソフトウエア"
+
+
diff --git a/ja-JP/Planet_CCRMA_at_Home.po b/ja-JP/Planet_CCRMA_at_Home.po
index 11f9a17..d2d4661 100644
--- a/ja-JP/Planet_CCRMA_at_Home.po
+++ b/ja-JP/Planet_CCRMA_at_Home.po
@@ -1,157 +1,325 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-11-02T04:33:08\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-06-12 09:55+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "Planet CCRMA at Home"
-msgstr ""
+msgstr "Planet CCRMA at Home"
 
 #. Tag: title
 #, no-c-format
 msgid "About Planet CCRMA at Home"
-msgstr ""
+msgstr "Planet CCRMA at Home について"
 
 #. Tag: para
 #, no-c-format
-msgid "As stated on the project's home page, it is the goal of Planet CCRMA at Home to provide packages which will transform a Fedora Linux-based computer into an audio workstation. What this means is that, while the Fedora Project does an excellent job of providing a general-purpose operating system, a general purpose operating system is insufficient for audio work of the highest quality. The contributors to Planet CCRMA at Home provide software packages which can tune your system specifically for audio work."
+msgid ""
+"As stated on the project's home page, it is the goal of Planet CCRMA at Home"
+" to provide packages which will transform a Fedora Linux-based computer into"
+" an audio workstation. What this means is that, while the Fedora Project "
+"does an excellent job of providing a general-purpose operating system, a "
+"general purpose operating system is insufficient for audio work of the "
+"highest quality. The contributors to Planet CCRMA at Home provide software "
+"packages which can tune your system specifically for audio work."
 msgstr ""
+"プロジェクトのホームページで述べられているように、Planet CCRMA at Home のゴールは、Fedora Linux "
+"ベースのコンピュータをオーディオワークステーションに変貌させるためのパッケージを提供することです。これが意味するところは、 Fedora "
+"プロジェクトは汎用のオペレーティングシステムを提供することにかけてはすばらしいはたらきをしていますが、汎用のオペレーティングシステムというものは高品質のオーディオ作業にとっては不十分であるということです。Planet"
+" CCRMA at Home の貢献者たちはあなたのシステムをオーディオ作業のために特別に調整することのできるソフトウエアパッケージを提供します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Users of GNU Solfege and LilyPond should not concern themselves with Planet CCRMA at Home, unless they also user other audio software. Neither Solfege nor LilyPond would benefit from a computer optimzed for audio production."
+msgid ""
+"Users of GNU Solfege and LilyPond should not concern themselves with Planet "
+"CCRMA at Home, unless they also user other audio software. Neither Solfege "
+"nor LilyPond would benefit from a computer optimzed for audio production."
 msgstr ""
+"GNU Solfege と LilyPond のユーザは、Planet CCRMA at Home "
+"とかかわりをもつ必要はありません。他のオーディオソフトウエアをお使いの場合は除きますが。Solfege も LilyPond "
+"も、オーディオ作成のために最適化されたコンピュータで有利になることはありません。"
 
 #. Tag: para
 #, no-c-format
-msgid "CCRMA stands for \"Center for Computer Research in Music and Acoustics,\" which is the name of an academic research initiative and music computing facility at Stanford University, located in Stanford, California. Its initiatives help scholars to understand the effects and possibilities of computers and technology in various musical contexts. They offer academic courses, hold workshops and concerts, and try to incorporate the work of many highly-specialized fields."
+msgid ""
+"CCRMA stands for \"Center for Computer Research in Music and Acoustics,\" "
+"which is the name of an academic research initiative and music computing "
+"facility at Stanford University, located in Stanford, California. Its "
+"initiatives help scholars to understand the effects and possibilities of "
+"computers and technology in various musical contexts. They offer academic "
+"courses, hold workshops and concerts, and try to incorporate the work of "
+"many highly-specialized fields."
 msgstr ""
+"CCRMA は、\"Center for Computer Research in Music and Acoustics  "
+"音楽と音響学のコンピュータ研究センター "
+"\"の略で、カリフォルニア州スタンフォードにある、スタンフォード大学の学術研究機関および音楽コンピューティング機関の名前です。そこではさまざまな音楽の環境において、コンピュータと技術が及ぼす効果と可能性を理解する研究が行われています。そこでは、学術コースが提供され、ワークショップとコンサートがひらかれ、多くの高度に専門化された分野の仕事をひとつにまとめる試みがなされています。"
 
 #. Tag: para
 #, no-c-format
-msgid "The Planet CCRMA at Home website suggests that they provide most of the software used on the computers in CCRMA's computing facilities. Much of this software is highly advanced and complex, and not intended for everyday use. More adventurous users are encouraged to explore Planet CCRMA's website, and investigate the software for themselves."
+msgid ""
+"The Planet CCRMA at Home website suggests that they provide most of the "
+"software used on the computers in CCRMA's computing facilities. Much of this"
+" software is highly advanced and complex, and not intended for everyday use."
+" More adventurous users are encouraged to explore Planet CCRMA's website, "
+"and investigate the software for themselves."
 msgstr ""
+"Planet CCRMA at Home のウエブサイトには、彼らが、CCRMA "
+"のコンピュータ施設で使われるソフトウエアのほとんどを提供していると書いてあります。このソフトウエアの多くは、先進的で複雑で、日常的に使うためのものではありません。冒険好きなユーザは"
+" Planet CCRMA のウエブサイトを探検して自分でそのソフトウエアを調べてみるとよいでしょう。"
 
 #. Tag: title
 #, no-c-format
 msgid "Deciding Whether to Use Planet CCRMA at Home"
-msgstr ""
+msgstr "Planet CCRMA at Home を使うかどうかを決める"
 
 #. Tag: title
 #, no-c-format
 msgid "Exclusive Software"
-msgstr ""
+msgstr "独占的ソフトウエア"
 
 #. Tag: para
 #, no-c-format
-msgid "The only useful reason to install an additional repository is if you intend to install and use its software. The only software application covered in this guide, which is available exclusively from the Planet CCRMA at Home repository, is \"SuperCollider\". The Planet CCRMA repository also offers many other audio-related software applications, many of which are available from the default Fedora Project repositories."
+msgid ""
+"The only useful reason to install an additional repository is if you intend "
+"to install and use its software. The only software application covered in "
+"this guide, which is available exclusively from the Planet CCRMA at Home "
+"repository, is \"SuperCollider\". The Planet CCRMA repository also offers "
+"many other audio-related software applications, many of which are available "
+"from the default Fedora Project repositories."
 msgstr ""
+"追加のリポジトリをインストールするただ１つのもっともな理由は、あなたがそこのソフトウエアをインストールして使いたいからでしょう。このガイドで取り扱っているソフトウエアアプリケーションのうち、Planet"
+" CCRMA at Home リポジトリでしか手に入らないものは、 \"SuperCollider\"です。Planet CCRMA at Home "
+"は他にも、オーディオ関連の多くのソフトウエアアプリケーションを提供していますが、その多くはデフォルトの Fedora "
+"プロジェクトリポジトリで手に入ります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Most of the audio software currently available in the default Fedora repositories was initially available in Fedora from the Planet CCRMA at Home repository. Sometimes, an updated version of an application is available from the Planet CCRMA repository before it is available from the Fedora Updates repository. If you need the newer software version, then you should install the Planet CCRMA repository."
+msgid ""
+"Most of the audio software currently available in the default Fedora "
+"repositories was initially available in Fedora from the Planet CCRMA at Home"
+" repository. Sometimes, an updated version of an application is available "
+"from the Planet CCRMA repository before it is available from the Fedora "
+"Updates repository. If you need the newer software version, then you should "
+"install the Planet CCRMA repository."
 msgstr ""
+"現在デフォルトの Fedora リポジトリで手に入る多くのオーディオソフトウエアのほとんどは、最初は、 Fedora において、Planet CCRMA"
+" at Home リポジトリで入手可能になりました。ときには、アプリケーションのアップデート版が、Fedora Updates "
+"で入手可能になるよりも早く Planet CCRMA から得られることもあります。もしあなたがより新しいソフトウエアバージョンが必要ならば、あなたは "
+"Planet CCRMA リポジトリをインストールするべきです。"
 
 #. Tag: para
 #, no-c-format
-msgid "This is also a potential security weakness, for users who install the Planet CCRMA repository, but do not install any of its software. When \"yum\" finds a newer version of an installed application, it will be installed, regardless of the repository. This may happen to you without you noticing, so that you begin using Planet CCRMA software without knowing it."
+msgid ""
+"This is also a potential security weakness, for users who install the Planet"
+" CCRMA repository, but do not install any of its software. When \"yum\" "
+"finds a newer version of an installed application, it will be installed, "
+"regardless of the repository. This may happen to you without you noticing, "
+"so that you begin using Planet CCRMA software without knowing it."
 msgstr ""
+"これは、Planet CCRMA "
+"リポジトリをインストールして、そのソフトウエアを何もインストールしないユーザには潜在的なセキュリティ上の弱点ともなります。\"yum\"は、インストールされているアプリケーションのより新しいバージョンを見つけると、リポジトリにかかわらずそれをインストールします。これはあなたが気がつかないうちに起きることがあるので、あなたは知らないうちに"
+" Planet CCRMA のソフトウエアを使っていることがあります。"
 
 #. Tag: title
 #, no-c-format
 msgid "Security and Stability"
-msgstr ""
+msgstr "セキュリティと安定性"
 
 #. Tag: para
 #, no-c-format
-msgid "The biggest reason that you should avoid installing the Planet CCRMA at Home repository unless you <emphasis>need</emphasis> its software is security. There are two main security issues with using the Planet CCRMA repositories:"
+msgid ""
+"The biggest reason that you should avoid installing the Planet CCRMA at Home"
+" repository unless you <emphasis>need</emphasis> its software is security. "
+"There are two main security issues with using the Planet CCRMA repositories:"
 msgstr ""
+"あなたがそこのソフトウエアを <emphasis> 必要とする </emphasis> のでなければ Planet CCRMA at Home "
+"リポジトリをインストールするべきでない最大の理由は、セキュリティです。Planet CCRMA "
+"リポジトリを使うことについて、主に２つのセキュリティ問題があります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Planet CCRMA is intended for specialized audio workstations. The software is packaged in such a way that creates potential (and unknown) security threats caused by the optimizations necessary to prepare a computer system for use in audio work. Furthermore, these optimizations may reveal software bugs present in non-Planet CCRMA software, and allow them to do more damage than on a non-optimized system. Finally, a computer system's \"stability\" (its ability to run without trouble) may be compromised by audio optimizations. Regular desktop applications may perform less well on audio-optimized systems, if the optimization process unintentionally un-optimized some other process."
-msgstr ""
+msgid ""
+"Planet CCRMA is intended for specialized audio workstations. The software is"
+" packaged in such a way that creates potential (and unknown) security "
+"threats caused by the optimizations necessary to prepare a computer system "
+"for use in audio work. Furthermore, these optimizations may reveal software "
+"bugs present in non-Planet CCRMA software, and allow them to do more damage "
+"than on a non-optimized system. Finally, a computer system's \"stability\" "
+"(its ability to run without trouble) may be compromised by audio "
+"optimizations. Regular desktop applications may perform less well on audio-"
+"optimized systems, if the optimization process unintentionally un-optimized "
+"some other process."
+msgstr ""
+"Planet CCRMA "
+"は、専用のオーディオワークステーションのためのものです。ソフトウエアは、コンピュータシステムをオーディオ作業に使えるようにするために必要な最適化により引き起こされる潜在的"
+" ( あるいは未知の）セキュリティ上の脅威を生み出すかもしれない方法でパッケージングされます。さらに、これらの最適化は Planet CCRMA "
+"以外のソフトウエアに存在するバグを明らかにして、最適化されないシステムで起きる以上の損害を与えるかもしれません。最後に、コンピュータシステムの "
+"\"安定性 "
+"\"（トラブルなしに動くことのできる能力）は、オーディオ最適化のために損なわれるかもしれません。普通のデスクトップアプリケーションは、オーディオ最適化されたシステムの上では比較的うまく動かないかもしれません。最適化処理が、意図に反して、いくつかの他のプロセスを最適ではなくすることもあるからです。"
 
 #. Tag: para
 #, no-c-format
-msgid "CCRMA is not a large, Linux-focussed organization. It is an academic organization, and its primary intention with the Planet CCRMA at Home repository is to allow anybody with a computer to do the same kind of work that they do. The Fedora Project is a relatively large organization, backed by one of the world's largest commercial Linux providers, which is focussed on creating a stable and secure operating system for daily use. Furthermore, thousands of people around the world are working for the Fedora Project or its corporate sponsor, and it is their responsibility to proactively solve problems. CCRMA has the same responsibility, but they do not have the dedicated resources of the Fedora Project, it would be naive(???) to think that they would be capable of providing the same level of support."
-msgstr ""
+msgid ""
+"CCRMA is not a large, Linux-focussed organization. It is an academic "
+"organization, and its primary intention with the Planet CCRMA at Home "
+"repository is to allow anybody with a computer to do the same kind of work "
+"that they do. The Fedora Project is a relatively large organization, backed "
+"by one of the world's largest commercial Linux providers, which is focussed "
+"on creating a stable and secure operating system for daily use. Furthermore,"
+" thousands of people around the world are working for the Fedora Project or "
+"its corporate sponsor, and it is their responsibility to proactively solve "
+"problems. CCRMA has the same responsibility, but they do not have the "
+"dedicated resources of the Fedora Project, it would be naive(???) to think "
+"that they would be capable of providing the same level of support."
+msgstr ""
+"CCRMA は、Linux にフォーカスした巨大な組織ではありません。それは学術組織でありその Planet CCRMA at Home "
+"リポジトリに対する主な意図は、コンピュータを持っている誰でもが、彼らがしていることと同じ種類の作業をできるようにするということです。Fedora "
+"Project は比較的大きな組織で、世界で最大の商用 Linux "
+"提供者の１つに後援されています。そして、日々の使用に耐える安定してセキュアなオペレーティングシステムを作成することにフォーカスしています。さらに、世界の数千の人々が"
+" Fedora Project あるいはそのスポンサー企業で働いており、積極的に問題を解決するのが彼らの責任です。CCRMA "
+"も同じ責任を持ちますが、彼らは Fedora Project "
+"のように専用のリソースを持ちませんから、同じレベルのサポートを提供できると考えるのは単純（？？？）過ぎると言えるかもしれません。"
 
 #. Tag: title
 #, no-c-format
 msgid "A Possible \"Best Practices\" Solution"
-msgstr ""
+msgstr "可能な \"ベストプラクティス \"ソリューション"
 
 #. Tag: para
 #, no-c-format
-msgid "All Fedora Linux users should be grateful to the people working at CCRMA, who help to provide the Planet CCRMA at Home repository. Their work has been instrumental in allowing Fedora to provide the amount of high-quality audio software that it does. Furthermore, the availability of many of CCRMA's highly-specialized software applications through the Planet CCRMA at Home repository is an invaluable resource to audio and music enthusiasts."
+msgid ""
+"All Fedora Linux users should be grateful to the people working at CCRMA, "
+"who help to provide the Planet CCRMA at Home repository. Their work has been"
+" instrumental in allowing Fedora to provide the amount of high-quality audio"
+" software that it does. Furthermore, the availability of many of CCRMA's "
+"highly-specialized software applications through the Planet CCRMA at Home "
+"repository is an invaluable resource to audio and music enthusiasts."
 msgstr ""
+"すべての Fedora Linux ユーザは CCRMA で働く、Planet CCRMA at Home "
+"リポジトリを提供してくれる人々に感謝するべきです。これまで彼らの作業は、Fedora "
+"が多くの高品質のオーディオソフトウエアを提供する助けとなってきました。さらに、Planet CCRMA at Home リポジトリをとおして、多くの "
+"CCRMA の高度に専門化されたソフトウエアアプリケーションが入手可能なことはオーディオと音楽の熱狂者にとってとても貴重なリソースでした。"
 
 #. Tag: para
 #, no-c-format
-msgid "On the other hand, Fedora users cannot expect that Planet CCRMA software is going to meet the same standards as Fedora software. While the Fedora Project's primary goal is to provide Linux software, CCRMA's main goal is to advance the state of knowledge of computer-based music and audio research and art."
+msgid ""
+"On the other hand, Fedora users cannot expect that Planet CCRMA software is "
+"going to meet the same standards as Fedora software. While the Fedora "
+"Project's primary goal is to provide Linux software, CCRMA's main goal is to"
+" advance the state of knowledge of computer-based music and audio research "
+"and art."
 msgstr ""
+"一方、Fedora ユーザは、Planet CCRMA ソフトウエアが、Fedora ソフトウエアと同じ基準を満たすとは期待できません。Fedora "
+"Project の主なゴールは Linux ソフトウエアを提供することですが、CCRMA "
+"の主なゴールはコンピュータを使った音楽とオーディオの研究と芸術についての知識を前進させることなのです。"
 
 #. Tag: para
 #, no-c-format
 msgid "Where do these two goals meet?"
-msgstr ""
+msgstr "これらの２つのゴールはどこで出会うでしょうか？"
 
 #. Tag: para
 #, no-c-format
-msgid "If you want to use your computer for both day-to-day desktop tasks and high-quality audio production, one good solution is to \"dual-boot\" your computer. This involves installing Fedora Linux twice on the same physical computer, but it will allow you to keep an entirely separate operating system environment for the Planet CCRMA at Home software. Not only will this allow you to safely and securely run Planet CCRMA applications in their most-optimized state, but you can help to further optimize your system by turning off and even removing some system services that you do not need for audio work. For example, a GNOME or KDE user might choose to install only \"Openbox\" for their audio-optimized installation."
-msgstr ""
+msgid ""
+"If you want to use your computer for both day-to-day desktop tasks and high-"
+"quality audio production, one good solution is to \"dual-boot\" your "
+"computer. This involves installing Fedora Linux twice on the same physical "
+"computer, but it will allow you to keep an entirely separate operating "
+"system environment for the Planet CCRMA at Home software. Not only will this"
+" allow you to safely and securely run Planet CCRMA applications in their "
+"most-optimized state, but you can help to further optimize your system by "
+"turning off and even removing some system services that you do not need for "
+"audio work. For example, a GNOME or KDE user might choose to install only "
+"\"Openbox\" for their audio-optimized installation."
+msgstr ""
+"もしあなたが、あなたのコンピュータを日々のデスクトップ作業と高品質オーディオ製作の両方に使いたいならば、１つのよい解決策はあなたのコンピュータを "
+"\"デュアルブート \"することです。これには、同じ物理コンピュータに Fedora Linux を 2 回インストールする必要がありますが、こうすれば"
+" Planet CCRMA at Home "
+"ソフトウエアのために完全に分離されたオペレーティングシステム環境を保持することができます。これによりあなたは、Planet CCRMA "
+"のアプリケーションを、最も最適化された状態で安全に、セキュアに実行することができます。さらに、あなたはオーディオ作業のために必要のないシステムサービスを停止したり、削除することにより、システムをより最適化することもできます。例えば、GNOME"
+" あるいは KDE ユーザは、オーディオ最適化されたインストールのためには \"Openbox\"だけをインストールする選択ができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Alternatively, there is the possibility of going half-way: installing only some Planet CCRMA applications, but not the fully-optimized kernel and system components. This would be more suitable for a computer used most often for typical day-to-day operations (email, word processing, web browsing, etc.) If you wanted to use SuperCollider, but did not require other audio software, for example, then this might be the best solution for you."
+msgid ""
+"Alternatively, there is the possibility of going half-way: installing only "
+"some Planet CCRMA applications, but not the fully-optimized kernel and "
+"system components. This would be more suitable for a computer used most "
+"often for typical day-to-day operations (email, word processing, web "
+"browsing, etc.) If you wanted to use SuperCollider, but did not require "
+"other audio software, for example, then this might be the best solution for "
+"you."
 msgstr ""
+"あるいは、半分、という手段もあります：いくつかの Planet CCRMA "
+"アプリケーションだけをインストールして、完全に最適化されたカーネルとシステムコンポーネントはインストールしないということです。これは、典型的な日々の作業（電子メール、ワードプロセッシング、ウエブブラウジング、など"
+" ) に使われることが多いコンピュータに適しています。例えばもしあなたが SuperCollider "
+"を使いたいけど他のオーディオソフトウエアは必要ない場合、これがあなたにとって最適な解決策かもしれません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Ultimately, it is your responsibility to ensure that your computer and its data is kept safely and securely. You will need to find the best solution for your own work patterns and desires."
+msgid ""
+"Ultimately, it is your responsibility to ensure that your computer and its "
+"data is kept safely and securely. You will need to find the best solution "
+"for your own work patterns and desires."
 msgstr ""
+"結局、あなたのコンピュータとデータが安全でセキュアであるのを保証するのはあなたの責任です。あなたは自分の作業パターンと欲求のために最適な策を見つけてください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Using Software from Planet CCRMA at Home"
-msgstr ""
+msgstr "Planet CCRMA at Home のソフトウエアを使う"
 
 #. Tag: para
 #, no-c-format
-msgid "The Planet CCRMA at Home software is hosted (stored) on a server at Stanford University. It is separate from the Fedora Linux servers, so <command>yum</command> (the command line utility used by PackageKit and KPackageKit) must be made aware that you wish to use it. After installing the repository, Planet CCRMA at Home software can be installed through yum, PackageKit, or KPackageKit just as easily as any other software."
-msgstr ""
+msgid ""
+"The Planet CCRMA at Home software is hosted (stored) on a server at Stanford"
+" University. It is separate from the Fedora Linux servers, so "
+"<command>yum</command> (the command line utility used by PackageKit and "
+"KPackageKit) must be made aware that you wish to use it. After installing "
+"the repository, Planet CCRMA at Home software can be installed through yum, "
+"PackageKit, or KPackageKit just as easily as any other software."
+msgstr ""
+"Planet CCRMA at Home ソフトウエアは、スタンフォード大学のサーバにホスト ( 格納）されています。それは Fedora Linux "
+"のサーバとは別なので、<command>yum</command> （ PackageKit と KPackageKit "
+"が使うコマンドラインユティリティ）はあなたがそれを使いたいということを知らせられなくてはいけません。リポジトリをインストールした後は Planet "
+"CCRMA at Home ソフトウエアは yum, PackageKit, あるいは KPackageKit "
+"により他のソフトウエアと同じように簡単にインストールすることができます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Installing the Planet CCRMA at Home Repositories"
-msgstr ""
+msgstr "Planet CCRMA at Home リポジトリをインストールする"
 
 #. Tag: para
 #, no-c-format
-msgid "The following steps will install the Planet CCRMA at Home repository, intended only for Fedora Linux-based computers."
+msgid ""
+"The following steps will install the Planet CCRMA at Home repository, "
+"intended only for Fedora Linux-based computers."
 msgstr ""
+"以下の手順は、Planet CCRMA at Home リポジトリ、それは Fedora Linux ベースのコンピュータ専用です、をインストールします"
+" ."
 
 #. Tag: para
 #, no-c-format
 msgid "Update your computer with PackageKit, KPackageKit."
-msgstr ""
+msgstr "PackageKit あるいは KPackageKit でコンピュータをアップデートします ."
 
 #. Tag: para
 #, no-c-format
 msgid "Run the following command in a terminal window:"
-msgstr ""
+msgstr "ターミナルウインドウで、以下のコマンドを実行ください。"
 
 #. Tag: screen
 #, no-c-format
@@ -159,71 +327,126 @@ msgid ""
 "<command>su -c 'rpm -Uvh http://ccrma.stanford.edu/planetccrma/mirror/fedora/linux/\\</command>\n"
 "<command>planetccrma/13/i386/planetccrma-repo-1.1-2.fc13.ccrma.noarch.rpm</command>"
 msgstr ""
+"<command>su -c 'rpm -Uvh http://ccrma.stanford.edu/planetccrma/mirror/fedora/linux/\\</command>⏎\n"
+"<command>planetccrma/13/i386/planetccrma-repo-1.1-2.fc13.ccrma.noarch.rpm</command>"
 
 #. Tag: para
 #, no-c-format
-msgid "This works for all versions of Fedora, whether 32-bit and 64-bit. Note that the command is a single line, broken here for presentation purposes."
+msgid ""
+"This works for all versions of Fedora, whether 32-bit and 64-bit. Note that "
+"the command is a single line, broken here for presentation purposes."
 msgstr ""
+"これはすべてのバージョンの Fedora、３２ビットでも、６４ビットでも、で動作します . "
+"コマンドはここでは表示のために分かれていますが、一行で書いてください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Update your computer again."
-msgstr ""
+msgstr "コンピュータを再びアップデート下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "You may receive a warning that the RPM database was altered outside of \"yum\". This is normal."
-msgstr ""
+msgid ""
+"You may receive a warning that the RPM database was altered outside of "
+"\"yum\". This is normal."
+msgstr "\"yum\"の外で RPM データベースが変更されたという警告が出るかもしれませんが、これは正常です。"
 
 #. Tag: para
 #, no-c-format
 msgid "Your repository definition will automatically be updated."
-msgstr ""
+msgstr "リポジトリの定義は自動的に更新されます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Some packages are available from Fedora repositories in addition to other repositories (like Planet CCRMA at Home). If the Planet CCRMA repository has a newer version of something than the other repositories that you have installed, then the Planet CCRMA version will be installed at this point."
+msgid ""
+"Some packages are available from Fedora repositories in addition to other "
+"repositories (like Planet CCRMA at Home). If the Planet CCRMA repository has"
+" a newer version of something than the other repositories that you have "
+"installed, then the Planet CCRMA version will be installed at this point."
 msgstr ""
+"いくつかのパッケージは他のリポジトリ（ Planet CCRMA at Home のような）に加えて Fedora リポジトリでも入手可能です。もし "
+"Planet CCRMA at Home リポジトリがあなたがインストールした他のリポジトリより新しいバージョンを持っていたら、その時点で Planet"
+" CCRMA バージョンがインストールされます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Although it is necessary to use the <command>rpm</command> program directly, all other Planet CCRMA software can be installed through <command>yum</command>, like all other applications. Here is an explanation of the command-line options used above:"
+msgid ""
+"Although it is necessary to use the <command>rpm</command> program directly,"
+" all other Planet CCRMA software can be installed through "
+"<command>yum</command>, like all other applications. Here is an explanation "
+"of the command-line options used above:"
 msgstr ""
+"リポジトリのインストールには <command>rpm</command> プログラムを直接使う必要があったのですが、他のすべての Planet "
+"CCRMA ソフトウエアは、他のアプリケーションと同じく、<command>yum</command> "
+"を使ってインストールできます。以下が、そのときに使われるコマンドラインオプションの説明です："
 
 #. Tag: para
 #, no-c-format
-msgid "<literal>-U</literal> means \"upgrade,\" which will install the specified package, and remove any previously-installed version"
+msgid ""
+"<literal>-U</literal> means \"upgrade,\" which will install the specified "
+"package, and remove any previously-installed version"
 msgstr ""
+"<literal>-U</literal> は \"upgrade  アップグレード "
+"\"を意味し、指定されたパッケージをインストールし、以前にインストールされたバージョンがあれば削除します ."
 
 #. Tag: para
 #, no-c-format
-msgid "<literal>-v</literal> means \"verbose,\" which will print additional information meessages"
-msgstr ""
+msgid ""
+"<literal>-v</literal> means \"verbose,\" which will print additional "
+"information meessages"
+msgstr "<literal>-v</literal> は \"verbose  冗舌 \"の意味で、余分の情報メッセージを表示します ."
 
 #. Tag: para
 #, no-c-format
-msgid "<literal>-h</literal> means \"hash,\" which will display hash marks (these: <literal>#</literal>) showing the progress of installation."
+msgid ""
+"<literal>-h</literal> means \"hash,\" which will display hash marks (these: "
+"<literal>#</literal>) showing the progress of installation."
 msgstr ""
+"<literal>-h</literal> は \"hash  ハッシュ \"の意味で、インストールの進行を示すハッシュマーク（ "
+"<literal>#</literal> ）を表示します ."
 
 #. Tag: title
 #, no-c-format
 msgid "Set Repository Priorities"
-msgstr ""
+msgstr "リポジトリの優先度を設定する"
 
 #. Tag: para
 #, no-c-format
-msgid "This is optional, and recommended only for advanced users. <application>yum</application> normally installs the latest version of a package, regardless of which repository provides it. Using this plugin will change this behaviour, so that <application>yum</application> will choose package versions primarily based on which repository provides it. If a newer version is available at a repository with lower priority, <application>yum</application> does not upgrade the package. If you simply wish to prevent a particular package from being updated, the instructions in <xref linkend=\"sect-Musicians_Guide-CCRMA_Preventing_Package_Updates\" /> are better-suited to your needs."
-msgstr ""
+msgid ""
+"This is optional, and recommended only for advanced users. "
+"<application>yum</application> normally installs the latest version of a "
+"package, regardless of which repository provides it. Using this plugin will "
+"change this behaviour, so that <application>yum</application> will choose "
+"package versions primarily based on which repository provides it. If a newer"
+" version is available at a repository with lower priority, "
+"<application>yum</application> does not upgrade the package. If you simply "
+"wish to prevent a particular package from being updated, the instructions in"
+" <xref linkend=\"sect-Musicians_Guide-CCRMA_Preventing_Package_Updates\" /> "
+"are better-suited to your needs."
+msgstr ""
+"これはオプショナルで、進んだユーザにのみ勧められます。<application>yum</application> "
+"は普通は、どのリポジトリが提供するかには無関係に、パッケージの最新のバージョンをインストールします . "
+"このプラグインを使うと、この振る舞いを変え、<application>yum</application> "
+"が、主に提供するリポジトリによってパッケージバージョンを選ぶようにできます。低い優先度のリポジトリで新しいバージョンがあっても、<application>yum</application>"
+" はパッケージをアップグレードしません . もしあなたが、単に、あるパッケージをアップデートしたくないときは <xref linkend=\"sect-"
+"Musicians_Guide-CCRMA_Preventing_Package_Updates\" /> の手順の方が、あなたの目的にかないます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Install the <package>yum-plugin-priorities</package> package."
-msgstr ""
+msgstr "<package>yum-plugin-priorities</package> パッケージをインストールください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Use a text editor or the <application>cat</application> or <application>less</application> command to verify that <filename>/etc/yum/pluginconf.d/priorities.conf</filename> exists, and contains the following text:"
+msgid ""
+"Use a text editor or the <application>cat</application> or "
+"<application>less</application> command to verify that "
+"<filename>/etc/yum/pluginconf.d/priorities.conf</filename> exists, and "
+"contains the following text:"
 msgstr ""
+"テキストエディタ、<application>cat</application> あるいは <application>less</application>"
+" コマンドで <filename>/etc/yum/pluginconf.d/priorities.conf</filename> "
+"が存在し、以下のテキストを含むのを確認ください："
 
 #. Tag: programlisting
 #, no-c-format
@@ -232,41 +455,89 @@ msgid ""
 "[main]\n"
 "enabled = 1\n"
 msgstr ""
+"\n"
+"⏎\n"
+"[main]⏎\n"
+"enabled = 1⏎\n"
 
 #. Tag: para
 #, no-c-format
-msgid "If you want to stop using the plugin, you can edit this file so that it contains <code>enabled = 0</code> This allows you to keep the priorities as set in the repository configuration files."
+msgid ""
+"If you want to stop using the plugin, you can edit this file so that it "
+"contains <code>enabled = 0</code> This allows you to keep the priorities as "
+"set in the repository configuration files."
 msgstr ""
+"もしこのプラグインを使うのを止めるときは、このファイルを編集して、<code>enabled = 0</code> "
+"として下さい。そうすれば、リポジトリ構成ファイルに設定された優先度をそのままにしておけます。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can set priorities for some or all repositories. To add a priority to a repository, edit its respective file in the <filename>/etc/yum.repos.d/<replaceable>*</replaceable></filename> directory, adding a line like: <literal>priority = <replaceable>N</replaceable></literal> where <literal>N</literal> is a number between <literal>1</literal> and <literal>99</literal>, inclusive. A priority of <literal>1</literal> is the highest setting, and <literal>99</literal> is the lowest. You will need to set priorities of at least two repositories before this becomes useful."
-msgstr ""
+msgid ""
+"You can set priorities for some or all repositories. To add a priority to a "
+"repository, edit its respective file in the "
+"<filename>/etc/yum.repos.d/<replaceable>*</replaceable></filename> "
+"directory, adding a line like: <literal>priority = "
+"<replaceable>N</replaceable></literal> where <literal>N</literal> is a "
+"number between <literal>1</literal> and <literal>99</literal>, inclusive. A "
+"priority of <literal>1</literal> is the highest setting, and "
+"<literal>99</literal> is the lowest. You will need to set priorities of at "
+"least two repositories before this becomes useful."
+msgstr ""
+"一部、あるいはすべてのリポジトリに優先度を設定できます。リポジトリに優先度を設定するには、<filename>/etc/yum.repos.d/<replaceable>*</replaceable></filename>"
+" ディレクトリのそのリポジトリに相当するファイルを編集して、以下のような行を追加します： <literal>priority = "
+"<replaceable>N</replaceable></literal>。ここで、<literal>N</literal> は "
+"<literal>1</literal> 以上 <literal>99</literal> 以下の数字です。優先度 "
+"<literal>1</literal> が最高の設定で、<literal>99</literal> "
+"が最低です。少なくとも２つのリポジトリに優先度を設定しないと、このはたらきは有効でありません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Prevent a Package from Being Updated"
-msgstr ""
+msgstr "パッケージを更新されなくする"
 
 #. Tag: para
 #, no-c-format
-msgid "This is optional, and recommended only for advanced users. <command>yum</command> normally installs the latest version of packages. This plugin prevents certain packages from being updated. If you wish to prevent packages from a particular repository from being used, then <xref linkend=\"sect-Musicians_Guide-CCRMA_Repository_Priorities\" /> is better-suited to your needs."
+msgid ""
+"This is optional, and recommended only for advanced users. "
+"<command>yum</command> normally installs the latest version of packages. "
+"This plugin prevents certain packages from being updated. If you wish to "
+"prevent packages from a particular repository from being used, then <xref "
+"linkend=\"sect-Musicians_Guide-CCRMA_Repository_Priorities\" /> is better-"
+"suited to your needs."
 msgstr ""
+"これはオプショナルで、進んだユーザにのみ勧められます。<application>yum</application> "
+"は普通は、どのリポジトリが提供するかには無関係に、パッケージの最新のバージョンをインストールします . "
+"このプラグインを使うと、この振る舞いを変え、<application>yum</application> "
+"が、主に提供するリポジトリによってパッケージバージョンを選ぶようにできます。低い優先度のリポジトリで新しいバージョンがあっても、<application>yum</application>"
+" はパッケージをアップグレードしません . もしあなたが、単に、あるパッケージをアップデートしたくないときは <xref linkend=\"sect-"
+"Musicians_Guide-CCRMA_Preventing_Package_Updates\" /> の手順の方が、あなたの目的にかないます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Install the <literal>yum-plugin-versionlock</literal> package."
-msgstr ""
+msgstr "<literal>yum-plugin-versionlock</literal> パッケージをインストール下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "Use a text editor or the <command>cat</command> or <command>less</command> command to verify that <filename>/etc/yum/pluginconf.d/versionlock.conf</filename> exists, and contains the following text: <code>enabled = 1</code>"
+msgid ""
+"Use a text editor or the <command>cat</command> or <command>less</command> "
+"command to verify that "
+"<filename>/etc/yum/pluginconf.d/versionlock.conf</filename> exists, and "
+"contains the following text: <code>enabled = 1</code>"
 msgstr ""
+"テキストエディタ、<application>cat</application> あるいは <application>less</application>"
+" コマンドで <filename>/etc/yum/pluginconf.d/versionlock.conf</filename> "
+"が存在し、以下のテキストを含むのを確認ください： <code>enabled = 1</code>"
 
 #. Tag: para
 #, no-c-format
-msgid "Add the list of packages which you do not want to be updated to <filename>/etc/yum/pluginconf.d/versionlock.list</filename>. Each package should go on its own line. For example:"
+msgid ""
+"Add the list of packages which you do not want to be updated to "
+"<filename>/etc/yum/pluginconf.d/versionlock.list</filename>. Each package "
+"should go on its own line. For example:"
 msgstr ""
+"<filename>/etc/yum/pluginconf.d/versionlock.list</filename> "
+"に、あなたが更新したくないパッケージのリストを追加下さい。それぞれのパッケージは別の行に書いてください。例えば："
 
 #. Tag: programlisting
 #, no-c-format
@@ -275,3 +546,9 @@ msgid ""
 "jack-audio-connect-kit-1.9.4\n"
 "qjackctl-0.3.6\n"
 msgstr ""
+"\n"
+"⏎\n"
+"jack-audio-connect-kit-1.9.4⏎\n"
+"qjackctl-0.3.6⏎\n"
+
+
diff --git a/ja-JP/Preface.po b/ja-JP/Preface.po
index 1feb467..5943f59 100644
--- a/ja-JP/Preface.po
+++ b/ja-JP/Preface.po
@@ -1,19 +1,22 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-09-08T03:01:42\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-06-12 10:21+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "Preface"
-msgstr ""
+msgstr "前書き"
+
+
diff --git a/ja-JP/Qtractor.po b/ja-JP/Qtractor.po
index 0a2210e..5c819ea 100644
--- a/ja-JP/Qtractor.po
+++ b/ja-JP/Qtractor.po
@@ -1,617 +1,992 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-11-02T04:33:08\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-06-12 09:59+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "Qtractor"
-msgstr ""
+msgstr "Qtractor"
 
 #. Tag: para
 #, no-c-format
-msgid "Qtractor is a relatively new application, created and maintained by the same developers who are responsible for QjackCtl and Qsynth (both covered in other chapters of this Guide). It offers much more flexibility than Audacity, but is still easier to use than Ardour or Rosegarden. As such, it serves as the perfect starting-point for people first discovering software-based DAWs."
+msgid ""
+"Qtractor is a relatively new application, created and maintained by the same"
+" developers who are responsible for QjackCtl and Qsynth (both covered in "
+"other chapters of this Guide). It offers much more flexibility than "
+"Audacity, but is still easier to use than Ardour or Rosegarden. As such, it "
+"serves as the perfect starting-point for people first discovering software-"
+"based DAWs."
 msgstr ""
+"Qtractor は、比較的新しいアプリケーションで、QjackCtl と Qsynth （どちらも、このガイドの他の章で扱われています ) "
+"と同じ開発者により作成、メンテナンスされています。それは、Audacity 以上の柔軟性を提供します。それにもかかわらず、Ardour や "
+"Rosegarden と比べると使いやすいです。そのため、それは、最初にソフトウエアの DAW を試してみたい人にとって最適の開始点といえます。"
 
 #. Tag: para
 #, no-c-format
-msgid "But Qtractor is much more than just a starting-point: its simplicity is its greatest strength. Ardour and Rosegarden, may offer more features, but Qtractor takes much less time to learn. After the initial learning-curve, you will be able to complete almost every audio or MIDI project with Qtractor. Its interface offers simple, intuitive, point-and-click interaction with clips, integrated control of JACK connections, MIDI control integration with external devices and other MIDI-aware software, and support for LADSPA, DSSI, native VSTi, and LV2 plug-ins. With development progressing very quickly, Qtractor is becoming more stable and usable by the minute. The simple interface allows you to focus on creating music to suit your creative needs."
-msgstr ""
+msgid ""
+"But Qtractor is much more than just a starting-point: its simplicity is its "
+"greatest strength. Ardour and Rosegarden, may offer more features, but "
+"Qtractor takes much less time to learn. After the initial learning-curve, "
+"you will be able to complete almost every audio or MIDI project with "
+"Qtractor. Its interface offers simple, intuitive, point-and-click "
+"interaction with clips, integrated control of JACK connections, MIDI control"
+" integration with external devices and other MIDI-aware software, and "
+"support for LADSPA, DSSI, native VSTi, and LV2 plug-ins. With development "
+"progressing very quickly, Qtractor is becoming more stable and usable by the"
+" minute. The simple interface allows you to focus on creating music to suit "
+"your creative needs."
+msgstr ""
+"しかし、Qtractor はただの開始点以上のものです：そのシンプルさはその最大の強みです。Ardour と Rosegarden "
+"はより多くの機能を提供するかもしれませんが、Qtractor "
+"は習うのにずっと少ない時間で済みます。最初の学習曲線を越えるとあなたはほとんどすべてのオーディオあるいは MIDI のプロジェクトを Qtractor "
+"で完成させることができます。そのインタフェースは以下を提供します。クリップに対するシンプルで、直感的なポイントアンドクリック相互作用。 JACK "
+"接続の統合された制御。外部デバイスと MIDI 対応のソフトウエアとの MIDI コントロール統合。LADSPA, DSSI, ネイティブ "
+"VSTi、そして LV2 プラグインのサポート。開発スピードがとても速いので、Qtractor "
+"は毎分ごとに、より安定し、使いやすくなっていきます。シンプルなインタフェースはあなたがご自分の創造的欲求に従って音楽作成にフォーカスするのを助けます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Beginners and advanced users alike will be pleased to see how Qtractor can work for them."
-msgstr ""
+msgid ""
+"Beginners and advanced users alike will be pleased to see how Qtractor can "
+"work for them."
+msgstr "初心者も進んだユーザも、Qtractor が自分のためにいかに働くかを見て、同じように楽しむことができるでしょう。"
 
 #. Tag: title
 #, no-c-format
 msgid "Requirements and Installation"
-msgstr ""
+msgstr "要求とインストール"
 
 #. Tag: title
 #, no-c-format
 msgid "Knowledge Requirements"
-msgstr ""
+msgstr "前提知識"
 
 #. Tag: para
 #, no-c-format
-msgid "Qtractor is easy to use, and its user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"Qtractor is easy to use, and its user interface is similar to other DAWs. We"
+" recommend that you read <xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> if you have not used a DAW before."
 msgstr ""
+"Qtractor は使いやすく、そのユーザインタフェースは他の DAW に似ています。もしあなたが以前に DAW を使ったことがなければ、<xref "
+"linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> を読むことをお勧めします。"
 
 #. Tag: title
 #, no-c-format
 msgid "Software Requirements"
-msgstr ""
+msgstr "ソフトウエア要件"
 
 #. Tag: para
 #, no-c-format
-msgid "Qtractor uses the JACK Audio Connection Kit. You should install JACK before installing Qtractor. See <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> for instructions to install JACK."
+msgid ""
+"Qtractor uses the JACK Audio Connection Kit. You should install JACK before "
+"installing Qtractor. See <xref linkend=\"sect-Musicians_Guide-"
+"Install_and_Configure_JACK\" /> for instructions to install JACK."
 msgstr ""
+"Qtractor は JACK Audio Connection Kit を使います。Qtractor をインストールする前に JACK "
+"をインストール下さい。JACK をインストールする手順は <xref linkend=\"sect-Musicians_Guide-"
+"Install_and_Configure_JACK\" /> を参照下さい。"
 
 #. Tag: title
 #, no-c-format
 msgid "Hardware Requirements"
-msgstr ""
+msgstr "ハードウエア要件"
 
 #. Tag: para
 #, no-c-format
-msgid "You need an audio interface to use Qtractor. If you will record audio with Qtractor, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other JACK-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use Qtractor. If you will record audio with "
+"Qtractor, you must have at least one microphone connected to your audio "
+"interface. You do not need a microphone to record audio signals from other "
+"JACK-aware programs like <application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
 msgstr ""
+"Qtractor を使うには、オーディオインタフェースが必要です。Qtractor "
+"でオーディオを録音するには、オーディオインタフェースに接続されたマイクが少なくても１つ必要です。<application>FluidSynth</application>"
+" や <application>SuperCollider</application> のような、JACK "
+"対応プログラムからのオーディオ信号を録音するには、マイクは必要ありません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Other Requirements"
-msgstr ""
+msgstr "その他の要件"
 
 #. Tag: para
 #, no-c-format
-msgid "You need a MIDI synthesizer to use Qtractor as a MIDI sequencer. You can use hardware-based and software-based synthesizers with Qtractor. We recommend using the software-based <application>FluidSynth</application> MIDI synthesizer. See <xref linkend=\"chap-Musicians_Guide-FluidSynth\" /> for information about <application>FluidSynth</application>."
+msgid ""
+"You need a MIDI synthesizer to use Qtractor as a MIDI sequencer. You can use"
+" hardware-based and software-based synthesizers with Qtractor. We recommend "
+"using the software-based <application>FluidSynth</application> MIDI "
+"synthesizer. See <xref linkend=\"chap-Musicians_Guide-FluidSynth\" /> for "
+"information about <application>FluidSynth</application>."
 msgstr ""
+"Qtractor を MIDI シーケンサーとして使うためには MIDI シンセサイザーが必要です。Qtractor "
+"とともに、ハードウエアおよびソフトウエアのシンセサイザーを使うことができます。<application>FluidSynth</application>"
+" ソフトウエア MIDI シンセサイザーを使うことをお勧めします。<application>FluidSynth</application> "
+"については、<xref linkend=\"chap-Musicians_Guide-FluidSynth\" /> を参照下さい。"
 
 #. Tag: title
 #, no-c-format
 msgid "Installation"
-msgstr ""
+msgstr "インストール"
 
 #. Tag: para
 #, no-c-format
-msgid "Qtractor is not available from the Fedora software repositories. Qtractor is available from the \"Planet CCRMA at Home\" and \"RPM Fusion\" repositories. If you have already enabled one of those repositories, you should install Qtractor from that repository. If you have not already enabled one of those repositories, we recommend that you install Qtractor from the \"Planet CCRMA at Home\" repository. See <xref linkend=\"sect-Musicians_Guide-CCRMA_Installing_Repository\" /> for instructions to enable the \"Planet CCRMA at Home\" repository. The \"Planet CCRMA at Home\" repository contains a wide variety of music and audio applications."
+msgid ""
+"Qtractor is not available from the Fedora software repositories. Qtractor is"
+" available from the \"Planet CCRMA at Home\" and \"RPM Fusion\" "
+"repositories. If you have already enabled one of those repositories, you "
+"should install Qtractor from that repository. If you have not already "
+"enabled one of those repositories, we recommend that you install Qtractor "
+"from the \"Planet CCRMA at Home\" repository. See <xref linkend=\"sect-"
+"Musicians_Guide-CCRMA_Installing_Repository\" /> for instructions to enable "
+"the \"Planet CCRMA at Home\" repository. The \"Planet CCRMA at Home\" "
+"repository contains a wide variety of music and audio applications."
 msgstr ""
+"Qtractor は、Fedora ソフトウエアリポジトリからは入手できません。Qtractor は、\"Planet CCRMA at Home\"と"
+" \"RPM Fusion\"リポジトリから入手できます。もしあなたがこれらのリポジトリの１つを既に有効にしているならば、そのリポジトリから "
+"Qtractor をインストールできます。もしこれらのリポジトリを有効にしていないなら、Qtractor を \"Planet CCRMA at "
+"Home\"リポジトリからインストールすることをお勧めします。\"Planet CCRMA at Home\"リポジトリを有効にする手順は、<xref "
+"linkend=\"sect-Musicians_Guide-CCRMA_Installing_Repository\" /> "
+"を参照下さい。\"Planet CCRMA at Home\"リポジトリには、たくさんの種類の音楽とオーディオアプリケーションがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "After you enable the \"RPM Fusion\" or \"Planet CCRMA at Home\" repository, use PackageKit or KPackageKit to install the \"qtractor\" packge. Other required software is installed automatically."
+msgid ""
+"After you enable the \"RPM Fusion\" or \"Planet CCRMA at Home\" repository, "
+"use PackageKit or KPackageKit to install the \"qtractor\" packge. Other "
+"required software is installed automatically."
 msgstr ""
+"\"RPM Fusion\"あるいは \"Planet CCRMA at Home\"リポジトリを有効にした後、PackageKit あるいは "
+"KPackageKit を使って、\"qtractor\"パッケージをインストールします . その他の必要なソフトウエアは自動的にインストールされます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Configuration"
-msgstr ""
+msgstr "構成"
 
 #. Tag: para
 #, no-c-format
-msgid "Qtractor will work by itself, without further configuration. The options described here are for the settings you are most likely to want to discuss. Click on 'View &gt; Options' to open the \"Options\" window."
+msgid ""
+"Qtractor will work by itself, without further configuration. The options "
+"described here are for the settings you are most likely to want to discuss. "
+"Click on 'View &gt; Options' to open the \"Options\" window."
 msgstr ""
+"Qtractor は、追加の設定なしに、それだけで動作するはずです。あなたがたぶん知りたいであろう設定に関するオプションを、以下に述べます。'View "
+"&gt; Options'をクリックして \"Options\"ウインドウを開いて下さい。"
 
 #. Tag: title
 #, no-c-format
 msgid "Audio Options"
-msgstr ""
+msgstr "オーディオオプション"
 
 #. Tag: para
 #, no-c-format
-msgid "The \"Capture/Export\" setting allows you to choose the format in which Qtractor stores its audio clips when recorded or exported. You will be able to choose a file type, such as \"WAV Microsoft\" for standard \".wav\" files, \"AIFF Apple-SGI\" for standard \".aiff\" files, or the preferable \"FLAC Lossless Audio Codec,\" format. FLAC is an open-source, lossless, compressed format for storing audio signals and metadata. See the <citetitle>FLAC Website</citetitle> <ulink url=\"http://flac.sourceforge.net/\" /> for more information. You will also be asked to select a quality setting for lossy compressed formats, or a sample format for all lossless formats. If you do not know which sample format to choose, then \"Signed 16-Bit\" is a good choice for almost all uses, and will provide you with CD-quality audio. Most non-speciality hardware is incapable of making good use of higher sample formats. See <xref linkend=\"sect-Musicians_Guide-Sample_Rate_and_Sample_Format\" /> f
 or more information about sample formats."
-msgstr ""
+msgid ""
+"The \"Capture/Export\" setting allows you to choose the format in which "
+"Qtractor stores its audio clips when recorded or exported. You will be able "
+"to choose a file type, such as \"WAV Microsoft\" for standard \".wav\" "
+"files, \"AIFF Apple-SGI\" for standard \".aiff\" files, or the preferable "
+"\"FLAC Lossless Audio Codec,\" format. FLAC is an open-source, lossless, "
+"compressed format for storing audio signals and metadata. See the "
+"<citetitle>FLAC Website</citetitle> <ulink "
+"url=\"http://flac.sourceforge.net/\" /> for more information. You will also "
+"be asked to select a quality setting for lossy compressed formats, or a "
+"sample format for all lossless formats. If you do not know which sample "
+"format to choose, then \"Signed 16-Bit\" is a good choice for almost all "
+"uses, and will provide you with CD-quality audio. Most non-speciality "
+"hardware is incapable of making good use of higher sample formats. See <xref"
+" linkend=\"sect-Musicians_Guide-Sample_Rate_and_Sample_Format\" /> for more "
+"information about sample formats."
+msgstr ""
+"\"Capture/Export\"設定は、Qtractor "
+"が録音、あるいはエクスポートするときにオーディオクリップを格納するのに使う形式を選択することができます。\"WAV Microsoft\"は、標準の "
+"\".wav\"ファイル、\"AIFF Apple-SGI\"は標準の \".aiff\"ファイル、あるいはお勧めの \"FLAC Lossless "
+"Audio Codec\"形式などのファイルタイプを選ぶことができます。FLAC "
+"は、オーディオ信号とメタデータを格納するための、オープンソースの、損失のない、圧縮形式です。詳しくは、<citetitle>FLAC "
+"Website</citetitle><ulink url=\"http://flac.sourceforge.net/\" /> "
+"を参照下さい。他にも、損失のある圧縮形式の品質設定や、すべての損失のない形式で使われるサンプル形式を選択することができます。もしどのサンプル形式を選べばよいかわからないときは、\"Signed"
+" 16-Bit\"が、ほとんどのユーザにとってよい選択であり、CD 品質のオーディオを提供します . "
+"ほとんどの、特別仕様でないハードウエアは、より高いサンプル形式を十分に活用する能力がありません。サンプル形式について詳しくは、<xref linkend"
+"=\"sect-Musicians_Guide-Sample_Rate_and_Sample_Format\" /> を参照下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "Setting the \"Transport mode\" will allow you to adjust the behaviour of the transport."
-msgstr ""
+msgid ""
+"Setting the \"Transport mode\" will allow you to adjust the behaviour of the"
+" transport."
+msgstr "\"Transport mode\"の設定は、トランスポートの振る舞いを調整します ."
 
 #. Tag: para
 #, no-c-format
 msgid "None : allows Qtractor's transport to operate independently"
-msgstr ""
+msgstr "None : Qtractor のトランスポートは独立して動作します ."
 
 #. Tag: para
 #, no-c-format
-msgid "Slave : allows Qtractor's transport to accept instructions sent by JACK's transport, which can be controlled by QjackCtl or another application."
+msgid ""
+"Slave : allows Qtractor's transport to accept instructions sent by JACK's "
+"transport, which can be controlled by QjackCtl or another application."
 msgstr ""
+"Slave : Qtractor のトランスポートは、 JACK のトランスポートが送る命令を受け付けます。それは、QjackCtl "
+"や、他のアプリケーションから制御できます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Master : allows Qtractor's transport to send instructions to JACK's transport, which can be viewed by QjackCtl, or used by another application."
+msgid ""
+"Master : allows Qtractor's transport to send instructions to JACK's "
+"transport, which can be viewed by QjackCtl, or used by another application."
 msgstr ""
+"Master : Qtractor のトランスポートは、 JACK のトランスポートに命令を送ります。それは、QjackCtl "
+"で見たり、他のアプリケーションから使用できます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Full : is equivalent to \"Master\" and \"Slave\" modes simultaneously; Qtractor's transport will both send and accept instructions."
-msgstr ""
+msgid ""
+"Full : is equivalent to \"Master\" and \"Slave\" modes simultaneously; "
+"Qtractor's transport will both send and accept instructions."
+msgstr "Full : \"Master\"と \"Slave\"モードを同時に行うのと同じです。Qtractor のトランスポートは、命令を送信、受信します ."
 
 #. Tag: para
 #, no-c-format
-msgid "If you are using Qtractor alone, or if you don't know which to choose, then \"None\" is a good choice. This setting can be adjusted at any time, if you later decide to link the transport in multiple applications."
+msgid ""
+"If you are using Qtractor alone, or if you don't know which to choose, then "
+"\"None\" is a good choice. This setting can be adjusted at any time, if you "
+"later decide to link the transport in multiple applications."
 msgstr ""
+"もしあなたが Qtractor "
+"を単独で使っている場合、あるいは、どれを選べばよいかわからない場合は、\"None\"がよいでしょう。この設定は、後であなたが複数のアプリケーションでトランスポートをリンクすることにしたときに、いつでも変更できます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The \"Metronome\" section allows you to use a (short) audio file as the metronome sound, rather than the standard, MIDI-based metronome. You can choose the same file for \"beat,\" and \"bar,\" if you prefer. The \"Dedicated audio metronome outputs\" option outputs the audio metronome's signal through separate outputs in JACK. This is Ardour's default behaviour."
-msgstr ""
+msgid ""
+"The \"Metronome\" section allows you to use a (short) audio file as the "
+"metronome sound, rather than the standard, MIDI-based metronome. You can "
+"choose the same file for \"beat,\" and \"bar,\" if you prefer. The "
+"\"Dedicated audio metronome outputs\" option outputs the audio metronome's "
+"signal through separate outputs in JACK. This is Ardour's default behaviour."
+msgstr ""
+"\"Metronome\"セクションでは、標準の MIDI ベースのメトロノームの代わりに、( "
+"短い）オーディオファイルをメトロノームの音として使うことができます。お望みなら、\"beat\"と "
+"\"bar\"に同じファイルを指定できます。\"Dedicated audio metronome "
+"outputs\"オプションは、オーディオメトロノームの信号を、JACK の独立した出力に送ります . これは Ardour "
+"のデフォルトの振る舞いです。"
 
 #. Tag: title
 #, no-c-format
 msgid "MIDI Options"
-msgstr ""
+msgstr "MIDI オプション"
 
 #. Tag: para
 #, no-c-format
-msgid "Adjusting the \"File format\" allows you to change how MIDI clips are stored. You will not need to adjust this unless required by an external application. Refer to <citetitle>Musical Instrument Digital Interface: Standard MIDI (.mid or .smf) (Wikipedia)</citetitle> at <ulink url=\"http://en.wikipedia.org/wiki/Musical_Instrument_Digital_Interface#Standard_MIDI_.28.mid_or_.smf.29\" /> for more information about file types."
+msgid ""
+"Adjusting the \"File format\" allows you to change how MIDI clips are "
+"stored. You will not need to adjust this unless required by an external "
+"application. Refer to <citetitle>Musical Instrument Digital Interface: "
+"Standard MIDI (.mid or .smf) (Wikipedia)</citetitle> at <ulink "
+"url=\"http://en.wikipedia.org/wiki/Musical_Instrument_Digital_Interface#Standard_MIDI_.28.mid_or_.smf.29\""
+" /> for more information about file types."
 msgstr ""
+"\"File format\"で、MIDI "
+"クリップが格納される形式を選ぶことができます。あなたは、外部のアプリケーションにより必要とされない限り、これを変更する必要はありません。ファイルタイプについては、<ulink"
+" "
+"url=\"http://en.wikipedia.org/wiki/Musical_Instrument_Digital_Interface#Standard_MIDI_.28.mid_or_.smf.29\""
+" /> の <citetitle>Musical Instrument Digital Interface: Standard MIDI (.mid "
+"or .smf) (Wikipedia)</citetitle> を参照下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "\"MMC\" stands for \"MIDI Machine Control,\" and it allows multiple MIDI-connected devices to interact and control each other. Setting the \"Transport mode\" to a setting other than \"None\" allows it be controlled by MMC messages."
+msgid ""
+"\"MMC\" stands for \"MIDI Machine Control,\" and it allows multiple MIDI-"
+"connected devices to interact and control each other. Setting the "
+"\"Transport mode\" to a setting other than \"None\" allows it be controlled "
+"by MMC messages."
 msgstr ""
+"\"MMC\"は \"MIDI Machine Control\"の略で、複数の MIDI "
+"接続されたデバイスが相互作用し、互いを制御することができるようにします。\"Transport mode\"を \"None\"以外にすると、MMC "
+"メッセージで制御されるようになります。"
 
 #. Tag: para
 #, no-c-format
-msgid "None : will have Qtractor ignore incoming MMC messages, and not provide outgoing MMC messages"
-msgstr ""
+msgid ""
+"None : will have Qtractor ignore incoming MMC messages, and not provide "
+"outgoing MMC messages"
+msgstr "None :Qtracto は入力 MMC メッセージを無視し、MMC メッセージを出力しません ."
 
 #. Tag: para
 #, no-c-format
-msgid "Input : will have Qtractor follow incoming MMC instructions, but not provide outgoing MMC messages"
-msgstr ""
+msgid ""
+"Input : will have Qtractor follow incoming MMC instructions, but not provide"
+" outgoing MMC messages"
+msgstr "Input :Qtracto は入力 MMC メッセージに従いますが、、MMC メッセージを出力しません ."
 
 #. Tag: para
 #, no-c-format
-msgid "Output : will have Qtractor ignore incoming MMS messages, but provide outgoing MMC messages"
-msgstr ""
+msgid ""
+"Output : will have Qtractor ignore incoming MMS messages, but provide "
+"outgoing MMC messages"
+msgstr "Output:Qtracto は入力 MMC メッセージを無視しますが、MMC メッセージを出力します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Duplex : will have Qtractor follow incoming MMC instructions, and provide outgoing MMC messages"
-msgstr ""
+msgid ""
+"Duplex : will have Qtractor follow incoming MMC instructions, and provide "
+"outgoing MMC messages"
+msgstr "Duplex :Qtracto は入力 MMC メッセージに従い、MMC メッセージを出力します。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can also select a particular MIDI device number with which Qtractor will interact; if you do this, it will ignore MMC messages from other devices, and not send MMC messages to other devices. Enabled the \"Dedicated MIDI control input/output\" will provide JACK with MIDI inputs and outputs that will be used by Qtractor only for MMC messages. Qtractor will not send or receive MMC messages sent on other inputs or outputs if this option is enabled. \"SPP\" stands for \"Song Position Pointer,\" and helps MIDI-connected applications to keep track of the current location in a session (in other words, where the transport is). This should probably be set to the same setting as \"MMC.\" If you don't know which of these settings to use, then setting \"MMC\" to \"None\" is a good choice. This setting can be adjusted at any time, if you later decide to link applications with MMC messages."
-msgstr ""
+msgid ""
+"You can also select a particular MIDI device number with which Qtractor will"
+" interact; if you do this, it will ignore MMC messages from other devices, "
+"and not send MMC messages to other devices. Enabled the \"Dedicated MIDI "
+"control input/output\" will provide JACK with MIDI inputs and outputs that "
+"will be used by Qtractor only for MMC messages. Qtractor will not send or "
+"receive MMC messages sent on other inputs or outputs if this option is "
+"enabled. \"SPP\" stands for \"Song Position Pointer,\" and helps MIDI-"
+"connected applications to keep track of the current location in a session "
+"(in other words, where the transport is). This should probably be set to the"
+" same setting as \"MMC.\" If you don't know which of these settings to use, "
+"then setting \"MMC\" to \"None\" is a good choice. This setting can be "
+"adjusted at any time, if you later decide to link applications with MMC "
+"messages."
+msgstr ""
+"Qtractor が相互作用する特定の MIDI デバイス番号を指定することもできます。そうすると、他のデバイスからの MMC "
+"メッセージを無視し、他のデバイスには MMC メッセージを送りません。\"Dedicated MIDI control "
+"input/output\"を有効にすると、Qtractor が MMC メッセージ専用に使う MIDI 入力と出力を JACK に提供します . "
+"このオプションが有効だと、Qtractor は他の入力あるいは出力から MMC メッセージを送受信しなくなります .\"SPP\"は \"Song "
+"Position Pointer\"の略で、MIDI 接続されたアプリケーションがセッションの現在位置、( "
+"他の言葉で言うと、トランスポートがどこにいるか）を保持するのを助けます。これはたぶん、\"MMC\"と同じ設定にするべきです。これらのどの設定を使うかわからなければ、\"MMC\"を"
+" \"None\"にするのがよいでしょう。これは、後であなたがアプリケーションを MMC でリンクすることにしたときにいつでも変更することができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The default metronome sound is provided by the \"MIDI Metronome,\" and you can adjust its settings here. In particular, you may wish to provide a \"Dedicated MIDI metronome output,\" to help you separate the metronome's signal."
+msgid ""
+"The default metronome sound is provided by the \"MIDI Metronome,\" and you "
+"can adjust its settings here. In particular, you may wish to provide a "
+"\"Dedicated MIDI metronome output,\" to help you separate the metronome's "
+"signal."
 msgstr ""
+"デフォルトのメトロノームの音は \"MIDI Metronome\"で提供され、その設定をここで変えることができます。特に、\"Dedicated "
+"MIDI metronome output\"をチェックして、メトロノームの信号を分けるのが良いかもしれません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Configuring MIDI Channel Names"
-msgstr ""
+msgstr "MIDI チャネル名を設定する"
 
 #. Tag: para
 #, no-c-format
-msgid "If you're using \"<application>FluidSynth</application>\" with QSynth, you should tell Qtractor about the SoundFont that you're using. When you do this, you enable Qtractor to help you choose instruments (\"patches\")."
+msgid ""
+"If you're using \"<application>FluidSynth</application>\" with QSynth, you "
+"should tell Qtractor about the SoundFont that you're using. When you do "
+"this, you enable Qtractor to help you choose instruments (\"patches\")."
 msgstr ""
+" もし \"<application>FluidSynth</application>\"を QSynth とともにお使いならば、Qtractor "
+"に、お使いのサウンドフォントについて教えないといけません。これをすると、Qtractor はあなたが楽器 (\"パッチ \") を選ぶ手伝いをします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click on 'View &gt; Instruments'"
-msgstr ""
+msgstr "'View &gt; Instruments'をクリックします。"
 
 #. Tag: para
 #, no-c-format
 msgid "In the \"Instruments\" window, click \"Import.\""
-msgstr ""
+msgstr "\"Instruments\"ウインドウで \"Import\"をクリックします ."
 
 #. Tag: para
 #, no-c-format
 msgid "Navigate to <filename>/usr/share/soundfonts</filename>"
-msgstr ""
+msgstr "<filename>/usr/share/soundfonts</filename> へ行きます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Select the SoundFonts that you would like to use. The default is the FluidR3 GM SoundFont, but you can choose multiple SoundFonts to use simultaneously."
+msgid ""
+"Select the SoundFonts that you would like to use. The default is the FluidR3"
+" GM SoundFont, but you can choose multiple SoundFonts to use simultaneously."
 msgstr ""
+"あなたが使いたいサウンドフォントを選択します . デフォルトは FluidR3 GM "
+"サウンドフォントですが、あなたは同時に使う複数のサウンドフォントを選ぶことができます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Close the \"Instruments\" window to return to the main Qtractor window."
-msgstr ""
+msgstr "\"Instruments\"ウインドウを閉じて、Qtractor のメインウインドウに戻ります。"
 
 #. Tag: title
 #, no-c-format
 msgid "Using Qtractor"
-msgstr ""
+msgstr "Qtractor を使う"
 
 #. Tag: para
 #, no-c-format
-msgid "The \"Tutorial\" section teaches you how to use Qtractor by example. This section is designed to serve as a reference while you complete the tutorial, and for refreshing your memory afterwards."
+msgid ""
+"The \"Tutorial\" section teaches you how to use Qtractor by example. This "
+"section is designed to serve as a reference while you complete the tutorial,"
+" and for refreshing your memory afterwards."
 msgstr ""
+"\"チュートリアル \"セクションは例を示してあなたに Qtractor "
+"の使い方を教えます。このセクションは、あなたがチュートリアルを完成する間のレファレンスとなるよう、または後であなたの記憶の助けとなる用に作られています。"
 
 #. Tag: title
 #, no-c-format
 msgid "Using the Blue Place-Markers"
-msgstr ""
+msgstr "青いプレースマーカを使う"
 
 #. Tag: para
 #, no-c-format
-msgid "In addition to the transport, Qtractor provides two other place-markers. They are blue. Here are some things you can do with the blue place-markers:"
+msgid ""
+"In addition to the transport, Qtractor provides two other place-markers. "
+"They are blue. Here are some things you can do with the blue place-markers:"
 msgstr ""
+"トランスポートに加えて、Qtractor は他に２つのプレースマーカを提供します . "
+"それは青色をしています。以下は、青いプレースマーカでできることです："
 
 #. Tag: para
 #, no-c-format
 msgid "* Mark a range:"
-msgstr ""
+msgstr "* レンジをマークする："
 
 #. Tag: para
 #, no-c-format
 msgid "Move the cursor to the place where you want the left-most marker."
-msgstr ""
+msgstr "左端のマーカを置きたいところにカーソルを移動下さい。"
 
 #. Tag: para
 #, no-c-format
 msgid "Left-click and hold."
-msgstr ""
+msgstr "左クリックして保持下さい。"
 
 #. Tag: para
 #, no-c-format
 msgid "Drag the cursor to the location where you want the right-most marker."
-msgstr ""
+msgstr "右端のマーカを置きたいところまでカーソルをドラッグ下さい。"
 
 #. Tag: para
 #, no-c-format
 msgid "Release the button."
-msgstr ""
+msgstr "マウスボタンを離します。"
 
 #. Tag: para
 #, no-c-format
 msgid "The blue markers should mark the particular range."
-msgstr ""
+msgstr "青いマーカが、特定のレンジをマークしているはずです。"
 
 #. Tag: para
 #, no-c-format
 msgid "* Mark one particular place:"
-msgstr ""
+msgstr "* １つの特定の場所をマークする："
 
 #. Tag: para
 #, no-c-format
 msgid "Move the cursor to the place you want to mark."
-msgstr ""
+msgstr "マークしたいところにカーソルを移動します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Left-click and hold on the location."
-msgstr ""
+msgstr "そこで左クリックして保持します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Drag the cursor to the right just a little bit."
-msgstr ""
+msgstr "カーソルを少し右にドラッグします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Two blue markers will appear."
-msgstr ""
+msgstr "青いマーカが現れるはずです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Instead of leaving them separate, move the second blue marker over top the first one."
-msgstr ""
+msgid ""
+"Instead of leaving them separate, move the second blue marker over top the "
+"first one."
+msgstr "それらを分離しておく代わりに、２つめの青いマーカを最初のものの上に移動します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Release the mouse button."
-msgstr ""
+msgstr "マウスボタンを離します。"
 
 #. Tag: para
 #, no-c-format
 msgid "The arrows should be converged."
-msgstr ""
+msgstr "矢印は１つになるはずです。"
 
 #. Tag: para
 #, no-c-format
 msgid "* Move one of the markers:"
-msgstr ""
+msgstr "* マーカの１つを移動する："
 
 #. Tag: para
 #, no-c-format
-msgid "Place the cursor over the triangular top of the marker, located in ruler at the top of the track pane."
-msgstr ""
+msgid ""
+"Place the cursor over the triangular top of the marker, located in ruler at "
+"the top of the track pane."
+msgstr "トラックペインの一番上にあるルーラーのところにあるマーカーの三角形のトップの上にカーソルを置きます。"
 
 #. Tag: para
 #, no-c-format
 msgid "The cursor should change to show a double-ended, horizontal arrow."
-msgstr ""
+msgstr "カーソルの形が、両方に矢印のある水平な線に変わるはずです。"
 
 #. Tag: para
 #, no-c-format
 msgid "Left-click and drag the mouse."
-msgstr ""
+msgstr "左クリックして、マウスをドラッグします。"
 
 #. Tag: para
 #, no-c-format
-msgid "The blue place-marker should follow the mouse. If it doesn't, then try again. It is sometimes difficult to select the place-marker."
+msgid ""
+"The blue place-marker should follow the mouse. If it doesn't, then try "
+"again. It is sometimes difficult to select the place-marker."
 msgstr ""
+"青いプレースマーカはマウスについてくるはずです。もしそうならないときはもう一度やってみて下さい。プレースマーカを選択するのは難しいときがあります。"
 
 #. Tag: title
 #, no-c-format
 msgid "Using the MIDI Matrix Editor's Tools"
-msgstr ""
+msgstr "MIDI マトリックスエディタのツールを使う"
 
 #. Tag: para
 #, no-c-format
-msgid "Qtractor's matrix editor for MIDI clips offers a collection of useful tools, available from the \"Tools\" menu in the matrix editor window. These tools only operate on MIDI notes selected in the matrix editor window before the tool window is opened. Regardless of which tool you select from the menu, the same options are available to you each time the window is opened. It is possible to use multiple tools at a time."
+msgid ""
+"Qtractor's matrix editor for MIDI clips offers a collection of useful tools,"
+" available from the \"Tools\" menu in the matrix editor window. These tools "
+"only operate on MIDI notes selected in the matrix editor window before the "
+"tool window is opened. Regardless of which tool you select from the menu, "
+"the same options are available to you each time the window is opened. It is "
+"possible to use multiple tools at a time."
 msgstr ""
+"Qtractor の MIDI クリップのためのマトリックスエディタは、たくさんの便利なツールを提供し、それらはマトリックスエディタウインドウの "
+"\"Tools\"メニューから使えます。これらのツールは、ツールのウインドウが開く前にマトリックスエディタウインドウにおいて選択されていた MIDI "
+"音符だけを操作します。メニューからどのツールを選んでも、ウインドウが開いたときに同じオプションが使えます。一度に複数のツールを使うことができます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Be careful: the names of the tools may be misleading."
-msgstr ""
+msgstr "ご注意：ツールの名前はまぎらわしいです。"
 
 #. Tag: para
 #, no-c-format
 msgid "Here is an explanation of what the tools do:"
-msgstr ""
+msgstr "以下が、それぞれのツールが何をするかの説明です："
 
 #. Tag: para
 #, no-c-format
-msgid "Quantize: This tool can be used to regulate how often MIDI notes are allowed to begin, and how long they are allowed to last. They are marked in divisions of a beat."
-msgstr ""
+msgid ""
+"Quantize: This tool can be used to regulate how often MIDI notes are allowed"
+" to begin, and how long they are allowed to last. They are marked in "
+"divisions of a beat."
+msgstr "Quantize: このツールは、MIDI 音符がどこで開始できるか、どれだけの長さ、続くかを調整します。拍の分割でマークされます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Time: The default setting, \"Beat/4\" will allow notes to begin only on every sixteenth note subdivision. If a note begins somewhere else, it will be moved to the nearest sixteenth note subdivision. For example, a note that begins on the first 32nd note of a measure would be moved to begin on the first beat instead."
+msgid ""
+"Time: The default setting, \"Beat/4\" will allow notes to begin only on "
+"every sixteenth note subdivision. If a note begins somewhere else, it will "
+"be moved to the nearest sixteenth note subdivision. For example, a note that"
+" begins on the first 32nd note of a measure would be moved to begin on the "
+"first beat instead."
 msgstr ""
+"Time: デフォルト設定の "
+"\"Beat/4\"は、音符が１６分音符の境界でだけ、開始するようにします。もし音符がどこか他のところから始まるならば、それは近くの１６分音符の境界まで移動されます。例えば、ある小節の最初の３２分音符のところから始まる音符は、代わりに最初の拍に移動されます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Duration: The default setting, \"Beat/2\" will allow notes to last only in multiples of eighth notes. If a note lasts for shorter or longer than an eighth note multiple, it will be adjusted to the closest duration that is an eighth note multiple. For example, a sixteenth note would be adjusted to an eighth note."
+msgid ""
+"Duration: The default setting, \"Beat/2\" will allow notes to last only in "
+"multiples of eighth notes. If a note lasts for shorter or longer than an "
+"eighth note multiple, it will be adjusted to the closest duration that is an"
+" eighth note multiple. For example, a sixteenth note would be adjusted to an"
+" eighth note."
 msgstr ""
+"Duration: デフォルト設定の \"Beat/2\"は音符が８分音符の倍数でだけ、続くようにします . "
+"もし音符が８分音符の倍数より長かったり短かったりすると、それは８分音符の倍数の最も近い長さに調整されます。例えば、１６分音符は８分音符に変更されます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Swing: This regularizes a \"swing\" effect on the rhythm. You will have to experiment with the settings to find one that works for you."
-msgstr ""
+msgid ""
+"Swing: This regularizes a \"swing\" effect on the rhythm. You will have to "
+"experiment with the settings to find one that works for you."
+msgstr "Swing: これはリズムの \"swing\"エフェクトを調整します。あなたは自分に合う設定を見つけるために実験をする必要があります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Common settings, described in simple meter where a quarter note gets the beat:"
-msgstr ""
+msgid ""
+"Common settings, described in simple meter where a quarter note gets the "
+"beat:"
+msgstr "４分音符が拍を得るときの一般的な設定を、単純に表したもの："
 
 #. Tag: para
 #, no-c-format
 msgid "Beat : quarter-note duration"
-msgstr ""
+msgstr "Beat :4 分音符の長さ"
 
 #. Tag: para
 #, no-c-format
 msgid "Beat/2 : eighth-note duration"
-msgstr ""
+msgstr "Beat/2 : ８分音符の長さ"
 
 #. Tag: para
 #, no-c-format
 msgid "Beat/3 : eighth-note triplet duration"
-msgstr ""
+msgstr "Beat/3 : ８分音符３連符の長さ"
 
 #. Tag: para
 #, no-c-format
 msgid "Beat/4 : sixteenth-note duration"
-msgstr ""
+msgstr "Beat/4 : １６分音符の長さ"
 
 #. Tag: para
 #, no-c-format
 msgid "Beat/6 : sixteenth-note sextuplet duration"
-msgstr ""
+msgstr "Beat/6 : １６分音符６連符の長さ"
 
 #. Tag: para
 #, no-c-format
 msgid "Beat/8 : thirty-second note duration"
-msgstr ""
+msgstr "Beat/8 : ３２分音符の長さ"
 
 #. Tag: para
 #, no-c-format
-msgid "Transpose: This tool adjusts either the pitch (vertical axis) or the time (horizontal axis) of the selected MIDI notes."
-msgstr ""
+msgid ""
+"Transpose: This tool adjusts either the pitch (vertical axis) or the time "
+"(horizontal axis) of the selected MIDI notes."
+msgstr "Transpose: このツールは選択された MIDI 音符のピッチ（垂直軸 ) あるいは時間（水平軸 ) を調整します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Pitch: Transposes the notes by this many semitones. Positive values transpose to a higher pitch-level, while negative values transpose to a lower pitch-level."
-msgstr ""
+msgid ""
+"Pitch: Transposes the notes by this many semitones. Positive values "
+"transpose to a higher pitch-level, while negative values transpose to a "
+"lower pitch-level."
+msgstr "Pitch: 音符をこれだけの音程、移調します。正の値は高い音程に、負の値は低い音程にします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Time: Adjusts the starting time of MIDI notes, without affecting duration or pitch. This is most usefully measured as \"BBT\" (meaning \"Bars, Beats, and Ticks\" - each is separated by a decimal point), but can also be measured as time or frames."
+msgid ""
+"Time: Adjusts the starting time of MIDI notes, without affecting duration or"
+" pitch. This is most usefully measured as \"BBT\" (meaning \"Bars, Beats, "
+"and Ticks\" - each is separated by a decimal point), but can also be "
+"measured as time or frames."
 msgstr ""
+"Time:MIDI 音符の開始時間を、長さや音程を変えることなく、調整します。これは、\"BBT\" ( つまり \"Bars, Beats, and "
+"Ticks\"それぞれは、小数点で区切られます）で表すのが最も便利ですが、時間やフレームを単位に表すこともできます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Normalize: This adjusts the loudness of the selected MIDI notes, called \"velocity.\" There are three ways to use the tool. The value specified in the \"MIDI Tools\" window is used as the highest allowable velocity; all other velocity values are adjusted proportionally."
+msgid ""
+"Normalize: This adjusts the loudness of the selected MIDI notes, called "
+"\"velocity.\" There are three ways to use the tool. The value specified in "
+"the \"MIDI Tools\" window is used as the highest allowable velocity; all "
+"other velocity values are adjusted proportionally."
 msgstr ""
+"Normalize: これは、選択された MIDI 音符のラウドネス、\"ベロシティ "
+"\"と呼ばれます、を調整します。このツールを使うには３つの方法があります。\"MIDI "
+"Tools\"ウインドウで指定された値は可能な最大ベロシティとして使われます。他のすべてのベロシティ値は適当に調整されます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Adjust \"Percent\" only: This allows you to set the velocity to a percentage of the maximum velocity."
-msgstr ""
+msgid ""
+"Adjust \"Percent\" only: This allows you to set the velocity to a percentage"
+" of the maximum velocity."
+msgstr "\"Percent\"だけを調整する : これは、ベロシティを最大ベロシティのパーセントで指定します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Adjust \"Value\" only: This allows you to supply a specific value for the velocity. Possible values range from 0 to 127."
-msgstr ""
+msgid ""
+"Adjust \"Value\" only: This allows you to supply a specific value for the "
+"velocity. Possible values range from 0 to 127."
+msgstr "\"Value\"だけを調整する : これは、特定の値をベロシティに設定します。可能な値は０から１２７です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Adjust \"Percent\" and \"Value\" together: This allows you to specify a percentage of the indicated value. If you set \"50%\" and \"32,\" for example, the resulting velocity will be \"16,\" which is 50% of 32."
+msgid ""
+"Adjust \"Percent\" and \"Value\" together: This allows you to specify a "
+"percentage of the indicated value. If you set \"50%\" and \"32,\" for "
+"example, the resulting velocity will be \"16,\" which is 50% of 32."
 msgstr ""
+"\"Percent\"と \"Value\"の両方を調整する : これは指定された値のパーセントを設定します。例えば、\"50%\"と "
+"\"32\"を設定すると、結果のベロシティは \"16\"であり、これは３２の５０％です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Randomize: This tool adjusts the selected parameters to pseudo-random values. The values are only pseudo-random for two reasons: computers cannot produce truly random numbers, only numbers that seem random to humans; the percentage value allows you to specify how widely-varied the results will be. A lower percentage setting will result in MIDI notes that are more similar to the pre-randomized state than if the MIDI notes were randomized with a higher percentage setting. The following parameters can be randomized:"
+msgid ""
+"Randomize: This tool adjusts the selected parameters to pseudo-random "
+"values. The values are only pseudo-random for two reasons: computers cannot "
+"produce truly random numbers, only numbers that seem random to humans; the "
+"percentage value allows you to specify how widely-varied the results will "
+"be. A lower percentage setting will result in MIDI notes that are more "
+"similar to the pre-randomized state than if the MIDI notes were randomized "
+"with a higher percentage setting. The following parameters can be "
+"randomized:"
 msgstr ""
+"Randomize: "
+"このツールは選択されたパラメータを擬似ランダムな値に調整します。値は２つの理由から擬似ランダムであるに過ぎません：コンピュータは真のランダム値を生成することはできません。人にとってランダムに見える値だけが可能です。パーセンテージ値で、結果がどの程度広く変化するかを指定できます。低いパーセント設定は、高いパーセント設定のときと比べて、より、もとの"
+" MIDI 音符に近くなります。以下のパラメータがランダムにできます："
 
 #. Tag: para
 #, no-c-format
 msgid "Note, which means pitch."
-msgstr ""
+msgstr "Note, つまり、音程"
 
 #. Tag: para
 #, no-c-format
 msgid "Time, which means the time of the beginning of the note."
-msgstr ""
+msgstr "Time, つまり、音の開始時刻"
 
 #. Tag: para
 #, no-c-format
 msgid "Duration, which means duration."
-msgstr ""
+msgstr "Duration, つまり、長さ"
 
 #. Tag: para
 #, no-c-format
 msgid "Value, which means loudness (velocity)."
-msgstr ""
+msgstr "Value, つまり、ラウドネス（ベロシティ）"
 
 #. Tag: para
 #, no-c-format
-msgid "Resize: This tool allows you to explicitly specify the duration or velocity of some MIDI notes. Setting the \"Value\" field will set the velocity (loudness) of all selected notes to that setting. Valid settings are from 0 (quietest) to 127 (loudest). Setting the \"Duration\" field will set the duration (length) of all selected notes to that setting. Duration is most usefully measured as \"BBT\" (meaning \"Bars, Beats, and Ticks\" - each is separated by a decimal point), but can also be measured as time or frames."
-msgstr ""
+msgid ""
+"Resize: This tool allows you to explicitly specify the duration or velocity "
+"of some MIDI notes. Setting the \"Value\" field will set the velocity "
+"(loudness) of all selected notes to that setting. Valid settings are from 0 "
+"(quietest) to 127 (loudest). Setting the \"Duration\" field will set the "
+"duration (length) of all selected notes to that setting. Duration is most "
+"usefully measured as \"BBT\" (meaning \"Bars, Beats, and Ticks\" - each is "
+"separated by a decimal point), but can also be measured as time or frames."
+msgstr ""
+"Resize: このツールでは、ある MIDI "
+"音符の長さあるいは大きさを直接指定することができます。\"Value\"フィールドを設定すると、すべての選択された音符のベロシティ（ラウドネス）をその値にします。有効な設定は０（最も静か）から１２７（最も大きい）です。\"Duration\"フィールドを設定すると、すべての選択された音符のデュレーション（長さ）をその値にします。長さは"
+" \"BBT\" ( つまり \"Bars, Beats, and Ticks\" "
+"それぞれは小数点で区切られます。）で表すのが最も便利ですが、時間やフレームを単位として表すこともできます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Using JACK with Qtractor"
-msgstr ""
+msgstr "JACK を Qtractor とともに使う"
 
 #. Tag: para
 #, no-c-format
-msgid "Qtractor and QjackCtl are programmed and maintained by the same developers. For this reason, Qtractor offers a QjackCtl-like interface to modify JACK's connections. Furthermore, Qtractor preserves all of the connections with every Qtractor file, so there is no need to use QjackCtl's \"patch bay\" feature (which does the same thing). However, if you wish to change JACK's settings, you will need to use QjackCtl."
+msgid ""
+"Qtractor and QjackCtl are programmed and maintained by the same developers. "
+"For this reason, Qtractor offers a QjackCtl-like interface to modify JACK's "
+"connections. Furthermore, Qtractor preserves all of the connections with "
+"every Qtractor file, so there is no need to use QjackCtl's \"patch bay\" "
+"feature (which does the same thing). However, if you wish to change JACK's "
+"settings, you will need to use QjackCtl."
 msgstr ""
+"Qtractor と QjackCtl は同じ開発者によってプログラムされ、メンテナンスされています。このため、Qtractor は JACK "
+"の接続を変更するために QjackCtl のようなインタフェースを提供します。さらに、Qtractor はすべての接続をすべての Qtractor "
+"ファイルに記録するので、QjackCtl の \"patch bay\"機能（それは同じことをします。）を使う必要はありません。しかし、JACK "
+"の設定を変えるには、QjackCtl を使う必要があります。"
 
 #. Tag: para
 #, no-c-format
-msgid "To view the JACK connections window within Qtractor, press the F8 key, or click 'View &gt; Connections'. Pressing F8 again will hide the window. Qtractor's \"MIDI\" tab displays the devices on QjackCtl's \"ALSA\" tab."
+msgid ""
+"To view the JACK connections window within Qtractor, press the F8 key, or "
+"click 'View &gt; Connections'. Pressing F8 again will hide the window. "
+"Qtractor's \"MIDI\" tab displays the devices on QjackCtl's \"ALSA\" tab."
 msgstr ""
+"Qtractor で JACK 接続ウインドウを見るには、F8 キーを押すか、'View &gt; Connections'をクリックします。F8 "
+"をもう一度押すと、ウインドウは隠れます。Qtractor の \"MIDI\"タブは QjackCtl の \"ALSA\"タブのデバイスを表示します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Qtractor automatically starts JACK, unless it is already running."
-msgstr ""
+msgstr "Qtractor は、JACK が既に実行中でないときは、それを開始します。"
 
 #. Tag: title
 #, no-c-format
 msgid "Exporting a Whole File (Audio and MIDI Together)"
-msgstr ""
+msgstr "ファイル全部（オーディオと MIDI を一緒に）をエクスポートする"
 
 #. Tag: para
 #, no-c-format
-msgid "Qtractor can export all of a session's audio clips as one audio file, but it cannot export the MIDI clips directly into that audio file. This is because Qtractor does not synthesize audio from MIDI signals, but uses an external MIDI synthesizer to do this. Thankfully, there is a relatively simple way to overcome this, allowing both audio and MIDI to be exported in the same audio file: use Qtractor to record the audio signal produced by the MIDI synthesizer. This procedure only works if you use a MIDI synthesizer (like <application>FluidSynth</application>) which outputs its audio signal to JACK."
+msgid ""
+"Qtractor can export all of a session's audio clips as one audio file, but it"
+" cannot export the MIDI clips directly into that audio file. This is because"
+" Qtractor does not synthesize audio from MIDI signals, but uses an external "
+"MIDI synthesizer to do this. Thankfully, there is a relatively simple way to"
+" overcome this, allowing both audio and MIDI to be exported in the same "
+"audio file: use Qtractor to record the audio signal produced by the MIDI "
+"synthesizer. This procedure only works if you use a MIDI synthesizer (like "
+"<application>FluidSynth</application>) which outputs its audio signal to "
+"JACK."
 msgstr ""
+"Qtractor はセッションのオーディオクリップのすべてを１つのオーディオファイルにエクスポートすることができます。しかし、そのオーディオファイルに "
+"MIDI クリップを直接エクスポートすることはできません。これは、Qtractor は MIDI 信号からオーディオを合成するのでなく、外部の MIDI"
+" シンセサイザーでこれを行うためです。ありがたいことに、この制限を越え、オーディオと MIDI "
+"を同じオーディオファイルにエクスポートする比較的簡単な方法があります： Qtractor を使って、MIDI "
+"シンセサイザーが生成するオーディオ信号を録音するのです。この手順は、あなたがオーディオ信号を JACK に出力する MIDI シンセサイザー（ "
+"<application>FluidSynth</application> のように）を使っているときしかうまくいきません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Create a new audio track in Qtractor by clicking on 'Track &gt; Add Track'."
-msgstr ""
+msgid ""
+"Create a new audio track in Qtractor by clicking on 'Track &gt; Add Track'."
+msgstr "Qtractor で'Track &gt; Add Track'をクリックして、新しいオーディオトラックを作ります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Ensure that your MIDI synthesizer is set up correctly to produce output in the usual method (through your speakers)."
-msgstr ""
+msgid ""
+"Ensure that your MIDI synthesizer is set up correctly to produce output in "
+"the usual method (through your speakers)."
+msgstr "あなたの MIDI シンセサイザーが、正しくセットアップされていて、通常の方式で（スピーカーを通して）出力を生成することを確認下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "Use Qtractor's \"Connections\" window (press F8 on the keyboard) to ensure that the output from your MIDI synthesizer is routed to the input for the newly-created audio track."
+msgid ""
+"Use Qtractor's \"Connections\" window (press F8 on the keyboard) to ensure "
+"that the output from your MIDI synthesizer is routed to the input for the "
+"newly-created audio track."
 msgstr ""
+"Qtractor の \"Connections\"ウインドウを使って（キーボードで F8 を押します）あなたの MIDI "
+"シンセサイザーの出力が新しく作られたオーディオトラックの入力にルーティングされていることを確認下さい。"
 
 #. Tag: para
 #, no-c-format
 msgid "Move Qtractor's transport to the start of the session."
-msgstr ""
+msgstr "Qtractor のトランスポートをセッションの最初に移動します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Ensure that only the newly-created audio track is armed for recording."
-msgstr ""
+msgstr "新しく作成されたオーディオトラックだけが、録音の準備をされていることを確認下さい。"
 
 #. Tag: para
 #, no-c-format
 msgid "Arm Qtractor's transport for recording."
-msgstr ""
+msgstr "Qtractor のトランスポートを録音準備します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Press \"Play\" on the transport, and wait as the session plays through."
-msgstr ""
+msgstr "トランスポートで \"Play\"を押してセッションが最後まで再生するのを待ちます。"
 
 #. Tag: para
 #, no-c-format
-msgid "When you have reached the end of the session, stop the transport. Qtractor will not automatically stop the transport."
-msgstr ""
+msgid ""
+"When you have reached the end of the session, stop the transport. Qtractor "
+"will not automatically stop the transport."
+msgstr "セッションの最後に行ったら、トランスポートを止めます。Qtractor は自動的にはトランスポートを止めません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Export the file as you normally would by clicking 'Track &gt; Export Tracks &gt; Audio'."
-msgstr ""
+msgid ""
+"Export the file as you normally would by clicking 'Track &gt; Export Tracks "
+"&gt; Audio'."
+msgstr "'Track &gt; Export Tracks &gt; Audio'をクリックして、いつもの通り、ファイルをエクスポートします ."
 
 #. Tag: para
 #, no-c-format
-msgid "After the audio version of the MIDI signal is recorded, and you have exported the session, you may wish to delete the new audio track."
-msgstr ""
+msgid ""
+"After the audio version of the MIDI signal is recorded, and you have "
+"exported the session, you may wish to delete the new audio track."
+msgstr "MIDI 信号のオーディオバージョンが録音され、あなたがセッションをエクスポートしたら、新しいオーディオトラックは削除しても構いません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Miscellaneous Tips"
-msgstr ""
+msgstr "その他の知識"
 
 #. Tag: para
 #, no-c-format
-msgid "If you wish to scroll horizontally in Qtractor's tracks pane or the matrix editor, hold down the Control (Ctrl) key as you adjust your mouse's scrollwheel."
+msgid ""
+"If you wish to scroll horizontally in Qtractor's tracks pane or the matrix "
+"editor, hold down the Control (Ctrl) key as you adjust your mouse's "
+"scrollwheel."
 msgstr ""
+"Qtractor のトラックペインあるいはマトリックスエディタで水平方向にスクロールしたい時は、マウスのスクロールホイールを動かす間、コントロール "
+"(Ctrl) キーを押したままにして下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "Qtractor files should be saved in an otherwise-empty folder. Unlike Ardour, Audacity, and Rosegarden, Qtractor will not create a new sub-folder automatically, but will instead store all of a session's clips in the same folder as the the Qtractor file itself."
+msgid ""
+"Qtractor files should be saved in an otherwise-empty folder. Unlike Ardour, "
+"Audacity, and Rosegarden, Qtractor will not create a new sub-folder "
+"automatically, but will instead store all of a session's clips in the same "
+"folder as the the Qtractor file itself."
 msgstr ""
+"Qtractor ファイルは、空のフォルダにセーブされなくてはいけません。Ardour, Audacity, そして Rosegarden "
+"とは異なり、Qtractor は自動的にサブフォルダを作ることなく、セッションのクリップのすべてを、Qtractor "
+"ファイル自身と同じフォルダに格納しようとします ."
 
 #. Tag: title
 #, no-c-format
 msgid "Transport"
-msgstr ""
+msgstr "トランスポート"
 
 #. Tag: para
 #, no-c-format
-msgid "You can move Qtractor's transport to a particular point in a session by holding Shift as you use the mouse to click on that point."
-msgstr ""
+msgid ""
+"You can move Qtractor's transport to a particular point in a session by "
+"holding Shift as you use the mouse to click on that point."
+msgstr "Qtractor のトランスポートをセッションの特定の点に移動するには、マウスでその点をクリックする時に、シフトを押したままにします ."
 
 #. Tag: para
 #, no-c-format
-msgid "You can choose whether or not you want the track pane to automatically scroll as the transport moves by clicking 'Transport &gt; Follow Playhead'."
+msgid ""
+"You can choose whether or not you want the track pane to automatically "
+"scroll as the transport moves by clicking 'Transport &gt; Follow Playhead'."
 msgstr ""
+"'Transport &gt; Follow "
+"Playhead'をクリックすることで、トラックペインがトランスポートが移動するに連れて自動的にスクロールするかどうかを選択できます。"
 
 #. Tag: title
 #, no-c-format
 msgid "MIDI"
-msgstr ""
+msgstr "MIDI"
 
 #. Tag: para
 #, no-c-format
-msgid "When creating a MIDI track, you can use the \"omni\" check-box to allow the track to respond to input from any MIDI channel. If the check-box is unselected, the track will respond only to signals on its assigned MIDI channel."
+msgid ""
+"When creating a MIDI track, you can use the \"omni\" check-box to allow the "
+"track to respond to input from any MIDI channel. If the check-box is "
+"unselected, the track will respond only to signals on its assigned MIDI "
+"channel."
 msgstr ""
+"MIDI トラックを作成するとき、\"omni\"チェックボックスを使うと、トラックがどの MIDI "
+"チャネルからの入力にも反応するようにできます。チェックボックスが選択されていないときはトラックはそれがアサインされた MIDI "
+"チャネルの信号だけに反応します ."
 
 #. Tag: para
 #, no-c-format
-msgid "In the matrix editor window, you can adjust the \"velocity\" (loudness) of a note by using the \"Resize\" MIDI Tool (see <xref linkend=\"sect-Musicians_Guide-Qtractor-Using-MIDI_Tools\" /> above)"
+msgid ""
+"In the matrix editor window, you can adjust the \"velocity\" (loudness) of a"
+" note by using the \"Resize\" MIDI Tool (see <xref linkend=\"sect-"
+"Musicians_Guide-Qtractor-Using-MIDI_Tools\" /> above)"
 msgstr ""
+"マトリックスエディタウインドウで、あなたは音符の \"ベロシティ \"（ラウドネス）を、\"Resize\"MIDI ツール（ <xref "
+"linkend=\"sect-Musicians_Guide-Qtractor-Using-MIDI_Tools\" / を参照）を使って調整できます。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you find it difficult to work with Qtractor's matrix editor, but you find it easy to work with LilyPond, you can use this to your advantage. LilyPond will output a MIDI-format representation of your score if you include a \"midi\" section in the \"score\" section. It should look something like this:"
+msgid ""
+"If you find it difficult to work with Qtractor's matrix editor, but you find"
+" it easy to work with LilyPond, you can use this to your advantage. LilyPond"
+" will output a MIDI-format representation of your score if you include a "
+"\"midi\" section in the \"score\" section. It should look something like "
+"this:"
 msgstr ""
+"あなたが Qtractor のマトリックスエディタを使うのが難しいと感じる一方、LilyPond "
+"での作業が簡単だと思うならば、これをあなたの強みにしましょう。LilyPond は、あなたの楽譜の MIDI "
+"形式の表示を出力することができます。それには、\"score\"セクションに \"midi\"セクションを加えます。それは、こんなふうに見えるでしょう："
 
 #. Tag: programlisting
 #, no-c-format
@@ -623,658 +998,1050 @@ msgid ""
 "   \\midi { }\n"
 "}\n"
 msgstr ""
+"\n"
+"⏎\n"
+"\\score⏎\n"
+"{⏎\n"
+"   ...⏎\n"
+"   \\midi { }⏎\n"
+"}⏎\n"
 
 #. Tag: para
 #, no-c-format
-msgid "You can import LilyPond's MIDI output by clicking 'Track &gt; Import Tracks &gt; MIDI' in Qtractor."
+msgid ""
+"You can import LilyPond's MIDI output by clicking 'Track &gt; Import Tracks "
+"&gt; MIDI' in Qtractor."
 msgstr ""
+"LilyPond の MIDI 出力は、Qtractor で'Track &gt; Import Tracks &gt; "
+"MIDI'をクリックすればインポートできます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Creating a MIDI Composition (Tutorial)"
-msgstr ""
+msgstr "MIDI で作曲する（チュートリアル）"
 
 #. Tag: para
 #, no-c-format
-msgid "We've created a demonstration of what a first-time user might try for their first project with Qtractor. The following sequences demonstrate the decision-making, and the various features that could be learned. This does not attempt to show a generic method for creation, but rather the specific way that I created a new composition with the inspiration stated below."
+msgid ""
+"We've created a demonstration of what a first-time user might try for their "
+"first project with Qtractor. The following sequences demonstrate the "
+"decision-making, and the various features that could be learned. This does "
+"not attempt to show a generic method for creation, but rather the specific "
+"way that I created a new composition with the inspiration stated below."
 msgstr ""
+"これは、Qtractor "
+"の最初のユーザが最初のプロジェクトとしてやってみるかもしれないことのデモンストレーションです。以下の一連の手順は意思決定と、学ぶことのできるいろいろな機能をデモンストレーションします。これは、創作の汎用的な方式を示すつもりはなく、むしろ、私が以下で述べるインスピレーションによって新しい作曲をしたときの特別の仕方を示すものです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Inspiration"
-msgstr ""
+msgstr "インスピレーション"
 
 #. Tag: para
 #, no-c-format
-msgid "The goal of this demonstration is to illustrate a particular strength of Qtractor: combining audio and MIDI tracks. I decided to start with a portion of one of my favourite compositions, and to compose a MIDI-based \"alter-ego\" to go along with it. The piece is listed below in \"Requirements.\""
+msgid ""
+"The goal of this demonstration is to illustrate a particular strength of "
+"Qtractor: combining audio and MIDI tracks. I decided to start with a portion"
+" of one of my favourite compositions, and to compose a MIDI-based \"alter-"
+"ego\" to go along with it. The piece is listed below in \"Requirements.\""
 msgstr ""
+"このデモンストレーションの目的は、オーディオと MIDI トラックを一緒にするという、Qtractor "
+"の独特の強みを明らかにすることです。私は、私のお気に入りの作品の一部分から始めようと思います。そして、MIDI "
+"ベースのそれの分身ともいえる曲を作曲します。作品は、以下の \"Requirements\"のところにリストしてあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Since that particular movement is a \"theme and variations\" movement, it starts with a theme, then continues with varied versions of that theme. The theme is in two parts, each of which is repeated once. Beethoven uses several compositional techniques that are typical of his time period, and achieves a consistently similar, but consistently new, movement."
+msgid ""
+"Since that particular movement is a \"theme and variations\" movement, it "
+"starts with a theme, then continues with varied versions of that theme. The "
+"theme is in two parts, each of which is repeated once. Beethoven uses "
+"several compositional techniques that are typical of his time period, and "
+"achieves a consistently similar, but consistently new, movement."
 msgstr ""
+"この楽章は \"主題と変奏曲 "
+"\"の楽章なので、それは主題から始まります。そして、その主題の変奏された版が続きます。主題は２つの部分からなり、それぞれが１度、繰り返されます。ベートーベンは彼の時代において典型的ないくつかの作曲技法を使って、一貫して似ていて、しかも一貫して新しい楽章を作り上げました。"
 
 #. Tag: para
 #, no-c-format
-msgid "We are no longer bound by the aesthetic rules of Beethoven's time. We are also using a very different style of notation with Qtractor - the matrix editor does not even resemble standard Western musical notation."
+msgid ""
+"We are no longer bound by the aesthetic rules of Beethoven's time. We are "
+"also using a very different style of notation with Qtractor - the matrix "
+"editor does not even resemble standard Western musical notation."
 msgstr ""
+"私たちはもはやベートーヴェンの時代の美学的規則には縛られません。私たちはさらに Qtractor "
+"でとても異なるスタイルの記譜法を使っています。マトリックスエディタは、標準の西洋音楽の記譜法にも似ていません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Another interesting aspect of this piece is that, unless you have access to the same audio recording that I used, you will not be able to experience the piece as I do. Playing the MIDI alone gives a completely different experience, and it is one that I knew would happen. This sort of \"mix-and-match\" approach to music-listening is more common than you might think, but rarely is it done in such an active way; normally, the \"extra sound\" of listening to music is provided by traffic, machines like furnaces and microwave ovens, and even people in a concert hall or auditorium with you. The fact that my audio files cannot be legally re-distributed forced me to add a conscious creative decision into every listening of the piece."
-msgstr ""
+msgid ""
+"Another interesting aspect of this piece is that, unless you have access to "
+"the same audio recording that I used, you will not be able to experience the"
+" piece as I do. Playing the MIDI alone gives a completely different "
+"experience, and it is one that I knew would happen. This sort of \"mix-and-"
+"match\" approach to music-listening is more common than you might think, but"
+" rarely is it done in such an active way; normally, the \"extra sound\" of "
+"listening to music is provided by traffic, machines like furnaces and "
+"microwave ovens, and even people in a concert hall or auditorium with you. "
+"The fact that my audio files cannot be legally re-distributed forced me to "
+"add a conscious creative decision into every listening of the piece."
+msgstr ""
+"この作品のもうひとつの面白い側面は、あなたが私が使ったのと同じオーディオ録音にアクセスしない限り、あなたは作品を私が経験するとおりには経験できないということです。MIDI"
+" だけを演奏するのは、私の予想通り、全く異なる経験をもたらします。このいわば、\"ミックスとマッチ "
+"\"で音楽を聴くアプローチは、あなたが思うより一般的かもしれませんが、このようにアクティブに行われるのはまれでしょう。一般的に、音楽を聴く上での "
+"\"余分の音 "
+"\"は交通や、暖炉や電子レンジのような機械、あるいはコンサートホールあるいは公会堂にあなたと一緒にいる人からおきるものです。私のオーディオファイルが、合法的に再配布できないという事実は、作品を聴くそれぞれの人にとって、意図された創造的決定を加えるように私に強いることとなりました。訳注：著者はゼルキンの"
+" CD と一緒に演奏されるべく、作曲をしたが、それ以外の音源を使う人には、違って聞こえるだろう、ということ。"
 
 #. Tag: title
 #, no-c-format
 msgid "Files for the Tutorial"
-msgstr ""
+msgstr "チュートリアルのファイル"
 
 #. Tag: para
 #, no-c-format
-msgid "A recording of the second movement from Beethoven's Piano Sonata No.23, \"Appassionata,\" either:"
-msgstr ""
+msgid ""
+"A recording of the second movement from Beethoven's Piano Sonata No.23, "
+"\"Appassionata,\" either:"
+msgstr "ベートーヴェンのピアノソナタ２３番、\"熱情 \"の第２楽章の録音。以下のいずれか："
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Mutopia</citetitle> at <ulink url=\"http://www.mutopiaproject.org/cgibin/make-table.cgi?searchingfor=appassionata\" /> (MIDI synthesizer recording with LilyPond sheet music)"
+msgid ""
+"<citetitle>Mutopia</citetitle> at <ulink "
+"url=\"http://www.mutopiaproject.org/cgibin/make-"
+"table.cgi?searchingfor=appassionata\" /> (MIDI synthesizer recording with "
+"LilyPond sheet music)"
 msgstr ""
+"<ulink url=\"http://www.mutopiaproject.org/cgibin/make-"
+"table.cgi?searchingfor=appassionata\" /> の "
+"<citetitle>Mutopia</citetitle>(MIDI シンセサイザー録音で、LilyPond 楽譜つき )"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>MusOpen</citetitle> at <ulink url=\"http://www.musopen.com/music.php?type=piece&amp;id=309\" /> (live recording)"
+msgid ""
+"<citetitle>MusOpen</citetitle> at <ulink "
+"url=\"http://www.musopen.com/music.php?type=piece&amp;id=309\" /> (live "
+"recording)"
 msgstr ""
+"<ulink url=\"http://www.musopen.com/music.php?type=piece&amp;id=309\" /> の "
+"<citetitle>MusOpen</citetitle> （ライブ録音）"
 
 #. Tag: para
 #, no-c-format
-msgid "The recording I used, played by Rudolf Serkin, available on the \"Sony\" label."
-msgstr ""
+msgid ""
+"The recording I used, played by Rudolf Serkin, available on the \"Sony\" "
+"label."
+msgstr "私が使った、\"Sony\"レーベルから入手可能な、ルドルフゼルキンの演奏。"
 
 #. Tag: para
 #, no-c-format
-msgid "You need to use FluidSynth, covered in <xref linkend=\"chap-Musicians_Guide-FluidSynth\" />."
+msgid ""
+"You need to use FluidSynth, covered in <xref linkend=\"chap-Musicians_Guide-"
+"FluidSynth\" />."
 msgstr ""
+"あなたは <xref linkend=\"chap-Musicians_Guide-FluidSynth\" /> で述べられている "
+"FluidSynth を使う必要があります。"
 
 #. Tag: title
 #, no-c-format
 msgid "Getting Qtractor Ready"
-msgstr ""
+msgstr "Qtractor を準備する"
 
 #. Tag: para
 #, no-c-format
 msgid "Open QjackCtl, and start JACK."
-msgstr ""
+msgstr "QjackCtl を開いて、JACK を開始します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Open Qsynth, and configure it with one instance, using the default FluidR3 SoundFont."
-msgstr ""
+msgid ""
+"Open Qsynth, and configure it with one instance, using the default FluidR3 "
+"SoundFont."
+msgstr "Qsynth を開いて、デフォルトの FluidR3 サウンドフォントを使って１つのインスタンスを構成します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Open Qtractor"
-msgstr ""
+msgstr "Qtractor を開きます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Configure the MIDI tracks to cooperate with the default FluidR3 SoundFont."
-msgstr ""
+msgid ""
+"Configure the MIDI tracks to cooperate with the default FluidR3 SoundFont."
+msgstr "MIDI トラックがデフォルトの FluidR3 サウンドフォントを使う用に構成します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Switch to QjackCtl and ensure the proper connections:"
-msgstr ""
+msgstr "QjackCtl に移って、接続が正しいことを確認します："
 
 #. Tag: para
 #, no-c-format
 msgid "Qtractor's MIDI out (on \"ALSA\" page) is connected to Qsynth's MIDI in"
-msgstr ""
+msgstr "Qtractor の MIDI out(\"ALSA\"ページにある ) は、Qsynth の MIDI in につながっている。"
 
 #. Tag: para
 #, no-c-format
 msgid "Qsynth's audio out is connected to system in (the speakers)"
-msgstr ""
+msgstr "Qsynth の audio out は system in( スピーカー ) につながっている。"
 
 #. Tag: para
 #, no-c-format
 msgid "Qtractor's audio out is conencted to system in (the speakers)"
-msgstr ""
+msgstr "Qtractor の audio out は system in （スピーカー）につながっている。"
 
 #. Tag: para
 #, no-c-format
 msgid "No other connections are necessary."
-msgstr ""
+msgstr "他の接続は不要です。"
 
 #. Tag: title
 #, no-c-format
 msgid "Import the Audio File"
-msgstr ""
+msgstr "オーディオファイルをインポートする"
 
 #. Tag: para
 #, no-c-format
 msgid "Create a new audio track."
-msgstr ""
+msgstr "新しいオーディオトラックを作ってください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Right-click on the audio track, and go to \"Clip\" then \"Import\""
-msgstr ""
+msgstr "オーディオトラックを右クリックして、\"Clip\"そして、\"Import\"を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Locate the audio file that you want to import (in this case, I imported a recording of the second movement of Beethoven's Op.57 piano sonata, \"Appassionata.\""
+msgid ""
+"Locate the audio file that you want to import (in this case, I imported a "
+"recording of the second movement of Beethoven's Op.57 piano sonata, "
+"\"Appassionata.\""
 msgstr ""
+"インポートしたいオーディオファイルを位置づけます。（今の場合、私はベートーヴェン作品番号５７ピアノソナタ \"熱情 "
+"\"の第２楽章の録音をインポートしました。）"
 
 #. Tag: para
 #, no-c-format
-msgid "If the clip doesn't start at the beginning of the track, then click and drag it to the beginning."
-msgstr ""
+msgid ""
+"If the clip doesn't start at the beginning of the track, then click and drag"
+" it to the beginning."
+msgstr "クリップがトラックの最初から始まらないときは、クリックアンドドラッグして最初に持って行きます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Marking the First Formal Area"
-msgstr ""
+msgstr "最初のフォーマルエリアをマークする"
 
 #. Tag: para
 #, no-c-format
-msgid "In addition to the transport, Qtractor has two blue place-markers, which sometimes merge into one. The best way to learn the behaviour of the blue place-markers is by using them. They are intended to mark a range in the work area (\"main screen\")."
+msgid ""
+"In addition to the transport, Qtractor has two blue place-markers, which "
+"sometimes merge into one. The best way to learn the behaviour of the blue "
+"place-markers is by using them. They are intended to mark a range in the "
+"work area (\"main screen\")."
 msgstr ""
+"トランスポートの他に、Qtractor "
+"には２つの青いプレースマーカがあり、それらはときには１つに合わさることもあります。青いプレースマーカの振る舞いを知るもっとも良い方法は、使ってみることです。それらは、ワークエリア（"
+" \"メインスクリーン \"）において範囲をマークするためのものです。"
 
 #. Tag: para
 #, no-c-format
-msgid "We're keeping the standard tempo of 120 beats per minute, and the metre is 4/4"
-msgstr ""
+msgid ""
+"We're keeping the standard tempo of 120 beats per minute, and the metre is "
+"4/4"
+msgstr "標準の速度を１分に１２０拍、４／４拍子とします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Start from the beginning, and listen until the end of the first formal section, which I've decided is about the fourth beat of measure 12 (use the ruler to see)."
-msgstr ""
+msgid ""
+"Start from the beginning, and listen until the end of the first formal "
+"section, which I've decided is about the fourth beat of measure 12 (use the "
+"ruler to see)."
+msgstr "最初から始めて、最初のフォーマルな楽節の終わりまで聴きます。私はそれを、１２小節の４つめの拍と决めました。（ルーラーで見てください。）"
 
 #. Tag: para
 #, no-c-format
 msgid "Mark that point with the blue arrow."
-msgstr ""
+msgstr "青い矢印でその点をマークします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Mark the beginning of the formal area by left-clicking at the beginning of the session. If the transport is at the beginning, then it will hide a blue marker placed at the beginning."
+msgid ""
+"Mark the beginning of the formal area by left-clicking at the beginning of "
+"the session. If the transport is at the beginning, then it will hide a blue "
+"marker placed at the beginning."
 msgstr ""
+"セッションの最初を左クリックして、フォーマルエリアの最初をマークします。もしトランスポートが最初にあるならば、青いプレースマーカは隠れてしまいます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Create a new clip by clicking on \"Edit &gt; Clip &gt; New\""
-msgstr ""
+msgstr "\"Edit &gt; Clip &gt; New\"をクリックして、新しいクリップを作ります。"
 
 #. Tag: para
 #, no-c-format
 msgid "The clip editor will appear."
-msgstr ""
+msgstr "クリップエディタが現れます"
 
 #. Tag: title
 #, no-c-format
 msgid "Creating our Theme"
-msgstr ""
+msgstr "主題を作る"
 
 #. Tag: para
 #, no-c-format
-msgid "I want something simple, to match the simple-sounding chorale at the beginning that is the theme of this movement. What could be simpler than a moment of sound, followed by some moments of silence?"
+msgid ""
+"I want something simple, to match the simple-sounding chorale at the "
+"beginning that is the theme of this movement. What could be simpler than a "
+"moment of sound, followed by some moments of silence?"
 msgstr ""
+"私は、なにかシンプルなものがほしいと思います。この楽章の主題である最初のシンプルな響きのコラールに見合うような。しばらくの音、そしてしばらくの休止以上にシンプルなものはあるでしょうか？"
 
 #. Tag: para
 #, no-c-format
-msgid "In the MIDI matrix editor window, click on the \"Edit mode\" tool, which looks like a pencil with no other markings."
-msgstr ""
+msgid ""
+"In the MIDI matrix editor window, click on the \"Edit mode\" tool, which "
+"looks like a pencil with no other markings."
+msgstr "MIDI マトリックスエディタウインドウで、\"Edit mode\"ツールをクリックします。それは他に何もマーキングのない鉛筆に見えます。"
 
 #. Tag: para
 #, no-c-format
-msgid "I decided to place a note every three beats (one beat is marked by one vertical line), on the beat, lasting for one sixteenth note."
-msgstr ""
+msgid ""
+"I decided to place a note every three beats (one beat is marked by one "
+"vertical line), on the beat, lasting for one sixteenth note."
+msgstr "３つの拍ごとに音を入れることにします。（１つの拍は１つの垂直線でマークされます。）拍では１６分音符だけ続きます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click the pencil where you want the note to appear. A box will appear. If you drag the box to the right, then the note will sound for longer."
-msgstr ""
+msgid ""
+"Click the pencil where you want the note to appear. A box will appear. If "
+"you drag the box to the right, then the note will sound for longer."
+msgstr "音符を置くところを鉛筆でクリックします。箱が現れます。箱を右にドラッグすると、音は長く続くことになります。"
 
 #. Tag: para
 #, no-c-format
-msgid "I put all of the notes on the same pitch, but it doesn't matter whether you put them on the same pitches or not - they will be changed later."
-msgstr ""
+msgid ""
+"I put all of the notes on the same pitch, but it doesn't matter whether you "
+"put them on the same pitches or not - they will be changed later."
+msgstr "私はすべての音符を同じ音程に置きましたが、あなたがそれらを同じ音程に置くかどうかはどうでもよいです。後で、変えるからです。"
 
 #. Tag: para
 #, no-c-format
-msgid "I also made a mistake when I was inputting the notes, so there's one place where they are only two beats apart instead of three. This didn't matter to me, but it might matter to you."
+msgid ""
+"I also made a mistake when I was inputting the notes, so there's one place "
+"where they are only two beats apart instead of three. This didn't matter to "
+"me, but it might matter to you."
 msgstr ""
+"音符を入力するときに、間違いをしました。このため、３拍離れるはずが２拍しか離れていないところが１箇所あります。これは私にはどうでもよいですが、あなたにはそうでないかもしれません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Continue inputting notes until you have filled the whole pre-selected region (between the blue markers). Qtractor will let you continue beyond that point, so you need to keep an eye on the marker yourself."
+msgid ""
+"Continue inputting notes until you have filled the whole pre-selected region"
+" (between the blue markers). Qtractor will let you continue beyond that "
+"point, so you need to keep an eye on the marker yourself."
 msgstr ""
+"あなたがあらかじめ選択しておいたリージョン（青いマーカの間）をすべてうめるまで、音符を入力してください。Qtractor "
+"はその点を超えて続けることを許すので、あなたは自分でマーカに気をつけないといけません。"
 
 #. Tag: para
 #, no-c-format
-msgid "To scroll sideways, you can hold down either Shift or Ctrl and use your mouse's scroll wheel."
-msgstr ""
+msgid ""
+"To scroll sideways, you can hold down either Shift or Ctrl and use your "
+"mouse's scroll wheel."
+msgstr "横にスクロールするには、シフトあるいはコントロールを押したままマウスのスクロールホイールを使ってください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Move to transport just before the end of the segment you added: use Shift-click."
-msgstr ""
+msgid ""
+"Move to transport just before the end of the segment you added: use Shift-"
+"click."
+msgstr "あなたが追加したセグメントの終わりのちょうど前までトランスポートを動かします。シフト、クリックを使います。"
 
 #. Tag: para
 #, no-c-format
-msgid "Listen to the end to ensure that your segment ends with or before the end of the first formal area."
-msgstr ""
+msgid ""
+"Listen to the end to ensure that your segment ends with or before the end of"
+" the first formal area."
+msgstr "最後まで聴いて、あなたのセグメントが最初のフォーマルエリアの終端と同じか、あるいはその前で終わるのを確認してください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Close the matrix editor window."
-msgstr ""
+msgstr "マトリックスエディタウインドウを閉じます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Use the main window to view the MIDI segment which you just inputted. The vertical lines represent barlines, and the darker rectangles represent notes."
-msgstr ""
+msgid ""
+"Use the main window to view the MIDI segment which you just inputted. The "
+"vertical lines represent barlines, and the darker rectangles represent "
+"notes."
+msgstr "あなたが入力した MIDI セグメントを見るために、メインウインドウを使います。垂直の線は小節の線で、暗い色の四角は音符を表します。"
 
 #. Tag: para
 #, no-c-format
-msgid "If the MIDI segment extends beyond the last note that you inputted, click-and-drag the end so that there isn't much over-hang. If you accidentally adjust it too far and remove notes, then simply drag the segment back out - the notes should still be there."
+msgid ""
+"If the MIDI segment extends beyond the last note that you inputted, click-"
+"and-drag the end so that there isn't much over-hang. If you accidentally "
+"adjust it too far and remove notes, then simply drag the segment back out - "
+"the notes should still be there."
 msgstr ""
+"もし MIDI "
+"セグメントがあなたが入力した最後の音符より長いようなら、終端をクリックアンドドラッグして、はみ出すところがあまり多くないようにしてください。もしうっかり短くしすぎて音符を削除してしまったならば、そのセグメントを単にドラッグして元に戻します。音符はそのまま、あるはずです。"
 
 #. Tag: para
 #, no-c-format
 msgid "Return to the matrix editor by double-clicking on the MIDI segment."
-msgstr ""
+msgstr "MIDI セグメントをダブルクリックして、マトリックスエディタに戻ります。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select all of the notes that you have inputted so far:"
-msgstr ""
+msgstr "今までに入力した音符を全部選択します："
 
 #. Tag: para
 #, no-c-format
 msgid "Press Control-a"
-msgstr ""
+msgstr "Control-a を押す"
 
 #. Tag: para
 #, no-c-format
 msgid "Click-and-drag to select, or"
-msgstr ""
+msgstr "クリックおよびドラッグして選択、あるいは"
 
 #. Tag: para
 #, no-c-format
 msgid "Click on 'Edit &gt; Select &gt; Select All'"
-msgstr ""
+msgstr " 'Edit &gt; Select &gt; Select All'をクリックください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Randomize the pitches:"
-msgstr ""
+msgstr "音程をランダムにする："
 
 #. Tag: para
 #, no-c-format
 msgid "Click on 'Tools &gt; Randomize'"
-msgstr ""
+msgstr "'Tools &gt; Randomize'をクリックします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Ensure that \"Randomize\" is checked"
-msgstr ""
+msgstr "\"Randomize\"がチェックされているのを確認します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Ensure that \"Note\" is checked (this means \"pitch\")"
-msgstr ""
+msgstr "\"Note\"がチェックされているのを確認します。（これは、\"音程 \"を意味します。）"
 
 #. Tag: para
 #, no-c-format
 msgid "Choose a percentage."
-msgstr ""
+msgstr "パーセントを選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click \"OK\" to apply."
-msgstr ""
+msgstr "\"OK\"をクリックして、適用します。"
 
 #. Tag: para
 #, no-c-format
-msgid "You may need to experiment with the percent of randomization that you allow. Greater randomization means a lower chance of repetition, but it also means that the pitches will be spread within a smaller range."
+msgid ""
+"You may need to experiment with the percent of randomization that you allow."
+" Greater randomization means a lower chance of repetition, but it also means"
+" that the pitches will be spread within a smaller range."
 msgstr ""
+"ランダムにするパーセントについては、実験が必要です。ランダム化が大きいと繰り返しが少なくなりますが、それは音程がより狭い範囲に分散することを意味します。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you want to re-try the randomization, click on 'Edit &gt; Undo Randomization', then use the \"Randomize\" tool again."
+msgid ""
+"If you want to re-try the randomization, click on 'Edit &gt; Undo "
+"Randomization', then use the \"Randomize\" tool again."
 msgstr ""
+"ランダム化をやり直すには、'Edit &gt; Undo Randomization'をクリックして、次に "
+"\"Randomize\"ツールをもう一度使ってください。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you like what happens to most of the pitches, you can select and move a few of them either individually or together. To adjust pitches as a group, select the ones that you want to move (either by click-and-drag select or by Control-click select), and Control-drag them to the desired new location."
+msgid ""
+"If you like what happens to most of the pitches, you can select and move a "
+"few of them either individually or together. To adjust pitches as a group, "
+"select the ones that you want to move (either by click-and-drag select or by"
+" Control-click select), and Control-drag them to the desired new location."
 msgstr ""
+"ほとんどの音程に起きた変化に満足したら、音符のいくつかを単独であるいは一緒に、選択して移動することができます。グループで音程を変えるには動かしたいものを選択して、（クリックアンドドラッグして選択するか、あるいはコントロール、クリックして選択するか）それらを動かしたいところにコントロール、ドラッグします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Now you need to adjust the volume of the pitches. There are two ways to do this:"
-msgstr ""
+msgid ""
+"Now you need to adjust the volume of the pitches. There are two ways to do "
+"this:"
+msgstr "さて、音符のボリュームを調整しなければいけません。これには２つのやり方があります："
 
 #. Tag: para
 #, no-c-format
-msgid "You can select all of the pitches, then use the \"Resize MIDI\" tool, adjusting the \"Value\" property."
-msgstr ""
+msgid ""
+"You can select all of the pitches, then use the \"Resize MIDI\" tool, "
+"adjusting the \"Value\" property."
+msgstr "すべての音符を選択して、\"Resize MIDI\"ツールを使い、\"Value\"プロパティを調整する。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can select all of the pitches, then use the value editor portion of the matrix editor window. This is at the bottom of the matrix editor window, and the height of each pitch shown here tells you the volume at which it will play. To adjust all of the pitches at once, Control-drag to adjust the height as desired. Be careful when doing this that you don't change the horizontal position, which will change the time that the notes sound."
+msgid ""
+"You can select all of the pitches, then use the value editor portion of the "
+"matrix editor window. This is at the bottom of the matrix editor window, and"
+" the height of each pitch shown here tells you the volume at which it will "
+"play. To adjust all of the pitches at once, Control-drag to adjust the "
+"height as desired. Be careful when doing this that you don't change the "
+"horizontal position, which will change the time that the notes sound."
 msgstr ""
+"全部の音符を選択して、次にマトリックスエディタウインドウの値エディタの部分を使うことができます。これは、マトリックスエディタウインドウの、一番下にあり、ここで示される各音符の高さは、それが演奏されるときのボリュームに相当します。一度にすべての音符を変更するには、それらをコントロール、ドラッグして、望みの高さに調整します。このとき、水平位置を変えないように注意してください。それは、音符が鳴る時刻を変えてしまいます。"
 
 #. Tag: para
 #, no-c-format
-msgid "I would suggest at volume of approximately \"32,\" but this depends on your taste. Also, I adjust the volume of some pitches to be louder when the audio file is louder."
+msgid ""
+"I would suggest at volume of approximately \"32,\" but this depends on your "
+"taste. Also, I adjust the volume of some pitches to be louder when the audio"
+" file is louder."
 msgstr ""
+"だいたい "
+"\"32\"のボリュームをお勧めしますが、これはあなたのお好み次第です。さらに、私はいくつかの音符のボリュームを、オーディオファイルが大きい時は同じように大きくしました。"
 
 #. Tag: para
 #, no-c-format
-msgid "When you are satisfied with your pitches and volumes, start the transport from the beginning, and listen to the entire segment that you just created. You can change the section again or move on to the next step."
+msgid ""
+"When you are satisfied with your pitches and volumes, start the transport "
+"from the beginning, and listen to the entire segment that you just created. "
+"You can change the section again or move on to the next step."
 msgstr ""
+"音程とボリュームに満足したら、トランスポートを最初から開始して、あなたが今作成したセグメントの全体を聴いてみます。この楽節をもう一度変更してもよいですし、次のステップに進んでもよいです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Repeat the Theme"
-msgstr ""
+msgstr "主題を繰り返します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The beginning of this composition opens with a thirteen-measure (in this Qtractor session) segment that is immediately repeated. If you chose to create a thirteen-measure theme, like we did, you will either need to create a second MIDI segment to cover Beethoven's repeat, or you can do what I did, and copy-and-paste to get an exact repetition of your theme."
+msgid ""
+"The beginning of this composition opens with a thirteen-measure (in this "
+"Qtractor session) segment that is immediately repeated. If you chose to "
+"create a thirteen-measure theme, like we did, you will either need to create"
+" a second MIDI segment to cover Beethoven's repeat, or you can do what I "
+"did, and copy-and-paste to get an exact repetition of your theme."
 msgstr ""
+"この作品の冒頭は、（この Qtractor "
+"セッションでは）１３小節のセグメントから始まり、それはすぐに繰り返されます。あなたが私のように１３小節の主題を作ることにしたのならばベートーヴェンの繰り返しに対応する２つめの"
+" MIDI セグメントを作るか、あるいは私のように、あなたの主題を繰り返すためにコピーアンドペーストをしてください。"
 
 #. Tag: para
 #, no-c-format
 msgid "To repeat your theme exactly:"
-msgstr ""
+msgstr "あなたの主題を正確に繰り返す："
 
 #. Tag: para
 #, no-c-format
-msgid "Click on the first MIDI segment to select it, then copy it by clicking on 'Edit &gt; Copy' or Control-c"
-msgstr ""
+msgid ""
+"Click on the first MIDI segment to select it, then copy it by clicking on "
+"'Edit &gt; Copy' or Control-c"
+msgstr "最初の MIDI セグメントをクリックして選択し、'Edit &gt; Copy'を選択するか、Control-c によってコピーします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Paste it by clicking on 'Edit &gt; Paste' or Control-v"
-msgstr ""
+msgstr "'Edit &gt; Paste'をクリックするか、Control-v によりペーストします。"
 
 #. Tag: para
 #, no-c-format
-msgid "The cursor will turn into a clipboard icon, and a rectangle will appear to its right. This rectangle represents the clip that is going to be pasted, but first you must select a place to put it."
+msgid ""
+"The cursor will turn into a clipboard icon, and a rectangle will appear to "
+"its right. This rectangle represents the clip that is going to be pasted, "
+"but first you must select a place to put it."
 msgstr ""
+"カーソルはクリップボードのアイコンの形に変わり、その右に四角が現れます。四角はペーストされるクリップを示します。しかし、まず、それを置くところを選択しないといけません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Move the cursor so that the rectangle appears just after the end (right-most edge) of the first MIDI clip."
-msgstr ""
+msgid ""
+"Move the cursor so that the rectangle appears just after the end (right-most"
+" edge) of the first MIDI clip."
+msgstr "カーソルを動かして、四角が最初の MIDI クリップの直後（右端のエッジ）に現れるようにします。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can use the scrollbar arrows to scroll the main window, but it can be difficult, because the cursor has changed."
-msgstr ""
+msgid ""
+"You can use the scrollbar arrows to scroll the main window, but it can be "
+"difficult, because the cursor has changed."
+msgstr "メインウインドウをスクロールするのにスクロールバー矢印を使うことができますが、それは、カーソルが変化しているので難しいかもしれません。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can also scroll the main window by pressing Control and using your mouse's scroll wheel."
-msgstr ""
+msgid ""
+"You can also scroll the main window by pressing Control and using your "
+"mouse's scroll wheel."
+msgstr "メインウインドウをスクロールするにはコントロールを押してマウスのスクロールホイールを使ってもよいです。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can also scroll by carefully moving the mouse cursor to the edge of the main-part-thing."
-msgstr ""
+msgid ""
+"You can also scroll by carefully moving the mouse cursor to the edge of the "
+"main-part-thing."
+msgstr "注意深くマウスカーソルをメインのものの端に動かすことによってもスクロールすることができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "It is not important to get the rectangle exactly where it will stay, but just near where it needs to go."
-msgstr ""
+msgid ""
+"It is not important to get the rectangle exactly where it will stay, but "
+"just near where it needs to go."
+msgstr "四角を正確に最終位置に置く必要はありません。その近くでよいです。"
 
 #. Tag: para
 #, no-c-format
 msgid "Left-click when you have placed the rectangle where you want it."
-msgstr ""
+msgstr "四角を置きたい位置に置いたら、左クリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Position the transport so that you can listen to the transition from the end of the first clip into the beginning of the second clip. Press <guibutton>Play</guibutton> on the transport control to listen, then stop it when you are done."
+msgid ""
+"Position the transport so that you can listen to the transition from the end"
+" of the first clip into the beginning of the second clip. Press "
+"<guibutton>Play</guibutton> on the transport control to listen, then stop it"
+" when you are done."
 msgstr ""
+"トランスポートを動かして、最初のクリップの終端から２つめのクリップの開始への移行が聞けるようにします。トランスポートコントロールで "
+"<guibutton>Play</guibutton> を押して聞いてみて、終わったら止めます。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you need to adjust the position of the second clip, then click-and-drag it into the desired position. Re-listen to verify that you placed the clip where you want it to stay."
+msgid ""
+"If you need to adjust the position of the second clip, then click-and-drag "
+"it into the desired position. Re-listen to verify that you placed the clip "
+"where you want it to stay."
 msgstr ""
+"２つめのクリップの位置を調整する必要があるときは、クリックアンドドラッグして正しい位置に移動します。クリップを正しく置いたことを確認するために、もう一度聞いてみます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Compose the Next Part"
-msgstr ""
+msgstr "次のパートを作曲します"
 
 #. Tag: para
 #, no-c-format
-msgid "It's difficult to explain, but this part feels more chord-focussed to me, even though it's very similar to the first part. I decided to show this by using the same generative idea as the first part, but with two simultaneous pitches instead of one. At the end of the segment, I included a brief gathering of \"randomized\" pitches, with longer durations than before. There is no particular reason that I included this chord-like incident, but it felt like the right thing to do."
+msgid ""
+"It's difficult to explain, but this part feels more chord-focussed to me, "
+"even though it's very similar to the first part. I decided to show this by "
+"using the same generative idea as the first part, but with two simultaneous "
+"pitches instead of one. At the end of the segment, I included a brief "
+"gathering of \"randomized\" pitches, with longer durations than before. "
+"There is no particular reason that I included this chord-like incident, but "
+"it felt like the right thing to do."
 msgstr ""
+"説明しにくいのですが、この部分は、最初の部分にとても似ているものの、ずっと和音にフォーカスしているように私には思えます。私はこれを、最初の部分と同じ生成的なアイデアを用いながら、１つでなく２つの同時の音程を使うことで表現しようと思います。セグメントの最後に、今までより長く続く音の"
+" \"ランダム化した "
+"\"音程の短いかたまりを加えました。この和音的な出来事を加えるのに特別な理由はないのですが、そうするのが正しいという気がしたのです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Listen to the next portion of the audio file, and mark off the next formal section that you want to use (mine is from Qtractor's measure 25 to beat to of measure 38). The portion that I chose is also repeated, like the first part."
+msgid ""
+"Listen to the next portion of the audio file, and mark off the next formal "
+"section that you want to use (mine is from Qtractor's measure 25 to beat to "
+"of measure 38). The portion that I chose is also repeated, like the first "
+"part."
 msgstr ""
+"オーディオファイルの次の部分を聴きます。そして、使いたい次のフォーマルセクションをマークします。（私の場合、Qtractor "
+"の２５小節から、３８小節の２拍までです。）私の選んだ部分は、最初の部分と同じように繰り返されます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Place the blue markers at the beginning and end of the segment that you chose."
-msgstr ""
+msgid ""
+"Place the blue markers at the beginning and end of the segment that you "
+"chose."
+msgstr "あなたの選んだセグメントの最初と最後に青いマーカを置きます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Create a new MIDI clip."
-msgstr ""
+msgstr "新しい MIDI クリップを作成します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Create the notes separated by three beats, as in the last segment. This time, be sure to add two notes at the same time, by ensure that they are aligned vertically. Again, it doesn't matter which pitches you choose, because they will be randomized."
+msgid ""
+"Create the notes separated by three beats, as in the last segment. This "
+"time, be sure to add two notes at the same time, by ensure that they are "
+"aligned vertically. Again, it doesn't matter which pitches you choose, "
+"because they will be randomized."
 msgstr ""
+"最後のセグメントと同じく、３拍の間をおいて音符を作成します。今回は、同時に２つの音符を加えるのに注意ください。それらは、垂直に並びます。後にランダム化されるので、どの音程に置くかはどうでもよいです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Select all of the pitches, and randomize them by using the \"Randomize MIDI\" tool."
-msgstr ""
+msgid ""
+"Select all of the pitches, and randomize them by using the \"Randomize "
+"MIDI\" tool."
+msgstr "すべての音符を選択して、\"Randomize MIDI\"ツールを使ってランダム化します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Depending on how the pitches are randomized, each pair of notes will probably end up in one of the following situations:"
-msgstr ""
+msgid ""
+"Depending on how the pitches are randomized, each pair of notes will "
+"probably end up in one of the following situations:"
+msgstr "音程がランダム化されるやり方により、それぞれの音符の対は以下のいずれかの状態になるでしょう："
 
 #. Tag: para
 #, no-c-format
-msgid "They are too close or share a particular intervallic relationship that makes them sound like one note."
-msgstr ""
+msgid ""
+"They are too close or share a particular intervallic relationship that makes"
+" them sound like one note."
+msgstr "それらは近すぎる、あるいは、特定の間隔にある関係のため、１つの音のように聞こえる。"
 
 #. Tag: para
 #, no-c-format
-msgid "They are too far or share a particular intervallic relationship that makes them sound like two notes."
-msgstr ""
+msgid ""
+"They are too far or share a particular intervallic relationship that makes "
+"them sound like two notes."
+msgstr "それらは遠すぎる、あるいは、特定の間隔にある関係のため、２つの音のように聞こえる。"
 
 #. Tag: para
 #, no-c-format
-msgid "They share a particular intervallic relationship that makes them sound like one chord built of two equal chords."
-msgstr ""
+msgid ""
+"They share a particular intervallic relationship that makes them sound like "
+"one chord built of two equal chords."
+msgstr "特定の間隔にある関係のため、２つの同じ大きさの音から作られる１つの和音のように聞こえる。"
 
 #. Tag: para
 #, no-c-format
-msgid "Depending on your aesthetic preferences, you may wish to change some of the notes so that one or some of these situations are avoided."
-msgstr ""
+msgid ""
+"Depending on your aesthetic preferences, you may wish to change some of the "
+"notes so that one or some of these situations are avoided."
+msgstr "上にあげたどれかが美的に望ましくないなら、いくつかの音符を変更しましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "I created the tone cluster at the end by clicking arbitrarily across bar 37. It happened to create six notes with the pitches G, E, C-sharp, F-sharp, G-sharp, and B. I could have used the \"Randomize MIDI\" tool, but chose not to."
+msgid ""
+"I created the tone cluster at the end by clicking arbitrarily across bar 37."
+" It happened to create six notes with the pitches G, E, C-sharp, F-sharp, "
+"G-sharp, and B. I could have used the \"Randomize MIDI\" tool, but chose not"
+" to."
 msgstr ""
+"私は３７小節全体で、ランダムにクリックすることで、最後の音のクラスターを作りました。偶然、音程は G, E, C シャープ、F シャープ、G "
+"シャープ、そして B の６つになりました。\"Randomize MIDI\"ツールを使ってもよかったのですが、そうしませんでした。"
 
 #. Tag: para
 #, no-c-format
-msgid "Then I carefully click-and-dragged the right-most end-point of each pitch, so that they all ended at the same time: the first beat of measure 38."
-msgstr ""
+msgid ""
+"Then I carefully click-and-dragged the right-most end-point of each pitch, "
+"so that they all ended at the same time: the first beat of measure 38."
+msgstr "次に私は、それぞれの音符の右の終端を注意深くクリックアンドドラッグして、３８小節の最初の拍で全部が同時に終わるようにしました。"
 
 #. Tag: para
 #, no-c-format
 msgid "When you're done, you may need to copy-and-paste the segment."
-msgstr ""
+msgstr "終わったら、セグメントをコピーアンドペーストする必要があるかもしれません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Qtractor's Measures 52 to 75"
-msgstr ""
+msgstr "Qtractor の５２から７５小節"
 
 #. Tag: para
 #, no-c-format
-msgid "You already know everything that you need to create this segment, so I will simply explain the artistic reasoning."
-msgstr ""
+msgid ""
+"You already know everything that you need to create this segment, so I will "
+"simply explain the artistic reasoning."
+msgstr "このセグメントを作成するのに必要なことはすべてご存知と思うので、芸術的な理由付けだけを説明します。"
 
 #. Tag: para
 #, no-c-format
-msgid "This corresponds to the \"first variation\" in the audio file. Since variations are based on the theme, the rest of my sections are all somehow based on my theme section. Here, I derived inspiration from the music again: there is a note (generally) every three beats like the theme, but I extended it to take up two beats, at the end of which another note briefly sounds. This is like Beethoven's technique in the first variation. Although I ignored them in the theme, there are small transitions between the inner-sections of Beethoven's theme, and I chose to add them into my first variation (you can see it in Qtractor's measure 69)."
-msgstr ""
+msgid ""
+"This corresponds to the \"first variation\" in the audio file. Since "
+"variations are based on the theme, the rest of my sections are all somehow "
+"based on my theme section. Here, I derived inspiration from the music again:"
+" there is a note (generally) every three beats like the theme, but I "
+"extended it to take up two beats, at the end of which another note briefly "
+"sounds. This is like Beethoven's technique in the first variation. Although "
+"I ignored them in the theme, there are small transitions between the inner-"
+"sections of Beethoven's theme, and I chose to add them into my first "
+"variation (you can see it in Qtractor's measure 69)."
+msgstr ""
+"これはオーディオファイルの \"第１変奏曲 "
+"\"に対応します。変奏は主題に基づくので、私の楽節の残りはすべて私の主題の楽節に、なにかしら基づいています。ここで私はまた、音楽からインスピレーションを得ました。主題と同じようにここでは（ほぼ）３拍ごとに音符があります。しかし私はそれを２拍を占めるように伸ばして、１つの音符の最後で次の音符が続けてすぐに鳴り出すようにしました。これは第１変奏曲でのベートーヴェンの技法と似ています。私は主題では無視しましたが、ベートーヴェンの主題には内側の楽節の間に小さな移調があります。私は自分の第１変奏曲ではそれを加えることにしました。（"
+" Qtractor の６９小節を見てください。）"
 
 #. Tag: title
 #, no-c-format
 msgid "Qtractor's Measures 75 to 97"
-msgstr ""
+msgstr "Qtractor の７５から９７小節"
 
 #. Tag: para
 #, no-c-format
-msgid "This section corresponds to the part that we created in the \"Compose the Next Part\" section above. I decided to combine the idea of this first variation with the idea of that \"Next Part.\" As you see, the result here is much like measures 52 to 75, but with more simultaneous pitches, as in the \"Next Part.\""
+msgid ""
+"This section corresponds to the part that we created in the \"Compose the "
+"Next Part\" section above. I decided to combine the idea of this first "
+"variation with the idea of that \"Next Part.\" As you see, the result here "
+"is much like measures 52 to 75, but with more simultaneous pitches, as in "
+"the \"Next Part.\""
 msgstr ""
+"この楽節は、私たちが以前、\"次のパートを作曲します \"セクションで作成した部分に対応します。私は第１変奏曲のアイデアをその \"次のパート "
+"\"のアイデアと結合させることにしました。ご覧のように、その結果は、５２から７５小節によく似たものですが、\"次のパート "
+"\"のように、より同時の音程が含まれます。"
 
 #. Tag: para
 #, no-c-format
-msgid "At this point, my MIDI accompaniment really begins to take on its own rhythm and personality, competing with the audio file representing Beethoven's idea. Compared to the Beethoven, the randomized pitches of the MIDI part sound child-like and trivial. This might send listeners the message that MIDI is simply trivial and child-like, when compared to \"real classical music,\" and this is a perfectly valid interpretation."
+msgid ""
+"At this point, my MIDI accompaniment really begins to take on its own rhythm"
+" and personality, competing with the audio file representing Beethoven's "
+"idea. Compared to the Beethoven, the randomized pitches of the MIDI part "
+"sound child-like and trivial. This might send listeners the message that "
+"MIDI is simply trivial and child-like, when compared to \"real classical "
+"music,\" and this is a perfectly valid interpretation."
 msgstr ""
+"この時点で私の MIDI "
+"伴奏は本当に独自のリズムと個性を持つようになってきました。それはベートーヴェンのアイデアを表現するオーディオファイルと競い合うものです。ベートーヴェンと比べると"
+" MIDI パートのランダム化された音程は子供っぽくてつまらなく聞こえます。これは、リスナに、MIDI は \"真のクラシック音楽 "
+"\"に比べて、単純につまらなくて子供っぽいというメッセージを送るかもしれません。そしてそれは全く正しい解釈です。"
 
 #. Tag: para
 #, no-c-format
-msgid "However, what I intended to communicate was this: Beethoven wrote a lot of piano music, much of which is still enjoyed by people today. Nobody will ever be able to re-create the magic of Beethoven, and I feel that it would be silly to try; this is why I let the music sound silly, rather than attempting to make it sound serious. I also feel that taking inspiration from composers such as Beethoven is an excellent way to create new art for ourselves, which is why I am deriving certain cues directly from the music (mostly vague stylistic ones), but ignoring others (like the idea that pitches should be somehow organized)."
-msgstr ""
+msgid ""
+"However, what I intended to communicate was this: Beethoven wrote a lot of "
+"piano music, much of which is still enjoyed by people today. Nobody will "
+"ever be able to re-create the magic of Beethoven, and I feel that it would "
+"be silly to try; this is why I let the music sound silly, rather than "
+"attempting to make it sound serious. I also feel that taking inspiration "
+"from composers such as Beethoven is an excellent way to create new art for "
+"ourselves, which is why I am deriving certain cues directly from the music "
+"(mostly vague stylistic ones), but ignoring others (like the idea that "
+"pitches should be somehow organized)."
+msgstr ""
+"しかし、私が言いたかったのはこうです：ベートーヴェンはたくさんのピアノ曲を書き、その多くは今もなお人々に楽しまれています。誰も、ベートーヴェンの魔法を再び繰り返すことはできず、それを試みるのは愚かなことだと私は思います。だから私は自分の音楽をシリアスな響きをさせようとするのでなくて、愚かに聞こえるものにしたのです。また、ベートーヴェンのような作曲家からインスピレーションを得ることは自分たちで新しい芸術を創造するすばらしい方法だと感じます。なので私は、直接音楽からある種のヒント（多くはあいまいな様式上のことです）を得ようとする一方、それ以外のもの（音程はなにかしら組織化されているべきであるという考えなど）を無視するのです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Qtractor's Measure 97"
-msgstr ""
+msgstr "Qtractor の９７小節"
 
 #. Tag: para
 #, no-c-format
-msgid "This is a three-beat transitional passage, which I added for no particular reason but to fill a pause in the audio track."
-msgstr ""
+msgid ""
+"This is a three-beat transitional passage, which I added for no particular "
+"reason but to fill a pause in the audio track."
+msgstr "これは３拍の経過的パッセージで、オーディオトラックの空白を埋めるためにだけの理由で私が加えたものです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Qtractor's Measures 98 to 119"
-msgstr ""
+msgstr "Qtractor の９８から１１９小節"
 
 #. Tag: para
 #, no-c-format
-msgid "I used one new technique while composing this section: copy-and-paste within the matrix editor. You can see this around the beginning of measure 103, where the same pitch-classes are heard simultaneously in a high and low octave. I created the upper register first, then selected the notes that I wanted to copy. I used Control-c and Control-v to create the copy. Like when copy-and-pasting clips in the main window, the cursor icon changes to a clipboard, and an outline of the to-be-pasted material is shown so that you can position it as desired. As you will see, you can paste the copy onto any pitch level, and at any point in the measure. What is kept the same is the pitch intervals between notes and the rhythms between notes."
+msgid ""
+"I used one new technique while composing this section: copy-and-paste within"
+" the matrix editor. You can see this around the beginning of measure 103, "
+"where the same pitch-classes are heard simultaneously in a high and low "
+"octave. I created the upper register first, then selected the notes that I "
+"wanted to copy. I used Control-c and Control-v to create the copy. Like when"
+" copy-and-pasting clips in the main window, the cursor icon changes to a "
+"clipboard, and an outline of the to-be-pasted material is shown so that you "
+"can position it as desired. As you will see, you can paste the copy onto any"
+" pitch level, and at any point in the measure. What is kept the same is the "
+"pitch intervals between notes and the rhythms between notes."
 msgstr ""
+"この楽節を作曲する上で１つの新しい技法を使いました。マトリックスエディタの中でのコピーアンドペーストです。これは１０３小節の最初あたりに見ることができます。そこでは、同じ音程のクラスが高いオクターブと低いオクターブで同時に聞こえます。私は上の音域を先に作って、次にコピーしたい音符を選択しました。Control-c"
+" と Control-v "
+"でコピーを作りました。メインウインドウでクリップをコピーアンドペーストするときと同じように、カーソルのアイコンはクリップボートに変わり、ペーストされるもののアウトラインが示されるので、望みのところに位置づけることができます。ご覧になってわかるように、コピーは、どの音程レベルにも、小節のどの場所にもペーストできます。同じに保たれるのは、音符間の音程の差と、音符間のリズムです。"
 
 #. Tag: para
 #, no-c-format
-msgid "I also used the copy-and-paste technique with the three stepwise-descending-notes figure in this passage. After building the initial note of each set of four, I randomized those, and copy-and-pasted the three descending notes after. This way, I was able to randomize part of the melody, but avoid randomizing another part."
+msgid ""
+"I also used the copy-and-paste technique with the three stepwise-descending-"
+"notes figure in this passage. After building the initial note of each set of"
+" four, I randomized those, and copy-and-pasted the three descending notes "
+"after. This way, I was able to randomize part of the melody, but avoid "
+"randomizing another part."
 msgstr ""
+"私はコピーアンドペースト技術をこのパッセージにある、３つの階段的に下降する音符の音型においても使いました。４つの組からなる最初の音符を作成して、それらをランダム化して、後から３つの下降する音符をコピーアンドペーストしました。このようにして、メロディの一部をランダム化して、残りをランダムにしないようにできました。"
 
 #. Tag: para
 #, no-c-format
-msgid "In this passage, I kept the \"a note followed by three beats of rest\" idea, then added onto the melody by taking two cues from the audio file. The first was the increasing surface rhythm of the upper part, which gave rise to the \"three-descending-notes\" figures. The second was the fact that the chords are still going on underneath that melody, so I added a second randomized set of notes underneath my upper part. At the end of the passage I continued the trend that I started with a finishing flourish that picks up sustained notes."
-msgstr ""
+msgid ""
+"In this passage, I kept the \"a note followed by three beats of rest\" idea,"
+" then added onto the melody by taking two cues from the audio file. The "
+"first was the increasing surface rhythm of the upper part, which gave rise "
+"to the \"three-descending-notes\" figures. The second was the fact that the "
+"chords are still going on underneath that melody, so I added a second "
+"randomized set of notes underneath my upper part. At the end of the passage "
+"I continued the trend that I started with a finishing flourish that picks up"
+" sustained notes."
+msgstr ""
+"このパッセージで私は、\"１音と続く３拍の休止 "
+"\"のアイデアを続けました。そして、オーディオファイルから２つのヒントを得てメロディを追加しました。最初のは、上声部の増大する表面のリズムで、それが "
+"\"下降する３音 "
+"\"音型を生みます。２つめはそのメロディの下で和音は依然として進行しているという事実で、私は自分の上声部の下に２つめのランダム化された音符のセットを加えました。パッセージの終わりで私は、私が開始した潮流を継続し、最後のファンファーレで続いている音を回収するようにしました。"
 
 #. Tag: title
 #, no-c-format
 msgid "Qtractor's Measures 119 to 139"
-msgstr ""
+msgstr "Qtractor の１１９から１３９小節"
 
 #. Tag: para
 #, no-c-format
-msgid "This passage does not introduce new techniques, but uses some trick manipulation of volume that are explained at the end of the section."
-msgstr ""
+msgid ""
+"This passage does not introduce new techniques, but uses some trick "
+"manipulation of volume that are explained at the end of the section."
+msgstr "このパッセージは新しい技術を導入しません。セクションの最後で説明されるボリューム操作のトリックを使うだけです。"
 
 #. Tag: para
 #, no-c-format
-msgid "This passage sounds much busier because I increased the space between primary notes from three beats to two. I divided the octaves into four approximate ranges. The lowest has randomized pitches lasting one beat, which begin on beats that don't have a \"primary note.\" There is no parallel in Beethoven's music at this point."
+msgid ""
+"This passage sounds much busier because I increased the space between "
+"primary notes from three beats to two. I divided the octaves into four "
+"approximate ranges. The lowest has randomized pitches lasting one beat, "
+"which begin on beats that don't have a \"primary note.\" There is no "
+"parallel in Beethoven's music at this point."
 msgstr ""
+"このパッセージはずっと忙しく聞こえることでしょう。私が主な音符の間の空白を３拍から２拍にしたためです。私はオクターブをほぼ４つの同じ大きさの範囲に区切りました。最も低いものは"
+" \"主な音 \"がない拍で始まって１拍続くランダム化された音を持ちます。この点については、ベートーヴェンの音楽との対応はありません。"
 
 #. Tag: para
 #, no-c-format
-msgid "The next higher range is meant to mirror the melody in this part of the audio file, which is slightly lower than it was before. The highest range is connected to this, because Beethoven wrote some parts of the melody much higher than the other parts."
+msgid ""
+"The next higher range is meant to mirror the melody in this part of the "
+"audio file, which is slightly lower than it was before. The highest range is"
+" connected to this, because Beethoven wrote some parts of the melody much "
+"higher than the other parts."
 msgstr ""
+"次に高い範囲はオーディオファイルのこの部分のメロディ、それは以前より少し低くなっています、をなぞるためのものです。最も上の範囲はこれにつながっています。ベートーヴェンがメロディの一部を他の部分よりずっと高く書いたためです。"
 
 #. Tag: para
 #, no-c-format
-msgid "The second-highest range reflects the quickly-moving accompaniment part in the upper register of the piano."
-msgstr ""
+msgid ""
+"The second-highest range reflects the quickly-moving accompaniment part in "
+"the upper register of the piano."
+msgstr "２番目に高い範囲は、ピアノの上の方の音域の早く動く伴奏声部を反映します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Sorting out the volumes for this passage posed a small challenge, because of the much greater number of notes than in previous passages. Thankfully, the parts are mostly well-separated from each other in the matrix editor. I was able to use click-and-drag selection to select each range separately, and adjust its volume using both the \"Resize MIDI\" tool and Control-drag in the volume adjustment space at the bottom of the matrix editor window."
+msgid ""
+"Sorting out the volumes for this passage posed a small challenge, because of"
+" the much greater number of notes than in previous passages. Thankfully, the"
+" parts are mostly well-separated from each other in the matrix editor. I was"
+" able to use click-and-drag selection to select each range separately, and "
+"adjust its volume using both the \"Resize MIDI\" tool and Control-drag in "
+"the volume adjustment space at the bottom of the matrix editor window."
 msgstr ""
+"このパッセージのボリュームを整理するのは小さな挑戦でした。今までのパッセージと比べてとてもたくさんの音符があるからです。ありがたいことに、声部はマトリックスエディタで互いにほとんど分かれています。私はそれぞれの範囲を別々にクリックアンドドラッグで選択して、ボリュームを、\"Resize"
+" MIDI\"ツールと、マトリックスエディタウインドウの下部のボリューム調整スペースでコントロール、ドラッグすることで調整することができました。"
 
 #. Tag: para
 #, no-c-format
-msgid "My sustained-note flourish at the end of this passage was a feeble attempt to establish A Major tonality in the highest register that I used."
-msgstr ""
+msgid ""
+"My sustained-note flourish at the end of this passage was a feeble attempt "
+"to establish A Major tonality in the highest register that I used."
+msgstr "このパッセージの最後の連続する音のファンファーレは、私の使った最も高い音域に、イ長調の調性を確立しようとするかすかな試みです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Qtractor's Measures 139 to 158"
-msgstr ""
+msgstr "Qtractor の１３９から１５８小節"
 
 #. Tag: para
 #, no-c-format
 msgid "There are no new techniques used in this section.\\"
-msgstr ""
+msgstr "この楽節で使われる新しい技術はありません。"
 
 #. Tag: para
 #, no-c-format
-msgid "We maintained two-beat spacing of primary notes, and began with only two/three registers. The lowest register is just an occasional reinforcement of the uppermost, as in the audio file at this point. We used copy-and-pasting to create the quickly-moving middle line."
+msgid ""
+"We maintained two-beat spacing of primary notes, and began with only "
+"two/three registers. The lowest register is just an occasional reinforcement"
+" of the uppermost, as in the audio file at this point. We used copy-and-"
+"pasting to create the quickly-moving middle line."
 msgstr ""
+"主な音は２拍の間隔を維持してきました。そして、ただ２あるいは３の音域から始めました。最も低い音域はこの時点のオーディオファイルと同じように、最も高い音域のただの気まぐれな強化です。早く動いている中間ラインを作成するために、コピーアンドペーストを使いました。"
 
 #. Tag: para
 #, no-c-format
-msgid "As the section progresses, the middle line gains a simultaneous addition. This eventually becomes more adventurous, at first jumping into a very high register, then leading downwards towards its place in the next section, in the lowest register."
+msgid ""
+"As the section progresses, the middle line gains a simultaneous addition. "
+"This eventually becomes more adventurous, at first jumping into a very high "
+"register, then leading downwards towards its place in the next section, in "
+"the lowest register."
 msgstr ""
+"楽節が進むにつれ、中間ラインは同時の追加を得ていきます。これは最後にはずっと冒険的になり、まずずっと高い音域へジャンプし、そして次の楽節でそれが占める位置、最低部の音域に下降していきます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Qtractor's Measures 158 to 176"
-msgstr ""
+msgstr "Qtractor の１５８から１７６小節"
 
 #. Tag: para
 #, no-c-format
-msgid "There are no new techniques in this section. I made extensive use of copy-and-pasting, and especially of partial randomization: adding the first note of a flourish, randomizing it, then copy-and-pasting the rest of the flourish into place at the appropriate pitch-level."
+msgid ""
+"There are no new techniques in this section. I made extensive use of copy-"
+"and-pasting, and especially of partial randomization: adding the first note "
+"of a flourish, randomizing it, then copy-and-pasting the rest of the "
+"flourish into place at the appropriate pitch-level."
 msgstr ""
+"この楽節では新しい技術はありません。私はコピーアンドペースト、特に部分的なランダム化の、をたくさん使いました。ファンファーレの最初の音を加えて、ランダム化し、ファンファーレの残りの部分を適当な音程の場所にコピーアンドペーストします。"
 
 #. Tag: para
 #, no-c-format
-msgid "At this point, I had basically dropped any obvious reference to my theme, as happens in the Beethoven score. Of course, its influence is still there: every four beats, my middle voice repeats the same pitches, and sustains them for the next four beats. Also, the upper voice in my part shares the same sort of \"single repeated pitch\" idea that makes up Beethoven's upper voice. There is also a weak rhythmic similarity between the two."
+msgid ""
+"At this point, I had basically dropped any obvious reference to my theme, as"
+" happens in the Beethoven score. Of course, its influence is still there: "
+"every four beats, my middle voice repeats the same pitches, and sustains "
+"them for the next four beats. Also, the upper voice in my part shares the "
+"same sort of \"single repeated pitch\" idea that makes up Beethoven's upper "
+"voice. There is also a weak rhythmic similarity between the two."
 msgstr ""
+"この時点で、私は基本的に、主題へのあらわな参照をすべてやめます。それは、ベートーヴェンの楽譜でも起きることです。もちろん、その影響はまだそこにあります。４拍ごとに、私の中間声部は同じ音程を繰り返し、次の４拍の間、保持します。さらに、私の上声部はベートーヴェンの上声部を形づくる、\"単一の繰り返される音程"
+" \"のアイデアを共用します。これら２つには、弱いリズムの上の類似性もあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Near the end of the first sub-section (measures 164-166 inclusive), I included a long, downward 12-tone scale, which was inspired by the much smaller downward scale in Beethoven's piece."
+msgid ""
+"Near the end of the first sub-section (measures 164-166 inclusive), I "
+"included a long, downward 12-tone scale, which was inspired by the much "
+"smaller downward scale in Beethoven's piece."
 msgstr ""
+"最初のサブセクションの終わり近く、（１６４小節から１６６まで）私は、長い下降する１２音音階を加えましたが、これはベートーヴェンの作品にあるずっと小さい下降する音階に触発されたものです。"
 
 #. Tag: para
 #, no-c-format
-msgid "The next sub-section is an exact repeat of ideas, but with different pitches, a smaller pitch range, and a slightly different ending."
-msgstr ""
+msgid ""
+"The next sub-section is an exact repeat of ideas, but with different "
+"pitches, a smaller pitch range, and a slightly different ending."
+msgstr "次のサブセクションはアイデアの正確な繰り返しです。ただし、異なる音程、より小さい音程の範囲、そして少し異なるエンディングを持ちます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Qtractor's Measures 177 to the End"
-msgstr ""
+msgstr "Qtractor の１７７小節から終わり"
 
 #. Tag: para
 #, no-c-format
 msgid "There are no new techniques used in this section."
-msgstr ""
+msgstr "この楽節で使われる新しい技術はありません。"
 
 #. Tag: para
 #, no-c-format
-msgid "This part of piece was intended to mirror Beethoven's score quite obviously. The only real bit of trickery that I played was looking at Beethoven's score, and incorporating particular notes: the chord in measure 212 is composed of the same pitches that are used in the chord in the audio file in measure 210. It sounds very different because of the \"real piano vs. MIDI piano\" issue, and because the tuning of the piano in the recording is different than the tuning of the MIDI piano. Also, the chord in the second beat of measure 213 is the first chord of the movement following the one recorded in the audio file. By including this (then \"resolving\" it, then re-introducing it), I intend to play with the expectations of a listener that may already be familiar with Beethoven's sonata."
-msgstr ""
+msgid ""
+"This part of piece was intended to mirror Beethoven's score quite obviously."
+" The only real bit of trickery that I played was looking at Beethoven's "
+"score, and incorporating particular notes: the chord in measure 212 is "
+"composed of the same pitches that are used in the chord in the audio file in"
+" measure 210. It sounds very different because of the \"real piano vs. MIDI "
+"piano\" issue, and because the tuning of the piano in the recording is "
+"different than the tuning of the MIDI piano. Also, the chord in the second "
+"beat of measure 213 is the first chord of the movement following the one "
+"recorded in the audio file. By including this (then \"resolving\" it, then "
+"re-introducing it), I intend to play with the expectations of a listener "
+"that may already be familiar with Beethoven's sonata."
+msgstr ""
+"作品のこの部分は、ベートーヴェンの楽譜をとても明らかになぞるように意図されています。私が遊んだただ１つのトリックは、ベートーヴェンの楽譜を見て、そこからいくつかの音符を組み入れたことです：２１２小節の和音は、オーディオファイルの２１０小節の和音で使われる同じ音程から合成されたものです。それは、\"本物のピアノ対"
+" MIDI ピアノ \"の理由でとても異なって聞こえます。さらに、録音時のピアノの調律が MIDI "
+"ピアノの調律と異なるためでもあります。また、２１３小節の２拍めの和音は、楽章の最初の和音であり、オーディオファイルに録音されているものに従ったものです。これを含める（それを"
+" \"溶解させ \"、次に再導入する。）ことで、ベートーヴェンのソナタをよくご存知のリスナの期待と戯れさせてもらったということです。"
+
+
diff --git a/ja-JP/Real_Time_and_Low_Latency.po b/ja-JP/Real_Time_and_Low_Latency.po
index 70c992f..eda854e 100644
--- a/ja-JP/Real_Time_and_Low_Latency.po
+++ b/ja-JP/Real_Time_and_Low_Latency.po
@@ -1,129 +1,313 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-09-08T03:01:42\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-06-12 09:56+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "Real-Time and Low Latency"
-msgstr ""
+msgstr "リアルタイムと低遅延"
 
 #. Tag: para
 #, no-c-format
-msgid "It is perhaps a common perception that computers can compute things instantaneously. Anybody who has ever waited for a web page to load has first-hand experience that this is not the case: computers take time to do things, even if the amount of time is often imperceptible to human observers. Moreover, a computer doing one thing can seem like it's acting nearly instantaneously, but a computer doing fifteen things will have a more difficult time keeping up appearances."
+msgid ""
+"It is perhaps a common perception that computers can compute things "
+"instantaneously. Anybody who has ever waited for a web page to load has "
+"first-hand experience that this is not the case: computers take time to do "
+"things, even if the amount of time is often imperceptible to human "
+"observers. Moreover, a computer doing one thing can seem like it's acting "
+"nearly instantaneously, but a computer doing fifteen things will have a more"
+" difficult time keeping up appearances."
 msgstr ""
+"コンピュータは即時に計算ができるというのは、たぶん、一般的な考え方でしょう。ウエブページがロードされるのを待ったことのある人なら誰でもこれが正しくないと経験から知っていることでしょう。コンピュータは何かをするのに時間がかかります。多くの場合、見ている人にとって、時間の合計は感知できないほどであっても、です。さらに、１つのことをしているコンピュータはほとんど即時にそれをしているように見えるでしょうが、１５のことをしているコンピュータは即時にそれをしているように見せるのはずっと大変です。"
 
 #. Tag: title
 #, no-c-format
 msgid "Why Low Latency Is Desirable"
-msgstr ""
+msgstr "低遅延がなぜ望ましいか"
 
 #. Tag: para
 #, no-c-format
-msgid "When computer audio specialists talk about a computer acting in <firstterm>real-time</firstterm>, they mean that it is acting with only an imperceptible delay. A computer cannot act on something instantaneously, and the amount of waiting time between an input and its output is called <firstterm>latency</firstterm>. In order for the delay between input and output to be perceived as non-existant (in other words, for a computer to \"react in real-time,\") the latency must be low."
+msgid ""
+"When computer audio specialists talk about a computer acting in <firstterm"
+">real-time</firstterm>, they mean that it is acting with only an "
+"imperceptible delay. A computer cannot act on something instantaneously, and"
+" the amount of waiting time between an input and its output is called "
+"<firstterm>latency</firstterm>. In order for the delay between input and "
+"output to be perceived as non-existant (in other words, for a computer to "
+"\"react in real-time,\") the latency must be low."
 msgstr ""
+"コンピュータオーディオの専門家がコンピュータが <firstterm> リアルタイム </firstterm> "
+"で動作するというとき、それは、ほとんど感知できない遅延で動作している、ということです。コンピュータは何かを一瞬で行うことはできず、入力とその出力を待つ時間のことを"
+" <firstterm> レーテンシー、遅延 </firstterm> "
+"と呼びます。入力と出力の間の遅れが存在しないように知覚される、（別の言葉で言うとコンピュータが \"リアルタイムで応答する "
+"\"）ためには、遅延は小さくなければいけません。"
 
 #. Tag: para
 #, no-c-format
-msgid "For periodic tasks, like processing audio (which has a consistently recurring amount of data per second), low latency is desirable, but <emphasis>consistent</emphasis> latency is usually more important. Think of it like this: years ago in North America, milk was delivered to homes by a dedicated delivery person. Imagine if the milk delivery person had a medium-latency, but consistent schedule, returning every seven days. You would be able to plan for how much milk to buy, and to limit your intake so that you don't run out too soon. Now imagine if the milk delivery person had a low-latency, but inconsistent schedule, returning every one to four days. You would never be sure how much milk to buy, and you wouldn't know how to limit yourself. Sometimes there would be too much milk, and sometimes you would run out. Audio-processing and synthesis software behaves in a similar way: if it has a consistent amount of latency, it can plan accordingly. If it has an inconsistent a
 mount of latency - whether large or small - there will sometimes be too much data, and sometimes not enough. If your application runs out of audio data, there will be noise or silence in the audio signal - both bad things."
+msgid ""
+"For periodic tasks, like processing audio (which has a consistently "
+"recurring amount of data per second), low latency is desirable, but "
+"<emphasis>consistent</emphasis> latency is usually more important. Think of "
+"it like this: years ago in North America, milk was delivered to homes by a "
+"dedicated delivery person. Imagine if the milk delivery person had a medium-"
+"latency, but consistent schedule, returning every seven days. You would be "
+"able to plan for how much milk to buy, and to limit your intake so that you "
+"don't run out too soon. Now imagine if the milk delivery person had a low-"
+"latency, but inconsistent schedule, returning every one to four days. You "
+"would never be sure how much milk to buy, and you wouldn't know how to limit"
+" yourself. Sometimes there would be too much milk, and sometimes you would "
+"run out. Audio-processing and synthesis software behaves in a similar way: "
+"if it has a consistent amount of latency, it can plan accordingly. If it has"
+" an inconsistent amount of latency - whether large or small - there will "
+"sometimes be too much data, and sometimes not enough. If your application "
+"runs out of audio data, there will be noise or silence in the audio signal -"
+" both bad things."
 msgstr ""
+"オーディオ処理（それは毎秒、一貫して繰り替えされる量のデータを持ちます）のように、周期的な作業にとって、低遅延は望ましいことですが、<emphasis>"
+" 一貫した </emphasis> "
+"遅延であることが、通常はより重要です。このように考えてください：ずっと昔、北アメリカでは牛乳は専門の配達員によって家庭に配られました。牛乳配達員は中くらいの遅延を持ちますが一貫したスケジュールを持ち、7"
+" "
+"日に１回、まわってくると考えてください。あなたは牛乳をどれだけ買うか、計画することができ、すぐになくならないように飲むのをひかえることもできます。さて、牛乳配達員が、低遅延ですが、一貫しないスケジュールを持ち、１日から４日でまわってくるものとしましょう。あなたは牛乳をどれだけ買うか、どのように飲むのをひかえるか、全く見当がつかないでしょう。あるときは牛乳がありすぎ、あるときは底をついてしまいます。オーディオ処理と生成ソフトウエアはこのように振る舞います。もし、遅延の量が一貫していれば、それにしたがって計画できます。遅延が一貫していないとき、それが大きくても小さくても、ときにはデータが多すぎたり、ときには不足したりします。もし、アプリケーションがオーデã
 ‚£ã‚ªãƒ‡ãƒ¼ã‚¿ã«ä¸è¶³ã™ã‚‹ã¨ã€ã‚ªãƒ¼ãƒ‡ã‚£ã‚ªä¿¡å·ã®ä¸­ã«é›‘音か、静寂が生まれ、いずれも、よいものではありません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Relatively low latency is still important, so that your computer reacts imperceptibly quickly to what's going on. The point is that the difference between an 8&nbsp;ms target latency and a 16&nbsp;ms target latency is almost certainly imperceptible to humans, but the higher latency may help your computer to be more consistent - and that's more important."
+msgid ""
+"Relatively low latency is still important, so that your computer reacts "
+"imperceptibly quickly to what's going on. The point is that the difference "
+"between an 8&nbsp;ms target latency and a 16&nbsp;ms target latency is "
+"almost certainly imperceptible to humans, but the higher latency may help "
+"your computer to be more consistent - and that's more important."
 msgstr ""
+"ある程度、低遅延であることは重要です。あなたのコンピュータが、今起きていることに、気がつかないほど迅速に反応できるためです。重要なのは、8&nbsp;ms"
+" の遅延と 16&nbsp;ms "
+"の遅延は人間にとってほとんど区別できないのに比べて、大きな遅延を許せば、コンピュータはより一貫した動作ができ、そちらの方がより重要だということです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Processor Scheduling"
-msgstr ""
+msgstr "プロセッサスケジューリング"
 
 #. Tag: para
 #, no-c-format
-msgid "If you've ever opened the \"System Monitor\" application, you will probably have noticed that there are a lot of \"processes\" running all the time. Some of these processes need the processor, and some of them are just waiting around for something to happen. To help increase the number of processes that can run at the same time, many modern CPUs have more than one \"core,\" which allows for more processes to be evaluated at the same time. Even with these improvements, there are usually more processes than available cores: my computer right now has 196 processes and only three cores. There has to be a way of decided which process gets to run and when, and this task is left to the operating system."
+msgid ""
+"If you've ever opened the \"System Monitor\" application, you will probably "
+"have noticed that there are a lot of \"processes\" running all the time. "
+"Some of these processes need the processor, and some of them are just "
+"waiting around for something to happen. To help increase the number of "
+"processes that can run at the same time, many modern CPUs have more than one"
+" \"core,\" which allows for more processes to be evaluated at the same time."
+" Even with these improvements, there are usually more processes than "
+"available cores: my computer right now has 196 processes and only three "
+"cores. There has to be a way of decided which process gets to run and when, "
+"and this task is left to the operating system."
 msgstr ""
+"\"システムモニタ \"アプリケーションを開いたことがおありなら、いつもたくさんの \"プロセス "
+"\"が動いていることに気がつかれたでしょう。これらのうちのいくつかのプロセスは、プロセッサを必要とし、いくつかはただ、何かが起きるのを待っています。一度に走ることのできるプロセスの数を増やすために多くの現代の"
+" CPU は１つ以上の \"コア "
+"\"を持ち、一度により多くのプロセスが評価されることができます。この改善があっても、プロセスの数は存在するコアの数より多いのが普通です。私のコンピュータは今、１９６プロセスと、たった３つのコアを持ちます。どのプロセスが、いつ、実行する機会を得るかを決める手段が必要で、この仕事はオペレーティングシステムに任されています。"
+" "
 
 #. Tag: para
 #, no-c-format
-msgid "In Linux systems like Fedora Linux, the core of the operating system (called the <firstterm>kernel</firstterm>) is responsible for deciding which process gets to execute at what time. This responsibility is called \"scheduling.\" Scheduling access to the processor is called, <firstterm>processor scheduling</firstterm>. The kernel also manages scheduling for a number of other things, like memory access, video hardware access, audio hardware access, hard drive access, and so on. The algorithm (procedure) used for each of these scheduling tasks is different for each, and can be changed depending on the user's needs and the specific hardware being used. In a hard drive, for example, it makes sense to consider the physical location of data on a disk before deciding which process gets to read first. For a processor this is irrelevant, but there are many other things to consider."
+msgid ""
+"In Linux systems like Fedora Linux, the core of the operating system (called"
+" the <firstterm>kernel</firstterm>) is responsible for deciding which "
+"process gets to execute at what time. This responsibility is called "
+"\"scheduling.\" Scheduling access to the processor is called, "
+"<firstterm>processor scheduling</firstterm>. The kernel also manages "
+"scheduling for a number of other things, like memory access, video hardware "
+"access, audio hardware access, hard drive access, and so on. The algorithm "
+"(procedure) used for each of these scheduling tasks is different for each, "
+"and can be changed depending on the user's needs and the specific hardware "
+"being used. In a hard drive, for example, it makes sense to consider the "
+"physical location of data on a disk before deciding which process gets to "
+"read first. For a processor this is irrelevant, but there are many other "
+"things to consider."
 msgstr ""
+"Fedora Linux のような Linux システムでは、オペレーティングシステムの中心、（ <firstterm> カーネル "
+"</firstterm> と呼ばれます ) は、どのプロセスがいつ実行する機会を得るかを決める権限を持ちます。この権限は、\"スケジューリング "
+"\"と呼ばれます。プロセッサへのアクセスをスケジュールすることは <firstterm> プロセッサスケジューリング </firstterm> "
+"と呼ばれます。カーネルは、多くの他のもののスケジューリングも行います。例えば、メモリアクセス、ビデオハードウエアアクセス、オーディオハードウエアアクセス、ハードディスクアクセス、などです。これらのスケジューリング作業で使われるアルゴリズム"
+" ( 手続き ) "
+"はそれぞれ異なり、ユーザの要求と使われるハードウエアによって、変えることもできます。例えば、ハードディスクは、どのプロセスが最初に読み出しができるかを決めるのに、ディスク上のデータの位置を考慮するのが妥当です。プロセッサの場合、これは無関係ですが、他に考慮すべきことがたくさんあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "There are a number of scheduling algorithms that are available with the standard Linux kernel, and for most uses, a \"fair queueing\" system is appropriate. This helps to ensure that all processes get an equal amount of time with the processor, and it's unacceptable for audio work. If you're recording a live concert, and the \"PackageKit\" update manager starts, you don't care if PackageKit gets a fair share of processing time - it's more important that the audio is recorded as accurately as possible. For that matter, if you're recording a live concert, and your computer isn't fast enough to update the monitor, keyboard, and mouse position while providing uninterrupted, high-quality audio, you want the audio instead of the monitor, keyboard, and mouse. After all, once you've missed even the smallest portion of audio, it's gone for good!"
+msgid ""
+"There are a number of scheduling algorithms that are available with the "
+"standard Linux kernel, and for most uses, a \"fair queueing\" system is "
+"appropriate. This helps to ensure that all processes get an equal amount of "
+"time with the processor, and it's unacceptable for audio work. If you're "
+"recording a live concert, and the \"PackageKit\" update manager starts, you "
+"don't care if PackageKit gets a fair share of processing time - it's more "
+"important that the audio is recorded as accurately as possible. For that "
+"matter, if you're recording a live concert, and your computer isn't fast "
+"enough to update the monitor, keyboard, and mouse position while providing "
+"uninterrupted, high-quality audio, you want the audio instead of the "
+"monitor, keyboard, and mouse. After all, once you've missed even the "
+"smallest portion of audio, it's gone for good!"
 msgstr ""
+"標準の Linux カーネルで使うことのできるスケジューリングアルゴリズムはたくさんありますが、ほとんどのユーザにとって、\"フェアキューイング "
+"\"システムが適当です。これは、すべてのプロセスがプロセッサの等しい量の時間を得ることを保証します。これは、オーディオ作業には向きません。もしあなたがライブコンサートを録音しており、\"PackageKit\"の更新マネージャが開始したとき、PackageKit"
+" "
+"が平等なプロセッサ時間を得るかはどうでもよいでしょう。オーディオができる限り正確に録音されることがずっと重要です。さらに、あなたがライブコンサートを録音しており、あなたのコンピュータが、中断されない、高品質のオーディオを提供する一方、モニター、キーボード、マウスを更新するだけの速さを持たない場合、あなたはモニタ、キーボード、マウスの代わりに、オーディオを望むでしょう。実際、あなたがオーディオのとても小さな部分を見逃したとしたら、それは永遠に失われてしまうのです。"
 
 #. Tag: title
 #, no-c-format
 msgid "The Real-Time Linux Kernel"
-msgstr ""
+msgstr "リアルタイム Linux カーネル"
 
 #. Tag: para
 #, no-c-format
-msgid "There is a \"real-time patch\" for the Linux kernel which enables the processor to unfairly schedule certain processes that ask for higher priority. Although the term \"patch\" may make it seem like this is just a partial solution, it really refers to the fact that the programming code used to enable this kind of unfair scheduling is not included in standard kernels; the standard kernel code must have this code \"patched\" into it."
+msgid ""
+"There is a \"real-time patch\" for the Linux kernel which enables the "
+"processor to unfairly schedule certain processes that ask for higher "
+"priority. Although the term \"patch\" may make it seem like this is just a "
+"partial solution, it really refers to the fact that the programming code "
+"used to enable this kind of unfair scheduling is not included in standard "
+"kernels; the standard kernel code must have this code \"patched\" into it."
 msgstr ""
+"Linux カーネルの \"リアルタイムパッチ "
+"\"があり、それは高い優先度を要求するあるプロセスを、プロセッサが非平等にスケジュールするのを可能とします。\"パッチ "
+"\"という言葉は、これがほんの部分的なソリューションであるかのように聞こえますが、実のところは、この種の非平等なスケジューリングを可能とするプログラムコードは標準のカーネルには含まれていない事実を意味します。標準のカーネルコードは、このコードを"
+" \"つぎあて \"されないといけないのです。"
 
 #. Tag: para
 #, no-c-format
-msgid "The default behaviour of a real-time kernel is still to use the \"fair queueing\" system by default. This is good, because most processes don't need to have consistently low latencies. Only specific processes are designed to request high-priority scheduling. Each process is given (or asks for) a priority number, and the real-time kernel will always give processing time to the process with the highest priority number, even if that process uses up <emphasis>all</emphasis> of the available processing time. This puts regular applications at a disadvantage: when a high-priority process is running, the rest of the system may be unable to function properly. In extreme (and very rare!) cases, a real-time process can encounter an error, use up all the processing time, and disallow any other process from running - effectively locking you out of your computer. Security measures have been taken to help ensure this doesn't happen, but as with anything, there is no guarantee. If yo
 u use a real-time kernel, you are exposing yourself to a slightly higher risk of system crashes."
+msgid ""
+"The default behaviour of a real-time kernel is still to use the \"fair "
+"queueing\" system by default. This is good, because most processes don't "
+"need to have consistently low latencies. Only specific processes are "
+"designed to request high-priority scheduling. Each process is given (or asks"
+" for) a priority number, and the real-time kernel will always give "
+"processing time to the process with the highest priority number, even if "
+"that process uses up <emphasis>all</emphasis> of the available processing "
+"time. This puts regular applications at a disadvantage: when a high-priority"
+" process is running, the rest of the system may be unable to function "
+"properly. In extreme (and very rare!) cases, a real-time process can "
+"encounter an error, use up all the processing time, and disallow any other "
+"process from running - effectively locking you out of your computer. "
+"Security measures have been taken to help ensure this doesn't happen, but as"
+" with anything, there is no guarantee. If you use a real-time kernel, you "
+"are exposing yourself to a slightly higher risk of system crashes."
 msgstr ""
+"リアルタイムカーネルのデフォルト動作は、やはり、\"フェアキューイング "
+"\"をデフォルトで使うというものです。これは、ほとんどのプロセスは一貫した低遅延を必要としないので、よいことです。特別なプロセスだけが、高優先度のスケジューリングを要求するように設計されます。各プロセスは優先度番号を与えられ、（あるいは要求し、）リアルタイムカーネルは常にプロセッサ時間を最も高い優先度番号を持つプロセスに与えます。そのプロセスが、<emphasis>"
+" すべての </emphasis> "
+"プロセッサ時間を使い尽くすとしてもです。これは、通常のアプリケーションに不利になります。高優先度のプロセスが走っている時は、残りのシステムは正しく動作することができないことがあります。極端な（そしてとてもまれな！）場合、リアルタイムプロセスがエラーになって、すべてのプロセッサ時間を使い尽くして、他のプロセスが走るのを禁止する、つまりあなたをコンピュータからロックアウトすることがあります。こんなことが起きないように防止措置がとられていますが、よくあるように、保証はありません。あなたがリアルタイムカーネルを使うとき、あなたはシステムクラッシュのより高い危険に自らをさらしているのです。"
 
 #. Tag: para
 #, no-c-format
-msgid "A real-time kernel should not be used on a computer that acts as a server, for these reasons."
-msgstr ""
+msgid ""
+"A real-time kernel should not be used on a computer that acts as a server, "
+"for these reasons."
+msgstr "その理由から、リアルタイムカーネルは、サーバとして動作するコンピュータでは使うべきでありません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Hard and Soft Real-Time"
-msgstr ""
+msgstr "ハードとソフトリアルタイム"
 
 #. Tag: para
 #, no-c-format
-msgid "Finally, there are two different kinds of real-time scheduling. The Linux kernel, even at its most extreme, uses only <firstterm>soft real-time</firstterm>. This means that, while processor and other scheduling algorithms may be optimized to give preference to higher-priority processes, no absolute guarantee of performance can be made. A real-time kernel helps to greatly reduce the chance of an audio process running out of data, but sometimes it can still happen."
+msgid ""
+"Finally, there are two different kinds of real-time scheduling. The Linux "
+"kernel, even at its most extreme, uses only <firstterm>soft real-"
+"time</firstterm>. This means that, while processor and other scheduling "
+"algorithms may be optimized to give preference to higher-priority processes,"
+" no absolute guarantee of performance can be made. A real-time kernel helps "
+"to greatly reduce the chance of an audio process running out of data, but "
+"sometimes it can still happen."
 msgstr ""
+"最後に、リアルタイムスケジューリングには２つの異なる種類があります。Linux カーネルは、最も極端な場合でも <firstterm> "
+"ソフトリアルタイム </firstterm> "
+"しか使いません。この意味するところは、プロセッサと他のスケジューリングアルゴリズムが、高優先度のプロセスを優先するように最適化されているとしても、絶対的な動作時間の保証はないということです。リアルタイムカーネルはオーディオプロセスが、データを失う機会をおおいに減らすことに役立ちますが、ときにはそれがやはり起きることもあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "A <firstterm>hard real-time</firstterm> computer is designed for specialized purposes, where even the smallest amount of latency can make the difference between life and death. These systems are implemented in hardware as well as software. Example uses include triggering airbag deployment in automobile crashes, and monitoring the heart rate of a patient during an operation. These computers are not particularly multi-functional, which is part of their means to accomplishing a guaranteed low latency."
+msgid ""
+"A <firstterm>hard real-time</firstterm> computer is designed for specialized"
+" purposes, where even the smallest amount of latency can make the difference"
+" between life and death. These systems are implemented in hardware as well "
+"as software. Example uses include triggering airbag deployment in automobile"
+" crashes, and monitoring the heart rate of a patient during an operation. "
+"These computers are not particularly multi-functional, which is part of "
+"their means to accomplishing a guaranteed low latency."
 msgstr ""
+"<firstterm> ハードリアルタイム </firstterm> "
+"コンピュータは、ほんのわずかの遅延が、生と死の違いを引き起こすような特別な用途のために設計されたものです。これらのシステムはハードウエアあるいはソフトウエアで実装されています。自動車事故の時にエアバッグを展開するもの、手術中に患者の脈拍をモニタするもの、などの例があります。これらのコンピュータは多機能ではなく、それが保証された低遅延を実現できる理由の１つでもあります。"
 
 #. Tag: title
 #, no-c-format
 msgid "Getting a Real-Time Kernel in Fedora Linux"
-msgstr ""
+msgstr "Fedora Linux でリアルタイムカーネルを得る"
 
 #. Tag: para
 #, no-c-format
-msgid "In Fedora Linux, the real-time kernel is provided by the Planet CCRMA at Home software repositories. Along with the warnings in the Planet CCRMA at Home chapter (see <xref linkend=\"sect-Musicians_Guide-CCRMA_Security_and_Stability\" />), here is one more to consider: the real-time kernel is used by fewer people than the standard kernel, so it is less well-tested. The changes of something going wrong are relatively low, but be aware that using a real-time kernel increases the level of risk. Always leave a non-real-time option available, in case the real-time kernel stops working."
+msgid ""
+"In Fedora Linux, the real-time kernel is provided by the Planet CCRMA at "
+"Home software repositories. Along with the warnings in the Planet CCRMA at "
+"Home chapter (see <xref linkend=\"sect-Musicians_Guide-"
+"CCRMA_Security_and_Stability\" />), here is one more to consider: the real-"
+"time kernel is used by fewer people than the standard kernel, so it is less "
+"well-tested. The chances of something going wrong are relatively low, but be"
+" aware that using a real-time kernel increases the level of risk. Always "
+"leave a non-real-time option available, in case the real-time kernel stops "
+"working."
 msgstr ""
+" Fedora Linux で、リアルタイムカーネルは、Planet CCRMA at Home リポジトリで提供されます。Planet CCRMA "
+"at Home の章 (<xref linkend=\"sect-Musicians_Guide-"
+"CCRMA_Security_and_Stability\" /> を参照ください ) "
+"での注意とともに、ここで、もう１つ、考えることがあります：リアルタイムカーネルは、標準のカーネルに比べて使っている人が少ないので、テストのされ方が少ないです。何かおかしなことになる可能性は比較的少ないとはいえ、リアルタイムカーネルを使うことはリスクレベルを上げることに注意下さい。リアルタイムカーネルが動作しなくなったときのためにリアルタイムでない選択肢を常に残して下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can install the real-time kernel, along with other system optimizations, by following these instructions:"
-msgstr ""
+msgid ""
+"You can install the real-time kernel, along with other system optimizations,"
+" by following these instructions:"
+msgstr "リアルタイムカーネルを、他のシステム最適化とともにインストールするには、以下の手順にしたがってください："
 
 #. Tag: para
 #, no-c-format
-msgid "Install the Planet CCRMA at Home repositories by following the instructions in <xref linkend=\"sect-Musicians_Guide-CCRMA_Installing_Repository\" />."
+msgid ""
+"Install the Planet CCRMA at Home repositories by following the instructions "
+"in <xref linkend=\"sect-Musicians_Guide-CCRMA_Installing_Repository\" />."
 msgstr ""
+"Planet CCRMA at Home リポジトリを、<xref linkend=\"sect-Musicians_Guide-"
+"CCRMA_Installing_Repository\" /> の手順でインストール下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "Run the following command in a terminal: <command>su -c 'yum install planetccrma-core'</command> Note that this is a meta-package, which does not install anything by itself, but causes a number of other packages to be installed, which will themselves perform the desired installation and optimization."
+msgid ""
+"Run the following command in a terminal: <command>su -c 'yum install "
+"planetccrma-core'</command> Note that this is a meta-package, which does not"
+" install anything by itself, but causes a number of other packages to be "
+"installed, which will themselves perform the desired installation and "
+"optimization."
 msgstr ""
+"以下のコマンドをターミナルで実行ください： <command>su -c 'yum install planetccrma-"
+"core'</command> "
+"これは、メタパッケージであり、それは自分では何もインストールしません。そのかわりに、いくつかの他のパッケージがインストールされるようにして、それらが目的のインストールと最適化をします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Shut down and reboot your computer, to test the new kernel. If you decided to modify your GRUB configuration, be sure that you leave a non-real-time kernel available for use."
+msgid ""
+"Shut down and reboot your computer, to test the new kernel. If you decided "
+"to modify your GRUB configuration, be sure that you leave a non-real-time "
+"kernel available for use."
 msgstr ""
+"新しいカーネルをテストするために、コンピュータをシャットダウン、リブートして下さい。もし、GRUB "
+"設定をなおすつもりなら、リアルタイムでないカーネルを、使えるように必ず残すようにして下さい。"
+
+
diff --git a/ja-JP/Revision_History.po b/ja-JP/Revision_History.po
index 0c603fd..3f9d17f 100644
--- a/ja-JP/Revision_History.po
+++ b/ja-JP/Revision_History.po
@@ -1,37 +1,38 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-11-02T04:33:09\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-07-09 13:11+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "Revision History"
-msgstr ""
+msgstr "改訂履歴"
 
 #. Tag: firstname
 #, no-c-format
 msgid "Christopher"
-msgstr ""
+msgstr "Christopher"
 
 #. Tag: surname
 #, no-c-format
 msgid "Antila"
-msgstr ""
+msgstr "Antila"
 
 #. Tag: member
 #, no-c-format
 msgid "Initial creation of book by publican"
-msgstr ""
+msgstr "publican で最初のブックを作成"
 
 #. Tag: member
 #, no-c-format
@@ -95,7 +96,9 @@ msgstr ""
 
 #. Tag: member
 #, no-c-format
-msgid "Searched code for '' or ''' and replaced them with &lt;emphasis&gt; where appropriate."
+msgid ""
+"Searched code for '' or ''' and replaced them with &lt;emphasis&gt; where "
+"appropriate."
 msgstr ""
 
 #. Tag: member
@@ -105,7 +108,9 @@ msgstr ""
 
 #. Tag: member
 #, no-c-format
-msgid "Re-wrote the JACK installation instructions, to incorporate the fact that jack2 will be in F14"
+msgid ""
+"Re-wrote the JACK installation instructions, to incorporate the fact that "
+"jack2 will be in F14"
 msgstr ""
 
 #. Tag: member
@@ -130,7 +135,9 @@ msgstr ""
 
 #. Tag: member
 #, no-c-format
-msgid "Added list of links that need to be updated with every release, to Musicians_Guide.xml"
+msgid ""
+"Added list of links that need to be updated with every release, to "
+"Musicians_Guide.xml"
 msgstr ""
 
 #. Tag: member
@@ -142,3 +149,70 @@ msgstr ""
 #, no-c-format
 msgid "Replaced instances of \"Fedora 14\" with \"Fedora $PRODVER;\""
 msgstr ""
+
+#. Tag: member
+#, no-c-format
+msgid ""
+"Changed version numbering to correspond more closely to the intended Fedora "
+"release version."
+msgstr ""
+
+#. Tag: member
+#, no-c-format
+msgid "Removed \"asdf\" part introductions."
+msgstr ""
+
+#. Tag: member
+#, no-c-format
+msgid "Updated entity (.ent) file for Fedora 15."
+msgstr ""
+
+#. Tag: member
+#, no-c-format
+msgid "Updated hard-coded links to supplemental files for Fedora 15."
+msgstr ""
+
+#. Tag: member
+#, no-c-format
+msgid "Changed subtitle to remove possessive (\"Fedora Linux's\")."
+msgstr ""
+
+#. Tag: member
+#, no-c-format
+msgid ""
+"Fixed Bug 665663 (\"URLs to all Tutorial Files Are Broken\") for Fedora 15."
+msgstr ""
+
+#. Tag: member
+#, no-c-format
+msgid "Re-wrote Section 12.4.7.1 to fix the first error in Bug 654187."
+msgstr ""
+
+#. Tag: member
+#, no-c-format
+msgid ""
+"Renamed some section in Chapter 12, making them easier to translate (I "
+"hope)."
+msgstr ""
+
+#. Tag: member
+#, no-c-format
+msgid "Reformatted dates in Revision History."
+msgstr ""
+
+#. Tag: member
+#, no-c-format
+msgid "Re-wrote Section 12.4.8.2 to fix the second error in Bug 654187."
+msgstr ""
+
+#. Tag: member
+#, no-c-format
+msgid "Added fix for Bug 670520."
+msgstr ""
+
+#. Tag: member
+#, no-c-format
+msgid "Added fixes for Bugs 677362 and 674335."
+msgstr ""
+
+
diff --git a/ja-JP/Rosegarden.po b/ja-JP/Rosegarden.po
index ca7bdb9..4081791 100644
--- a/ja-JP/Rosegarden.po
+++ b/ja-JP/Rosegarden.po
@@ -1,247 +1,376 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-11-02T04:33:09\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-06-12 10:25+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "Rosegarden"
-msgstr ""
+msgstr "Rosegarden"
 
 #. Tag: title
 #, no-c-format
 msgid "Requirements and Installation"
-msgstr ""
+msgstr "要件とインストール"
 
 #. Tag: title
 #, no-c-format
 msgid "Knowledge Requirements"
-msgstr ""
+msgstr "前提知識"
 
 #. Tag: para
 #, no-c-format
-msgid "Rosegarden's user interface is similar to other DAWs. We recommend that you read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you have not used a DAW before."
+msgid ""
+"Rosegarden's user interface is similar to other DAWs. We recommend that you "
+"read <xref linkend=\"sect-Musicians_Guide-DAW_User_Interface\" /> if you "
+"have not used a DAW before."
 msgstr ""
+"Rosegarden のユーザーインターフェイスは、他の DAW(Digital Audio Workstatio) に似ています。 あなたが以前に "
+"DAW を使ったことがないのであれば、 まず、<xref linkend=\"sect-Musicians_Guide-"
+"DAW_User_Interface\" /> を読むことをおすすめします。"
 
 #. Tag: title
 #, no-c-format
 msgid "Software Requirements"
-msgstr ""
+msgstr "ソフトウェア要件"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>Rosegarden</application> uses the <application>JACK Audio Connection Kit</application>. You should install <application>JACK</application> before installing <application>Rosegarden</application>. See <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> for instructions to install <application>JACK</application>."
-msgstr ""
+msgid ""
+"<application>Rosegarden</application> uses the <application>JACK Audio "
+"Connection Kit</application>. You should install "
+"<application>JACK</application> before installing "
+"<application>Rosegarden</application>. See <xref linkend=\"sect-"
+"Musicians_Guide-Install_and_Configure_JACK\" /> for instructions to install "
+"<application>JACK</application>."
+msgstr ""
+"<application>Rosegarden</application> は <application>JACK Audio Connection "
+"Kit</application> を使います。 <application>Rosegarden</application> をインストールする前に "
+"<application>JACK</application> "
+"をインストールする必要があります。<application>JACK</application> をインストールする方法については <xref "
+"linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> を参照下さい。"
 
 #. Tag: title
 #, no-c-format
 msgid "Hardware Requirements"
-msgstr ""
+msgstr "ハードウェア要件"
 
 #. Tag: para
 #, no-c-format
-msgid "You need an audio interface to use <application>Rosegarden</application>. If you will record audio with <application>Rosegarden</application>, you must have at least one microphone connected to your audio interface. You do not need a microphone to record audio signals from other <application>JACK</application>-aware programs like <application>FluidSynth</application> and <application>SuperCollider</application>."
-msgstr ""
+msgid ""
+"You need an audio interface to use <application>Rosegarden</application>. If"
+" you will record audio with <application>Rosegarden</application>, you must "
+"have at least one microphone connected to your audio interface. You do not "
+"need a microphone to record audio signals from other "
+"<application>JACK</application>-aware programs like "
+"<application>FluidSynth</application> and "
+"<application>SuperCollider</application>."
+msgstr ""
+"<application>Rosegarden</application> "
+"を使用するには、オーディオインターフェイスが必要です。<application>Rosegarden</application> "
+"で音声を録音するにはオーディオインターフェイスに接続されたマイクが少なくても 1 "
+"つ必要です。<application>FluidSynth</application> や "
+"<application>SuperCollider</application> "
+"のような、<application>JACK</application> "
+"に対応する他のプログラムからのオーディオ信号を録音するのにマイクは必要ありません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Other Requirements"
-msgstr ""
+msgstr "その他の要件"
 
 #. Tag: para
 #, no-c-format
-msgid "You need a MIDI synthesizer to use <application>Rosegarden</application> as a MIDI sequencer. You can use hardware-based and software-based synthesizers with <application>Rosegarden</application>. We recommend using the software-based <application>FluidSynth</application> MIDI synthesizer. See <xref linkend=\"chap-Musicians_Guide-FluidSynth\" /> for information about <application>FluidSynth</application>."
-msgstr ""
+msgid ""
+"You need a MIDI synthesizer to use <application>Rosegarden</application> as "
+"a MIDI sequencer. You can use hardware-based and software-based synthesizers"
+" with <application>Rosegarden</application>. We recommend using the "
+"software-based <application>FluidSynth</application> MIDI synthesizer. See "
+"<xref linkend=\"chap-Musicians_Guide-FluidSynth\" /> for information about "
+"<application>FluidSynth</application>."
+msgstr ""
+"<application>Rosegarden</application> を MIDI シーケンサーとして使うなら、MIDI "
+"シンセサイザーが必要です。<application>Rosegarden</application> "
+"とともに、ハードウエアシンセサイザーとソフトウエアシンセサイザーを使うことができます。ソフトウエアシンセサイザーである、<application>FluidSynth</application>"
+" MIDI シンセサイザーを使うことをおすすめします。<application>FluidSynth</application> については、<xref"
+" linkend=\"chap-Musicians_Guide-FluidSynth\" /> を参照下さい。"
 
 #. Tag: title
 #, no-c-format
 msgid "Installation"
-msgstr ""
+msgstr "インストール"
 
 #. Tag: para
 #, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>rosegarden4</package> packge. Other required software is installed automatically."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the "
+"<package>rosegarden4</package> packge. Other required software is installed "
+"automatically."
 msgstr ""
+"<application>PackageKit</application> あるいは "
+"<application>KPackageKit</application> を使って、 <package>rosegarden4</package> "
+"パッケージをインストールして下さい。他の必要なソフトウエアは自動的にインストールされます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Configuration"
-msgstr ""
+msgstr "構成"
 
 #. Tag: title
 #, no-c-format
-msgid "Setup <application>JACK</application> and <application>Qsynth</application>"
+msgid ""
+"Setup <application>JACK</application> and <application>Qsynth</application>"
 msgstr ""
+"<application>JACK</application> と <application>Qsynth</application> をセットアップ"
 
 #. Tag: para
 #, no-c-format
-msgid "Start <application>QjackCtl</application> to control <application>JACK</application>."
+msgid ""
+"Start <application>QjackCtl</application> to control "
+"<application>JACK</application>."
 msgstr ""
+" <application>JACK</application> "
+"をコントロールするために、<application>QjackCtl</application> を開始してください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Start <application>Qsynth</application> to control FluidSynth."
-msgstr ""
+msgstr "FluidSynth をコントロールするために、<application>Qsynth</application> を開始してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "In order to receive MIDI input from <application>Rosegarden</application>, <application>Qsynth</application> will need to be configured to use the \"alsa_seq\" MIDI Driver. Instructions for doing this can be found in <xref linkend=\"sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input\" />."
+msgid ""
+"In order to receive MIDI input from <application>Rosegarden</application>, "
+"<application>Qsynth</application> will need to be configured to use the "
+"\"alsa_seq\" MIDI Driver. Instructions for doing this can be found in <xref "
+"linkend=\"sect-Musicians_Guide-FluidSynth-Configuring-MIDI_Input\" />."
 msgstr ""
+"<application>Rosegarden</application> から MIDI "
+"入力を受けとるためには、<application>Qsynth</application> は、 \"alsa_seq\" MIDI Driver "
+"を使うように設定されなければいけません。その方法は、<xref linkend=\"sect-Musicians_Guide-FluidSynth-"
+"Configuring-MIDI_Input\" /> を参照ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "You may want to disconnect all <application>JACK</application> connections except for those that you want to use with <application>Rosegarden</application>. Open <application>QjackCtl</application>'s \"Connect\" window, and verify the following:"
+msgid ""
+"You may want to disconnect all <application>JACK</application> connections "
+"except for those that you want to use with "
+"<application>Rosegarden</application>. Open "
+"<application>QjackCtl</application>'s \"Connect\" window, and verify the "
+"following:"
 msgstr ""
+"<application>Rosegarden</application> で使いたいもの以外のすべての "
+"<application>JACK</application> 接続を切断するのがよいでしょう。 "
+"<application>QjackCtl</application> の \"Connect\"ウインドウを開いて、以下を確認して下さい："
 
 #. Tag: para
 #, no-c-format
 msgid "On the \"Audio\" tab:"
-msgstr ""
+msgstr "「オーディオ」タブ："
 
 #. Tag: para
 #, no-c-format
 msgid "Qsynth's output ports are connected to the \"system\" input ports."
-msgstr ""
+msgstr "Qsynth の出力ポートは \"system\" 入力ポートにつながっている。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you plan to use audio in <application>Rosegarden</application> (in addition to MIDI), then you will need to connect its output ports to the \"system\" input ports, too. The ports labeled \"record monitor\" are to be used to monitor audio while it is being recorded. The ports labeled \"master out\" will be used during regular file playback. <application>Rosegarden</application> does not need to be connected directly to the system output ports if you are only using MIDI."
+msgid ""
+"If you plan to use audio in <application>Rosegarden</application> (in "
+"addition to MIDI), then you will need to connect its output ports to the "
+"\"system\" input ports, too. The ports labeled \"record monitor\" are to be "
+"used to monitor audio while it is being recorded. The ports labeled \"master"
+" out\" will be used during regular file playback. "
+"<application>Rosegarden</application> does not need to be connected directly"
+" to the system output ports if you are only using MIDI."
 msgstr ""
+"もしあなたが、<application>Rosegarden</application> で (MIDI の他に ), オーディオを使うつもりなら、 "
+"その出力ポートを \"system\" 入力ポートにつなぐ必要もあります。\"record monitor\" "
+"とラベルがついているポートは、録音の時にオーディオをモニタするために使われます。\"master out\" "
+"とラベルがついているポートは、普通にファイルを再生する時に使われます。あなたが MIDI "
+"だけを使うのであれば、<application>Rosegarden</application> は直接 system "
+"出力ポートにつながってなくてもよいです。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you plan to record audio in <application>Rosegarden</application>, then you will need to connect an output port (probably from \"system\") to <application>Rosegarden</application>'s input port. Be aware that <application>Rosegarden</application> can record from two independent sources (\"1\" and \"2\"), with two channels (\"L\" for left and \"R\" for right) from each, to produce a stereo recording."
+msgid ""
+"If you plan to record audio in <application>Rosegarden</application>, then "
+"you will need to connect an output port (probably from \"system\") to "
+"<application>Rosegarden</application>'s input port. Be aware that "
+"<application>Rosegarden</application> can record from two independent "
+"sources (\"1\" and \"2\"), with two channels (\"L\" for left and \"R\" for "
+"right) from each, to produce a stereo recording."
 msgstr ""
+"もしあなたが、 <application>Rosegarden</application> でオーディオを録音する予定なら、出力ポートを ( たぶん "
+"\"system\"から )  <application>Rosegarden</application> の入力ポートにつなぐ必要があります。 "
+"<application>Rosegarden</application> は、２つのチャネル (\"L\" が左 \"R\" が右 ) "
+"を持つ、２つの独立したソース、(\"1\" と \"2\") から録音して、ステレオ録音を作成することができることに注意下さい。"
 
 #. Tag: para
 #, no-c-format
 msgid "On the \"MIDI\" tab:"
-msgstr ""
+msgstr "「 MIDI 」タブ："
 
 #. Tag: para
 #, no-c-format
 msgid "Nothing."
-msgstr ""
+msgstr "なにもありません。"
 
 #. Tag: para
 #, no-c-format
 msgid "On the \"ALSA\" tab:"
-msgstr ""
+msgstr "「 ALSA 」タブ："
 
 #. Tag: para
 #, no-c-format
-msgid "Rosegarden's output ports must be connected to the \"FLUID synth\" input port:"
-msgstr ""
+msgid ""
+"Rosegarden's output ports must be connected to the \"FLUID synth\" input "
+"port:"
+msgstr "Rosegarden の出力ポートは \"FLUID synth\" の入力ポートに接続されていなければいけません。"
 
 #. Tag: para
 #, no-c-format
 msgid "1:sync out (sends MIDI control messages)"
-msgstr ""
+msgstr "1:sync out (MIDI コントロールメッセージを送る )"
 
 #. Tag: para
 #, no-c-format
-msgid "2:external controller (for the first set of MIDI instruments in the session)"
-msgstr ""
+msgid ""
+"2:external controller (for the first set of MIDI instruments in the session)"
+msgstr "2:external controller ( セッションの最初の MIDI 機器のセットのため )"
 
 #. Tag: para
 #, no-c-format
-msgid "3:out 2 - General MIDI Device (for the second set of MIDI instruments in the session)"
-msgstr ""
+msgid ""
+"3:out 2 - General MIDI Device (for the second set of MIDI instruments in the"
+" session)"
+msgstr "3:out 2 - General MIDI Device ( セッションの２つめの MIDI 機器のセットのため )"
 
 #. Tag: para
 #, no-c-format
-msgid "To make <application>Rosegarden</application> take commands from another MIDI device, you'll need to connect its output ports to <application>Rosegarden</application>'s input ports. I don't know what they are for yet:"
+msgid ""
+"To make <application>Rosegarden</application> take commands from another "
+"MIDI device, you'll need to connect its output ports to "
+"<application>Rosegarden</application>'s input ports. I don't know what they "
+"are for yet:"
 msgstr ""
+"<application>Rosegarden</application> が、他の MIDI "
+"デバイスからコマンドを受けるためには、あなたはその出力ポートを <application>Rosegarden</application> "
+"の入力ポートにつながなくてはいけません。 私は、以下については詳しくありません :"
 
 #. Tag: para
 #, no-c-format
 msgid "0:record in"
-msgstr ""
+msgstr "0:record in"
 
 #. Tag: para
 #, no-c-format
 msgid "2:external controller"
-msgstr ""
+msgstr "2:external controller"
 
 #. Tag: para
 #, no-c-format
-msgid "If a connection is not being used, it is better to leave it disconnected, to avoid making mistakes."
-msgstr ""
+msgid ""
+"If a connection is not being used, it is better to leave it disconnected, to"
+" avoid making mistakes."
+msgstr "もし、接続が使われていないならば、それは切断されたままにしておく方が、誤りが少ないです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Setup <application>Rosegarden</application>"
-msgstr ""
+msgstr "<application>Rosegarden</application> の設定"
 
 #. Tag: para
 #, no-c-format
 msgid "'Edit &gt; Preferences'"
-msgstr ""
+msgstr "'編集 &gt; 設定'"
 
 #. Tag: para
 #, no-c-format
 msgid "Setup \"General\" as desired."
-msgstr ""
+msgstr "\"一般 \"を必要に応じて設定してください。"
 
 #. Tag: para
 #, no-c-format
 msgid "On \"Behaviour\" tab maybe \"Use <application>JACK</application> Transport\""
-msgstr ""
+msgstr "\"振る舞い \" タブで、 \"<application>JACK</application> トランスポートを使用 \"にするのがよいかもしれません。"
 
 #. Tag: para
 #, no-c-format
-msgid "On \"Extrenal Applications\" tab maybe change those to match what's installed (GNOME users)"
-msgstr ""
+msgid ""
+"On \"Extrenal Applications\" tab maybe change those to match what's "
+"installed (GNOME users)"
+msgstr "\"外部アプリケーション \" タブで、インストールされているものにあうようにこれらを変更するのがよいかもしれません。 (GNOME ユーザ )"
 
 #. Tag: para
 #, no-c-format
 msgid "Setup \"MIDI\" as desired."
-msgstr ""
+msgstr "MIDI の設定を必要に応じて行ってください。"
 
 #. Tag: para
 #, no-c-format
-msgid "On \"MIDI Sync\" tab maybe set to \"Send MIDI Clock, Start and Stop\" if <application>Rosegarden</application> is the ultimate controller, or \"Accept Start, Stop and Continue\" if it's being controlled. Otherwise \"Off\" is safe."
+msgid ""
+"On \"MIDI Sync\" tab maybe set to \"Send MIDI Clock, Start and Stop\" if "
+"<application>Rosegarden</application> is the ultimate controller, or "
+"\"Accept Start, Stop and Continue\" if it's being controlled. Otherwise "
+"\"Off\" is safe."
 msgstr ""
+"\"MIDI 同期 \" タブで、 もし、<application>Rosegarden</application> "
+"が最終的なコントローラならば、\"MIDI クロック、スタート、ストップを送信 \" "
+"をセットするのがよいかもしれません。あるいは、コントロールされる側であるならば、 \"スタート、ストップ、コンティニューを許可 \" "
+"をセットするのがよいでしょう。どちらでもないときは、 \"Off\" が安全です。"
 
 #. Tag: para
 #, no-c-format
 msgid "Setup \"Audio\" as desired."
-msgstr ""
+msgstr "\"オーディオ \"の設定を必要に応じて行ってください。"
 
 #. Tag: para
 #, no-c-format
 msgid "The preview scale will not affect the audio, just its appearance."
-msgstr ""
+msgstr "プレビュースケールは、オーディオに影響を与えません。見た目を変えるだけです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Reducing quality from 32-bit to 16-bit may help low-power systems keep up."
-msgstr ""
+msgid ""
+"Reducing quality from 32-bit to 16-bit may help low-power systems keep up."
+msgstr "音質を 32 ビットから 16 ビットにすると、パワーの小さいシステムでもうまくいくことがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Changing the external audio editor only affects when you choose to use an extrenal editor."
-msgstr ""
+msgid ""
+"Changing the external audio editor only affects when you choose to use an "
+"extrenal editor."
+msgstr "外部オーディオエディタを変えることは、あなたが外部のエディタを使うことにしたときにだけ、影響があります。"
 
 #. Tag: title
 #, no-c-format
 msgid "<application>Rosegarden</application> and LilyPond"
-msgstr ""
+msgstr "<application>Rosegarden</application> と LilyPond"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>Rosegarden</application> and LilyPond can be used together, which can greatly enhace your productivity. LilyPond will output a MIDI-format representation of your score if you include a \"midi\" section in the \"score\" section. It should look something like this:"
+msgid ""
+"<application>Rosegarden</application> and LilyPond can be used together, "
+"which can greatly enhace your productivity. LilyPond will output a MIDI-"
+"format representation of your score if you include a \"midi\" section in the"
+" \"score\" section. It should look something like this:"
 msgstr ""
+"<application>Rosegarden</application> と LilyPond "
+"はいっしょに使うことができ、あなたの生産性をおおいに上げることができます。あなたが \"score\" セクションに "
+"\"midi\"セクションを入れると、LilyPond は MIDI フォーマットのあなたの楽譜を出力します。それは、こんな風に見えるはずです："
 
 #. Tag: programlisting
 #, no-c-format
@@ -253,368 +382,604 @@ msgid ""
 "   \\midi { }\n"
 "}\n"
 msgstr ""
+"\n"
+"⏎\n"
+"\\score⏎\n"
+"{⏎\n"
+"   ...⏎\n"
+"   \\midi { }⏎\n"
+"}⏎\n"
 
 #. Tag: para
 #, no-c-format
-msgid "This MIDI file can then be imported into <application>Rosegarden</application> by selecting from the menu 'File &gt; Import &gt; Import MIDI File'. Unfortunately, this will erase the current session, so it can be done only once."
+msgid ""
+"This MIDI file can then be imported into "
+"<application>Rosegarden</application> by selecting from the menu 'File &gt; "
+"Import &gt; Import MIDI File'. Unfortunately, this will erase the current "
+"session, so it can be done only once."
 msgstr ""
+"この MIDI ファイルは、次に、'ファイル &gt; インポート &gt; MIDI "
+"ファイルをインポート'メニューから選択することで、<application>Rosegarden</application> "
+"にインポートすることができます。残念なことに、これは現在のセッションを消してしまうので、一度しかできません。"
 
 #. Tag: para
 #, no-c-format
-msgid "It is also possible to export MIDI tracks to LilyPond format, which can then be edited further or simply turned into a score. To do this, from the menu select 'File &gt; Export &gt; Export LilyPond File'. After you select a location to save the file, <application>Rosegarden</application> allows you to control some score settings while exporting. After exporting a LilyPond file, you should inspect it with Frescobaldi before relying on it to be correct - computers sometimes make mistakes!"
-msgstr ""
+msgid ""
+"It is also possible to export MIDI tracks to LilyPond format, which can then"
+" be edited further or simply turned into a score. To do this, from the menu "
+"select 'File &gt; Export &gt; Export LilyPond File'. After you select a "
+"location to save the file, <application>Rosegarden</application> allows you "
+"to control some score settings while exporting. After exporting a LilyPond "
+"file, you should inspect it with Frescobaldi before relying on it to be "
+"correct - computers sometimes make mistakes!"
+msgstr ""
+"また、MIDI トラックを LilyPond "
+"フォーマットでエクスポートし、それをさらに編集したり、あるいは単純に楽譜にすることもできます。これをするためには、メニューから'ファイル &gt; "
+"エクスポート &gt; LilyPond ファイルのエクスポート'を選択します . あなたがファイルをセーブする場所を選択した後、 "
+"<application>Rosegarden</application> "
+"は、エクスポートの際にあなたが楽譜の設定を調整することを可能とします。LilyPond "
+"ファイルをエクスポートした後、それが正しいと信じる前に、あなたはそれを Frescobaldi "
+"でよく調べた方がよいでしょう。コンピュータはときどき間違いをします！"
 
 #. Tag: title
 #, no-c-format
 msgid "Write a Song in <application>Rosegarden</application> (Tutorial)"
-msgstr ""
+msgstr "<application>Rosegarden</application> で、作曲する。（チュートリアル）"
 
 #. Tag: para
 #, no-c-format
-msgid "When using <application>Rosegarden</application>'s notation editor, the application may accidentally leave some notes playing longer than it should. You can fix this, if it bothers you, by pressing the \"panic\" button in <application>Qsynth</application>. If you are using another synthesizer with a panic button, it should server the same function."
+msgid ""
+"When using <application>Rosegarden</application>'s notation editor, the "
+"application may accidentally leave some notes playing longer than it should."
+" You can fix this, if it bothers you, by pressing the \"panic\" button in "
+"<application>Qsynth</application>. If you are using another synthesizer with"
+" a panic button, it should server the same function."
 msgstr ""
+"<application>Rosegarden</application> "
+"の楽譜エディタを使用する場合は、アプリケーションは誤って、必要以上に長く音を鳴らすことがあります。もしこれがうるさいときは、 "
+"<application>Qsynth</application> の \"パニック "
+"\"ボタンを押せばなおりなす。あなたがパニックボタンのある別のシンセサイザを使用したことがあれば、同じ機能です。"
 
 #. Tag: title
 #, no-c-format
 msgid "Start the Score with a Bass Line"
-msgstr ""
+msgstr "楽譜をベースラインから始める"
 
 #. Tag: para
 #, no-c-format
-msgid "Start <application>QjackCtl</application>, then <application>Qsynth</application>, then <application>Rosegarden</application>."
+msgid ""
+"Start <application>QjackCtl</application>, then "
+"<application>Qsynth</application>, then "
+"<application>Rosegarden</application>."
 msgstr ""
+"<application>QjackCtl</application>、<application>Qsynth</application> そして "
+"<application>Rosegarden</application> の順に、開始してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "For this tutorial, we'll be using the default \"Fluid R3\" SoundFont, but you can use any General MIDI SoundFont."
+msgid ""
+"For this tutorial, we'll be using the default \"Fluid R3\" SoundFont, but "
+"you can use any General MIDI SoundFont."
 msgstr ""
+"このチュートリアルでは、デフォルトの \"Fluid R3\"サウンドフォントを使いますが、あなたは任意の汎用 MIDI "
+"サウンドフォントを使用することができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Setup <application>Rosegarden</application> in <application>JACK</application> for MIDI use only."
+msgid ""
+"Setup <application>Rosegarden</application> in "
+"<application>JACK</application> for MIDI use only."
 msgstr ""
+"<application>JACK</application> で、<application>Rosegarden</application> "
+"を、MIDI だけを使うようにセットアップします。"
 
 #. Tag: para
 #, no-c-format
-msgid "From the <application>Rosegarden</application> menu, select 'Edit &gt; Preferences'. Click the \"MIDI\" tab, then the 'General' tab, then select \"Send all MIDI controllers at start of each playback\". This will ensure that the MIDI synthesizer (<application>FluidSynth</application> for this tutorial) uses the right patches."
+msgid ""
+"From the <application>Rosegarden</application> menu, select 'Edit &gt; "
+"Preferences'. Click the \"MIDI\" tab, then the 'General' tab, then select "
+"\"Send all MIDI controllers at start of each playback\". This will ensure "
+"that the MIDI synthesizer (<application>FluidSynth</application> for this "
+"tutorial) uses the right patches."
 msgstr ""
+"<application>Rosegarden</application> のメニューから、 '編集 &gt; 設定'を選択します。 "
+"\"MIDI\"タブ、次に'一般'タブをクリックして \"おのおのの再生開始時にすべての MIDI コントローラに送ります \"を選択します。 "
+"これは、シンセサイザ（このチュートリアルの場合 <application>FluidSynth</application> "
+"）が正しいパッチ（訳注：楽器）を使用することを保証します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Create a new segment."
-msgstr ""
+msgstr "新しいセグメントを作成します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click on the \"Draw\" tool on the toolbar (it looks like a red pencil), or press 'F3' on the keyboard."
-msgstr ""
+msgid ""
+"Click on the \"Draw\" tool on the toolbar (it looks like a red pencil), or "
+"press 'F3' on the keyboard."
+msgstr "ツールバー上の \"描画 \"ツール（これは赤鉛筆のように見えます）をクリックするか、またはキーボードで'F3'を押してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "In the first track, click-and-drag to select the area over the first two bars."
-msgstr ""
+msgid ""
+"In the first track, click-and-drag to select the area over the first two "
+"bars."
+msgstr "最初のトラックで、最初の 2 小節の領域をクリック、ドラッグして選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "When you release the mouse, there should be a rectangle that says, \"Acoustic Grand Piano,\" or something similar."
-msgstr ""
+msgid ""
+"When you release the mouse, there should be a rectangle that says, "
+"\"Acoustic Grand Piano,\" or something similar."
+msgstr "あなたがマウスボタンを離すと、\"アコースティックグランドピアノ \"、または似たようなことが書かれた四角形があるはずです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Double-click on the rectangle to open the default MIDI segment editor. It should be the notation editor."
-msgstr ""
+msgid ""
+"Double-click on the rectangle to open the default MIDI segment editor. It "
+"should be the notation editor."
+msgstr "四角形をダブルクリックして、デフォルトの MIDI セグメントエディタを開きます。 それは、楽譜エディタのはずです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Change the clef. Click on the bass clef on the toolbar at the left side of the editor window. Then click on the existing clef to replace it."
+msgid ""
+"Change the clef. Click on the bass clef on the toolbar at the left side of "
+"the editor window. Then click on the existing clef to replace it."
 msgstr ""
+"音部記号を変更してください。 "
+"エディタウィンドウの左側にあるツールバーの低音部記号をクリックしてください。次に、それを置き換えるために、既存の記号をクリックしてください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Switch to the note-inputting tools as required. They're located next to the clef tools, in the toolbar at the left of the notation editor window."
-msgstr ""
+msgid ""
+"Switch to the note-inputting tools as required. They're located next to the "
+"clef tools, in the toolbar at the left of the notation editor window."
+msgstr "必要に応じて音符入力ツールへ切り替えてください。 それらは楽譜エディタウィンドウの左側にあるツールバーの、音部記号ツールの隣にあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Input three quarter-notes on c, two eighth notes on c and g, two quarter-notes on e-flat, and four eighth notes on d, f, d, and g."
+msgid ""
+"Input three quarter-notes on c, two eighth notes on c and g, two quarter-"
+"notes on e-flat, and four eighth notes on d, f, d, and g."
 msgstr ""
+"3 つの C の四分音符、C と G の 2 つの八分音符、2 つの E フラットの四分音符、および D, F, D, G の 4 "
+"つの八分音符を入力してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "You'll probably make a few mistakes. The easiest way to fix a mistake is to erase the note/s and re-input the correct note/s. You can use the eraser tool for this. It's located on the top toolbar of the score editing window, to the left of the capital \"T,\" and to the right of the red pencil. It looks like a red and white rectangle, which represents a standard white eraser."
+msgid ""
+"You'll probably make a few mistakes. The easiest way to fix a mistake is to "
+"erase the note/s and re-input the correct note/s. You can use the eraser "
+"tool for this. It's located on the top toolbar of the score editing window, "
+"to the left of the capital \"T,\" and to the right of the red pencil. It "
+"looks like a red and white rectangle, which represents a standard white "
+"eraser."
 msgstr ""
+"おそらく、いくつかのミスをするでしょう。 間違いを修正する最も簡単な方法は、音符を消して正しく再入力することです。 これには消しゴムツールを使用します。"
+" それは、楽譜編集ウィンドウの上部のツールバーにあります。大文字の "
+"\"T\"の左、赤鉛筆の右にあります。普通の白い消しゴムを表す赤と白の長方形のように見えます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Listen to your creation by clicking on the 'play' button in the transport window. The playhead won't stop until you stop it, even though the visible playhead (the vertical line) will stop."
+msgid ""
+"Listen to your creation by clicking on the 'play' button in the transport "
+"window. The playhead won't stop until you stop it, even though the visible "
+"playhead (the vertical line) will stop."
 msgstr ""
+"トランスポートウィンドウで'再生'ボタンをクリックして、あなたの作品を聞いてください。 "
+"あなたが停止するまで再生ヘッドは停止しません。目に見える再生ヘッド（縦線）は停止しますが。"
 
 #. Tag: para
 #, no-c-format
-msgid "Close the notation editor - you don't need to click the 'save' button, because <application>Rosegarden</application> will automatically keep your changes."
+msgid ""
+"Close the notation editor - you don't need to click the 'save' button, "
+"because <application>Rosegarden</application> will automatically keep your "
+"changes."
 msgstr ""
+"楽譜エディタを閉じてください。'保存'ボタンをクリックする必要はありません。<application>Rosegarden</application> "
+"はあなたの変更を自動的に記憶しています。"
 
 #. Tag: para
 #, no-c-format
 msgid "You should save the file, though."
 msgstr ""
+"なお、あなたはファイルを保存する必要があります。訳注：エディタを閉じても変更された楽譜は演奏されるが、プログラムを終了する時には保存しないと変更は失われる、ということか。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click the \"Select and Edit\" tool, which looks like a mouse cursor on the toolbar. You can also select that tool by pressing 'F2' on the keyboard."
+msgid ""
+"Click the \"Select and Edit\" tool, which looks like a mouse cursor on the "
+"toolbar. You can also select that tool by pressing 'F2' on the keyboard."
 msgstr ""
+"ツールバー上のマウスカーソルのように見える \"選択と編集 \"ツールをクリックします。 "
+"または、キーボード上の'F2'ボタンを押して、そのツールを選択することができます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select the segment you just created by clicking on it."
-msgstr ""
+msgstr "あなたが今作成したセグメントをクリックして選択してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Create a copy of it by holding the 'Ctrl' key on the keyboard, as you click-and-drag the segment."
-msgstr ""
+msgid ""
+"Create a copy of it by holding the 'Ctrl' key on the keyboard, as you click-"
+"and-drag the segment."
+msgstr "それのコピーを作成します。キーボードの'Ctrl'キーを押しながら、セグメントをクリック、ドラッグしてください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Place the copy in the same track, immediately after the first segment."
-msgstr ""
+msgstr "最初のセグメントの直後に、同じトラック内でコピーを配置します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Create a few more copies like this."
-msgstr ""
+msgstr "このように、さらにいくつかのコピーを作成します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Use the transport to move the playhead to the start (click the button that looks like a vertical bar with a single-direction arrowhead pointing towards it)."
-msgstr ""
+msgid ""
+"Use the transport to move the playhead to the start (click the button that "
+"looks like a vertical bar with a single-direction arrowhead pointing towards"
+" it)."
+msgstr "先頭に再生ヘッドを移動するためにトランスポートを使用してください。（縦棒と、それを指す矢印のようなボタンをクリックしてください）"
 
 #. Tag: para
 #, no-c-format
-msgid "Name the newly-created track by double-clicking on its name. A window will pop up, allowing you to rename the track. If you don't know what to call it, try \"Bass line.\""
+msgid ""
+"Name the newly-created track by double-clicking on its name. A window will "
+"pop up, allowing you to rename the track. If you don't know what to call it,"
+" try \"Bass line.\""
 msgstr ""
+"名前をダブルクリックして新しく作成されたトラックに名前を付けます。トラック名を変更できるように、 ウィンドウがポップアップ表示されます。 "
+"あなたがそれをどう呼ぶかわからない場合は、\"ベースライン \"とでもしましょう。"
 
 #. Tag: title
 #, no-c-format
 msgid "Add a Percussion Track"
-msgstr ""
+msgstr "パーカッショントラックを追加"
 
 #. Tag: para
 #, no-c-format
-msgid "Select the second track, and rename it to \"Percussion\" (or something else, if you prefer)."
-msgstr ""
+msgid ""
+"Select the second track, and rename it to \"Percussion\" (or something else,"
+" if you prefer)."
+msgstr "次のトラックを選択し、\"パーカッション \"（またはお望みなら他の何か）に名前を変更します。"
 
 #. Tag: para
 #, no-c-format
-msgid "In the \"Instrument Parameters\" portion of the toolbox on the left side of the editor window, check the \"Percussion\" check-box."
+msgid ""
+"In the \"Instrument Parameters\" portion of the toolbox on the left side of "
+"the editor window, check the \"Percussion\" check-box."
 msgstr ""
+"エディタウィンドウの左側に特別パラメータツールボックスが見えないときは、メニューから'表示 &gt; "
+"特別パラメータ'を選択ください。インストゥルメントパラメタが見えるまでスクロールダウンください。\"パーカッション "
+"\"チェックボックスをチェックしてください。訳注：手順を補足しました。"
 
 #. Tag: para
 #, no-c-format
-msgid "Play the transport for just a second, so that <application>Rosegarden</application> synchronized the re-assignment with FluidSynth"
+msgid ""
+"Play the transport for just a second, so that "
+"<application>Rosegarden</application> synchronized the re-assignment with "
+"FluidSynth"
 msgstr ""
+"トランスポートを 1 秒だけ再生して、 <application>Rosegarden</application> が、FluidSynth "
+"と、楽器などの再割り当てを同期できるようにしてください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Press 'F3' on the keyboard, or click on the \"Draw\" tool, which looks like a pencil."
-msgstr ""
+msgid ""
+"Press 'F3' on the keyboard, or click on the \"Draw\" tool, which looks like "
+"a pencil."
+msgstr "キーボードの'F3'を押す、または鉛筆のように見える \"描画 \"ツールをクリックしてください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Create a one-measure segment in the second track, then right-click on the segment, and select 'Open in Percussion Matrix Editor'."
-msgstr ""
+msgid ""
+"Create a one-measure segment in the second track, then right-click on the "
+"segment, and select 'Open in Percussion Matrix Editor'."
+msgstr "セグメントの 2 番目のトラックに 1 小節のセグメントを作成し、右クリックし、'パーカッションマトリックスエディタで開く'を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The percussion matrix editor is like the matrix editor, but each pitch is labeled with the instrument it triggers."
-msgstr ""
+msgid ""
+"The percussion matrix editor is like the matrix editor, but each pitch is "
+"labeled with the instrument it triggers."
+msgstr "パーカッションマトリックスエディタは、マトリックスエディタに似ていますが、各音程のかわりに、それが鳴らす楽器のラベルがついています。"
 
 #. Tag: para
 #, no-c-format
-msgid "Experiment with the different instruments and pitches to find a pattern of four quarter notes that you want to repeat in each measure."
-msgstr ""
+msgid ""
+"Experiment with the different instruments and pitches to find a pattern of "
+"four quarter notes that you want to repeat in each measure."
+msgstr "さまざまな楽器と音程を実験して、各小節で繰り返す四分音符のパターンを探してください。"
 
 #. Tag: para
 #, no-c-format
 msgid "When you're happy with your pattern, close the editor."
-msgstr ""
+msgstr "パターンに満足したら、エディタを閉じます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Select the newly-created percussion segment, then from the menu select 'Edit &gt; Copy'."
-msgstr ""
+msgid ""
+"Select the newly-created percussion segment, then from the menu select 'Edit"
+" &gt; Copy'."
+msgstr "新しく作成されたパーカッションのセグメントを選択して、 メニューから'編集 &gt; コピー'を選択してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Move the transport's playhead to the end of the first measure. First move it to the beginning, then press the \"fast forward\" button to advance it to the end of the first measure."
+msgid ""
+"Move the transport's playhead to the end of the first measure. First move it"
+" to the beginning, then press the \"fast forward\" button to advance it to "
+"the end of the first measure."
 msgstr ""
+"最初の小節の最後にトランスポートの再生ヘッドを移動します。 まず、それを先頭に移動します。次に \"早送り \"を押すと最初の小節の最後に移動します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Be sure that the second track is still selected."
-msgstr ""
+msgstr "２番目のトラックがまだ選択されていることを確認してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Press 'Ctrl + v' or from the menu choose 'Edit &gt; Paste' a few times, so that the percussion track fills up the same space as the bassline."
+msgid ""
+"Press 'Ctrl + v' or from the menu choose 'Edit &gt; Paste' a few times, so "
+"that the percussion track fills up the same space as the bassline."
 msgstr ""
+"'Ctrl + V'を押すか、メニューから、'編集 &gt; 貼り付け' "
+"を選択して、パーカッショントラックがベースラインと同じスペースを占めるように、何回か繰り返します。"
 
 #. Tag: title
 #, no-c-format
 msgid "Spice up the Percussion"
-msgstr ""
+msgstr "パーカッションをスパイスアップ"
 
 #. Tag: para
 #, no-c-format
-msgid "Four quarter notes isn't really a suitable percussion accompaniment, so let's make it more interesting."
-msgstr ""
+msgid ""
+"Four quarter notes isn't really a suitable percussion accompaniment, so "
+"let's make it more interesting."
+msgstr "４つの四分音符は、実際のところ適切なパーカッションの伴奏ではありません。もっと面白くしましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Open the first percussion segment in the standard notation editor by double-clicking it."
-msgstr ""
+msgid ""
+"Open the first percussion segment in the standard notation editor by double-"
+"clicking it."
+msgstr "最初のパーカッションのセグメントをダブルクリックして、標準的な楽譜エディタで開きます。"
 
 #. Tag: para
 #, no-c-format
 msgid "From the menu select 'Edit &gt; Select Whole Staff'."
-msgstr ""
+msgstr "メニューから '編集 &gt; すべてのセグメントを選択'を選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Then from the menu select 'Adjust &gt; Notes &gt; Eighth Note'."
-msgstr ""
+msgstr "次に、メニューから'調整 &gt; 音符 &gt; 8 分音符'を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "This compressed the notes, which isn't what you wanted. Undo the change with 'Edit &gt; Undo'."
-msgstr ""
+msgid ""
+"This compressed the notes, which isn't what you wanted. Undo the change with"
+" 'Edit &gt; Undo'."
+msgstr "これは、音符を圧縮してしまいました。望むものではありません。'編集 &gt; アンドゥ'で変更を元に戻してください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Again make sure that the whole staff is selected."
-msgstr ""
+msgstr "全体が選択されていることをもういちど確認してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "From the menu select 'Adjust &gt; Notes &gt; Eighth Note (Without Duration Change)'."
-msgstr ""
+msgid ""
+"From the menu select 'Adjust &gt; Notes &gt; Eighth Note (Without Duration "
+"Change)'."
+msgstr "メニューから'調整 &gt; 音符 &gt; 8 分音符（デュレーション変更なし）'を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Now there are eighth-note rests between the original rhythm. You can add off-beat accents as you wish, in the space where the rests are. You can switch to the percussion matrix editor, or stick with the notation editor - it can be fun guessing which pitch represents which instrument."
+msgid ""
+"Now there are eighth-note rests between the original rhythm. You can add "
+"off-beat accents as you wish, in the space where the rests are. You can "
+"switch to the percussion matrix editor, or stick with the notation editor - "
+"it can be fun guessing which pitch represents which instrument."
 msgstr ""
+"今オリジナルのリズムの間に 8 "
+"分休符があります。お望みなら、休符のあるところにオフビートのアクセントを加えることもできます。あなたは、パーカッションマトリクスエディタに切り替えることができますが、今の楽譜エディタを使用し続けることもできます"
+" - どの音程がどの楽器を表すか推測するのは面白いかもしれません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Now that you've made a change, you'll have to delete all the copies and re-copy them. We'll use a better solution instead, but you'll still have to start by deleting all of the copies of the segment. Remember to keep the first one!"
+msgid ""
+"Now that you've made a change, you'll have to delete all the copies and re-"
+"copy them. We'll use a better solution instead, but you'll still have to "
+"start by deleting all of the copies of the segment. Remember to keep the "
+"first one!"
 msgstr ""
+"今、あなたは変更をしたので、すべてのコピーを削除し、再度コピーする必要があります。そのかわりに、よりよい方法を使いますが、それでもセグメントのコピーをすべて削除することから始める必要があります。最初のを残すことを忘れないでください！"
 
 #. Tag: para
 #, no-c-format
-msgid "After removing all but the first segment, from the \"Segment Parameters\" box in the left toolbox, check the \"Repeat\" checkbox."
+msgid ""
+"After removing all but the first segment, from the \"Segment Parameters\" "
+"box in the left toolbox, check the \"Repeat\" checkbox."
 msgstr ""
+"最初以外のすべてのセグメントを削除した後、左側のツールボックスの \"セグメントのパラメータ \"ボックスから、\"繰り返し "
+"\"チェックボックスをチェックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Now the segment repeats forever. This can be useful, but eventually you'll want to stop the song. When you want to change the repeats into copies, from the menu select 'Segment &gt; Turn Repeats Into Copies'."
+msgid ""
+"Now the segment repeats forever. This can be useful, but eventually you'll "
+"want to stop the song. When you want to change the repeats into copies, from"
+" the menu select 'Segment &gt; Turn Repeats Into Copies'."
 msgstr ""
+"今セグメントは永遠に繰り返されます。 これは、便利ですが、いずれは、曲を停止したいと思うでしょう。 繰り返しをコピーに変更するには、メニュー'セグメント"
+" &gt; Turn Repeats Into Copies'を選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Adjust the first track so that it's repeated, too."
-msgstr ""
+msgstr "最初のトラックも、繰り替えされるように調整します。"
 
 #. Tag: title
 #, no-c-format
 msgid "Add a Melody"
-msgstr ""
+msgstr "メロディを追加する"
 
 #. Tag: para
 #, no-c-format
 msgid "Rename the third track to \"Melody,\" or something like that."
-msgstr ""
+msgstr "3 番目のトラックの名前を \"メロディー \"、またはそのようなものに変更します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Change the track's program."
-msgstr ""
+msgstr "トラックのプログラムを変更します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Look at the \"Instrument Parameters\" box in the \"Special Parameters\" toolbox on the left side of the main editing window."
-msgstr ""
+msgid ""
+"Look at the \"Instrument Parameters\" box in the \"Special Parameters\" "
+"toolbox on the left side of the main editing window."
+msgstr "メインの編集ウィンドウの左側にある \"特別パラメータ \"ツールボックスの \"インストゥルメントパラメータ \"ボックスを見てください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Make sure that you have the \"Melody\" track selected."
-msgstr ""
+msgstr "\"メロディー \"トラックが選択されていることを確認してください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select the \"General MIDI\" bank, which is probably already selected."
-msgstr ""
+msgstr "\"標準 MIDI\"バンクを選択してください。おそらく既に選択されていることでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "For the program, select whatever you prefer. I decided to use program 51, called \"Synth Strings 1.\" It reminds me of music from the 1980s."
+msgid ""
+"For the program, select whatever you prefer. I decided to use program 51, "
+"called \"Synth Strings 1.\" It reminds me of music from the 1980s."
 msgstr ""
+"プログラムに、どれでもお好みのものを選択してください。 私は \"シンセストリングス 1\"と呼ばれるプログラム 51 "
+"を使用することにします。これは、1980 年代の音楽を思い出させます。"
 
 #. Tag: para
 #, no-c-format
-msgid "After setting the program, press 'play' on the transport toolbar, and let it go for just a second. This will allow <application>Rosegarden</application> to send the program-change message to FluidSynth. It isn't strictly necessary, and it would have been done later anyway, but doing it now helps to avoid confusion later."
+msgid ""
+"After setting the program, press 'play' on the transport toolbar, and let it"
+" go for just a second. This will allow <application>Rosegarden</application>"
+" to send the program-change message to FluidSynth. It isn't strictly "
+"necessary, and it would have been done later anyway, but doing it now helps "
+"to avoid confusion later."
 msgstr ""
+"プログラムを設定した後、トランスポートツールバーの'再生'を押して、1 秒ほど演奏します。 これにより "
+"<application>Rosegarden</application> は FluidSynth "
+"に、プログラムチェンジメッセージを送信することができます。これは、厳密には必要ではありません。そして、後でいずれにせよ行われます。しかし、今やっておくと、後の混乱を避けるために役立ちます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Use the \"Select and Edit\" tool to create a segment in the \"Melody\" track, of four measures long."
-msgstr ""
+msgid ""
+"Use the \"Select and Edit\" tool to create a segment in the \"Melody\" "
+"track, of four measures long."
+msgstr "\"メロディー \"トラックに 4 小節の長さのセグメントを作成するために \"選択と編集 \"ツールを使います。"
 
 #. Tag: para
 #, no-c-format
 msgid "Edit the segment in the default editor by double-clicking on it."
-msgstr ""
+msgstr "ダブルクリックしてデフォルトのエディタでセグメントを編集します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Create four measures of a melody. It doesn't have to be complicated, or even interesting."
-msgstr ""
+msgid ""
+"Create four measures of a melody. It doesn't have to be complicated, or even"
+" interesting."
+msgstr "4 小節のメロディを作成ください。 それは複雑である必要はありません。とりあえず、面白くなくてもよいです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Close the notation editor, and listen to the the three tracks. Don't forget to reset the playhead to the beginning of the session!"
-msgstr ""
+msgid ""
+"Close the notation editor, and listen to the the three tracks. Don't forget "
+"to reset the playhead to the beginning of the session!"
+msgstr "楽譜エディタを終了し、3 つのトラックを聞いてみましょう。 セッションの先頭に再生ヘッドをリセットすることを忘れないでください！"
 
 #. Tag: para
 #, no-c-format
-msgid "It sounds a bit silly to have the melody enter at the very beginning, so add an introduction. With the \"Select and Edit\" tool (press 'F2' on the keyboard to engage it), click-and-drag the melody segment to a few bars or beats later. Note that, even if you move it to start on beat 2, 3, or 4, the view in the notation editor will always start the segment on beat 1."
+msgid ""
+"It sounds a bit silly to have the melody enter at the very beginning, so add"
+" an introduction. With the \"Select and Edit\" tool (press 'F2' on the "
+"keyboard to engage it), click-and-drag the melody segment to a few bars or "
+"beats later. Note that, even if you move it to start on beat 2, 3, or 4, the"
+" view in the notation editor will always start the segment on beat 1."
 msgstr ""
+"メロディーが一番最初から入るのは少し変に聞こえるので、イントロを追加しましょう。\"選択と編集 "
+"\"ツールを使って、（これを行うには、キーボード上の'F2'を押します）メロディセグメントを、クリック、ドラッグして数小節あるいは数拍、後にずらします。"
+" それが、2、3 または 4 拍目で開始するように移動しても、楽譜エディタのビューでは、常にセグメントは 1 拍目で開始することに注意ください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Possible Ways to Continue"
-msgstr ""
+msgstr "先に進むいくつかの方法"
 
 #. Tag: para
 #, no-c-format
-msgid "You're on your way to a full MIDI composition. All you need is some inspiration to continue, and some willingness to experiment with more advanced features and tools. If you don't know how to continue, try these suggestions. Remember: you're just starting out, so your first song doesn't have to be interesting or particularly good. Once you learn how to use MIDI composition tools, you'll naturally learn how to create better music with them!"
+msgid ""
+"You're on your way to a full MIDI composition. All you need is some "
+"inspiration to continue, and some willingness to experiment with more "
+"advanced features and tools. If you don't know how to continue, try these "
+"suggestions. Remember: you're just starting out, so your first song doesn't "
+"have to be interesting or particularly good. Once you learn how to use MIDI "
+"composition tools, you'll naturally learn how to create better music with "
+"them!"
 msgstr ""
+"あなたは完全な MIDI 作曲への途上にいます。 "
+"必要なのは続けるためのいくらかのインスピレーション、より高度な機能やツールを試そうといういくらかの意志です。 "
+"あなたが、進む方法がわからない場合は、これらのことを試してください。注意：あなたは始めたばかりなので、あなたの最初の曲は、面白いとか、特に良い必要はありません。MIDI"
+" の作曲ツールを使用する方法を学んだら、自然にそれでより良い音楽を作成する方法を学ぶことでしょう！"
 
 #. Tag: para
 #, no-c-format
-msgid "Make a simple ternary form (ABA): you've already created the first part (called \"A\"); so make a transition and a second, different part (called \"B\"), then another transition and repeat the first part. It doesn't need to be long, but it can be."
+msgid ""
+"Make a simple ternary form (ABA): you've already created the first part "
+"(called \"A\"); so make a transition and a second, different part (called "
+"\"B\"), then another transition and repeat the first part. It doesn't need "
+"to be long, but it can be."
 msgstr ""
+"シンプルな三形式（ ABA ）を作りましょう：あなたはすでに（ \"A\"と呼ばれる）最初の部分を作成しています。変化させて、（ "
+"\"B\"と呼ばれる）第 2 の別の部分を作りましょう。さらに変化させて、最初の部分を繰り返してください。 "
+"それは長くする必要はありませんが、そうしてもよいです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Make a \"variations\" form: repeat the part that you've already created several times, but make it slightly different every time. Try several different ways of modifying it: add another melody to go along with the one you have; add extra notes to the existing melody; change the percussion track; write a new bassline; expand the melody so it takes twice as long; combinations of these. Making a variation of an existing section is a common way of making it take more time."
+msgid ""
+"Make a \"variations\" form: repeat the part that you've already created "
+"several times, but make it slightly different every time. Try several "
+"different ways of modifying it: add another melody to go along with the one "
+"you have; add extra notes to the existing melody; change the percussion "
+"track; write a new bassline; expand the melody so it takes twice as long; "
+"combinations of these. Making a variation of an existing section is a common"
+" way of making it take more time."
 msgstr ""
+"\"バリエーション "
+"\"フォームを作成します：すでに作成した部分を数回繰り返してください。ただし、それはわずかに毎回異なるようにします。それを変更するいくつかの異なる方法を試してください：今のものと一緒に流れる別のメロディを追加します。既存のメロディに別の音符を追加します。パーカッショントラックを変更します。新しいベースラインを書きます。メロディーを引き伸ばし、2"
+" 倍の時間がかかるようにします。そして、これらの組み合わせ。 "
+"既存のセクションのバリエーションを作るのは、より多くの時間がかかるようにすることの一般的な方法です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Make an expanded version of the existing material, by following your intuition to add more music."
-msgstr ""
+msgid ""
+"Make an expanded version of the existing material, by following your "
+"intuition to add more music."
+msgstr "自分の直感に従ってより多くの音楽を追加して、既存の素材の拡張バージョンを作成します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Instead of adding a different melody of a repeating bassline and percussion segment, try repeating the melody over and over, creating a new bassline and percussion segments."
+msgid ""
+"Instead of adding a different melody of a repeating bassline and percussion "
+"segment, try repeating the melody over and over, creating a new bassline and"
+" percussion segments."
 msgstr ""
+"ベースラインとパーカッションのセグメントを繰り返すところに別のメロディーを作成するかわりに、 "
+"何度もメロディーを繰り返し、新しいベースラインとパーカッションのセグメントを作ってみてください。"
+
+
diff --git a/ja-JP/Solfege.po b/ja-JP/Solfege.po
index 8110ddb..8612ccb 100644
--- a/ja-JP/Solfege.po
+++ b/ja-JP/Solfege.po
@@ -1,1299 +1,1758 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-11-02T04:33:09\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-06-12 10:26+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "GNU Solfege"
-msgstr ""
+msgstr "GNU ソルフェージュ"
 
 #. Tag: title
 #, no-c-format
 msgid "Requirements and Installation"
-msgstr ""
+msgstr "要件とインストール"
 
 #. Tag: title
 #, no-c-format
 msgid "Hardware and Software Requirements"
-msgstr ""
+msgstr "ハードウエアとソフトウエア要件"
 
 #. Tag: para
 #, no-c-format
-msgid "It is assumed that, prior to using GNU Solfege, users have already correctly configured their audio equipment."
-msgstr ""
+msgid ""
+"It is assumed that, prior to using GNU Solfege, users have already correctly"
+" configured their audio equipment."
+msgstr "GNU Solfege を使う前に、ユーザは既にオーディオ機器を正しく設定してあることが必要です。"
 
 #. Tag: para
 #, no-c-format
-msgid "In addition, the <application>timidity++</application> package is required by Solfege, which requires the installation of a large (approximately 140&nbsp;MB) SoundFont library. This library is shared with the <application>FluidSynth</application> application, which has its own section in this guide, and is used by several other software packages. <application>timidity++</application> also requires the installation of the JACK Audio Connection Kit. If you have installed the Planet CCRMA at Home repository, and have not yet followed the instructions to correctly install and configure its version of JACK, then it is recommended that you do so before installing GNU Solfege. Refer to <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> for installations to install JACK."
-msgstr ""
+msgid ""
+"In addition, the <application>timidity++</application> package is required "
+"by Solfege, which requires the installation of a large (approximately "
+"140&nbsp;MB) SoundFont library. This library is shared with the "
+"<application>FluidSynth</application> application, which has its own section"
+" in this guide, and is used by several other software packages. "
+"<application>timidity++</application> also requires the installation of the "
+"JACK Audio Connection Kit. If you have installed the Planet CCRMA at Home "
+"repository, and have not yet followed the instructions to correctly install "
+"and configure its version of JACK, then it is recommended that you do so "
+"before installing GNU Solfege. Refer to <xref linkend=\"sect-"
+"Musicians_Guide-Install_and_Configure_JACK\" /> for installations to install"
+" JACK."
+msgstr ""
+"さらに、Solfege は <application>timidity++</application> パッケージを必要とし、それは大きな（およそ１４０"
+" MB の）サウンドフォントライブラリを必要とします。このライブラリは <application>FluidSynth</application> "
+"アプリケーション、それはこのガイドの他の章で説明されます、と共有され、さらに他のソフトウエアパッケージでも使われます。<application>timidity++</application>"
+" はさらに JACK Audio Connection Kit のインストールを必要とします。JACK をインストールする手順は、<xref "
+"linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> を参照ください。訳注： "
+"JACK を Planet CCRMA at Home からインストールする記述がありますが、誤りのため訳しません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Other Requirements"
-msgstr ""
+msgstr "その他の要件"
 
 #. Tag: para
 #, no-c-format
-msgid "Solfege requires knowledge of Western musical notation, and basic music theory terms and concepts."
-msgstr ""
+msgid ""
+"Solfege requires knowledge of Western musical notation, and basic music "
+"theory terms and concepts."
+msgstr "Solfege は西洋音楽の記譜法と、基本的な音楽理論の用語と概念についての知識を必要とします。"
 
 #. Tag: title
 #, no-c-format
 msgid "Required Installation"
-msgstr ""
+msgstr "必要なインストール"
 
 #. Tag: para
 #, no-c-format
 msgid "Please review the \"Requirements\" section above, before installation."
-msgstr ""
+msgstr "インストールの前に前記の \"Requirements\"セクションをよく読んでください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Use PackageKit, KPackageKit to install the <package>solfege</package> package."
+msgid ""
+"Use PackageKit, KPackageKit to install the <package>solfege</package> "
+"package."
 msgstr ""
+" PackageKit, KPackageKit を使って、<package>solfege</package> パッケージをインストールします。"
 
 #. Tag: title
 #, no-c-format
 msgid "Optional Installation: Csound"
-msgstr ""
+msgstr "オプショナルなインストール： Csound"
 
 #. Tag: para
 #, no-c-format
-msgid "Csound is a sound-synthesis program, similar to SuperCollider. It is older, quite well-developed, and has a broader range of features."
+msgid ""
+"Csound is a sound-synthesis program, similar to SuperCollider. It is older, "
+"quite well-developed, and has a broader range of features."
 msgstr ""
+"Csound は SuperCollider "
+"のようなサウンド合成プログラムです。それはより古く、とてもよく開発されており、より広い機能の範囲を持ちます。"
 
 #. Tag: para
 #, no-c-format
-msgid "To install Csound, first close Solfege, then use PackageKit or KPackageKit to install the <package>csound</package> package. When Solfege is restarted, you will be able to use the \"Intonation\" exercises."
+msgid ""
+"To install Csound, first close Solfege, then use PackageKit or KPackageKit "
+"to install the <package>csound</package> package. When Solfege is restarted,"
+" you will be able to use the \"Intonation\" exercises."
 msgstr ""
+"Csound をインストールするには、まず Solfege を閉じて、PackageKit あるいは KPackageKit を使って "
+"<package>csound</package> パッケージをインストールします。Solfege "
+"を再開始したら、\"Intonation\"課題ができるはずです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Optional Installation: MMA"
-msgstr ""
+msgstr "オプショナルインストール : MMA"
 
 #. Tag: para
 #, no-c-format
-msgid "MMA stands for \"Musical MIDI Accompaniment,\" and it is not available for Fedora in a prepackaged format. The software can be found on the <citetitle>MMA Homepage</citetitle> at <ulink url=\"http://www.mellowood.ca/mma/\" />, where you can download the source code and compile it if desired. MMA is only used by some of the harmonic dictation questions, so its installation is not required."
-msgstr ""
+msgid ""
+"MMA stands for \"Musical MIDI Accompaniment,\" and it is not available for "
+"Fedora in a prepackaged format. The software can be found on the "
+"<citetitle>MMA Homepage</citetitle> at <ulink "
+"url=\"http://www.mellowood.ca/mma/\" />, where you can download the source "
+"code and compile it if desired. MMA is only used by some of the harmonic "
+"dictation questions, so its installation is not required."
+msgstr ""
+"MMA は \"Musical MIDI Accompaniment\"の略で、 Fedora "
+"ではパッケージされた形で入手することはできません。ソフトウエアは <ulink url=\"http://www.mellowood.ca/mma/\""
+" /> の <citetitle>MMA Homepage</citetitle> "
+"にあり、ご希望ならばソースコードをダウンロードしてコンパイルすることができます。MMA "
+"はいくつかの和声書き取り問題でだけ使われるので、そのインストールは必須ではありません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Configuration"
-msgstr ""
+msgstr "構成"
 
 #. Tag: para
 #, no-c-format
-msgid "It is not necessary to configure Solfege. The simple first-time configuration will help to customize the application for your needs, but it is not required. The other configuration options are explained for your reference."
+msgid ""
+"It is not necessary to configure Solfege. The simple first-time "
+"configuration will help to customize the application for your needs, but it "
+"is not required. The other configuration options are explained for your "
+"reference."
 msgstr ""
+"Solfege "
+"の設定は必要ではありません。単純な、最初の１回の設定で、アプリケーションをあなたの要求に合うようにカスタマイズすることができますが、それをしなくてもかまいません。他の設定オプションをあなたのレファレンスのために説明します。"
 
 #. Tag: para
 #, no-c-format
-msgid "These configuration options are not required, but you may wish to change them. They are all available from the \"Preferences\" window, accesible through Solfege's main menu: 'File &gt; Preferences'."
+msgid ""
+"These configuration options are not required, but you may wish to change "
+"them. They are all available from the \"Preferences\" window, accesible "
+"through Solfege's main menu: 'File &gt; Preferences'."
 msgstr ""
+"これらの設定オプションは必須ではありませんが、変えたいと思うかもしれません。これらはすべて、Solfege のメインメニュー'File &gt; "
+"Preferences'からアクセスできる \"Preferences\"ウインドウにあります。"
 
 #. Tag: title
 #, no-c-format
 msgid "When You Run Solfege for the First Time"
-msgstr ""
+msgstr "Solfege を初めて実行するとき"
 
 #. Tag: para
 #, no-c-format
-msgid "These steps allow Solfege to automatically customize some questions for you."
-msgstr ""
+msgid ""
+"These steps allow Solfege to automatically customize some questions for you."
+msgstr "以下のステップで、Solfege は自動的にあなたへの問題をカスタマイズします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Start Solfege."
-msgstr ""
+msgstr "Solfege を開始します。"
 
 #. Tag: para
 #, no-c-format
 msgid "From the menu, select 'File &gt; Preferences'."
-msgstr ""
+msgstr "メニューから'File &gt; Preferences'を選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select the \"User\" tab."
-msgstr ""
+msgstr "\"User\"タブを選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Input your vocal range, if you know it. Solfege uses this information to assign questions in a comfortable pitch range."
-msgstr ""
+msgid ""
+"Input your vocal range, if you know it. Solfege uses this information to "
+"assign questions in a comfortable pitch range."
+msgstr "もし知っていればあなたの声域を入力します。Solfege はこの情報を使って、妥当な音程の範囲の問題を出します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Input your biological gender in the \"Sex\" field. Solfege uses this information to assign questions in the correct octave."
-msgstr ""
+msgid ""
+"Input your biological gender in the \"Sex\" field. Solfege uses this "
+"information to assign questions in the correct octave."
+msgstr "\"Sex\"フィールドにあなたの生物学的な性別を入力します。Solfege はこの情報を使って、正しいオクターブのの問題を出します。"
 
 #. Tag: title
 #, no-c-format
 msgid "Instruments"
-msgstr ""
+msgstr "Instruments"
 
 #. Tag: para
 #, no-c-format
 msgid "Tempo: Changes the speed at which examples are played."
-msgstr ""
+msgstr "Tempo: 例が演奏される速度を変えます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Default: Applies to everything that isn't an \"Arpeggio.\""
-msgstr ""
+msgstr "Default:\"Arpeggio\"以外のすべてに適用されます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Arpeggio: Applies to arpeggios, which are, by default, played at three times the speed of the default tempo. This is standard practice."
-msgstr ""
+msgid ""
+"Arpeggio: Applies to arpeggios, which are, by default, played at three times"
+" the speed of the default tempo. This is standard practice."
+msgstr "Arpeggio: アルペジオ、それはデフォルトで、通常のテンポの３倍の速度で演奏されます、に適用されます。これは通常の習慣です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Preferred Instrument: This MIDI instrument will be used when playing examples."
-msgstr ""
+msgid ""
+"Preferred Instrument: This MIDI instrument will be used when playing "
+"examples."
+msgstr "Preferred Instrument: 例を演奏するときにこの MIDI 楽器が使われます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Chord Instruments: For polyphonic voices, these MIDI instruments will be used for the highest, middle, and lowest voices above the bass voice (which takes the \"preferred instrument.\")"
+msgid ""
+"Chord Instruments: For polyphonic voices, these MIDI instruments will be "
+"used for the highest, middle, and lowest voices above the bass voice (which "
+"takes the \"preferred instrument.\")"
 msgstr ""
+"Chord Instruments: 多声部のときに、高音、中間、バス（それは \"preferred "
+"instrument\"を使います。）の上の低音のそれぞれの声部で使われる MIDI 楽器を指定します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Percussion instruments:"
-msgstr ""
+msgstr "Percussion instruments:"
 
 #. Tag: para
 #, no-c-format
-msgid "Count in: This MIDI instrument will be used to give \"count in\" beats that precede musical examples involving rhythm."
-msgstr ""
+msgid ""
+"Count in: This MIDI instrument will be used to give \"count in\" beats that "
+"precede musical examples involving rhythm."
+msgstr "Count in: リズムについての音楽の例が始まる前に聞こえる \"count in\"拍子に使われる MIDI 楽器を指定します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Rhythm: This MIDI instrument will be used to dictate rhythm-only examples."
-msgstr ""
+msgid ""
+"Rhythm: This MIDI instrument will be used to dictate rhythm-only examples."
+msgstr "Rhythm: リズムだけの例で使われる MIDI 楽器を指定します。"
 
 #. Tag: title
 #, no-c-format
 msgid "External Programs"
-msgstr ""
+msgstr "External Programs"
 
 #. Tag: para
 #, no-c-format
-msgid "Solfege uses external programs to perform many tasks. On this tab, you can provide the command to be used, as though being run from a terminal."
+msgid ""
+"Solfege uses external programs to perform many tasks. On this tab, you can "
+"provide the command to be used, as though being run from a terminal."
 msgstr ""
+"Solfege は多くの仕事をするのに、外部プログラムを使います。このタブで、使われるコマンドをターミナルから実行するのと同じように指定します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Converters:"
-msgstr ""
+msgstr "Converters:"
 
 #. Tag: para
 #, no-c-format
 msgid "MIDI to WAV"
-msgstr ""
+msgstr "MIDI to WAV"
 
 #. Tag: para
 #, no-c-format
 msgid "WAV to MP3"
-msgstr ""
+msgstr "WAV to MP3"
 
 #. Tag: para
 #, no-c-format
 msgid "WAV to OGG"
-msgstr ""
+msgstr "WAV to OGG"
 
 #. Tag: para
 #, no-c-format
-msgid "If you use %(in)s and %(out)s, Solfege will substitute the filename it wants inputted and outputted."
-msgstr ""
+msgid ""
+"If you use %(in)s and %(out)s, Solfege will substitute the filename it wants"
+" inputted and outputted."
+msgstr "%(in)s と %(out)s は、Solfege が入力と出力のファイル名に置換します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Audio File Players, each with \"Test\" buttons:"
-msgstr ""
+msgstr "Audio File Players、それぞれ、\"Test\"ボタンがあります。"
 
 #. Tag: para
 #, no-c-format
 msgid "WAV"
-msgstr ""
+msgstr "WAV"
 
 #. Tag: para
 #, no-c-format
 msgid "OGG"
-msgstr ""
+msgstr "OGG"
 
 #. Tag: para
 #, no-c-format
 msgid "MP3"
-msgstr ""
+msgstr "MP3"
 
 #. Tag: para
 #, no-c-format
 msgid "MIDI"
-msgstr ""
+msgstr "MIDI"
 
 #. Tag: para
 #, no-c-format
 msgid "Solfege will substitute %s with the name of the file to be played."
-msgstr ""
+msgstr "Solfege は %s を、演奏されるファイル名に置換します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Miscellaneous:"
-msgstr ""
+msgstr "Miscellaneous:"
 
 #. Tag: para
 #, no-c-format
-msgid "CSound: Solfege uses CSound for intonation exercises. It is an optional component. See the \"Optional Installation\" section above."
+msgid ""
+"CSound: Solfege uses CSound for intonation exercises. It is an optional "
+"component. See the \"Optional Installation\" section above."
 msgstr ""
+"CSound:Solfege は CSound をイントネーションの課題で使います。これはオプショナルなコンポーネントです。前記の \"Optional"
+" Installation\"セクションを参照ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "MMA: Solfege uses MMA for certain harmonic dictation exercises. It is an optional component, and not available in Fedora through standard means. See <xref linkend=\"sect-Musicians_Guide-Solfege-Install_MMA\" />"
+msgid ""
+"MMA: Solfege uses MMA for certain harmonic dictation exercises. It is an "
+"optional component, and not available in Fedora through standard means. See "
+"<xref linkend=\"sect-Musicians_Guide-Solfege-Install_MMA\" />"
 msgstr ""
+"MMA: Solfege は MMA を、いくつかの和声の聞き取り課題で使います。これはオプショナルなコンポーネントで、Fedora "
+"では通常の方法では入手できません。<xref linkend=\"sect-Musicians_Guide-Solfege-Install_MMA\" "
+"/> を参照ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Lilypond-book: Solfege uses this for generating print-outs of ear training exercise progress. See the \"Optional Installation\" section above."
+msgid ""
+"Lilypond-book: Solfege uses this for generating print-outs of ear training "
+"exercise progress. See the \"Optional Installation\" section above."
 msgstr ""
+"Lilypond-book: Solfege はこれを耳の訓練課題の進み具合を印刷するのに使います。前記の \"Optional "
+"Installation\"セクションを参照ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Latex: Solfege uses this for generating *.dvi format progress reports, rather than the default HTML format."
-msgstr ""
+msgid ""
+"Latex: Solfege uses this for generating *.dvi format progress reports, "
+"rather than the default HTML format."
+msgstr "Latex: Solfege はこれを、デフォルトの HTML 形式ではなく、*.dvi 形式の進捗レポートを生成するのに使います。"
 
 #. Tag: title
 #, no-c-format
 msgid "Interface"
-msgstr ""
+msgstr "Interface"
 
 #. Tag: para
 #, no-c-format
-msgid "Resizeable main window: This allows users to resize the main Solfege window."
-msgstr ""
+msgid ""
+"Resizeable main window: This allows users to resize the main Solfege window."
+msgstr "Resizeable main window:Solfege のメインウインドウの大きさを変えることができます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select language"
-msgstr ""
+msgstr "Select language"
 
 #. Tag: para
 #, no-c-format
-msgid "Identify tone keyboard accelerators: In exercises requiring the input of particular pitches, this will allow a conventional keyboard to be used as a MIDI keyboard - letters on the keyboard will be associated with particular pitches."
+msgid ""
+"Identify tone keyboard accelerators: In exercises requiring the input of "
+"particular pitches, this will allow a conventional keyboard to be used as a "
+"MIDI keyboard - letters on the keyboard will be associated with particular "
+"pitches."
 msgstr ""
+"Identify tone keyboard accelerators: 特定の音程を入力する必要のある課題で、これは通常のキーボードを MIDI "
+"キーボードとして使えるようにします。キーボードの上の文字が、特定の音程と対応付けられます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Practise"
-msgstr ""
+msgstr "Practise"
 
 #. Tag: para
 #, no-c-format
 msgid "These options apply to exercises done in \"Practise\" mode."
-msgstr ""
+msgstr "これらのオプションは、\"Practise\"モードで行われる課題に適用されます。"
 
 #. Tag: para
 #, no-c-format
-msgid "\"Not allow new question before the old is solved\": Solfege will not provide a new question until you have solved the current question."
+msgid ""
+"\"Not allow new question before the old is solved\": Solfege will not "
+"provide a new question until you have solved the current question."
 msgstr ""
+"\"Not allow new question before the old is solved\": Solfege "
+"は今の問題が解けるまで新しい問題を出しません。"
 
 #. Tag: para
 #, no-c-format
-msgid "\"Repeat question if the answer was wrong\": Solfege will repeat a question if you provide an incorrect answer."
+msgid ""
+"\"Repeat question if the answer was wrong\": Solfege will repeat a question "
+"if you provide an incorrect answer."
 msgstr ""
+"\"Repeat question if the answer was wrong\": Solfege "
+"は、あなたが答えを間違えたとき、問題を繰り返します。"
 
 #. Tag: para
 #, no-c-format
-msgid "\"Expert mode\": Solfege will provide advanced configuration options for individual exercises."
-msgstr ""
+msgid ""
+"\"Expert mode\": Solfege will provide advanced configuration options for "
+"individual exercises."
+msgstr "\"Expert mode\": Solfege はそれぞれの課題について、進んだ設定オプションを提供します。"
 
 #. Tag: title
 #, no-c-format
 msgid "Sound Setup"
-msgstr ""
+msgstr "Sound Setup"
 
 #. Tag: para
 #, no-c-format
 msgid "\"No sound\": This mode is used for testing and debugging Solfege."
-msgstr ""
+msgstr "\"No sound\": このモードは Solfege をテスト、デバッグするために使われます。"
 
 #. Tag: para
 #, no-c-format
-msgid "\"Use device\": This mode lets you specify which audio interface Solfege will use."
-msgstr ""
+msgid ""
+"\"Use device\": This mode lets you specify which audio interface Solfege "
+"will use."
+msgstr "\"Use device\": あなたは Solfege が使うオーディオインタフェースを指定します。"
 
 #. Tag: para
 #, no-c-format
-msgid "\"User external MIDI player\": This mode lets you choose a MIDI synthesizer."
-msgstr ""
+msgid ""
+"\"User external MIDI player\": This mode lets you choose a MIDI synthesizer."
+msgstr "\"Use external MIDI player\": あなたは MIDI シンセサイザーを選びます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The button, \"Test\": allows you to ensure that you've correctly configured Solfege."
-msgstr ""
+msgid ""
+"The button, \"Test\": allows you to ensure that you've correctly configured "
+"Solfege."
+msgstr "\"Test\"ボタン : あなたが Solfege を正しく設定したかを確認します。"
 
 #. Tag: title
 #, no-c-format
 msgid "Training Yourself"
-msgstr ""
+msgstr "あなたのトレーニング"
 
 #. Tag: para
 #, no-c-format
 msgid "There are three kinds of exercises available in Solfege:"
-msgstr ""
+msgstr "Solfege では３種類の課題があります。"
 
 #. Tag: para
 #, no-c-format
-msgid "\"Listen-and-identify\" exercises will play some sort of musical structure, and ask you to identify, classify, or label it according to widely-used conventions."
+msgid ""
+"\"Listen-and-identify\" exercises will play some sort of musical structure, "
+"and ask you to identify, classify, or label it according to widely-used "
+"conventions."
 msgstr ""
+"\"聴いて当てる "
+"\"課題は、ある種の音楽の構造を演奏して、あなたにそれを、広く持ちいられるきまりに従って特定、分類、あるいはラベル付けするように質問します。"
 
 #. Tag: para
 #, no-c-format
-msgid "\"Identify\" exercises will show you some sort of musical structure (usually in Western classical notation), and ask you to identify, classify, or label it according to widely-used conventions."
+msgid ""
+"\"Identify\" exercises will show you some sort of musical structure (usually"
+" in Western classical notation), and ask you to identify, classify, or label"
+" it according to widely-used conventions."
 msgstr ""
+"\"当てる "
+"\"課題は、ある種の音楽の構造（普通は西洋音楽の記譜法で）を表示して、あなたにそれを、広く持ちいられるきまりに従って特定、分類、あるいはラベル付けするように質問します。"
 
 #. Tag: para
 #, no-c-format
-msgid "\"Sing\" exercises will provide a specific musical structure, sometimes partially-completed, and ask you to sing the completion of the structure."
-msgstr ""
+msgid ""
+"\"Sing\" exercises will provide a specific musical structure, sometimes "
+"partially-completed, and ask you to sing the completion of the structure."
+msgstr "\"歌う \"課題は、ある音楽の構造、ときには部分的に完成されたもの、を示して、あなたにその構造を完成させて歌うように質問します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Unlike many commercially-available aural skills computer applications, Solfege often relies on the user to know whether they performed the task correctly - and how correctly. This is especially true of the \"Sing\"-type exercises, since Solfege lacks the capability to receive sung input from the user. This requires at least two things to be kept in mind: firstly, that it is to your own benefit to honestly tell Solfege when you correctly and incorrectly provide a solution, since this helps Solfege to focus on your weaknesses, and to more accurately track your progress; secondly, there are many degrees of correctness when it comes to music, and harmonic and melodic dictation are particularly prone to these forms of partial correctness."
+msgid ""
+"Unlike many commercially-available aural skills computer applications, "
+"Solfege often relies on the user to know whether they performed the task "
+"correctly - and how correctly. This is especially true of the \"Sing\"-type "
+"exercises, since Solfege lacks the capability to receive sung input from the"
+" user. This requires at least two things to be kept in mind: firstly, that "
+"it is to your own benefit to honestly tell Solfege when you correctly and "
+"incorrectly provide a solution, since this helps Solfege to focus on your "
+"weaknesses, and to more accurately track your progress; secondly, there are "
+"many degrees of correctness when it comes to music, and harmonic and melodic"
+" dictation are particularly prone to these forms of partial correctness."
 msgstr ""
+"多くの商用のオーラルスキルコンピュータアプリケーションと違って、Solfege "
+"では、ユーザは問題ができたか、どのくらい正しくできたか、を知ることが求められます。これは特に \"歌う \"タイプの課題で顕著です。Solfege "
+"はユーザが歌った結果を入力する機能がないからです。このため、少なくても２つのことを注意しないといけません：１つめは、問題ができたかどうかを正直に "
+"Solfege に伝えるのはあなた自身のためになるということです。そうすれば、Solfege "
+"はあなたの弱点に集中することができ、あなたの進捗をより正確に把握することができるからです。２つめは、音楽に関しては、正しさには多くの段階があり、和声やメロディの書き取りでは特にこの種類の部分的な正解というものがあるということです。"
 
 #. Tag: para
 #, no-c-format
-msgid "When you encounter a rough spot with your aural skills development, remember that it takes a significant amount of time and effort to build your musical sensibility. It is easier for some people than for others, and most people will have an easier time with some exercises than with others. Although the prevailing cultural thought about musical sensibility (and aural skillls) still suggests that an individual either posesses musical ability or cannot acquire it, recent research has suggested that any hearing person with enough determination, dedication, and the right instruction can develop their musical sensibility and aural skills to a very high level."
+msgid ""
+"When you encounter a rough spot with your aural skills development, remember"
+" that it takes a significant amount of time and effort to build your musical"
+" sensibility. It is easier for some people than for others, and most people "
+"will have an easier time with some exercises than with others. Although the "
+"prevailing cultural thought about musical sensibility (and aural skillls) "
+"still suggests that an individual either posesses musical ability or cannot "
+"acquire it, recent research has suggested that any hearing person with "
+"enough determination, dedication, and the right instruction can develop "
+"their musical sensibility and aural skills to a very high level."
 msgstr ""
+"オーラルスキル開発において困難な地点に来たならば、音楽的感性を作るには多大な時間と努力が必要だということを思い出してください。ある人にとってはそれは他の人にとってより簡単です。ある課題が他の課題より簡単だ、ということは、多くの人にとってあることです。よく言われる音楽的感性（とオーラルスキル）についての文化的考察では、人は音楽能力を持って生まれるもので、後から獲得することはできない、といいます。しかし、最近の研究によれば、聴覚に問題のない人であれば、誰でも、十分な決意と努力と正しい学習により、音楽的感性とオーラルスキルを、とても高いレベルにまで開発することができるとされています。"
 
 #. Tag: para
 #, no-c-format
-msgid "With that in mind, the following sections aim to help you incorporate Solfege as part of a complete aural skills development program."
+msgid ""
+"With that in mind, the following sections aim to help you incorporate "
+"Solfege as part of a complete aural skills development program."
 msgstr ""
+"それを心に留めて、以下のセクションはあなたが Solfege を完全なオーラルスキル開発プログラムの一部として取り込むことのお手伝いをします。"
 
 #. Tag: title
 #, no-c-format
 msgid "Aural Skills and Musical Sensibility"
-msgstr ""
+msgstr "オーラルスキルと音楽的感性"
 
 #. Tag: para
 #, no-c-format
-msgid "When somebody decides to receive musical training, what they are really doing is developing skills and acquiring stylistic knowledge required for participation in a particular kind of music. There are many different kinds of training, and the time spent in a classroom is not as important to musical development as time spent elsewhere, taking part in real, musical situations. Many different kinds of skills are useful for musicians, depending on the kind of music in which they intend to participate. A folk singer who plays guitar might wish to memorize the chord progressions, melodies, and words for thousands of different songs. An oboe player in an orchestra might wish to make their own reeds from cane tree bark. Most musicians need to be able to listen to music and perceive certain structures that other musicians use to describe their work. These structures are explained by \"music theory,\" and the skill set used to hear these things in music is called \"aural skills
 .\" Musicians train their aural skills by a set of procedures known as \"ear training,\" or \"aural skills training.\""
-msgstr ""
+msgid ""
+"When somebody decides to receive musical training, what they are really "
+"doing is developing skills and acquiring stylistic knowledge required for "
+"participation in a particular kind of music. There are many different kinds "
+"of training, and the time spent in a classroom is not as important to "
+"musical development as time spent elsewhere, taking part in real, musical "
+"situations. Many different kinds of skills are useful for musicians, "
+"depending on the kind of music in which they intend to participate. A folk "
+"singer who plays guitar might wish to memorize the chord progressions, "
+"melodies, and words for thousands of different songs. An oboe player in an "
+"orchestra might wish to make their own reeds from cane tree bark. Most "
+"musicians need to be able to listen to music and perceive certain structures"
+" that other musicians use to describe their work. These structures are "
+"explained by \"music theory,\" and the skill set used to hear these things "
+"in music is called \"aural skills.\" Musicians train their aural skills by a"
+" set of procedures known as \"ear training,\" or \"aural skills training.\""
+msgstr ""
+"誰かが音楽トレーニングを受けようと決めるとき、彼らが実際にしているのは、１つの特定の種類の音楽に参加するために必要なスキル開発と様式的知識の獲得です。多くの異なる種類のトレーニングがあり、音楽開発にとって、教室で費やされる時間は、どこか他の本物の音楽現場に参加することで費やされる時間と比べて、重要ではありません。音楽家にとって多くの異なる種類のスキルが有用で、それはその人が参加しようとする音楽の種類に依存します。ギターを演奏するフォークシンガーは、数千の異なる歌のコード進行、メロディそして歌詞を記憶することを望むかもしれません。オーケストラのオーボエ奏者は自分のリードをアシの皮から作ることを望むかもしれません。ほとんどの音楽家は音楽を聴いて他の音楽家ã
 Œè‡ªåˆ†ã®ä½œå“ã‚’表現するのに使った構造を知覚する能力が必要です。これらの構造は"
+" \"音楽理論 \"で説明され、音楽の中でこれらのことを聞き取るのに使われるスキルセットを \"オーラルスキル "
+"\"と呼びます。音楽家は彼らのオーラルスキルを \"イヤートレーニング \"あるいは \"オーラルスキルトレーニング "
+"\"と呼ばれる手順のセットで訓練します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Musical sensibility is developed when aural skills are used to help a musician gain an understanding of how and why their music (and other people's music) works and sounds the way it does. This understanding is key to having a sense of the procedures and conventions that an audience will expect of a performer, and therefore to the performer's ability to produce aesthetically pleasing music."
+msgid ""
+"Musical sensibility is developed when aural skills are used to help a "
+"musician gain an understanding of how and why their music (and other "
+"people's music) works and sounds the way it does. This understanding is key "
+"to having a sense of the procedures and conventions that an audience will "
+"expect of a performer, and therefore to the performer's ability to produce "
+"aesthetically pleasing music."
 msgstr ""
+"音楽的感性は、オーラルスキルが使われて、音楽家が自分の音楽（そして他の人々の音楽）がどのように、そしてなぜ、機能して、そのように響くのかを理解したときに発達します。この理解は、聴衆が演奏者に期待する手続きと慣習を知覚する鍵となるものです。このため、演奏者が美的に喜ばしい音楽を作成する能力の鍵でもあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Having a well-developed musical sensibility and set of aural skills are both important aspects of being a musician, but they are by no means the only aspects. More than anything, a musician (or an aspiring musician) should be talking and listening to other musicians."
+msgid ""
+"Having a well-developed musical sensibility and set of aural skills are both"
+" important aspects of being a musician, but they are by no means the only "
+"aspects. More than anything, a musician (or an aspiring musician) should be "
+"talking and listening to other musicians."
 msgstr ""
+"よく発達した音楽的感性とオーラルスキルのセットを持つことはいずれも音楽家であることの重要な側面ですが、それだけでよいわけではありません。何よりも、音楽家（あるいは音楽家志望の人）は他の音楽家達と話し、聴くことが大事です。"
 
 #. Tag: title
 #, no-c-format
 msgid "Exercise Types"
-msgstr ""
+msgstr "課題のタイプ"
 
 #. Tag: para
 #, no-c-format
 msgid "Solfege's exercises are arranged in six broad categories:"
-msgstr ""
+msgstr "Solfege の課題は６つの大きなカテゴリーに分かれています。"
 
 #. Tag: para
 #, no-c-format
-msgid "Intervals, which tests your ability to perceive and identify melodic and harmonic intervals."
-msgstr ""
+msgid ""
+"Intervals, which tests your ability to perceive and identify melodic and "
+"harmonic intervals."
+msgstr "Intervals は順にあるいは和音で演奏される音が何度離れているか聞き取る能力をテストします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Rhythm, which tests your ability to perceive and notate rhythms played with a single pitch, and to perform such a rhythm by means of tapping on the keyboard."
-msgstr ""
+msgid ""
+"Rhythm, which tests your ability to perceive and notate rhythms played with "
+"a single pitch, and to perform such a rhythm by means of tapping on the "
+"keyboard."
+msgstr "Rhythm は単一の音程で演奏されるリズムを聴いて記譜する能力と、そのリズムをキーボードの上でタップして演奏する能力をテストします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Theory, which tests your ability to name written intervals and scales, and to correctly use solfa syllables."
-msgstr ""
+msgid ""
+"Theory, which tests your ability to name written intervals and scales, and "
+"to correctly use solfa syllables."
+msgstr "Theory は書かれた音程と音階の名前を当てる能力、そしてドレミファ音階を正しく使う能力をテストします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Chords, which tests your ability to perceive and identify chords built from various intervals, played at various pitch levels, and to sing such a chord."
-msgstr ""
+msgid ""
+"Chords, which tests your ability to perceive and identify chords built from "
+"various intervals, played at various pitch levels, and to sing such a chord."
+msgstr "Chords はいろいろな間隔の音で作られ、いろいろな音程で演奏される和音を聞き取る能力とその和音を歌う能力をテストします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Scales, which tests your ability to perceive and identify scales and their modes."
-msgstr ""
+msgid ""
+"Scales, which tests your ability to perceive and identify scales and their "
+"modes."
+msgstr "Scales は旋法と音階を聞き取る能力をテストします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Miscellaneous, which includes a variety of exercises, including:"
-msgstr ""
+msgstr "Miscellaneous はいろいろな課題を含みます。例えば："
 
 #. Tag: para
 #, no-c-format
-msgid "Intonation, which tests your ability to perceive and identify whether a second pitch is lower or higher than it should be."
-msgstr ""
+msgid ""
+"Intonation, which tests your ability to perceive and identify whether a "
+"second pitch is lower or higher than it should be."
+msgstr "Intonation は２つめの音程があるべき音程より低いか高いかを聞き取る能力をテストします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Dictation, which tests your ability to perceive and notate melodies."
-msgstr ""
+msgstr "Dictation は旋律を聴いて記譜する能力をテストします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Identify Tone, which tests your ability to use relative pitch (see <citetitle>Relative Pitch (Wikipedia)</citetitle> at <ulink url=\"http://en.wikipedia.org/wiki/Relative_pitch\" /> for more information)."
+msgid ""
+"Identify Tone, which tests your ability to use relative pitch (see "
+"<citetitle>Relative Pitch (Wikipedia)</citetitle> at <ulink "
+"url=\"http://en.wikipedia.org/wiki/Relative_pitch\" /> for more "
+"information)."
 msgstr ""
+"Identify Tone は相対音感（ <ulink "
+"url=\"http://en.wikipedia.org/wiki/Relative_pitch\" /> の <citetitle>Relative"
+" Pitch (Wikipedia)</citetitle> を参照）を使う能力をテストします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Sing Twelve Random Tones, which tests many skills."
-msgstr ""
+msgstr "Sing Twelve Random Tones は、多くのスキルをテストします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Beats per Minute, which tests your ability to determine a tempo."
-msgstr ""
+msgstr "Beats per Minute は、テンポを判断する能力をテストします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Harmonic Progressions, which tests your ability to perceive and apply Roman numeral chord symbols for a series of chords played together."
-msgstr ""
+msgid ""
+"Harmonic Progressions, which tests your ability to perceive and apply Roman "
+"numeral chord symbols for a series of chords played together."
+msgstr "Harmonic Progressions は次々に演奏される一連の和音を聞き取ってローマ数字の和音記号を当てはめる能力をテストします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Hear Tones, which helps you to train for relative pitch."
-msgstr ""
+msgstr "Hear Tones は、相対音感のトレーニングです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Cadences, which tests your ability to perceive and apply Roman numeral chord symbols for two chords played together."
-msgstr ""
+msgid ""
+"Cadences, which tests your ability to perceive and apply Roman numeral chord"
+" symbols for two chords played together."
+msgstr "Cadences は一緒に演奏される２つの和音を聞き取ってローマ数字の和音記号で表す能力をテストします。"
 
 #. Tag: para
 #, no-c-format
-msgid "All of these exercises require the use of your aural skills outside an actual musical situation. This may seem fruitless, but it has long been recognized as an important part of the eventual ability to hear them within a musical context. Neither ability will suddenly appear; it will take dedicated practice."
+msgid ""
+"All of these exercises require the use of your aural skills outside an "
+"actual musical situation. This may seem fruitless, but it has long been "
+"recognized as an important part of the eventual ability to hear them within "
+"a musical context. Neither ability will suddenly appear; it will take "
+"dedicated practice."
 msgstr ""
+"すべてのこれらの課題は実際の音楽現場での外でのあなたのオーラルスキルの使用を必要とします。これは無駄なことに見えるかもしれませんが、音楽現場での最終的な聞き取る能力の重要な部分であると、以前から認識されています。どちらの能力も突然現れることはありません。それは熱心な練習が必要です。"
 
 #. Tag: title
 #, no-c-format
 msgid "Making an Aural Skills Program"
-msgstr ""
+msgstr "オーラルスキルプログラムを作る"
 
 #. Tag: para
 #, no-c-format
-msgid "Aural skills training - like eating - requires a regular, daily commitment of various kinds of input. As far as food is concerned, you should eat at least three meals a day, with a large portion of fruits and vegetables, and a good balance of meats and alternatives, grains, and other kinds of foods. Ear training also requires diverse inputs at various times throughout the day."
+msgid ""
+"Aural skills training - like eating - requires a regular, daily commitment "
+"of various kinds of input. As far as food is concerned, you should eat at "
+"least three meals a day, with a large portion of fruits and vegetables, and "
+"a good balance of meats and alternatives, grains, and other kinds of foods. "
+"Ear training also requires diverse inputs at various times throughout the "
+"day."
 msgstr ""
+"オーラルスキルトレーニングは、食べることのように、毎日、定期的に、いろいろな種類の入力をきちんととる必要があります。食べ物について言えば、１日に３回以上食べて、果物や野菜をたくさん、肉などと穀物、そしてその他の種類の食べ物の適当なバランスが大切です。耳のトレーニングも同じように１日のいろいろな時間に多様な入力が必要です。"
 
 #. Tag: para
 #, no-c-format
-msgid "There is no solution that will work for everybody. You will need to choose and modify the time of day, number and length of sessions, and content to suit your needs. The following suggestion can be considered a starting point."
+msgid ""
+"There is no solution that will work for everybody. You will need to choose "
+"and modify the time of day, number and length of sessions, and content to "
+"suit your needs. The following suggestion can be considered a starting "
+"point."
 msgstr ""
+"すべての人にうまくいく解決策はありません。あなたは、１日のうちの時間、それぞれのセッションの回数と長さ、そして内容を選択、変更して自分の要求に合うようにしなければいけません。以下の助言を開始点としてもらえればと思います。"
 
 #. Tag: para
 #, no-c-format
 msgid "Training for 30 minutes daily, in three 10-minute segments."
-msgstr ""
+msgstr "１０分のセグメントを３つ、１日に３０分、トレーニングする。"
 
 #. Tag: para
 #, no-c-format
 msgid "Segment 1"
-msgstr ""
+msgstr "セグメント１"
 
 #. Tag: para
 #, no-c-format
 msgid "When you wake up, before breakfast."
-msgstr ""
+msgstr "起きたら、朝食の前に。"
 
 #. Tag: para
 #, no-c-format
-msgid "Warm up your voice and body (good activity anyway - <emphasis>not</emphasis> part of the ten minutes!)"
-msgstr ""
+msgid ""
+"Warm up your voice and body (good activity anyway - <emphasis>not</emphasis>"
+" part of the ten minutes!)"
+msgstr "声と体をウオームアップします。（いずれにせよ、よい習慣です。１０分には <emphasis> 含まれません </emphasis> ！）"
 
 #. Tag: para
 #, no-c-format
 msgid "Sing and perfect some excerpts from a book designed for sight-singing."
-msgstr ""
+msgstr "初見歌唱のための本からいくつかの曲を歌い、完成させる。"
 
 #. Tag: para
 #, no-c-format
 msgid "Segment 2"
-msgstr ""
+msgstr "セグメント２"
 
 #. Tag: para
 #, no-c-format
 msgid "After lunch, before getting back to work."
-msgstr ""
+msgstr "昼食の後、仕事に戻る前に。"
 
 #. Tag: para
 #, no-c-format
 msgid "Listen to some music, then try to transcribe it."
-msgstr ""
+msgstr "なにか音楽を聴いて、それを書き取ってみる。"
 
 #. Tag: para
 #, no-c-format
-msgid "To make the task more manageable, take a small portion of music, and focus on one aspect: melody, harmony, or rhythm."
-msgstr ""
+msgid ""
+"To make the task more manageable, take a small portion of music, and focus "
+"on one aspect: melody, harmony, or rhythm."
+msgstr "タスクをより管理しやすくするためには、音楽の小さな部分をとって、１つの側面に注目する：メロディ、和音、あるいはリズム。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can test correctness either by using a piano (or fixed pitch reference), or comparing with a published score, if available."
-msgstr ""
+msgid ""
+"You can test correctness either by using a piano (or fixed pitch reference),"
+" or comparing with a published score, if available."
+msgstr "正解かどうかを調べるには、ピアノ（あるいは固定音程の参照楽器）を使うか、あるいは出版されている楽譜があればそれと比べます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Segment 3"
-msgstr ""
+msgstr "セグメント３"
 
 #. Tag: para
 #, no-c-format
 msgid "Some time after supper."
-msgstr ""
+msgstr "夕食後少ししてから。"
 
 #. Tag: para
 #, no-c-format
 msgid "Use GNU Solfege to test your ability to perceive musical rudiments."
-msgstr ""
+msgstr "GNU Solfege を使って音楽の基本を聞き取る能力をテストします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Spend only a few minutes on a few different kinds of exercises."
-msgstr ""
+msgstr "２，３の異なる種類の課題に、それぞれ、わずか２，３分を、使いましょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Three ten-minute segments is not a lot of time, and indeed it may take additional time to plan and to find and set up materials. Even so, the point is that training your aural skills does not have to take an inordinate amount of time or effort. What's important is that your effort is consistent and well-planned."
+msgid ""
+"Three ten-minute segments is not a lot of time, and indeed it may take "
+"additional time to plan and to find and set up materials. Even so, the point"
+" is that training your aural skills does not have to take an inordinate "
+"amount of time or effort. What's important is that your effort is consistent"
+" and well-planned."
 msgstr ""
+"１０分のセグメントが３つは、長い時間ではありません。そして、実際のところ、それは計画したり資料を探して準備したりするのに余分の時間がかかるかもしれません。そうであっても、重要なことはあなたのオーラルスキルのトレーニングは、過度な量と時間をかける必要はないということです。大事なのはあなたの努力が一貫していて、よく計画されていることです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Supplementary References"
-msgstr ""
+msgstr "補足の参照"
 
 #. Tag: para
 #, no-c-format
-msgid "GNU Solfege offers a relatively wide variety of exercises, but no one source can possibly offer all of the exercises and training required to develop a well-rounded set of aural skills. Some of the following books and activities should be used to supplement the exercises available in \"Solfege.\" Note that melodic and harmonic dictation are not yet \"Solfege's\" strong points, mostly due to a lack of different exercises. This may improve in the future, as the developers improve the software."
+msgid ""
+"GNU Solfege offers a relatively wide variety of exercises, but no one source"
+" can possibly offer all of the exercises and training required to develop a "
+"well-rounded set of aural skills. Some of the following books and activities"
+" should be used to supplement the exercises available in \"Solfege.\" Note "
+"that melodic and harmonic dictation are not yet \"Solfege's\" strong points,"
+" mostly due to a lack of different exercises. This may improve in the "
+"future, as the developers improve the software."
 msgstr ""
+"GNU Solfege "
+"は比較的広い種類の課題を提供します。しかし、１つのもので、かたよりのないオーラルスキルのセットを開発するのに必要なすべての課題とトレーニングを提供するのはおそらく不可能です。以下のいくつかの本と活動は、\"Solfege\"で得られる課題を補足するものとして使われるとよいでしょう。メロディと和音の書き取りは、まだ"
+" "
+"\"Solfege\"の強みではありません。これは異なる課題の数が少ないためです。これは将来、開発者がソフトウエアを改善するにつれ、改善されるでしょう。"
 
 #. Tag: para
 #, no-c-format
 msgid "Activities:"
-msgstr ""
+msgstr "活動："
 
 #. Tag: para
 #, no-c-format
-msgid "Taking dictation from real music. Try focussing on one element, rather than writing a complete score. Verify your solution by checking a published score if possible. Remember that some orchestral instruments may not be written at concert pitch."
+msgid ""
+"Taking dictation from real music. Try focussing on one element, rather than "
+"writing a complete score. Verify your solution by checking a published score"
+" if possible. Remember that some orchestral instruments may not be written "
+"at concert pitch."
 msgstr ""
+"実際の音楽で書き取りをする。完全な楽譜を書くよりは、１つの要素に注目してみてください。あなたの解答を可能なら出版された楽譜と比べて確かめます。いくつかのオーケストラの楽器は、コンサートピッチで書かれていないこともあるので注意ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Using your sight-singing skills to sing a melody or rhythm to a friend, who can use it as an example for dictation."
-msgstr ""
+msgid ""
+"Using your sight-singing skills to sing a melody or rhythm to a friend, who "
+"can use it as an example for dictation."
+msgstr "あなたの初見歌唱のスキルを使って、メロディあるいはリズムを歌い、それを聴くあなたの友人が書き取りの例に使います。"
 
 #. Tag: para
 #, no-c-format
-msgid "Use Bach chorales as sight-singing examples for a group of four or more people. It helps to have friends in all vocal ranges, but it isn't necessary. Remember to use solfa syllables, and avoid the chorale's text."
+msgid ""
+"Use Bach chorales as sight-singing examples for a group of four or more "
+"people. It helps to have friends in all vocal ranges, but it isn't "
+"necessary. Remember to use solfa syllables, and avoid the chorale's text."
 msgstr ""
+"４人以上の人で、バッハのコラールを初見歌唱する例に使います。すべての声域の友達がそろうと助かりますが、必須ではありません。ドレミファ音階を使い、コラールの歌詞は無視してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "If a mechanical device, like a fan, is emitting a constant pitch, you can practice singing harmonic intervals with that device."
-msgstr ""
+msgid ""
+"If a mechanical device, like a fan, is emitting a constant pitch, you can "
+"practice singing harmonic intervals with that device."
+msgstr "ファンのような機械的デバイスが一定の音程を出しているなら、それにあわせて和声的音程で歌う練習ができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Perform exercises for your friends - long and short - on different instruments. This will help to build competence in musical contexts more realistic than a computer can provide, but still in an isolated situation."
+msgid ""
+"Perform exercises for your friends - long and short - on different "
+"instruments. This will help to build competence in musical contexts more "
+"realistic than a computer can provide, but still in an isolated situation."
 msgstr ""
+"あなたの友達の前で、長い課題と短い課題を、別々の楽器で演奏します。これはコンピュータが提供するよりも現実的な音楽の現場での能力を開発するのに役に立ちます。しかし、依然として独立した環境で、です。"
 
 #. Tag: para
 #, no-c-format
 msgid "Aural Skills Books:"
-msgstr ""
+msgstr "オーラルスキルの本："
 
 #. Tag: para
 #, no-c-format
-msgid "Crowell's <citetitle>Eyes and Ears</citetitle> is an open-source sight-singing text, available for free from the URL listed above. This book contains about 400 melodies from the public domain, along with some helpful instructions."
+msgid ""
+"Crowell's <citetitle>Eyes and Ears</citetitle> is an open-source sight-"
+"singing text, available for free from the URL listed above. This book "
+"contains about 400 melodies from the public domain, along with some helpful "
+"instructions."
 msgstr ""
+"Crowell の <citetitle>Eyes and Ears</citetitle> は、上に示した URL "
+"から無料で入手できるオープンソースの初見歌唱の教科書です。この本は４００ほどのパブリックドメインのメロディを、役立ついくつかの指示とともに収録しています。"
 
 #. Tag: para
 #, no-c-format
-msgid "Hall's <citetitle>Studying Rhythm</citetitle> is a small and expensive - but useful - book, containing a collection of rhythms to be spoken or spoken-and-clapped. This book also contains some three-part and four-part rhythms. The exercises increase in difficulty. The book offers some performance tips."
+msgid ""
+"Hall's <citetitle>Studying Rhythm</citetitle> is a small and expensive - but"
+" useful - book, containing a collection of rhythms to be spoken or spoken-"
+"and-clapped. This book also contains some three-part and four-part rhythms. "
+"The exercises increase in difficulty. The book offers some performance tips."
 msgstr ""
+"Hall の <citetitle>Studying Rhythm</citetitle> "
+"は、小さくて高価で、しかし役に立つ本で、演奏、あるいは演奏と拍手されるためのリズムのコレクションです。この本はいくつかの３部あるいは４部のリズムも収録しています。課題は順に難しくなっていきます。いくつかの演奏上のヒントも述べられています。"
 
 #. Tag: para
 #, no-c-format
-msgid "Hindemith's <citetitle>Elementary Training</citetitle> is a classic aural skills text, but it was originally published in 1949, and a lot of research has taken place since then about how people learn aural skills. The book offers a wide variety of exercises, especially to develop coordination when performing multiple independent musical lines. We recommend that you ignore Hindemith's instructions, and use <firstterm>tonic solfa</firstterm> syllables. For more information on tonic solfa, refer to <citetitle>Tonic sol-fa</citetitle> at <ulink url=\"http://en.wikipedia.org/wiki/Tonic_sol-fa\" />"
+msgid ""
+"Hindemith's <citetitle>Elementary Training</citetitle> is a classic aural "
+"skills text, but it was originally published in 1949, and a lot of research "
+"has taken place since then about how people learn aural skills. The book "
+"offers a wide variety of exercises, especially to develop coordination when "
+"performing multiple independent musical lines. We recommend that you ignore "
+"Hindemith's instructions, and use <firstterm>tonic solfa</firstterm> "
+"syllables. For more information on tonic solfa, refer to <citetitle>Tonic "
+"sol-fa</citetitle> at <ulink url=\"http://en.wikipedia.org/wiki/Tonic_sol-"
+"fa\" />"
 msgstr ""
+"Hindemith の <citetitle>Elementary Training</citetitle> "
+"は、古典的なオーラルスキルの教科書です。しかし、それが最初に出版されたのは１９４９年のことで、それ以来、人々がオーラルスキルをいかにに学ぶことができるかについての多くの研究が行われました。この本では広い種類の課題、特に複数の音楽ラインを演奏するときに協調させる能力を開発する課題が提供されます。Hindemith"
+" の指示を無視して、<firstterm>tonic solfa</firstterm> シラブルを使うことをお勧めします。tonic solfa "
+"について詳しくは、<ulink url=\"http://en.wikipedia.org/wiki/Tonic_sol-fa\" /> の "
+"<citetitle>Tonic sol-fa</citetitle> を参照ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Hoffman's <citetitle>The Rhythm Book</citetitle> was developed specifically for the takadimi rhythm system. Like Hall's text, <citetitle>The Rhythm Book</citetitle> progresses fro easy to difficult exercises, and offers helpful instructions for performance."
+msgid ""
+"Hoffman's <citetitle>The Rhythm Book</citetitle> was developed specifically "
+"for the takadimi rhythm system. Like Hall's text, <citetitle>The Rhythm "
+"Book</citetitle> progresses fro easy to difficult exercises, and offers "
+"helpful instructions for performance."
 msgstr ""
+"Hoffman の <citetitle>The Rhythm Book</citetitle> は takadimi "
+"リズムシステムのために特別に書かれました。Hall の教科書と同じように、<citetitle>The Rhythm Book</citetitle> "
+"は簡単な課題から難しい課題に進み、演奏のための役に立つ指示を提供します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Karpinski's two texts are the result of two decades of research about how musicians acquire aural skills. The <citetitle>Manual</citetitle> contains instructions, exercises, and tips on training yourself to hear musical elements <emphasis>and</emphasis> real music, and how to perform and imagine music. The <citetitle>Anthology</citetitle> is organized in chapters that coincide with the topics discussed in the <citetitle>Manual</citetitle>, and contains very few instructions. The <citetitle>Anthology</citetitle> contains a wide variety of musical excerpts, some from the public domain and others under copyright, taken from the \"classical music\" canon and from national repertoires. There are some three-part and four-part exercises, which should be performed by a group of people leraning aural skills together."
-msgstr ""
+msgid ""
+"Karpinski's two texts are the result of two decades of research about how "
+"musicians acquire aural skills. The <citetitle>Manual</citetitle> contains "
+"instructions, exercises, and tips on training yourself to hear musical "
+"elements <emphasis>and</emphasis> real music, and how to perform and imagine"
+" music. The <citetitle>Anthology</citetitle> is organized in chapters that "
+"coincide with the topics discussed in the <citetitle>Manual</citetitle>, and"
+" contains very few instructions. The <citetitle>Anthology</citetitle> "
+"contains a wide variety of musical excerpts, some from the public domain and"
+" others under copyright, taken from the \"classical music\" canon and from "
+"national repertoires. There are some three-part and four-part exercises, "
+"which should be performed by a group of people leraning aural skills "
+"together."
+msgstr ""
+"Karpinski "
+"の２つの教科書は音楽家がいかにしてオーラルスキルを獲得するかについての２０年における研究の結果です。<citetitle>Manual</citetitle>"
+" には、あなたが音楽の要素 <emphasis> と </emphasis> "
+"本物の音楽を聴くトレーニングをするときの指示、課題、そしてヒントが書いてあります。さらに、いかに音楽を演奏し、想像するかについても書いてあります。<citetitle>Anthology</citetitle>"
+" は <citetitle>Manual</citetitle> "
+"で議論されている話題と同じ章で構成され、ほとんど説明は書いてありません。<citetitle>Anthology</citetitle> "
+"は広い種類の音楽の抜粋を収録します。あるものはパブリックドメインで、あるものは著作権のもとにあります。\"クラシック音楽 "
+"\"の聖典から民謡にいたるまで。３声部あるいは４声部の課題もあり、オーラルスキルを勉強する人のグループで演奏されるためのものです。"
 
 #. Tag: para
 #, no-c-format
-msgid "When you practise sight-singing from any book, we recommend hearing the tonic pitch from a fixed-pitch instrument (like a piano or keyboard synthesizer) before you sing an excerpt. With the tonic pitch in your mind, and without singing aloud, find the starting note of the excerpt, and sing the excerpt <emphasis>in your mind</emphasis> several times, until you are sure that you are singing the excerpt correctly. When you have the melody in your mind, sing the excerpt out loud, as many times as you need to be sure that you are singing it correctly. Only <emphasis>after</emphasis> you sing the excerpt perfectly should you play it on a fixed-pitch instrument to confirm that you are correct."
+msgid ""
+"When you practise sight-singing from any book, we recommend hearing the "
+"tonic pitch from a fixed-pitch instrument (like a piano or keyboard "
+"synthesizer) before you sing an excerpt. With the tonic pitch in your mind, "
+"and without singing aloud, find the starting note of the excerpt, and sing "
+"the excerpt <emphasis>in your mind</emphasis> several times, until you are "
+"sure that you are singing the excerpt correctly. When you have the melody in"
+" your mind, sing the excerpt out loud, as many times as you need to be sure "
+"that you are singing it correctly. Only <emphasis>after</emphasis> you sing "
+"the excerpt perfectly should you play it on a fixed-pitch instrument to "
+"confirm that you are correct."
 msgstr ""
+"どの本でも、初見歌唱の練習をするときは、曲を歌う前に主音程を固定音程の楽器（ピアノあるいはキーボードシンセサイザーなど）で聴くことをお勧めします。主音程を心に留めて、声を出して歌うことなく、曲の最初の音を探します。そして曲を"
+" <emphasis> 心の中で "
+"</emphasis>、その曲を正確に歌っていると自信が持てるまで何回か歌います。メロディが心の中に得られたら、その曲を正しく歌っていると自信が持てるまで何回でも、大きな声で歌います。曲を完璧に歌った"
+" <emphasis> 後で </emphasis> 固定音程の楽器でそれを演奏してあなたが正しかったかを確かめてください。"
 
 #. Tag: para
 #, no-c-format
-msgid "You should build your ear with as little help from external sources (pianos, and so on) as possible. A significant amount of research shows that this gives you a more flexible musical mind, and that, while the initial learning curve is very steep, you will ultimately be able to learn new concepts faster."
+msgid ""
+"You should build your ear with as little help from external sources (pianos,"
+" and so on) as possible. A significant amount of research shows that this "
+"gives you a more flexible musical mind, and that, while the initial learning"
+" curve is very steep, you will ultimately be able to learn new concepts "
+"faster."
 msgstr ""
+"あなたの耳を、外部の音源（ピアノなど）にできるだけ頼ることなく作り上げなければいけません。多くの研究は、これはあたなにより柔軟な音楽の心をもたらし、最初の学習曲線はとても険しいものの、あなたは最後には新しい概念をより速く学習できるようになると教えています。"
 
 #. Tag: title
 #, no-c-format
 msgid "Aural Skills Books"
-msgstr ""
+msgstr "オーラルスキルの本"
 
 #. Tag: surname
 #, no-c-format
 msgid "Crowell"
-msgstr ""
+msgstr "Crowell"
 
 #. Tag: firstname
 #, no-c-format
 msgid "Ben"
-msgstr ""
+msgstr "Ben"
 
 #. Tag: title
 #, no-c-format
 msgid "Eyes and Ears: an Anthology of Melodies for Sight-Singing"
-msgstr ""
+msgstr "Eyes and Ears: an Anthology of Melodies for Sight-Singing"
 
 #. Tag: surname
 #, no-c-format
 msgid "Hall"
-msgstr ""
+msgstr "Hall"
 
 #. Tag: firstname
 #, no-c-format
 msgid "Anne"
-msgstr ""
+msgstr "Anne"
 
 #. Tag: title
 #, no-c-format
 msgid "Studying Rhythm"
-msgstr ""
+msgstr "Studying Rhythm"
 
 #. Tag: surname
 #, no-c-format
 msgid "Hindemith"
-msgstr ""
+msgstr "Hindemith"
 
 #. Tag: firstname
 #, no-c-format
 msgid "Paul"
-msgstr ""
+msgstr "Paul"
 
 #. Tag: title
 #, no-c-format
 msgid "Elementary Training for Musicains"
-msgstr ""
+msgstr "Elementary Training for Musicains"
 
 #. Tag: surname
 #, no-c-format
 msgid "Hoffman"
-msgstr ""
+msgstr "Hoffman"
 
 #. Tag: title
 #, no-c-format
 msgid "The Rhythm Book"
-msgstr ""
+msgstr "The Rhythm Book"
 
 #. Tag: surname
 #, no-c-format
 msgid "Karpinski"
-msgstr ""
+msgstr "Karpinski"
 
 #. Tag: firstname
 #, no-c-format
 msgid "Gary"
-msgstr ""
+msgstr "Gary"
 
 #. Tag: title
 #, no-c-format
 msgid "Manual for Ear Training and Sight Singing"
-msgstr ""
+msgstr "Manual for Ear Training and Sight Singing"
 
 #. Tag: title
 #, no-c-format
 msgid "Anthology for Sight Singing"
-msgstr ""
+msgstr "Anthology for Sight Singing"
 
 #. Tag: title
 #, no-c-format
 msgid "Using the Exercises"
-msgstr ""
+msgstr "課題を使う"
 
 #. Tag: title
 #, no-c-format
 msgid "Listening"
-msgstr ""
+msgstr "Listening"
 
 #. Tag: para
 #, no-c-format
 msgid "Open the software"
-msgstr ""
+msgstr "ソフトウエアを開きます。"
 
 #. Tag: para
 #, no-c-format
 msgid "It is at the \"Front Page\""
-msgstr ""
+msgstr "\"Front Page\"にいます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Decide which type of exercise to do"
-msgstr ""
+msgstr "どのタイプの課題をするか決めます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Decide which sub-section to focus on"
-msgstr ""
+msgstr "フォーカスするサブセクションを決めます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click \"New\" or \"New Interval\" or whatever to get the first question"
-msgstr ""
+msgstr "最初の問題を、\"New\"あるいは \"New Interval\"もしくは、そのようなボタンをクリックして始めます。"
 
 #. Tag: para
 #, no-c-format
 msgid "On some exercises, you need to click \"new\" whenever you want a new one"
-msgstr ""
+msgstr "課題によっては、\"new\"をクリックしないと新しい問題が出ないものもあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "Some exercises can be configured to automatically provide a new question when you correctly answer the previous one"
-msgstr ""
+msgid ""
+"Some exercises can be configured to automatically provide a new question "
+"when you correctly answer the previous one"
+msgstr "課題によっては、あなたが正解を答えると自動的に次の問題を出すように設定することができます。"
 
 #. Tag: para
 #, no-c-format
 msgid "After hearing each exercise, try to make a correct identification."
-msgstr ""
+msgstr "それぞれの課題を聴いたら、正しい答えを探しましょう。"
 
 #. Tag: para
 #, no-c-format
 msgid "If you need to hear the exercise again, do it."
-msgstr ""
+msgstr "もう一度課題を聞きたいときは、そうします。"
 
 #. Tag: para
 #, no-c-format
 msgid "It is good to limit the number of times you listen."
-msgstr ""
+msgstr "聞き直す回数に制限を設けるのはよいことです。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select what you think is the correct choice."
-msgstr ""
+msgstr "あなたが正しいと思うものを選びます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Go to the next question, which may be automatic for some questions. You may want to pre-select a number of seconds to wait before progressing to the next question."
-msgstr ""
+msgid ""
+"Go to the next question, which may be automatic for some questions. You may "
+"want to pre-select a number of seconds to wait before progressing to the "
+"next question."
+msgstr "次の問題に行きます。それは問題によっては自動でされるかもしれません。あらかじめ、次の問題に行く前に待つ時間を指定することもできます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Singing"
-msgstr ""
+msgstr "Singing"
 
 #. Tag: para
 #, no-c-format
 msgid "These are: \"Sing intervals\""
-msgstr ""
+msgstr "これらは、\"Sing intervals\"です。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select \"Sing intervals\""
-msgstr ""
+msgstr "\"Sing intervals\"を選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Choose which ones you want to focus on"
-msgstr ""
+msgstr "フォーカスしたいものを選びます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The exercise will begin, playing the first of the tones you are to sing"
-msgstr ""
+msgid ""
+"The exercise will begin, playing the first of the tones you are to sing"
+msgstr "課題が始まり、あなたが歌う最初の音を演奏します。"
 
 #. Tag: para
 #, no-c-format
-msgid "You must sing the first and the second tone, or to make it harder, only the second tone (tip: use sol-fa syllables!)"
-msgstr ""
+msgid ""
+"You must sing the first and the second tone, or to make it harder, only the "
+"second tone (tip: use sol-fa syllables!)"
+msgstr "最初と次の音を歌ってください。あるいは、次の音だけを歌うと、より難しくなります。（ヒント：ドレミファ音階をつかいなさい！）"
 
 #. Tag: para
 #, no-c-format
-msgid "Solfege does not know whether you sang the interval correctly, so you must tell it."
-msgstr ""
+msgid ""
+"Solfege does not know whether you sang the interval correctly, so you must "
+"tell it."
+msgstr "Solfege はあなたが正しく音程を歌えたかわからないので、自分で申告しないといけません。"
 
 #. Tag: para
 #, no-c-format
 msgid "\"Tap generated rhythm\""
-msgstr ""
+msgstr "\"Tap generated rhythm\""
 
 #. Tag: para
 #, no-c-format
 msgid "Select \"Tap generated rhythm\""
-msgstr ""
+msgstr "\"Tap generated rhythm\"を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose a subcategory (they correspond to those in the dictation, but there is no compound metre available). See below."
-msgstr ""
+msgid ""
+"Choose a subcategory (they correspond to those in the dictation, but there "
+"is no compound metre available). See below."
+msgstr "サブカテゴリを選びます。（それらは、書き取りの課題と同じ構成です。ただ、複合音律はありません。）以下を参照ください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click \"New\""
-msgstr ""
+msgstr "\"New\"をクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "It will play you a rhythm; listen carefully, and conduct the beat if you can."
-msgstr ""
+msgid ""
+"It will play you a rhythm; listen carefully, and conduct the beat if you "
+"can."
+msgstr "リズムが演奏されます。注意して聴きましょう。できれば、拍子をとります。"
 
 #. Tag: para
 #, no-c-format
 msgid "as with rhythmic dictation, you will be given an intro"
-msgstr ""
+msgstr "リズムの書き取り課題と同じく、イントロが流れます。"
 
 #. Tag: para
 #, no-c-format
 msgid "You must repeat the rhythm by click on the \"Tap here\" button"
-msgstr ""
+msgstr "\"Tap here\"をクリックして、そのリズムを繰り返してください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Best to use the space bar to tap in; here's how."
-msgstr ""
+msgstr "スペースバーを使ってタップするのが一番良いです。こうします。"
 
 #. Tag: para
 #, no-c-format
 msgid "The \"accuracy\" may be set too high; I like 0.30"
-msgstr ""
+msgstr "\"accuracy\"の設定は高すぎることもあります。私は０．３０が好みです。"
 
 #. Tag: para
 #, no-c-format
 msgid "On \"Config,\" change \"Number of beats in question\" to adjust the difficulty"
-msgstr ""
+msgstr "\"Config\"で、\"Number of beats in question\"を変更して、難しさを調整できます。"
 
 #. Tag: para
 #, no-c-format
 msgid "\"Sing chord\""
-msgstr ""
+msgstr "\"Sing chord\""
 
 #. Tag: para
 #, no-c-format
 msgid "Select \"Sing chord\""
-msgstr ""
+msgstr "\"Sing chord\"を選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Choose the type of chords you want to sing"
-msgstr ""
+msgstr "歌いたい和音のタイプを選びます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Solfege will automatically play an \"A\" for you, and you can hear it again by clicking, \"440hz\""
-msgstr ""
+msgid ""
+"Solfege will automatically play an \"A\" for you, and you can hear it again "
+"by clicking, \"440hz\""
+msgstr "Solfege は自動的に \"A\"の音を演奏します。もう一度聴くには、\"440hz\"をクリックします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Sing the chord ascending"
-msgstr ""
+msgstr "昇順に和音を歌います。"
 
 #. Tag: para
 #, no-c-format
-msgid "Verify that you sang correctly by clicking \"Play answer\" and hearing whether the pitches are the same."
-msgstr ""
+msgid ""
+"Verify that you sang correctly by clicking \"Play answer\" and hearing "
+"whether the pitches are the same."
+msgstr "\"Play answer\"をクリックして、正しく歌えたか確認します。音程が同じかよく聞いてください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click \"New\" for another question"
-msgstr ""
+msgstr "次の問題は、\"New\"をクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "On the \"Config\" tab, it allows you to change how far it will transpose the built-in models; best to leave this as it is <code>['key', -5, 5]</code>"
+msgid ""
+"On the \"Config\" tab, it allows you to change how far it will transpose the"
+" built-in models; best to leave this as it is <code>['key', -5, 5]</code>"
 msgstr ""
+"\"Config\"タブで、組み込みのモデルをどの遠さまで転調するかを変更できます。<code>['key', -5, 5]</code> "
+"のままにしておくのがよいです。"
 
 #. Tag: para
 #, no-c-format
 msgid "\"Sing chord tone\""
-msgstr ""
+msgstr "\"Sing chord tone\""
 
 #. Tag: para
 #, no-c-format
 msgid "Select \"Sing chord tone\""
-msgstr ""
+msgstr "\"Sing chord tone\"を選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Select which chordal member you want to practise singing"
-msgstr ""
+msgstr "和音の中のどの音を歌う練習をしたいか選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Solfege will display and play a chord in blocked form, and you must sing the chord member that it tells you to sing."
-msgstr ""
+msgid ""
+"Solfege will display and play a chord in blocked form, and you must sing the"
+" chord member that it tells you to sing."
+msgstr "Solfege は和音をブロック形式で表示と演奏します。あなたは指定された和音の中の音を歌わなくてはなりません。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can repeat the chord in blocked form (\"Repeat\") or in arpeggio form (\"Repeat arpeggio\"). It is much easier to hear a chord played in arpeggio form, so we recommend that you practice both ways."
+msgid ""
+"You can repeat the chord in blocked form (\"Repeat\") or in arpeggio form "
+"(\"Repeat arpeggio\"). It is much easier to hear a chord played in arpeggio "
+"form, so we recommend that you practice both ways."
 msgstr ""
+"ブロック形式で和音を繰り返して聴く (\"Repeat\") ことも、アルペジオ形式で聴く (\"Repeat arpeggio\") "
+"こともできます。アルペジオ形式で聴くのはずっと易しいので、両方の方法で練習するとよいです。"
 
 #. Tag: para
 #, no-c-format
-msgid "When you are sure that you correctly sang the chord member, click \"Play answer\""
-msgstr ""
+msgid ""
+"When you are sure that you correctly sang the chord member, click \"Play "
+"answer\""
+msgstr "和音の中の音を正しく歌ったと思ったら、\"Play answer\"をクリックします。"
 
 #. Tag: para
 #, no-c-format
 msgid "For the next question, click \"New\""
-msgstr ""
+msgstr "次の問題は、\"New\"をクリックします。"
 
 #. Tag: title
 #, no-c-format
 msgid "Configure Yourself"
-msgstr ""
+msgstr "Configure Yourself"
 
 #. Tag: para
 #, no-c-format
-msgid "These exercises allow you to choose the focus of your training, rather than using a Solfege preset. When you enter an exercise, you are given a default setup, which is then customized on the \"Config\" tab in the activity. The following things are customizeable in \"Configure Yourself\" exercises, but not in the other counterparts:"
+msgid ""
+"These exercises allow you to choose the focus of your training, rather than "
+"using a Solfege preset. When you enter an exercise, you are given a default "
+"setup, which is then customized on the \"Config\" tab in the activity. The "
+"following things are customizeable in \"Configure Yourself\" exercises, but "
+"not in the other counterparts:"
 msgstr ""
+"これらの課題では、Solfege "
+"のデフォルトを使う代わりに、あなたが自分のトレーニングのフォーカスを変更することができます。課題を開くと、デフォルトの設定がありますが、同じウインドウの"
+" \"Config\"タブでカスタマイズできます。\"Configure "
+"Yourself\"では以下のものがカスタマイズできますが、他の課題ではそれはできません。"
 
 #. Tag: para
 #, no-c-format
-msgid "\"Harmonic intervals\" allows you to de/select specific intervals between m2 and M10"
-msgstr ""
+msgid ""
+"\"Harmonic intervals\" allows you to de/select specific intervals between m2"
+" and M10"
+msgstr "\"Harmonic intervals\"では m2 から M10 までの特定の音程を選択したり選択を外したりできます。"
 
 #. Tag: para
 #, no-c-format
-msgid "\"Melodic intervals\" and \"Sing intervals\" allow you to de/select specific intervals between m2 and M10, and whether to test them up, down, or both."
+msgid ""
+"\"Melodic intervals\" and \"Sing intervals\" allow you to de/select specific"
+" intervals between m2 and M10, and whether to test them up, down, or both."
 msgstr ""
+"\"Melodic intervals\"と \"Sing intervals\"では m2 から M10 "
+"までの特定の音程を選択したり選択を外したりできます。さらに、それらを昇順、降順、あるいは両方でテストする指定ができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "\"Compare intervals\" allows you to select specific intervals between minor second and major tenth. Also allows you to switch between harmonic or melodic intervals independently for the first and second interval."
+msgid ""
+"\"Compare intervals\" allows you to select specific intervals between minor "
+"second and major tenth. Also allows you to switch between harmonic or "
+"melodic intervals independently for the first and second interval."
 msgstr ""
+"\"Compare "
+"intervals\"では、短２度から長１０度までの特定の音程を選ぶことができます。さらに、最初と次の音程で独立に、和音的か旋律的かを選ぶこともできます。"
 
 #. Tag: para
 #, no-c-format
-msgid "\"Id tone\": allows you to choose a \"weighting\" for each pitch, to conentrate on specific ones. Also allows you to adjust octave displacement to higher or lower octaves."
+msgid ""
+"\"Id tone\": allows you to choose a \"weighting\" for each pitch, to "
+"conentrate on specific ones. Also allows you to adjust octave displacement "
+"to higher or lower octaves."
 msgstr ""
+"\"Id tone\": はそれぞれの音程に \"重み付け "
+"\"を設定して、特定の音に集中するようにできます。オクターブを高くしたり低くしたり調整することもできます。"
 
 #. Tag: para
 #, no-c-format
-msgid "For all of the rhythm exercises, \"binary time\" means \"simple metre,\" and \"ternary time\" means \"compound metre.\" All sections allow you to choose which single-beat rhythms to use when creating the question."
+msgid ""
+"For all of the rhythm exercises, \"binary time\" means \"simple metre,\" and"
+" \"ternary time\" means \"compound metre.\" All sections allow you to choose"
+" which single-beat rhythms to use when creating the question."
 msgstr ""
+"リズムのすべての課題で、\"binary time\"は \"単純拍子 \"の意味で、\"ternary time\"は \"複合拍子 "
+"\"の意味です。すべてのセクションで、問題を作るときにどの単拍子のリズムを使うかを選択できます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Rhythm"
-msgstr ""
+msgstr "Rhythm"
 
 #. Tag: para
 #, no-c-format
-msgid "This is dictation or play-back. The rhythms described in this section use the \"takadimi\" rhythm system, which is explained in <citetitle>The Takadimi Article</citetitle>, available at <ulink url=\"http://www.takadimi.net/takadimiArticle.html\" />. Use the rhythm system you prefer."
+msgid ""
+"This is dictation or play-back. The rhythms described in this section use "
+"the \"takadimi\" rhythm system, which is explained in <citetitle>The "
+"Takadimi Article</citetitle>, available at <ulink "
+"url=\"http://www.takadimi.net/takadimiArticle.html\" />. Use the rhythm "
+"system you prefer."
 msgstr ""
+"これは書き取りあるいはプレイバックです。このセクションで述べられるリズムは、\"takadimi\"リズムシステムを使っています。詳しくは <ulink"
+" url=\"http://www.takadimi.net/takadimiArticle.html\" /> の <citetitle>The "
+"Takadimi Article</citetitle> を参照ください。お好みのリズムシステムを使ってください。"
 
 #. Tag: para
 #, no-c-format
 msgid "For Rhythmic Dictation:"
-msgstr ""
+msgstr "リズムの書き取りをするには："
 
 #. Tag: para
 #, no-c-format
 msgid "Click \"Rhythm\""
-msgstr ""
+msgstr "\"Rhythm\"を選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Choose which subcategory:"
-msgstr ""
+msgstr "サブカテゴリを選びます："
 
 #. Tag: para
 #, no-c-format
 msgid "Rhythms (easy) is: quarter, 2x eighths, 4x sixteenths"
-msgstr ""
+msgstr "Rhythms (easy) は : ４分音符、２つの８分音符、４つの１６分音符"
 
 #. Tag: para
 #, no-c-format
 msgid "Rhythms is: those plus ka-di-mi, ta-ka-mi, ta-ka-di, ta-mi, and ta-ka"
-msgstr ""
+msgstr "Rhythms は：これプラス、ka-di-mi, ta-ka-mi, ta-ka-di, ta-mi, そして ta-ka です。"
 
 #. Tag: para
 #, no-c-format
 msgid "Rhythms (difficult) is: those plus rests and triplets"
-msgstr ""
+msgstr "Rhythms (difficult) は : これプラス、休止符と３連符です。"
 
 #. Tag: para
 #, no-c-format
 msgid "Rhythms in 3/4 is: compound metre everything"
-msgstr ""
+msgstr "Rhythms in 3/8 は : 複合拍子ですべて"
 
 #. Tag: para
 #, no-c-format
 msgid "Click \"New\" to get a new question"
-msgstr ""
+msgstr "新しい問題は、\"New\"をクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click the buttons above the \"Play\" button to input the rhythm-units, in order from start to finish"
-msgstr ""
+msgid ""
+"Click the buttons above the \"Play\" button to input the rhythm-units, in "
+"order from start to finish"
+msgstr "\"Play\"ボタンの上にあるボタンをクリックして、リズムの単位を、最初から最後の順で入手します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Use paper to work it out"
-msgstr ""
+msgstr "計算するには、紙を使いましょう。"
 
 #. Tag: para
 #, no-c-format
 msgid "If you make a mistake inputting, use the \"Backspace\" button"
-msgstr ""
+msgstr "入力を間違えたら、\"Backspace\"ボタンを使います。"
 
 #. Tag: para
 #, no-c-format
 msgid "You can \"Repeat\" to hear it again - not too many times!"
-msgstr ""
+msgstr "\"Repeat\"で、もう一度聴くことができます。あまりたくさんはダメです！"
 
 #. Tag: para
 #, no-c-format
-msgid "You can change the difficulty by increasing the number of beats per question, on \"Config\" tab"
-msgstr ""
+msgid ""
+"You can change the difficulty by increasing the number of beats per "
+"question, on \"Config\" tab"
+msgstr "\"Config\"タブで問題ごとの拍子の数を増やして難しさを変えることができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you get a question wrong, you will have a chance to correct it; the incorrect parts are underlined for you in red"
-msgstr ""
+msgid ""
+"If you get a question wrong, you will have a chance to correct it; the "
+"incorrect parts are underlined for you in red"
+msgstr "間違えたら、直すチャンスがあります。あなたのために、不正解の部分は赤でアンダーラインが引かれます。"
 
 #. Tag: para
 #, no-c-format
 msgid "For Rhythmic Tap-Back, see above section \"Singing Exercises.\""
-msgstr ""
+msgstr "リズムのタップバックについては、前記 \"Singing Exercises\"のセクションを参照ください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Dictation"
-msgstr ""
+msgstr "Dictation"
 
 #. Tag: para
 #, no-c-format
-msgid "These dictation exercises are for melodic dictation. There is not a great variety of examples here, and they are either easy or difficult, with no middle-ground."
+msgid ""
+"These dictation exercises are for melodic dictation. There is not a great "
+"variety of examples here, and they are either easy or difficult, with no "
+"middle-ground."
 msgstr ""
+"これらの書き取り課題は旋律の書き取りのためのものです。ここでは例の種類はあまり多くなく、易しいか難しいかのいずれかで、中間の課題はありません。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click \"Dictation\""
-msgstr ""
+msgstr "\"Dictation\"をクリックします。"
 
 #. Tag: para
 #, no-c-format
 msgid "Choose a level:"
-msgstr ""
+msgstr "レベルを選びます："
 
 #. Tag: para
 #, no-c-format
 msgid "Volkslieder 1: German folk songs (easy)"
-msgstr ""
+msgstr "Volkslieder 1: ドイツ民謡（易しい）"
 
 #. Tag: para
 #, no-c-format
 msgid "Volkslieder 2: German folk songs (easy)"
-msgstr ""
+msgstr "Volkslieder 2: ドイツ民謡（易しい）"
 
 #. Tag: para
 #, no-c-format
 msgid "Parts of 2 Bach inventions: only 2; the hardest of the four categories"
-msgstr ""
+msgstr "２つのバッハのインベンションからの部分：２つだけです。４つのカテゴリーの中で最も難しいです。"
 
 #. Tag: para
 #, no-c-format
 msgid "Norwegian children songs: only 3 (easy)"
-msgstr ""
+msgstr "Norwegian children songs: ３つだけです。（易しい）"
 
 #. Tag: para
 #, no-c-format
-msgid "The clef, key and time signatures are given for you, along with the starting note, and title."
-msgstr ""
+msgid ""
+"The clef, key and time signatures are given for you, along with the starting"
+" note, and title."
+msgstr "音部記号、調性、そして拍子記号はあなたのためにあらかじめ書いてあります。開始の音とタイトルも。"
 
 #. Tag: para
 #, no-c-format
 msgid "The quarter-note buttons allow you to play only part of the melody."
-msgstr ""
+msgstr "４分音符のボタンで、旋律の一部だけを演奏することができます。"
 
 #. Tag: para
 #, no-c-format
 msgid "\"Play the whole music\" plays both parts of the music."
-msgstr ""
+msgstr "\"Play the whole music\"は、音楽のすべての部分を演奏します。"
 
 #. Tag: para
 #, no-c-format
 msgid "\"Back\" and \"Forward\" shifts through the excerpts for dictation."
-msgstr ""
+msgstr "\"戻る \"と \"進む \"は、書き取りのための曲を変更します。"
 
 #. Tag: para
 #, no-c-format
-msgid "It's best to \"Play the whole music\" as many times as needed (5 - 7 or less maximum, depending on the excerpt)."
-msgstr ""
+msgid ""
+"It's best to \"Play the whole music\" as many times as needed (5 - 7 or less"
+" maximum, depending on the excerpt)."
+msgstr "\"Play the whole music\"を必要なだけ何回でも（最高でも５−７あるいはそれより少なく、曲にもよります）聴くのがよいです。"
 
 #. Tag: para
 #, no-c-format
 msgid "It's best to avoid playing only part of the music."
-msgstr ""
+msgstr "音楽の部分だけを聴くのは避けるのがよいです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Write down the excerpt on paper, then when you're sure that you've finished it correctly, click \"Show.\""
-msgstr ""
+msgid ""
+"Write down the excerpt on paper, then when you're sure that you've finished "
+"it correctly, click \"Show.\""
+msgstr "紙に曲を書いて、正しくできたと自信が持てたら、\"Show\"をクリックします。"
 
 #. Tag: para
 #, no-c-format
 msgid "This exercise is self-policing, and does not track progress."
-msgstr ""
+msgstr "この課題は自己管理なので、進捗管理はしません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Harmonic Progressions"
-msgstr ""
+msgstr "Harmonic Progressions"
 
 #. Tag: para
 #, no-c-format
-msgid "These dictation exercises are for harmonic dictation. You will be asked to guess the harmonic progression, but users should also notate at least the outer voices (lowest and highest). It should be noted that these progressions do not follow Common Practice Period harmonic procedures."
+msgid ""
+"These dictation exercises are for harmonic dictation. You will be asked to "
+"guess the harmonic progression, but users should also notate at least the "
+"outer voices (lowest and highest). It should be noted that these "
+"progressions do not follow Common Practice Period harmonic procedures."
 msgstr ""
+"以下の書き取り課題は和音の書き取りです。和声進行を当てる問題が出ます。さらに、少なくとも外側の音（最も低いものと最も高いもの）を当てる必要もあります。これらの進行は、Common"
+" Practice Period 和声進行には従っていないのに注意ください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click \"Harmonic progressions\""
-msgstr ""
+msgstr "\"Harmonic progressions\"をクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Some harmonic progressions require MMA (as indicated). See below for instructions on installation."
-msgstr ""
+msgid ""
+"Some harmonic progressions require MMA (as indicated). See below for "
+"instructions on installation."
+msgstr "いくつかの和声進行は MMA （以前に述べたように）が必要です。インストール手順は以下を参照ください。"
 
 #. Tag: para
 #, no-c-format
 msgid "The Non-MMA Categories contain the following chords:"
-msgstr ""
+msgstr "MMA でないカテゴリーは、以下の和声を含みます。"
 
 #. Tag: para
 #, no-c-format
 msgid "\"Easy harmonic progressions\": I, II, IV, V, VI"
-msgstr ""
+msgstr "\"Easy harmonic progressions\": I, II, IV, V, VI"
 
 #. Tag: para
 #, no-c-format
 msgid "with Inverisons: add IV6 and V6"
-msgstr ""
+msgstr "with Inverisons: IV6 と V6 を加えます。"
 
 #. Tag: para
 #, no-c-format
 msgid "\"Three chords, root position\": I, II, III, IV, V, VI"
-msgstr ""
+msgstr "\"Three chords, root position\": I, II, III, IV, V, VI"
 
 #. Tag: para
 #, no-c-format
 msgid "Choose a category."
-msgstr ""
+msgstr "カテゴリーを選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click \"New\" to get a question."
-msgstr ""
+msgstr "\"New\"を選択して、問題を得ます。"
 
 #. Tag: para
 #, no-c-format
-msgid "The passage will automatically play once, but you will not get a key signature. If you are notating the dictation, and you do not know which pitches are being used, then you may wish to guess the key, using sol-fa equivalents to know if you're correct."
+msgid ""
+"The passage will automatically play once, but you will not get a key "
+"signature. If you are notating the dictation, and you do not know which "
+"pitches are being used, then you may wish to guess the key, using sol-fa "
+"equivalents to know if you're correct."
 msgstr ""
+"パッセージは自動的に１回、演奏されます。しかし、調号はわからないかもしれません。書き取り結果を記譜していてどの音程が使われているかわからないときは、調を推測しないといけません。あなたが正しいか知るには、ドレミファ音階相当を使ってください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click the chord-buttons to input the series of chords that you hear, in order from first to last."
-msgstr ""
+msgid ""
+"Click the chord-buttons to input the series of chords that you hear, in "
+"order from first to last."
+msgstr "和音ボタンをクリックして、あなたが聞き取った和音の列を最初から最後の順で入力します。"
 
 #. Tag: para
 #, no-c-format
 msgid "To hear the example again, click \"Repeat.\""
-msgstr ""
+msgstr "例をもう一度聞くには、\"Repeat\"をクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you make a mistake, click the \"Backspace\" button to erase the last-input chord."
-msgstr ""
+msgid ""
+"If you make a mistake, click the \"Backspace\" button to erase the last-"
+"input chord."
+msgstr "間違えたら、\"Backspace\"をクリックして、最後に入力した和音を消します。"
 
 #. Tag: para
 #, no-c-format
 msgid "When you are sure that your answer is correct, click \"Guess answer.\""
-msgstr ""
+msgstr "正しいという自信が持てたら、\"Guess answer\"をクリックします。"
 
 #. Tag: para
 #, no-c-format
 msgid "To get another question, click \"New\"."
-msgstr ""
+msgstr "次の問題は、\"New\"をクリックします。"
 
 #. Tag: title
 #, no-c-format
 msgid "Intonation"
-msgstr ""
+msgstr "Intonation"
 
 #. Tag: para
 #, no-c-format
-msgid "In order to use the Intonation exercises, you must install the \"Csound\" application. See <xref linkend=\"sect-Musicians_Guide-Solfege-Install_Csound\" /> for instructions to install Csound."
+msgid ""
+"In order to use the Intonation exercises, you must install the \"Csound\" "
+"application. See <xref linkend=\"sect-Musicians_Guide-Solfege-"
+"Install_Csound\" /> for instructions to install Csound."
 msgstr ""
+"イントネーションの課題をするには、\"Csound\"アプリケーションをインストールする必要があります。Csound をインストールする手順は "
+"<xref linkend=\"sect-Musicians_Guide-Solfege-Install_Csound\" /> を参照ください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click on \"Intonation\""
-msgstr ""
+msgstr "\"Intonation\"をクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "All of the exercises test an ascending perfect fifth. The closer the number is to 1.0, the less the difference when it is out-of-tune."
-msgstr ""
+msgid ""
+"All of the exercises test an ascending perfect fifth. The closer the number "
+"is to 1.0, the less the difference when it is out-of-tune."
+msgstr "すべての課題は、昇順の完全５度をテストします。数字が１．０に近ければ近いほど、音が外れている距離が小さいです"
 
 #. Tag: para
 #, no-c-format
 msgid "Click \"New\" to get a new question."
-msgstr ""
+msgstr "新しい問題は、\"New\"をクリックします。"
 
 #. Tag: para
 #, no-c-format
 msgid "The interval will automatically play."
-msgstr ""
+msgstr "音程が自動的に演奏されます。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click \"Repeat\" to repeat the interval."
-msgstr ""
+msgstr "音程を繰り返すには、\"Repeat\"をクリックします。"
 
 #. Tag: para
 #, no-c-format
-msgid "You must choose whether the second tone is flat (the interval is too small), in tune (the interval is the right size), or sharp (the interval is too large)."
+msgid ""
+"You must choose whether the second tone is flat (the interval is too small),"
+" in tune (the interval is the right size), or sharp (the interval is too "
+"large)."
 msgstr ""
+"２つめの音が、フラット（音の間隔が小さすぎる）、合っている、（間隔が正しい大きさ）あるいはシャープ（間隔が大きすぎる）のいずれかを選択します。"
 
 #. Tag: para
 #, no-c-format
 msgid "When you are sure of your answer, click the corresponding button."
-msgstr ""
+msgstr "正しいと自信が持てたら、対応するボタンをクリックします。"
 
 #. Tag: para
 #, no-c-format
 msgid "To get the next question, click \"New.\""
-msgstr ""
+msgstr "新しい問題は、\"New\"をクリックします。"
+
+
diff --git a/ja-JP/Sound_Cards.po b/ja-JP/Sound_Cards.po
index 9df6348..e5913ff 100644
--- a/ja-JP/Sound_Cards.po
+++ b/ja-JP/Sound_Cards.po
@@ -1,269 +1,528 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-11-02T04:33:09\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-07-16 11:49+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "Sound Cards and Digital Audio"
-msgstr ""
+msgstr "サウンドカードとデジタルオーディオ"
 
 #. Tag: para
 #, no-c-format
-msgid "This chapter introduces the technical vocabulary used for computer audio hardware."
-msgstr ""
+msgid ""
+"This chapter introduces the technical vocabulary used for computer audio "
+"hardware."
+msgstr "この章では、コンピュータオーディオのハードウェアに使用される技術的な用語を紹介します。"
 
 #. Tag: title
 #, no-c-format
 msgid "Types of Sound Cards"
-msgstr ""
+msgstr "サウンドカードの種類"
 
 #. Tag: para
 #, no-c-format
-msgid "A sound card is a hardware device which allows a computer to process sound. Most sound cards are either audio interfaces or MIDI interfaces. These two kinds of interfaces are described below."
+msgid ""
+"A sound card is a hardware device which allows a computer to process sound. "
+"Most sound cards are either audio interfaces or MIDI interfaces. These two "
+"kinds of interfaces are described below."
 msgstr ""
+"サウンドカードは、コンピュータが音を処理するためのハードウェアデバイスです。 ほとんどのサウンドカードは、オーディオインターフェースか MIDI "
+"インターフェイスを持ちます。 この2種類のインターフェイスは以下で説明されます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Audio Interfaces"
-msgstr ""
+msgstr "オーディオインタフェース"
 
 #. Tag: para
 #, no-c-format
-msgid "An audio interface is a hardware device that provides a connection between your computer and audio equipment, including microphones and speakers. Audio interfaces usually convert audio signals between analog and digital formats: signals entering the computer are passed through an analog-to-digital convertor, and signals leaving the computer are passed through a digital-to-analog convertor. Some audio interfaces have digital input and output ports, which means that other devices perform the conversion between analog and digital signal formats."
+msgid ""
+"An audio interface is a hardware device that provides a connection between "
+"your computer and audio equipment, including microphones and speakers. Audio"
+" interfaces usually convert audio signals between analog and digital "
+"formats: signals entering the computer are passed through an analog-to-"
+"digital convertor, and signals leaving the computer are passed through a "
+"digital-to-analog convertor. Some audio interfaces have digital input and "
+"output ports, which means that other devices perform the conversion between "
+"analog and digital signal formats."
 msgstr ""
+"オーディオインターフェイスは、コンピュータとマイク、スピーカーなどのオーディオ機器の間の接続を提供するハードウェアデバイスです。 "
+"オーディオインターフェイスは、通常、オーディオ信号をアナログとデジタル形式の間で変換します：コンピュータに入る信号は、アナログ - "
+"デジタル変換器を介し、コンピュータから出る信号はディジタル - アナログ変換器を介します。 一部のオーディオインターフェイスは、 "
+"デジタル入力と出力ポートがあります。つまり、他のデバイスが、アナログおよびデジタル信号フォーマット間の変換をすることを意味します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The conversion between analog and digital audio signal formats is the primary function of audio interfaces. Real sound has an infinite range of pitch, volume, and durational possibilities. Computers cannot process infinite information, and require sound to be converted to a digital format. Digital sound signals have a limited range of pitch, volume, and durational possibilities. High-quality analog-to-digital and digital-to-analog convertors change the signal format in a way that keeps the original, analog signal as closely as possible. These quality of the convertors is very important in determining the quality of an audio interface."
+msgid ""
+"The conversion between analog and digital audio signal formats is the "
+"primary function of audio interfaces. Real sound has an infinite range of "
+"pitch, volume, and durational possibilities. Computers cannot process "
+"infinite information, and require sound to be converted to a digital format."
+" Digital sound signals have a limited range of pitch, volume, and durational"
+" possibilities. High-quality analog-to-digital and digital-to-analog "
+"convertors change the signal format in a way that keeps the original, analog"
+" signal as closely as possible. These quality of the convertors is very "
+"important in determining the quality of an audio interface."
 msgstr ""
+"アナログとデジタルのオーディオ信号フォーマット間の変換はオーディオインターフェースの主な機能です。 "
+"本物の音は、音程、ボリューム、および持続時間の範囲が無限になることがあります。 "
+"コンピュータは、無限の情報を処理できず、音はデジタル形式に変換される必要があります。 "
+"デジタル音声信号は、音程、ボリューム、および持続時間の範囲が限られています。 高品質のアナログ -デジタルおよびデジタル - "
+"アナログコンバータは、可能な限り、元のアナログ信号を保つ方法で、信号形式を変換します。これらのコンバータの品質はオーディオインターフェイスの品質を決定する上で非常に重要です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Audio interfaces also provide connectors for external audio equipment, like microphones, speakers, headphones, and electric instruments like electric guitars."
+msgid ""
+"Audio interfaces also provide connectors for external audio equipment, like "
+"microphones, speakers, headphones, and electric instruments like electric "
+"guitars."
 msgstr ""
+"オーディオインターフェイスは、そのほかに、マイク、スピーカー、ヘッドフォン、エレキギターのような電子楽器など、外部オーディオ機器用のコネクタを提供します。"
 
 #. Tag: title
 #, no-c-format
 msgid "MIDI Interfaces"
-msgstr ""
+msgstr "MIDI インターフェイス"
 
 #. Tag: para
 #, no-c-format
-msgid "Musical Instrument Digital Interface (MIDI) is a standard used to control digital musical devices. Many people associate the term with low-quality imitations of acoustic instruments. This is unfortunate, because MIDI signals themselves do not have a sound. MIDI signals are instructions to control devices: they tell a synthesizer when to start and stop a note, how long the note should be, and what pitch it should have. The synthesizer follows these instructions and creates an audio signal. Many MIDI-controlled synthesizers are low-quality imitations of acoustic instruments, but many are high-quality imitations. MIDI-powered devices are used in many mainstream and non-mainstream musical situations, and can be nearly indistinguishable from actual acoustic instruments. MIDI interfaces only transmit MIDI signals, not audio signals. Some audio interfaces have built-in MIDI interfaces, allowing both interfaces to share the same physical device."
-msgstr ""
+msgid ""
+"Musical Instrument Digital Interface (MIDI) is a standard used to control "
+"digital musical devices. Many people associate the term with low-quality "
+"imitations of acoustic instruments. This is unfortunate, because MIDI "
+"signals themselves do not have a sound. MIDI signals are instructions to "
+"control devices: they tell a synthesizer when to start and stop a note, how "
+"long the note should be, and what pitch it should have. The synthesizer "
+"follows these instructions and creates an audio signal. Many MIDI-controlled"
+" synthesizers are low-quality imitations of acoustic instruments, but many "
+"are high-quality imitations. MIDI-powered devices are used in many "
+"mainstream and non-mainstream musical situations, and can be nearly "
+"indistinguishable from actual acoustic instruments. MIDI interfaces only "
+"transmit MIDI signals, not audio signals. Some audio interfaces have built-"
+"in MIDI interfaces, allowing both interfaces to share the same physical "
+"device."
+msgstr ""
+"Musical Instrument Digital Interface（MIDI）は、デジタル音楽機器を制御するために使用される標準です。 "
+"多くの人々は、この言葉をアコースティック楽器の低品質の模造品と関連付けます。 MIDI 信号自身は音を持っていないので、これは残念なことです。 MIDI"
+" 信号は、デバイスを制御するための命令です：それはシンセサイザに、いつ音を開始し停止するか、音はどれくらいの長さか、どの高さかを指示します。 "
+"シンセサイザは、これらの命令に従って、オーディオ信号を生成します。 多くの MIDI "
+"制御シンセサイザは、アコースティック楽器の低品質の模造品ですが、高品質の模造品といえるものも多くあります。 MIDI "
+"対応のデバイスは、多くの主流、非主流の音楽の現場で使用されており、ほとんど実際のアコースティック楽器と区別することができません。 MIDI "
+"インターフェイスは、MIDI 信号だけを送信し、オーディオ信号を送信しません。 一部のオーディオインターフェイスは組み込みの MIDI "
+"インターフェイスを持っており、両方のインターフェイスが同じ物理デバイスを共有することを可能にしています。"
 
 #. Tag: para
 #, no-c-format
-msgid "In order to create sound from MIDI signals, you need a \"MIDI synthesizer.\" Some MIDI synthesizers have dedicated hardware, and some use only software. A software-only MIDI synthesizer, based on SoundFont technology, is discussed in <xref linkend=\"chap-Musicians_Guide-FluidSynth\" />"
+msgid ""
+"In order to create sound from MIDI signals, you need a \"MIDI synthesizer.\""
+" Some MIDI synthesizers have dedicated hardware, and some use only software."
+" A software-only MIDI synthesizer, based on SoundFont technology, is "
+"discussed in <xref linkend=\"chap-Musicians_Guide-FluidSynth\" />"
 msgstr ""
+"MIDI 信号から音を作成するには、\"MIDI シンセサイザ\"が必要です。 MIDI "
+"シンセサイザには専用のハードウェアを持つものも、ソフトウェアだけを使うものもあります。サウンドフォント技術に基づく、ソフトウェアだけの、 MIDI "
+"シンセサイザについては、<xref linkend=\"chap-Musicians_Guide-FluidSynth\" /> に書かれています。"
 
 #. Tag: para
 #, no-c-format
-msgid "You can use MIDI signals, synthesizers, and applications without a hardware-based MIDI interface. All of the MIDI-capable applications in the Musicians' Guide work well with software-based MIDI solutions, and are also compatible with hardware-based MIDI devices."
+msgid ""
+"You can use MIDI signals, synthesizers, and applications without a hardware-"
+"based MIDI interface. All of the MIDI-capable applications in the Musicians'"
+" Guide work well with software-based MIDI solutions, and are also compatible"
+" with hardware-based MIDI devices."
 msgstr ""
+"あなたは、ハードウェアベースの MIDI インターフェイスを使用せずに、MIDI 信号、シンセサイザ、およびアプリケーションを使用することができます。 "
+"ミュージシャンガイドのすべてのMIDI対応アプリケーションは、ソフトウェアベースの MIDI ソリューションとよく連動し、また、ハードウェアベースの "
+"MIDI 機器と互換性があります。"
 
 #. Tag: title
 #, no-c-format
 msgid "Sound Card Connections"
-msgstr ""
+msgstr "サウンドカードの接続"
 
 #. Tag: para
 #, no-c-format
-msgid "Audio interfaces and MIDI interfaces can both use the following connection methods. In this section, \"sound card\" means \"audio interface or MIDI interface.\""
+msgid ""
+"Audio interfaces and MIDI interfaces can both use the following connection "
+"methods. In this section, \"sound card\" means \"audio interface or MIDI "
+"interface.\""
 msgstr ""
+"オーディオインターフェイスと MIDI インターフェイスの両方は、以下の接続方法を使用することができます。 "
+"このセクションでは、\"サウンドカード\"は\"オーディオインターフェースや MIDI インターフェイス\"を意味します。"
 
 #. Tag: title
 #, no-c-format
 msgid "Integrated into the Motherboard"
-msgstr ""
+msgstr "マザーボードに統合"
 
 #. Tag: para
 #, no-c-format
-msgid "Integrated sound cards are built into a computer's motherboard. The quality of audio produced by these sound cards has been increasing, and they are sufficient for most non-professional computer audio work. If you want a professional-sounding audio interface, or if you want to connect high-quality devices, then we recommend an additional audio interface."
+msgid ""
+"Integrated sound cards are built into a computer's motherboard. The quality "
+"of audio produced by these sound cards has been increasing, and they are "
+"sufficient for most non-professional computer audio work. If you want a "
+"professional-sounding audio interface, or if you want to connect high-"
+"quality devices, then we recommend an additional audio interface."
 msgstr ""
+"統合されたサウンドカードがコンピュータのマザーボードに組み込まれています。 "
+"これらのサウンドカードによって生成される音声の品質が向上しており、これらはほとんどの非専門のコンピュータオーディオの作業には十分です。 "
+"あなたが、プロフェッショナルなサウンドのオーディオインターフェイスを望む場合や、高品質のデバイスを接続する場合は、追加のオーディオインターフェイスをお勧めします。"
 
 #. Tag: para
 #, no-c-format
 msgid "MIDI interfaces are rarely integrated into a motherboard."
-msgstr ""
+msgstr "MIDI インターフェイスがマザーボードに組み込まれていることはほとんどありません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Internal PCI Connection"
-msgstr ""
+msgstr "内蔵 PCI 接続"
 
 #. Tag: para
 #, no-c-format
-msgid "Sound cards connected to a motherboard by PCI or PCI-Express offer better performance and lower latency than USB or FireWire-connected sound cards. Professional-quality sound cards often include an external device, connected to the sound card, to which the audio equipment is connected. You cannot use these sound cards with a notebook or netbook computer."
+msgid ""
+"Sound cards connected to a motherboard by PCI or PCI-Express offer better "
+"performance and lower latency than USB or FireWire-connected sound cards. "
+"Professional-quality sound cards often include an external device, connected"
+" to the sound card, to which the audio equipment is connected. You cannot "
+"use these sound cards with a notebook or netbook computer."
 msgstr ""
+"PCI または PCI-Express でマザーボードに接続するサウンドカードは、USB または FireWire "
+"接続のサウンドカードよりも高いパフォーマンスと低遅延を提供します。 "
+"プロ品質のサウンドカードは、多くの場合、サウンドカードに接続された外部デバイスを持ち、これにオーディオ機器が接続されています。 あなたはノート PC "
+"やネットブックコンピュータで、これらのサウンドカードを使用することはできません。"
 
 #. Tag: title
 #, no-c-format
 msgid "External FireWire Connection"
-msgstr ""
+msgstr "外部のFireWire 接続"
 
 #. Tag: para
 #, no-c-format
-msgid "FireWire-connected sound cards are not as popular as USB-connected sound cards, but they are generally higher quality. This is partly because FireWire-connected sound cards use FireWire's \"guaranteed bandwidth\" and \"bus-mastering\" capabilities, which both reduce latency. High-speed FireWire connections are also available on older computers without a high-speed USB connection."
+msgid ""
+"FireWire-connected sound cards are not as popular as USB-connected sound "
+"cards, but they are generally higher quality. This is partly because "
+"FireWire-connected sound cards use FireWire's \"guaranteed bandwidth\" and "
+"\"bus-mastering\" capabilities, which both reduce latency. High-speed "
+"FireWire connections are also available on older computers without a high-"
+"speed USB connection."
 msgstr ""
+"FireWire 接続のサウンドカードは、USB 接続のサウンドカードほど普及していませんが、それらは一般的に高品質です。その理由の１つは、 "
+"FireWire 接続のサウンドカードは、FireWire "
+"の\"帯域保証\"と\"バスマスタリング\"能力を使用し、これらはいずれも遅延を少なくするからです。 高速 FireWire 接続は、高速 USB "
+"接続がない、古いコンピュータ上でも利用できます。"
 
 #. Tag: para
 #, no-c-format
-msgid "FireWire devices are sometimes incompatible with the standard Fedora Linux kernel. If you have a FireWire-connected sound card, you should use the kernel from Planet CCRMA at Home. Refer to <xref linkend=\"sect-Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora\" /> for instructions to install the Planet CCRMA at Home kernel."
+msgid ""
+"FireWire devices are sometimes incompatible with the standard Fedora Linux "
+"kernel. If you have a FireWire-connected sound card, you should use the "
+"kernel from Planet CCRMA at Home. Refer to <xref linkend=\"sect-"
+"Musicians_Guide-Getting_Real_Time_Kernel_in_Fedora\" /> for instructions to "
+"install the Planet CCRMA at Home kernel."
 msgstr ""
+"FireWire デバイスは、標準の Fedora Linux カーネルと互換性のないことがあります。 もしあなたが FireWire "
+"接続のサウンドカードをお持ちなら、Planet CCRMA at Home のカーネルを使用する必要があります。 Planet CCRMA at "
+"Home のカーネルをインストールする手順は、 <xref linkend=\"sect-Musicians_Guide-"
+"Getting_Real_Time_Kernel_in_Fedora\" />を参照ください。"
 
 #. Tag: title
 #, no-c-format
 msgid "External USB Connection"
-msgstr ""
+msgstr "外部 USB 接続"
 
 #. Tag: para
 #, no-c-format
-msgid "Sound cards connected by USB are becoming more popular, especially because notebook and netbook computer are becoming more popular. The quality can be as good as an internally-connected sound card, but the USB connection may add additional latency. USB-connected sound cards are generally the most affordable sound card for amateur musicians who want a high-quality sound card."
+msgid ""
+"Sound cards connected by USB are becoming more popular, especially because "
+"notebook and netbook computer are becoming more popular. The quality can be "
+"as good as an internally-connected sound card, but the USB connection may "
+"add additional latency. USB-connected sound cards are generally the most "
+"affordable sound card for amateur musicians who want a high-quality sound "
+"card."
 msgstr ""
+"ノート PC やネットブックコンピュータがより一般的になっているため、USB 接続されたサウンドカードは、より一般的になっています。 "
+"品質は、内蔵されたサウンドカードと同じくらい良好ですが、USB 接続が遅延を追加することもあります。 USB "
+"接続のサウンドカードは、通常、高品質のサウンドカードがほしいアマチュアミュージシャンのための最も手頃な価格のサウンドカードです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Choosing a Connection Type"
-msgstr ""
+msgstr "接続タイプを選択する"
 
 #. Tag: para
 #, no-c-format
-msgid "The connection type is only one of the considerations when choosing a sound card. If you have a desktop computer, and you will not be using a notebook or netbook computer for audio, you should consider an internal PCI or PCI-Express connection. If you want an external sound card, you should consider a FireWire connection. If FireWire-connected sound cards are more too expensive, you should consider a USB connection. The connection type is not the most important consideration when choosing a sound card. The subjective quality of the analog-to-digital and digital-to-analog convertors is the most important consideration."
-msgstr ""
+msgid ""
+"The connection type is only one of the considerations when choosing a sound "
+"card. If you have a desktop computer, and you will not be using a notebook "
+"or netbook computer for audio, you should consider an internal PCI or PCI-"
+"Express connection. If you want an external sound card, you should consider "
+"a FireWire connection. If FireWire-connected sound cards are more too "
+"expensive, you should consider a USB connection. The connection type is not "
+"the most important consideration when choosing a sound card. The subjective "
+"quality of the analog-to-digital and digital-to-analog convertors is the "
+"most important consideration."
+msgstr ""
+"接続タイプは、サウンドカードを選択する観点の1つにすぎません。 "
+"あなたがデスクトップコンピュータを所有しており、オーディオ用にノートPCやネットブックコンピュータを使用するつもりがないならば、内蔵 PCI または "
+"PCI-Express 接続を考慮しましょう。 外部のサウンドカードが必要な場合は、FireWire 接続を考慮しましょう。 FireWire "
+"接続のサウンドカードは値段が高すぎる場合は、USB 接続を考慮しましょう。 接続タイプは、サウンドカードを選択する際に最も重要な観点ではありません。 "
+"アナログ - デジタルおよびデジタル - アナログコンバータの主観的品質が最も重要な観点です。"
 
 #. Tag: title
 #, no-c-format
 msgid "Sample, Sample Rate, Sample Format, and Bit Rate"
-msgstr ""
+msgstr "サンプル、サンプルレート、サンプルフォーマット、およびビットレート"
 
 #. Tag: para
 #, no-c-format
-msgid "The primary function of audio interfaces is to convert signals between analog and digital formats. As mentioned earlier, real sound has an infinite possibility of pitches, volumes, and durations. Computers cannot process infinite information, so the audio signal must be converted before they can use it."
+msgid ""
+"The primary function of audio interfaces is to convert signals between "
+"analog and digital formats. As mentioned earlier, real sound has an infinite"
+" possibility of pitches, volumes, and durations. Computers cannot process "
+"infinite information, so the audio signal must be converted before they can "
+"use it."
 msgstr ""
+"オーディオインターフェイスの主な機能は、アナログおよびデジタル形式の間で信号を変換することです。 "
+"前述したように、実際の音は音程、ボリューム、および持続時間の無限の可能性を持っています。 "
+"コンピュータは無限の情報を処理することはできませんから、オーディオ信号は使用する前に変換する必要があります。"
 
 #. Tag: title
 #, no-c-format
 msgid "A waveform approximated by computer"
-msgstr ""
+msgstr "コンピュータによって近似された波形"
 
 #. Tag: para
 #, no-c-format
 msgid "A smooth, continuous waveform approximated by discrete steps."
-msgstr ""
+msgstr "不連続な階段で近似される、なめらかで連続した波形"
 
 #. Tag: para
 #, no-c-format
-msgid "source: <filename>pcm.svg</filename>, available from <ulink url=\"http://commons.wikimedia.org/wiki/File:Pcm.svg\" />"
+msgid ""
+"source: <filename>pcm.svg</filename>, available from <ulink "
+"url=\"http://commons.wikimedia.org/wiki/File:Pcm.svg\" />"
 msgstr ""
+"ソース: <filename>pcm.svg</filename> <ulink "
+"url=\"http://commons.wikimedia.org/wiki/File:Pcm.svg\" />より取得可能。"
 
 #. Tag: para
 #, no-c-format
-msgid "The diagram in <xref linkend=\"waveform\" /> illustrates the situation. The red wave shape represents a sound wave that could be produced by a singer or an acoustic instrument. The gradual change of the red wave cannot be processed by a computer, which must use an approximation, represented by the gray, shaded area of the diagram. This diagram is an exaggerated example, and it does not represent a real recording."
+msgid ""
+"The diagram in <xref linkend=\"waveform\" /> illustrates the situation. The "
+"red wave shape represents a sound wave that could be produced by a singer or"
+" an acoustic instrument. The gradual change of the red wave cannot be "
+"processed by a computer, which must use an approximation, represented by the"
+" gray, shaded area of the diagram. This diagram is an exaggerated example, "
+"and it does not represent a real recording."
 msgstr ""
+"<xref linkend=\"waveform\" "
+"/>の図が状況を示しています。赤い波の形は歌手やアコースティック楽器によって生成される音波を示します。 "
+"赤い波が徐々に変化する様子は、コンピュータが処理することはできません。コンピュータは、図のグレーに影づけされた領域で示される近似を使う必要があります。 "
+"この図は誇張された例で、実際のレコーディングの様子を表しているわけではありません。"
 
 #. Tag: para
 #, no-c-format
-msgid "The conversion between analog and digital signals distinguishes low-quality and high-quality audio interfaces. The sample rate and sample format control the amount of audio information that is stored by the computer. The greater the amount of information stored, the better the audio interface can approximate the original signal from the microphone. The possible sample rates and sample formats only partially determine the quality of the sound captured or produced by an audio interface. For example, an audio interface integrated into a motherboard may be capable of a 24-bit sample format and 192&nbsp;kHz sample rate, but a professional-level, FireWire-connected audio interface capable of a 16-bit sample format and 44.1&nbsp;kHz sample rate may sound better."
-msgstr ""
+msgid ""
+"The conversion between analog and digital signals distinguishes low-quality "
+"and high-quality audio interfaces. The sample rate and sample format control"
+" the amount of audio information that is stored by the computer. The greater"
+" the amount of information stored, the better the audio interface can "
+"approximate the original signal from the microphone. The possible sample "
+"rates and sample formats only partially determine the quality of the sound "
+"captured or produced by an audio interface. For example, an audio interface "
+"integrated into a motherboard may be capable of a 24-bit sample format and "
+"192&nbsp;kHz sample rate, but a professional-level, FireWire-connected audio"
+" interface capable of a 16-bit sample format and 44.1&nbsp;kHz sample rate "
+"may sound better."
+msgstr ""
+"アナログ信号とデジタル信号間の変換は、低品質と高品質のオーディオインターフェイスの違いを明らかにします。 "
+"サンプルレートとサンプルフォーマットが、コンピュータによって格納される音声情報の量を制御します。 "
+"格納されている情報の量が多ければ多いほど、オーディオインターフェイスは、マイクからの元の信号をより良く近似することができます。 "
+"可能なサンプルレートと、サンプルフォーマットは、オーディオインターフェイスによって生成あるいは取得される音の品質の一部しか決定しません。 "
+"たとえば、マザーボードに統合されたオーディオインターフェイスは、24 ビットのサンプルフォーマットと "
+"192&nbsp;kHzのサンプルレートが可能かもしれません。一方プロレベルの、FireWire 接続のオーディオインターフェースで、16 "
+"ビットのサンプルフォーマットと、44.1&nbsp;kHzのサンプルレートが可能なものの方がよく聞こえるかもしれません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Sample"
-msgstr ""
+msgstr "サンプル"
 
 #. Tag: para
 #, no-c-format
-msgid "A sample is a unit of audio data. Computers store video data as a series of still images (each called a \"frame\"), and displays them one after the other, changing at a pre-determined rate (called the \"frame rate\"). Computers store audio data as a series of still sound images (each called a \"sample\"), and plays them one after the other, changing at a pre-determined rated (called the \"sample rate\")."
+msgid ""
+"A sample is a unit of audio data. Computers store video data as a series of "
+"still images (each called a \"frame\"), and displays them one after the "
+"other, changing at a pre-determined rate (called the \"frame rate\"). "
+"Computers store audio data as a series of still sound images (each called a "
+"\"sample\"), and plays them one after the other, changing at a pre-"
+"determined rated (called the \"sample rate\")."
 msgstr ""
+"サンプルは、オーディオデータの単位です。 "
+"コンピュータは、（それぞれが\"フレーム\"と呼ばれる）静止画の連続として映像データを格納し、（\"フレームレート\"と呼ばれる）所定の割合で、それらを1つずつ表示します。"
+" "
+"コンピュータは、（それぞれが\"サンプル\"と呼ばれる）静止した音のイメージの連続としてオーディオデータを格納し、（\"サンプルレート\"と呼ばれる）所定の割合で、それらを1つずつ演奏します。"
 
 #. Tag: para
 #, no-c-format
-msgid "The frame format and frame rate used to store video data do not vary much. The sample format and sample rate used to store audio data vary widely."
+msgid ""
+"The frame format and frame rate used to store video data do not vary much. "
+"The sample format and sample rate used to store audio data vary widely."
 msgstr ""
+"ビデオデータを格納するために使用されるフレームフォーマットとフレームレートはあまり種類がありません。 "
+"オーディオデータを格納するために使用されるサンプルフォーマットとサンプルレートはたくさんの種類があります。"
 
 #. Tag: title
 #, no-c-format
 msgid "Sample Format"
-msgstr ""
+msgstr "サンプルフォーマット"
 
 #. Tag: para
 #, no-c-format
-msgid "The sample format is the number of bits used to describe each sample. The greater the number of bits, the more data will be stored in each sample. Common sample formats are 16&nbsp;bits and 24&nbsp;bits. 8&nbsp;bit samples are low-quality, and not used often. 20&nbsp;bit samples are not commonly used on computers. 32&nbsp;bit samples are possible, but not supported by most audio interfaces."
-msgstr ""
+msgid ""
+"The sample format is the number of bits used to describe each sample. The "
+"greater the number of bits, the more data will be stored in each sample. "
+"Common sample formats are 16&nbsp;bits and 24&nbsp;bits. 8&nbsp;bit samples "
+"are low-quality, and not used often. 20&nbsp;bit samples are not commonly "
+"used on computers. 32&nbsp;bit samples are possible, but not supported by "
+"most audio interfaces."
+msgstr ""
+"サンプルフォーマットは、各サンプルを記述するために使用されるビット数です。 ビット数が大きくなるほど、より多くのデータが各サンプルに格納されます。 "
+"一般的なサンプルフォーマットは 16&nbsp;ビットと 24&nbsp;ビットです。 "
+"8&nbsp;ビットのサンプルは、低品質であり、あまり使用されません。 20&nbsp;ビットのサンプルは一般的にコンピュータ上で使用されません。 "
+"32&nbsp;ビットのサンプルは可能ですが、ほとんどのオーディオインターフェイスによってサポートされていません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Sample Rate"
-msgstr ""
+msgstr "サンプルレート"
 
 #. Tag: para
 #, no-c-format
-msgid "The sample rate is the number of samples played in each second. Sample rates are measured in \"Hertz\" (abbreviated \"Hz\"), which means \"per second,\" or in \"kilohertz\" (abbreviated \"kHz\"), which means \"per second, times one thousand.\" The sample rate used on audio CDs can be written as 44&nbsp;100&nbsp;Hz, or 44.1&nbsp;kHz, which both have the same meaning. Common sample rates are 44.1&nbsp;kHz, 48&nbsp;kHz, and 96&nbsp;kHz. Other possible sample rates include 22&nbsp;kHz, 88.2&nbsp;kHz, and 192&nbsp;kHz."
-msgstr ""
+msgid ""
+"The sample rate is the number of samples played in each second. Sample rates"
+" are measured in \"Hertz\" (abbreviated \"Hz\"), which means \"per second,\""
+" or in \"kilohertz\" (abbreviated \"kHz\"), which means \"per second, times "
+"one thousand.\" The sample rate used on audio CDs can be written as "
+"44&nbsp;100&nbsp;Hz, or 44.1&nbsp;kHz, which both have the same meaning. "
+"Common sample rates are 44.1&nbsp;kHz, 48&nbsp;kHz, and 96&nbsp;kHz. Other "
+"possible sample rates include 22&nbsp;kHz, 88.2&nbsp;kHz, and 192&nbsp;kHz."
+msgstr ""
+"サンプルレートは毎秒に演奏されるサンプルの数です。 "
+"サンプルレートは、\"毎秒\"を意味する\"ヘルツ\"（\"Hz\"と略される）あるいは、\"秒当たり千回\"を意味する\"キロヘルツ\"（\"kHz\"と略される）で測定されます。オーディオ"
+" CD "
+"で使用されるサンプルレートは44&nbsp;100&nbsp;Hz、または44.1&nbsp;kHzと記述することができ、どちらも同じ意味を持ちます。 "
+"一般的なサンプルレートは44.1&nbsp;kHz、48&nbsp;kHz、および 96&nbsp;kHzです。 他の可能なサンプルレートには "
+"22&nbsp;kHz、88.2&nbsp;kHz、および192&nbsp;kHzが含まれています。"
 
 #. Tag: title
 #, no-c-format
 msgid "Bit Rate"
-msgstr ""
+msgstr "ビットレート"
 
 #. Tag: para
 #, no-c-format
-msgid "Bit rate is the number of bits in a given time period. Bit rate is usually measured in kilobits per second (abbreviated \"kbps\" or \"kb/s\"). This measurement is generally used to refer to amount of information stored in a lossy, compressed audio format."
+msgid ""
+"Bit rate is the number of bits in a given time period. Bit rate is usually "
+"measured in kilobits per second (abbreviated \"kbps\" or \"kb/s\"). This "
+"measurement is generally used to refer to amount of information stored in a "
+"lossy, compressed audio format."
 msgstr ""
+"ビットレートは指定された期間内にあるビット数です。 "
+"ビットレートは、通常は（\"kbps\"または\"kb/s\"と略称される）毎秒キロビットで測定されます。 "
+"この単位は、一般的に非可逆圧縮オーディオ形式で格納されている情報の量を示すために使用されます。"
 
 #. Tag: para
 #, no-c-format
-msgid "In order to calculate the bit rate, multiply the sample rate and the sample format. For example, the bit rate of an audio CD (705.6&nbsp;kb/s) is the sample rate (44.1&nbsp;kHz) multiplied by the sample format (16&nbsp;bits). MP3-format files are commonly encoded with a 128&nbsp;kb/s bit rate."
+msgid ""
+"In order to calculate the bit rate, multiply the sample rate and the sample "
+"format. For example, the bit rate of an audio CD (705.6&nbsp;kb/s) is the "
+"sample rate (44.1&nbsp;kHz) multiplied by the sample format (16&nbsp;bits). "
+"MP3-format files are commonly encoded with a 128&nbsp;kb/s bit rate."
 msgstr ""
+"ビットレートを計算するためには、サンプルレートに、サンプルフォーマットを掛けます。 たとえば、オーディオ "
+"CD（705.6&nbsp;kb/s）のビットレートは、サンプルレート（44.1&nbsp;kHz）にサンプルフォーマット（16&nbsp;ビット）を乗じたものです。"
+" MP3形式のファイルは、通常128&nbsp;キロビット/秒のビットレートでエンコードされます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Conclusions"
-msgstr ""
+msgstr "結論"
 
 #. Tag: para
 #, no-c-format
-msgid "Both sample rate and sample format have an impact on potential sound quality. The capabilities of your audio equipment, and your intended use of the audio signal will determine the settings you should use."
+msgid ""
+"Both sample rate and sample format have an impact on potential sound "
+"quality. The capabilities of your audio equipment, and your intended use of "
+"the audio signal will determine the settings you should use."
 msgstr ""
+"サンプルレートと、サンプルフォーマットの両方は、潜在的な音質に影響を与えます。お使いのオーディオ機器の能力と、あなたのオーディオ信号の使用目的が、あなたが使用するべき設定を決めます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Here are some widely-used sample rates and sample formats. You can use these to help you decide which sample rate and sample format to use."
+msgid ""
+"Here are some widely-used sample rates and sample formats. You can use these"
+" to help you decide which sample rate and sample format to use."
 msgstr ""
+"以下はいくつかの広く使われているサンプルレートと、サンプルフォーマットです。どのサンプルレートと、サンプルフォーマットを使用するかを決めるための参考としてください。"
 
 #. Tag: para
 #, no-c-format
-msgid "16-bit samples, 44.1&nbsp;kHz sample rate. Used for audio CDs. Widely compatible. Bit rate of 705.6&nbsp;kb/s."
+msgid ""
+"16-bit samples, 44.1&nbsp;kHz sample rate. Used for audio CDs. Widely "
+"compatible. Bit rate of 705.6&nbsp;kb/s."
 msgstr ""
+"16ビットサンプル、44.1&nbsp;kHzのサンプルレート。 オーディオ CD に使用されます。 広く互換性があります。 "
+"705.6&nbsp;キロビット/秒のビットレート。"
 
 #. Tag: para
 #, no-c-format
-msgid "24-bit samples, and 96&nbsp;kHz sample rate. Audio CDs are recorded with these settings, and \"down-mixed\" later. Bit rate of 2304&nbsp;kb/s."
+msgid ""
+"24-bit samples, and 96&nbsp;kHz sample rate. Audio CDs are recorded with "
+"these settings, and \"down-mixed\" later. Bit rate of 2304&nbsp;kb/s."
 msgstr ""
+"24ビットサンプル、および96&nbsp;kHzのサンプルレート。 オーディオ CDはこれらの設定で録音され、後に\"ダウンミックス\"されます。 "
+"2304&nbsp;キロビット/秒のビットレート。"
 
 #. Tag: para
 #, no-c-format
-msgid "24-bit samples, and 192&nbsp;kHz sample rate. Maximum settings for DVD Audio, but not widely compatible. Bit rate of 4608&nbsp;kb/s."
+msgid ""
+"24-bit samples, and 192&nbsp;kHz sample rate. Maximum settings for DVD "
+"Audio, but not widely compatible. Bit rate of 4608&nbsp;kb/s."
 msgstr ""
+"24ビットサンプル、および192&nbsp;kHzのサンプルレート。 DVD オーディオの最大の設定。ただし、あまり互換性がありません。 "
+"4608&nbsp;キロビット/秒のビットレート。"
 
 #. Tag: para
 #, no-c-format
-msgid "1-bit samples, and 2822.4&nbsp;kHz sample rate. Used for SuperAudio CDs. Very rare elsewhere. Bit rate of 2822.4&nbsp;kb/s."
+msgid ""
+"1-bit samples, and 2822.4&nbsp;kHz sample rate. Used for SuperAudio CDs. "
+"Very rare elsewhere. Bit rate of 2822.4&nbsp;kb/s."
 msgstr ""
+"1ビットのサンプル、および2822.4&nbsp;kHzのサンプルレート。 SuperAudio CD のために使用されます。 "
+"それ以外にはまず使われません。 2822.4&nbsp;キロビット/秒のビットレート。"
 
 #. Tag: para
 #, no-c-format
-msgid "Sample rate and sample format are only part of what determines overall sound quality. Sound quality is subjective, so you must experiment to find the audio interface and settings that work best for what you do."
+msgid ""
+"Sample rate and sample format are only part of what determines overall sound"
+" quality. Sound quality is subjective, so you must experiment to find the "
+"audio interface and settings that work best for what you do."
 msgstr ""
+"サンプルレートと、サンプルフォーマットは、全体的な音質を決定するもののほんの一部です。 "
+"音質は主観的なものです。このためあなたは、あなたのすることにとって最適なオーディオインターフェイスと設定を見つけるために実験をする必要があります。"
+
+
diff --git a/ja-JP/Sound_Servers.po b/ja-JP/Sound_Servers.po
index 70ac498..f416660 100644
--- a/ja-JP/Sound_Servers.po
+++ b/ja-JP/Sound_Servers.po
@@ -1,152 +1,343 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-09-08T03:01:42\n"
-"PO-Revision-Date: 2010-09-07T21:06:59\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:03\n"
+"PO-Revision-Date: 2011-07-13 10:04+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "Software for Sound Cards"
-msgstr ""
+msgstr "サウンドカード用のソフトウェア"
 
 #. Tag: para
 #, no-c-format
-msgid "One of the techniques consistently used in computer science is abstraction. Abstraction is the process of creating a generic model for something (or some things) that are actually unique. The \"driver\" for a hardware device in a computer is one form of dealing with abstraction: the computer's software interacts with all sound cards in a similar way, and it is the driver which translates the universal instructions given by the software into specific instructions for operating that hardware device. Consider this real-world comparison: you know how to operate doors because of abstracted instructions. You don't know how to open and close every door that exists, but from the ones that you do know how to operate, your brain automatically creates abstracted instructions, like \"turn the handle,\" and \"push the door,\" which apply with all or most doors. When you see a new door, you have certain expectations about how it works, based on the abstract behaviour of doors, and 
 you quickly figure out how to operate that specific door with a simple visual inspection. The principle is the same with computer hardware drivers: since the computer already knows how to operate \"sound cards,\" it just needs a few simple instructions (the driver) in order to know how to operate any particular sound card."
-msgstr ""
+msgid ""
+"One of the techniques consistently used in computer science is abstraction. "
+"Abstraction is the process of creating a generic model for something (or "
+"some things) that are actually unique. The \"driver\" for a hardware device "
+"in a computer is one form of dealing with abstraction: the computer's "
+"software interacts with all sound cards in a similar way, and it is the "
+"driver which translates the universal instructions given by the software "
+"into specific instructions for operating that hardware device. Consider this"
+" real-world comparison: you know how to operate doors because of abstracted "
+"instructions. You don't know how to open and close every door that exists, "
+"but from the ones that you do know how to operate, your brain automatically "
+"creates abstracted instructions, like \"turn the handle,\" and \"push the "
+"door,\" which apply with all or most doors. When you see a new door, you "
+"have certain expectations about how it works, based on the abstract "
+"behaviour of doors, and you quickly figure out how to operate that specific "
+"door with a simple visual inspection. The principle is the same with "
+"computer hardware drivers: since the computer already knows how to operate "
+"\"sound cards,\" it just needs a few simple instructions (the driver) in "
+"order to know how to operate any particular sound card."
+msgstr ""
+"一貫してコンピュータサイエンスで使用される技術の一つは、抽象化です。 "
+"抽象化は実際にはユニークな何か（またはいくつかの何か）の一般的なモデルを作るプロセスのことです。 コンピュータのハードウェアデバイスの \"ドライバ "
+"\"は、抽象化のひとつの形式です：コンピュータのソフトウェアは、同様の方法ですべてのサウンドカードと相互作用し、そして、ドライバが、ソフトウェアで指定された普遍的命令を、そのハードウェアデバイスを操作する特定の命令に翻訳します。"
+" "
+"現実世界でのこの対比を考えましょう：あなたは存在するすべてのドアを開閉する手段を知りません。しかし、あなたが実際に操作する方法を知っているドアのうちから、あなたの脳は自動的に抽象化された手順、例えば"
+" \"ハンドルを回す \"、そして \"ドアを押す \"、を生成します . そしてそれはすべてまたはほとんどのドアに適用可能です。 "
+"あなたは新しいドアをみたら、ドアの抽象的な動作に基づいて、それがどのように働くのか、予期することができます。そしてすぐに、少し見ただけで、その特定のドアを操作する方法を見つけ出します。原理は、コンピュータのハードウェアのドライバも同じです：コンピュータはすでに"
+" \"サウンドカード "
+"\"をどのように操作するか知っているので、特定のサウンドカードを動作させる方法を知るためにはいくつかの簡単な手順（ドライバ）があればよいのです。"
 
 #. Tag: title
 #, no-c-format
 msgid "How Linux Deals with Audio Hardware"
-msgstr ""
+msgstr "Linux はどのようにオーディオハードウェアを扱うか"
 
 #. Tag: para
 #, no-c-format
-msgid "In Linux, the core of the operating system provides hardware drivers for most audio hardware. The hardware drivers, and the instructions that other software can use to connect to those drivers, are collectively called \"ALSA,\" which stands for \"Advanced Linux Sound Architecture.\" ALSA is the most direct way that software applications can interact with audio and MIDI hardware, and it used to be the most common way. However, in order to include all of the features that a software application might want to use, ALSA is quite complex, and can be error-prone. For this and many other reasons, another level of abstraction is normally used, and this makes it easier for software applications to take advantage of the features they need."
-msgstr ""
+msgid ""
+"In Linux, the core of the operating system provides hardware drivers for "
+"most audio hardware. The hardware drivers, and the instructions that other "
+"software can use to connect to those drivers, are collectively called "
+"\"ALSA,\" which stands for \"Advanced Linux Sound Architecture.\" ALSA is "
+"the most direct way that software applications can interact with audio and "
+"MIDI hardware, and it used to be the most common way. However, in order to "
+"include all of the features that a software application might want to use, "
+"ALSA is quite complex, and can be error-prone. For this and many other "
+"reasons, another level of abstraction is normally used, and this makes it "
+"easier for software applications to take advantage of the features they "
+"need."
+msgstr ""
+"Linux では、オペレーティングシステムのコアは、ほとんどのオーディオハードウェア用のハードウェアのドライバを提供しています。 "
+"ハードウェアドライバと、その他のソフトウェアが、これらのドライバに接続するために使用できる命令の総称は \"ALSA\"、\"Advanced "
+"Linux Sound Architecture\"と呼ばれています。 ALSA は、ソフトウェアアプリケーションが、オーディオと MIDI "
+"のハードウェアと相互作用することができる最も直接的な方法であり、それは最も一般的な方法でもありました。 "
+"ただし、ソフトウェアアプリケーションが使用する可能性があるすべての機能を含めるために、ALSA は、非常に複雑で、誤りを起こしがちになることもあります。"
+" "
+"これと他の多くの理由から、抽象化の別のレベルが、通常使用されており、これによりソフトウェアアプリケーションは、必要な機能を簡単に活用できるようになります。"
 
 #. Tag: title
 #, no-c-format
 msgid "Sound Servers"
-msgstr ""
+msgstr "サウンドサーバ"
 
 #. Tag: para
 #, no-c-format
-msgid "Sound servers are programs that run \"in the background,\" meaning that they do not have a user interface. Sound servers provide a level of abstraction to automate some aspects of using ALSA, and to allow multiple applications to simultaneously access your audio hardware. The three sound servers discussed in this chapter have different goals and different features. The sound server you should use depends on what you are doing."
+msgid ""
+"Sound servers are programs that run \"in the background,\" meaning that they"
+" do not have a user interface. Sound servers provide a level of abstraction "
+"to automate some aspects of using ALSA, and to allow multiple applications "
+"to simultaneously access your audio hardware. The three sound servers "
+"discussed in this chapter have different goals and different features. The "
+"sound server you should use depends on what you are doing."
 msgstr ""
+"サウンドサーバーは、\"バックグラウンドで \"動作する、つまり、ユーザーインターフェイスを持っていないプログラムです。 サウンドサーバは、ALSA "
+"を使用するいくつかの側面を自動化するための、抽象化のレベルを提供します。そして、複数のアプリケーションが同時にオーディオハードウェアにアクセスできるようにします。この章で説明する"
+" 3 つのサウンドサーバーは別々の目標と特徴を持っています。 あなたが使用するべきサウンドサーバは、あなたが何をしているかによって決まります。"
 
 #. Tag: title
 #, no-c-format
 msgid "PulseAudio"
-msgstr ""
+msgstr "パルスオーディオ"
 
 #. Tag: para
 #, no-c-format
-msgid "<systemitem>PulseAudio</systemitem> is an advanced sound server, intended to make audio programming in Linux operating systems as easy as possible. The idea behind its design is that an audio application needs only to output audio to <systemitem>PulseAudio</systemitem>, and <systemitem>PulseAudio</systemitem> will take care of the rest: choosing and controlling a particular device, adjusting the volume, working with other applications, and so on. <systemitem>PulseAudio</systemitem> even has the ability to use \"networked sound,\" which allows two computers using <systemitem>PulseAudio</systemitem> to communicate as though they were one computer - either computer can input from or output to either computer's audio hardware just as easily as its own audio hardware. This is all controlled within <systemitem>PulseAudio</systemitem>, so no further complication is added to the software."
-msgstr ""
+msgid ""
+"<systemitem>PulseAudio</systemitem> is an advanced sound server, intended to"
+" make audio programming in Linux operating systems as easy as possible. The "
+"idea behind its design is that an audio application needs only to output "
+"audio to <systemitem>PulseAudio</systemitem>, and "
+"<systemitem>PulseAudio</systemitem> will take care of the rest: choosing and"
+" controlling a particular device, adjusting the volume, working with other "
+"applications, and so on. <systemitem>PulseAudio</systemitem> even has the "
+"ability to use \"networked sound,\" which allows two computers using "
+"<systemitem>PulseAudio</systemitem> to communicate as though they were one "
+"computer - either computer can input from or output to either computer's "
+"audio hardware just as easily as its own audio hardware. This is all "
+"controlled within <systemitem>PulseAudio</systemitem>, so no further "
+"complication is added to the software."
+msgstr ""
+"<systemitem>PulseAudio</systemitem> は、Linux "
+"オペレーティングシステムでのオーディオプログラミングをできるだけ簡単にすることをめざした、進んだオーディオサーバです。そのデザインの背後にある考え方は、オーディオアプリケーションはオーディオを"
+" <systemitem>PulseAudio</systemitem> "
+"に出力するだけでよく、あとは、<systemitem>PulseAudio</systemitem> "
+"が面倒をみてくれるということです：特定のデバイスを選び、制御し、ボリュームを調整し、他のアプリケーションと一緒に動作する、などです。<systemitem>PulseAudio</systemitem>"
+" は、\"ネットワークサウンド \"を使う能力もあります。これは、<systemitem>PulseAudio</systemitem> "
+"を使う２つのコンピュータが、１つのコンピュータであるかのように通信するというものです。どちらのコンピュータも、相手のコンピュータのオーディオハードウエアに、自分のオーディオハードウエアと同様に簡単に入出力できるのです。これはすべて、<systemitem>PulseAudio</systemitem>"
+" の中で制御されているので、ソフトウエアがより複雑になることはありません。"
 
 #. Tag: para
 #, no-c-format
-msgid "The Fedora Project's integration of <systemitem>PulseAudio</systemitem> as a vital part of the operating system has helped to ensure that audio applications can \"just work\" for most people under most circumstances. This has made it much easier for users to carry out basic audio tasks."
+msgid ""
+"The Fedora Project's integration of <systemitem>PulseAudio</systemitem> as a"
+" vital part of the operating system has helped to ensure that audio "
+"applications can \"just work\" for most people under most circumstances. "
+"This has made it much easier for users to carry out basic audio tasks."
 msgstr ""
+"Fedora プロジェクトは、 <systemitem>PulseAudio</systemitem> "
+"を、オペレーティングシステムの重要な部分として統合しているので、ほとんどの人にとって、ほとんどの状況で、オーディオアプリケーションが \"単に動作する "
+"\"ことができるのを保証してきました。 これは、ユーザーが基本的なオーディオ作業を行うのをはるかに容易にしました。"
 
 #. Tag: title
 #, no-c-format
 msgid "<systemitem>JACK</systemitem> Audio Connection Kit"
-msgstr ""
+msgstr "<systemitem>JACK</systemitem> オーディオ接続キット"
 
 #. Tag: para
 #, no-c-format
-msgid "The <systemitem>JACK</systemitem> sound server offers fewer features than other sound servers, but they are tailor-made to allow the functionality required by audio creation applications. <systemitem>JACK</systemitem> also makes it easier for users to configure the options that are most important for such situations. The server supports only one sample rate and format at a time, and allows applications and hardware to easily connect and multiplex in ways that other sound servers do not (see <xref linkend=\"sect-Musicians_Guide-Vocabulary-Routing_and_Multiplexing\" /> for information about routing and multiplexing). It is also optimized to run with consistently low latencies. Although using <systemitem>JACK</systemitem> requires a better understanding of the underlying hardware, the <application>QjackCtl</application> application provides a graphical user interface to ease the process."
-msgstr ""
+msgid ""
+"The <systemitem>JACK</systemitem> sound server offers fewer features than "
+"other sound servers, but they are tailor-made to allow the functionality "
+"required by audio creation applications. <systemitem>JACK</systemitem> also "
+"makes it easier for users to configure the options that are most important "
+"for such situations. The server supports only one sample rate and format at "
+"a time, and allows applications and hardware to easily connect and multiplex"
+" in ways that other sound servers do not (see <xref linkend=\"sect-"
+"Musicians_Guide-Vocabulary-Routing_and_Multiplexing\" /> for information "
+"about routing and multiplexing). It is also optimized to run with "
+"consistently low latencies. Although using <systemitem>JACK</systemitem> "
+"requires a better understanding of the underlying hardware, the "
+"<application>QjackCtl</application> application provides a graphical user "
+"interface to ease the process."
+msgstr ""
+"<systemitem>JACK</systemitem> "
+"サウンドサーバは、他のサウンドサーバと比べると提供する機能が少ないですが、オーディオ作成アプリケーションにとって必要な機能に特化して作られています。 "
+"<systemitem>JACK</systemitem> は "
+"また、そのような状況で最も重要なオプションの設定をユーザーが簡単に行えるようにしています。このサーバは、1 "
+"度にただ１つのサンプルレートとフォーマットをサポートします。そして、アプリケーションとハードウエアが簡単に接続し、多重化するのを可能とします . "
+"これは他のサウンドサーバにはない機能です。（ルーティングと多重化についてくわしくは、<xref linkend=\"sect-"
+"Musicians_Guide-Vocabulary-Routing_and_Multiplexing\" /> を参照してください 。） "
+"それは、さらに、一貫して低遅延で実行するように最適化されています。<systemitem>JACK</systemitem> "
+"を使用するには、もととなるハードウェアのよりよい理解が必要ですが、<application>QjackCtl</application> "
+"アプリケーションがそのプロセスを容易にするグラフィカルユーザーインターフェイスを提供しています。"
 
 #. Tag: title
 #, no-c-format
 msgid "Phonon"
-msgstr ""
+msgstr "フォノン"
 
 #. Tag: para
 #, no-c-format
-msgid "Phonon is a sound server built into the KDE Software Compilation, and is one of the core components of KDE. By default on Fedora Linux, Phonon feeds output to <systemitem>PulseAudio</systemitem>, but on other platforms (like Mac OS X, Windows, other versions of Linux, FreeBSD, and any other system that supports KDE), Phonon can be configured to feed its output anywhere. This is its greatest strength - that KDE applications like Amarok and Dragon Player need only be programmed to use Phonon, and they can rely on Phonon to take care of everything else. As KDE applications increasingly find their place in Windows and especially Mac OS X, this cross-platform capability is turning out to be very useful."
-msgstr ""
+msgid ""
+"Phonon is a sound server built into the KDE Software Compilation, and is one"
+" of the core components of KDE. By default on Fedora Linux, Phonon feeds "
+"output to <systemitem>PulseAudio</systemitem>, but on other platforms (like "
+"Mac OS X, Windows, other versions of Linux, FreeBSD, and any other system "
+"that supports KDE), Phonon can be configured to feed its output anywhere. "
+"This is its greatest strength - that KDE applications like Amarok and Dragon"
+" Player need only be programmed to use Phonon, and they can rely on Phonon "
+"to take care of everything else. As KDE applications increasingly find their"
+" place in Windows and especially Mac OS X, this cross-platform capability is"
+" turning out to be very useful."
+msgstr ""
+"フォノンは、KDE ソフトウェア集に含まれるサウンドサーバで、KDE の中心となるコンポーネントの１つです。 Fedora Linux "
+"のデフォルトでは、フォノンは、出力を <systemitem>PulseAudio</systemitem> "
+"に供給します。しかし、他のプラットフォーム（ Mac OS X、Windows、他のバージョンの Linux、FreeBSD、そして KDE "
+"をサポートする他の任意のシステムなど）では、フォノンは出力をどこに供給するようにでも構成することができます。これは、その最大の強さです - KDE "
+"アプリケーションである Amarok や Dragon Player "
+"などは、フォノンを使うようにプログラムするだけでよく、それらはフォノンが他のすべての面倒を見てくれるのに頼ることができます。 KDE "
+"アプリケーションが、Windows あるいは特に Mac OS X "
+"においてますますその位置を見つけるにつれ、このクロスプラットフォームの機能は非常に有用となってきました。"
 
 #. Tag: title
 #, no-c-format
 msgid "Using the <systemitem>JACK</systemitem> Audio Connection Kit"
-msgstr ""
+msgstr "<systemitem>JACK</systemitem> オーディオ接続キットを使う"
 
 #. Tag: title
 #, no-c-format
 msgid "Installing and Configuring <systemitem>JACK</systemitem>"
-msgstr ""
+msgstr "<systemitem>JACK</systemitem> をインストール、構成する"
 
 #. Tag: para
 #, no-c-format
-msgid "Use <application>PackageKit</application> or <application>KPackageKit</application> to install the <package>jack-audio-connection-kit</package> and <package>qjackctl</package> packages."
+msgid ""
+"Use <application>PackageKit</application> or "
+"<application>KPackageKit</application> to install the <package>jack-audio-"
+"connection-kit</package> and <package>qjackctl</package> packages."
 msgstr ""
+"<application>PackageKit</application> あるいは "
+"<application>KPackageKit</application> を使って <package>jack-audio-connection-"
+"kit</package> と <package>qjackctl</package> パッケージをインストールしてください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Review and approve the installation, making sure that it completes correctly."
-msgstr ""
+msgid ""
+"Review and approve the installation, making sure that it completes "
+"correctly."
+msgstr "インストールを確認し、承認ください。それが正常に完了したことを確認してください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Run <application>QjackCtl</application> from the KMenu or the Applications menu."
-msgstr ""
+msgid ""
+"Run <application>QjackCtl</application> from the KMenu or the Applications "
+"menu."
+msgstr "KMenu あるいはアプリケーションメニューから <application>QjackCtl</application> を実行ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "To start the <systemitem>JACK</systemitem> server, click <guibutton>Start</guibutton>. To stop the <systemitem>JACK</systemitem> server, click <guibutton>Stop</guibutton>."
+msgid ""
+"To start the <systemitem>JACK</systemitem> server, click "
+"<guibutton>Start</guibutton>. To stop the <systemitem>JACK</systemitem> "
+"server, click <guibutton>Stop</guibutton>."
 msgstr ""
+"<systemitem>JACK</systemitem> サーバーを開始するには <guibutton>Start</guibutton> "
+"をクリック、<systemitem>JACK</systemitem> サーバーを終了するには <guibutton>Stop</guibutton> "
+"をクリックください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click <guibutton>Messages</guibutton> to see messages, which are usually errors or warnings."
+msgid ""
+"Click <guibutton>Messages</guibutton> to see messages, which are usually "
+"errors or warnings."
 msgstr ""
+"メッセージを見るには、<guibutton>Messages</guibutton> をクリックください。それは普通、エラーあるいは警告です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click <guibutton>Status</guibutton> to see various statistics about the currently-running server."
-msgstr ""
+msgid ""
+"Click <guibutton>Status</guibutton> to see various statistics about the "
+"currently-running server."
+msgstr "現在実行中のサーバについてのいろいろな統計を見るには、<guibutton>Status</guibutton> をクリックください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click <guibutton>Connections</guibutton> button to see and adjust the connections between applications and audio hardware."
+msgid ""
+"Click <guibutton>Connections</guibutton> button to see and adjust the "
+"connections between applications and audio hardware."
 msgstr ""
+"アプリケーションとオーディオハードウエアの間の接続を見たり、調整するには <guibutton>Connections</guibutton> "
+"ボタンをクリックください。"
 
 #. Tag: para
 #, no-c-format
-msgid "<systemitem>JACK</systemitem> operates with special real-time privileges. You must add all users to the <systemitem>jackuser</systemitem> and <systemitem>pulse-rt</systemitem> groups so they can use <systemitem>JACK</systemitem>. For instructions to add users to groups, see Chapter 22, <citetitle>Users and Groups</citetitle> of the <citetitle>Fedora Deployment Guide</citetitle>, available at <ulink url=\"http://docs.fedoraproject.org\" />. Do not add users to these groups if they will not use <systemitem>JACK</systemitem>."
-msgstr ""
+msgid ""
+"<systemitem>JACK</systemitem> operates with special real-time privileges. "
+"You must add all users to the <systemitem>jackuser</systemitem> and "
+"<systemitem>pulse-rt</systemitem> groups so they can use "
+"<systemitem>JACK</systemitem>. For instructions to add users to groups, see "
+"Chapter 22, <citetitle>Users and Groups</citetitle> of the <citetitle>Fedora"
+" Deployment Guide</citetitle>, available at <ulink "
+"url=\"http://docs.fedoraproject.org\" />. Do not add users to these groups "
+"if they will not use <systemitem>JACK</systemitem>."
+msgstr ""
+"<systemitem>JACK</systemitem> は、特別なリアルタイム特権で動作します。あなたは "
+"<systemitem>JACK</systemitem> を使うすべてのユーザを <systemitem>jackuser</systemitem> "
+"と <systemitem>pulse-rt</systemitem> "
+"グループに入れる必要があります。ユーザをグループに入れる方法については、<ulink "
+"url=\"http://docs.fedoraproject.org\" /> から入手可能な <citetitle>Fedora "
+"Deployment Guide</citetitle> の 22 章 , <citetitle>Users and "
+"Groups</citetitle> を参照ください。<systemitem>JACK</systemitem> "
+"を使わないユーザは、これらのグループに入れないでください。"
 
 #. Tag: para
 #, no-c-format
-msgid "With the default configuration of <application>QjackCtl</application>, it chooses the \"default\" sound card, which actually goes through the <systemitem>ALSA</systemitem> sound server. We can avoid this, and use the <systemitem>ALSA</systemitem> drivers without the sound server, which will help <systemitem>JACK</systemitem> to maintain accurately low latencies. The following procedure configures <systemitem>JACK</systemitem> to connect to the <systemitem>ALSA</systemitem> driver directly."
+msgid ""
+"By default, <application>QjackCtl</application> configures "
+"<systemitem>JACK</systemitem> to use the 'default' sound card. The 'default'"
+" sound card uses all features of the <systemitem>ALSA</systemitem> driver, "
+"even though <systemitem>JACK</systemitem> provides the same features. To "
+"save memory and processor time, you should configure "
+"<application>QjackCtl</application> with a specific sound card."
 msgstr ""
+"デフォルトでは、 <application>QjackCtl</application> は、「デフォルト」サウンドカードを使うように、  "
+"<systemitem>JACK</systemitem> "
+"を構成します。「デフォルト」サウンドカードは、<systemitem>JACK</systemitem> "
+"が同じ機能を提供していたとしても、<systemitem>ALSA</systemitem> ドライバのすべての機能を使います。 "
+"メモリとプロセッサ時間を節約するために、  <application>QjackCtl</application> "
+"を特定のサウンドカード向けに構成するのがよいでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "Open a terminal. In GNOME, choose <menuchoice><guimenu>Applications</guimenu> <guisubmenu>System</guisubmenu> <guimenuitem>Terminal</guimenuitem></menuchoice>. In KDE, click on the application launcher, then choose <menuchoice><guimenu>System</guimenu> <guimenuitem>Konsole</guimenuitem></menuchoice>."
+msgid ""
+"Open a terminal. In GNOME, choose "
+"<menuchoice><guimenu>Applications</guimenu> <guisubmenu>System</guisubmenu> "
+"<guimenuitem>Terminal</guimenuitem></menuchoice>. In KDE, click on the "
+"application launcher, then choose <menuchoice><guimenu>System</guimenu> "
+"<guimenuitem>Konsole</guimenuitem></menuchoice>."
 msgstr ""
+"ターミナルを開きます。 GNOME では、<menuchoice><guimenu>Applications</guimenu> "
+"<guisubmenu>System</guisubmenu> "
+"<guimenuitem>Terminal</guimenuitem></menuchoice> を選択します 。 KDE "
+"では、アプリケーションランチャーをクリックし、<menuchoice><guimenu>System</guimenu> "
+"<guimenuitem>Konsole</guimenuitem></menuchoice> を選択します 。"
 
 #. Tag: para
 #, no-c-format
 msgid "Execute this command: <command>cat /proc/asound/cards</command>"
-msgstr ""
+msgstr "このコマンドを実行します： <command>cat /proc/asound/cards</command>"
 
 #. Tag: para
 #, no-c-format
-msgid "The <application>cat</application> program outputs a list of sound cards in your computer, which looks similar to this list:"
+msgid ""
+"The <application>cat</application> program outputs a list of sound cards in "
+"your computer, which looks similar to this list:"
 msgstr ""
+"<application>cat</application> "
+"プログラムは、あなたのコンピュータにあるサウンドカードのリストを出力します。それは、このリストのように見えるでしょう："
 
 #. Tag: programlisting
 #, no-c-format
@@ -157,91 +348,172 @@ msgid ""
 "1 [MobilePre      ]: USB-Audio - MobilePre\n"
 "                  M Audio MobilePre at usb-0000:00:13.0-2\n"
 msgstr ""
+"\n"
+"⏎\n"
+"0 [SB             ]: HDA-Intel - HDA ATI SB⏎\n"
+"                  HDA ATI SB at 0xf7ff4000 irq 16⏎\n"
+"1 [MobilePre      ]: USB-Audio - MobilePre⏎\n"
+"                  M Audio MobilePre at usb-0000:00:13.0-2⏎\n"
 
 #. Tag: para
 #, no-c-format
-msgid "In this example output, the square brackets surround the name of the sound card. The names of the sound cards in this example output are <literal>SB</literal> and <literal>MobilePre</literal>."
+msgid ""
+"In this example output, the square brackets surround the name of the sound "
+"card. The names of the sound cards in this example output are "
+"<literal>SB</literal> and <literal>MobilePre</literal>."
 msgstr ""
+"この出力例では、サウンドカードの名前は、角かっこで囲まれます。 この出力例では、サウンドカードの名前は <literal>SB</literal> と "
+"<literal>MobilePre</literal> です。"
 
 #. Tag: para
 #, no-c-format
-msgid "Identify the name of the sound card that you want to use. If you do not see your sound card in the list outputted by <application>cat</application>, then your computer does not detect it."
+msgid ""
+"Identify the name of the sound card that you want to use. If you do not see "
+"your sound card in the list outputted by <application>cat</application>, "
+"then your computer does not detect it."
 msgstr ""
+"あなたが使いたいサウンドカードの名前を特定してください。 もし、あなたのサウンドカードが <application>cat</application> "
+"の出力リストにない場合は、あなたのコンピュータはそれを検出しなかったということです。"
 
 #. Tag: para
 #, no-c-format
 msgid "Start <application>QjackCtl</application>."
-msgstr ""
+msgstr "<application>QjackCtl</application> を開始してください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Click <guibutton>Setup</guibutton> to open the \"Setup\" window."
-msgstr ""
+msgstr "<guibutton>Setup</guibutton> をクリックして、\"Setup\"ウインドウを開いてください。"
 
 #. Tag: para
 #, no-c-format
-msgid "In the 'Interface' text box, type the name of your preferred sound card with \"hw:\" in front. With the sound cards listed above, you might write <literal>hw:MobilePre</literal>."
+msgid ""
+"In the 'Interface' text box, type the name of your preferred sound card with"
+" \"hw:\" in front. With the sound cards listed above, you might write "
+"<literal>hw:MobilePre</literal>."
 msgstr ""
+"'Interface'テキストボックスで、あなたが使いたいサウンドカードの名前を \"hw:\"を先頭につけてタイプください。 "
+"上記のサウンドカードのリストであれば、次のように書くかもしれません <literal>hw:MobilePre</literal>。"
 
 #. Tag: para
 #, no-c-format
-msgid "Save your settings by exiting <application>QjackCtl</application>. If you want to use <systemitem>JACK</systemitem>, restart <application>QjackCtl</application>."
+msgid ""
+"Save your settings by exiting <application>QjackCtl</application>. If you "
+"want to use <systemitem>JACK</systemitem>, restart "
+"<application>QjackCtl</application>."
 msgstr ""
+"<application>QjackCtl</application> "
+"を終了して、設定を保存ください。<systemitem>JACK</systemitem> "
+"を使う場合、<application>QjackCtl</application> を再起動ください。"
 
 #. Tag: title
 #, no-c-format
 msgid "Using <application>QjackCtl</application>"
-msgstr ""
+msgstr "<application>QjackCtl</application> を使う"
 
 #. Tag: para
 #, no-c-format
-msgid "The <application>QjackCtl</application> application offers many more features and configuration options. The patch bay is a notable feature, which lets users save configurations of the \"Connections\" window, and restore them later, to help avoid the lengthy set-up time that might be required in complicated routing and multiplexing situations."
+msgid ""
+"The <application>QjackCtl</application> application offers many more "
+"features and configuration options. The patch bay is a notable feature, "
+"which lets users save configurations of the \"Connections\" window, and "
+"restore them later, to help avoid the lengthy set-up time that might be "
+"required in complicated routing and multiplexing situations."
 msgstr ""
+"<application>QjackCtl</application> アプリケーションは、より多くの機能と構成オプションを提供しています。 "
+"パッチベイは、注目すべき機能であり、ユーザは "
+"\"Connections\"ウインドウの構成を保存し、後にそれを回復することができます。それは、複雑なルーティングと多重化がされた状況での面倒なセットアップ時間を回避することができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "For more information on <application>QjackCtl</application>, refer to <citetitle>Jack Audio Connection Kit (64studio)</citetitle> at <ulink url=\"http://www.64studio.com/manual/audio/jack\" />."
+msgid ""
+"For more information on <application>QjackCtl</application>, refer to "
+"<citetitle>Jack Audio Connection Kit (64studio)</citetitle> at <ulink "
+"url=\"http://www.64studio.com/manual/audio/jack\" />."
 msgstr ""
+"<application>QjackCtl</application> についてのより多くの情報は、<ulink "
+"url=\"http://www.64studio.com/manual/audio/jack\" /> にある、<citetitle>Jack "
+"Audio Connection Kit (64studio)</citetitle> を参照ください。"
 
 #. Tag: title
 #, no-c-format
-msgid "Integrating <systemitem>PulseAudio</systemitem> with <systemitem>JACK</systemitem>"
+msgid ""
+"Integrating <systemitem>PulseAudio</systemitem> with "
+"<systemitem>JACK</systemitem>"
 msgstr ""
+"<systemitem>PulseAudio</systemitem> を <systemitem>JACK</systemitem> と統合する"
 
 #. Tag: para
 #, no-c-format
-msgid "The default configuration of <systemitem>PulseAudio</systemitem> yields control of the audio equipment to <systemitem>JACK</systemitem> when the <systemitem>JACK</systemitem> server starts. <systemitem>PulseAudio</systemitem> will not be able to receive input or send output of any audio signals on the audio interface used by <systemitem>JACK</systemitem>. This is fine for occasional users of <systemitem>JACK</systemitem>, but many users will want to use <systemitem>JACK</systemitem> and <systemitem>PulseAudio</systemitem> simultaneously, or switch between the two frequently. The following instructions will configure <systemitem>PulseAudio</systemitem> so that its input and output is routed through <systemitem>JACK</systemitem>."
-msgstr ""
+msgid ""
+"The default configuration of <systemitem>PulseAudio</systemitem> yields "
+"control of the audio equipment to <systemitem>JACK</systemitem> when the "
+"<systemitem>JACK</systemitem> server starts. "
+"<systemitem>PulseAudio</systemitem> will not be able to receive input or "
+"send output of any audio signals on the audio interface used by "
+"<systemitem>JACK</systemitem>. This is fine for occasional users of "
+"<systemitem>JACK</systemitem>, but many users will want to use "
+"<systemitem>JACK</systemitem> and <systemitem>PulseAudio</systemitem> "
+"simultaneously, or switch between the two frequently. The following "
+"instructions will configure <systemitem>PulseAudio</systemitem> so that its "
+"input and output is routed through <systemitem>JACK</systemitem>."
+msgstr ""
+"<systemitem>PulseAudio</systemitem> "
+"のデフォルトの設定は、それは、<systemitem>JACK</systemitem> "
+"サーバーが起動したら、<systemitem>JACK</systemitem> "
+"にオーディオ機器の制御をあけわたします。<systemitem>PulseAudio</systemitem> は "
+"<systemitem>JACK</systemitem> "
+"によって使用されるオーディオインターフェイスからオーディオ信号入力を受信したり、出力を送信したりすることはできません。これは、時折しか "
+"<systemitem>JACK</systemitem> を使用しないユーザにとってはよいことですが、多くのユーザーは "
+"<systemitem>JACK</systemitem> と <systemitem>PulseAudio</systemitem> "
+"を同時に使用したり、または頻繁にこれら２つを切り替えたりしたいことでしょう。 "
+"次の手順では、<systemitem>PulseAudio</systemitem> を構成して、その入力と出力が "
+"<systemitem>JACK</systemitem> を経由するようにします。"
 
 #. Tag: para
 #, no-c-format
-msgid "Use PackageKit or KPackageKit to install the <package>pulseaudio-module-jack</package> package."
+msgid ""
+"Use PackageKit or KPackageKit to install the <package>pulseaudio-module-"
+"jack</package> package."
 msgstr ""
+"PackageKit あるいは KPackageKit を使って <package>pulseaudio-module-jack</package> "
+"をインストールしてください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Approve the installation and ensure that it is carried out properly."
-msgstr ""
+msgstr "インストールを承認し、それが正しく終了するのを確認ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "You'll need to edit the <systemitem>PulseAudio</systemitem> configuration file to use the <systemitem>JACK</systemitem> module."
+msgid ""
+"You'll need to edit the <systemitem>PulseAudio</systemitem> configuration "
+"file to use the <systemitem>JACK</systemitem> module."
 msgstr ""
+"あなたは <systemitem>JACK</systemitem> "
+"モジュールを使うために、<systemitem>PulseAudio</systemitem> の設定ファイルを編集しなくてはいけません。"
 
 #. Tag: para
 #, no-c-format
-msgid "Be careful! You will be editing an important system file as the root user!"
-msgstr ""
+msgid ""
+"Be careful! You will be editing an important system file as the root user!"
+msgstr "注意してください！ あなたは、root ユーザーとして重要なシステムファイルを編集します！"
 
 #. Tag: para
 #, no-c-format
-msgid "Run the following command in a terminal: <command>sudo -c 'gedit /etc/pulse/default.pa'</command>"
+msgid ""
+"Run the following command in a terminal: <command>sudo -c 'gedit "
+"/etc/pulse/default.pa'</command>"
 msgstr ""
+"ターミナルで以下のコマンドを実行します： <command>sudo -c 'gedit "
+"/etc/pulse/default.pa'</command>"
 
 #. Tag: para
 #, no-c-format
-msgid "Add the following lines, underneath the line that says [code]#load-module module-alsa-sink[/code]:"
-msgstr ""
+msgid ""
+"Add the following lines, underneath the line that says [code]#load-module "
+"module-alsa-sink[/code]:"
+msgstr "[code]#load-module module-alsa-sink[/code] と書かれた行の下に、次の行を追加します："
 
 #. Tag: programlisting
 #, no-c-format
@@ -250,33 +522,86 @@ msgid ""
 "load-module module-jack-sink\n"
 "load-module module-jack-source\n"
 msgstr ""
+"\n"
+"⏎\n"
+"load-module module-jack-sink⏎\n"
+"load-module module-jack-source⏎\n"
 
 #. Tag: para
 #, no-c-format
-msgid "Restart <systemitem>PulseAudio</systemitem> by running the following command in a terminal: <command>killall pulseaudio</command> <systemitem>PulseAudio</systemitem> restarts automatically."
+msgid ""
+"Restart <systemitem>PulseAudio</systemitem> by running the following command"
+" in a terminal: <command>killall pulseaudio</command> "
+"<systemitem>PulseAudio</systemitem> restarts automatically."
 msgstr ""
+"ターミナルで以下のコマンドを実行して、<systemitem>PulseAudio</systemitem> を再開始してください : "
+"<command>killall pulseaudio</command> <systemitem>PulseAudio</systemitem> "
+"は自動的に再開始します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Confirm that this has worked by opening <application>QjackCtl</application>. The display should confirm that <systemitem>JACK</systemitem> is \"Active\"."
+msgid ""
+"Confirm that this has worked by opening <application>QjackCtl</application>."
+" The display should confirm that <systemitem>JACK</systemitem> is "
+"\"Active\"."
 msgstr ""
+"<application>QjackCtl</application> "
+"を開いて、これがうまくいったことを確認ください。表示は、<systemitem>JACK</systemitem> は \"Active\"のはずです。"
 
 #. Tag: para
 #, no-c-format
-msgid "In the \"Connect\" window, on the \"Audio\" tab, there should be <systemitem>PulseAudio</systemitem> devices on each side, and they should be connected to \"system\" devices on the opposite sides."
+msgid ""
+"In the \"Connect\" window, on the \"Audio\" tab, there should be "
+"<systemitem>PulseAudio</systemitem> devices on each side, and they should be"
+" connected to \"system\" devices on the opposite sides."
 msgstr ""
+"\"Connect\"ウィンドウの \"Audio\"タブには <systemitem>PulseAudio</systemitem> "
+"デバイスが両側にあり、それらは反対側の \"system\"デバイスに接続されているはずです。"
 
 #. Tag: para
 #, no-c-format
-msgid "Open <application>QjackCtl</application>'s \"Setup\" window, then click on the \"Options\" tab. Uncheck \"Execute script after Shutdown: killall jackd\". If you did not make this change, then <application>QjackCtl</application> would stop the <systemitem>JACK</systemitem> server from running every time the program quits. Since <systemitem>PulseAudio</systemitem> is still expecting to use <systemitem>JACK</systemitem> after that, you shouldn't do this any more."
+msgid ""
+"Open <application>QjackCtl</application>'s \"Setup\" window, then click on "
+"the \"Options\" tab. Uncheck \"Execute script after Shutdown: killall "
+"jackd\". If you did not make this change, then "
+"<application>QjackCtl</application> would stop the "
+"<systemitem>JACK</systemitem> server from running every time the program "
+"quits. Since <systemitem>PulseAudio</systemitem> is still expecting to use "
+"<systemitem>JACK</systemitem> after that, you shouldn't do this any more."
 msgstr ""
+"<application>QjackCtl</application> の \"Setup\" "
+"ウインドウを開いてください、そして、\"Options\" タブをクリックします .\"Execute script after Shutdown: "
+"killall jackd\"のチェックをはずします。この修正をしないと、<application>QjackCtl</application> "
+"はプログラムが終了する度に <systemitem>JACK</systemitem> "
+"サーバを停止しようとします。<systemitem>PulseAudio</systemitem> "
+"はその後でもまだ、<systemitem>JACK</systemitem> を使おうとしますから、これはしてはいけないのです。"
 
 #. Tag: para
 #, no-c-format
-msgid "When <systemitem>PulseAudio</systemitem> starts <systemitem>JACK</systemitem>, it uses the command found in the <filename>~/.jackdrc</filename> file. <application>QjackCtl</application> automatically updates this file when you change settings, but you may have to restart both <systemitem>PulseAudio</systemitem> and <systemitem>JACK</systemitem> in order to get the new changes to take effect. If they refuse to take effect, you can edit that file yourself."
+msgid ""
+"When <systemitem>PulseAudio</systemitem> starts "
+"<systemitem>JACK</systemitem>, it uses the command found in the "
+"<filename>~/.jackdrc</filename> file. <application>QjackCtl</application> "
+"automatically updates this file when you change settings, but you may have "
+"to restart both <systemitem>PulseAudio</systemitem> and "
+"<systemitem>JACK</systemitem> in order to get the new changes to take "
+"effect. If they refuse to take effect, you can edit that file yourself."
 msgstr ""
+"<systemitem>PulseAudio</systemitem> が <systemitem>JACK</systemitem> "
+"を開始するとき、それは <filename>~/.jackdrc</filename> "
+"ファイルにあるコマンドを使おうとします。<application>QjackCtl</application> "
+"はあなたが設定を変えたときこのファイルを、自動的に更新します。しかし、そのときあなたは、<systemitem>PulseAudio</systemitem>"
+" と <systemitem>JACK</systemitem> "
+"の両方を再起動しないと、設定の変更は有効になりません。もし設定が反映されないようであれば、自分でそのファイルを編集ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Be careful about using a very high sample rate with <systemitem>PulseAudio</systemitem>, since it will tend to use a lot of CPU power."
+msgid ""
+"Be careful about using a very high sample rate with "
+"<systemitem>PulseAudio</systemitem>, since it will tend to use a lot of CPU "
+"power."
 msgstr ""
+"<systemitem>PulseAudio</systemitem> で非常に高いサンプルレートを使うときは注意してください。それは多くの CPU "
+"パワーを使用する傾向にあります。"
+
+
diff --git a/ja-JP/SuperCollider/SuperCollider-Basic_Programming.po b/ja-JP/SuperCollider/SuperCollider-Basic_Programming.po
index 2475083..e3a648d 100644
--- a/ja-JP/SuperCollider/SuperCollider-Basic_Programming.po
+++ b/ja-JP/SuperCollider/SuperCollider-Basic_Programming.po
@@ -1,17 +1,17 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-11-02T04:33:09\n"
-"PO-Revision-Date: 2010-09-07T21:07:00\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:04\n"
+"PO-Revision-Date: 2011-07-28 21:43+0000\n"
 "Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
@@ -20,12 +20,26 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "As with any programming language, you will start learning <application>SuperCollider</application> with the basic commands, that are of little use by themselves. However, since the language is so flexible, even the most basic commands can be combined in ways that create highly complex behaviours. The example program, \"Method One,\" was written with the goal of illustrating how a single sound-generating object can be used to create an entire composition. This tutorial does not begin with audio-generating code, which helps to emphasize that <application>SuperCollider</application> is primarily a programming language."
+msgid ""
+"As with any programming language, you will start learning "
+"<application>SuperCollider</application> with the basic commands, that are "
+"of little use by themselves. However, since the language is so flexible, "
+"even the most basic commands can be combined in ways that create highly "
+"complex behaviours. The example program, \"Method One,\" was written with "
+"the goal of illustrating how a single sound-generating object can be used to"
+" create an entire composition. This tutorial does not begin with audio-"
+"generating code, which helps to emphasize that "
+"<application>SuperCollider</application> is primarily a programming "
+"language."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This portion of the Guide is designed as a \"reference textbook,\" which you can use both to learn the <application>SuperCollider</application> language in the first place, and to remind yourself about the language's features afterwards."
+msgid ""
+"This portion of the Guide is designed as a \"reference textbook,\" which you"
+" can use both to learn the <application>SuperCollider</application> language"
+" in the first place, and to remind yourself about the language's features "
+"afterwards."
 msgstr ""
 
 #. Tag: para
@@ -45,37 +59,68 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "As you discovered when installing <application>SuperCollider</application>, there are actually many different components involved with <application>SuperCollider</application>. Here is a list of some of them, with brief descriptions of their purpose:"
+msgid ""
+"As you discovered when installing <application>SuperCollider</application>, "
+"there are actually many different components involved with "
+"<application>SuperCollider</application>. Here is a list of some of them, "
+"with brief descriptions of their purpose:"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Programming language: this is an abstract set of rules and guidelines that allow you to write down instructions for producing sounds."
+msgid ""
+"Programming language: this is an abstract set of rules and guidelines that "
+"allow you to write down instructions for producing sounds."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Interpreter: this is what is run in <application>GEdit</application>; it transforms the programming language instructions written by you into useful instructions for the server; also called the \"client.\""
+msgid ""
+"Interpreter: this is what is run in <application>GEdit</application>; it "
+"transforms the programming language instructions written by you into useful "
+"instructions for the server; also called the \"client.\""
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Server: this is what synthesizes the sound, according to instructions sent to it by the interpreter."
+msgid ""
+"Server: this is what synthesizes the sound, according to instructions sent "
+"to it by the interpreter."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Library: these contain commands and the instructions to be executed when you call the commands; the interpreter looks up commands in the library when you call them."
+msgid ""
+"Library: these contain commands and the instructions to be executed when you"
+" call the commands; the interpreter looks up commands in the library when "
+"you call them."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This modular design allows for several advanced capabilities and features. Any particular element could theoretically be replaced without affecting other elements, as long as the methods of communication remain the same. As long as the programming language is the same, portions of the library can be modified, removed, or added at will; this happens often, and Planet CCRMA at Home provides a collection of library extensions. One of the most exciting capabilities is the ability to run the interpreter and server on different physical computers. The networking component is built into these components - they always communicate by UDP or TCP, even when run on the same computer! Although this ability is not used in this Guide, it is not difficult."
+msgid ""
+"This modular design allows for several advanced capabilities and features. "
+"Any particular element could theoretically be replaced without affecting "
+"other elements, as long as the methods of communication remain the same. As "
+"long as the programming language is the same, portions of the library can be"
+" modified, removed, or added at will; this happens often, and Planet CCRMA "
+"at Home provides a collection of library extensions. One of the most "
+"exciting capabilities is the ability to run the interpreter and server on "
+"different physical computers. The networking component is built into these "
+"components - they always communicate by UDP or TCP, even when run on the "
+"same computer! Although this ability is not used in this Guide, it is not "
+"difficult."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The most important thing to remember is that the <application>SuperCollider</application> interpreter is what deals with the programs you write. The <application>SuperCollider</application> server is controlled by the interpreter, but is an independent program. For simple things, like the Hello World Programs below, the server is not even used - after all, there is no audio for it to synthesize."
+msgid ""
+"The most important thing to remember is that the "
+"<application>SuperCollider</application> interpreter is what deals with the "
+"programs you write. The <application>SuperCollider</application> server is "
+"controlled by the interpreter, but is an independent program. For simple "
+"things, like the Hello World Programs below, the server is not even used - "
+"after all, there is no audio for it to synthesize."
 msgstr ""
 
 #. Tag: title
@@ -85,7 +130,13 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The first program that one traditionally makes when learning a new programming language is called \"The Hello World Program.\" This is a simple and trivial application that simply prints outs the phrase, <literal>Hello, World!</literal> (or a variation of it). It might seem useless at first, but the ability to provide feedback to an application's user is very important, and this is essentially what the Hello World Program does."
+msgid ""
+"The first program that one traditionally makes when learning a new "
+"programming language is called \"The Hello World Program.\" This is a simple"
+" and trivial application that simply prints outs the phrase, <literal>Hello,"
+" World!</literal> (or a variation of it). It might seem useless at first, "
+"but the ability to provide feedback to an application's user is very "
+"important, and this is essentially what the Hello World Program does."
 msgstr ""
 
 #. Tag: para
@@ -115,12 +166,18 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "As with all examples in this section, you should paste these programs into <application>GEdit</application>, and execute them with <application>SuperCollider</application>. Look at the output produced by the programs, but don't worry about it for now."
+msgid ""
+"As with all examples in this section, you should paste these programs into "
+"<application>GEdit</application>, and execute them with "
+"<application>SuperCollider</application>. Look at the output produced by the"
+" programs, but don't worry about it for now."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "These programs are very small, but it highlights some key concepts of the <application>SuperCollider</application> language, described below."
+msgid ""
+"These programs are very small, but it highlights some key concepts of the "
+"<application>SuperCollider</application> language, described below."
 msgstr ""
 
 #. Tag: title
@@ -130,22 +187,47 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Every <application>SuperCollider</application> program must provide the interpreter with a value (some information) when it has carried out all of its instructions. This value is called a \"return value,\" because it is the value given by a program when it \"returns\" control to the interpreter. In a <application>SuperCollider</application> program, it is the last value stated in a program that automatically becomes the return value - no special command is required. When program execution ends, and control is returned to the <application>SuperCollider</application> interpreter, the interpreter outputs the return value in the \"SuperCollider output\" pane."
+msgid ""
+"Every <application>SuperCollider</application> program must provide the "
+"interpreter with a value (some information) when it has carried out all of "
+"its instructions. This value is called a \"return value,\" because it is the"
+" value given by a program when it \"returns\" control to the interpreter. In"
+" a <application>SuperCollider</application> program, it is the last value "
+"stated in a program that automatically becomes the return value - no special"
+" command is required. When program execution ends, and control is returned "
+"to the <application>SuperCollider</application> interpreter, the interpreter"
+" outputs the return value in the \"SuperCollider output\" pane."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "In the single-line Hello World Program above, the program produces the following output: <computeroutput> Hello, World! Hello, World! </computeroutput> The program appears to have been executed twice, but that is not the case. The first <literal>Hello, World!</literal> is printed by the program. The second <literal>Hello, World!</literal> appears because <code>\"Hello, World!.postln</code> is the last (in this case, the only) value of the program. It is \"returned\" by the program, and the interpreter prints it."
+msgid ""
+"In the single-line Hello World Program above, the program produces the "
+"following output: <computeroutput> Hello, World! Hello, World! "
+"</computeroutput> The program appears to have been executed twice, but that "
+"is not the case. The first <literal>Hello, World!</literal> is printed by "
+"the program. The second <literal>Hello, World!</literal> appears because "
+"<code>\"Hello, World!.postln</code> is the last (in this case, the only) "
+"value of the program. It is \"returned\" by the program, and the interpreter"
+" prints it."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "In the two-line Hello World Program above, the program produces the following output: <computeroutput> Hello, World! Hello, SC! Hello, SC! </computeroutput> This makes it more clear that the program is not being executed twice, and that it is the last value of a program that is returned to the interpreter."
+msgid ""
+"In the two-line Hello World Program above, the program produces the "
+"following output: <computeroutput> Hello, World! Hello, SC! Hello, SC! "
+"</computeroutput> This makes it more clear that the program is not being "
+"executed twice, and that it is the last value of a program that is returned "
+"to the interpreter."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Try executing the following single-line programs. Look at the output produced by each, and determine whether it is printed by the program itself, the interpreter, or both."
+msgid ""
+"Try executing the following single-line programs. Look at the output "
+"produced by each, and determine whether it is printed by the program itself,"
+" the interpreter, or both."
 msgstr ""
 
 #. Tag: para
@@ -170,12 +252,18 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Can you modify the two-line Hello World Program so that each line is printed only once?"
+msgid ""
+"Can you modify the two-line Hello World Program so that each line is printed"
+" only once?"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "In reality, every \"function\" must return a value. Functions are described in <xref linkend=\"sect-Musicians_Guide-SC-Basic_Programming-Variables_and_Functions-Functions\" />, but the difference is not yet important."
+msgid ""
+"In reality, every \"function\" must return a value. Functions are described "
+"in <xref linkend=\"sect-Musicians_Guide-SC-Basic_Programming-"
+"Variables_and_Functions-Functions\" />, but the difference is not yet "
+"important."
 msgstr ""
 
 #. Tag: title
@@ -185,12 +273,22 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "A \"statement\" is a single instruction, which always ends with a semicolon. Exactly what constitutes a statement will become clear as you gain experience, and you will eventually automatically remember the semicolon."
+msgid ""
+"A \"statement\" is a single instruction, which always ends with a semicolon."
+" Exactly what constitutes a statement will become clear as you gain "
+"experience, and you will eventually automatically remember the semicolon."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "In the Hello World Programs above, all of the statements contain the single instruction to post a line to the output screen. What happens when you remove the first semicolon, which marks the end of the first statement? The <application>SuperCollider</application> interpreter produces an unhelpful error message, and tells you that an error occurred <emphasis>after</emphasis> the forgotten semicolon. This is why it is important to always remember statement-concluding semicolons."
+msgid ""
+"In the Hello World Programs above, all of the statements contain the single "
+"instruction to post a line to the output screen. What happens when you "
+"remove the first semicolon, which marks the end of the first statement? The "
+"<application>SuperCollider</application> interpreter produces an unhelpful "
+"error message, and tells you that an error occurred "
+"<emphasis>after</emphasis> the forgotten semicolon. This is why it is "
+"important to always remember statement-concluding semicolons."
 msgstr ""
 
 #. Tag: title
@@ -200,17 +298,37 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "In many programming languages, it is the programmer's responsibility to determine the type of data that is being used, and how it should be stored. The <application>SuperCollider</application> interpreter takes advantage of the power of modern computers, and deals with this on our behalf. This greatly simplifies basic tasks, because there are only two kinds of data to worry about, and they make perfect sense:"
+msgid ""
+"In many programming languages, it is the programmer's responsibility to "
+"determine the type of data that is being used, and how it should be stored. "
+"The <application>SuperCollider</application> interpreter takes advantage of "
+"the power of modern computers, and deals with this on our behalf. This "
+"greatly simplifies basic tasks, because there are only two kinds of data to "
+"worry about, and they make perfect sense:"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Numbers: These are numbers, written simply as numbers. Anything that can be done with real-world numbers can also be done with <application>SuperCollider</application>'s numbers. They can be as large or small, positive or negative as you want. They can have any number of digits on either side of the decimal point."
+msgid ""
+"Numbers: These are numbers, written simply as numbers. Anything that can be "
+"done with real-world numbers can also be done with "
+"<application>SuperCollider</application>'s numbers. They can be as large or "
+"small, positive or negative as you want. They can have any number of digits "
+"on either side of the decimal point."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Strings: These are a string of characters, written between two double-quote characters like \"this.\" The double-quote characters are required so that <application>SuperCollider</application> knows where to begin and end the string of characters. A string of character can contain as many characters as you like, including one character and no characters. If you want to include a double-quote character in a string, you should put a blackslash before it. The following is interpreted by <application>SuperCollider</application> as a string with only a double-quote character: <literal>\"\\\"\"</literal>"
+msgid ""
+"Strings: These are a string of characters, written between two double-quote "
+"characters like \"this.\" The double-quote characters are required so that "
+"<application>SuperCollider</application> knows where to begin and end the "
+"string of characters. A string of character can contain as many characters "
+"as you like, including one character and no characters. If you want to "
+"include a double-quote character in a string, you should put a blackslash "
+"before it. The following is interpreted by "
+"<application>SuperCollider</application> as a string with only a double-"
+"quote character: <literal>\"\\\"\"</literal>"
 msgstr ""
 
 #. Tag: para
@@ -255,12 +373,20 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Is the last example a number or a string? You and I recognize that it is a number inside a string, but <application>SuperCollider</application> treats it as a string. You can do string things with it, but you cannot do number things with it. You cannot add <literal>\"6\"</literal> to something, for example."
+msgid ""
+"Is the last example a number or a string? You and I recognize that it is a "
+"number inside a string, but <application>SuperCollider</application> treats "
+"it as a string. You can do string things with it, but you cannot do number "
+"things with it. You cannot add <literal>\"6\"</literal> to something, for "
+"example."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Try executing the following single-line programs. Think about why the <application>SuperCollider</application> interpreter produces the output that it does."
+msgid ""
+"Try executing the following single-line programs. Think about why the "
+"<application>SuperCollider</application> interpreter produces the output "
+"that it does."
 msgstr ""
 
 #. Tag: para
@@ -285,7 +411,13 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Complex <application>SuperCollider</application> programs contain many parts, which all do different things. Sometimes, executing all of these together doesn't make sense, and it can be difficult to know which portions of the program are supposed to be executed when. To help with this, the interpreter allows you to mark portions of your program between ( and ) so that you will know to execute them together."
+msgid ""
+"Complex <application>SuperCollider</application> programs contain many "
+"parts, which all do different things. Sometimes, executing all of these "
+"together doesn't make sense, and it can be difficult to know which portions "
+"of the program are supposed to be executed when. To help with this, the "
+"interpreter allows you to mark portions of your program between ( and ) so "
+"that you will know to execute them together."
 msgstr ""
 
 #. Tag: para
@@ -309,7 +441,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "It doesn't make sense to say \"hello\" and \"goodbye\" at the same time, so separating these sections with parentheses will serve as a reminder. In case we try to execute all of the code at once, the <application>SuperCollider</application> interpreter will give us an error."
+msgid ""
+"It doesn't make sense to say \"hello\" and \"goodbye\" at the same time, so "
+"separating these sections with parentheses will serve as a reminder. In case"
+" we try to execute all of the code at once, the "
+"<application>SuperCollider</application> interpreter will give us an error."
 msgstr ""
 
 #. Tag: title
@@ -319,7 +455,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The concepts in this section are related to the mathematical terms with the same names. This is a modern-day result of the first uses of computers and programming languages: the calculation of complex mathematical problems."
+msgid ""
+"The concepts in this section are related to the mathematical terms with the "
+"same names. This is a modern-day result of the first uses of computers and "
+"programming languages: the calculation of complex mathematical problems."
 msgstr ""
 
 #. Tag: title
@@ -329,17 +468,33 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "A variable is a symbol that can be assigned an arbitrary value. A \"symbol\" is a series of alphabetic and numeric characters, separated by whitespace (a space, a line-break, or the end of the file). When a variable is \"assigned\" a value, the variable name (the symbol) is understood to be a substitute for the assigned value."
+msgid ""
+"A variable is a symbol that can be assigned an arbitrary value. A \"symbol\""
+" is a series of alphabetic and numeric characters, separated by whitespace "
+"(a space, a line-break, or the end of the file). When a variable is "
+"\"assigned\" a value, the variable name (the symbol) is understood to be a "
+"substitute for the assigned value."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Consider a traffic light, which has three possible symbols: green, yellow, and red. When you are driving, and you encounter a traffic light, you might see that its red symbol is activated (the red light is illuminated). What you see is a red light, but you understand that it means you should stop your car. Red lights in general do not make you stop - it is specifically red traffic lights, because we know that it is a symbol meaning to stop."
+msgid ""
+"Consider a traffic light, which has three possible symbols: green, yellow, "
+"and red. When you are driving, and you encounter a traffic light, you might "
+"see that its red symbol is activated (the red light is illuminated). What "
+"you see is a red light, but you understand that it means you should stop "
+"your car. Red lights in general do not make you stop - it is specifically "
+"red traffic lights, because we know that it is a symbol meaning to stop."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "SuperCollider's variables work in the same way: you tell the interpreter that you want to use a symbol, like <literal>cheese</literal>. Then you assign <literal>cheese</literal> a value, like <literal>5</literal>. After that point, whenever you use <literal>cheese</literal>, the interpreter will automatically know that what you really mean is <literal>5</literal>."
+msgid ""
+"SuperCollider's variables work in the same way: you tell the interpreter "
+"that you want to use a symbol, like <literal>cheese</literal>. Then you "
+"assign <literal>cheese</literal> a value, like <literal>5</literal>. After "
+"that point, whenever you use <literal>cheese</literal>, the interpreter will"
+" automatically know that what you really mean is <literal>5</literal>."
 msgstr ""
 
 #. Tag: para
@@ -363,12 +518,23 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "In the first example, the program calculates the value of <code>5 + 5</code>, which is <literal>10</literal>, and returns that to the interpreter, which prints it out. In the second example, the program tells the interpreter that it wants to use a variable called <literal>x</literal> then it assigns cheese the value <literal>5</literal>. Finally, the program calculates <code>cheese + cheese</code>, which it understands as meaning <code>5 + 5</code>, and returns <literal>10</literal> to the interpreter, which prints it out."
+msgid ""
+"In the first example, the program calculates the value of <code>5 + "
+"5</code>, which is <literal>10</literal>, and returns that to the "
+"interpreter, which prints it out. In the second example, the program tells "
+"the interpreter that it wants to use a variable called <literal>x</literal> "
+"then it assigns cheese the value <literal>5</literal>. Finally, the program "
+"calculates <code>cheese + cheese</code>, which it understands as meaning "
+"<code>5 + 5</code>, and returns <literal>10</literal> to the interpreter, "
+"which prints it out."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This trivial use of a variable does nothing but complicate the process of adding 5 to itself. Soon you will see that variables can greatly simplify your programs."
+msgid ""
+"This trivial use of a variable does nothing but complicate the process of "
+"adding 5 to itself. Soon you will see that variables can greatly simplify "
+"your programs."
 msgstr ""
 
 #. Tag: title
@@ -378,12 +544,19 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "There are three words that describe the key stages of using a variable: declaration, initialization, and assignment."
+msgid ""
+"There are three words that describe the key stages of using a variable: "
+"declaration, initialization, and assignment."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "A variable must be declared before use, so that the interpreter knows that you want to use that symbol as a variable. All variables must be declared before any statement that does not declare a variable; in other words, you should declare your variables before doing anything else. Variable names are declared like this:"
+msgid ""
+"A variable must be declared before use, so that the interpreter knows that "
+"you want to use that symbol as a variable. All variables must be declared "
+"before any statement that does not declare a variable; in other words, you "
+"should declare your variables before doing anything else. Variable names are"
+" declared like this:"
 msgstr ""
 
 #. Tag: programlisting
@@ -398,17 +571,30 @@ msgstr ""
 
 #. Tag: programlisting
 #, no-c-format
-msgid "var <replaceable>variableName</replaceable>, <replaceable>variableOtherName</replaceable>;"
+msgid ""
+"var <replaceable>variableName</replaceable>, "
+"<replaceable>variableOtherName</replaceable>;"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Variables can be assigned a value at any time after they have been declared. Any single object can be assigned to a variable. If a variable is already assigned a value, any subsequent assignment will erase the previous assignment; the previously-assigned value will is not retrievable."
+msgid ""
+"Variables can be assigned a value at any time after they have been declared."
+" Any single object can be assigned to a variable. If a variable is already "
+"assigned a value, any subsequent assignment will erase the previous "
+"assignment; the previously-assigned value will is not retrievable."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The first assignment to a variable is said to \"initialize\" the variable. Initialization is a special kind of assignment, because a variable cannot be used before it is initialized. If a program attempts to use an un-initialized variable, the <application>SuperCollider</application> interpreter will cause an error. For this reason, you should always initialize a variable when you declare it. There is a special way to do this:"
+msgid ""
+"The first assignment to a variable is said to \"initialize\" the variable. "
+"Initialization is a special kind of assignment, because a variable cannot be"
+" used before it is initialized. If a program attempts to use an un-"
+"initialized variable, the <application>SuperCollider</application> "
+"interpreter will cause an error. For this reason, you should always "
+"initialize a variable when you declare it. There is a special way to do "
+"this:"
 msgstr ""
 
 #. Tag: programlisting
@@ -418,22 +604,40 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Since you can't always assign a useful value, you can pick an arbitrary one. Assigning \"nil\" is common practice, because it means \"nothing,\" but without actually being nothing (this avoids <emphasis>some</emphasis> errors). Assigning zero is another possibility; it is standard practice in many programming languages, and will avoid most errors, even if the variable is eventually supposed to hold another kind of object. Intialization and declaration of multiple variables can also be done as a list:"
+msgid ""
+"Since you can't always assign a useful value, you can pick an arbitrary one."
+" Assigning \"nil\" is common practice, because it means \"nothing,\" but "
+"without actually being nothing (this avoids <emphasis>some</emphasis> "
+"errors). Assigning zero is another possibility; it is standard practice in "
+"many programming languages, and will avoid most errors, even if the variable"
+" is eventually supposed to hold another kind of object. Intialization and "
+"declaration of multiple variables can also be done as a list:"
 msgstr ""
 
 #. Tag: programlisting
 #, no-c-format
-msgid "var <replaceable>variableName</replaceable> = 0, <replaceable>variableOtherName</replaceable> = 0;"
+msgid ""
+"var <replaceable>variableName</replaceable> = 0, "
+"<replaceable>variableOtherName</replaceable> = 0;"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Single-letter variable names have a special purpose in <application>SuperCollider</application>. They are already declared, so you don't have to declare them. They are also already initialized to \"nil\", so you don't have to do that either. These variable names are intended to be used as a quick fix, while you're experimenting with how to make a program work. You should not use them in good-quality programs."
+msgid ""
+"Single-letter variable names have a special purpose in "
+"<application>SuperCollider</application>. They are already declared, so you "
+"don't have to declare them. They are also already initialized to \"nil\", so"
+" you don't have to do that either. These variable names are intended to be "
+"used as a quick fix, while you're experimenting with how to make a program "
+"work. You should not use them in good-quality programs."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The single-letter variable \"s\" is automatically assigned to the server on the computer running the interpreter. You should avoid re-assigning that variable."
+msgid ""
+"The single-letter variable \"s\" is automatically assigned to the server on "
+"the computer running the interpreter. You should avoid re-assigning that "
+"variable."
 msgstr ""
 
 #. Tag: para
@@ -448,17 +652,24 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Perform arithmetic with an uninitialized variable. An error should appear when the program is executed."
+msgid ""
+"Perform arithmetic with an uninitialized variable. An error should appear "
+"when the program is executed."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Calculate the value of <literal>y</literal>, if all other values are known, for the quadratic equation: <code>y = a * x * x + b * x + c</code>"
+msgid ""
+"Calculate the value of <literal>y</literal>, if all other values are known, "
+"for the quadratic equation: <code>y = a * x * x + b * x + c</code>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Re-write the Hello World Program so that it will say \"Hello\" to a name stored in a variable. Remember that you can use the interpreter to automatically output the last line of a function."
+msgid ""
+"Re-write the Hello World Program so that it will say \"Hello\" to a name "
+"stored in a variable. Remember that you can use the interpreter to "
+"automatically output the last line of a function."
 msgstr ""
 
 #. Tag: title
@@ -468,12 +679,18 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "A Function is a statement, or a series of statements, that we want to use many times. When a Function is assigned to a variable, you can execute the Function as many times as you wish. Any statements that happen between braces { like this; } are treated as a Function. Functions are executed by passing them the \"value\" message, as in the following example."
+msgid ""
+"A Function is a statement, or a series of statements, that we want to use "
+"many times. When a Function is assigned to a variable, you can execute the "
+"Function as many times as you wish. Any statements that happen between "
+"braces { like this; } are treated as a Function. Functions are executed by "
+"passing them the \"value\" message, as in the following example."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Here is a Function that is not assigned to a variable, and is executed once."
+msgid ""
+"Here is a Function that is not assigned to a variable, and is executed once."
 msgstr ""
 
 #. Tag: programlisting
@@ -483,12 +700,17 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Notice that there are two semicolons: one after the statement within the Function, and one after the \"value\" message that tells the Function to execute."
+msgid ""
+"Notice that there are two semicolons: one after the statement within the "
+"Function, and one after the \"value\" message that tells the Function to "
+"execute."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Here is a Function with identical function, assigned to a variable, and executed twice."
+msgid ""
+"Here is a Function with identical function, assigned to a variable, and "
+"executed twice."
 msgstr ""
 
 #. Tag: programlisting
@@ -507,12 +729,26 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The most useful aspect of Functions is that they can produce varying results, depending on their input. For whatever reason, the input accepted by a Function is called an \"argument.\" <application>SuperCollider</application>'s Functions can accept any number of arguments - zero, one, or many. Argument values (called \"parameters\") are provided to a Function by adding them in parentheses after the name of the Function, separated with commas, like this: <code>exampleFunction( 5, 7, 9 );</code> Argument variables are declared as the first statement in a Function, like this: <code>arg <replaceable>oneNumber</replaceable>, <replaceable>twoNumber</replaceable>;</code>"
+msgid ""
+"The most useful aspect of Functions is that they can produce varying "
+"results, depending on their input. For whatever reason, the input accepted "
+"by a Function is called an \"argument.\" "
+"<application>SuperCollider</application>'s Functions can accept any number "
+"of arguments - zero, one, or many. Argument values (called \"parameters\") "
+"are provided to a Function by adding them in parentheses after the name of "
+"the Function, separated with commas, like this: <code>exampleFunction( 5, 7,"
+" 9 );</code> Argument variables are declared as the first statement in a "
+"Function, like this: <code>arg <replaceable>oneNumber</replaceable>, "
+"<replaceable>twoNumber</replaceable>;</code>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This program is significantly more complicated than previous examples, but it shows how useful Functions can be. Notice how the braces in that example are on different lines than the rest of the Function, which gives us more space within the Function to complete some useful work."
+msgid ""
+"This program is significantly more complicated than previous examples, but "
+"it shows how useful Functions can be. Notice how the braces in that example "
+"are on different lines than the rest of the Function, which gives us more "
+"space within the Function to complete some useful work."
 msgstr ""
 
 #. Tag: programlisting
@@ -539,32 +775,48 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "A variable named <literal>greeter</literal> is declared, and assigned a Function."
+msgid ""
+"A variable named <literal>greeter</literal> is declared, and assigned a "
+"Function."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The Function contains an argument called <literal>name</literal>, and outputs \"Hello\" plus the name given to it."
+msgid ""
+"The Function contains an argument called <literal>name</literal>, and "
+"outputs \"Hello\" plus the name given to it."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The parentheses here <code>( \"Hello\" + name )</code> ensure that the two strings are added together <emphasis>before</emphasis> the <function>postln</function> message prints them out."
+msgid ""
+"The parentheses here <code>( \"Hello\" + name )</code> ensure that the two "
+"strings are added together <emphasis>before</emphasis> the "
+"<function>postln</function> message prints them out."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The <literal>greeter</literal> variable is used to call the Function with two different names."
+msgid ""
+"The <literal>greeter</literal> variable is used to call the Function with "
+"two different names."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The <code>nil;</code> statement is optional, and does not affect the operation of the program. What it does is return a \"nothing\" value to the interpreter after program execution completes, so that the last message is not repeated."
+msgid ""
+"The <code>nil;</code> statement is optional, and does not affect the "
+"operation of the program. What it does is return a \"nothing\" value to the "
+"interpreter after program execution completes, so that the last message is "
+"not repeated."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Since every argument has a name, <application>SuperCollider</application> allows you to use that name when executing the function. This example executes the <function>greeter</function> function from the last example:"
+msgid ""
+"Since every argument has a name, <application>SuperCollider</application> "
+"allows you to use that name when executing the function. This example "
+"executes the <function>greeter</function> function from the last example:"
 msgstr ""
 
 #. Tag: programlisting
@@ -574,17 +826,27 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This is more useful if there are many arguments, and you do not remember the order that they appear in the Function's definition."
+msgid ""
+"This is more useful if there are many arguments, and you do not remember the"
+" order that they appear in the Function's definition."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<application>SuperCollider</application> also allows you to specify default values for arguments, so that they do not need to be specified. This allows optional customization of a Function's behaviour, and is therefore very powerful."
+msgid ""
+"<application>SuperCollider</application> also allows you to specify default "
+"values for arguments, so that they do not need to be specified. This allows "
+"optional customization of a Function's behaviour, and is therefore very "
+"powerful."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This example modifies the one above by adding default-value arguments, and by calling arguments with their name. As you can see, I've been tricking you a bit: <function>postln</function> is actually a Function, but a special kind, explained later."
+msgid ""
+"This example modifies the one above by adding default-value arguments, and "
+"by calling arguments with their name. As you can see, I've been tricking you"
+" a bit: <function>postln</function> is actually a Function, but a special "
+"kind, explained later."
 msgstr ""
 
 #. Tag: programlisting
@@ -608,7 +870,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Any value can be used as a parameter, as long as the Function expects it. In fact, even Functions can be used as parameters for Functions!"
+msgid ""
+"Any value can be used as a parameter, as long as the Function expects it. In"
+" fact, even Functions can be used as parameters for Functions!"
 msgstr ""
 
 #. Tag: title
@@ -618,7 +882,12 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "All <application>SuperCollider</application> Functions return a value to the interpreter when they have finished execution. As with programs, the value returned is the value of the last statement in the Function. The return value of a Function can be captured, assigned to a variable, and used again later."
+msgid ""
+"All <application>SuperCollider</application> Functions return a value to the"
+" interpreter when they have finished execution. As with programs, the value "
+"returned is the value of the last statement in the Function. The return "
+"value of a Function can be captured, assigned to a variable, and used again "
+"later."
 msgstr ""
 
 #. Tag: para
@@ -651,7 +920,17 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This line <code>someNumber = mysticalMath.value( someNumber );</code> executes the <function>mysticalMath</function> function, which multiplies its argument by <literal>23</literal> and returns the value. Then, it assigns the return value of the Function to <literal>someNumber</literal>. In any statement that contains an assignment, the assignment is always done last. In other words, the Function in this example will <emphasis>always</emphasis> be given an argument of <literal>9</literal>, and only <emphasis>after</emphasis> the Function completes execution and returns a value will that value be assigned to <function>someNumber</function>."
+msgid ""
+"This line <code>someNumber = mysticalMath.value( someNumber );</code> "
+"executes the <function>mysticalMath</function> function, which multiplies "
+"its argument by <literal>23</literal> and returns the value. Then, it "
+"assigns the return value of the Function to <literal>someNumber</literal>. "
+"In any statement that contains an assignment, the assignment is always done "
+"last. In other words, the Function in this example will "
+"<emphasis>always</emphasis> be given an argument of <literal>9</literal>, "
+"and only <emphasis>after</emphasis> the Function completes execution and "
+"returns a value will that value be assigned to "
+"<function>someNumber</function>."
 msgstr ""
 
 #. Tag: para
@@ -704,7 +983,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Experiment with the shortened versions of the program, ensuring that you know why they work."
+msgid ""
+"Experiment with the shortened versions of the program, ensuring that you "
+"know why they work."
 msgstr ""
 
 #. Tag: title
@@ -714,7 +995,13 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "A variable is only valid within its \"scope.\" A variable's scope is determined by where it is declared. It will always last between either <literal>(</literal> and <literal>)</literal> or <literal>{</literal> and <literal>}</literal>, and applies to all statements within that block of code. Variable names can be re-declared in some contexts, which can be confusing."
+msgid ""
+"A variable is only valid within its \"scope.\" A variable's scope is "
+"determined by where it is declared. It will always last between either "
+"<literal>(</literal> and <literal>)</literal> or <literal>{</literal> and "
+"<literal>}</literal>, and applies to all statements within that block of "
+"code. Variable names can be re-declared in some contexts, which can be "
+"confusing."
 msgstr ""
 
 #. Tag: para
@@ -743,7 +1030,20 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Because <literal>function</literal> declares its own copy of <literal>zero</literal>, it is modified independently of the variable <literal>zero</literal> declared before the Function. Every time <literal>function</literal> is executed, it re-declares its own <literal>zero</literal>, and the interpreter keeps it separate from any other variables with the same name. When <literal>function</literal> has finished executing, the interpreter destroys its variables. Variables declared inside any Function are only ever accessible from within that Function. This is why, when we try to execute <code>sixteen.postln;</code>, the interpreter encounters an error: <literal>sixteen</literal> exists only within <literal>function</literal>, and is not accessible outside the function. By the way, in order to excute this example, you will need to remove the error-causing reference to <literal>sixteen</literal>."
+msgid ""
+"Because <literal>function</literal> declares its own copy of "
+"<literal>zero</literal>, it is modified independently of the variable "
+"<literal>zero</literal> declared before the Function. Every time "
+"<literal>function</literal> is executed, it re-declares its own "
+"<literal>zero</literal>, and the interpreter keeps it separate from any "
+"other variables with the same name. When <literal>function</literal> has "
+"finished executing, the interpreter destroys its variables. Variables "
+"declared inside any Function are only ever accessible from within that "
+"Function. This is why, when we try to execute <code>sixteen.postln;</code>, "
+"the interpreter encounters an error: <literal>sixteen</literal> exists only "
+"within <literal>function</literal>, and is not accessible outside the "
+"function. By the way, in order to excute this example, you will need to "
+"remove the error-causing reference to <literal>sixteen</literal>."
 msgstr ""
 
 #. Tag: para
@@ -772,17 +1072,36 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Why does the last line always print <literal>8</literal>? It's because <literal>zero</literal> was set to <literal>8</literal> within <literal>function</literal>. More importantly, <literal>function</literal> did not declare its own copy of <literal>zero</literal>, so it simply accesses the one declared in the next \"highest\" block of code, which exists between <literal>(</literal> and <literal>)</literal> in this example."
+msgid ""
+"Why does the last line always print <literal>8</literal>? It's because "
+"<literal>zero</literal> was set to <literal>8</literal> within "
+"<literal>function</literal>. More importantly, <literal>function</literal> "
+"did not declare its own copy of <literal>zero</literal>, so it simply "
+"accesses the one declared in the next \"highest\" block of code, which "
+"exists between <literal>(</literal> and <literal>)</literal> in this "
+"example."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This is why it is important to pay attention to a variable's scope, and to make sure that you declare your variables in the right place. Unexpected and difficult-to-find programming mistakes can occur when you forget to declare a variable, but it is declared elsewhere in your program: you will be allowed to use the variable, but it will be modified unexpectedly. On the other hand, it can be greatly advantageous to be able to access variables declared \"outside the local scope\" (meaning variables that are not declared in the same code block in which they are used), but careful thought and planning is required."
+msgid ""
+"This is why it is important to pay attention to a variable's scope, and to "
+"make sure that you declare your variables in the right place. Unexpected and"
+" difficult-to-find programming mistakes can occur when you forget to declare"
+" a variable, but it is declared elsewhere in your program: you will be "
+"allowed to use the variable, but it will be modified unexpectedly. On the "
+"other hand, it can be greatly advantageous to be able to access variables "
+"declared \"outside the local scope\" (meaning variables that are not "
+"declared in the same code block in which they are used), but careful thought"
+" and planning is required."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Astute readers will notice that it is possible to re-declare the single-letter variable names, allowing you to control their scope. Consider the following program:"
+msgid ""
+"Astute readers will notice that it is possible to re-declare the single-"
+"letter variable names, allowing you to control their scope. Consider the "
+"following program:"
 msgstr ""
 
 #. Tag: programlisting
@@ -806,22 +1125,38 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This example requires careful examination. What is the scope of <literal>a</literal>, <literal>b</literal>, and <literal>c</literal>? The answers may be surprising."
+msgid ""
+"This example requires careful examination. What is the scope of "
+"<literal>a</literal>, <literal>b</literal>, and <literal>c</literal>? The "
+"answers may be surprising."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<literal>a</literal> is declared just after the <literal>(</literal> character, so the interpreter destroys it upon reaching the <literal>)</literal> character."
+msgid ""
+"<literal>a</literal> is declared just after the <literal>(</literal> "
+"character, so the interpreter destroys it upon reaching the "
+"<literal>)</literal> character."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<literal>c</literal> is declared just after the <literal>{</literal> character, so the interpreter destroys it upon reaching the <literal>}</literal> character."
+msgid ""
+"<literal>c</literal> is declared just after the <literal>{</literal> "
+"character, so the interpreter destroys it upon reaching the "
+"<literal>}</literal> character."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<literal>b</literal> is <emphasis>not</emphasis> declared in this program, so it refers to the automatically-declared variable with that name. The interpreter does not destroy it until it is restarted or stopped. This means that the Function assigned to <literal>b</literal> is still available <emphasis>after</emphasis> the program finishes execution. Try it! Execute the program above, and then execute this single-line program alone: <code>b.value;</code>"
+msgid ""
+"<literal>b</literal> is <emphasis>not</emphasis> declared in this program, "
+"so it refers to the automatically-declared variable with that name. The "
+"interpreter does not destroy it until it is restarted or stopped. This means"
+" that the Function assigned to <literal>b</literal> is still available "
+"<emphasis>after</emphasis> the program finishes execution. Try it! Execute "
+"the program above, and then execute this single-line program alone: "
+"<code>b.value;</code>"
 msgstr ""
 
 #. Tag: title
@@ -831,7 +1166,13 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<application>SuperCollider</application> is difficult to describe precisely, because its syntax allows great flexibility. There are many different ways to accomplish the same task. Each one is subtly different, and gives you a different set of possibilities, but there is often no \"best solution.\" One of the advantages to this is that it easily allows three \"programming paradigms,\" although one is used much more often than the others."
+msgid ""
+"<application>SuperCollider</application> is difficult to describe precisely,"
+" because its syntax allows great flexibility. There are many different ways "
+"to accomplish the same task. Each one is subtly different, and gives you a "
+"different set of possibilities, but there is often no \"best solution.\" One"
+" of the advantages to this is that it easily allows three \"programming "
+"paradigms,\" although one is used much more often than the others."
 msgstr ""
 
 #. Tag: title
@@ -841,7 +1182,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Imperative programming is easy to understand: it is simply a list of commands, like this:"
+msgid ""
+"Imperative programming is easy to understand: it is simply a list of "
+"commands, like this:"
 msgstr ""
 
 #. Tag: programlisting
@@ -860,7 +1203,13 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Declare the variables, set the variables, do a calculation, and print the result of the calculation. This is a simple example, and a simple model, but it is very difficult to escape completely. After all, humans think of large problems in terms of algorithms (the instructions needed to do something). Computers solve large problems, so being able to program them with a series of instructions makes sense."
+msgid ""
+"Declare the variables, set the variables, do a calculation, and print the "
+"result of the calculation. This is a simple example, and a simple model, but"
+" it is very difficult to escape completely. After all, humans think of large"
+" problems in terms of algorithms (the instructions needed to do something). "
+"Computers solve large problems, so being able to program them with a series "
+"of instructions makes sense."
 msgstr ""
 
 #. Tag: title
@@ -870,12 +1219,20 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Functional programming is also easy to understand, but it can be a little bit more difficult to think about complex tasks. Functional programs use Functions to complete all of their work. This is not strictly possible in <application>SuperCollider</application>: it is more imperative than functional, but the creative use of Functions can easily solve some problems that are difficult to write with an imperative approach."
+msgid ""
+"Functional programming is also easy to understand, but it can be a little "
+"bit more difficult to think about complex tasks. Functional programs use "
+"Functions to complete all of their work. This is not strictly possible in "
+"<application>SuperCollider</application>: it is more imperative than "
+"functional, but the creative use of Functions can easily solve some problems"
+" that are difficult to write with an imperative approach."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The following example is an extension of the \"Imperative\" example. Pretend that the following Functions exist, and do the following tasks:"
+msgid ""
+"The following example is an extension of the \"Imperative\" example. Pretend"
+" that the following Functions exist, and do the following tasks:"
 msgstr ""
 
 #. Tag: para
@@ -899,7 +1256,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<application>SuperCollider</application> will always execute the inner-most Functions first. This is how the interpreter executes the single-line program above:"
+msgid ""
+"<application>SuperCollider</application> will always execute the inner-most "
+"Functions first. This is how the interpreter executes the single-line "
+"program above:"
 msgstr ""
 
 #. Tag: para
@@ -914,17 +1274,24 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Execute <function>add</function> with the two numbers returned by <function>getinput</function>"
+msgid ""
+"Execute <function>add</function> with the two numbers returned by "
+"<function>getinput</function>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Execute <function>postln</function> with the number returned by <function>add</function>"
+msgid ""
+"Execute <function>postln</function> with the number returned by "
+"<function>add</function>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Both imperative and functional programming have advantages and disadvantages. <application>SuperCollider</application> will allow you to use either approach, or a mix of both, when solving problems."
+msgid ""
+"Both imperative and functional programming have advantages and "
+"disadvantages. <application>SuperCollider</application> will allow you to "
+"use either approach, or a mix of both, when solving problems."
 msgstr ""
 
 #. Tag: title
@@ -934,7 +1301,15 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Object-oriented programming is more difficult to think about than imperative or functional. When using this paradigm (mode of thought), almost everything in <application>SuperCollider</application> is thought of as an abstract Object. In this way, it allows programmers to make compelling comparisons to the real world, where all tangible things are objects, and where it is not hard to conceive of most intangible things as objects, too. With object-oriented programming, computer science takes a break from mathematics, and is influenced by philosophy."
+msgid ""
+"Object-oriented programming is more difficult to think about than imperative"
+" or functional. When using this paradigm (mode of thought), almost "
+"everything in <application>SuperCollider</application> is thought of as an "
+"abstract Object. In this way, it allows programmers to make compelling "
+"comparisons to the real world, where all tangible things are objects, and "
+"where it is not hard to conceive of most intangible things as objects, too. "
+"With object-oriented programming, computer science takes a break from "
+"mathematics, and is influenced by philosophy."
 msgstr ""
 
 #. Tag: para
@@ -944,32 +1319,92 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Anything can be represented as an Object - like a bicycle, for instance. Let's pretend that we have an Object called a Bicycle. We don't yet have a particular bicycle - just the abstract <firstterm>class</firstterm> containing everything that is true about all bicycles. If a Bicycle class exists in <application>SuperCollider</application>, you generate a specific instance like this: <code>var bike = Bicycle.new;</code> All <application>SuperCollider</application> Objects can be <firstterm>instantiated</firstterm> in this way: you get a specific Bicycle from the generic class, and you can then modify and work with your own Object as you choose. The specific properties associated with a particular instance of a class are called <firstterm>instance variables</firstterm>."
+msgid ""
+"Anything can be represented as an Object - like a bicycle, for instance. "
+"Let's pretend that we have an Object called a Bicycle. We don't yet have a "
+"particular bicycle - just the abstract <firstterm>class</firstterm> "
+"containing everything that is true about all bicycles. If a Bicycle class "
+"exists in <application>SuperCollider</application>, you generate a specific "
+"instance like this: <code>var bike = Bicycle.new;</code> All "
+"<application>SuperCollider</application> Objects can be "
+"<firstterm>instantiated</firstterm> in this way: you get a specific Bicycle "
+"from the generic class, and you can then modify and work with your own "
+"Object as you choose. The specific properties associated with a particular "
+"instance of a class are called <firstterm>instance variables</firstterm>."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "There are certain things that Bicycles are designed to do: turn the wheels, turn the handlebar, raise and lower the seat, and so on. You can cause these things to happen by providing a certain input to a real-world Bicycle: if you want to turn the wheels, you might push the pedals. In <application>SuperCollider</application>, you cause things to happen by <firstterm>sending a message</firstterm> to the Object that tells it what you want: if you have a Bicycle, you might turn the wheels like this: <code>bike.turnTheWheels;</code> When you do this, you actually execute the <function>turnTheWheels</function> function, which is defined by the abstract Bicycle class. Because it doesn't make sense to turn the wheels of all bicycles in existence, you don't call the <firstterm>method</firstterm> (a synonym for \"Function\") from the Bicycle class itself, but from the particular instance whose wheels you want to turn. The proper way to access instance variables is by using ins
 tance methods."
+msgid ""
+"There are certain things that Bicycles are designed to do: turn the wheels, "
+"turn the handlebar, raise and lower the seat, and so on. You can cause these"
+" things to happen by providing a certain input to a real-world Bicycle: if "
+"you want to turn the wheels, you might push the pedals. In "
+"<application>SuperCollider</application>, you cause things to happen by "
+"<firstterm>sending a message</firstterm> to the Object that tells it what "
+"you want: if you have a Bicycle, you might turn the wheels like this: "
+"<code>bike.turnTheWheels;</code> When you do this, you actually execute the "
+"<function>turnTheWheels</function> function, which is defined by the "
+"abstract Bicycle class. Because it doesn't make sense to turn the wheels of "
+"all bicycles in existence, you don't call the <firstterm>method</firstterm> "
+"(a synonym for \"Function\") from the Bicycle class itself, but from the "
+"particular instance whose wheels you want to turn. The proper way to access "
+"instance variables is by using instance methods."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If this kind of programming is new to you, it might seem extremely difficult. It can be intimidating at first, but it is actually not too difficult to understand once you start to use it. In fact, you have already been using it! Remember the <function>postln</function> command that was described earlier as a special kind of Function? It's actually a Function defined by <application>SuperCollider</application>'s abstract class <classname>Object</classname>, which defines a set of messages that can be passed to <emphasis>any</emphasis> <application>SuperCollider</application> object. Because most things in <application>SuperCollider</application> are objects, we can send them the <function>postln</function> message, and they will understand that it means to print themselves in the \"<application>SuperCollider</application> output\" pane."
+msgid ""
+"If this kind of programming is new to you, it might seem extremely "
+"difficult. It can be intimidating at first, but it is actually not too "
+"difficult to understand once you start to use it. In fact, you have already "
+"been using it! Remember the <function>postln</function> command that was "
+"described earlier as a special kind of Function? It's actually a Function "
+"defined by <application>SuperCollider</application>'s abstract class "
+"<classname>Object</classname>, which defines a set of messages that can be "
+"passed to <emphasis>any</emphasis> <application>SuperCollider</application> "
+"object. Because most things in <application>SuperCollider</application> are "
+"objects, we can send them the <function>postln</function> message, and they "
+"will understand that it means to print themselves in the "
+"\"<application>SuperCollider</application> output\" pane."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Why is it that all Objects respond to the <function>postln</function> message? <application>SuperCollider</application> classes are allowed to belong to other <application>SuperCollider</application> classes, of which they are a part. Consider the Bicycle class again. It is a kind of vehicle, and philosophers might say that \"things that are members of the bicycle class are also members of the vehicle class.\" That is, real-world bicycles share certain characteristics with other real-world objects that are classified as \"vehicles.\" The bicycle class is a \"sub-class\" of the vehicle class, and it <firstterm>inherits</firstterm> certain properties from the vehicles class. <application>SuperCollider</application> allows this behaviour too, and calls it <firstterm>inheritance</firstterm>. In <application>SuperCollider</application>, since all classes define Objects, they are all automatically considered to be a sub-class of the class called <classname>Object</classname
 >. All classes therefore inherit certain characteristics from the <classname>Object</classname> class, like knowing how to respond to the <function>postln</function> message."
+msgid ""
+"Why is it that all Objects respond to the <function>postln</function> "
+"message? <application>SuperCollider</application> classes are allowed to "
+"belong to other <application>SuperCollider</application> classes, of which "
+"they are a part. Consider the Bicycle class again. It is a kind of vehicle, "
+"and philosophers might say that \"things that are members of the bicycle "
+"class are also members of the vehicle class.\" That is, real-world bicycles "
+"share certain characteristics with other real-world objects that are "
+"classified as \"vehicles.\" The bicycle class is a \"sub-class\" of the "
+"vehicle class, and it <firstterm>inherits</firstterm> certain properties "
+"from the vehicles class. <application>SuperCollider</application> allows "
+"this behaviour too, and calls it <firstterm>inheritance</firstterm>. In "
+"<application>SuperCollider</application>, since all classes define Objects, "
+"they are all automatically considered to be a sub-class of the class called "
+"<classname>Object</classname>. All classes therefore inherit certain "
+"characteristics from the <classname>Object</classname> class, like knowing "
+"how to respond to the <function>postln</function> message."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "equivalent notation: <literal>5.postln</literal> versus <literal>postln( 5 )</literal>"
+msgid ""
+"equivalent notation: <literal>5.postln</literal> versus <literal>postln( 5 "
+")</literal>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "You still don't know how to write new Classes and Objects in <application>SuperCollider</application>, but knowing how to use them is more than enough for now. By the time you need to write your own Classes, you will probably prefer to use the official <application>SuperCollider</application> help files, anyway."
+msgid ""
+"You still don't know how to write new Classes and Objects in "
+"<application>SuperCollider</application>, but knowing how to use them is "
+"more than enough for now. By the time you need to write your own Classes, "
+"you will probably prefer to use the official "
+"<application>SuperCollider</application> help files, anyway."
 msgstr ""
 
 #. Tag: title
@@ -979,22 +1414,38 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "At this point you may begin worrying about which programming paradigm you should choose, and when. The answer is unhelpful: \"Whichever seems best for the task.\""
+msgid ""
+"At this point you may begin worrying about which programming paradigm you "
+"should choose, and when. The answer is unhelpful: \"Whichever seems best for"
+" the task.\""
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Let's expand on this. If you are primarily a programmer, then you probably already know how to choose the best paradigm and algorithm for the task. If you are a musician, then you probably just want your program to produce the output that you want (in this case, a particular set of sounds). Part of the beauty of <application>SuperCollider</application>'s flexibility is that it allows you to produce the same output in different ways. As a musician this means that, as long as your program works as you want it to work, it doesn't matter how you write it. Experience will teach you more and less effective ways of doing things, but there is no need for rules."
+msgid ""
+"Let's expand on this. If you are primarily a programmer, then you probably "
+"already know how to choose the best paradigm and algorithm for the task. If "
+"you are a musician, then you probably just want your program to produce the "
+"output that you want (in this case, a particular set of sounds). Part of the"
+" beauty of <application>SuperCollider</application>'s flexibility is that it"
+" allows you to produce the same output in different ways. As a musician this"
+" means that, as long as your program works as you want it to work, it "
+"doesn't matter how you write it. Experience will teach you more and less "
+"effective ways of doing things, but there is no need for rules."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Even so, here are some guidelines that will help you to start thinking about music programs:"
+msgid ""
+"Even so, here are some guidelines that will help you to start thinking about"
+" music programs:"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Programs of all sorts often follow a simple, four-step flow. Not all parts are always present."
+msgid ""
+"Programs of all sorts often follow a simple, four-step flow. Not all parts "
+"are always present."
 msgstr ""
 
 #. Tag: para
@@ -1019,12 +1470,18 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Repetition is the enemy of correctness, so if you're going to execute some code more than once, try writing a Function. If it's slightly different every time, try using arguments. Arguments with default values are a great way to expand a Function's usefulness."
+msgid ""
+"Repetition is the enemy of correctness, so if you're going to execute some "
+"code more than once, try writing a Function. If it's slightly different "
+"every time, try using arguments. Arguments with default values are a great "
+"way to expand a Function's usefulness."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If it looks too complicated, then it probably is. The more difficult it is to understand something, the greater the chance of making a mistake."
+msgid ""
+"If it looks too complicated, then it probably is. The more difficult it is "
+"to understand something, the greater the chance of making a mistake."
 msgstr ""
 
 #. Tag: para
@@ -1039,12 +1496,17 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "It's finally time to start thinking about Functions that produce sound!"
+msgid ""
+"It's finally time to start thinking about Functions that produce sound!"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This example is discussed below in the following sections. Remember, when running <application>SuperCollider</application> code in <application>GEdit</application>, you can stop the sound by pressing <keycombo><keycap>Esc</keycap></keycombo>"
+msgid ""
+"This example is discussed below in the following sections. Remember, when "
+"running <application>SuperCollider</application> code in "
+"<application>GEdit</application>, you can stop the sound by pressing "
+"<keycombo><keycap>Esc</keycap></keycombo>"
 msgstr ""
 
 #. Tag: programlisting
@@ -1059,27 +1521,52 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "\"UGen\" stands for \"unit generator.\" UGens are special Objects that generate either an audio or a control signal."
+msgid ""
+"\"UGen\" stands for \"unit generator.\" UGens are special Objects that "
+"generate either an audio or a control signal."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The UGen that will be used for most of the experimentation in this Guide, and which was primarily used to generate the \"Method One\" program that goes with this Guide, is called <classname>SinOsc</classname>, which generates a sine wave. The class' name, <classname>SinOsc</classname> means \"sine oscillator.\""
+msgid ""
+"The UGen that will be used for most of the experimentation in this Guide, "
+"and which was primarily used to generate the \"Method One\" program that "
+"goes with this Guide, is called <classname>SinOsc</classname>, which "
+"generates a sine wave. The class' name, <classname>SinOsc</classname> means "
+"\"sine oscillator.\""
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The example at the beginning of this chapter, <code>SinOsc.ar( 440, 0, 0.2 );</code> produces an \"instance\" of the <classname>SinOsc</classname> class, which continuously outputs a signal, based on the parameters given in parentheses. This instance produces an \"audio rate\" signal, which means that it is of sufficient quality to eventually become sound."
+msgid ""
+"The example at the beginning of this chapter, <code>SinOsc.ar( 440, 0, 0.2 "
+");</code> produces an \"instance\" of the <classname>SinOsc</classname> "
+"class, which continuously outputs a signal, based on the parameters given in"
+" parentheses. This instance produces an \"audio rate\" signal, which means "
+"that it is of sufficient quality to eventually become sound."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "A slightly modified version of that code will give us a \"control rate\" signal: <code>SinOsc.kr( 440, 0, 0.2 );</code> There is only one small difference between the two examples - for us - but for <application>SuperCollider</application>, the difference is huge. A control rate signal will not be of sufficient quality to become sound; it is used to control other UGens that do become sound."
+msgid ""
+"A slightly modified version of that code will give us a \"control rate\" "
+"signal: <code>SinOsc.kr( 440, 0, 0.2 );</code> There is only one small "
+"difference between the two examples - for us - but for "
+"<application>SuperCollider</application>, the difference is huge. A control "
+"rate signal will not be of sufficient quality to become sound; it is used to"
+" control other UGens that do become sound."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Unlike other Classes, UGen Classes should not be instantiated with the <function>new</function> message. They should always be instantiated as either audio-rate (by passing the <function>ar</function> message), or control-rate (by passing the <function>kr</function> message). Control-rate signals are calculated much less often than audio-rate signals, which allows the <application>SuperCollider</application> interpreter and server to save processing power where it wouldn't be noticed."
+msgid ""
+"Unlike other Classes, UGen Classes should not be instantiated with the "
+"<function>new</function> message. They should always be instantiated as "
+"either audio-rate (by passing the <function>ar</function> message), or "
+"control-rate (by passing the <function>kr</function> message). Control-rate "
+"signals are calculated much less often than audio-rate signals, which allows"
+" the <application>SuperCollider</application> interpreter and server to save"
+" processing power where it wouldn't be noticed."
 msgstr ""
 
 #. Tag: title
@@ -1089,7 +1576,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The <function>play</function> function does exactly what it says: it plays its input. The input must be a function with an audio-rate signal generator as the return value."
+msgid ""
+"The <function>play</function> function does exactly what it says: it plays "
+"its input. The input must be a function with an audio-rate signal generator "
+"as the return value."
 msgstr ""
 
 #. Tag: para
@@ -1104,17 +1594,29 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The first example is written from an object-oriented perspective. Functions know how to play their return value, when passed the <function>play</function> message. This is true of all Functions whose return value is an audio-rate UGen. The second example is written from a functional perspective. The Function called <function>play</function> will play its input, which must be a Function whose return value is an audio-rate UGen. Whether you should write <function>play</function> in the functional or object-oriented way depends on which makes more sense to you."
+msgid ""
+"The first example is written from an object-oriented perspective. Functions "
+"know how to play their return value, when passed the "
+"<function>play</function> message. This is true of all Functions whose "
+"return value is an audio-rate UGen. The second example is written from a "
+"functional perspective. The Function called <function>play</function> will "
+"play its input, which must be a Function whose return value is an audio-rate"
+" UGen. Whether you should write <function>play</function> in the functional "
+"or object-oriented way depends on which makes more sense to you."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Try to re-write the above example so that the <function>play</function> function operates on a variable-defined Function."
+msgid ""
+"Try to re-write the above example so that the <function>play</function> "
+"function operates on a variable-defined Function."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The arguments to <classname>SinOsc</classname>, whether the audio- or control-rate generator, are these:"
+msgid ""
+"The arguments to <classname>SinOsc</classname>, whether the audio- or "
+"control-rate generator, are these:"
 msgstr ""
 
 #. Tag: para
@@ -1124,17 +1626,25 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The second is called <literal>add</literal>; it is added to all values produced by the UGen."
+msgid ""
+"The second is called <literal>add</literal>; it is added to all values "
+"produced by the UGen."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The third is called <literal>mul</literal>; all values produced by the UGen are multiplied by this."
+msgid ""
+"The third is called <literal>mul</literal>; all values produced by the UGen "
+"are multiplied by this."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "You now know enough to spend hours with the sine oscillator UGen. Try combining audio- and control-rate UGens, and try to figure out what happens when each of the arguments is adjusted. Be careful that your audio interface's volume isn't set too high! Experiment with this one:"
+msgid ""
+"You now know enough to spend hours with the sine oscillator UGen. Try "
+"combining audio- and control-rate UGens, and try to figure out what happens "
+"when each of the arguments is adjusted. Be careful that your audio "
+"interface's volume isn't set too high! Experiment with this one:"
 msgstr ""
 
 #. Tag: programlisting
@@ -1156,7 +1666,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "By now you must be growing tired of the left-side-only sounds being produced by the examples."
+msgid ""
+"By now you must be growing tired of the left-side-only sounds being produced"
+" by the examples."
 msgstr ""
 
 #. Tag: title
@@ -1166,7 +1678,15 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The easiest way to output multichannel audio in <application>SuperCollider</application> is to use a kind of \"Collection\" (defined later) called an \"Array.\" <application>SuperCollider</application> will theoretically handle any number of audio output channels, but by default is usually only configured for two-channel stereo audio. Since humans have only two ears, this is sufficient for most tasks! A multichannel array is notated like this: <code>[ LeftChannel.ar( x ), RightChannel.ar( y ) ]</code>"
+msgid ""
+"The easiest way to output multichannel audio in "
+"<application>SuperCollider</application> is to use a kind of \"Collection\" "
+"(defined later) called an \"Array.\" "
+"<application>SuperCollider</application> will theoretically handle any "
+"number of audio output channels, but by default is usually only configured "
+"for two-channel stereo audio. Since humans have only two ears, this is "
+"sufficient for most tasks! A multichannel array is notated like this: "
+"<code>[ LeftChannel.ar( x ), RightChannel.ar( y ) ]</code>"
 msgstr ""
 
 #. Tag: para
@@ -1181,7 +1701,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Not much has changed, except that the audio we hear is now being emitted from both the left and right channels. Change the frequency of one of the sine oscillators to <literal>450</literal> and the difference will become much more apparent."
+msgid ""
+"Not much has changed, except that the audio we hear is now being emitted "
+"from both the left and right channels. Change the frequency of one of the "
+"sine oscillators to <literal>450</literal> and the difference will become "
+"much more apparent."
 msgstr ""
 
 #. Tag: para
@@ -1202,7 +1726,12 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If <literal>a</literal>, <literal>b</literal>, <literal>c</literal>, <literal>x</literal>, <literal>y</literal>, and <literal>z</literal> were all audio-rate UGens, this function could be <function>play</function>'ed. It would produce stereo audio, and each channel would have three independent UGens."
+msgid ""
+"If <literal>a</literal>, <literal>b</literal>, <literal>c</literal>, "
+"<literal>x</literal>, <literal>y</literal>, and <literal>z</literal> were "
+"all audio-rate UGens, this function could be <function>play</function>'ed. "
+"It would produce stereo audio, and each channel would have three independent"
+" UGens."
 msgstr ""
 
 #. Tag: title
@@ -1212,7 +1741,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "You can automatically create multiple UGens by providing an Array as one of the parameters. The <application>SuperCollider</application> interpreter will automatically create multichannel UGens as a result."
+msgid ""
+"You can automatically create multiple UGens by providing an Array as one of "
+"the parameters. The <application>SuperCollider</application> interpreter "
+"will automatically create multichannel UGens as a result."
 msgstr ""
 
 #. Tag: para
@@ -1227,7 +1759,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The second example can be easier to read, because it is obvious that only the frequency is changing - or in this case, that nothing is changing. This technique is more useful in a situation like the following:"
+msgid ""
+"The second example can be easier to read, because it is obvious that only "
+"the frequency is changing - or in this case, that nothing is changing. This "
+"technique is more useful in a situation like the following:"
 msgstr ""
 
 #. Tag: programlisting
@@ -1242,7 +1777,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "That's not exactly easy to read, but it's easier to figure out than the most obvious alternative:"
+msgid ""
+"That's not exactly easy to read, but it's easier to figure out than the most"
+" obvious alternative:"
 msgstr ""
 
 #. Tag: programlisting
@@ -1257,7 +1794,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "More importantly, multichannel expansion gives us another tool to avoid repetition. Repetition is the enemy of correctness - it's so much more difficult to find a mistake in the second example than in the first!"
+msgid ""
+"More importantly, multichannel expansion gives us another tool to avoid "
+"repetition. Repetition is the enemy of correctness - it's so much more "
+"difficult to find a mistake in the second example than in the first!"
 msgstr ""
 
 #. Tag: title
@@ -1267,7 +1807,14 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Believe it or not, you now know enough to understand a slightly-modified version of the first part of \"Method One,\" a <application>SuperCollider</application> program written and heavily commented specifically for use with this guide. You should <function>play</function> this example, and experiment with changing the frequencies, volumes, and so on. The fully-commented version provides a full explanation of how the function works."
+msgid ""
+"Believe it or not, you now know enough to understand a slightly-modified "
+"version of the first part of \"Method One,\" a "
+"<application>SuperCollider</application> program written and heavily "
+"commented specifically for use with this guide. You should "
+"<function>play</function> this example, and experiment with changing the "
+"frequencies, volumes, and so on. The fully-commented version provides a full"
+" explanation of how the function works."
 msgstr ""
 
 #. Tag: programlisting
@@ -1307,17 +1854,32 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "A \"collection\" is just that - a collection of Objects. Collections are simply a means of organizing a large amount of data, without having to assign a variable name for each portion of data. Compared to other programming languages, <application>SuperCollider</application> provides a relatively large number of Collections in the standard library."
+msgid ""
+"A \"collection\" is just that - a collection of Objects. Collections are "
+"simply a means of organizing a large amount of data, without having to "
+"assign a variable name for each portion of data. Compared to other "
+"programming languages, <application>SuperCollider</application> provides a "
+"relatively large number of Collections in the standard library."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "We have already seen an example of a Collection as multichannel audio arrays. An Array is a kind of Collection - in object-oriented terminology, the Array Class is a <firstterm>sub-class</firstterm> of the Collection Class, and inherits its behaviours. Conversely, the Collection Class is the <firstterm>super-class</firstterm> of the Array Class. The Collection Class itself is not to be used; it is designed to provide common features so that it is easier to write Classes for collections."
+msgid ""
+"We have already seen an example of a Collection as multichannel audio "
+"arrays. An Array is a kind of Collection - in object-oriented terminology, "
+"the Array Class is a <firstterm>sub-class</firstterm> of the Collection "
+"Class, and inherits its behaviours. Conversely, the Collection Class is the "
+"<firstterm>super-class</firstterm> of the Array Class. The Collection Class "
+"itself is not to be used; it is designed to provide common features so that "
+"it is easier to write Classes for collections."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "As with all the chapters from this point on, it is not necessary to read this in sequence. If you prefer, you can skip it and return later when you need to manage a large set of data."
+msgid ""
+"As with all the chapters from this point on, it is not necessary to read "
+"this in sequence. If you prefer, you can skip it and return later when you "
+"need to manage a large set of data."
 msgstr ""
 
 #. Tag: title
@@ -1327,7 +1889,16 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Arrays have been traditionally been very popular with programmers. In <application>SuperCollider</application>, they are capable of storing a large number of Objects, and they provide advanced behaviours that are normally not associated with Arrays. They are not as indespensible as they used to be. Most programming languages now provide (or can easily be extended to add) Lists, Trees, and other kinds of data storage structures, which offer more capabilities, and are easier to use and to think about. Users new to programming might find the various kinds of Lists to be more helpful."
+msgid ""
+"Arrays have been traditionally been very popular with programmers. In "
+"<application>SuperCollider</application>, they are capable of storing a "
+"large number of Objects, and they provide advanced behaviours that are "
+"normally not associated with Arrays. They are not as indespensible as they "
+"used to be. Most programming languages now provide (or can easily be "
+"extended to add) Lists, Trees, and other kinds of data storage structures, "
+"which offer more capabilities, and are easier to use and to think about. "
+"Users new to programming might find the various kinds of Lists to be more "
+"helpful."
 msgstr ""
 
 #. Tag: title
@@ -1337,12 +1908,19 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "An Array is a Collection with a finite maximum size, determined at declaration time. It is the programmer's responsibility to maintain a meaningful order, and to remember the meaning of the data. Data in an Array is called \"elements,\" each of which is assigned a specific \"index number.\" Index numbers begin at 0. Any mix of Objects can be stored in an Array, including an Array."
+msgid ""
+"An Array is a Collection with a finite maximum size, determined at "
+"declaration time. It is the programmer's responsibility to maintain a "
+"meaningful order, and to remember the meaning of the data. Data in an Array "
+"is called \"elements,\" each of which is assigned a specific \"index "
+"number.\" Index numbers begin at 0. Any mix of Objects can be stored in an "
+"Array, including an Array."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This example declares an Array, adds some elements, then prints them out."
+msgid ""
+"This example declares an Array, adds some elements, then prints them out."
 msgstr ""
 
 #. Tag: programlisting
@@ -1363,7 +1941,16 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Notice that Array is a Class, and it must be instantiated before use. Here, the variable <literal>tA</literal> is assigned an Array with enough space for two objects. Notice that the elements are printed out in the order that you add them to the Array. They are not sorted or shuffled (unless you send a message like <function>scramble</function>). But why did I write <code>tA = tA.add( 17 );</code> instead of <code>tA.add( 17 );</code>? Shouldn't the second method be sufficient for adding an Object to an Array, thereby making the re-assignment unnecessary? It does, but let's see what happens when we take it away:"
+msgid ""
+"Notice that Array is a Class, and it must be instantiated before use. Here, "
+"the variable <literal>tA</literal> is assigned an Array with enough space "
+"for two objects. Notice that the elements are printed out in the order that "
+"you add them to the Array. They are not sorted or shuffled (unless you send "
+"a message like <function>scramble</function>). But why did I write <code>tA "
+"= tA.add( 17 );</code> instead of <code>tA.add( 17 );</code>? Shouldn't the "
+"second method be sufficient for adding an Object to an Array, thereby making"
+" the re-assignment unnecessary? It does, but let's see what happens when we "
+"take it away:"
 msgstr ""
 
 #. Tag: programlisting
@@ -1384,7 +1971,17 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The <literal>17</literal> is missing - it doesn't get added into the Array! This is because the Array was only declared with two slots, and you can't add three Objects into two slots. So why did this work the first time? <application>SuperCollider</application> was programmed to help us fit additional items into an Array. If an Array has reached its capacity, <application>SuperCollider</application> will automatically make a new, larger Array for us, and returns that from the <function>add</function> method. Therefore, any time you add an element to an Array, you should always re-assign the result, so that you don't have to worry about whether you exceeded the Array's capacity."
+msgid ""
+"The <literal>17</literal> is missing - it doesn't get added into the Array! "
+"This is because the Array was only declared with two slots, and you can't "
+"add three Objects into two slots. So why did this work the first time? "
+"<application>SuperCollider</application> was programmed to help us fit "
+"additional items into an Array. If an Array has reached its capacity, "
+"<application>SuperCollider</application> will automatically make a new, "
+"larger Array for us, and returns that from the <function>add</function> "
+"method. Therefore, any time you add an element to an Array, you should "
+"always re-assign the result, so that you don't have to worry about whether "
+"you exceeded the Array's capacity."
 msgstr ""
 
 #. Tag: title
@@ -1394,12 +1991,19 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "There are two ways to access individual elements within an Array. One way is object-oriented, and one way is more traditional, inspired by programming languages such as the wildly popular \"C\" language. The object-oriented style uses the <function>at</function> and <function>put</function> methods. The traditional style uses square brackets with an index number."
+msgid ""
+"There are two ways to access individual elements within an Array. One way is"
+" object-oriented, and one way is more traditional, inspired by programming "
+"languages such as the wildly popular \"C\" language. The object-oriented "
+"style uses the <function>at</function> and <function>put</function> methods."
+" The traditional style uses square brackets with an index number."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The following examples produce equivalent output. The first uses the object-oriented style, and the second uses the traditional style."
+msgid ""
+"The following examples produce equivalent output. The first uses the object-"
+"oriented style, and the second uses the traditional style."
 msgstr ""
 
 #. Tag: programlisting
@@ -1460,7 +2064,14 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "An List is a Collection with an infinite maximum size. It is the programmer's responsibility to maintain a meaningful order, and to remember the meaning of the data. Data in a List is called \"elements,\" each of which is assigned a specific \"index number.\" Index numbers begin at 0. Any mix of Objects can be stored in a List, including a List. Lists and Arrays are very similar, but <application>SuperCollider</application> manages some of the dirty work for you, when you use the List Class."
+msgid ""
+"An List is a Collection with an infinite maximum size. It is the "
+"programmer's responsibility to maintain a meaningful order, and to remember "
+"the meaning of the data. Data in a List is called \"elements,\" each of "
+"which is assigned a specific \"index number.\" Index numbers begin at 0. Any"
+" mix of Objects can be stored in a List, including a List. Lists and Arrays "
+"are very similar, but <application>SuperCollider</application> manages some "
+"of the dirty work for you, when you use the List Class."
 msgstr ""
 
 #. Tag: title
@@ -1470,27 +2081,39 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "There are four methods which instantiate a List. These are all \"Class methods,\" meaning they do not operate on a specific List, but can be used to make any List."
+msgid ""
+"There are four methods which instantiate a List. These are all \"Class "
+"methods,\" meaning they do not operate on a specific List, but can be used "
+"to make any List."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>List.new</function> creates a List. You can also specify the initial number of elements as an argument, if you choose."
+msgid ""
+"<function>List.new</function> creates a List. You can also specify the "
+"initial number of elements as an argument, if you choose."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>List.newClear( <replaceable>x</replaceable> )</function> creates a List with <literal>x</literal> number of slots, filled with <literal>nil</literal>."
+msgid ""
+"<function>List.newClear( <replaceable>x</replaceable> )</function> creates a"
+" List with <literal>x</literal> number of slots, filled with "
+"<literal>nil</literal>."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>List.copyInstance( <replaceable>aList</replaceable> )</function> creates a List which is a copy of <literal>aList</literal>."
+msgid ""
+"<function>List.copyInstance( <replaceable>aList</replaceable> )</function> "
+"creates a List which is a copy of <literal>aList</literal>."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>List.newUsing( <replaceable>anArray</replaceable> )</function> creates a List with the same elements as <literal>anArray</literal>."
+msgid ""
+"<function>List.newUsing( <replaceable>anArray</replaceable> )</function> "
+"creates a List with the same elements as <literal>anArray</literal>."
 msgstr ""
 
 #. Tag: title
@@ -1500,22 +2123,31 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "These are \"instance methods,\" meaning that they operate on a specific list."
+msgid ""
+"These are \"instance methods,\" meaning that they operate on a specific "
+"list."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>put( <replaceable>index</replaceable>, <replaceable>item</replaceable> )</function> adds <literal>item</literal> into the List at index number <literal>index</literal>."
+msgid ""
+"<function>put( <replaceable>index</replaceable>, "
+"<replaceable>item</replaceable> )</function> adds <literal>item</literal> "
+"into the List at index number <literal>index</literal>."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>add( <replaceable>item</replaceable> )</function> adds <literal>item</literal> to the end of a List."
+msgid ""
+"<function>add( <replaceable>item</replaceable> )</function> adds "
+"<literal>item</literal> to the end of a List."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>addFirst( <replaceable>item</replaceable> )</function> adds <literal>item</literal> to the beginning of a List."
+msgid ""
+"<function>addFirst( <replaceable>item</replaceable> )</function> adds "
+"<literal>item</literal> to the beginning of a List."
 msgstr ""
 
 #. Tag: title
@@ -1525,22 +2157,47 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>at( <replaceable>index</replaceable> )</function> returns the Object assigned to the <literal>index</literal> index number. If <literal>index</literal> is greater than the last element in the List, returns <literal>nil</literal>."
+msgid ""
+"<function>at( <replaceable>index</replaceable> )</function> returns the "
+"Object assigned to the <literal>index</literal> index number. If "
+"<literal>index</literal> is greater than the last element in the List, "
+"returns <literal>nil</literal>."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>clipAt( <replaceable>index</replaceable> )</function> returns the Object assigned to the <literal>index</literal> index number. If <literal>index</literal> is greater than the last element in the List, returns the last element in the List."
+msgid ""
+"<function>clipAt( <replaceable>index</replaceable> )</function> returns the "
+"Object assigned to the <literal>index</literal> index number. If "
+"<literal>index</literal> is greater than the last element in the List, "
+"returns the last element in the List."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>wrapAt( <replaceable>index</replaceable> )</function> returns the Object assigned to the <literal>index</literal> index number. If <literal>index</literal> is greater than the last element in the List, returns an element based on a \"wrap-around\" index number. For a three-element List, <literal>0</literal> will return element <literal>0</literal>, <literal>1</literal> returns <literal>1</literal>, <literal>2</literal> returns <literal>2</literal>, <literal>3</literal> returns <literal>0</literal>, <literal>4</literal> returns <literal>1</literal>, <literal>5</literal> returns <literal>2</literal>, <literal>6</literal> returns <literal>0</literal>, and so on."
+msgid ""
+"<function>wrapAt( <replaceable>index</replaceable> )</function> returns the "
+"Object assigned to the <literal>index</literal> index number. If "
+"<literal>index</literal> is greater than the last element in the List, "
+"returns an element based on a \"wrap-around\" index number. For a three-"
+"element List, <literal>0</literal> will return element <literal>0</literal>,"
+" <literal>1</literal> returns <literal>1</literal>, <literal>2</literal> "
+"returns <literal>2</literal>, <literal>3</literal> returns "
+"<literal>0</literal>, <literal>4</literal> returns <literal>1</literal>, "
+"<literal>5</literal> returns <literal>2</literal>, <literal>6</literal> "
+"returns <literal>0</literal>, and so on."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>foldAt( <replaceable>index</replaceable> )</function> returns the Object assigned to the <literal>index</literal> index number. If <literal>index</literal> is greater than the last element in the List, returns an element based on a \"fold-back\" index number. Whereas <function>wrapAt()</function> always continues from the lowest to the highest index number, <function>foldAt()</function> changes every time: low to high, high to low, low to high, and so on."
+msgid ""
+"<function>foldAt( <replaceable>index</replaceable> )</function> returns the "
+"Object assigned to the <literal>index</literal> index number. If "
+"<literal>index</literal> is greater than the last element in the List, "
+"returns an element based on a \"fold-back\" index number. Whereas "
+"<function>wrapAt()</function> always continues from the lowest to the "
+"highest index number, <function>foldAt()</function> changes every time: low "
+"to high, high to low, low to high, and so on."
 msgstr ""
 
 #. Tag: title
@@ -1550,17 +2207,27 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "One way to remove an element from a List is to re-assign that element's index number the value <literal>nil</literal>. These two Functions also remove elements from a List. They are \"instance methods,\" meaning that they operate on a specific list."
+msgid ""
+"One way to remove an element from a List is to re-assign that element's "
+"index number the value <literal>nil</literal>. These two Functions also "
+"remove elements from a List. They are \"instance methods,\" meaning that "
+"they operate on a specific list."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>pop</function> returns the last element in a List, and removes it from the List."
+msgid ""
+"<function>pop</function> returns the last element in a List, and removes it "
+"from the List."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>removeAt( <replaceable>index</replaceable> )</function> removes the element assigned to <literal>index</literal> index number, removing it from the List and shrinking the List. <function>removeAt()</function> does not leave a <literal>nil</literal> element in the List."
+msgid ""
+"<function>removeAt( <replaceable>index</replaceable> )</function> removes "
+"the element assigned to <literal>index</literal> index number, removing it "
+"from the List and shrinking the List. <function>removeAt()</function> does "
+"not leave a <literal>nil</literal> element in the List."
 msgstr ""
 
 #. Tag: title
@@ -1602,7 +2269,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This code adds numbers to the end of a List, then removes them from the end of the List."
+msgid ""
+"This code adds numbers to the end of a List, then removes them from the end "
+"of the List."
 msgstr ""
 
 #. Tag: programlisting
@@ -1634,7 +2303,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This modification of the first example adds numbers to the beginning of a List, then removes them from the end of the List. This is one way to ensure that the List elements are removed in the same order that they are added."
+msgid ""
+"This modification of the first example adds numbers to the beginning of a "
+"List, then removes them from the end of the List. This is one way to ensure "
+"that the List elements are removed in the same order that they are added."
 msgstr ""
 
 #. Tag: programlisting
@@ -1666,7 +2338,12 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This modification of the first example adds numbers to the end of a List, then removes from the beginning of the List. This is another way to ensure that the List elements are removed in the same order that they're added. Note that, when the List is empty, using the \"removeAt()\" Function causes an error, because you try to access a List index which doesn't exist."
+msgid ""
+"This modification of the first example adds numbers to the end of a List, "
+"then removes from the beginning of the List. This is another way to ensure "
+"that the List elements are removed in the same order that they're added. "
+"Note that, when the List is empty, using the \"removeAt()\" Function causes "
+"an error, because you try to access a List index which doesn't exist."
 msgstr ""
 
 #. Tag: programlisting
@@ -1692,7 +2369,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This example shows another way to add elements to an empty List, which also works for Arrays. Then it shows what happens when you try to access elements beyond the end of a List with the \"at()\"Function."
+msgid ""
+"This example shows another way to add elements to an empty List, which also "
+"works for Arrays. Then it shows what happens when you try to access elements"
+" beyond the end of a List with the \"at()\"Function."
 msgstr ""
 
 #. Tag: programlisting
@@ -1718,7 +2398,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This example shows what happens when you try to access elements beyond the end of a List with the \"clipAt()\" Function. For index numbers beyond the end of the List, the interpreter will simply return the last element."
+msgid ""
+"This example shows what happens when you try to access elements beyond the "
+"end of a List with the \"clipAt()\" Function. For index numbers beyond the "
+"end of the List, the interpreter will simply return the last element."
 msgstr ""
 
 #. Tag: programlisting
@@ -1744,7 +2427,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This example shows what happens when you try to aceess elements beyond the end of a List with the \"foldAt()\" Function. For index numbers beyond the end of the List, the interpreter will start moving back through the List, towards the first element, \"folding\" through the List."
+msgid ""
+"This example shows what happens when you try to aceess elements beyond the "
+"end of a List with the \"foldAt()\" Function. For index numbers beyond the "
+"end of the List, the interpreter will start moving back through the List, "
+"towards the first element, \"folding\" through the List."
 msgstr ""
 
 #. Tag: programlisting
@@ -1770,7 +2457,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This example shows what happens when you try to access elements beyond the end of a List with the \"wrapAt()\" Function. For index numbers beyond the end of the List, the interpreter will start again at the beginning of the List, \"wrapping\" around to the beginning."
+msgid ""
+"This example shows what happens when you try to access elements beyond the "
+"end of a List with the \"wrapAt()\" Function. For index numbers beyond the "
+"end of the List, the interpreter will start again at the beginning of the "
+"List, \"wrapping\" around to the beginning."
 msgstr ""
 
 #. Tag: title
@@ -1780,32 +2471,60 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Linked lists are very common structures for data management in computer science. They are more efficient than arrays for many tasks, particularly when it's impossible to know how many elements will be required in an array until the program is run. <application>SuperCollider</application>'s List Class is implemented with arrays, and it offers nearly the same functionality as the LinkedList class."
+msgid ""
+"Linked lists are very common structures for data management in computer "
+"science. They are more efficient than arrays for many tasks, particularly "
+"when it's impossible to know how many elements will be required in an array "
+"until the program is run. <application>SuperCollider</application>'s List "
+"Class is implemented with arrays, and it offers nearly the same "
+"functionality as the LinkedList class."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "A true linked list is accessed most efficiently from the start (called the \"head\" of the list) or the end (called the \"tail\"). Each element is linked to the one before it, the one after it, or both. <application>SuperCollider</application>'s LinkedList Class has elements which are linked both to the preceding and following elements, so it is called a \"doubly linked list.\""
+msgid ""
+"A true linked list is accessed most efficiently from the start (called the "
+"\"head\" of the list) or the end (called the \"tail\"). Each element is "
+"linked to the one before it, the one after it, or both. "
+"<application>SuperCollider</application>'s LinkedList Class has elements "
+"which are linked both to the preceding and following elements, so it is "
+"called a \"doubly linked list.\""
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Knowing when to use a LinkedList over a List is a question of efficiency, and for small collections of information, it isn't going to make a big difference - you might as well use a basic List. When you plan to store hundreds or thousands of elements, choosing the right Class becomes more important, and can save a lot of processor time. Here is how to know which Class you should use:"
+msgid ""
+"Knowing when to use a LinkedList over a List is a question of efficiency, "
+"and for small collections of information, it isn't going to make a big "
+"difference - you might as well use a basic List. When you plan to store "
+"hundreds or thousands of elements, choosing the right Class becomes more "
+"important, and can save a lot of processor time. Here is how to know which "
+"Class you should use:"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If you're going to be adding elements to the start or end of the list, and accessing from the start or end of the list, the LinkedList Class will be more efficient."
+msgid ""
+"If you're going to be adding elements to the start or end of the list, and "
+"accessing from the start or end of the list, the LinkedList Class will be "
+"more efficient."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If you're going to be adding elements at arbitrary index numbers <emphasis>inside</emphasis> the list, and accessing elements at arbitrary index numbers inside the list, the List Class will be more efficient."
+msgid ""
+"If you're going to be adding elements at arbitrary index numbers "
+"<emphasis>inside</emphasis> the list, and accessing elements at arbitrary "
+"index numbers inside the list, the List Class will be more efficient."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If you're going to be adding elements to the start or end, but accessing specific indices, or adding elements at specific indices, but accessing from the start or end, then you get to choose where to save computation time. In one of these cases, it might not matter which one you choose."
+msgid ""
+"If you're going to be adding elements to the start or end, but accessing "
+"specific indices, or adding elements at specific indices, but accessing from"
+" the start or end, then you get to choose where to save computation time. In"
+" one of these cases, it might not matter which one you choose."
 msgstr ""
 
 #. Tag: title
@@ -1815,37 +2534,50 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "These Functions make use of the LinkedList Class in an efficient way. They are efficient because they access only the first or last element in the LinkedList."
+msgid ""
+"These Functions make use of the LinkedList Class in an efficient way. They "
+"are efficient because they access only the first or last element in the "
+"LinkedList."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>add( <replaceable>obj</replaceable> )</function> adds <literal>obj</literal> to a LinkedList as the last item."
+msgid ""
+"<function>add( <replaceable>obj</replaceable> )</function> adds "
+"<literal>obj</literal> to a LinkedList as the last item."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>addFirst( <replaceable>obj</replaceable> )</function> adds <literal>obj</literal> to a LinkedList as the first item."
+msgid ""
+"<function>addFirst( <replaceable>obj</replaceable> )</function> adds "
+"<literal>obj</literal> to a LinkedList as the first item."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>pop</function> removes the last item in a LinkedList and returns it."
+msgid ""
+"<function>pop</function> removes the last item in a LinkedList and returns "
+"it."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>popFirst</function> removes the first item in a LinkedList and returns it."
+msgid ""
+"<function>popFirst</function> removes the first item in a LinkedList and "
+"returns it."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>first</function> returns a copy of the first item in a LinkedList."
+msgid ""
+"<function>first</function> returns a copy of the first item in a LinkedList."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>last</function> returns a copy of the last item in a LinkedList."
+msgid ""
+"<function>last</function> returns a copy of the last item in a LinkedList."
 msgstr ""
 
 #. Tag: title
@@ -1855,27 +2587,43 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "These Functions make use of the LinkedList Class in an inefficient way, but they can be useful. They are inefficient because they may potentially have to review all of the elements in a LinkedList before completing."
+msgid ""
+"These Functions make use of the LinkedList Class in an inefficient way, but "
+"they can be useful. They are inefficient because they may potentially have "
+"to review all of the elements in a LinkedList before completing."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>at( <replaceable>index</replaceable> )</function> pretends the LinkedList is an Array, and returns a copy of what would be the element at the given index number."
+msgid ""
+"<function>at( <replaceable>index</replaceable> )</function> pretends the "
+"LinkedList is an Array, and returns a copy of what would be the element at "
+"the given index number."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>put( <replaceable>index</replaceable>, <replaceable>obj</replaceable> )</function> pretends the LinkedList is an Array, and changes the element at the given index number to be <literal>obj</literal>."
+msgid ""
+"<function>put( <replaceable>index</replaceable>, "
+"<replaceable>obj</replaceable> )</function> pretends the LinkedList is an "
+"Array, and changes the element at the given index number to be "
+"<literal>obj</literal>."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>remove( <replaceable>obj</replaceable> )</function> searches through a LinkedList and removes the element judged to be equal to <literal>obj</literal>, regardless of its index number."
+msgid ""
+"<function>remove( <replaceable>obj</replaceable> )</function> searches "
+"through a LinkedList and removes the element judged to be equal to "
+"<literal>obj</literal>, regardless of its index number."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>removeAt( <replaceable>index</replaceable> )</function> pretends the LinkedList is an Array, and removes the element located at the given index number."
+msgid ""
+"<function>removeAt( <replaceable>index</replaceable> )</function> pretends "
+"the LinkedList is an Array, and removes the element located at the given "
+"index number."
 msgstr ""
 
 #. Tag: title
@@ -1885,7 +2633,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This example uses a LinkedList as a queue, adding numbers to the tail, and removing and printing from the head."
+msgid ""
+"This example uses a LinkedList as a queue, adding numbers to the tail, and "
+"removing and printing from the head."
 msgstr ""
 
 #. Tag: programlisting
@@ -1920,27 +2670,42 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "As mentioned previously, the <application>SuperCollider</application> language provides for many more kinds of data structures. The following Collections are useful, but much more complex than those listed above. For usage instructions, refer to the <application>SuperCollider</application> documentation."
+msgid ""
+"As mentioned previously, the <application>SuperCollider</application> "
+"language provides for many more kinds of data structures. The following "
+"Collections are useful, but much more complex than those listed above. For "
+"usage instructions, refer to the <application>SuperCollider</application> "
+"documentation."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Dictionary: stores and allows retrieval of data by arbitrary Objects (for example, by symbols, rather than by index numbers)."
+msgid ""
+"Dictionary: stores and allows retrieval of data by arbitrary Objects (for "
+"example, by symbols, rather than by index numbers)."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Library: a type of Dictionary. Objects inserted can be used by any Object in the program, like books in a real-world library can be used by anybody who walks in."
+msgid ""
+"Library: a type of Dictionary. Objects inserted can be used by any Object in"
+" the program, like books in a real-world library can be used by anybody who "
+"walks in."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Set: an unordered Collection of like Objects, where no two elements are identical."
+msgid ""
+"Set: an unordered Collection of like Objects, where no two elements are "
+"identical."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "SortedList: a List where all elements are kept in a sorted order, regardless of how they are added. The inserted Objects should have a useful ordering method, numerical or lexicographic (alphabetic, for example)."
+msgid ""
+"SortedList: a List where all elements are kept in a sorted order, regardless"
+" of how they are added. The inserted Objects should have a useful ordering "
+"method, numerical or lexicographic (alphabetic, for example)."
 msgstr ""
 
 #. Tag: title
@@ -1950,12 +2715,26 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Repeating boring tasks is one of the main uses of computers, which don't mind doing the same thing over and over again. More importantly, writing code once and using it many times is much more intelligent than writing the same code many times. Repetition of the same code is often problematic, and repetition with subtle differences is even worse. Errors in this kind of code are difficult to find in the first place, and more difficult to solve effectively. Thankfully, as with most other things, <application>SuperCollider</application> offers a wide variety of ways to repeat code without re-writing it."
+msgid ""
+"Repeating boring tasks is one of the main uses of computers, which don't "
+"mind doing the same thing over and over again. More importantly, writing "
+"code once and using it many times is much more intelligent than writing the "
+"same code many times. Repetition of the same code is often problematic, and "
+"repetition with subtle differences is even worse. Errors in this kind of "
+"code are difficult to find in the first place, and more difficult to solve "
+"effectively. Thankfully, as with most other things, "
+"<application>SuperCollider</application> offers a wide variety of ways to "
+"repeat code without re-writing it."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The code structure used to create repetition is normally called a <firstterm>loop</firstterm>. \"Do\" loops are <application>SuperCollider</application>'s most versatile and useful repetition structure, and there are a few different ways to think about and write it. The \"while\" loop is a standard of most programming languages."
+msgid ""
+"The code structure used to create repetition is normally called a "
+"<firstterm>loop</firstterm>. \"Do\" loops are "
+"<application>SuperCollider</application>'s most versatile and useful "
+"repetition structure, and there are a few different ways to think about and "
+"write it. The \"while\" loop is a standard of most programming languages."
 msgstr ""
 
 #. Tag: title
@@ -1965,7 +2744,28 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "One way to write a \"do\" loop is basically the same as telling the interpreter to \"do this Function to every element in this Collection.\" The syntax looks like this: <funcsynopsis> <funcprototype> <funcdef><function>do</function></funcdef> <paramdef><parameter>aCollection</parameter></paramdef> <paramdef>aFunction<funcparams>number, number</funcparams></paramdef> </funcprototype> </funcsynopsis> ... or like this: <funcsynopsis> <funcprototype> <funcdef><function><replaceable>aCollection</replaceable>.do</function></funcdef> <paramdef>aFunction<funcparams>number, number</funcparams></paramdef> </funcprototype> </funcsynopsis> This causes <function>aFunction</function> to be executed once for each element in <replaceable>aCollection</replaceable>, which can be any kind of Collection. Each time <function>aFunction</function> is run, it is given two arguments, in this order: an element of <replaceable>aCollection</replaceable>, and the elements index number. For Collec
 tion's that don't have index numbers, it returns what the element's index number would have been. The loop always begins at the start of the Collection, and progresses with each element in order to the end. The second argument, really, is the integers from zero to one less than the number of elements in the Collection, increasing by one each time the loop executes <function>aFunction</function>."
+msgid ""
+"One way to write a \"do\" loop is basically the same as telling the "
+"interpreter to \"do this Function to every element in this Collection.\" The"
+" syntax looks like this: <funcsynopsis> <funcprototype> "
+"<funcdef><function>do</function></funcdef> "
+"<paramdef><parameter>aCollection</parameter></paramdef> "
+"<paramdef>aFunction<funcparams>number, number</funcparams></paramdef> "
+"</funcprototype> </funcsynopsis> ... or like this: <funcsynopsis> "
+"<funcprototype> "
+"<funcdef><function><replaceable>aCollection</replaceable>.do</function></funcdef>"
+" <paramdef>aFunction<funcparams>number, number</funcparams></paramdef> "
+"</funcprototype> </funcsynopsis> This causes <function>aFunction</function> "
+"to be executed once for each element in "
+"<replaceable>aCollection</replaceable>, which can be any kind of Collection."
+" Each time <function>aFunction</function> is run, it is given two arguments,"
+" in this order: an element of <replaceable>aCollection</replaceable>, and "
+"the elements index number. For Collection's that don't have index numbers, "
+"it returns what the element's index number would have been. The loop always "
+"begins at the start of the Collection, and progresses with each element in "
+"order to the end. The second argument, really, is the integers from zero to "
+"one less than the number of elements in the Collection, increasing by one "
+"each time the loop executes <function>aFunction</function>."
 msgstr ""
 
 #. Tag: title
@@ -1975,7 +2775,21 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Another way to write a \"do\" loop takes advantage of <application>SuperCollider</application>'s flexibility, and is really the same as one of the methods above. It's basically equivalent to telling the interpreter to \"run this Function this many times.\" The syntax looks like this, <funcsynopsis> <funcprototype> <funcdef><function><replaceable>aNumber</replaceable>.do</function></funcdef> <paramdef>aFunction<funcparams>number</funcparams></paramdef> </funcprototype> </funcsynopsis> This causes <function>aFunction</function> to be execute <replaceable>aNumber</replaceable> times. The interpreter still provdies two arguments to <function>aFunction</function>, but they are the same: it is the integers from zero to one less than <replaceable>aNumber</replaceable>. You might also think of it as the number of times that <function>aFunction</function> has been executed prior to this particular execution."
+msgid ""
+"Another way to write a \"do\" loop takes advantage of "
+"<application>SuperCollider</application>'s flexibility, and is really the "
+"same as one of the methods above. It's basically equivalent to telling the "
+"interpreter to \"run this Function this many times.\" The syntax looks like "
+"this, <funcsynopsis> <funcprototype> "
+"<funcdef><function><replaceable>aNumber</replaceable>.do</function></funcdef>"
+" <paramdef>aFunction<funcparams>number</funcparams></paramdef> "
+"</funcprototype> </funcsynopsis> This causes <function>aFunction</function> "
+"to be execute <replaceable>aNumber</replaceable> times. The interpreter "
+"still provdies two arguments to <function>aFunction</function>, but they are"
+" the same: it is the integers from zero to one less than "
+"<replaceable>aNumber</replaceable>. You might also think of it as the number"
+" of times that <function>aFunction</function> has been executed prior to "
+"this particular execution."
 msgstr ""
 
 #. Tag: title
@@ -1985,7 +2799,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "These examples illustrate different ways to use \"do\" loops for trivial tasks."
+msgid ""
+"These examples illustrate different ways to use \"do\" loops for trivial "
+"tasks."
 msgstr ""
 
 #. Tag: programlisting
@@ -2004,7 +2820,12 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This example is of the first syntax shown. For each element in <literal>tL</literal>, the interpreter executes the function once, giving it <emphasis>first</emphasis> the corresponding element of the Collection, and <emphasis>then</emphasis> the iteration counter, which happens to be equal to the element's List index number."
+msgid ""
+"This example is of the first syntax shown. For each element in "
+"<literal>tL</literal>, the interpreter executes the function once, giving it"
+" <emphasis>first</emphasis> the corresponding element of the Collection, and"
+" <emphasis>then</emphasis> the iteration counter, which happens to be equal "
+"to the element's List index number."
 msgstr ""
 
 #. Tag: programlisting
@@ -2029,7 +2850,13 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This example does several things differently, but maintains the same basic functionality as the previous example. In this case, the Function only uses the first argument that the interpreter provides, and completely ignores the iteration counter. The syntax here also puts the Collection outside the parentheses, which perhaps makes it more clear that <literal>tL</literal> is not part of the function."
+msgid ""
+"This example does several things differently, but maintains the same basic "
+"functionality as the previous example. In this case, the Function only uses "
+"the first argument that the interpreter provides, and completely ignores the"
+" iteration counter. The syntax here also puts the Collection outside the "
+"parentheses, which perhaps makes it more clear that <literal>tL</literal> is"
+" not part of the function."
 msgstr ""
 
 #. Tag: programlisting
@@ -2045,7 +2872,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This example simply prints the string \"repeat\" ten times. If the Function accepted one argument, it would receive the integers zero through nine. If it accepted two arguments, both of the arguments would be equal."
+msgid ""
+"This example simply prints the string \"repeat\" ten times. If the Function "
+"accepted one argument, it would receive the integers zero through nine. If "
+"it accepted two arguments, both of the arguments would be equal."
 msgstr ""
 
 #. Tag: title
@@ -2055,12 +2885,44 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "\"While\" loops execute continuously while their \"test condition\" is evaluated to be \"true\". Upon reaching the loop, the <application>SuperCollider</application> interpreter executes the test condition. If it is \"fale\", the interpreter does not execute the loop, and continues with the code after the loop. If it is \"true\", the interpreter executes the code in the loop once, then re-executes the test condition. If the test condition is \"true\", the loop is executed, the test condition re-executed, and so on. Until the test condition returns \"false\", the interpreter will never leave the loop."
+msgid ""
+"\"While\" loops execute continuously while their \"test condition\" is "
+"evaluated to be \"true\". Upon reaching the loop, the "
+"<application>SuperCollider</application> interpreter executes the test "
+"condition. If it is \"fale\", the interpreter does not execute the loop, and"
+" continues with the code after the loop. If it is \"true\", the interpreter "
+"executes the code in the loop once, then re-executes the test condition. If "
+"the test condition is \"true\", the loop is executed, the test condition re-"
+"executed, and so on. Until the test condition returns \"false\", the "
+"interpreter will never leave the loop."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Here is the format of a \"while\" loop in <application>SuperCollider</application>: <funcsynopsis> <funcprototype> <funcdef><function>while</function></funcdef> <paramdef>boolean <replaceable>testFunction</replaceable><funcparams>number</funcparams></paramdef> <paramdef><replaceable>bodyFunction</replaceable><funcparams>number</funcparams></paramdef> </funcprototype> </funcsynopsis> or like this: <funcsynopsis> <funcprototype> <funcdef><replaceable>testFunction</replaceable>.<function>while</function></funcdef> <paramdef><replaceable>bodyFunction</replaceable><funcparams>number</funcparams></paramdef> </funcprototype> </funcsynopsis> The test condition, called <function>testFunc</function>, is a function which returns a boolean value - either <literal>true</literal> or <literal>false</literal>. The loop's body, called <function>bodyFunc</function>, is a function which can do anything. The loop body function is not provided any arguments by the interpreter. You will ha
 ve to use comparison operators and boolean expressions when writing the Function for the test condition. For information on how these work in <application>SuperCollider</application>, see <xref linkend=\"sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Operators\" /> and <xref linkend=\"sect-Musicians_Guide-SC-Basic_Programming-Conditional_Execution-Boolean_Expressions\" />."
+msgid ""
+"Here is the format of a \"while\" loop in "
+"<application>SuperCollider</application>: <funcsynopsis> <funcprototype> "
+"<funcdef><function>while</function></funcdef> <paramdef>boolean "
+"<replaceable>testFunction</replaceable><funcparams>number</funcparams></paramdef>"
+" "
+"<paramdef><replaceable>bodyFunction</replaceable><funcparams>number</funcparams></paramdef>"
+" </funcprototype> </funcsynopsis> or like this: <funcsynopsis> "
+"<funcprototype> "
+"<funcdef><replaceable>testFunction</replaceable>.<function>while</function></funcdef>"
+" "
+"<paramdef><replaceable>bodyFunction</replaceable><funcparams>number</funcparams></paramdef>"
+" </funcprototype> </funcsynopsis> The test condition, called "
+"<function>testFunc</function>, is a function which returns a boolean value -"
+" either <literal>true</literal> or <literal>false</literal>. The loop's "
+"body, called <function>bodyFunc</function>, is a function which can do "
+"anything. The loop body function is not provided any arguments by the "
+"interpreter. You will have to use comparison operators and boolean "
+"expressions when writing the Function for the test condition. For "
+"information on how these work in <application>SuperCollider</application>, "
+"see <xref linkend=\"sect-Musicians_Guide-SC-Basic_Programming-"
+"Conditional_Execution-Boolean_Operators\" /> and <xref linkend=\"sect-"
+"Musicians_Guide-SC-Basic_Programming-Conditional_Execution-"
+"Boolean_Expressions\" />."
 msgstr ""
 
 #. Tag: para
@@ -2104,12 +2966,20 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "You can see how it's easier to write this particular activity as a \"do\" loop. It's often the case that a \"do\" loop better reflects what you want to do, but not always."
+msgid ""
+"You can see how it's easier to write this particular activity as a \"do\" "
+"loop. It's often the case that a \"do\" loop better reflects what you want "
+"to do, but not always."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Contemplate a situation where you are waiting for the user to input some information, which you're going to use to calculate the rest of the composition. The following example isn't real code. It's intended to simplify a complex situation, so you can see where a \"while\" loop makes more sense than a \"do\" loop."
+msgid ""
+"Contemplate a situation where you are waiting for the user to input some "
+"information, which you're going to use to calculate the rest of the "
+"composition. The following example isn't real code. It's intended to "
+"simplify a complex situation, so you can see where a \"while\" loop makes "
+"more sense than a \"do\" loop."
 msgstr ""
 
 #. Tag: programlisting
@@ -2123,12 +2993,25 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The background music is begun, and then the interpreter would enter the loop. For as long as the user is still inputting information, the interpreter will then \"keep playing music.\" When the user is not still inputting information, the interpreter will move on to the next command, which stops the music. An equivalent \"do\" loop would be very difficult to write, if not impossible. This is because we won't know when the user has finished inputting their information until <emphasis>after</emphasis> they've finished, so we can't plan in advance for how long to play background music."
+msgid ""
+"The background music is begun, and then the interpreter would enter the "
+"loop. For as long as the user is still inputting information, the "
+"interpreter will then \"keep playing music.\" When the user is not still "
+"inputting information, the interpreter will move on to the next command, "
+"which stops the music. An equivalent \"do\" loop would be very difficult to "
+"write, if not impossible. This is because we won't know when the user has "
+"finished inputting their information until <emphasis>after</emphasis> "
+"they've finished, so we can't plan in advance for how long to play "
+"background music."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Thus, the most appropriate use of a \"while\" loop is for cases where you cannot know in advance how many times something should be executed. For most other cases of repeated execution, a \"do\" loop is the most appropriate choice."
+msgid ""
+"Thus, the most appropriate use of a \"while\" loop is for cases where you "
+"cannot know in advance how many times something should be executed. For most"
+" other cases of repeated execution, a \"do\" loop is the most appropriate "
+"choice."
 msgstr ""
 
 #. Tag: title
@@ -2138,7 +3021,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The default language provides two other loop structures, both of which are designed to iterate over a series of integer values: \"for\" loops and \"forBy\" loops. Their use is more limited than \"do\" loops. They are explained in the <application>SuperCollider</application> documentation."
+msgid ""
+"The default language provides two other loop structures, both of which are "
+"designed to iterate over a series of integer values: \"for\" loops and "
+"\"forBy\" loops. Their use is more limited than \"do\" loops. They are "
+"explained in the <application>SuperCollider</application> documentation."
 msgstr ""
 
 #. Tag: title
@@ -2148,7 +3035,14 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Conditional execution tells the <application>SuperCollider</application> interpreter to execute code on the condition that something is true. <application>SuperCollider</application> offers three conditional execution structures, \"if\", \"switch\", and \"case\" statements. Each of these structures is controlled by one or a series of \"boolean expressions\" (sometimes called \"conditional expressions\"), which are composed of \"boolean operators\"."
+msgid ""
+"Conditional execution tells the <application>SuperCollider</application> "
+"interpreter to execute code on the condition that something is true. "
+"<application>SuperCollider</application> offers three conditional execution "
+"structures, \"if\", \"switch\", and \"case\" statements. Each of these "
+"structures is controlled by one or a series of \"boolean expressions\" "
+"(sometimes called \"conditional expressions\"), which are composed of "
+"\"boolean operators\"."
 msgstr ""
 
 #. Tag: title
@@ -2158,12 +3052,18 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Boolean operators evaluate to <literal>true</literal> or <literal>false</literal>, and are most useful in boolean expressions, where they help to determine which portion of a program to execute."
+msgid ""
+"Boolean operators evaluate to <literal>true</literal> or "
+"<literal>false</literal>, and are most useful in boolean expressions, where "
+"they help to determine which portion of a program to execute."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The following table lists binary boolean operators that take two arguments: one on the left and one on the right. These operators produce either <literal>true</literal> or <literal>false</literal>."
+msgid ""
+"The following table lists binary boolean operators that take two arguments: "
+"one on the left and one on the right. These operators produce either "
+"<literal>true</literal> or <literal>false</literal>."
 msgstr ""
 
 #. Tag: title
@@ -2283,7 +3183,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The following table lists unary boolean operators that take one arguments. These operators produce either <literal>true</literal> or <literal>false</literal>."
+msgid ""
+"The following table lists unary boolean operators that take one arguments. "
+"These operators produce either <literal>true</literal> or "
+"<literal>false</literal>."
 msgstr ""
 
 #. Tag: title
@@ -2298,7 +3201,9 @@ msgstr ""
 
 #. Tag: entry
 #, no-c-format
-msgid "<literal>true</literal> if the argument is greater than or equal to <literal>0</literal>"
+msgid ""
+"<literal>true</literal> if the argument is greater than or equal to "
+"<literal>0</literal>"
 msgstr ""
 
 #. Tag: entry
@@ -2308,7 +3213,8 @@ msgstr ""
 
 #. Tag: entry
 #, no-c-format
-msgid "<literal>true</literal> if the argument is greater than <literal>0</literal>"
+msgid ""
+"<literal>true</literal> if the argument is greater than <literal>0</literal>"
 msgstr ""
 
 #. Tag: entry
@@ -2318,7 +3224,9 @@ msgstr ""
 
 #. Tag: entry
 #, no-c-format
-msgid "<literal>true</literal> if <function>isPositive</function> is <literal>false</literal>"
+msgid ""
+"<literal>true</literal> if <function>isPositive</function> is "
+"<literal>false</literal>"
 msgstr ""
 
 #. Tag: para
@@ -2339,7 +3247,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The use of these operators is explained below in the \"Boolean Expressions\" section."
+msgid ""
+"The use of these operators is explained below in the \"Boolean Expressions\""
+" section."
 msgstr ""
 
 #. Tag: title
@@ -2349,7 +3259,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Boolean expressions are expressions which, when executed, result in either \"true\" or \"false\". Boolean expressions must use at least one boolean operator (as listed above), or a Function which returns a boolean value. Boolean expressions can also use other operators and Functions."
+msgid ""
+"Boolean expressions are expressions which, when executed, result in either "
+"\"true\" or \"false\". Boolean expressions must use at least one boolean "
+"operator (as listed above), or a Function which returns a boolean value. "
+"Boolean expressions can also use other operators and Functions."
 msgstr ""
 
 #. Tag: title
@@ -2359,7 +3273,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Here are a few simple boolean expressions. Of course, variables can be used in place of constant numbers:"
+msgid ""
+"Here are a few simple boolean expressions. Of course, variables can be used "
+"in place of constant numbers:"
 msgstr ""
 
 #. Tag: programlisting
@@ -2380,7 +3296,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Beware the following pitfall, common to a large number of programming languages:"
+msgid ""
+"Beware the following pitfall, common to a large number of programming "
+"languages:"
 msgstr ""
 
 #. Tag: programlisting
@@ -2406,7 +3324,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This way, if you accidentally leave out one of the <literal>=</literal> signs, the interpreter will stop execution and produce an error, rather than continuing with an unexpected assignment."
+msgid ""
+"This way, if you accidentally leave out one of the <literal>=</literal> "
+"signs, the interpreter will stop execution and produce an error, rather than"
+" continuing with an unexpected assignment."
 msgstr ""
 
 #. Tag: title
@@ -2434,7 +3355,13 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The <literal>==</literal> operator evaluates to <literal>true</literal> because <literal>a</literal> and <literal>b</literal> represent equivalent Objects - they are equal. The <literal>===</literal> operator evaluates to <literal>false</literal> because <literal>a</literal> and <literal>b</literal> represent different instances of the Objects - they are not identical."
+msgid ""
+"The <literal>==</literal> operator evaluates to <literal>true</literal> "
+"because <literal>a</literal> and <literal>b</literal> represent equivalent "
+"Objects - they are equal. The <literal>===</literal> operator evaluates to "
+"<literal>false</literal> because <literal>a</literal> and "
+"<literal>b</literal> represent different instances of the Objects - they are"
+" not identical."
 msgstr ""
 
 #. Tag: programlisting
@@ -2452,7 +3379,14 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "In this case, the <literal>==</literal> operator still evaluates to <literal>true</literal>. The <literal>===</literal> operator also evaluates to <literal>true</literal>, because <literal>a</literal> and <literal>b</literal> both represent the same Object. When the interpreter evaluates <code>var b = a;</code> in the example above, it actually assigns <literal>b</literal> the same value that <literal>a</literal> stores, not a copy of it."
+msgid ""
+"In this case, the <literal>==</literal> operator still evaluates to "
+"<literal>true</literal>. The <literal>===</literal> operator also evaluates "
+"to <literal>true</literal>, because <literal>a</literal> and "
+"<literal>b</literal> both represent the same Object. When the interpreter "
+"evaluates <code>var b = a;</code> in the example above, it actually assigns "
+"<literal>b</literal> the same value that <literal>a</literal> stores, not a "
+"copy of it."
 msgstr ""
 
 #. Tag: title
@@ -2462,12 +3396,19 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The logical And and Or operators must receive two boolean arguments. Logical And returns <literal>true</literal> if both of its arguments are <literal>true</literal>. Logical Or returns <literal>true</literal> if one of its arguments are <literal>true</literal>."
+msgid ""
+"The logical And and Or operators must receive two boolean arguments. Logical"
+" And returns <literal>true</literal> if both of its arguments are "
+"<literal>true</literal>. Logical Or returns <literal>true</literal> if one "
+"of its arguments are <literal>true</literal>."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The following table illustrates how the <application>SuperCollider</application> interpreter will evaluate each of the following situations."
+msgid ""
+"The following table illustrates how the "
+"<application>SuperCollider</application> interpreter will evaluate each of "
+"the following situations."
 msgstr ""
 
 #. Tag: title
@@ -2507,7 +3448,15 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The interpreter evaluates the expression on the left first, and then the expression on the right <emphasis>only</emphasis> if it will influence the outcome. This means that, if the left-side expression of a logical Or operator evaluates to \"true\", the interpreter will not test the right-side expression, because the result will be \"true\" anyway. Similarly, if the left-side expression of a logical And operator evaluates to \"false\", the interpreter will not test the right-side expression, because the result will be \"false\" anyway."
+msgid ""
+"The interpreter evaluates the expression on the left first, and then the "
+"expression on the right <emphasis>only</emphasis> if it will influence the "
+"outcome. This means that, if the left-side expression of a logical Or "
+"operator evaluates to \"true\", the interpreter will not test the right-side"
+" expression, because the result will be \"true\" anyway. Similarly, if the "
+"left-side expression of a logical And operator evaluates to \"false\", the "
+"interpreter will not test the right-side expression, because the result will"
+" be \"false\" anyway."
 msgstr ""
 
 #. Tag: para
@@ -2530,12 +3479,27 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If the left-side expression of the logical And operator is \"false\", the interpreter doesn't evaluate the right-side expression; it simply moves on to the next expression. If the left-side expression is \"true\" (meaning that x is not zero), then the right-side expression is evaluated. The right-side expression happens to be a Function which assigns \"x\" the result of dividing 17 by its previous value. The result of the logical And operation is simply discarded in this case - it doesn't really matter to us. This isn't the most straight-forward code, and there are other ways to avoid division-by-zero. If you use this, it's probably best to include a brief explanation of what the code does, as a commment."
+msgid ""
+"If the left-side expression of the logical And operator is \"false\", the "
+"interpreter doesn't evaluate the right-side expression; it simply moves on "
+"to the next expression. If the left-side expression is \"true\" (meaning "
+"that x is not zero), then the right-side expression is evaluated. The right-"
+"side expression happens to be a Function which assigns \"x\" the result of "
+"dividing 17 by its previous value. The result of the logical And operation "
+"is simply discarded in this case - it doesn't really matter to us. This "
+"isn't the most straight-forward code, and there are other ways to avoid "
+"division-by-zero. If you use this, it's probably best to include a brief "
+"explanation of what the code does, as a commment."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If you run this code many times, you will see that it gives many different results - one of which is zero, which proves that the code works as intended. If <application>SuperCollider</application> divides by zero, the result is \"inf\", representing infinity. Try modifying the code so that it will divide by zero, and see what happens."
+msgid ""
+"If you run this code many times, you will see that it gives many different "
+"results - one of which is zero, which proves that the code works as "
+"intended. If <application>SuperCollider</application> divides by zero, the "
+"result is \"inf\", representing infinity. Try modifying the code so that it "
+"will divide by zero, and see what happens."
 msgstr ""
 
 #. Tag: title
@@ -2545,12 +3509,24 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "In complicated boolean expressions, it's important to clarify the order in which you want sub-expressions to be executed. This order is called the \"order of precedence,\" or \"order of operations\" (see <citetitle>Order of Operations (Wikipedia)</citetitle>, available at <ulink url=\"http://en.wikipedia.org/wiki/Order_of_operations\" /> for more information). In computer science, different programming languages enforce different orders of precedence, so you should use parentheses to clarify your intended order, to proactively avoid later confusion. The interpreter will evaluate an expression from left to right, and always fully evaluate parentheses before continuing."
+msgid ""
+"In complicated boolean expressions, it's important to clarify the order in "
+"which you want sub-expressions to be executed. This order is called the "
+"\"order of precedence,\" or \"order of operations\" (see <citetitle>Order of"
+" Operations (Wikipedia)</citetitle>, available at <ulink "
+"url=\"http://en.wikipedia.org/wiki/Order_of_operations\" /> for more "
+"information). In computer science, different programming languages enforce "
+"different orders of precedence, so you should use parentheses to clarify "
+"your intended order, to proactively avoid later confusion. The interpreter "
+"will evaluate an expression from left to right, and always fully evaluate "
+"parentheses before continuing."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Even simple expression can benefit from parentheses. These produce the same results:"
+msgid ""
+"Even simple expression can benefit from parentheses. These produce the same "
+"results:"
 msgstr ""
 
 #. Tag: programlisting
@@ -2589,7 +3565,14 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "... evaluates to \"false\"! They're equal - the interpreter doesn't follow the standard mathematical order of precedence rules! <application>SuperCollider</application> evaluates from left to right, so it's important to clarify to the interpreter what you mean. Where would you put parentheses so that <application>SuperCollider</application> evaluates the expression as per the standard mathematical order of precedence rules, with multiplication before addition and subtraction?"
+msgid ""
+"... evaluates to \"false\"! They're equal - the interpreter doesn't follow "
+"the standard mathematical order of precedence rules! "
+"<application>SuperCollider</application> evaluates from left to right, so "
+"it's important to clarify to the interpreter what you mean. Where would you "
+"put parentheses so that <application>SuperCollider</application> evaluates "
+"the expression as per the standard mathematical order of precedence rules, "
+"with multiplication before addition and subtraction?"
 msgstr ""
 
 #. Tag: title
@@ -2599,7 +3582,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The \"if\" structure is provided a boolean expression and two Functions. If the expression evaluates to \"true\", it executes one Function. If the expression evaluates to \"false\", it executes the other Function."
+msgid ""
+"The \"if\" structure is provided a boolean expression and two Functions. If "
+"the expression evaluates to \"true\", it executes one Function. If the "
+"expression evaluates to \"false\", it executes the other Function."
 msgstr ""
 
 #. Tag: para
@@ -2619,7 +3605,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "It's possible to exclude the <function>falseFunction</function>, which is like telling the interpreter, \"If the boolean expression is true, then execute this Function. Otherwise, don't execute it.\""
+msgid ""
+"It's possible to exclude the <function>falseFunction</function>, which is "
+"like telling the interpreter, \"If the boolean expression is true, then "
+"execute this Function. Otherwise, don't execute it.\""
 msgstr ""
 
 #. Tag: programlisting
@@ -2636,12 +3625,20 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This example prints out a nice message, saying whether <literal>test</literal> is <literal>true</literal> or <literal>false</literal>. Because <literal>test</literal> is already a boolean value, we don't need to include it in an expression. The \"if\" statement could have been shortened like this: <code>if ( test, { \"It's true!\".postln; }, { \"It's false!\".postln; } );</code>"
+msgid ""
+"This example prints out a nice message, saying whether "
+"<literal>test</literal> is <literal>true</literal> or "
+"<literal>false</literal>. Because <literal>test</literal> is already a "
+"boolean value, we don't need to include it in an expression. The \"if\" "
+"statement could have been shortened like this: <code>if ( test, { \"It's "
+"true!\".postln; }, { \"It's false!\".postln; } );</code>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Suppose we only wanted to be alerted if <literal>test</literal> is <literal>true</literal>."
+msgid ""
+"Suppose we only wanted to be alerted if <literal>test</literal> is "
+"<literal>true</literal>."
 msgstr ""
 
 #. Tag: programlisting
@@ -2658,12 +3655,19 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "In this example, the alternate \"if\" syntax is used, where the boolean expression is placed before the parentheses."
+msgid ""
+"In this example, the alternate \"if\" syntax is used, where the boolean "
+"expression is placed before the parentheses."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "\"If\" structures can also be \"nested,\" which is like telling the interpreter, \"If this is true, do this; otherwise if this is true, do this; otherwise if this is true, do this.\" In this relatively simple example of nesting, the interpreter evaluates each \"if\" structure only if the previous one was \"false\"."
+msgid ""
+"\"If\" structures can also be \"nested,\" which is like telling the "
+"interpreter, \"If this is true, do this; otherwise if this is true, do this;"
+" otherwise if this is true, do this.\" In this relatively simple example of "
+"nesting, the interpreter evaluates each \"if\" structure only if the "
+"previous one was \"false\"."
 msgstr ""
 
 #. Tag: programlisting
@@ -2710,7 +3714,16 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "As you can see, this type of nesting is not easy to figure out - from the standpoint of the original programmer or somebody else who wishes to use your code. In writing this example, it took me several attempts before getting the parentheses and braces right. Usually, if you have a long list of possibilities to test (like the nine in this example), it is better to use a \"case\" or \"switch\" structure. Not only does this help to make the code easier to understand, but the <application>SuperCollider</application> interpreter can apply optimizations that make the code run marginally faster."
+msgid ""
+"As you can see, this type of nesting is not easy to figure out - from the "
+"standpoint of the original programmer or somebody else who wishes to use "
+"your code. In writing this example, it took me several attempts before "
+"getting the parentheses and braces right. Usually, if you have a long list "
+"of possibilities to test (like the nine in this example), it is better to "
+"use a \"case\" or \"switch\" structure. Not only does this help to make the "
+"code easier to understand, but the <application>SuperCollider</application> "
+"interpreter can apply optimizations that make the code run marginally "
+"faster."
 msgstr ""
 
 #. Tag: title
@@ -2720,7 +3733,15 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "A \"switch\" structure can be most easily understood by comparison to a switch in a railway line. As a train approaches a railway switch, an operator inspects the train, and decides whether it should be going to the passenger station, the freight station, or the garage for storage. A \"switch\" structure - like a railways switch, can only act on one Object at a time, but the Object can be a Collection, allowing you to compare multiple things at once. Each case is tested with the boolean equality operator before being executed."
+msgid ""
+"A \"switch\" structure can be most easily understood by comparison to a "
+"switch in a railway line. As a train approaches a railway switch, an "
+"operator inspects the train, and decides whether it should be going to the "
+"passenger station, the freight station, or the garage for storage. A "
+"\"switch\" structure - like a railways switch, can only act on one Object at"
+" a time, but the Object can be a Collection, allowing you to compare "
+"multiple things at once. Each case is tested with the boolean equality "
+"operator before being executed."
 msgstr ""
 
 #. Tag: para
@@ -2741,7 +3762,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "You can include any number of cases. Notice that there is no comma after the last case, and that I've put the concluding \");\" on a separate line with the same indentation as the word \"case\", so that it's easy to see."
+msgid ""
+"You can include any number of cases. Notice that there is no comma after the"
+" last case, and that I've put the concluding \");\" on a separate line with "
+"the same indentation as the word \"case\", so that it's easy to see."
 msgstr ""
 
 #. Tag: para
@@ -2779,7 +3803,12 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The code picks a pseudo-random number between 1 and 12, then uses a \"switch\" structure to convert that number into a letter-grade, assigning it to the same <literal>grade</literal> variable. Then, it adds the \"Your grade is\" string to the value of <literal>grade</literal> (with a space between), and prints that result."
+msgid ""
+"The code picks a pseudo-random number between 1 and 12, then uses a "
+"\"switch\" structure to convert that number into a letter-grade, assigning "
+"it to the same <literal>grade</literal> variable. Then, it adds the \"Your "
+"grade is\" string to the value of <literal>grade</literal> (with a space "
+"between), and prints that result."
 msgstr ""
 
 #. Tag: para
@@ -2813,12 +3842,19 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This is an elegant way to inspect two otherwise-separate variables. Remember that the first argument to \"switch\" (in this case, it's <code>[testA,tesB]</code>) is compared to the first argument of possibe result with the equality operator: <literal>==</literal>"
+msgid ""
+"This is an elegant way to inspect two otherwise-separate variables. Remember"
+" that the first argument to \"switch\" (in this case, it's "
+"<code>[testA,tesB]</code>) is compared to the first argument of possibe "
+"result with the equality operator: <literal>==</literal>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "When evaluating which switch to use, the <application>SuperCollider</application> interpreter will always apply the <emphasis>last</emphasis> one that evaluates to <literal>true</literal>."
+msgid ""
+"When evaluating which switch to use, the "
+"<application>SuperCollider</application> interpreter will always apply the "
+"<emphasis>last</emphasis> one that evaluates to <literal>true</literal>."
 msgstr ""
 
 #. Tag: programlisting
@@ -2838,7 +3874,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "All of these cases are true, but this will always result in \"three\" being printed."
+msgid ""
+"All of these cases are true, but this will always result in \"three\" being "
+"printed."
 msgstr ""
 
 #. Tag: title
@@ -2848,7 +3886,17 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "\"Case\" and \"switch\" structures look similar, but work in subtly different way. A \"switch\" structure is like a railway switch, allowing one train to be routed onto the right track, according to qualities of the train. A \"case\" structure, on the other hand, works like somebody trying to decide how to get to work. The person might ask themselves how far they are going, how long they have to get to work, how fast the available options are, what the available options cost, and so on. While in a \"switch\" structure, the path of execution is determined by examining only one Object, a \"case\" structure determines the path of execution based on any number of things."
+msgid ""
+"\"Case\" and \"switch\" structures look similar, but work in subtly "
+"different way. A \"switch\" structure is like a railway switch, allowing one"
+" train to be routed onto the right track, according to qualities of the "
+"train. A \"case\" structure, on the other hand, works like somebody trying "
+"to decide how to get to work. The person might ask themselves how far they "
+"are going, how long they have to get to work, how fast the available options"
+" are, what the available options cost, and so on. While in a \"switch\" "
+"structure, the path of execution is determined by examining only one Object,"
+" a \"case\" structure determines the path of execution based on any number "
+"of things."
 msgstr ""
 
 #. Tag: para
@@ -2870,7 +3918,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Contemplate the following pseudo-code example, which represents a possible musical sitation, and a good use of the \"case\" structure."
+msgid ""
+"Contemplate the following pseudo-code example, which represents a possible "
+"musical sitation, and a good use of the \"case\" structure."
 msgstr ""
 
 #. Tag: programlisting
@@ -2901,12 +3951,30 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "It might seem like this example doesn't relate to a real <application>SuperCollider</application> programming situation, but in fact it might. If you could program Function's which determined all of those questions and all of the answers, this sort of \"case\" structure would be very helpful in a situation where a computer running <application>SuperCollider</application> were left in a room by itself, and expected to play music whenever anybody entered the room. Since five is always equal to five, the interpreter will run <function>coolFunction</function> forever. If the music needs adjustment in some way, the Function will adjust the music. If everything is okay, then the interpreter will wait for 10 seconds, and then the loop will cause the Function to be re-evaluated. Because many different criteria are evaluated in the \"case\" structure, this represents an efficient use of the structure."
+msgid ""
+"It might seem like this example doesn't relate to a real "
+"<application>SuperCollider</application> programming situation, but in fact "
+"it might. If you could program Function's which determined all of those "
+"questions and all of the answers, this sort of \"case\" structure would be "
+"very helpful in a situation where a computer running "
+"<application>SuperCollider</application> were left in a room by itself, and "
+"expected to play music whenever anybody entered the room. Since five is "
+"always equal to five, the interpreter will run "
+"<function>coolFunction</function> forever. If the music needs adjustment in "
+"some way, the Function will adjust the music. If everything is okay, then "
+"the interpreter will wait for 10 seconds, and then the loop will cause the "
+"Function to be re-evaluated. Because many different criteria are evaluated "
+"in the \"case\" structure, this represents an efficient use of the "
+"structure."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "\"Case\" structures can be used to do the same thing as \"switch\" structures, but it's usually less elegant solution. Also, it doesn't allow the interpreter to use an speed optimization that it would have used in an equivalent \"switch\" structure."
+msgid ""
+"\"Case\" structures can be used to do the same thing as \"switch\" "
+"structures, but it's usually less elegant solution. Also, it doesn't allow "
+"the interpreter to use an speed optimization that it would have used in an "
+"equivalent \"switch\" structure."
 msgstr ""
 
 #. Tag: programlisting
@@ -2939,12 +4007,17 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This example is equivalent to one of the \"switch\" structure examples. This is not a good use of the \"case\" structure, because it requires a lot of code repetition."
+msgid ""
+"This example is equivalent to one of the \"switch\" structure examples. This"
+" is not a good use of the \"case\" structure, because it requires a lot of "
+"code repetition."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Unlike a \"switch\" structure, a \"case\" structure will always follow the <emphasis>first</emphasis> case that evaluates to \"true\"."
+msgid ""
+"Unlike a \"switch\" structure, a \"case\" structure will always follow the "
+"<emphasis>first</emphasis> case that evaluates to \"true\"."
 msgstr ""
 
 #. Tag: programlisting
@@ -2974,7 +4047,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "One of the requirements of multi-channel audio is the ability to combine a large number of UGen's into a small number of channels - normally just two. The <application>SuperCollider</application> interpreter allows you to accomplish this in a number of ways, which are explained here."
+msgid ""
+"One of the requirements of multi-channel audio is the ability to combine a "
+"large number of UGen's into a small number of channels - normally just two. "
+"The <application>SuperCollider</application> interpreter allows you to "
+"accomplish this in a number of ways, which are explained here."
 msgstr ""
 
 #. Tag: title
@@ -2984,12 +4061,24 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The \"Mix\" Class allows you to combine a mutli-channel Array into one channel. It's just that simple: you put in an Array of UGens, and out comes a single-channel combination of them."
+msgid ""
+"The \"Mix\" Class allows you to combine a mutli-channel Array into one "
+"channel. It's just that simple: you put in an Array of UGens, and out comes "
+"a single-channel combination of them."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Here are the two possible syntaxes for the \"Mix\" Class: <funcsynopsis> <funcprototype> <funcdef><function>Mix.new</function></funcdef> <paramdef><parameter>ArrayOfUGens</parameter></paramdef> </funcprototype> </funcsynopsis> and <funcsynopsis> <funcprototype> <funcdef><function>Mix</function></funcdef> <paramdef><parameter>ArrayOfUGens</parameter></paramdef> </funcprototype> </funcsynopsis> The second form is simply a short-hand version of the first. The <classname>Mix</classname> Class doesn't really create \"Mix\" Objects either - it's just a Function that combines many UGen's into one."
+msgid ""
+"Here are the two possible syntaxes for the \"Mix\" Class: <funcsynopsis> "
+"<funcprototype> <funcdef><function>Mix.new</function></funcdef> "
+"<paramdef><parameter>ArrayOfUGens</parameter></paramdef> </funcprototype> "
+"</funcsynopsis> and <funcsynopsis> <funcprototype> "
+"<funcdef><function>Mix</function></funcdef> "
+"<paramdef><parameter>ArrayOfUGens</parameter></paramdef> </funcprototype> "
+"</funcsynopsis> The second form is simply a short-hand version of the first."
+" The <classname>Mix</classname> Class doesn't really create \"Mix\" Objects "
+"either - it's just a Function that combines many UGen's into one."
 msgstr ""
 
 #. Tag: para
@@ -3017,12 +4106,27 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Notice how all of these <classname>SinOsc</classname>s are heard through the left channel only. The <classname>Mix</classname> class mixes all the UGen's together into one. You could use a bus to send the audio to both the left and right channels. What happens if we don't use the <classname>Mix</classname> class? Try to remove the function, and find out. You only hear some of the <classname>SinOsc</classname>'s. Which ones? The first two, representing the left and right channels. If your audio interface has more than two channels, you may be able to hear more than those first two channels."
+msgid ""
+"Notice how all of these <classname>SinOsc</classname>s are heard through the"
+" left channel only. The <classname>Mix</classname> class mixes all the "
+"UGen's together into one. You could use a bus to send the audio to both the "
+"left and right channels. What happens if we don't use the "
+"<classname>Mix</classname> class? Try to remove the function, and find out. "
+"You only hear some of the <classname>SinOsc</classname>'s. Which ones? The "
+"first two, representing the left and right channels. If your audio interface"
+" has more than two channels, you may be able to hear more than those first "
+"two channels."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "There is another function offered by the <classname>Mix</classname> class, and it is a kind of loop. The function is called <function>Fill</function>, and it takes two arguments: the number of times to run a function, and the function to run. The function is provided with one argument (like in a \"do\" loop), which is the number of times the function has <emphasis>already</emphasis> been run."
+msgid ""
+"There is another function offered by the <classname>Mix</classname> class, "
+"and it is a kind of loop. The function is called <function>Fill</function>, "
+"and it takes two arguments: the number of times to run a function, and the "
+"function to run. The function is provided with one argument (like in a "
+"\"do\" loop), which is the number of times the function has "
+"<emphasis>already</emphasis> been run."
 msgstr ""
 
 #. Tag: programlisting
@@ -3045,7 +4149,21 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "As you can see, the <function>fill</function> function itself is quite simple: you provide the number of UGen's to create, and a function that creates UGen's. It's the <literal>sineFunc</literal> function that is a little confusing. The argument is called \"iteration\", because it holds how many times the function has already been run - how many iterations have happened already. It uses this value to help calculate the frequency (stored in a variable called <literal>freq</literal>), and then creates a <classname>SinOsc</classname> UGen. The <literal>mul</literal> argument helps to automatically control the volume level. Since the total volume should be no more than 1.0, the <function>sineFunc</function> function calculates UGen's' volume by dividing 1, the maximum level, by the number of UGen's that will be created. The slowly pulsating volume is part of the acoustic result of this many frequencies being so close together - it is not a hidden effect by <application>Su
 perCollider</application>."
+msgid ""
+"As you can see, the <function>fill</function> function itself is quite "
+"simple: you provide the number of UGen's to create, and a function that "
+"creates UGen's. It's the <literal>sineFunc</literal> function that is a "
+"little confusing. The argument is called \"iteration\", because it holds how"
+" many times the function has already been run - how many iterations have "
+"happened already. It uses this value to help calculate the frequency (stored"
+" in a variable called <literal>freq</literal>), and then creates a "
+"<classname>SinOsc</classname> UGen. The <literal>mul</literal> argument "
+"helps to automatically control the volume level. Since the total volume "
+"should be no more than 1.0, the <function>sineFunc</function> function "
+"calculates UGen's' volume by dividing 1, the maximum level, by the number of"
+" UGen's that will be created. The slowly pulsating volume is part of the "
+"acoustic result of this many frequencies being so close together - it is not"
+" a hidden effect by <application>SuperCollider</application>."
 msgstr ""
 
 #. Tag: title
@@ -3055,7 +4173,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "There is another way to combine many UGen's into two channels for stereo output: rather than sending the Array's to the Mix class, combine them into a two-element Array."
+msgid ""
+"There is another way to combine many UGen's into two channels for stereo "
+"output: rather than sending the Array's to the Mix class, combine them into "
+"a two-element Array."
 msgstr ""
 
 #. Tag: programlisting
@@ -3072,12 +4193,17 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Here, a two-element Array is the result of a Function, which gets sent the \"play\" message. Each of the elements is an equivalent, three-element Array where each element is a UGen."
+msgid ""
+"Here, a two-element Array is the result of a Function, which gets sent the "
+"\"play\" message. Each of the elements is an equivalent, three-element Array"
+" where each element is a UGen."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This representation also offers another benefit: each UGen can have a different \"mul\" value, which will be preserved."
+msgid ""
+"This representation also offers another benefit: each UGen can have a "
+"different \"mul\" value, which will be preserved."
 msgstr ""
 
 #. Tag: programlisting
@@ -3094,7 +4220,12 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This sounds much less harsh than the first example. Try it with the Mix Class. Even with the different \"mul\" values, it sounds the same as the first example! This helps Mix to ensure that the total level doesn't exceed 1.0, but it has the disadvantage that careful level-balancing on your part will be erased."
+msgid ""
+"This sounds much less harsh than the first example. Try it with the Mix "
+"Class. Even with the different \"mul\" values, it sounds the same as the "
+"first example! This helps Mix to ensure that the total level doesn't exceed "
+"1.0, but it has the disadvantage that careful level-balancing on your part "
+"will be erased."
 msgstr ""
 
 #. Tag: title
@@ -3104,7 +4235,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This method of combinine UGen's into two channels uses the addition operator: +"
+msgid ""
+"This method of combinine UGen's into two channels uses the addition "
+"operator: +"
 msgstr ""
 
 #. Tag: programlisting
@@ -3121,7 +4254,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Notice that, like with the Mix Class, independent \"mul\" levels are not preserved."
+msgid ""
+"Notice that, like with the Mix Class, independent \"mul\" levels are not "
+"preserved."
 msgstr ""
 
 #. Tag: title
@@ -3131,7 +4266,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The preceding sections of this \"Basic Programming\" guide have only created sound with Function's. The truth is that Function's are very useful for creating sound, but they represent a simplification of the actual commands and Functions that must be run by the interpreter in order to create sound."
+msgid ""
+"The preceding sections of this \"Basic Programming\" guide have only created"
+" sound with Function's. The truth is that Function's are very useful for "
+"creating sound, but they represent a simplification of the actual commands "
+"and Functions that must be run by the interpreter in order to create sound."
 msgstr ""
 
 #. Tag: programlisting
@@ -3161,7 +4300,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The \"Out\" UGen is one of the bits of magic automatically taken care of by the interpreter. It routes an audio signal from another UGen into a specific output (actually, into a specific bus - see <xref linkend=\"sect-Musicians_Guide-SC-Basic_Programming-Busses\" />)."
+msgid ""
+"The \"Out\" UGen is one of the bits of magic automatically taken care of by "
+"the interpreter. It routes an audio signal from another UGen into a specific"
+" output (actually, into a specific bus - see <xref linkend=\"sect-"
+"Musicians_Guide-SC-Basic_Programming-Busses\" />)."
 msgstr ""
 
 #. Tag: para
@@ -3181,7 +4324,15 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The first argument to \"Out.ar\" is the bus number for where you want to place the second argument, which is either a UGen or a multi-channel Array of UGen's. If the second argument is an Array, then the first element is sent to the first argument's bus number, the second argument is sent to one bus number higher, the third to two bus numbers higher, and so on. This issues is explained fully in <xref linkend=\"sect-Musicians_Guide-SC-Basic_Programming-Busses\" />, but here is what you need to know for now, working with stereo (two-channel) audio:"
+msgid ""
+"The first argument to \"Out.ar\" is the bus number for where you want to "
+"place the second argument, which is either a UGen or a multi-channel Array "
+"of UGen's. If the second argument is an Array, then the first element is "
+"sent to the first argument's bus number, the second argument is sent to one "
+"bus number higher, the third to two bus numbers higher, and so on. This "
+"issues is explained fully in <xref linkend=\"sect-Musicians_Guide-SC-"
+"Basic_Programming-Busses\" />, but here is what you need to know for now, "
+"working with stereo (two-channel) audio:"
 msgstr ""
 
 #. Tag: para
@@ -3191,17 +4342,29 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If the second argument is a single UGen, and you want it to be heard through the left channel, use bus number 0."
+msgid ""
+"If the second argument is a single UGen, and you want it to be heard through"
+" the left channel, use bus number 0."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If the second argument is a single UGen, and you want it to be heard through the right channel, use bus number 1."
+msgid ""
+"If the second argument is a single UGen, and you want it to be heard through"
+" the right channel, use bus number 1."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If you're still struggling with exactly what the \"Out\" UGen does, think of it like this: when you create an audio-rate UGen, it starts creating an audio signal; the \"Out\" UGen effectively connects the audio-rate UGen into your audio interface's output port, so it can be heard through the speakers. In <xref linkend=\"sect-Musicians_Guide-SC-Basic_Programming-Busses\" />, it becomes clear that there are, in fact, other useful places to connect an audio-rate UGen (through an effect processor, for example), and the \"Out\" UGen can help you do that."
+msgid ""
+"If you're still struggling with exactly what the \"Out\" UGen does, think of"
+" it like this: when you create an audio-rate UGen, it starts creating an "
+"audio signal; the \"Out\" UGen effectively connects the audio-rate UGen into"
+" your audio interface's output port, so it can be heard through the "
+"speakers. In <xref linkend=\"sect-Musicians_Guide-SC-Basic_Programming-"
+"Busses\" />, it becomes clear that there are, in fact, other useful places "
+"to connect an audio-rate UGen (through an effect processor, for example), "
+"and the \"Out\" UGen can help you do that."
 msgstr ""
 
 #. Tag: title
@@ -3211,7 +4374,15 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "A SynthDef is what we use to tell the server how to create sound. In order to truly understand what SynthDef accomplishes, we need to recall the disconnect between the interpreter and the server. In reality, the interpreter has no idea how to make sound or work with audio hardware. The server, likewise, has no understanding at all of the <application>SuperCollider</application> language. The interpreter takes the code that we write, and does one of a number of things, depending on the nature of the code:"
+msgid ""
+"A SynthDef is what we use to tell the server how to create sound. In order "
+"to truly understand what SynthDef accomplishes, we need to recall the "
+"disconnect between the interpreter and the server. In reality, the "
+"interpreter has no idea how to make sound or work with audio hardware. The "
+"server, likewise, has no understanding at all of the "
+"<application>SuperCollider</application> language. The interpreter takes the"
+" code that we write, and does one of a number of things, depending on the "
+"nature of the code:"
 msgstr ""
 
 #. Tag: para
@@ -3236,17 +4407,27 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "For simple code like <code>2.postln;</code> the interpreter just executes it. For code like <code>{ SincOsc.ar; }.play;</code> the interpreter expands it a bit, then sends instructions to the server, which deals with the rest of the synthesis process."
+msgid ""
+"For simple code like <code>2.postln;</code> the interpreter just executes "
+"it. For code like <code>{ SincOsc.ar; }.play;</code> the interpreter expands"
+" it a bit, then sends instructions to the server, which deals with the rest "
+"of the synthesis process."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "A SynthDef is part of this last process; SynthDef Objects represent the synthesis information that is sent to the server before (or at the same time as) telling the server to play the sound."
+msgid ""
+"A SynthDef is part of this last process; SynthDef Objects represent the "
+"synthesis information that is sent to the server before (or at the same time"
+" as) telling the server to play the sound."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "There are two steps to creating a useful SynthDef: making an interpreter Object, and sending the actual synthesis information to the server. There are two ways to write this, as follows:"
+msgid ""
+"There are two steps to creating a useful SynthDef: making an interpreter "
+"Object, and sending the actual synthesis information to the server. There "
+"are two ways to write this, as follows:"
 msgstr ""
 
 #. Tag: programlisting
@@ -3259,12 +4440,26 @@ msgstr ""
 
 #. Tag: programlisting
 #, no-c-format
-msgid "SynthDef.new( <replaceable>nameOfSynthDef</replaceable>, <replaceable>FunctionContainingOutUGen</replaceable> ).send( <replaceable>nameOfServer</replaceable> );"
+msgid ""
+"SynthDef.new( <replaceable>nameOfSynthDef</replaceable>, "
+"<replaceable>FunctionContainingOutUGen</replaceable> ).send( "
+"<replaceable>nameOfServer</replaceable> );"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The <function>FunctionContainingOutUGen</function> is simply that - a function that, when executed, returns an <classname>Out</classname> UGen (meaning that the <classname>Out</classname> UGen must be the last expression in the function). The <literal>nameOfSynthDef</literal> should be a symbol (as described in <xref linkend=\"sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Symbols\" />), but can also be a string. The <literal>nameOfServer</literal> is a variable that represents the server to which you want to send the SynthDef's information; unless you know that you need to use a different variable for this, it's probably just the letter \"s\", which the interpreter automatically assigns to the default server."
+msgid ""
+"The <function>FunctionContainingOutUGen</function> is simply that - a "
+"function that, when executed, returns an <classname>Out</classname> UGen "
+"(meaning that the <classname>Out</classname> UGen must be the last "
+"expression in the function). The <literal>nameOfSynthDef</literal> should be"
+" a symbol (as described in <xref linkend=\"sect-Musicians_Guide-SC-"
+"Basic_Programming-SynthDef_and_Synth-Symbols\" />), but can also be a "
+"string. The <literal>nameOfServer</literal> is a variable that represents "
+"the server to which you want to send the SynthDef's information; unless you "
+"know that you need to use a different variable for this, it's probably just "
+"the letter \"s\", which the interpreter automatically assigns to the default"
+" server."
 msgstr ""
 
 #. Tag: para
@@ -3308,17 +4503,28 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The only advantage to assigning something to a variable is the ability to refer to it later. If you use the first method, then you can send the SynthDef to more than one server. Since it's rare that you will want to use more than one server, it's usually better to use the second style. In fact, if you won't be using the \"playMe\" Function again, you don't need to assign it to a variable!"
+msgid ""
+"The only advantage to assigning something to a variable is the ability to "
+"refer to it later. If you use the first method, then you can send the "
+"SynthDef to more than one server. Since it's rare that you will want to use "
+"more than one server, it's usually better to use the second style. In fact, "
+"if you won't be using the \"playMe\" Function again, you don't need to "
+"assign it to a variable!"
 msgstr ""
 
 #. Tag: programlisting
 #, no-c-format
-msgid "SynthDef.new( \\playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).send( s );"
+msgid ""
+"SynthDef.new( \\playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } "
+").send( s );"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This is all that's really needed to create and send a synthesis definition to the server. It looks long and frightening, but now at least you understand what all of the parts do."
+msgid ""
+"This is all that's really needed to create and send a synthesis definition "
+"to the server. It looks long and frightening, but now at least you "
+"understand what all of the parts do."
 msgstr ""
 
 #. Tag: title
@@ -3328,7 +4534,20 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "There is another way to send a SynthDef to the server: the \"load\" Function. The \"send\" Function sends the synthesis information to the server, which stores it in memory. When the server stops running, all synthesis information given with \"send\" is lost. The \"load\" Function, on the other hand, sends the synthesis information to the server, which stores it on disk and in memory. Every time the server is started, it loads all of the synthesis information previously sent to it with the \"load\" Function. The definition remains until you delete it specifically. This is most useful for a SynthDef that takes up a lot of memory, and which would use considerable network time to transfer to the server whenever the server is run. It is also useful to use the \"load\" Function instead of \"send\", when there are a lot of SynthDef's, regardless of the size of each one. The idea is the same: avoid sending the SynthDef in order to save time."
+msgid ""
+"There is another way to send a SynthDef to the server: the \"load\" "
+"Function. The \"send\" Function sends the synthesis information to the "
+"server, which stores it in memory. When the server stops running, all "
+"synthesis information given with \"send\" is lost. The \"load\" Function, on"
+" the other hand, sends the synthesis information to the server, which stores"
+" it on disk and in memory. Every time the server is started, it loads all of"
+" the synthesis information previously sent to it with the \"load\" Function."
+" The definition remains until you delete it specifically. This is most "
+"useful for a SynthDef that takes up a lot of memory, and which would use "
+"considerable network time to transfer to the server whenever the server is "
+"run. It is also useful to use the \"load\" Function instead of \"send\", "
+"when there are a lot of SynthDef's, regardless of the size of each one. The "
+"idea is the same: avoid sending the SynthDef in order to save time."
 msgstr ""
 
 #. Tag: para
@@ -3343,17 +4562,39 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "As stated in the section about variables, a symbol is simply something which represents something else. When used in the context of a SynthDef, a symbol is a string of characters that refers to a SynthDef that we've already sent to the server. What wasn't mentioned in the section about variables is that, in addition to the symbols that can be used as variable names, the <application>SuperCollider</application> language provides a distinct data-type (like numbers or strings) for symbols. Many programming languages don't provide a \"symbol\" data-type, so many programmers do not use them extensively, but they are very handy for situations like this. As local variable names are symbols representing data stored by the interpreter, here we are using the symbol data-type to refer to data stored on the server."
+msgid ""
+"As stated in the section about variables, a symbol is simply something which"
+" represents something else. When used in the context of a SynthDef, a symbol"
+" is a string of characters that refers to a SynthDef that we've already sent"
+" to the server. What wasn't mentioned in the section about variables is "
+"that, in addition to the symbols that can be used as variable names, the "
+"<application>SuperCollider</application> language provides a distinct data-"
+"type (like numbers or strings) for symbols. Many programming languages don't"
+" provide a \"symbol\" data-type, so many programmers do not use them "
+"extensively, but they are very handy for situations like this. As local "
+"variable names are symbols representing data stored by the interpreter, here"
+" we are using the symbol data-type to refer to data stored on the server."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Symbols are a better way to name SynthDef's than strings. Not only do symbols take up less memory, they aren't actually the interpreter doesn't actually think of them as Objects, and neither should you. Symbols are universally unique; only one instance of a symbol with the same characters can exist. On the other hand, an infinite number of strings with the same characters can exist. When we use a symbol, we are defining it universally. When we use a string, the server pretends that all strings with the same characters are the same philosophical object, even though they aren't. This isn't a technical problem, but it can be difficult to think about, and is cognitively dissonant."
+msgid ""
+"Symbols are a better way to name SynthDef's than strings. Not only do "
+"symbols take up less memory, they aren't actually the interpreter doesn't "
+"actually think of them as Objects, and neither should you. Symbols are "
+"universally unique; only one instance of a symbol with the same characters "
+"can exist. On the other hand, an infinite number of strings with the same "
+"characters can exist. When we use a symbol, we are defining it universally. "
+"When we use a string, the server pretends that all strings with the same "
+"characters are the same philosophical object, even though they aren't. This "
+"isn't a technical problem, but it can be difficult to think about, and is "
+"cognitively dissonant."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If all this seems a little abstract and ontological, that's because it is."
+msgid ""
+"If all this seems a little abstract and ontological, that's because it is."
 msgstr ""
 
 #. Tag: title
@@ -3363,7 +4604,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Symbols are things that you should use to identify a SynthDef sent to the server."
+msgid ""
+"Symbols are things that you should use to identify a SynthDef sent to the "
+"server."
 msgstr ""
 
 #. Tag: title
@@ -3373,12 +4616,18 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "There are two ways to write out a symbol: between single-quotation marks, and after a back-slash. Symbols given between single-quotation marks can contain any characters but a single-quotation mark. Symbols given after a back-slash can contain any characters but a space. Neither type of symbol name can cross onto a new line."
+msgid ""
+"There are two ways to write out a symbol: between single-quotation marks, "
+"and after a back-slash. Symbols given between single-quotation marks can "
+"contain any characters but a single-quotation mark. Symbols given after a "
+"back-slash can contain any characters but a space. Neither type of symbol "
+"name can cross onto a new line."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The following example contains some valid symbols, and some invalid symbols."
+msgid ""
+"The following example contains some valid symbols, and some invalid symbols."
 msgstr ""
 
 #. Tag: programlisting
@@ -3395,7 +4644,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The following example illustrates the differences between strings and symbols."
+msgid ""
+"The following example illustrates the differences between strings and "
+"symbols."
 msgstr ""
 
 #. Tag: programlisting
@@ -3420,17 +4671,31 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "After you send a SynthDef to the server, you can put it into action. When the interpreter tells the server to play a synthesis definition (which the interpreter holds in a SynthDef Object), the server creates a synth from the definition, and starts generating sound. The interpreter gives us a Synth Object to represent each synth on the server, so that we can control the synth."
+msgid ""
+"After you send a SynthDef to the server, you can put it into action. When "
+"the interpreter tells the server to play a synthesis definition (which the "
+"interpreter holds in a SynthDef Object), the server creates a synth from the"
+" definition, and starts generating sound. The interpreter gives us a Synth "
+"Object to represent each synth on the server, so that we can control the "
+"synth."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This is the syntax used to create a new synth, after its definition has been sent to the server. <funcsynopsis> <funcprototype> <funcdef><function>Synth.new</function></funcdef> <paramdef><parameter>nameOfSynthDef</parameter></paramdef> </funcprototype> </funcsynopsis> The name will be a symbol or a string - whatever you supplied when you ran the <function>SynthDef.new()</function> function."
+msgid ""
+"This is the syntax used to create a new synth, after its definition has been"
+" sent to the server. <funcsynopsis> <funcprototype> "
+"<funcdef><function>Synth.new</function></funcdef> "
+"<paramdef><parameter>nameOfSynthDef</parameter></paramdef> </funcprototype> "
+"</funcsynopsis> The name will be a symbol or a string - whatever you "
+"supplied when you ran the <function>SynthDef.new()</function> function."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Because we're creating a new Synth Object, we should assign it to a variable, for later reference."
+msgid ""
+"Because we're creating a new Synth Object, we should assign it to a "
+"variable, for later reference."
 msgstr ""
 
 #. Tag: programlisting
@@ -3443,7 +4708,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Recall that the interpreter automatically uses the Synth and SynthDef Classes when we send the \"play\" message to a Function. We can actually capture and use the Synth Object created from \"play-ing\" a Function, too. This example is almost the same as the previous one."
+msgid ""
+"Recall that the interpreter automatically uses the Synth and SynthDef "
+"Classes when we send the \"play\" message to a Function. We can actually "
+"capture and use the Synth Object created from \"play-ing\" a Function, too. "
+"This example is almost the same as the previous one."
 msgstr ""
 
 #. Tag: programlisting
@@ -3453,7 +4722,16 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The difference is subtle: after the second example, we have no control over what name the interpreter gives to the SynthDef that it sends to the server, so we can't re-use the SynthDef. On the other hand, because we assign the name <literal>\\sillyTutorialSD</literal> to the SynthDef in the first example, we know what it's called, and we can re-use it. Theoretically, we can make an infinite number of synths from this single definition. Realistically, it's limited by the amount of memory the server can use; for most modern computers, this number is so high that we don't ever need to worry about it."
+msgid ""
+"The difference is subtle: after the second example, we have no control over "
+"what name the interpreter gives to the SynthDef that it sends to the server,"
+" so we can't re-use the SynthDef. On the other hand, because we assign the "
+"name <literal>\\sillyTutorialSD</literal> to the SynthDef in the first "
+"example, we know what it's called, and we can re-use it. Theoretically, we "
+"can make an infinite number of synths from this single definition. "
+"Realistically, it's limited by the amount of memory the server can use; for "
+"most modern computers, this number is so high that we don't ever need to "
+"worry about it."
 msgstr ""
 
 #. Tag: para
@@ -3463,12 +4741,17 @@ msgstr ""
 
 #. Tag: programlisting
 #, no-c-format
-msgid "var mySynth = SynthDef.new( \\playMe, { Out.ar( 0, SinOsc.ar( freq:440, mul:0.2 ) ); } ).play;"
+msgid ""
+"var mySynth = SynthDef.new( \\playMe, { Out.ar( 0, SinOsc.ar( freq:440, "
+"mul:0.2 ) ); } ).play;"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This automatically sends the synthesis information to the server, creates a synth, and plays it. What minor functionality is lost when we use this shortcut?"
+msgid ""
+"This automatically sends the synthesis information to the server, creates a "
+"synth, and plays it. What minor functionality is lost when we use this "
+"shortcut?"
 msgstr ""
 
 #. Tag: title
@@ -3498,12 +4781,17 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Execute the program a few times. The result will be different each time: ten different SinOsc's with ten different frequencies."
+msgid ""
+"Execute the program a few times. The result will be different each time: ten"
+" different SinOsc's with ten different frequencies."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "What if we convert the program to use a SynthDef and multiple Synth's instead? This program will probably cause an error the first time - this is exaplained below."
+msgid ""
+"What if we convert the program to use a SynthDef and multiple Synth's "
+"instead? This program will probably cause an error the first time - this is "
+"exaplained below."
 msgstr ""
 
 #. Tag: programlisting
@@ -3525,12 +4813,24 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Execute the program a few times. The result is still different each time, but it's the <emphasis>same</emphasis> ten SinOsc's, all with the same frequency. This is the nature of a SynthDef: once it's sent to the server, you can create a synth from the same instructions without resending them."
+msgid ""
+"Execute the program a few times. The result is still different each time, "
+"but it's the <emphasis>same</emphasis> ten SinOsc's, all with the same "
+"frequency. This is the nature of a SynthDef: once it's sent to the server, "
+"you can create a synth from the same instructions without resending them."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This program causes an error the first time you run it. Inspect the error messages, and see if you can determine why. It's because the server is processing commands <emphasis>asynchronously</emphasis>: things don't happen right when the interpreter asks, but very shortly thereafter. The result is that the server is asked to make a new synth before it deals with the synth definition. There are ways to get around this, but they're too complex for this section - for now (to simplify this text's examples), just accept that the error may happen the first time you run a Synth."
+msgid ""
+"This program causes an error the first time you run it. Inspect the error "
+"messages, and see if you can determine why. It's because the server is "
+"processing commands <emphasis>asynchronously</emphasis>: things don't happen"
+" right when the interpreter asks, but very shortly thereafter. The result is"
+" that the server is asked to make a new synth before it deals with the synth"
+" definition. There are ways to get around this, but they're too complex for "
+"this section - for now (to simplify this text's examples), just accept that "
+"the error may happen the first time you run a Synth."
 msgstr ""
 
 #. Tag: title
@@ -3540,12 +4840,18 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The way to create change and pseudo-randomness anyway is to incorporate another UGen to do it for you. Remember: when you send synthesis information to the server, that information can't change unless you replace it. This doesn't mean that the output produced by the synth can't change!"
+msgid ""
+"The way to create change and pseudo-randomness anyway is to incorporate "
+"another UGen to do it for you. Remember: when you send synthesis information"
+" to the server, that information can't change unless you replace it. This "
+"doesn't mean that the output produced by the synth can't change!"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The way to do this is with control-rate UGen's. The following example uses a control-rate SinOsc to set the frequency of an audio-rate SinOsc."
+msgid ""
+"The way to do this is with control-rate UGen's. The following example uses a"
+" control-rate SinOsc to set the frequency of an audio-rate SinOsc."
 msgstr ""
 
 #. Tag: programlisting
@@ -3567,12 +4873,18 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "When you use a UGen as a control-rate UGen, you have to think about its arguments quite differently than when using it as an audio-rate UGen. This table shows how the same argument gives a different result for an audio-rate vs. control-rate UGen used for pitch:"
+msgid ""
+"When you use a UGen as a control-rate UGen, you have to think about its "
+"arguments quite differently than when using it as an audio-rate UGen. This "
+"table shows how the same argument gives a different result for an audio-rate"
+" vs. control-rate UGen used for pitch:"
 msgstr ""
 
 #. Tag: title
 #, no-c-format
-msgid "Parameters in Audio-Rate and Control-Rate <classname>SinOsc</classname> UGens"
+msgid ""
+"Parameters in Audio-Rate and Control-Rate <classname>SinOsc</classname> "
+"UGens"
 msgstr ""
 
 #. Tag: entry
@@ -3637,12 +4949,20 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "For an audio-rate SinOsc UGen, you set the frequency and the volume level. For a control-rate UGen, you set the mid-point of oscillation with <literal>add</literal>, the extremes of oscillation which will be <code>add - mul</code> and <code>add + mul</code>, and the speed of oscillation with <literal>freq</literal>. The end result is very different numbers."
+msgid ""
+"For an audio-rate SinOsc UGen, you set the frequency and the volume level. "
+"For a control-rate UGen, you set the mid-point of oscillation with "
+"<literal>add</literal>, the extremes of oscillation which will be <code>add "
+"- mul</code> and <code>add + mul</code>, and the speed of oscillation with "
+"<literal>freq</literal>. The end result is very different numbers."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "There is a handy UGen designed specifically for replacing pseudo-randomness in Functions. The following example restores the \"ten different pitches\" to the example from the last section."
+msgid ""
+"There is a handy UGen designed specifically for replacing pseudo-randomness "
+"in Functions. The following example restores the \"ten different pitches\" "
+"to the example from the last section."
 msgstr ""
 
 #. Tag: programlisting
@@ -3664,7 +4984,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If you run this multiple times, you will again hear ten different pitches. Depending on audio hardware, previous musical experience, and other factors, some people may have difficulty hearing that the pitches are different. Try reducing the number of synths created in the loop."
+msgid ""
+"If you run this multiple times, you will again hear ten different pitches. "
+"Depending on audio hardware, previous musical experience, and other factors,"
+" some people may have difficulty hearing that the pitches are different. Try"
+" reducing the number of synths created in the loop."
 msgstr ""
 
 #. Tag: title
@@ -3674,12 +4998,18 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "There are some siutations where you simply cannot pre-determine all of the material that you're going to use when creating a synth. It might be easier to resort to using a Function rather than a SynthDef, but there is yet another solution - creating an argument in your SynthDef Function."
+msgid ""
+"There are some siutations where you simply cannot pre-determine all of the "
+"material that you're going to use when creating a synth. It might be easier "
+"to resort to using a Function rather than a SynthDef, but there is yet "
+"another solution - creating an argument in your SynthDef Function."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "With only a subtle change to our Function, we can add the possibility of passing arguments on synth creation:"
+msgid ""
+"With only a subtle change to our Function, we can add the possibility of "
+"passing arguments on synth creation:"
 msgstr ""
 
 #. Tag: programlisting
@@ -3695,7 +5025,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "I've decided to use the Rand UGen anyway, so that supplying a frequency is optional. This adds functionality while making the added complexity optional:"
+msgid ""
+"I've decided to use the Rand UGen anyway, so that supplying a frequency is "
+"optional. This adds functionality while making the added complexity "
+"optional:"
 msgstr ""
 
 #. Tag: programlisting
@@ -3717,7 +5050,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If you use the SynthDef in the old way, as in the example, you'll get the expected result: ten Synth's, all with the same frequency. But, if you add a \"rand\" Function call into the loop, you can get ten different frequencies!"
+msgid ""
+"If you use the SynthDef in the old way, as in the example, you'll get the "
+"expected result: ten Synth's, all with the same frequency. But, if you add a"
+" \"rand\" Function call into the loop, you can get ten different "
+"frequencies!"
 msgstr ""
 
 #. Tag: programlisting
@@ -3739,7 +5076,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Notice how we supply arguments: an Array with elements alternating between a string-quoted parameter name, and the value of the argument itself. If we \"parameterized\" all three main fields of the SinOsc, we could supply them like this:"
+msgid ""
+"Notice how we supply arguments: an Array with elements alternating between a"
+" string-quoted parameter name, and the value of the argument itself. If we "
+"\"parameterized\" all three main fields of the SinOsc, we could supply them "
+"like this:"
 msgstr ""
 
 #. Tag: programlisting
@@ -3754,27 +5095,41 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Once you send a synth definition to the server, and make some synths, you've collected a few Synth Objects, and you wonder what to do with them next. Of course, you could listen to them, but you can also change the arguments that you used, and stop it."
+msgid ""
+"Once you send a synth definition to the server, and make some synths, you've"
+" collected a few Synth Objects, and you wonder what to do with them next. Of"
+" course, you could listen to them, but you can also change the arguments "
+"that you used, and stop it."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "To change the arguments used by a synth, send it the \"set\" message, with a list of arguments:"
+msgid ""
+"To change the arguments used by a synth, send it the \"set\" message, with a"
+" list of arguments:"
 msgstr ""
 
 #. Tag: programlisting
 #, no-c-format
-msgid "<replaceable>variableHoldingSynth</replaceable>.set( [<replaceable>\\argument1</replaceable>,<replaceable>value</replaceable>,<replaceable>\\argument2</replaceable>,<replaceable>value</replaceable>,...] );"
+msgid ""
+"<replaceable>variableHoldingSynth</replaceable>.set( "
+"[<replaceable>\\argument1</replaceable>,<replaceable>value</replaceable>,<replaceable>\\argument2</replaceable>,<replaceable>value</replaceable>,...]"
+" );"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This helps to save even more time and memory: rather than destroying and creating synths all the time, you can simply change pre-existing ones."
+msgid ""
+"This helps to save even more time and memory: rather than destroying and "
+"creating synths all the time, you can simply change pre-existing ones."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This modification of the ten-pseudo-random-tones example includes an extra line that lets you change the tones without destroying and re-creating the synths."
+msgid ""
+"This modification of the ten-pseudo-random-tones example includes an extra "
+"line that lets you change the tones without destroying and re-creating the "
+"synths."
 msgstr ""
 
 #. Tag: programlisting
@@ -3804,32 +5159,54 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The reason that you have to run each of those segments separately is two-fold: we need to store the List of Synth's in a single-letter variable because, for this simple demonstration, this is the most efficient way; second, for the asynchronous behaviour of the server that was previously noted as causing an error."
+msgid ""
+"The reason that you have to run each of those segments separately is two-"
+"fold: we need to store the List of Synth's in a single-letter variable "
+"because, for this simple demonstration, this is the most efficient way; "
+"second, for the asynchronous behaviour of the server that was previously "
+"noted as causing an error."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The only aspect of that example that's a little tricky to understand is the \"do\" loop. Remember that when you run a \"do\" loop on a List, the interpreter automatically loops over each of the elements in the List, running the Function that you provide. Each time the Function is run, it receives the current List item, and its index number in the List, in that order. So the Function in this loop simply uses \"set\" to change the \"frequency\" argument."
+msgid ""
+"The only aspect of that example that's a little tricky to understand is the "
+"\"do\" loop. Remember that when you run a \"do\" loop on a List, the "
+"interpreter automatically loops over each of the elements in the List, "
+"running the Function that you provide. Each time the Function is run, it "
+"receives the current List item, and its index number in the List, in that "
+"order. So the Function in this loop simply uses \"set\" to change the "
+"\"frequency\" argument."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Take special note that the arguments in this case are not identical to those given with the \"new\" message. Compare the two forms below:"
+msgid ""
+"Take special note that the arguments in this case are not identical to those"
+" given with the \"new\" message. Compare the two forms below:"
 msgstr ""
 
 #. Tag: programlisting
 #, no-c-format
-msgid "SynthDef.new( <replaceable>\\SynthName</replaceable>, [<replaceable>\\parameter1</replaceable>,<replaceable>value</replaceable>,<replaceable>\\parameter2</replaceable>,<replaceable>value</replaceable>] );"
+msgid ""
+"SynthDef.new( <replaceable>\\SynthName</replaceable>, "
+"[<replaceable>\\parameter1</replaceable>,<replaceable>value</replaceable>,<replaceable>\\parameter2</replaceable>,<replaceable>value</replaceable>]"
+" );"
 msgstr ""
 
 #. Tag: programlisting
 #, no-c-format
-msgid "<replaceable>existingSynth</replaceable>.set( <replaceable>\\parameter1</replaceable>, <replaceable>value</replaceable>, <replaceable>\\parmeter2</replaceable>, <replaceable>value</replaceable> );"
+msgid ""
+"<replaceable>existingSynth</replaceable>.set( "
+"<replaceable>\\parameter1</replaceable>, <replaceable>value</replaceable>, "
+"<replaceable>\\parmeter2</replaceable>, <replaceable>value</replaceable> );"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "To get rid of one synth without stopping all sound, send its corresponding Synth the \"free\" message:"
+msgid ""
+"To get rid of one synth without stopping all sound, send its corresponding "
+"Synth the \"free\" message:"
 msgstr ""
 
 #. Tag: programlisting
@@ -3839,7 +5216,14 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This stops the synth and frees the associated memory - on the server. Your Synth Object still exists in the interpreter, but you can't use it any more. A Synth Object represents a synth on the server; since you got rid of the synth on the server, the Synth Object represents something that doesn't exist. If you attempt to send the \"free\" message again, you'll get an error. For this reason, it's a good idea to get rid of the Synth Object at the same time:"
+msgid ""
+"This stops the synth and frees the associated memory - on the server. Your "
+"Synth Object still exists in the interpreter, but you can't use it any more."
+" A Synth Object represents a synth on the server; since you got rid of the "
+"synth on the server, the Synth Object represents something that doesn't "
+"exist. If you attempt to send the \"free\" message again, you'll get an "
+"error. For this reason, it's a good idea to get rid of the Synth Object at "
+"the same time:"
 msgstr ""
 
 #. Tag: programlisting
@@ -3852,7 +5236,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If you accidentally send \"free\" to an already-freed Synth, the interpreter will cause an error, and program execution will stop. If you accidentally send \"free\" to a variable set to \"nil\", nothing will happen. Proactively avoiding mistakes like this is good programming practice."
+msgid ""
+"If you accidentally send \"free\" to an already-freed Synth, the interpreter"
+" will cause an error, and program execution will stop. If you accidentally "
+"send \"free\" to a variable set to \"nil\", nothing will happen. Proactively"
+" avoiding mistakes like this is good programming practice."
 msgstr ""
 
 #. Tag: title
@@ -3862,7 +5250,19 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<application>SuperCollider</application> busses work just like busses in other audio creation contexts, which work similarly to busses used to transport humans. Busses are used to send audio from one place to another, and in <application>SuperCollider</application> they can also be used to send control-rate signals. Each <application>SuperCollider</application> bus is given an index number, which are integers starting at 0. Audio-rate busses and control-rate busses are independent, and are given an independent set of index numbers. Any number of unique signals can be routed into a bus, and any number of receivers can take signals from a bus - but the signal will be the sum of all the input signals. In other words, if you want to send two different sets of signals, you need two different busses with different index numbers."
+msgid ""
+"<application>SuperCollider</application> busses work just like busses in "
+"other audio creation contexts, which work similarly to busses used to "
+"transport humans. Busses are used to send audio from one place to another, "
+"and in <application>SuperCollider</application> they can also be used to "
+"send control-rate signals. Each <application>SuperCollider</application> bus"
+" is given an index number, which are integers starting at 0. Audio-rate "
+"busses and control-rate busses are independent, and are given an independent"
+" set of index numbers. Any number of unique signals can be routed into a "
+"bus, and any number of receivers can take signals from a bus - but the "
+"signal will be the sum of all the input signals. In other words, if you want"
+" to send two different sets of signals, you need two different busses with "
+"different index numbers."
 msgstr ""
 
 #. Tag: title
@@ -3872,12 +5272,20 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "There are special audio-rate busses reserved automatically by the server. These interact with the audio interface, allowing you to get sound from its inputs, and send sound to its outputs. The lowest audio-rate bus numbers are reserved for audio interface outputs, each channel receiving an independent bus. The bus numbers just above those are reserved for audio interface inputs, each channel receiving an independent bus."
+msgid ""
+"There are special audio-rate busses reserved automatically by the server. "
+"These interact with the audio interface, allowing you to get sound from its "
+"inputs, and send sound to its outputs. The lowest audio-rate bus numbers are"
+" reserved for audio interface outputs, each channel receiving an independent"
+" bus. The bus numbers just above those are reserved for audio interface "
+"inputs, each channel receiving an independent bus."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "For a simple audio interface with two channels each for input and output, the pre-reserved audio-rate bus numbers would be these:"
+msgid ""
+"For a simple audio interface with two channels each for input and output, "
+"the pre-reserved audio-rate bus numbers would be these:"
 msgstr ""
 
 #. Tag: para
@@ -3912,22 +5320,55 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The \"Out\" UGen is discussed in <xref linkend=\"sect-Musicians_Guide-SC-Basic_Programming-SynthDef_and_Synth-Out_UGen\" />. What it does is take a signal and route it to the specified bus number. The \"In\" UGen performs a similar action: take a signal from a bus number, and make it available for use."
+msgid ""
+"The \"Out\" UGen is discussed in <xref linkend=\"sect-Musicians_Guide-SC-"
+"Basic_Programming-SynthDef_and_Synth-Out_UGen\" />. What it does is take a "
+"signal and route it to the specified bus number. The \"In\" UGen performs a "
+"similar action: take a signal from a bus number, and make it available for "
+"use."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This is the syntax to use for the <classname>Out</classname> UGen: <funcsynopsis> <funcprototype> <funcdef><function>Out.ar</function></funcdef> <paramdef><parameter>busNumber</parameter></paramdef> <paramdef><parameter>audioRateUGen</parameter></paramdef> </funcprototype> </funcsynopsis> or <funcsynopsis> <funcprototype> <funcdef><function>Out.kr</function></funcdef> <paramdef><parameter>busNumber</parameter></paramdef> <paramdef><parameter>controlRateUGen</parameter></paramdef> </funcprototype> </funcsynopsis> The UGen enclosed here should not be enclosed in a Function. If the UGen provides multi-channel output, \"Out\" will automatically route the lowest channel to the specified bus number, the next channel to the next highest bus number, and so on. This way, you can achieve stereo output with one \"Out\" UGen."
+msgid ""
+"This is the syntax to use for the <classname>Out</classname> UGen: "
+"<funcsynopsis> <funcprototype> "
+"<funcdef><function>Out.ar</function></funcdef> "
+"<paramdef><parameter>busNumber</parameter></paramdef> "
+"<paramdef><parameter>audioRateUGen</parameter></paramdef> </funcprototype> "
+"</funcsynopsis> or <funcsynopsis> <funcprototype> "
+"<funcdef><function>Out.kr</function></funcdef> "
+"<paramdef><parameter>busNumber</parameter></paramdef> "
+"<paramdef><parameter>controlRateUGen</parameter></paramdef> </funcprototype>"
+" </funcsynopsis> The UGen enclosed here should not be enclosed in a "
+"Function. If the UGen provides multi-channel output, \"Out\" will "
+"automatically route the lowest channel to the specified bus number, the next"
+" channel to the next highest bus number, and so on. This way, you can "
+"achieve stereo output with one \"Out\" UGen."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This is the syntax to use for the <classname>In</classname> UGen: <funcsynopsis> <funcprototype> <funcdef><function>In.ar</function></funcdef> <paramdef><parameter>busNumber</parameter></paramdef> <paramdef><parameter>numberOfChannels</parameter></paramdef> </funcprototype> </funcsynopsis> or <funcsynopsis> <funcprototype> <funcdef><function>In.kr</function></funcdef> <paramdef><parameter>busNumber</parameter></paramdef> <paramdef><parameter>numberOfChannels</parameter></paramdef> </funcprototype> </funcsynopsis> Whereas \"Out\" automatically outputs the right number of channels based on how many you provide, \"In\" requires that you specify how many channels you want it to fetch for you."
+msgid ""
+"This is the syntax to use for the <classname>In</classname> UGen: "
+"<funcsynopsis> <funcprototype> <funcdef><function>In.ar</function></funcdef>"
+" <paramdef><parameter>busNumber</parameter></paramdef> "
+"<paramdef><parameter>numberOfChannels</parameter></paramdef> "
+"</funcprototype> </funcsynopsis> or <funcsynopsis> <funcprototype> "
+"<funcdef><function>In.kr</function></funcdef> "
+"<paramdef><parameter>busNumber</parameter></paramdef> "
+"<paramdef><parameter>numberOfChannels</parameter></paramdef> "
+"</funcprototype> </funcsynopsis> Whereas \"Out\" automatically outputs the "
+"right number of channels based on how many you provide, \"In\" requires that"
+" you specify how many channels you want it to fetch for you."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "When created with this form, both of these UGens automatically connect to the default server, stored in the single-letter \"s\" variable by the interpreter."
+msgid ""
+"When created with this form, both of these UGens automatically connect to "
+"the default server, stored in the single-letter \"s\" variable by the "
+"interpreter."
 msgstr ""
 
 #. Tag: title
@@ -3937,17 +5378,45 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "As SynthDef and Synth represent things stored on the server, the interpreter provides us with an instantiable \"Bus\" Class that represents the server's busses. In many programs that you write, you won't need to use a Bus Object - particularly when you're doing simple input and output with the automatically-reserved bus numbers. But, like the SynthDef and Synth Classes make it easier to deal with synthdefs and synths on the server (which are very difficult to deal with directly), the Bus Class makes it easier to deal with busses on the server, and provides some extra functionality to boot!"
+msgid ""
+"As SynthDef and Synth represent things stored on the server, the interpreter"
+" provides us with an instantiable \"Bus\" Class that represents the server's"
+" busses. In many programs that you write, you won't need to use a Bus Object"
+" - particularly when you're doing simple input and output with the "
+"automatically-reserved bus numbers. But, like the SynthDef and Synth Classes"
+" make it easier to deal with synthdefs and synths on the server (which are "
+"very difficult to deal with directly), the Bus Class makes it easier to deal"
+" with busses on the server, and provides some extra functionality to boot!"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The primary advantage of using Bus Objects is that you don't have to keep track of bus numbers, whether they're being used, and how mnany channels are being routed. For simple input and output of audio-rate signals, you're better off simply remembering the bus numbers"
+msgid ""
+"The primary advantage of using Bus Objects is that you don't have to keep "
+"track of bus numbers, whether they're being used, and how mnany channels are"
+" being routed. For simple input and output of audio-rate signals, you're "
+"better off simply remembering the bus numbers"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The <literal>new</literal> message creates a new Bus object. This is the syntax: <funcsynopsis> <funcprototype> <funcdef><function>Bus.audio</function></funcdef> <paramdef><parameter>serverName</parameter></paramdef> <paramdef><parameter>numberOfChannels</parameter></paramdef> </funcprototype> </funcsynopsis> or <funcsynopsis> <funcprototype> <funcdef><function>Bus.control</function></funcdef> <paramdef><parameter>serverName</parameter></paramdef> <paramdef><parameter>numberOfChannels</parameter></paramdef> </funcprototype> </funcsynopsis> The interpreter takes \"numberOfChannels\" busses on the \"serverName\" server, and groups them together for multi-channel use in one Bus Object, which it returns to you. The \"numberOfChannels\" argument is optional; if you leave it out, the Bus Object will have only one bus, for single-channel signals. You should always assign the object to a variable, or else you have no way to use the bus later:"
+msgid ""
+"The <literal>new</literal> message creates a new Bus object. This is the "
+"syntax: <funcsynopsis> <funcprototype> "
+"<funcdef><function>Bus.audio</function></funcdef> "
+"<paramdef><parameter>serverName</parameter></paramdef> "
+"<paramdef><parameter>numberOfChannels</parameter></paramdef> "
+"</funcprototype> </funcsynopsis> or <funcsynopsis> <funcprototype> "
+"<funcdef><function>Bus.control</function></funcdef> "
+"<paramdef><parameter>serverName</parameter></paramdef> "
+"<paramdef><parameter>numberOfChannels</parameter></paramdef> "
+"</funcprototype> </funcsynopsis> The interpreter takes \"numberOfChannels\" "
+"busses on the \"serverName\" server, and groups them together for multi-"
+"channel use in one Bus Object, which it returns to you. The "
+"\"numberOfChannels\" argument is optional; if you leave it out, the Bus "
+"Object will have only one bus, for single-channel signals. You should always"
+" assign the object to a variable, or else you have no way to use the bus "
+"later:"
 msgstr ""
 
 #. Tag: programlisting
@@ -3957,7 +5426,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The interpreter also keeps track of which bus numbers are used for which Bus Objects, so the signals will never get confused. Of course, you can still route signals through those bus numbers without using the Bus Object, but the Bus Class helps us to keep things straight."
+msgid ""
+"The interpreter also keeps track of which bus numbers are used for which Bus"
+" Objects, so the signals will never get confused. Of course, you can still "
+"route signals through those bus numbers without using the Bus Object, but "
+"the Bus Class helps us to keep things straight."
 msgstr ""
 
 #. Tag: para
@@ -4037,12 +5510,16 @@ msgstr ""
 
 #. Tag: entry
 #, no-c-format
-msgid "The name of the server used by the Bus object. The default server is <literal>localhost</literal>"
+msgid ""
+"The name of the server used by the Bus object. The default server is "
+"<literal>localhost</literal>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "When you are done with a Bus, you can release the channels for use by other Bus Objects:"
+msgid ""
+"When you are done with a Bus, you can release the channels for use by other "
+"Bus Objects:"
 msgstr ""
 
 #. Tag: programlisting
@@ -4055,7 +5532,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Like when sending the \"free\" message to a Synth Object, you should set the variable name of a \"free'd\" Bus to \"nil\". This will prevent you from accidentally sending audio there after the Bus is released."
+msgid ""
+"Like when sending the \"free\" message to a Synth Object, you should set the"
+" variable name of a \"free'd\" Bus to \"nil\". This will prevent you from "
+"accidentally sending audio there after the Bus is released."
 msgstr ""
 
 #. Tag: title
@@ -4065,7 +5545,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The best way to understand how and when to use a bus is to see them in action."
+msgid ""
+"The best way to understand how and when to use a bus is to see them in "
+"action."
 msgstr ""
 
 #. Tag: programlisting
@@ -4109,37 +5591,68 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This example contains three stages: prepare the server, create the synths, destroy the synths. These three stages will become familiar as you program in <application>SuperCollider</application>, whether or not you use busses frequently. The example is fairly complicated, so the code is explained here:"
+msgid ""
+"This example contains three stages: prepare the server, create the synths, "
+"destroy the synths. These three stages will become familiar as you program "
+"in <application>SuperCollider</application>, whether or not you use busses "
+"frequently. The example is fairly complicated, so the code is explained "
+"here:"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>busAudioSynth</function> Function: Accepts two arguments, and creates an audio-rate <classname>SinOsc</classname>, routed to the left output channel. The frequency is determined by a control-rate bus given as an argument, and optionally with an offset that can be supplied as an argument."
+msgid ""
+"<function>busAudioSynth</function> Function: Accepts two arguments, and "
+"creates an audio-rate <classname>SinOsc</classname>, routed to the left "
+"output channel. The frequency is determined by a control-rate bus given as "
+"an argument, and optionally with an offset that can be supplied as an "
+"argument."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<function>busControlSynth</function> Function: Accepts two arguments, and creates a control-rate <classname>SinOsc</classname>, routed to the bus given as an argument. Can also be given a frequency; the value produced by the synth is intended to be used to control pitch. The centre pitch of the oscillation is <literal>freq</literal>, and the range of oscillation is one-twentieth the size of <literal>freq</literal> (one-fourtieth both higher and lower than <literal>freq</literal>)."
+msgid ""
+"<function>busControlSynth</function> Function: Accepts two arguments, and "
+"creates a control-rate <classname>SinOsc</classname>, routed to the bus "
+"given as an argument. Can also be given a frequency; the value produced by "
+"the synth is intended to be used to control pitch. The centre pitch of the "
+"oscillation is <literal>freq</literal>, and the range of oscillation is one-"
+"twentieth the size of <literal>freq</literal> (one-fourtieth both higher and"
+" lower than <literal>freq</literal>)."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "SynthDef: These commands are straight-forward. They send the synthesis definitions to the server."
+msgid ""
+"SynthDef: These commands are straight-forward. They send the synthesis "
+"definitions to the server."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<code>b = Bus.control( s );</code> : This should also be straight-forward. A single-channel control bus is created, and assigned to the pre-declared variable <literal>b</literal>."
+msgid ""
+"<code>b = Bus.control( s );</code> : This should also be straight-forward. A"
+" single-channel control bus is created, and assigned to the pre-declared "
+"variable <literal>b</literal>."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "For synth creation, <literal>x</literal> is assigned a control-rate synth, while <literal>y</literal> and <literal>z</literal> are assigned audio-rate synths. Each synth is given the variable <literal>b</literal>, which refers to our control-rate bus. <literal>z</literal> is also given an argument for <literal>\\freqOffset</literal>, which makes its frequency 200&nbsp;Hz higher than the synth assigned to <literal>y</literal>."
+msgid ""
+"For synth creation, <literal>x</literal> is assigned a control-rate synth, "
+"while <literal>y</literal> and <literal>z</literal> are assigned audio-rate "
+"synths. Each synth is given the variable <literal>b</literal>, which refers "
+"to our control-rate bus. <literal>z</literal> is also given an argument for "
+"<literal>\\freqOffset</literal>, which makes its frequency 200&nbsp;Hz "
+"higher than the synth assigned to <literal>y</literal>."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Don't worry about the <function>after</function> message for now. It's explained in <xref linkend=\"sect-Musicians_Guide-C-Basic_Programming-Ordering_and_Other_Features-Ordering\" />."
+msgid ""
+"Don't worry about the <function>after</function> message for now. It's "
+"explained in <xref linkend=\"sect-Musicians_Guide-C-Basic_Programming-"
+"Ordering_and_Other_Features-Ordering\" />."
 msgstr ""
 
 #. Tag: title
@@ -4149,7 +5662,14 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Since this is just an example, and not an actual program, the program uses four automatically-declared global variables: <literal>b</literal>, <literal>x</literal>, <literal>y</literal>, and <literal>z</literal>. Because these variables are shared with everything, it's especially important to set them to <literal>nil</literal> when you're done. If this were going to be written into a real program, it would be a good idea to change the variables to something which can't be accessed by other programs."
+msgid ""
+"Since this is just an example, and not an actual program, the program uses "
+"four automatically-declared global variables: <literal>b</literal>, "
+"<literal>x</literal>, <literal>y</literal>, and <literal>z</literal>. "
+"Because these variables are shared with everything, it's especially "
+"important to set them to <literal>nil</literal> when you're done. If this "
+"were going to be written into a real program, it would be a good idea to "
+"change the variables to something which can't be accessed by other programs."
 msgstr ""
 
 #. Tag: title
@@ -4159,7 +5679,12 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The control-rate bus in this example might seem trivial and pointless to you, especially since the use of a UGen to control frequency has already been illustrated in other examples. For this particular program, a control-rate UGen would probably have been a better choice, but remember that this is just an example."
+msgid ""
+"The control-rate bus in this example might seem trivial and pointless to "
+"you, especially since the use of a UGen to control frequency has already "
+"been illustrated in other examples. For this particular program, a control-"
+"rate UGen would probably have been a better choice, but remember that this "
+"is just an example."
 msgstr ""
 
 #. Tag: para
@@ -4169,7 +5694,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The signal can be changed without sending the <literal>set</literal> message to the audio-rate UGen, simply by changing the input to the bus."
+msgid ""
+"The signal can be changed without sending the <literal>set</literal> message"
+" to the audio-rate UGen, simply by changing the input to the bus."
 msgstr ""
 
 #. Tag: para
@@ -4179,17 +5706,28 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The signal in the bus can be received by more than one UGen, as it is in this example. One thousand audio-rate UGen's powered by 25 control-rate UGen's is a much better solution than if each audio-rate UGen were powered by its own control-rate UGen."
+msgid ""
+"The signal in the bus can be received by more than one UGen, as it is in "
+"this example. One thousand audio-rate UGen's powered by 25 control-rate "
+"UGen's is a much better solution than if each audio-rate UGen were powered "
+"by its own control-rate UGen."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Busses can be accessed quickly and efficiently from any place in the program that has access to the variable holding the Bus. It's easier and safer (less error-prone) than making all of your UGen's equally accessible."
+msgid ""
+"Busses can be accessed quickly and efficiently from any place in the program"
+" that has access to the variable holding the Bus. It's easier and safer "
+"(less error-prone) than making all of your UGen's equally accessible."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Some of these advantages could be seen as disadvantages. Whether you should use a Bus or a UGen depends on the particular application. The simpler solution is usually the better one, as long as you remember to avoid repetition!"
+msgid ""
+"Some of these advantages could be seen as disadvantages. Whether you should "
+"use a Bus or a UGen depends on the particular application. The simpler "
+"solution is usually the better one, as long as you remember to avoid "
+"repetition!"
 msgstr ""
 
 #. Tag: title
@@ -4199,7 +5737,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Control-rate Bus'ses are a great way to enhance the flexibility of your program. The best part is that, in order to use a control-rate Bus, the UGen doesn't even need to have been written to accomodate it."
+msgid ""
+"Control-rate Bus'ses are a great way to enhance the flexibility of your "
+"program. The best part is that, in order to use a control-rate Bus, the UGen"
+" doesn't even need to have been written to accomodate it."
 msgstr ""
 
 #. Tag: programlisting
@@ -4214,7 +5755,14 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Also, control-rate Bus'ses don't need to be constantly changing. Unlike an audio-rate Bus, a control-rate Bus will hold the last-inputted value until another value is provided. You can the value of a control-rate Bus with the <function>set</function> message (and a single argument, which is the value). You can also get the current value, whether created by <function>set</function> or a UGen, by using the <function>get</function> message, and sending a Function with one argument."
+msgid ""
+"Also, control-rate Bus'ses don't need to be constantly changing. Unlike an "
+"audio-rate Bus, a control-rate Bus will hold the last-inputted value until "
+"another value is provided. You can the value of a control-rate Bus with the "
+"<function>set</function> message (and a single argument, which is the "
+"value). You can also get the current value, whether created by "
+"<function>set</function> or a UGen, by using the <function>get</function> "
+"message, and sending a Function with one argument."
 msgstr ""
 
 #. Tag: programlisting
@@ -4231,12 +5779,28 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "When running this example, you'll notice that the <literal>12</literal> doesn't get posted until <emphasis>after</emphasis> the program finishes with <literal>nil</literal>. This is because of the <firstterm>latency</firstterm> between when the interpreter asks the server to do something, and when the server does it. The amount of time it takes for the server to complete a command is usually very small, but as you can see, it can make an important difference to your program. This latency is also the reason that you can't call <code>SynthDef.new( <replaceable>...</replaceable> )</code> and <code>Synth.new( <replaceable>...</replaceable> )</code> at the exact same time."
+msgid ""
+"When running this example, you'll notice that the <literal>12</literal> "
+"doesn't get posted until <emphasis>after</emphasis> the program finishes "
+"with <literal>nil</literal>. This is because of the "
+"<firstterm>latency</firstterm> between when the interpreter asks the server "
+"to do something, and when the server does it. The amount of time it takes "
+"for the server to complete a command is usually very small, but as you can "
+"see, it can make an important difference to your program. This latency is "
+"also the reason that you can't call <code>SynthDef.new( "
+"<replaceable>...</replaceable> )</code> and <code>Synth.new( "
+"<replaceable>...</replaceable> )</code> at the exact same time."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This latency is also the reason that we have to provide a single-argument function as an argument to the <function>get</function> function. Since the function won't immediately be able to get the value of the bus from the server, we can't expect the value to be returned by the function. Instead, when \"get\" gets the value of the bus from the server, it runs the function that you gave it."
+msgid ""
+"This latency is also the reason that we have to provide a single-argument "
+"function as an argument to the <function>get</function> function. Since the "
+"function won't immediately be able to get the value of the bus from the "
+"server, we can't expect the value to be returned by the function. Instead, "
+"when \"get\" gets the value of the bus from the server, it runs the function"
+" that you gave it."
 msgstr ""
 
 #. Tag: title
@@ -4334,7 +5898,18 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "I'm not going to explain this example as extensively as the previous one. It's definitely the most complex example so far. It's better if you figure out what the parts do by playing with them yourself. The bus works by routing audio from the <literal>\\tutorialDecayPink</literal> and <literal>\\tutorialDecaySine</literal> synths into the <literal>\\tutorialReverb</literal> synth. The first two synths can be controlled to put all, none, or some of their signal into the bus (so that it goes through the <literal>\\tutorialReverb</literal> synth), or straight out the audio interface (bypassing the <literal>\\tutorialReverb</literal> synth). Notice that the <emphasis>same</emphasis> effects processor is operating on two different input sources."
+msgid ""
+"I'm not going to explain this example as extensively as the previous one. "
+"It's definitely the most complex example so far. It's better if you figure "
+"out what the parts do by playing with them yourself. The bus works by "
+"routing audio from the <literal>\\tutorialDecayPink</literal> and "
+"<literal>\\tutorialDecaySine</literal> synths into the "
+"<literal>\\tutorialReverb</literal> synth. The first two synths can be "
+"controlled to put all, none, or some of their signal into the bus (so that "
+"it goes through the <literal>\\tutorialReverb</literal> synth), or straight "
+"out the audio interface (bypassing the <literal>\\tutorialReverb</literal> "
+"synth). Notice that the <emphasis>same</emphasis> effects processor is "
+"operating on two different input sources."
 msgstr ""
 
 #. Tag: title
@@ -4344,7 +5919,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This section discusses the important topic of creating and enforcing an \"order\" on the server. Because this is done with Functions (or methods) from the Synth Class, other useful Functions from the Class are discussed here."
+msgid ""
+"This section discusses the important topic of creating and enforcing an "
+"\"order\" on the server. Because this is done with Functions (or methods) "
+"from the Synth Class, other useful Functions from the Class are discussed "
+"here."
 msgstr ""
 
 #. Tag: title
@@ -4354,7 +5933,17 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Ordering is instructing the server to calculate in a particular order. The audio synthesized by the server takes the same form as any other digital audio: a series of samples are played at a particular speed (called sample rate), each with a set number of bits per sample (called sample format). For each sample, the server calculates the signal at that point in a pre-determined order. Each sample is calculated from scratch, so if a particular UGen depends on the output of another UGen, the other one had better be calculated first. For more information on samples, sample rate, and sample format, see <xref linkend=\"sect-Musicians_Guide-Sample_Rate_and_Sample_Format\" />."
+msgid ""
+"Ordering is instructing the server to calculate in a particular order. The "
+"audio synthesized by the server takes the same form as any other digital "
+"audio: a series of samples are played at a particular speed (called sample "
+"rate), each with a set number of bits per sample (called sample format). For"
+" each sample, the server calculates the signal at that point in a pre-"
+"determined order. Each sample is calculated from scratch, so if a particular"
+" UGen depends on the output of another UGen, the other one had better be "
+"calculated first. For more information on samples, sample rate, and sample "
+"format, see <xref linkend=\"sect-Musicians_Guide-"
+"Sample_Rate_and_Sample_Format\" />."
 msgstr ""
 
 #. Tag: para
@@ -4364,27 +5953,64 @@ msgstr ""
 
 #. Tag: programlisting
 #, no-c-format
-msgid "{ SinOsc.ar( freq:SinOsc.kr( freq:1, add:500, mul:10 ), mul:0.2 ); }.play;"
+msgid ""
+"{ SinOsc.ar( freq:SinOsc.kr( freq:1, add:500, mul:10 ), mul:0.2 ); }.play;"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "What happens if the server calculates the audio-rate UGen first? It wouldn't have a frequency. This is another one of those things which the interpreter takes care of automatically when we run Function rather than create a Synth. Since it's often preferable to use a synth instead of a Function, we need some way to control the order of execution. The interpreter and the server are only so good at guessing what we need, after all."
+msgid ""
+"What happens if the server calculates the audio-rate UGen first? It wouldn't"
+" have a frequency. This is another one of those things which the interpreter"
+" takes care of automatically when we run Function rather than create a "
+"Synth. Since it's often preferable to use a synth instead of a Function, we "
+"need some way to control the order of execution. The interpreter and the "
+"server are only so good at guessing what we need, after all."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "There are two methods in the <classname>Synth</classname> Class that we can use to inform the server about our desired order of execution: \"before\" and \"after\". They represent a small extension to the \"new\" method, and they work like this: <funcsynopsis> <funcprototype> <funcdef><function>Synth.before</function></funcdef> <paramdef><parameter>variableHoldingSynth</parameter></paramdef> <paramdef><parameter>nameOfSynthDef</parameter></paramdef> <paramdef><parameter>ListOfArguments</parameter></paramdef> </funcprototype> </funcsynopsis> and <funcsynopsis> <funcprototype> <funcdef><function>Synth.after</function></funcdef> <paramdef><parameter>variableHoldingSynth</parameter></paramdef> <paramdef><parameter>nameOfSynthDef</parameter></paramdef> <paramdef><parameter>ListOfArguments</parameter></paramdef> </funcprototype> </funcsynopsis> And it works just as it looks, too: the server creates a new synth, adds it before or after the synth represented by \"variableHold
 ingSynth\" (depending on which Function you use), and uses \"nameOfSynthDef\" and \"ListOfArguments\" just as in the \"add\" method. This example, from <xref linkend=\"sect-Musicians_Guide-SC-Basic_Programming-Busses-Control_Rate_Bus_Example\" />, uses the \"after\" Function to ensure that the control-rate synth is calculated before the audio-rate synths that depend on it."
+msgid ""
+"There are two methods in the <classname>Synth</classname> Class that we can "
+"use to inform the server about our desired order of execution: \"before\" "
+"and \"after\". They represent a small extension to the \"new\" method, and "
+"they work like this: <funcsynopsis> <funcprototype> "
+"<funcdef><function>Synth.before</function></funcdef> "
+"<paramdef><parameter>variableHoldingSynth</parameter></paramdef> "
+"<paramdef><parameter>nameOfSynthDef</parameter></paramdef> "
+"<paramdef><parameter>ListOfArguments</parameter></paramdef> </funcprototype>"
+" </funcsynopsis> and <funcsynopsis> <funcprototype> "
+"<funcdef><function>Synth.after</function></funcdef> "
+"<paramdef><parameter>variableHoldingSynth</parameter></paramdef> "
+"<paramdef><parameter>nameOfSynthDef</parameter></paramdef> "
+"<paramdef><parameter>ListOfArguments</parameter></paramdef> </funcprototype>"
+" </funcsynopsis> And it works just as it looks, too: the server creates a "
+"new synth, adds it before or after the synth represented by "
+"\"variableHoldingSynth\" (depending on which Function you use), and uses "
+"\"nameOfSynthDef\" and \"ListOfArguments\" just as in the \"add\" method. "
+"This example, from <xref linkend=\"sect-Musicians_Guide-SC-"
+"Basic_Programming-Busses-Control_Rate_Bus_Example\" />, uses the \"after\" "
+"Function to ensure that the control-rate synth is calculated before the "
+"audio-rate synths that depend on it."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "In this case, the control-rate synth is created before the audio-rate synths - probably the easier way to think about it. Even so, it's possible to add them in the opposite order with a little extra thought."
+msgid ""
+"In this case, the control-rate synth is created before the audio-rate synths"
+" - probably the easier way to think about it. Even so, it's possible to add "
+"them in the opposite order with a little extra thought."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The other example from <xref linkend=\"sect-Musicians_Guide-SC-Basic_Programming-Busses\" /> use the \"before\" Function to ensure that the \"pink noise\" and \"sine wave\" UGen's were calculated before the \"reverberation\" UGen. Especially since these are all audio-rate UGen's, the server would not reasonably know which to calculate first, so you need to let it know."
+msgid ""
+"The other example from <xref linkend=\"sect-Musicians_Guide-SC-"
+"Basic_Programming-Busses\" /> use the \"before\" Function to ensure that the"
+" \"pink noise\" and \"sine wave\" UGen's were calculated before the "
+"\"reverberation\" UGen. Especially since these are all audio-rate UGen's, "
+"the server would not reasonably know which to calculate first, so you need "
+"to let it know."
 msgstr ""
 
 #. Tag: title
@@ -4394,17 +6020,27 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<application>SuperCollider</application> offers equally easy-to-use methods to change the order of execution."
+msgid ""
+"<application>SuperCollider</application> offers equally easy-to-use methods "
+"to change the order of execution."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "To move a synth's execution after another: <funcsynopsis> <funcprototype> <funcdef><replaceable>variableHoldingSynth</replaceable><function>moveAfter</function></funcdef> <paramdef><parameter>variableHoldingAnotherSynth</parameter></paramdef> </funcprototype> </funcsynopsis>"
+msgid ""
+"To move a synth's execution after another: <funcsynopsis> <funcprototype> "
+"<funcdef><replaceable>variableHoldingSynth</replaceable><function>moveAfter</function></funcdef>"
+" <paramdef><parameter>variableHoldingAnotherSynth</parameter></paramdef> "
+"</funcprototype> </funcsynopsis>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "To move a synth's execution before another: <funcsynopsis> <funcprototype> <funcdef><replaceable>variableHoldingSynth</replaceable><function>moveBefore</function></funcdef> <paramdef><parameter>variableHoldingAnotherSynth</parameter></paramdef> </funcprototype> </funcsynopsis>"
+msgid ""
+"To move a synth's execution before another: <funcsynopsis> <funcprototype> "
+"<funcdef><replaceable>variableHoldingSynth</replaceable><function>moveBefore</function></funcdef>"
+" <paramdef><parameter>variableHoldingAnotherSynth</parameter></paramdef> "
+"</funcprototype> </funcsynopsis>"
 msgstr ""
 
 #. Tag: title
@@ -4414,7 +6050,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The server allows you to replace a running synth with a newly-created one, maintaining all of the ordering relationships."
+msgid ""
+"The server allows you to replace a running synth with a newly-created one, "
+"maintaining all of the ordering relationships."
 msgstr ""
 
 #. Tag: para
@@ -4424,12 +6062,18 @@ msgstr ""
 
 #. Tag: programlisting
 #, no-c-format
-msgid "variableHoldingNewSynth = Synth.replace( variableHoldingSynthToReplace, nameOfSynthDef, ListOfArguments );"
+msgid ""
+"variableHoldingNewSynth = Synth.replace( variableHoldingSynthToReplace, "
+"nameOfSynthDef, ListOfArguments );"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The \"variableHoldingNewSynth\" will often be the same as the \"variableHoldingSynthToReplace,\" but not always. When you use this Function, the synth being replaced is freed from the server (equivalent to running \"free\"), so that variable should always be assigned something."
+msgid ""
+"The \"variableHoldingNewSynth\" will often be the same as the "
+"\"variableHoldingSynthToReplace,\" but not always. When you use this "
+"Function, the synth being replaced is freed from the server (equivalent to "
+"running \"free\"), so that variable should always be assigned something."
 msgstr ""
 
 #. Tag: title
@@ -4439,7 +6083,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The server allows you to temporarily pause and later re-start a synth, without freeing and re-creating it."
+msgid ""
+"The server allows you to temporarily pause and later re-start a synth, "
+"without freeing and re-creating it."
 msgstr ""
 
 #. Tag: para
@@ -4469,7 +6115,13 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The practice of scheduling allows you to making things happen in a pre-determined amount of time. Scheduling is very different from ordering: ordering is a primarily technical consideration to ensure that the server synthesizes the sound in the right order; scheduling is a primarily musical consideration that allows you to control the perceived time that things happen."
+msgid ""
+"The practice of scheduling allows you to making things happen in a pre-"
+"determined amount of time. Scheduling is very different from ordering: "
+"ordering is a primarily technical consideration to ensure that the server "
+"synthesizes the sound in the right order; scheduling is a primarily musical "
+"consideration that allows you to control the perceived time that things "
+"happen."
 msgstr ""
 
 #. Tag: title
@@ -4479,27 +6131,41 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "SuperCollider's clocks have two main functions: they know what time it is, and they know what time things are supposed to happen."
+msgid ""
+"SuperCollider's clocks have two main functions: they know what time it is, "
+"and they know what time things are supposed to happen."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "There are three types of clocks, which each do slightly different things:"
+msgid ""
+"There are three types of clocks, which each do slightly different things:"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "TempoClock: These clocks are aware of metre (time signature) changes, and have an adjustable tempo. They are to be used for scheduling musical events, and they run with a high priority."
+msgid ""
+"TempoClock: These clocks are aware of metre (time signature) changes, and "
+"have an adjustable tempo. They are to be used for scheduling musical events,"
+" and they run with a high priority."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "SystemClock: This clock always runs in seconds. It can be used to schedule musical events, since it runs with a high priority. There is only one SystemClock."
+msgid ""
+"SystemClock: This clock always runs in seconds. It can be used to schedule "
+"musical events, since it runs with a high priority. There is only one "
+"SystemClock."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "AppClock: These clocks always run in seconds. They are to be used for graphic events and other non-musical things not discussed in this guide. These clocks do not run with a high priority, so they can be temporarily \"side-lined\" by a TempoClock or the SystemClock, if one of those has something to do urgently."
+msgid ""
+"AppClock: These clocks always run in seconds. They are to be used for "
+"graphic events and other non-musical things not discussed in this guide. "
+"These clocks do not run with a high priority, so they can be temporarily "
+"\"side-lined\" by a TempoClock or the SystemClock, if one of those has "
+"something to do urgently."
 msgstr ""
 
 #. Tag: title
@@ -4509,17 +6175,28 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The <application>SuperCollider</application> interpreter provides two default clocks, and one default pseudo-clock."
+msgid ""
+"The <application>SuperCollider</application> interpreter provides two "
+"default clocks, and one default pseudo-clock."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The <classname>SystemClock</classname> always operates in seconds, and it can be used to schedule musical events, but usually this isn't necessary."
+msgid ""
+"The <classname>SystemClock</classname> always operates in seconds, and it "
+"can be used to schedule musical events, but usually this isn't necessary."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The <code>TempoClock.default</code> runs at 60 beats-per-minute by default (equal to one beat per second). Since it's accessible from anywhere within a program, any tempo changes will have an effect on the scheduling of the entire program - so be careful! If you don't want something to be effected by tempo changes, you can create a new TempoClock just for that part of the program. If you will be using this clock frequently, you can assign it to a variable like this:"
+msgid ""
+"The <code>TempoClock.default</code> runs at 60 beats-per-minute by default "
+"(equal to one beat per second). Since it's accessible from anywhere within a"
+" program, any tempo changes will have an effect on the scheduling of the "
+"entire program - so be careful! If you don't want something to be effected "
+"by tempo changes, you can create a new TempoClock just for that part of the "
+"program. If you will be using this clock frequently, you can assign it to a "
+"variable like this:"
 msgstr ""
 
 #. Tag: programlisting
@@ -4529,7 +6206,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The <code>thisThread.clock</code> is not really a clock in itself, but refers to the clock which is responsible for scheduling the part of the program where the command is written. It can be a little bit tricky working with this clock, since it may be either the SystemClock or a TempoClock."
+msgid ""
+"The <code>thisThread.clock</code> is not really a clock in itself, but "
+"refers to the clock which is responsible for scheduling the part of the "
+"program where the command is written. It can be a little bit tricky working "
+"with this clock, since it may be either the SystemClock or a TempoClock."
 msgstr ""
 
 #. Tag: title
@@ -4539,7 +6220,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Using the \"beats\" method on a clock will return that clock's current time. Try running each of the following:"
+msgid ""
+"Using the \"beats\" method on a clock will return that clock's current time."
+" Try running each of the following:"
 msgstr ""
 
 #. Tag: programlisting
@@ -4553,7 +6236,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This can be useful for scheduling events in an absolute way, or for a number of other things."
+msgid ""
+"This can be useful for scheduling events in an absolute way, or for a number"
+" of other things."
 msgstr ""
 
 #. Tag: title
@@ -4563,12 +6248,24 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The standard way to schedule things is in a certain number of beats from now. If you're scheduling on a SystemClock, one beat is equal to one second. If you're scheduling on a TempoClock, one beat is equal to whatever the current setting is."
+msgid ""
+"The standard way to schedule things is in a certain number of beats from "
+"now. If you're scheduling on a SystemClock, one beat is equal to one second."
+" If you're scheduling on a TempoClock, one beat is equal to whatever the "
+"current setting is."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "To schedule things on a clock, use the \"sched\" Function: <funcsynopsis> <funcprototype> <funcdef><replaceable>nameOfClock</replaceable><function>sched</function></funcdef> <paramdef><parameter>beatsFromNow</parameter></paramdef> <paramdef><parameter>FunctionToExecute</parameter></paramdef> </funcprototype> </funcsynopsis> The interpreter will let you schedule just about anything, but there's no point in scheduling something other than a Function: scheduling a five won't have any effect - try it!"
+msgid ""
+"To schedule things on a clock, use the \"sched\" Function: <funcsynopsis> "
+"<funcprototype> "
+"<funcdef><replaceable>nameOfClock</replaceable><function>sched</function></funcdef>"
+" <paramdef><parameter>beatsFromNow</parameter></paramdef> "
+"<paramdef><parameter>FunctionToExecute</parameter></paramdef> "
+"</funcprototype> </funcsynopsis> The interpreter will let you schedule just "
+"about anything, but there's no point in scheduling something other than a "
+"Function: scheduling a five won't have any effect - try it!"
 msgstr ""
 
 #. Tag: programlisting
@@ -4578,7 +6275,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "It looks like nothing happens. The <literal>5</literal> does happen, but... well... it doesn't do anything. Scheduling a Function <emphasis>will</emphasis> do something:"
+msgid ""
+"It looks like nothing happens. The <literal>5</literal> does happen, but... "
+"well... it doesn't do anything. Scheduling a Function "
+"<emphasis>will</emphasis> do something:"
 msgstr ""
 
 #. Tag: programlisting
@@ -4593,12 +6293,16 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The interpreter prints out \"SystemClock\" first. This is to let you know that it did the scheduling as requested."
+msgid ""
+"The interpreter prints out \"SystemClock\" first. This is to let you know "
+"that it did the scheduling as requested."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The five prints out endlessly, in five-second intervals. For an explanation, see \"Repeated Scheduling\""
+msgid ""
+"The five prints out endlessly, in five-second intervals. For an explanation,"
+" see \"Repeated Scheduling\""
 msgstr ""
 
 #. Tag: title
@@ -4608,17 +6312,23 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If you schedule a Function that returns a number, the interpreter will schedule the Function to re-run in that many beats."
+msgid ""
+"If you schedule a Function that returns a number, the interpreter will "
+"schedule the Function to re-run in that many beats."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This will print \"5\" every five seconds, until you press [Esc] to stop execution."
+msgid ""
+"This will print \"5\" every five seconds, until you press [Esc] to stop "
+"execution."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "To avoid this, you can end your Function with <literal>nil</literal>, which has been done sometimes through this guide."
+msgid ""
+"To avoid this, you can end your Function with <literal>nil</literal>, which "
+"has been done sometimes through this guide."
 msgstr ""
 
 #. Tag: programlisting
@@ -4638,7 +6348,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Here is a brief explanation of some Functions available with the TempoClock Class. Throughout this section, the variable \"t\" is used to represent any particular TempoClock."
+msgid ""
+"Here is a brief explanation of some Functions available with the TempoClock "
+"Class. Throughout this section, the variable \"t\" is used to represent any "
+"particular TempoClock."
 msgstr ""
 
 #. Tag: programlisting
@@ -4648,12 +6361,17 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This creates a new TempoClock. The arguments are optional, and have the following meanings:"
+msgid ""
+"This creates a new TempoClock. The arguments are optional, and have the "
+"following meanings:"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "tempo: tempo of the clock, given in beats per second. To input a value in beats-per-minute, divide it by 60. Defaults to 60 beats per minute, or one per second."
+msgid ""
+"tempo: tempo of the clock, given in beats per second. To input a value in "
+"beats-per-minute, divide it by 60. Defaults to 60 beats per minute, or one "
+"per second."
 msgstr ""
 
 #. Tag: para
@@ -4671,7 +6389,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Equivalent to the \"free\" method for a Synth of Bus Object. This stops the clock, discards all scheduled events, and releases the resources used to run the clock. Setting the variable to \"nil\" afterwards is optional, but recommended, to avoid later programming mistakes."
+msgid ""
+"Equivalent to the \"free\" method for a Synth of Bus Object. This stops the "
+"clock, discards all scheduled events, and releases the resources used to run"
+" the clock. Setting the variable to \"nil\" afterwards is optional, but "
+"recommended, to avoid later programming mistakes."
 msgstr ""
 
 #. Tag: programlisting
@@ -4696,17 +6418,21 @@ msgstr ""
 
 #. Tag: programlisting
 #, no-c-format
-msgid "<replaceable>t</replaceable>.tempo_( <replaceable>newTempo</replaceable> );"
+msgid ""
+"<replaceable>t</replaceable>.tempo_( <replaceable>newTempo</replaceable> );"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Allows you to change the clock's tempo. The new tempo should be in beats-per-second. To input a tempo in beats-per-minute, divide the value by 60."
+msgid ""
+"Allows you to change the clock's tempo. The new tempo should be in beats-"
+"per-second. To input a tempo in beats-per-minute, divide the value by 60."
 msgstr ""
 
 #. Tag: programlisting
 #, no-c-format
-msgid "<replaceable>t</replaceable>.play( <replaceable>aFunction</replaceable> );"
+msgid ""
+"<replaceable>t</replaceable>.play( <replaceable>aFunction</replaceable> );"
 msgstr ""
 
 #. Tag: para
@@ -4716,7 +6442,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "There are many other Functions in the TempoClock Class, related to absolute scheduling, scheduling with bars, and conversion of beats to and from seconds."
+msgid ""
+"There are many other Functions in the TempoClock Class, related to absolute "
+"scheduling, scheduling with bars, and conversion of beats to and from "
+"seconds."
 msgstr ""
 
 #. Tag: title
@@ -4726,7 +6455,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Knowing how to get help in <application>SuperCollider</application> is going to play a large part in determining whether you have a productive or frustrating relationship with the language and its components. There are a large number of ways to get help, but here are some of the most helpful."
+msgid ""
+"Knowing how to get help in <application>SuperCollider</application> is going"
+" to play a large part in determining whether you have a productive or "
+"frustrating relationship with the language and its components. There are a "
+"large number of ways to get help, but here are some of the most helpful."
 msgstr ""
 
 #. Tag: title
@@ -4736,17 +6469,34 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<application>SuperCollider</application> comes with an extensive collection of help files, which contain the answers to most of your problems. The difficulty will be in finding the solution - it's not always located where you think it is, because it often isn't the solution you think it will be."
+msgid ""
+"<application>SuperCollider</application> comes with an extensive collection "
+"of help files, which contain the answers to most of your problems. The "
+"difficulty will be in finding the solution - it's not always located where "
+"you think it is, because it often isn't the solution you think it will be."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "On Fedora Linux systems, the main help file is located at [file:///usr/share/SuperCollider/Help/Help.html this URL], and it can be viewed in any web browser. It may also be helpful to browse the directory structure of the help files, located at [file:///usr/share/SuperCollider/Help this URL], which can also be viewed in your web browser."
+msgid ""
+"On Fedora Linux systems, the main help file is located at "
+"[file:///usr/share/SuperCollider/Help/Help.html this URL], and it can be "
+"viewed in any web browser. It may also be helpful to browse the directory "
+"structure of the help files, located at "
+"[file:///usr/share/SuperCollider/Help this URL], which can also be viewed in"
+" your web browser."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If you're looking for further explanations of material in this tutorial, you could start by reviewing the [file:///usr/share/SuperCollider/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html Getting Started With <application>SuperCollider</application>] tutorial, on which this document is based. The sections in that tutorial roughly correspond to the sections in this guide."
+msgid ""
+"If you're looking for further explanations of material in this tutorial, you"
+" could start by reviewing the "
+"[file:///usr/share/SuperCollider/Help/Tutorials/Getting-"
+"Started/Getting%20Started%20With%20SC.html Getting Started With "
+"<application>SuperCollider</application>] tutorial, on which this document "
+"is based. The sections in that tutorial roughly correspond to the sections "
+"in this guide."
 msgstr ""
 
 #. Tag: title
@@ -4756,7 +6506,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If you know how to use Internet Relay Chat (IRC), you can join the #supercollider channel on the Freenode network. The channel does not usually have a large number of participants or a lot of activity, but the users are some of the most polite and helpful on the internet."
+msgid ""
+"If you know how to use Internet Relay Chat (IRC), you can join the "
+"#supercollider channel on the Freenode network. The channel does not usually"
+" have a large number of participants or a lot of activity, but the users are"
+" some of the most polite and helpful on the internet."
 msgstr ""
 
 #. Tag: title
@@ -4766,7 +6520,12 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If you feel comfortable sending an email to a mailing list, you can use the <citetitle>sc-users Mailing List</citetitle>, available at <ulink url=\"http://www.beast.bham.ac.uk/research/sc_mailing_lists.shtml\" />. If you decide to subscribe to this list, be aware that it receives a large amount of mail every day."
+msgid ""
+"If you feel comfortable sending an email to a mailing list, you can use the "
+"<citetitle>sc-users Mailing List</citetitle>, available at <ulink "
+"url=\"http://www.beast.bham.ac.uk/research/sc_mailing_lists.shtml\" />. If "
+"you decide to subscribe to this list, be aware that it receives a large "
+"amount of mail every day."
 msgstr ""
 
 #. Tag: title
@@ -4776,7 +6535,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The <citetitle><application>SuperCollider</application> Website</citetitle> at SourceForge (<ulink url=\"http://supercollider.sourceforge.net/\" />) offers links to many resources."
+msgid ""
+"The <citetitle><application>SuperCollider</application> Website</citetitle> "
+"at SourceForge (<ulink url=\"http://supercollider.sourceforge.net/\" />) "
+"offers links to many resources."
 msgstr ""
 
 #. Tag: title
@@ -4786,15 +6548,34 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This portion of the Fedora Musicians' Guide, called \"Basic Programming with <application>SuperCollider</application>,\" is a derivative work of the, <citetitle>Getting Started With <application>SuperCollider</application></citetitle> tutorial. The original work was created by Scott Wilson, James Harkins, and the <application>SuperCollider</application> development team. It is available on the internet from <ulink url=\"http://supercollider.svn.sourceforge.net/viewvc/supercollider/trunk/common/build/Help/Tutorials/Getting-Started/Getting%20Started%20With%20SC.html\" />."
+msgid ""
+"This portion of the Fedora Musicians' Guide, called \"Basic Programming with"
+" <application>SuperCollider</application>,\" is a derivative work of the, "
+"<citetitle>Getting Started With "
+"<application>SuperCollider</application></citetitle> tutorial. The original "
+"work was created by Scott Wilson, James Harkins, and the "
+"<application>SuperCollider</application> development team. It is available "
+"on the internet from <ulink "
+"url=\"http://supercollider.svn.sourceforge.net/viewvc/supercollider/trunk/common/build/Help/Tutorials"
+"/Getting-Started/Getting%20Started%20With%20SC.html\" />."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The original document, like all <application>SuperCollider</application> documentation, is licenced under the Creative Commons' <citetitle>Attribution Share-Alike 3.0 Unported Licence</citetitle>, accessible on the internet at <ulink url=\"http://creativecommons.org/licenses/by-sa/3.0/\" />."
+msgid ""
+"The original document, like all <application>SuperCollider</application> "
+"documentation, is licenced under the Creative Commons' "
+"<citetitle>Attribution Share-Alike 3.0 Unported Licence</citetitle>, "
+"accessible on the internet at <ulink "
+"url=\"http://creativecommons.org/licenses/by-sa/3.0/\" />."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This usage should in no way be construed as an endorsement of the Fedora Project, the Musicians' Guide, or any other party by the <application>SuperCollider</application> development team."
+msgid ""
+"This usage should in no way be construed as an endorsement of the Fedora "
+"Project, the Musicians' Guide, or any other party by the "
+"<application>SuperCollider</application> development team."
 msgstr ""
+
+
diff --git a/ja-JP/SuperCollider/SuperCollider-Composing.po b/ja-JP/SuperCollider/SuperCollider-Composing.po
index d001d3e..563c2a2 100644
--- a/ja-JP/SuperCollider/SuperCollider-Composing.po
+++ b/ja-JP/SuperCollider/SuperCollider-Composing.po
@@ -1,17 +1,17 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-09-08T03:01:43\n"
-"PO-Revision-Date: 2010-09-07T21:07:00\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:04\n"
+"PO-Revision-Date: 2011-07-28 21:42+0000\n"
 "Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
@@ -20,17 +20,30 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This section is an explanation of the creative thought-process that went into creating the SuperCollider composition that we've called \"Method One,\" for which the source and exported audio files are available below."
+msgid ""
+"This section is an explanation of the creative thought-process that went "
+"into creating the SuperCollider composition that we've called \"Method "
+"One,\" for which the source and exported audio files are available below."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "It is our hope that, in illustrating how we developed this composition from a single SinOsc command, you will learn about SuperCollider and its abilities, about how to be creative with SuperCollider, and how a simple idea can turn into something of greater and greater complexity."
+msgid ""
+"It is our hope that, in illustrating how we developed this composition from "
+"a single SinOsc command, you will learn about SuperCollider and its "
+"abilities, about how to be creative with SuperCollider, and how a simple "
+"idea can turn into something of greater and greater complexity."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "As musicians, our goal is to learn enough SuperCollider to make music; we don't want to have to memorize which parameters do what for which functions, and in which order to call them. We want to know what they do for us musically. Explicitly calling parameters, and making comments about what does what, so that we can return later and change musical things, are going to help our musical productivity, at the expense of slowing down our typing."
+msgid ""
+"As musicians, our goal is to learn enough SuperCollider to make music; we "
+"don't want to have to memorize which parameters do what for which functions,"
+" and in which order to call them. We want to know what they do for us "
+"musically. Explicitly calling parameters, and making comments about what "
+"does what, so that we can return later and change musical things, are going "
+"to help our musical productivity, at the expense of slowing down our typing."
 msgstr ""
 
 #. Tag: title
@@ -40,37 +53,61 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The following files represent complete versions of the program. You should try to complete the program yourself before reviewing these versions:"
+msgid ""
+"The following files represent complete versions of the program. You should "
+"try to complete the program yourself before reviewing these versions:"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Method One</citetitle> is available at <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/14/Musicians_Guide/files/SuperCollider/Method_One.sc\" />"
+msgid ""
+"<citetitle>Method One</citetitle> is available at <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/SuperCollider/Method_One.sc\" />"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Method One (Optimized)</citetitle> is available at <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/14/Musicians_Guide/files/SuperCollider/Method_One-optimized.sc\" />"
+msgid ""
+"<citetitle>Method One (Optimized)</citetitle> is available at <ulink "
+"url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/SuperCollider/Method_One-"
+"optimized.sc\" />"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "A FLAC-format recording of <citetitle>Method One</citetitle> is available at <ulink url=\"http://docs.fedoraproject.org/en-US/Fedora/14/Musicians_Guide/files/SuperCollider/Method_One.flac\" />"
+msgid ""
+"A FLAC-format recording of <citetitle>Method One</citetitle> is available at"
+" <ulink url=\"http://docs.fedoraproject.org/en-"
+"US/Fedora/15/html/Musicians_Guide/files/SuperCollider/Method_One.flac\" />"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<filename>Method_One.sc</filename> is an extensively-commented version of the source code. The comments not only describe the way the code works, but pose some problems and questions that you may wish to work on, to increase your knowledge of SuperCollider. The problem with the verbosity of the comments is that it can be difficult to read the code itself, as it would be written in a real program."
+msgid ""
+"<filename>Method_One.sc</filename> is an extensively-commented version of "
+"the source code. The comments not only describe the way the code works, but "
+"pose some problems and questions that you may wish to work on, to increase "
+"your knowledge of SuperCollider. The problem with the verbosity of the "
+"comments is that it can be difficult to read the code itself, as it would be"
+" written in a real program."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<filename>Method_One-optimized.sc</filename> is a less-commented version of the source code. I've also re-written part of the code, to make it more flexible for use in other programs. The differences between this, and code that I would have written for myself only, are trivial."
+msgid ""
+"<filename>Method_One-optimized.sc</filename> is a less-commented version of "
+"the source code. I've also re-written part of the code, to make it more "
+"flexible for use in other programs. The differences between this, and code "
+"that I would have written for myself only, are trivial."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "<filename>Method_One.flac</filename> is a recording that I produced of the program, which I produced in <application>Ardour</application>."
+msgid ""
+"<filename>Method_One.flac</filename> is a recording that I produced of the "
+"program, which I produced in <application>Ardour</application>."
 msgstr ""
 
 #. Tag: title
@@ -80,12 +117,19 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The intention of this program is to represent one way to write a SuperCollider program. I decided to take one class, SinOsc, and use it for \"everything.\" Here, \"everything\" means any function that returns a sound, or any function that directly controls a SinOsc."
+msgid ""
+"The intention of this program is to represent one way to write a "
+"SuperCollider program. I decided to take one class, SinOsc, and use it for "
+"\"everything.\" Here, \"everything\" means any function that returns a "
+"sound, or any function that directly controls a SinOsc."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "In order to fill up time, I decided to employ a three-part \"rounded binary\" form: ABA' or \"something, something new, then the first thing again.\" This is kind of like a sine oscillation, too!"
+msgid ""
+"In order to fill up time, I decided to employ a three-part \"rounded "
+"binary\" form: ABA' or \"something, something new, then the first thing "
+"again.\" This is kind of like a sine oscillation, too!"
 msgstr ""
 
 #. Tag: title
@@ -95,22 +139,35 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "I started with something simple: a single SinOsc: <code>{ SinOsc.ar(); }.play;</code>"
+msgid ""
+"I started with something simple: a single SinOsc: <code>{ SinOsc.ar(); "
+"}.play;</code>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This is not exciting: it just stays the same forever, and it only uses one channel! So, I added another SinOsc to the right channel, using the [ , ] array notation. The result is <code>{ [ SinOsc.ar(), SinOsc.ar() ] }.play;</code>"
+msgid ""
+"This is not exciting: it just stays the same forever, and it only uses one "
+"channel! So, I added another SinOsc to the right channel, using the [ , ] "
+"array notation. The result is <code>{ [ SinOsc.ar(), SinOsc.ar() ] "
+"}.play;</code>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Now it sounds balanced, at least, like it's coming from the middle. But it's still boring, so I added a frequency-changing SinOsc to the right channel, resulting in <code>{ [ SinOsc.ar(), SinOsc.ar(SinOsc.kr(1,50,300)) ] }.play;</code>"
+msgid ""
+"Now it sounds balanced, at least, like it's coming from the middle. But it's"
+" still boring, so I added a frequency-changing SinOsc to the right channel, "
+"resulting in <code>{ [ SinOsc.ar(), SinOsc.ar(SinOsc.kr(1,50,300)) ] "
+"}.play;</code>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Since that's difficult to read, and since I know that I'm just going to keep adding things, I expand the code a little bit to make it more legible. This gives me"
+msgid ""
+"Since that's difficult to read, and since I know that I'm just going to keep"
+" adding things, I expand the code a little bit to make it more legible. This"
+" gives me"
 msgstr ""
 
 #. Tag: programlisting
@@ -128,12 +185,22 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "I define a variable holding everything I want in the left channel, then the same for the right. I still use the [ , ] array notation to create a stereo array. Remember that SuperCollider functions return the last value stated, so it might look like the stereo array is ignored, but because this array is what is returned by the function contained between { and }, it is this array that gets played by the following \".play;\""
+msgid ""
+"I define a variable holding everything I want in the left channel, then the "
+"same for the right. I still use the [ , ] array notation to create a stereo "
+"array. Remember that SuperCollider functions return the last value stated, "
+"so it might look like the stereo array is ignored, but because this array is"
+" what is returned by the function contained between { and }, it is this "
+"array that gets played by the following \".play;\""
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "I also added a frequency controller to the left SinOsc, and realized that it's getting a bit difficult to read again, especially if I wanted to add another parameter to the SinOsc.ar objects. So I placed the SinOsc.kr's into their own variables: frequencyL and frequencyR. This results in"
+msgid ""
+"I also added a frequency controller to the left SinOsc, and realized that "
+"it's getting a bit difficult to read again, especially if I wanted to add "
+"another parameter to the SinOsc.ar objects. So I placed the SinOsc.kr's into"
+" their own variables: frequencyL and frequencyR. This results in"
 msgstr ""
 
 #. Tag: programlisting
@@ -154,57 +221,107 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Now I can experiment with the frequency-changing SinOsc's, to make sure that I get things just right. When I realize what the parameters do, I make a note for myself (see \"FSC-method-1-.sc\"), so that it will be easy to adjust it later. I also explicitly call the parameters. This isn't necessary, but it also helps to avoid future confusion. Most programmers would not explicitly call the parameters, but we're musicians, not programmers."
+msgid ""
+"Now I can experiment with the frequency-changing SinOsc's, to make sure that"
+" I get things just right. When I realize what the parameters do, I make a "
+"note for myself (see \"FSC-method-1-.sc\"), so that it will be easy to "
+"adjust it later. I also explicitly call the parameters. This isn't "
+"necessary, but it also helps to avoid future confusion. Most programmers "
+"would not explicitly call the parameters, but we're musicians, not "
+"programmers."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The left channel has something like a \"melody,\" so I decided to add a drone-like SinOsc to it. This is easy, of course, because any SinOsc left alone is automatically a drone! But, where should it be added? Into the \"left\" variable, of course. We'll create an array using [ , ] array notation. There are two things that I would do at this point to help with future readability:"
+msgid ""
+"The left channel has something like a \"melody,\" so I decided to add a "
+"drone-like SinOsc to it. This is easy, of course, because any SinOsc left "
+"alone is automatically a drone! But, where should it be added? Into the "
+"\"left\" variable, of course. We'll create an array using [ , ] array "
+"notation. There are two things that I would do at this point to help with "
+"future readability:"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Align all of the left-channel SinOsc's vertically (using tabs and spaces), so that each line is one sound-generating UGen."
+msgid ""
+"Align all of the left-channel SinOsc's vertically (using tabs and spaces), "
+"so that each line is one sound-generating UGen."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "At the end of each line, write a small comment describing what the UGen on that line doesn."
+msgid ""
+"At the end of each line, write a small comment describing what the UGen on "
+"that line doesn."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Now the volume is a problem. For most sound-producing UGen's, the \"mul\" argument controls the volume. For most of those, the default is \"1.0,\" and anything greater will create distorted output. The physics and computer science factors that wind up creating distortion are rather complicated, and it isn't necessary to understand them. What we need to know is that, if the output of a UGen (or some UGen's) sounds distorted, then we should probably adjust the \"mul\" argument. Sometimes, of course, you may prefer that distorted output."
+msgid ""
+"Now the volume is a problem. For most sound-producing UGen's, the \"mul\" "
+"argument controls the volume. For most of those, the default is \"1.0,\" and"
+" anything greater will create distorted output. The physics and computer "
+"science factors that wind up creating distortion are rather complicated, and"
+" it isn't necessary to understand them. What we need to know is that, if the"
+" output of a UGen (or some UGen's) sounds distorted, then we should probably"
+" adjust the \"mul\" argument. Sometimes, of course, you may prefer that "
+"distorted output."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "It seems that, when you're using multiple SinOsc's in one output channel, the \"mul\" of all of them must not add to more than 1.0"
+msgid ""
+"It seems that, when you're using multiple SinOsc's in one output channel, "
+"the \"mul\" of all of them must not add to more than 1.0"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "We're using two output channels (left and right). We'll leave the right channel alone for now, because it has only one output UGen."
+msgid ""
+"We're using two output channels (left and right). We'll leave the right "
+"channel alone for now, because it has only one output UGen."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "So, I'll change add a \"mul\" argument to each of the left-channel UGen's, to 0.5"
+msgid ""
+"So, I'll change add a \"mul\" argument to each of the left-channel UGen's, "
+"to 0.5"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Now we can't hear the left channel, because the right channel is too loud! Playing with volumes (sometimes called \"adjusting levels\" for computers) is a constant aesthetic concern for all musicians. Add a \"mul\" argument to the right channel, and set it to what seems an appropriate volume for the moment. It will probably change later, but that's okay."
+msgid ""
+"Now we can't hear the left channel, because the right channel is too loud! "
+"Playing with volumes (sometimes called \"adjusting levels\" for computers) "
+"is a constant aesthetic concern for all musicians. Add a \"mul\" argument to"
+" the right channel, and set it to what seems an appropriate volume for the "
+"moment. It will probably change later, but that's okay."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "But let's add another dimension to this: there's no reason to keep the volume static, because we can use a SinOsc to change it periodically! I added a SinOsc variable called \"volumeL,\" which I used as the argument to \"mul\" for the \"frequencyL\" SinOsc in the left channel."
+msgid ""
+"But let's add another dimension to this: there's no reason to keep the "
+"volume static, because we can use a SinOsc to change it periodically! I "
+"added a SinOsc variable called \"volumeL,\" which I used as the argument to "
+"\"mul\" for the \"frequencyL\" SinOsc in the left channel."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "And now the sheer boredom of the drone in the left channel becomes obvious. I decide to make it more interesting by adding a series of overtones (an overtone is...). I decide to add six, then experiment with which frequencies to add. But, every time I adjust one frequency, I have to re-calculate and change all the others. So I decide to add a variable for the drone's frequency: \"frequencyL_drone\". This way, after finding the right intervals, I can easily adjust all of them just by changing the variable. I've decided on drone*1, 2, 5, 13, and 28. These are more or less arbitrary, and I arrived on them through experimentation. Of course, the drone will be <emphasis>way</emphasis> too loud."
+msgid ""
+"And now the sheer boredom of the drone in the left channel becomes obvious. "
+"I decide to make it more interesting by adding a series of overtones (an "
+"overtone is...). I decide to add six, then experiment with which frequencies"
+" to add. But, every time I adjust one frequency, I have to re-calculate and "
+"change all the others. So I decide to add a variable for the drone's "
+"frequency: \"frequencyL_drone\". This way, after finding the right "
+"intervals, I can easily adjust all of them just by changing the variable. "
+"I've decided on drone*1, 2, 5, 13, and 28. These are more or less arbitrary,"
+" and I arrived on them through experimentation. Of course, the drone will be"
+" <emphasis>way</emphasis> too loud."
 msgstr ""
 
 #. Tag: para
@@ -214,27 +331,45 @@ msgstr ""
 
 #. Tag: programlisting
 #, no-c-format
-msgid "SinOsc.ar( [frequencyL_drone,2*frequencyL_drone,5*frequencyL_drone,13*frequencyL_drone,28*frequencyL_drone], mul:0.1 )"
+msgid ""
+"SinOsc.ar( "
+"[frequencyL_drone,2*frequencyL_drone,5*frequencyL_drone,13*frequencyL_drone,28*frequencyL_drone],"
+" mul:0.1 )"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "in your program is not easy to read, and actually it doesn't work out volume-balance-wise (for me, at least): the high frequencies are too loud, and the lower ones are not loud enough. In retrospect, I should have created a variable for the \"mul\" of these drones, so I could adjust them easily in proportion. But, I didn't."
+msgid ""
+"in your program is not easy to read, and actually it doesn't work out "
+"volume-balance-wise (for me, at least): the high frequencies are too loud, "
+"and the lower ones are not loud enough. In retrospect, I should have created"
+" a variable for the \"mul\" of these drones, so I could adjust them easily "
+"in proportion. But, I didn't."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "A constant drone isn't as much fun as one that slowly changes over time. So, I changed the \"frequencyL_drone\" value to a SinOsc.kr UGen. Because it's supposed to be a \"drone,\" it should change only very gradually, so I used a very small freqeuncy argument. It still moves quite quickly, but people won't want to listen to this too long, anyway!"
+msgid ""
+"A constant drone isn't as much fun as one that slowly changes over time. So,"
+" I changed the \"frequencyL_drone\" value to a SinOsc.kr UGen. Because it's "
+"supposed to be a \"drone,\" it should change only very gradually, so I used "
+"a very small freqeuncy argument. It still moves quite quickly, but people "
+"won't want to listen to this too long, anyway!"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "I did something similar with the right channel, addding a slowly-changing drone and overtones above it."
+msgid ""
+"I did something similar with the right channel, addding a slowly-changing "
+"drone and overtones above it."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "After some final volume adjustments, I feel that I have completed the first part. There is no way to know for sure that you've finished until it happens. Even then, you may want to change your program later."
+msgid ""
+"After some final volume adjustments, I feel that I have completed the first "
+"part. There is no way to know for sure that you've finished until it "
+"happens. Even then, you may want to change your program later."
 msgstr ""
 
 #. Tag: title
@@ -244,32 +379,55 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The next thing that I did was to design the second part. This will not join them together yet, and I'm going to focus on something completely different, so I decided to do this in a separate file."
+msgid ""
+"The next thing that I did was to design the second part. This will not join "
+"them together yet, and I'm going to focus on something completely different,"
+" so I decided to do this in a separate file."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "My inspiration for this part came from experimenting with the drones of the first part. There are a virtually unlimited number of combinations of sets of overtones that could be created, and the combinations of discrete frequencies into complex sounds is something that has fascinated me for a long time. Moreover, when thousands of discrete frequencies combine in such a way as to create what we think of as \"a violin playing one note,\" it seems like a magical moment."
+msgid ""
+"My inspiration for this part came from experimenting with the drones of the "
+"first part. There are a virtually unlimited number of combinations of sets "
+"of overtones that could be created, and the combinations of discrete "
+"frequencies into complex sounds is something that has fascinated me for a "
+"long time. Moreover, when thousands of discrete frequencies combine in such "
+"a way as to create what we think of as \"a violin playing one note,\" it "
+"seems like a magical moment."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "I'm going to build up a set of pseudo-random tones, adding them one at a time, in set increments. As you will see, this introduces a number of problems, primarily because of the scheduling involved with the one-by-one introduction of tones, and keeping track of those tones."
+msgid ""
+"I'm going to build up a set of pseudo-random tones, adding them one at a "
+"time, in set increments. As you will see, this introduces a number of "
+"problems, primarily because of the scheduling involved with the one-by-one "
+"introduction of tones, and keeping track of those tones."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The fact that there are ten tones also poses a problem, because it might require a lot of typing. We'll see solutions to that, which use SuperCollider's programming features to greatly increase the efficiency."
+msgid ""
+"The fact that there are ten tones also poses a problem, because it might "
+"require a lot of typing. We'll see solutions to that, which use "
+"SuperCollider's programming features to greatly increase the efficiency."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Although we've already solved the musical problems (that is, we know what we want this part to sound like), the computer science (programming) problems will have to be solved the old-fashioned way: start with something simple, and build it into a complex solution."
+msgid ""
+"Although we've already solved the musical problems (that is, we know what we"
+" want this part to sound like), the computer science (programming) problems "
+"will have to be solved the old-fashioned way: start with something simple, "
+"and build it into a complex solution."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "First I will develop the version used in FSC-method-1.sc, then the version used in FSC-method-1-short.sc"
+msgid ""
+"First I will develop the version used in FSC-method-1.sc, then the version "
+"used in FSC-method-1-short.sc"
 msgstr ""
 
 #. Tag: title
@@ -293,22 +451,41 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "We already know that we want this to produce stereo output, and we already know that we're going to be using enough SinOsc's that we'll need to reduce \"mul.\" Keeping in mind that there will be ten pitches, and two SinOsc's for each of them, set both of those things now, keeping just one pitch for now."
+msgid ""
+"We already know that we want this to produce stereo output, and we already "
+"know that we're going to be using enough SinOsc's that we'll need to reduce "
+"\"mul.\" Keeping in mind that there will be ten pitches, and two SinOsc's "
+"for each of them, set both of those things now, keeping just one pitch for "
+"now."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The first challenge is to implement pseudo-randomness. We'll use the number.rand function to generate a pseudo-random number (integer, actually), but if run as <code>50.rand</code>, we will get a result between 0 and 50. As a frequency, this is not useful: most audio equipment cannot produce pitches below 20 Hz, and many people have problems hearing very low frequencies. This means that we'll need to add a value to .rand's output (like <code>100 + 50.rand</code>, which will yield an integer between 100 and 150). I decided to go with a value between 200 Hz and 800 Hz instead, largely because I felt like it. Try setting the freq with the .rand call."
+msgid ""
+"The first challenge is to implement pseudo-randomness. We'll use the "
+"number.rand function to generate a pseudo-random number (integer, actually),"
+" but if run as <code>50.rand</code>, we will get a result between 0 and 50. "
+"As a frequency, this is not useful: most audio equipment cannot produce "
+"pitches below 20 Hz, and many people have problems hearing very low "
+"frequencies. This means that we'll need to add a value to .rand's output "
+"(like <code>100 + 50.rand</code>, which will yield an integer between 100 "
+"and 150). I decided to go with a value between 200 Hz and 800 Hz instead, "
+"largely because I felt like it. Try setting the freq with the .rand call."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "I hope you didn't end up with two different frequencies! If you did, you'll need to use a variable to temporarily store the pseduo-random frequency, so that both sides can use it."
+msgid ""
+"I hope you didn't end up with two different frequencies! If you did, you'll "
+"need to use a variable to temporarily store the pseduo-random frequency, so "
+"that both sides can use it."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Now we need to make ten of these, so copy-and-paste until there are ten different stereo pitches at once."
+msgid ""
+"Now we need to make ten of these, so copy-and-paste until there are ten "
+"different stereo pitches at once."
 msgstr ""
 
 #. Tag: programlisting
@@ -341,7 +518,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "It doesn't work: you'll also have to rename your frequency-setting variable each time."
+msgid ""
+"It doesn't work: you'll also have to rename your frequency-setting variable "
+"each time."
 msgstr ""
 
 #. Tag: programlisting
@@ -374,7 +553,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "It still doesn't work! The error given in the \"SuperCollider output\" window is not easy to understand, but it means \"You have to put all of your variable declarations before everything else.\""
+msgid ""
+"It still doesn't work! The error given in the \"SuperCollider output\" "
+"window is not easy to understand, but it means \"You have to put all of your"
+" variable declarations before everything else.\""
 msgstr ""
 
 #. Tag: programlisting
@@ -408,22 +590,43 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "It still doesn't work! SuperCollider is confused because I was been lazy and didn't include enough semicolons. The error we get is, \"Index not an Integer,\" which is a clue as to what SuperCollider is trying to do (but it's irrelevant). The real problem is that SuperCollider interprets our ten stereo arrays as all being part of the same statement. We don't want them to be the same statement, however, because we want ten <emphasis>different</emphasis> stereo arrays to be played. Fix this problem by putting a semicolon at the end of each stereo array. You do not <emphasis>need</emphasis> to include one at the end of the last statement, because SuperCollider assumes the end of the statement when it encounters a } (end-of-function marker) after it. Since we're still building our code, we might move these around or add something aftwards, so it's better to include a semicolon at the end of each stereo array."
+msgid ""
+"It still doesn't work! SuperCollider is confused because I was been lazy and"
+" didn't include enough semicolons. The error we get is, \"Index not an "
+"Integer,\" which is a clue as to what SuperCollider is trying to do (but "
+"it's irrelevant). The real problem is that SuperCollider interprets our ten "
+"stereo arrays as all being part of the same statement. We don't want them to"
+" be the same statement, however, because we want ten "
+"<emphasis>different</emphasis> stereo arrays to be played. Fix this problem "
+"by putting a semicolon at the end of each stereo array. You do not "
+"<emphasis>need</emphasis> to include one at the end of the last statement, "
+"because SuperCollider assumes the end of the statement when it encounters a "
+"} (end-of-function marker) after it. Since we're still building our code, we"
+" might move these around or add something aftwards, so it's better to "
+"include a semicolon at the end of each stereo array."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Now the file plays successfully, but with a disappointing result. If you can't already see the problem, try to think of it before continuing to read."
+msgid ""
+"Now the file plays successfully, but with a disappointing result. If you "
+"can't already see the problem, try to think of it before continuing to read."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Only one SinOsc array gets played, and it's the last one. This is because the last statement is returned by the function that ends at } and it is that result which gets sent to the following .play"
+msgid ""
+"Only one SinOsc array gets played, and it's the last one. This is because "
+"the last statement is returned by the function that ends at } and it is that"
+" result which gets sent to the following .play"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "To fix this, and ensure that all of the stereo arrays are played, you should remove the .play from the end of the function, and add a .play to each stereo array statement. You end up with"
+msgid ""
+"To fix this, and ensure that all of the stereo arrays are played, you should"
+" remove the .play from the end of the function, and add a .play to each "
+"stereo array statement. You end up with"
 msgstr ""
 
 #. Tag: programlisting
@@ -457,7 +660,16 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "When you execute this, no sound is produced, but SuperCollider outputs \"a Function.\" Can you think of why this happens? It's because you wrote a function, but never told SuperCollider to evaluate it! At the end of execution, SuperCollider just throws away the function, because it's never used. This is the same thing that happened to the first nine stereo arrays - they were created, but you never said to do anything with them, so they were just thrown out. We need to execute the function. Because it doesn't produce a UGen, we can't use \"play,\" so we have to use \"value\" instead. You can choose to do either of these:"
+msgid ""
+"When you execute this, no sound is produced, but SuperCollider outputs \"a "
+"Function.\" Can you think of why this happens? It's because you wrote a "
+"function, but never told SuperCollider to evaluate it! At the end of "
+"execution, SuperCollider just throws away the function, because it's never "
+"used. This is the same thing that happened to the first nine stereo arrays -"
+" they were created, but you never said to do anything with them, so they "
+"were just thrown out. We need to execute the function. Because it doesn't "
+"produce a UGen, we can't use \"play,\" so we have to use \"value\" instead. "
+"You can choose to do either of these:"
 msgstr ""
 
 #. Tag: programlisting
@@ -480,7 +692,12 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This gives us yet another error, as if we can't play the stereo arrays! In fact, we can't - and we didn't do it in the first part, either. We play'ed the result of returning a stereo array from a function. The subtle difference isn't important yet - we're just trying to make this work! Use { and } to build a function for .play to .play"
+msgid ""
+"This gives us yet another error, as if we can't play the stereo arrays! In "
+"fact, we can't - and we didn't do it in the first part, either. We play'ed "
+"the result of returning a stereo array from a function. The subtle "
+"difference isn't important yet - we're just trying to make this work! Use { "
+"and } to build a function for .play to .play"
 msgstr ""
 
 #. Tag: para
@@ -490,7 +707,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "When you play execute the resulting code, you probably get something that sounds quite \"space-age.\" Execute it a few times, to see the kind of results you get."
+msgid ""
+"When you play execute the resulting code, you probably get something that "
+"sounds quite \"space-age.\" Execute it a few times, to see the kind of "
+"results you get."
 msgstr ""
 
 #. Tag: title
@@ -500,32 +720,65 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The next step is to get these started consecutively, with 5-second pauses after each addition. For this we will use a TempoClock, and since this is the only thing that we're doing, we'll just use the default one called TempoClock.default. I don't feel like typing that, however, so we're going to define an alias variable: <code>var t_c = TempoClock.default;</code> You could put that in the main function, but I suggest putting it before the main function. This way, if we want to write another function later, then it can also access <literal>t_c</literal>."
+msgid ""
+"The next step is to get these started consecutively, with 5-second pauses "
+"after each addition. For this we will use a TempoClock, and since this is "
+"the only thing that we're doing, we'll just use the default one called "
+"TempoClock.default. I don't feel like typing that, however, so we're going "
+"to define an alias variable: <code>var t_c = TempoClock.default;</code> You "
+"could put that in the main function, but I suggest putting it before the "
+"main function. This way, if we want to write another function later, then it"
+" can also access <literal>t_c</literal>."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The default TempoClock has a default tempo of one beat per second (1 Hz). This will be good enough for us. If you wanted to change the tempo, remember that you can enter a metronome setting (which is \"beats per minute\") by dividing the metronome setting by 60. So a metronome's 120 beats per minute would be given to a new TempoClock as <code>TempoClock.new( 120/60 )</code>. Even though you could do that ahead of time and just write \"2,\" inputting it as \"120/60\" makes it clearer what tempo you intend to set."
+msgid ""
+"The default TempoClock has a default tempo of one beat per second (1 Hz). "
+"This will be good enough for us. If you wanted to change the tempo, remember"
+" that you can enter a metronome setting (which is \"beats per minute\") by "
+"dividing the metronome setting by 60. So a metronome's 120 beats per minute "
+"would be given to a new TempoClock as <code>TempoClock.new( 120/60 )</code>."
+" Even though you could do that ahead of time and just write \"2,\" inputting"
+" it as \"120/60\" makes it clearer what tempo you intend to set."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "You can schedule something on a TempoClock by using <code>t_c.sched( <replaceable>x</replaceable>, <replaceable>f</replaceable> );</code>, where <literal>f</literal> is a function to execute, and <literal>x</literal> is when it should be done, measured as the number of beats from now. So we can schedule our SinOsc like this:"
+msgid ""
+"You can schedule something on a TempoClock by using <code>t_c.sched( "
+"<replaceable>x</replaceable>, <replaceable>f</replaceable> );</code>, where "
+"<literal>f</literal> is a function to execute, and <literal>x</literal> is "
+"when it should be done, measured as the number of beats from now. So we can "
+"schedule our SinOsc like this:"
 msgstr ""
 
 #. Tag: programlisting
 #, no-c-format
-msgid "t_c.sched( 1, {{[ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( freq:frequency1, mul:0.01 ) ]}.play;} );"
+msgid ""
+"t_c.sched( 1, {{[ SinOsc.ar( freq:frequency1, mul:0.01 ), SinOsc.ar( "
+"freq:frequency1, mul:0.01 ) ]}.play;} );"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Schedule the rest, in intervals of five beats (which is five seconds). They will all be scheduled virtually instantaneously (that is, the computer will notice the slight delay between when each one is scheduled, but humans will not). I started at one beat from now, to insert a slight pause before the sound begins."
+msgid ""
+"Schedule the rest, in intervals of five beats (which is five seconds). They "
+"will all be scheduled virtually instantaneously (that is, the computer will "
+"notice the slight delay between when each one is scheduled, but humans will "
+"not). I started at one beat from now, to insert a slight pause before the "
+"sound begins."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "If you've done this correctly, then we should get a build-up of ten pitches. But they never stop! This is going to take some more ingenuity to solve, because we can't just make a stereo array, play it, then throw it away. We need to hold onto the stereo array, so that we can stop it. The first step here is to store the stereo arrays in variables, and subsequently schedule them. You will end up with something like this:"
+msgid ""
+"If you've done this correctly, then we should get a build-up of ten pitches."
+" But they never stop! This is going to take some more ingenuity to solve, "
+"because we can't just make a stereo array, play it, then throw it away. We "
+"need to hold onto the stereo array, so that we can stop it. The first step "
+"here is to store the stereo arrays in variables, and subsequently schedule "
+"them. You will end up with something like this:"
 msgstr ""
 
 #. Tag: programlisting
@@ -541,22 +794,35 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "It should still work, but we after all that cutting-and-pasting, we still haven't managed to turn off the SinOsc's. We need to \"free\" the object that was returned when we used the \"play\" function. We need to declare yet more variables: <code>var so1, so2, so3, so4, so5, so6, so7, so8, so9, so0;</code> should appear anywhere before the scheduler."
+msgid ""
+"It should still work, but we after all that cutting-and-pasting, we still "
+"haven't managed to turn off the SinOsc's. We need to \"free\" the object "
+"that was returned when we used the \"play\" function. We need to declare yet"
+" more variables: <code>var so1, so2, so3, so4, so5, so6, so7, so8, so9, "
+"so0;</code> should appear anywhere before the scheduler."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Now adjust all the scheduling commands so they look like this: <code>t_c.sched( 1, { so1 = sinosc1.play; } );</code>"
+msgid ""
+"Now adjust all the scheduling commands so they look like this: "
+"<code>t_c.sched( 1, { so1 = sinosc1.play; } );</code>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Now you can add ten of these, after the existing scheduling commands: <code>t_c.sched( 51, { so1.free; } );</code>. Be sure to schedule each one for 51 beats, so that they all turn off simultaneously, 5 beats after the last pitch is added."
+msgid ""
+"Now you can add ten of these, after the existing scheduling commands: "
+"<code>t_c.sched( 51, { so1.free; } );</code>. Be sure to schedule each one "
+"for 51 beats, so that they all turn off simultaneously, 5 beats after the "
+"last pitch is added."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "It should work successfully. If it doesn't, then compare what you have to this, which does work:"
+msgid ""
+"It should work successfully. If it doesn't, then compare what you have to "
+"this, which does work:"
 msgstr ""
 
 #. Tag: programlisting
@@ -622,37 +888,53 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Hopefully, while working through the previous sections, you got an idea of how tedious, boring, difficult-to-read, and error-prone this sort of copy-and-paste programming can be. It's ridiculous, and it's poor programming:"
+msgid ""
+"Hopefully, while working through the previous sections, you got an idea of "
+"how tedious, boring, difficult-to-read, and error-prone this sort of copy-"
+"and-paste programming can be. It's ridiculous, and it's poor programming:"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "We're using a lot of variables and variable names. They're all just used once or twice, too."
+msgid ""
+"We're using a lot of variables and variable names. They're all just used "
+"once or twice, too."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "When you copy-and-paste code, but change it a little, you might make a mistake in that little change."
+msgid ""
+"When you copy-and-paste code, but change it a little, you might make a "
+"mistake in that little change."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "When you copy-and-paste code, when you make a mistake, you have to copy-and-paste to fix it everywhere."
+msgid ""
+"When you copy-and-paste code, when you make a mistake, you have to copy-and-"
+"paste to fix it everywhere."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Repetition is the enemy of high-quality code. It is much better to write something once and re-use that same code."
+msgid ""
+"Repetition is the enemy of high-quality code. It is much better to write "
+"something once and re-use that same code."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Thankfully, SuperCollider provides three things that will greatly help to solve these problems - at least for our current situation:"
+msgid ""
+"Thankfully, SuperCollider provides three things that will greatly help to "
+"solve these problems - at least for our current situation:"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Arrays can be used to hold multiple instances of the same thing, all referred to with essentially the same name. We're already doing something similar, (sinosc1, sinosc2, etc.) but arrays are more flexible."
+msgid ""
+"Arrays can be used to hold multiple instances of the same thing, all "
+"referred to with essentially the same name. We're already doing something "
+"similar, (sinosc1, sinosc2, etc.) but arrays are more flexible."
 msgstr ""
 
 #. Tag: para
@@ -662,87 +944,164 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Loops also provide a means to write code once, and execute it many times. As you will see, they are useful in situations different from functions."
+msgid ""
+"Loops also provide a means to write code once, and execute it many times. As"
+" you will see, they are useful in situations different from functions."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "It should be noted that, while it is good practise to program like this, it is also optional. You will probably find, though, that writing your programs well in the first place ends up saving huge headaches in the future."
+msgid ""
+"It should be noted that, while it is good practise to program like this, it "
+"is also optional. You will probably find, though, that writing your programs"
+" well in the first place ends up saving huge headaches in the future."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The first thing we'll do is write a function to deal with generating the stereo arrays of SinOsc's."
+msgid ""
+"The first thing we'll do is write a function to deal with generating the "
+"stereo arrays of SinOsc's."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Take the code required to generate one stereo array of SinOsc's with a pseudo-random frequency. Put it in a function, and declare a variable for it (I used the name \"func\")."
+msgid ""
+"Take the code required to generate one stereo array of SinOsc's with a "
+"pseudo-random frequency. Put it in a function, and declare a variable for it"
+" (I used the name \"func\")."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Now remove the frequency1 (etc.) variables, and change the sinosc1 (etc.) variables to use the new function. Make sure that the code still works in the same way. It's much easier to troubleshoot problems when you make only one change at a time!"
+msgid ""
+"Now remove the frequency1 (etc.) variables, and change the sinosc1 (etc.) "
+"variables to use the new function. Make sure that the code still works in "
+"the same way. It's much easier to troubleshoot problems when you make only "
+"one change at a time!"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "At this point, we've eliminated ten lines of code, and made ten more lines easier to read by eliminating the subtle copy-and-paste changes. If you can't manage to work it out, refer to the FSC_method_1.sc file for tips."
+msgid ""
+"At this point, we've eliminated ten lines of code, and made ten more lines "
+"easier to read by eliminating the subtle copy-and-paste changes. If you "
+"can't manage to work it out, refer to the FSC_method_1.sc file for tips."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "We can eliminate ten more lines of code by using a loop with an array. Let's change only one thing at a time, to make it easier to find a problem, if it should arise. Start by commenting out the lines which declare and initialize sinosc1, sinosc2, and so on."
+msgid ""
+"We can eliminate ten more lines of code by using a loop with an array. Let's"
+" change only one thing at a time, to make it easier to find a problem, if it"
+" should arise. Start by commenting out the lines which declare and "
+"initialize sinosc1, sinosc2, and so on."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Then declare a ten-element array in the same place: <code>var sinosc = Array.new( 10 );</code>"
+msgid ""
+"Then declare a ten-element array in the same place: <code>var sinosc = "
+"Array.new( 10 );</code>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The next part is to write code to get ten func.value's into the array. To add something to an array in SuperCollider, we use the \"add\" method: <code>sinosc.add( thing_to_add );</code> There is a small wrinkle to this, described in the SuperCollider documentation. It's not important to understand (for musical reasons, that is - it is explained on this help page), but when you add an element to an array, you <emphasis>should</emphasis> re-assign the array to the variable-name: <code>sinosc = sinosc.add( thing_to_add )</code> Basically it works out like this: if you don't re-assign, then there is a chance that the array name only includes the elements that were in the array before the \"add\" command was run."
+msgid ""
+"The next part is to write code to get ten func.value's into the array. To "
+"add something to an array in SuperCollider, we use the \"add\" method: "
+"<code>sinosc.add( thing_to_add );</code> There is a small wrinkle to this, "
+"described in the SuperCollider documentation. It's not important to "
+"understand (for musical reasons, that is - it is explained on this help "
+"page), but when you add an element to an array, you "
+"<emphasis>should</emphasis> re-assign the array to the variable-name: "
+"<code>sinosc = sinosc.add( thing_to_add )</code> Basically it works out like"
+" this: if you don't re-assign, then there is a chance that the array name "
+"only includes the elements that were in the array before the \"add\" command"
+" was run."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "With this, we are able to eliminate a further level of redundancy in the code. Ten exact copies of <code>sinosc = sinosc.add( { func.value; } );</code> Now, ten lines that look almost identical actually are identical. Furthermore, we don't have to worry about assigning unique names, or even about index numbers, as in other programming languages. SuperCollider does this for us!"
+msgid ""
+"With this, we are able to eliminate a further level of redundancy in the "
+"code. Ten exact copies of <code>sinosc = sinosc.add( { func.value; } "
+");</code> Now, ten lines that look almost identical actually are identical. "
+"Furthermore, we don't have to worry about assigning unique names, or even "
+"about index numbers, as in other programming languages. SuperCollider does "
+"this for us!"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This still won't work, because we need to adjust the rest of the function to work with this array. The scheduling commands be changed to look something like this: <code>t_c.sched( 1, { so1 = sinosc[0].play; } );</code> Since arrays are indexed from 0 to 9, those are the index numbers of the first ten objects in the array."
+msgid ""
+"This still won't work, because we need to adjust the rest of the function to"
+" work with this array. The scheduling commands be changed to look something "
+"like this: <code>t_c.sched( 1, { so1 = sinosc[0].play; } );</code> Since "
+"arrays are indexed from 0 to 9, those are the index numbers of the first ten"
+" objects in the array."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Remember that you need to put all of your variable declarations <emphasis>before</emphasis> anything else."
+msgid ""
+"Remember that you need to put all of your variable declarations "
+"<emphasis>before</emphasis> anything else."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "It <emphasis>should</emphasis> still work. Let's use a loop to get rid of the ten identical lines."
+msgid ""
+"It <emphasis>should</emphasis> still work. Let's use a loop to get rid of "
+"the ten identical lines."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "In SuperCollider, <code><replaceable>x</replaceable>.do( <replaceable>f</replaceable> );</code> will send the <literal>value</literal> message to the function <literal>f</literal> <literal>x</literal> times. So, to do this ten times, we should write <code>10.do( { sinosc = sinosc.add( { func.value; } ); } );</code> and get rid of the other ones. This is very powerful for simple things that must be done multiple times, because you are definitely not going to make a copy-and-paste error, because it's easy to see what is being executed, and because it's easy to see how many times it is being executed."
+msgid ""
+"In SuperCollider, <code><replaceable>x</replaceable>.do( "
+"<replaceable>f</replaceable> );</code> will send the "
+"<literal>value</literal> message to the function <literal>f</literal> "
+"<literal>x</literal> times. So, to do this ten times, we should write "
+"<code>10.do( { sinosc = sinosc.add( { func.value; } ); } );</code> and get "
+"rid of the other ones. This is very powerful for simple things that must be "
+"done multiple times, because you are definitely not going to make a copy-"
+"and-paste error, because it's easy to see what is being executed, and "
+"because it's easy to see how many times it is being executed."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Now let's reduce the repetitiveness of the scheduling. First, replace so1, so2, etc. with a ten-element array. Test it to ensure that the code still works."
+msgid ""
+"Now let's reduce the repetitiveness of the scheduling. First, replace so1, "
+"so2, etc. with a ten-element array. Test it to ensure that the code still "
+"works."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Getting the next two loops working is a little bit more complicated. We know how to run the exact same code in a loop, but we don't know how to change it subtly (by supplying different index numbers for the array, for example). Thankfully, SuperCollider provides a way to keep track of how many times the function in a loop has already been run. The first argument given to a function in a loop is the number of times that the function has <emphasis>already</emphasis> been executed. The first time it is run, the function receives a 0; if we're using a <code>10.do( <replaceable>something</replaceable> );</code> loop, then the last time the function is run, it receives a 9 because the function has already been executed 9 times. Since our ten-element array is indexed from 0 to 9, this works perfectly for us."
+msgid ""
+"Getting the next two loops working is a little bit more complicated. We know"
+" how to run the exact same code in a loop, but we don't know how to change "
+"it subtly (by supplying different index numbers for the array, for example)."
+" Thankfully, SuperCollider provides a way to keep track of how many times "
+"the function in a loop has already been run. The first argument given to a "
+"function in a loop is the number of times that the function has "
+"<emphasis>already</emphasis> been executed. The first time it is run, the "
+"function receives a 0; if we're using a <code>10.do( "
+"<replaceable>something</replaceable> );</code> loop, then the last time the "
+"function is run, it receives a 9 because the function has already been "
+"executed 9 times. Since our ten-element array is indexed from 0 to 9, this "
+"works perfectly for us."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The code to free is shorter: <code>10.do( { arg index; t_c.sched( 51, { so[index].free; } ); } );</code> This can look confusing, especially written in one line, like it is. If it helps, you might want to write it like this instead:"
+msgid ""
+"The code to free is shorter: <code>10.do( { arg index; t_c.sched( 51, { "
+"so[index].free; } ); } );</code> This can look confusing, especially written"
+" in one line, like it is. If it helps, you might want to write it like this "
+"instead:"
 msgstr ""
 
 #. Tag: programlisting
@@ -762,7 +1121,13 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The next step is to simplify the original scheduling calls in a similar way, but it's slightly more complicated because we have to schedule a different number of measures for each call. With a little math, this is also not a problem - it's just a simple linear equation: <literal>number_of_measures = 5 * array_index + 1</literal> Try to write this loop by yourself, before going to the next step."
+msgid ""
+"The next step is to simplify the original scheduling calls in a similar way,"
+" but it's slightly more complicated because we have to schedule a different "
+"number of measures for each call. With a little math, this is also not a "
+"problem - it's just a simple linear equation: <literal>number_of_measures = "
+"5 * array_index + 1</literal> Try to write this loop by yourself, before "
+"going to the next step."
 msgstr ""
 
 #. Tag: para
@@ -772,22 +1137,33 @@ msgstr ""
 
 #. Tag: programlisting
 #, no-c-format
-msgid "10.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( sinosc[index].play; ); } ); } );"
+msgid ""
+"10.do( { arg index; t_c.sched( ((5*index)+1), { so = so.add( "
+"sinosc[index].play; ); } ); } );"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "which includes some extra parentheses to ensure that the math is computed in the right order."
+msgid ""
+"which includes some extra parentheses to ensure that the math is computed in"
+" the right order."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The code is already much shorter, easier to understand, and easier to expand or change. There is one further optimzation that we can easily make: get rid of the sinosc array. This simply involves replacing <code>sinosc[index]</code> with what all of its elements are: <code>{ func.value; }</code>"
+msgid ""
+"The code is already much shorter, easier to understand, and easier to expand"
+" or change. There is one further optimzation that we can easily make: get "
+"rid of the sinosc array. This simply involves replacing "
+"<code>sinosc[index]</code> with what all of its elements are: <code>{ "
+"func.value; }</code>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The resulting program is a little different from what ended up in FSC_method_1.sc, but produces the same output. What I have is this:"
+msgid ""
+"The resulting program is a little different from what ended up in "
+"FSC_method_1.sc, but produces the same output. What I have is this:"
 msgstr ""
 
 #. Tag: programlisting
@@ -813,7 +1189,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Finally, assign this Function to a variable (called \"secondPart\", perhaps), and remove the \"value\" Function-call. If we leave that in, the Function will execute before the rest of the program begins!"
+msgid ""
+"Finally, assign this Function to a variable (called \"secondPart\", "
+"perhaps), and remove the \"value\" Function-call. If we leave that in, the "
+"Function will execute before the rest of the program begins!"
 msgstr ""
 
 #. Tag: title
@@ -823,12 +1202,22 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This section describes the reasons for the differences between the second part's Function that was just created, and the Function that appears in \"FSC_method_1-short.sc\". It all comes down to this: the current solution is tailor-made for this particular program, and would require significant adaptation to be used anywhere else; I want to re-design the Function so that it can be used anywhere to begin with, while still defaulting to the behaviour desired for this program."
+msgid ""
+"This section describes the reasons for the differences between the second "
+"part's Function that was just created, and the Function that appears in "
+"\"FSC_method_1-short.sc\". It all comes down to this: the current solution "
+"is tailor-made for this particular program, and would require significant "
+"adaptation to be used anywhere else; I want to re-design the Function so "
+"that it can be used anywhere to begin with, while still defaulting to the "
+"behaviour desired for this program."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "You can skip this section, and return later. The actions for the rest of the tutorial remain unchanged whether you do or do not make the modifications in this section."
+msgid ""
+"You can skip this section, and return later. The actions for the rest of the"
+" tutorial remain unchanged whether you do or do not make the modifications "
+"in this section."
 msgstr ""
 
 #. Tag: para
@@ -860,12 +1249,25 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This Function is the perfect solution if you want ten pseudo-random pitches between 200 Hz and 800 Hz, and a five-second pause between each one. If you want nine or eleven pitches, if you want them to eb between 60 Hz and 80Hz, if you want a six-second pause between each - you would have to modify the Function. If you don't remember how it works, or if you give it to a friend, you're going to have to figure out how it works before you modify it. This is not an ideal solution."
+msgid ""
+"This Function is the perfect solution if you want ten pseudo-random pitches "
+"between 200 Hz and 800 Hz, and a five-second pause between each one. If you "
+"want nine or eleven pitches, if you want them to eb between 60 Hz and 80Hz, "
+"if you want a six-second pause between each - you would have to modify the "
+"Function. If you don't remember how it works, or if you give it to a friend,"
+" you're going to have to figure out how it works before you modify it. This "
+"is not an ideal solution."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Let's solve these problems one at a time, starting with allowing a different number of SinOsc synths to be created. We know that we'll have to create an argument, and that it will have to be used wherever we need the number of SinOsc's. Also, to preserve functionality, we'll make a default assignment of 10. Try to accomplish this yourself, making sure to test your Function so that you know it works. Here's what I did:"
+msgid ""
+"Let's solve these problems one at a time, starting with allowing a different"
+" number of SinOsc synths to be created. We know that we'll have to create an"
+" argument, and that it will have to be used wherever we need the number of "
+"SinOsc's. Also, to preserve functionality, we'll make a default assignment "
+"of 10. Try to accomplish this yourself, making sure to test your Function so"
+" that you know it works. Here's what I did:"
 msgstr ""
 
 #. Tag: programlisting
@@ -894,12 +1296,26 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The \"do\" loop doesn't need a constant number; it's fine with a variable. What happens when you pass a bad argument, like a string? This would be an easy way to sabotage your program, and in almost any other programming context it would concern us, but this is just audio programming. If somebody is going to try to create \"cheese\" SinOsc's, it's their own fault for mis-using the Function."
+msgid ""
+"The \"do\" loop doesn't need a constant number; it's fine with a variable. "
+"What happens when you pass a bad argument, like a string? This would be an "
+"easy way to sabotage your program, and in almost any other programming "
+"context it would concern us, but this is just audio programming. If somebody"
+" is going to try to create \"cheese\" SinOsc's, it's their own fault for "
+"mis-using the Function."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Now let's modify the Function so that we can adjust the range of frequencies that the Function will generate. We know that we'll need two more arguments, and that they'll have to be used in the equation to calculate the frequency. But we'll also need to do a bit of arithmetic, because of the way the \"rand\" Function works (actually we don't - see the \"rand\" Function's help file). Also, to preserve functionality, we'll make default assignments of 200 and 800. Try to accomplish this yourself, making sure that you test the Function so you know it works. Here's what I did:"
+msgid ""
+"Now let's modify the Function so that we can adjust the range of frequencies"
+" that the Function will generate. We know that we'll need two more "
+"arguments, and that they'll have to be used in the equation to calculate the"
+" frequency. But we'll also need to do a bit of arithmetic, because of the "
+"way the \"rand\" Function works (actually we don't - see the \"rand\" "
+"Function's help file). Also, to preserve functionality, we'll make default "
+"assignments of 200 and 800. Try to accomplish this yourself, making sure "
+"that you test the Function so you know it works. Here's what I did:"
 msgstr ""
 
 #. Tag: programlisting
@@ -931,17 +1347,28 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Notice that I changed the name of the variables, and the indentation in the \"func\" sub-Function, to make it easier to read. This isn't a particularly difficult change."
+msgid ""
+"Notice that I changed the name of the variables, and the indentation in the "
+"\"func\" sub-Function, to make it easier to read. This isn't a particularly "
+"difficult change."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Now let's allow the user to set the length of time between each SinOsc appears. We will need one more argument, used in the scheduling command. Try to accomplish this yourself, and if you run into difficulty, the next paragraph contains some tips."
+msgid ""
+"Now let's allow the user to set the length of time between each SinOsc "
+"appears. We will need one more argument, used in the scheduling command. Try"
+" to accomplish this yourself, and if you run into difficulty, the next "
+"paragraph contains some tips."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The change to the \"do\" loop which schedules the SinOsc's to play is almost trivial. My new argument is called \"pause_length\", (meaning \"the length of the pause, in seconds, between adding each SinOsc\"), so I get this modification: number_of_SinOscs.do("
+msgid ""
+"The change to the \"do\" loop which schedules the SinOsc's to play is almost"
+" trivial. My new argument is called \"pause_length\", (meaning \"the length "
+"of the pause, in seconds, between adding each SinOsc\"), so I get this "
+"modification: number_of_SinOscs.do("
 msgstr ""
 
 #. Tag: programlisting
@@ -956,7 +1383,17 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Again, I changed the indentation, and the names of the variables in this sub-Function. Recall that the \"1+\" portion is designed to add a one-second pause to the start of the Function's execution. The problem comes in the next \"do\" loop, where we have to know how the number of beats from now will be five seconds after the last SinOsc is added. We'll have to calculate it, so I added a variable to store the value after it's calculated. This also allows us to return it, as a convenience to the Function that called this one, so that it knows how long until this Function is finished. Try adding this yourself, then testing the Function to ensure that it works. I got this:"
+msgid ""
+"Again, I changed the indentation, and the names of the variables in this "
+"sub-Function. Recall that the \"1+\" portion is designed to add a one-second"
+" pause to the start of the Function's execution. The problem comes in the "
+"next \"do\" loop, where we have to know how the number of beats from now "
+"will be five seconds after the last SinOsc is added. We'll have to calculate"
+" it, so I added a variable to store the value after it's calculated. This "
+"also allows us to return it, as a convenience to the Function that called "
+"this one, so that it knows how long until this Function is finished. Try "
+"adding this yourself, then testing the Function to ensure that it works. I "
+"got this:"
 msgstr ""
 
 #. Tag: programlisting
@@ -1001,12 +1438,22 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "I decided to \"invert\" the \"free-ing\" of the SinOsc's. Rather than scheduling number_of_SinOscs Function-calls at some point in the future, I decided to schedule one thing: a \"do\" loop that does the work. The indentation looks strange, but sometimes there's not much you can do about that. The \"when_to_stop\" variable must be the last thing in the Function, so that the interpreter returns it to the Function's caller."
+msgid ""
+"I decided to \"invert\" the \"free-ing\" of the SinOsc's. Rather than "
+"scheduling number_of_SinOscs Function-calls at some point in the future, I "
+"decided to schedule one thing: a \"do\" loop that does the work. The "
+"indentation looks strange, but sometimes there's not much you can do about "
+"that. The \"when_to_stop\" variable must be the last thing in the Function, "
+"so that the interpreter returns it to the Function's caller."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "In order to retain the \"bare minimum\" robustness to be used elsewhere, we can't rely on the \"TempoClock.default\" clock having the tempo we expect, and we certainly can't rely on it being declared as \"t_c\". The solution is quite easy: create a new TempoClock within the Function."
+msgid ""
+"In order to retain the \"bare minimum\" robustness to be used elsewhere, we "
+"can't rely on the \"TempoClock.default\" clock having the tempo we expect, "
+"and we certainly can't rely on it being declared as \"t_c\". The solution is"
+" quite easy: create a new TempoClock within the Function."
 msgstr ""
 
 #. Tag: programlisting
@@ -1016,57 +1463,98 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "We could hypothetically use the \"SystemClock\", since we're measuring time strictly in seconds. But, using a TempoClock is preferred for two reasons:"
+msgid ""
+"We could hypothetically use the \"SystemClock\", since we're measuring time "
+"strictly in seconds. But, using a TempoClock is preferred for two reasons:"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "It has the word \"tempo\" in its name, and it's designed for scheduling musical events; the \"SystemClock\" is for system events."
+msgid ""
+"It has the word \"tempo\" in its name, and it's designed for scheduling "
+"musical events; the \"SystemClock\" is for system events."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "We can easily extend this in the future to use a \"TempoClock\" set to a different tempo."
+msgid ""
+"We can easily extend this in the future to use a \"TempoClock\" set to a "
+"different tempo."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "There are some further ways to improve this Function, making it more robust (meaning that it will work consistently in a greater range of circumstances). Here are things that could be done to improve the Function, with an explanation of why it would make the Function more robust:"
+msgid ""
+"There are some further ways to improve this Function, making it more robust "
+"(meaning that it will work consistently in a greater range of "
+"circumstances). Here are things that could be done to improve the Function, "
+"with an explanation of why it would make the Function more robust:"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Made the clock an argument, allowing this Function to schedule events on a clock belonging to some other Function. Since all clocks respond to the \"sched\" message, we could even accept the \"SystemClock\" or \"AppClock\". The default value would still be <code>TempoClock.new</code>"
+msgid ""
+"Made the clock an argument, allowing this Function to schedule events on a "
+"clock belonging to some other Function. Since all clocks respond to the "
+"\"sched\" message, we could even accept the \"SystemClock\" or \"AppClock\"."
+" The default value would still be <code>TempoClock.new</code>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Use absolute scheduling rather than relative scheduling. Depending on how long the server and interpreter take to process the commands, it could lead to significant delays if the Function is asked to create a lot of SinOsc's."
+msgid ""
+"Use absolute scheduling rather than relative scheduling. Depending on how "
+"long the server and interpreter take to process the commands, it could lead "
+"to significant delays if the Function is asked to create a lot of SinOsc's."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Create one SynthDef (with an argument) for all of the synths. Especially when asked to create a large numbe of SinOsc's, this will lead to faster processing and lower memory consumption. On the other hand, it increases the complexity of the code a little bit, requiring more testing."
+msgid ""
+"Create one SynthDef (with an argument) for all of the synths. Especially "
+"when asked to create a large numbe of SinOsc's, this will lead to faster "
+"processing and lower memory consumption. On the other hand, it increases the"
+" complexity of the code a little bit, requiring more testing."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Each SinOsc is currently created with the same \"mul\" argument, regardless of how many SinOsc's are created. Set as it is, when asked to create 51 SinOsc's, the signal would become distorted. If you're puzzled about why 51, remember that for each SinOsc the Function is asked to create, it currently creates two: one for the left and one for the right audio channel."
+msgid ""
+"Each SinOsc is currently created with the same \"mul\" argument, regardless "
+"of how many SinOsc's are created. Set as it is, when asked to create 51 "
+"SinOsc's, the signal would become distorted. If you're puzzled about why 51,"
+" remember that for each SinOsc the Function is asked to create, it currently"
+" creates two: one for the left and one for the right audio channel."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Allow the SynthDef to be passed in as an argument, with the requirement that such a SynthDef would need to accept the \"freq\" and \"mul\" arguments. This is going out on a limb a bit, and requires careful explanation in comments to ensure that the Function is used correctly. You will also need to test what happens if the Function is used incorrectly. Crashing the server application is a bad thing to do, especially without a warning."
+msgid ""
+"Allow the SynthDef to be passed in as an argument, with the requirement that"
+" such a SynthDef would need to accept the \"freq\" and \"mul\" arguments. "
+"This is going out on a limb a bit, and requires careful explanation in "
+"comments to ensure that the Function is used correctly. You will also need "
+"to test what happens if the Function is used incorrectly. Crashing the "
+"server application is a bad thing to do, especially without a warning."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Use a Bus to cut the number of synths in half, so that one synth will be sent both to the left and right channels. Alternatively, you could add special stereo effects."
+msgid ""
+"Use a Bus to cut the number of synths in half, so that one synth will be "
+"sent both to the left and right channels. Alternatively, you could add "
+"special stereo effects."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "As you can see, there are a lot of ways to improve this Function even further; there are almost certainly more ways than listed here. Before you distribute your Function, you would want to be sure to test it thoroughly, and add helpful comments so that the Function's users know how to make the Function do what they want. These are both large topics in themselves, so I won't give them any more attention here."
+msgid ""
+"As you can see, there are a lot of ways to improve this Function even "
+"further; there are almost certainly more ways than listed here. Before you "
+"distribute your Function, you would want to be sure to test it thoroughly, "
+"and add helpful comments so that the Function's users know how to make the "
+"Function do what they want. These are both large topics in themselves, so I "
+"won't give them any more attention here."
 msgstr ""
 
 #. Tag: title
@@ -1076,57 +1564,103 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Now it is time to join the two parts, and ensure a clean transition between them. My reasons for building the first part as a SynthDef, but the second part as a function are explained in the FSC_part_1.sc file. Additional reasons include my desire to illustrate the use of both possibilities, and because the second part stops itself (so it can be a function which is executed and forgotten), whereas the first part does not stop itself (so we'll need to hold onto the synth, to stop it ourselves)."
+msgid ""
+"Now it is time to join the two parts, and ensure a clean transition between "
+"them. My reasons for building the first part as a SynthDef, but the second "
+"part as a function are explained in the FSC_part_1.sc file. Additional "
+"reasons include my desire to illustrate the use of both possibilities, and "
+"because the second part stops itself (so it can be a function which is "
+"executed and forgotten), whereas the first part does not stop itself (so "
+"we'll need to hold onto the synth, to stop it ourselves)."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "I copy-and-pasted both parts into a new file, leaving the other original code in tact, in case I want to build on them in the future. Be sure to copy over the <code>var t_c = TempoClock.default;</code> definition from the second part."
+msgid ""
+"I copy-and-pasted both parts into a new file, leaving the other original "
+"code in tact, in case I want to build on them in the future. Be sure to copy"
+" over the <code>var t_c = TempoClock.default;</code> definition from the "
+"second part."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "By default, the two parts would both start playing at the same time (give it a try!) This isn't what we want, however, so you'll need to erase the \"play\" command from both parts' functions. We'll also need some way to refer to them, so declare the second part as a variable (I've used the name, \"secondPart,\"), but don't worry about the first part yet. Don't forget the semicolon at the end of the function declaration!"
+msgid ""
+"By default, the two parts would both start playing at the same time (give it"
+" a try!) This isn't what we want, however, so you'll need to erase the "
+"\"play\" command from both parts' functions. We'll also need some way to "
+"refer to them, so declare the second part as a variable (I've used the name,"
+" \"secondPart,\"), but don't worry about the first part yet. Don't forget "
+"the semicolon at the end of the function declaration!"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "To join the two parts, I'm going to use function that does all the scheduling. This is similar to a \"main\" function, which are used in most programming languages. Although they are optional in SuperCollider, it just makes sense to use one function that does all the scheduling, and nothing else: that way, when you have problems with the scheduling, or you want to make an adjustment or addition to the program, you can easily find the place where the scheduling happens. If your scheduling commands were spread out through the source file, it would be much more difficult to find and modify the scheduling commands."
+msgid ""
+"To join the two parts, I'm going to use function that does all the "
+"scheduling. This is similar to a \"main\" function, which are used in most "
+"programming languages. Although they are optional in SuperCollider, it just "
+"makes sense to use one function that does all the scheduling, and nothing "
+"else: that way, when you have problems with the scheduling, or you want to "
+"make an adjustment or addition to the program, you can easily find the place"
+" where the scheduling happens. If your scheduling commands were spread out "
+"through the source file, it would be much more difficult to find and modify "
+"the scheduling commands."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Our first job is to determine which variables we'll need to use: just one, which will be assigned the currently-running \\FirstPart Synth. Also, if you didn't previously assign \"TempoClock.default\" to the variable \"t_c\", then it makes sense to do this now."
+msgid ""
+"Our first job is to determine which variables we'll need to use: just one, "
+"which will be assigned the currently-running \\FirstPart Synth. Also, if you"
+" didn't previously assign \"TempoClock.default\" to the variable \"t_c\", "
+"then it makes sense to do this now."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The next thing our function must do is guarantee that we're going to have the right tempo. Use the \"tempo_\" Function with an argument in beats-per-second, to assign \"TempoClock.default\" a tempo of one beat per second."
+msgid ""
+"The next thing our function must do is guarantee that we're going to have "
+"the right tempo. Use the \"tempo_\" Function with an argument in beats-per-"
+"second, to assign \"TempoClock.default\" a tempo of one beat per second."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The next and last thing will be to schedule our sounds. First, we need to determine which events will need to be scheduled, and then at what times."
+msgid ""
+"The next and last thing will be to schedule our sounds. First, we need to "
+"determine which events will need to be scheduled, and then at what times."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Since \\FirstPart is a SynthDef, we'll need to start it and stop it ourselves. Since it happens two times in the intended program, we'll need to do it twice."
+msgid ""
+"Since \\FirstPart is a SynthDef, we'll need to start it and stop it "
+"ourselves. Since it happens two times in the intended program, we'll need to"
+" do it twice."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "secondPart is a Function, and it stops itself when it's finished. We'll need to start it once and let it go."
+msgid ""
+"secondPart is a Function, and it stops itself when it's finished. We'll need"
+" to start it once and let it go."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Just in case something takes a while to process, we'll start the first \\FirstPart on beat one, rather than beat zero. We'll let it play for 60 seconds the first time, and 30 seconds the second time."
+msgid ""
+"Just in case something takes a while to process, we'll start the first "
+"\\FirstPart on beat one, rather than beat zero. We'll let it play for 60 "
+"seconds the first time, and 30 seconds the second time."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "In order to schedule the second appearance of \\FirstPart, we need to know how long secondPart will take. Let's inspect the function and calculate how many beats it will take."
+msgid ""
+"In order to schedule the second appearance of \\FirstPart, we need to know "
+"how long secondPart will take. Let's inspect the function and calculate how "
+"many beats it will take."
 msgstr ""
 
 #. Tag: para
@@ -1151,7 +1685,11 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This gives us <code>1 + ( 5 * 9 ) + 5 = 51</code>. Why <code>5 * 9</code>? Because although there are ten SinOsc's, there are only nine spaces between them; the last five-second space happens <emphasis>after</emphasis> the last <classname>SinOsc</classname>."
+msgid ""
+"This gives us <code>1 + ( 5 * 9 ) + 5 = 51</code>. Why <code>5 * 9</code>? "
+"Because although there are ten SinOsc's, there are only nine spaces between "
+"them; the last five-second space happens <emphasis>after</emphasis> the last"
+" <classname>SinOsc</classname>."
 msgstr ""
 
 #. Tag: para
@@ -1186,7 +1724,9 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Try to schedule the events for yourself, then test your program to make sure that it works as you intended. Here's what I wrote:"
+msgid ""
+"Try to schedule the events for yourself, then test your program to make sure"
+" that it works as you intended. Here's what I wrote:"
 msgstr ""
 
 #. Tag: programlisting
@@ -1202,5 +1742,13 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Why is the \"nil\" required after \"secondPart\"? Because that function returns a number. As you know, any scheduled function which returns a number will re-schedule itself to run that many beats after the previous execution began. Since \"secondPart\" returns the number of seconds it takes to finish, it will always be re-started as soon as it finishes. Including \"nil\" disallows this repetition."
+msgid ""
+"Why is the \"nil\" required after \"secondPart\"? Because that function "
+"returns a number. As you know, any scheduled function which returns a number"
+" will re-schedule itself to run that many beats after the previous execution"
+" began. Since \"secondPart\" returns the number of seconds it takes to "
+"finish, it will always be re-started as soon as it finishes. Including "
+"\"nil\" disallows this repetition."
 msgstr ""
+
+
diff --git a/ja-JP/SuperCollider/SuperCollider-Exporting.po b/ja-JP/SuperCollider/SuperCollider-Exporting.po
index 251fc99..80467cb 100644
--- a/ja-JP/SuperCollider/SuperCollider-Exporting.po
+++ b/ja-JP/SuperCollider/SuperCollider-Exporting.po
@@ -1,17 +1,17 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-09-08T03:01:43\n"
-"PO-Revision-Date: 2010-09-07T21:07:00\n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:04\n"
+"PO-Revision-Date: 2011-07-28 21:44+0000\n"
 "Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
@@ -20,7 +20,10 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This section explains one way to record your SuperCollider programs, so that you can share them with friends who don't have SuperCollider on their computer."
+msgid ""
+"This section explains one way to record your SuperCollider programs, so that"
+" you can share them with friends who don't have SuperCollider on their "
+"computer."
 msgstr ""
 
 #. Tag: title
@@ -30,7 +33,16 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "SuperCollider allows you to synthesze audio output to an audio file. Doing this requires using OSC commands on the server, the <classname>DiskOut</classname> UGen, the <classname>Buffer</classname> UGen, and other relatively advanced concepts. The built-in <citetitle>DiskOut</citetitle> help file, available from <ulink url=\"file:///usr/share/SuperCollider/Help/UGens/Playback%20and%20Recording/DiskOut.html\" /> on Fedora Linux systems, contains some help with the <classname>DiskOut</classname> UGen, and links to other useful help files. This method is not further discussed here."
+msgid ""
+"SuperCollider allows you to synthesze audio output to an audio file. Doing "
+"this requires using OSC commands on the server, the "
+"<classname>DiskOut</classname> UGen, the <classname>Buffer</classname> UGen,"
+" and other relatively advanced concepts. The built-in "
+"<citetitle>DiskOut</citetitle> help file, available from <ulink "
+"url=\"file:///usr/share/SuperCollider/Help/UGens/Playback%20and%20Recording/DiskOut.html\""
+" /> on Fedora Linux systems, contains some help with the "
+"<classname>DiskOut</classname> UGen, and links to other useful help files. "
+"This method is not further discussed here."
 msgstr ""
 
 #. Tag: title
@@ -40,75 +52,130 @@ msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Since <systemitem>SuperCollider</systemitem> outputs its audio signals to the JACK sound server, any other <systemitem>JACK</systemitem>-aware program has the opportunity to record, process, and use them. This portion of the tutorial will help you to record SuperCollider's output in Ardour. Due to the advanced nature of SuperCollider, the text assumes that you have a basic knowledge of how to work with Ardour. If not, you may find it helpful to refer to <xref linkend=\"chap-Musicians_Guide-Ardour\" />."
+msgid ""
+"Since <systemitem>SuperCollider</systemitem> outputs its audio signals to "
+"the JACK sound server, any other <systemitem>JACK</systemitem>-aware program"
+" has the opportunity to record, process, and use them. This portion of the "
+"tutorial will help you to record SuperCollider's output in Ardour. Due to "
+"the advanced nature of SuperCollider, the text assumes that you have a basic"
+" knowledge of how to work with Ardour. If not, you may find it helpful to "
+"refer to <xref linkend=\"chap-Musicians_Guide-Ardour\" />."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "This procedure will help you to use <application>Ardour</application> to record the <application>SuperCollider</application> output."
+msgid ""
+"This procedure will help you to use <application>Ardour</application> to "
+"record the <application>SuperCollider</application> output."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Close unnecessary applications and stop unnecessary processes, which will help to reduce the risk of a buffer overrun or underrun, which cause an audible break in audio. If you are viewing this document in a web browser, you may want to copy-and-paste it into a simple text editor, or <application>GEdit</application>, if you are already using that."
+msgid ""
+"Close unnecessary applications and stop unnecessary processes, which will "
+"help to reduce the risk of a buffer overrun or underrun, which cause an "
+"audible break in audio. If you are viewing this document in a web browser, "
+"you may want to copy-and-paste it into a simple text editor, or "
+"<application>GEdit</application>, if you are already using that."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Use <application>QjackCtl</application> to set up <systemitem>JACK</systemitem> with the right audio interface and configuration options."
+msgid ""
+"Use <application>QjackCtl</application> to set up "
+"<systemitem>JACK</systemitem> with the right audio interface and "
+"configuration options."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "In order to get a clean start, restart the <application>SuperCollider</application> interpreter in <application>GEdit</application>, then start the server."
+msgid ""
+"In order to get a clean start, restart the "
+"<application>SuperCollider</application> interpreter in "
+"<application>GEdit</application>, then start the server."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Open <application>Ardour</application> with a new session, and set up the rulers and timeline as desired. Seconds is usually the most appropriate unit with which to measure a <application>SuperCollider</application> recording."
+msgid ""
+"Open <application>Ardour</application> with a new session, and set up the "
+"rulers and timeline as desired. Seconds is usually the most appropriate unit"
+" with which to measure a <application>SuperCollider</application> recording."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Add a stereo track (or however many channels desired), and rename it it \"SuperCollider.\""
+msgid ""
+"Add a stereo track (or however many channels desired), and rename it it "
+"\"SuperCollider.\""
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Use Ardour (the \"Track/Bus Inspector\" window) or <application>QjackCtl</application> to connect the \"SuperCollider\" track to SuperCollider's outputs."
+msgid ""
+"Use Ardour (the \"Track/Bus Inspector\" window) or "
+"<application>QjackCtl</application> to connect the \"SuperCollider\" track "
+"to SuperCollider's outputs."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "You'll want to make sure that the <application>SuperCollider</application> output is also connected to your audio interface, so that you can hear the program as you progress. This is an example of multi-plexing. Changes to your audio interface's volume control will not affect the recording in Ardour."
+msgid ""
+"You'll want to make sure that the <application>SuperCollider</application> "
+"output is also connected to your audio interface, so that you can hear the "
+"program as you progress. This is an example of multi-plexing. Changes to "
+"your audio interface's volume control will not affect the recording in "
+"Ardour."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Arm the track and transport in <application>Ardour</application>. When you are ready, start the transport. It is not important to start SuperCollider as quickly as possible, since you can cut out the silence after the recording is made."
+msgid ""
+"Arm the track and transport in <application>Ardour</application>. When you "
+"are ready, start the transport. It is not important to start SuperCollider "
+"as quickly as possible, since you can cut out the silence after the "
+"recording is made."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Switch to <application>GEdit</application> and play the program that you want to record. If you make a mistake while starting the program, that's okay. We can always edit the recording after it's recorded."
+msgid ""
+"Switch to <application>GEdit</application> and play the program that you "
+"want to record. If you make a mistake while starting the program, that's "
+"okay. We can always edit the recording after it's recorded."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "Listen to the recording as it goes along. Use <application>QjackCtl</application> to make sure that you don't encounter a buffer underrun, and <application>Ardour</application> to make sure that you do not record a distorted signal."
+msgid ""
+"Listen to the recording as it goes along. Use "
+"<application>QjackCtl</application> to make sure that you don't encounter a "
+"buffer underrun, and <application>Ardour</application> to make sure that you"
+" do not record a distorted signal."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "When <application>SuperCollider</application> has finished playing your program, switch to <application>Ardour</application>, and stop the transport."
+msgid ""
+"When <application>SuperCollider</application> has finished playing your "
+"program, switch to <application>Ardour</application>, and stop the "
+"transport."
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "When you are ready to export, use the <application>Ardour</application> menu. <menuchoice><guimenu>Choose Session</guimenu><guisubmenu>Export</guisubmenu><guimenuitem>Export session to audio file</guimenuitem></menuchoice>"
+msgid ""
+"When you are ready to export, use the <application>Ardour</application> "
+"menu. <menuchoice><guimenu>Choose "
+"Session</guimenu><guisubmenu>Export</guisubmenu><guimenuitem>Export session "
+"to audio file</guimenuitem></menuchoice>"
 msgstr ""
 
 #. Tag: para
 #, no-c-format
-msgid "The audio file will be created in the \"export\" sub-directory of the session's directory."
+msgid ""
+"The audio file will be created in the \"export\" sub-directory of the "
+"session's directory."
 msgstr ""
+
+
diff --git a/ja-JP/SuperCollider/SuperCollider.po b/ja-JP/SuperCollider/SuperCollider.po
index d6f9f0c..8f9d457 100644
--- a/ja-JP/SuperCollider/SuperCollider.po
+++ b/ja-JP/SuperCollider/SuperCollider.po
@@ -1,402 +1,697 @@
-#
 # AUTHOR <EMAIL at ADDRESS>, YEAR.
-#
+# 
+#   <kanda.motohiro at gmail.com>, 2011.
 msgid ""
 msgstr ""
-"Project-Id-Version: 0\n"
-"POT-Creation-Date: 2010-11-02T04:33:09\n"
-"PO-Revision-Date: 2010-09-07T21:07:00\n"
-"Last-Translator: Automatically generated\n"
-"Language-Team: None\n"
-"Language: \n"
+"Project-Id-Version: Fedora Musicians' Guide\n"
+"POT-Creation-Date: 2011-04-13T20:45:04\n"
+"PO-Revision-Date: 2011-06-12 10:29+0000\n"
+"Last-Translator: kandamotohiro <kanda.motohiro at gmail.com>\n"
+"Language-Team: Japanese (Japan) (http://www.transifex.net/projects/p/fedora/team/ja_JP/)\n"
 "MIME-Version: 1.0\n"
-"Content-Type: application/x-publican; charset=UTF-8\n"
+"Content-Type: text/plain; charset=UTF-8\n"
 "Content-Transfer-Encoding: 8bit\n"
+"Language: ja_JP\n"
+"Plural-Forms: nplurals=1; plural=0\n"
 
 #. Tag: title
 #, no-c-format
 msgid "<application>SuperCollider</application>"
-msgstr ""
+msgstr "<application>SuperCollider</application>"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>SuperCollider</application> is many things, but above all:"
-msgstr ""
+msgid ""
+"<application>SuperCollider</application> is many things, but above all:"
+msgstr "<application>SuperCollider</application> はいろいろなものですが、何よりも："
 
 #. Tag: para
 #, no-c-format
 msgid "An audio synthesis engine,"
-msgstr ""
+msgstr "オーディオ合成エンジン、"
 
 #. Tag: para
 #, no-c-format
 msgid "A flexible programming language, and"
-msgstr ""
+msgstr "柔軟なプログラミング言語、そして"
 
 #. Tag: para
 #, no-c-format
-msgid "An interpreter to transform the programming language into synthesis instructions."
-msgstr ""
+msgid ""
+"An interpreter to transform the programming language into synthesis "
+"instructions."
+msgstr "プログラミング言語を合成命令に変換するインタプリタです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Requirements and Installation"
-msgstr ""
+msgstr "要件とインストール"
 
 #. Tag: title
 #, no-c-format
 msgid "Knowledge Requirements"
-msgstr ""
+msgstr "前提知識"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>SuperCollider</application> is by far the most difficult program described in the Fedora Musicians' Guide. The <application>SuperCollider</application> applications themselves are easy to use, and they work very well, but they are merely tools to help you accomplish something useful. <application>SuperCollider</application> has an extremely powerful and flexible programming language, with libraries designed primarily for audio processing. As often happens with computers, however, this added flexibility and power comes at the cost of requiring greater understanding and learning on the part of the user. Because <application>SuperCollider</application> involves actual programming, a rudimentary understanding of some principles and concepts of computer science will provide huge benefits to somebody learning the language. The following articles from Wikipedia are not mandatory reading, but you should refer to them as necessary while learning the language."
-msgstr ""
+msgid ""
+"<application>SuperCollider</application> is by far the most difficult "
+"program described in the Fedora Musicians' Guide. The "
+"<application>SuperCollider</application> applications themselves are easy to"
+" use, and they work very well, but they are merely tools to help you "
+"accomplish something useful. <application>SuperCollider</application> has an"
+" extremely powerful and flexible programming language, with libraries "
+"designed primarily for audio processing. As often happens with computers, "
+"however, this added flexibility and power comes at the cost of requiring "
+"greater understanding and learning on the part of the user. Because "
+"<application>SuperCollider</application> involves actual programming, a "
+"rudimentary understanding of some principles and concepts of computer "
+"science will provide huge benefits to somebody learning the language. The "
+"following articles from Wikipedia are not mandatory reading, but you should "
+"refer to them as necessary while learning the language."
+msgstr ""
+"<application>SuperCollider</application> "
+"はミュージシャンのガイドで記述されている中で、最も難しいプログラムでしょう。<application>SuperCollider</application>"
+" "
+"アプリケーション自身は使いやすく、とてもうまく動きます。しかし、それはあなたが何か役に立つことをするためのただの道具です。<application>SuperCollider</application>"
+" "
+"はとてもパワフルで柔軟なプログラミング言語を持ち、主にオーディオ処理のために設計されたライブラリを持ちます。しかし、コンピュータによくあることですが、この強力な柔軟性とパワーは、ユーザの側に、多くの理解と学習を必要とする、というコストを伴います。<application>SuperCollider</application>"
+" "
+"は実際のプログラミングを伴うので、この言語を学習しようという人にとって、コンピュータサイエンスのいくらかの原理と概念について基本的な理解があることは大いに役に立つでしょう。ウイキペディアからの以下の記事は必読ではありませんが、あなたが言語を学ぶ間、必要に応じて参照するとよいでしょう。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Computer Programming</citetitle> at <ulink url=\"http://en.wikipedia.org/wiki/Computer_programming\" />: You probably know what this is; it's what you'll be doing."
+msgid ""
+"<citetitle>Computer Programming</citetitle> at <ulink "
+"url=\"http://en.wikipedia.org/wiki/Computer_programming\" />: You probably "
+"know what this is; it's what you'll be doing."
 msgstr ""
+"<ulink url=\"http://en.wikipedia.org/wiki/Computer_programming\" /> の "
+"<citetitle>Computer Programming</citetitle> "
+"：あなたは多分、これが何かご存知でしょう。あなたがこれからやろうとしていることです。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Programming Language</citetitle> at <ulink url=\"http://en.wikipedia.org/wiki/Programming_language\" />: <application>SuperCollider</application> is a programming language."
+msgid ""
+"<citetitle>Programming Language</citetitle> at <ulink "
+"url=\"http://en.wikipedia.org/wiki/Programming_language\" />: "
+"<application>SuperCollider</application> is a programming language."
 msgstr ""
+"<ulink url=\"http://en.wikipedia.org/wiki/Programming_language\" /> の "
+"<citetitle>Programming Language</citetitle> ： "
+"<application>SuperCollider</application> はプログラミング言語です。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Interpreter</citetitle> at <ulink url=\"http://en.wikipedia.org/wiki/Interpreter_%28computing%29\" />: This reads your code, and sends commands to the server, which causes it to produce sound."
+msgid ""
+"<citetitle>Interpreter</citetitle> at <ulink "
+"url=\"http://en.wikipedia.org/wiki/Interpreter_%28computing%29\" />: This "
+"reads your code, and sends commands to the server, which causes it to "
+"produce sound."
 msgstr ""
+"<ulink url=\"http://en.wikipedia.org/wiki/Interpreter_%28computing%29\" /> の"
+" <citetitle>Interpreter</citetitle> ：これがあなたのコードを読んで、サーバにコマンドを送り、音を出させます。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Server</citetitle> at <ulink url=\"http://en.wikipedia.org/wiki/Server_%28computing%29\" />: <application>SuperCollider</application> has a 'server' component, which is operated by the interpreter."
+msgid ""
+"<citetitle>Server</citetitle> at <ulink "
+"url=\"http://en.wikipedia.org/wiki/Server_%28computing%29\" />: "
+"<application>SuperCollider</application> has a 'server' component, which is "
+"operated by the interpreter."
 msgstr ""
+"<ulink url=\"http://en.wikipedia.org/wiki/Server_%28computing%29\" /> の "
+"<citetitle>Server</citetitle> ： <application>SuperCollider</application> "
+"は'サーバ'コンポーネントを持ち、それはインタプリタが操作します。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Functional Programming</citetitle> at <ulink url=\"http://en.wikipedia.org/wiki/Functional_programming\" />: <application>SuperCollider</application> can be treated as a \"functional\" language."
+msgid ""
+"<citetitle>Functional Programming</citetitle> at <ulink "
+"url=\"http://en.wikipedia.org/wiki/Functional_programming\" />: "
+"<application>SuperCollider</application> can be treated as a \"functional\" "
+"language."
 msgstr ""
+"<ulink url=\"http://en.wikipedia.org/wiki/Functional_programming\" /> の "
+"<citetitle>Functional Programming</citetitle> ： "
+"<application>SuperCollider</application> は \"関数型 \"言語であるといえます。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Imperative Programming</citetitle> at <ulink url=\"http://en.wikipedia.org/wiki/Imperative_programming\" />: <application>SuperCollider</application> can be treated as an \"imperative\" language."
+msgid ""
+"<citetitle>Imperative Programming</citetitle> at <ulink "
+"url=\"http://en.wikipedia.org/wiki/Imperative_programming\" />: "
+"<application>SuperCollider</application> can be treated as an \"imperative\""
+" language."
 msgstr ""
+"<ulink url=\"http://en.wikipedia.org/wiki/Imperative_programming\" /> の "
+"<citetitle>Imperative Programming</citetitle> ： "
+"<application>SuperCollider</application> は \"命令型 \"言語であるといえます。"
 
 #. Tag: para
 #, no-c-format
-msgid "<citetitle>Object-Oriented Programming</citetitle> at <ulink url=\"http://en.wikipedia.org/wiki/Object-oriented_programming\" />: <application>SuperCollider</application> can be treated as an \"object-oriented\" language."
+msgid ""
+"<citetitle>Object-Oriented Programming</citetitle> at <ulink "
+"url=\"http://en.wikipedia.org/wiki/Object-oriented_programming\" />: "
+"<application>SuperCollider</application> can be treated as an \"object-"
+"oriented\" language."
 msgstr ""
+"<ulink url=\"http://en.wikipedia.org/wiki/Object-oriented_programming\" /> の"
+" <citetitle>Object-Oriented Programming</citetitle> ： "
+"<application>SuperCollider</application> は \"オブジェクト指向 \"言語であるといえます。"
 
 #. Tag: title
 #, no-c-format
 msgid "Software Requirements"
-msgstr ""
+msgstr "ソフトウエア要件"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>SuperCollider</application> uses the JACK Audio Connection Kit. You should install JACK before installing <application>SuperCollider</application>. Refer to <xref linkend=\"sect-Musicians_Guide-Install_and_Configure_JACK\" /> for instructions to install JACK."
+msgid ""
+"<application>SuperCollider</application> uses the JACK Audio Connection Kit."
+" You should install JACK before installing "
+"<application>SuperCollider</application>. Refer to <xref linkend=\"sect-"
+"Musicians_Guide-Install_and_Configure_JACK\" /> for instructions to install "
+"JACK."
 msgstr ""
+"<application>SuperCollider</application> は JACK Audio Connection Kit "
+"を使います。<application>SuperCollider</application> をインストールする前に JACK "
+"をインストールください。JACK をインストールする手順は <xref linkend=\"sect-Musicians_Guide-"
+"Install_and_Configure_JACK\" /> を参照ください。"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>SuperCollider</application> is not available from the Fedora software repositories. You must enable the \"Planet CCRMA at Home\" repository to install <application>SuperCollider</application>. See <xref linkend=\"sect-Musicians_Guide-CCRMA_Installing_Repository\" /> for instructions ti enable the \"Planet CCRMA at Home\" repository. The \"Planet CCRMA at Home\" repository contains a wide variety of music and audio applications."
-msgstr ""
+msgid ""
+"<application>SuperCollider</application> is not available from the Fedora "
+"software repositories. You must enable the \"Planet CCRMA at Home\" "
+"repository to install <application>SuperCollider</application>. See <xref "
+"linkend=\"sect-Musicians_Guide-CCRMA_Installing_Repository\" /> for "
+"instructions ti enable the \"Planet CCRMA at Home\" repository. The \"Planet"
+" CCRMA at Home\" repository contains a wide variety of music and audio "
+"applications."
+msgstr ""
+"<application>SuperCollider</application> は Fedora ソフトウエアリポジトリからは入手できません。あなたは"
+" <application>SuperCollider</application> をインストールするには \"Planet CCRMA at "
+"Home\"リポジトリを有効にする必要があります。\"Planet CCRMA at Home\"リポジトリを有効にする手順は <xref "
+"linkend=\"sect-Musicians_Guide-CCRMA_Installing_Repository\" /> "
+"を参照ください。\"Planet CCRMA at Home\"リポジトリには、多くの種類の音楽とオーディオアプリケーションがあります。"
 
 #. Tag: title
 #, no-c-format
 msgid "Hardware Requirements"
-msgstr ""
+msgstr "ハードウエア要件"
 
 #. Tag: para
 #, no-c-format
-msgid "You need an audio interface to use <application>SuperCollider</application>. You do not need a microphone to use <application>SuperCollider</application>."
+msgid ""
+"You need an audio interface to use <application>SuperCollider</application>."
+" You do not need a microphone to use "
+"<application>SuperCollider</application>."
 msgstr ""
+"<application>SuperCollider</application> を使うには、オーディオインタフェースが必要です。マイクはいりません。"
 
 #. Tag: title
 #, no-c-format
 msgid "Available <application>SuperCollider</application> Packages"
-msgstr ""
+msgstr "<application>SuperCollider</application> 関連のパッケージ"
 
 #. Tag: para
 #, no-c-format
-msgid "The <application>SuperCollider</application> packages are all held in the Planet CCRMA at Home repository, and there are a lot of them. Many of them have standard Fedora suffixes, but many are other kinds of optional components. Most of the optional features add libraries to <application>SuperCollider</application>, allowing you to use them in your audio programs. The specific features available in each additional package are not described here."
+msgid ""
+"The <application>SuperCollider</application> packages are all held in the "
+"Planet CCRMA at Home repository, and there are a lot of them. Many of them "
+"have standard Fedora suffixes, but many are other kinds of optional "
+"components. Most of the optional features add libraries to "
+"<application>SuperCollider</application>, allowing you to use them in your "
+"audio programs. The specific features available in each additional package "
+"are not described here."
 msgstr ""
+"<application>SuperCollider</application> パッケージはすべて Planet CCRMA at Home "
+"リポジトリにあり。それらはたくさんあります。そのうちの多くは、Fedora "
+"の標準のサフィックスを持ちますが、多くはその他の種類のオプショナルなコンポーネントです。オプショナルな機能のほとんどは、<application>SuperCollider</application>"
+" "
+"にライブラリを追加して、あなたのオーディオプログラムからそれらを使えるようにするものです。それぞれの追加のパッケージで得られる機能はここでは説明されません。"
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-ambiem</package> : Optional Library (\"Ambisonics classes for SC\")."
+msgid ""
+"<package>supercollider-ambiem</package> : Optional Library (\"Ambisonics "
+"classes for SC\")."
 msgstr ""
+"<package>supercollider-ambiem</package> : オプショナルなライブラリ (\"Ambisonics classes"
+" for SC\")."
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-debuginfo</package> : Decodes the debugging information provided by <application>SuperCollider</application>."
+msgid ""
+"<package>supercollider-debuginfo</package> : Decodes the debugging "
+"information provided by <application>SuperCollider</application>."
 msgstr ""
+"<package>supercollider-debuginfo</package> : "
+"<application>SuperCollider</application> のデバッグ情報。"
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-devel</package> : Contains files needed for development with <application>SuperCollider</application>."
+msgid ""
+"<package>supercollider-devel</package> : Contains files needed for "
+"development with <application>SuperCollider</application>."
 msgstr ""
+"<package>supercollider-devel</package> : "
+"<application>SuperCollider</application> で開発をするために必要なファイル。"
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-dewdrop</package> : Optional Library (\"DewDrop external collection for SC\")."
+msgid ""
+"<package>supercollider-dewdrop</package> : Optional Library (\"DewDrop "
+"external collection for SC\")."
 msgstr ""
+"<package>supercollider-dewdrop</package> : オプショナルなライブラリ (\"DewDrop external "
+"collection for SC\")."
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-emacs</package> : Adds <application>SuperCollider</application> support to the <application>emacs</application> text editor."
+msgid ""
+"<package>supercollider-emacs</package> : Adds "
+"<application>SuperCollider</application> support to the "
+"<application>emacs</application> text editor."
 msgstr ""
+"<package>supercollider-emacs</package> :<application>emacs</application> "
+"テキストエディタに <application>SuperCollider</application> サポートを加える。"
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-extras</package> : Optional Library (\"Extra plugins and classes for SC\")."
+msgid ""
+"<package>supercollider-extras</package> : Optional Library (\"Extra plugins "
+"and classes for SC\")."
 msgstr ""
+"<package>supercollider-extras</package> : オプショナルなライブラリ (\"Extra plugins and "
+"classes for SC\")."
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-gedit</package> : Adds <application>SuperCollider</application> support to the <application>GEdit</application> text editor."
+msgid ""
+"<package>supercollider-gedit</package> : Adds "
+"<application>SuperCollider</application> support to the "
+"<application>GEdit</application> text editor."
 msgstr ""
+"<package>supercollider-gedit</package> :<application>GEdit</application> "
+"テキストエディタに <application>SuperCollider</application> サポートを加える。"
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-libscsynth</package> : \"<application>SuperCollider</application> synthesis library.\""
+msgid ""
+"<package>supercollider-libscsynth</package> : "
+"\"<application>SuperCollider</application> synthesis library.\""
 msgstr ""
+"<package>supercollider-libscsynth</package> : "
+"\"<application>SuperCollider</application> synthesis library.\""
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-quarks</package> : Optional Library (\"Local quarks repository for <application>SuperCollider</application>\")."
+msgid ""
+"<package>supercollider-quarks</package> : Optional Library (\"Local quarks "
+"repository for <application>SuperCollider</application>\")."
 msgstr ""
+"<package>supercollider-quarks</package> : オプショナルなライブラリ (\"Local quarks "
+"repository for <application>SuperCollider</application>\")."
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-sclang</package> : Help files, examples, the class library, and language interpreter."
+msgid ""
+"<package>supercollider-sclang</package> : Help files, examples, the class "
+"library, and language interpreter."
 msgstr ""
+"<package>supercollider-sclang</package> : ヘルプファイル、例、クラスライブラリ、そして言語インタプリタ。"
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-vim</package> : Adds <application>SuperCollider</application> support to the <application>vim</application> text editor."
+msgid ""
+"<package>supercollider-vim</package> : Adds "
+"<application>SuperCollider</application> support to the "
+"<application>vim</application> text editor."
 msgstr ""
+"<package>supercollider-vim</package> :<application>vim</application> "
+"テキストエディタに <application>SuperCollider</application> サポートを加える。"
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider</package> : Installs the \"minimum requirements\" to run <application>SuperCollider</application>."
+msgid ""
+"<package>supercollider</package> : Installs the \"minimum requirements\" to "
+"run <application>SuperCollider</application>."
 msgstr ""
+"<package>supercollider</package> :<application>SuperCollider</application> "
+"を動かすための \"必要最低限 \"。"
 
 #. Tag: para
 #, no-c-format
 msgid "<package>supercollider-sclang</package>"
-msgstr ""
+msgstr "<package>supercollider-sclang</package>"
 
 #. Tag: para
 #, no-c-format
 msgid "<package>supercollider-libscsynth</package>"
-msgstr ""
+msgstr "<package>supercollider-libscsynth</package>"
 
 #. Tag: para
 #, no-c-format
 msgid "<package>fftw</package>"
-msgstr ""
+msgstr "<package>fftw</package>"
 
 #. Tag: para
 #, no-c-format
 msgid "<package>w3m-el</package>"
-msgstr ""
+msgstr "<package>w3m-el</package>"
 
 #. Tag: para
 #, no-c-format
 msgid "<package>emacs</package>"
-msgstr ""
+msgstr "<package>emacs</package>"
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-bbcut2</package> : Optional Library (\"Beat tracking of audio streams\")."
+msgid ""
+"<package>supercollider-bbcut2</package> : Optional Library (\"Beat tracking "
+"of audio streams\")."
 msgstr ""
+"<package>supercollider-bbcut2</package> : オプショナルなライブラリ (\"Beat tracking of "
+"audio streams\")."
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-bbcut2-debuginfo</package> : Decodes the debugging information provided by bbcut2."
-msgstr ""
+msgid ""
+"<package>supercollider-bbcut2-debuginfo</package> : Decodes the debugging "
+"information provided by bbcut2."
+msgstr "<package>supercollider-bbcut2-debuginfo</package> : bbcut2 のデバッグ情報。"
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-mathlib</package> : Optional Library (\"Useful classes for SC\")."
+msgid ""
+"<package>supercollider-mathlib</package> : Optional Library (\"Useful "
+"classes for SC\")."
 msgstr ""
+"<package>supercollider-mathlib</package> : オプショナルなライブラリ (\"Useful classes "
+"for SC\")."
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-redclasses</package> : Optional Library (\"Frederik Olofsson Red SC classes\")."
+msgid ""
+"<package>supercollider-redclasses</package> : Optional Library (\"Frederik "
+"Olofsson Red SC classes\")."
 msgstr ""
+"<package>supercollider-redclasses</package> : オプショナルなライブラリ (\"Frederik "
+"Olofsson Red SC classes\")."
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-redclasses-debuginfo</package> : Decodes the debugging information provided by redclasses."
+msgid ""
+"<package>supercollider-redclasses-debuginfo</package> : Decodes the "
+"debugging information provided by redclasses."
 msgstr ""
+"<package>supercollider-redclasses-debuginfo</package> : redclasses のデバッグ情報。"
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-world</package> : Installs most <application>SuperCollider</application> packages."
+msgid ""
+"<package>supercollider-world</package> : Installs most "
+"<application>SuperCollider</application> packages."
 msgstr ""
+"<package>supercollider-world</package> : ほとんどの "
+"<application>SuperCollider</application> パッケージをインストールします。"
 
 #. Tag: para
 #, no-c-format
 msgid "<package>supercollider</package>"
-msgstr ""
+msgstr "<package>supercollider</package>"
 
 #. Tag: para
 #, no-c-format
 msgid "<package>abmiem</package>"
-msgstr ""
+msgstr "<package>abmiem</package>"
 
 #. Tag: para
 #, no-c-format
 msgid "<package>supercollider-redclasses</package>"
-msgstr ""
+msgstr "<package>supercollider-redclasses</package>"
 
 #. Tag: para
 #, no-c-format
 msgid "<package>supercollider-dewdrop</package>"
-msgstr ""
+msgstr "<package>supercollider-dewdrop</package>"
 
 #. Tag: para
 #, no-c-format
 msgid "<package>supercollider-emacs</package>"
-msgstr ""
+msgstr "<package>supercollider-emacs</package>"
 
 #. Tag: para
 #, no-c-format
 msgid "<package>supercollider-mathlib</package>"
-msgstr ""
+msgstr "<package>supercollider-mathlib</package>"
 
 #. Tag: para
 #, no-c-format
 msgid "<package>supercollider-midifile</package>"
-msgstr ""
+msgstr "<package>supercollider-midifile</package>"
 
 #. Tag: para
 #, no-c-format
 msgid "<package>supercollider-extras</package>"
-msgstr ""
+msgstr "<package>supercollider-extras</package>"
 
 #. Tag: para
 #, no-c-format
 msgid "<package>supercollider-bbcut2</package>"
-msgstr ""
+msgstr "<package>supercollider-bbcut2</package>"
 
 #. Tag: para
 #, no-c-format
 msgid "<package>supercollider-reduniverse</package>"
-msgstr ""
+msgstr "<package>supercollider-reduniverse</package>"
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-midifile</package> : Optional Library (\"MIDI file reader for <application>SuperCollider</application>\")."
+msgid ""
+"<package>supercollider-midifile</package> : Optional Library (\"MIDI file "
+"reader for <application>SuperCollider</application>\")."
 msgstr ""
+"<package>supercollider-midifile</package> : オプショナルなライブラリ (\"MIDI file reader"
+" for <application>SuperCollider</application>\")."
 
 #. Tag: para
 #, no-c-format
-msgid "<package>supercollider-reduniverse</package> : Optional Library (\"Sonification and visualization of dynamic systems\")."
+msgid ""
+"<package>supercollider-reduniverse</package> : Optional Library "
+"(\"Sonification and visualization of dynamic systems\")."
 msgstr ""
+"<package>supercollider-reduniverse</package> : オプショナルなライブラリ (\"Sonification "
+"and visualization of dynamic systems\")."
 
 #. Tag: title
 #, no-c-format
 msgid "Recommended Installation"
-msgstr ""
+msgstr "お勧めするインストール"
 
 #. Tag: para
 #, no-c-format
-msgid "If you have never used <application>SuperCollider</application> before, then we recommend installing the smallest number of packages possible. This will allow you to start learning with the core classes, available on all <application>SuperCollider</application> installations. Installing the bare minimum requirements will not prevent you from installing optional libraries in the future, of course."
+msgid ""
+"If you have never used <application>SuperCollider</application> before, then"
+" we recommend installing the smallest number of packages possible. This will"
+" allow you to start learning with the core classes, available on all "
+"<application>SuperCollider</application> installations. Installing the bare "
+"minimum requirements will not prevent you from installing optional libraries"
+" in the future, of course."
 msgstr ""
+"<application>SuperCollider</application> "
+"を以前に使ったことがないならば、可能な限り少ない数のパッケージをインストールするのをお勧めします。そうするとあなたは、すべての "
+"<application>SuperCollider</application> "
+"のインストールにある、コアクラスから学習を始めることができます。もちろん、必要最小限のインストールをした後で将来、オプショナルなライブラリをインストールするのは可能です。"
 
 #. Tag: para
 #, no-c-format
-msgid "The recommended installation also avoids installing the <application>emacs</application> or <application>vim</application> components, which - unless you are already a programmer - you probably don't know how to use. The <application>emacs</application> and <application>vim</application> text editors are extremely powerful and extensible, but they can be difficult to learn. Furthermore, there's no reason to learn them just for <application>SuperCollider</application>, because the component for <application>GEdit</application> is more than sufficient."
-msgstr ""
+msgid ""
+"The recommended installation also avoids installing the "
+"<application>emacs</application> or <application>vim</application> "
+"components, which - unless you are already a programmer - you probably don't"
+" know how to use. The <application>emacs</application> and "
+"<application>vim</application> text editors are extremely powerful and "
+"extensible, but they can be difficult to learn. Furthermore, there's no "
+"reason to learn them just for <application>SuperCollider</application>, "
+"because the component for <application>GEdit</application> is more than "
+"sufficient."
+msgstr ""
+"このお勧めのインストールは、<application>emacs</application> あるいは "
+"<application>vim</application> "
+"（あなたが既にプログラマーであるのでなければ、たぶん、これらの使い方は知らないでしょう）のコンポーネントをインストールすることがありません。<application>emacs</application>"
+" と <application>vim</application> "
+"テキストエディタは、とてもパワフルで拡張可能なのですが、学ぶのが難しいかもしれません。さらに、<application>GEdit</application>"
+" 用のコンポーネントがあって十分以上の働きをするので、<application>SuperCollider</application> "
+"のためにだけ、それらを学ぶ理由はありません。"
 
 #. Tag: para
 #, no-c-format
-msgid "To install the minimum recommended installation for <application>SuperCollider</application>:"
-msgstr ""
+msgid ""
+"To install the minimum recommended installation for "
+"<application>SuperCollider</application>:"
+msgstr "<application>SuperCollider</application> のための最小のお勧めのインストールをするには："
 
 #. Tag: para
 #, no-c-format
-msgid "In a terminal, run <command>su -c 'yum install supercollider supercollider-gedit'</command>"
+msgid ""
+"In a terminal, run <command>su -c 'yum install supercollider supercollider-"
+"gedit'</command>"
 msgstr ""
+"ターミナルで、<command>su -c 'yum install supercollider supercollider-"
+"gedit'</command> を実行します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Review the proposed installation carefully. The list may be quite long, and require a large download."
-msgstr ""
+msgid ""
+"Review the proposed installation carefully. The list may be quite long, and "
+"require a large download."
+msgstr "提案されたインストールをよく見ます。リストはとても長く、大量のダウンロードを必要とすることがあります。"
 
 #. Tag: title
 #, no-c-format
-msgid "Using <application>GEdit</application> to Write and Run <application>SuperCollider</application> Programs"
+msgid ""
+"Using <application>GEdit</application> to Write and Run "
+"<application>SuperCollider</application> Programs"
 msgstr ""
+"<application>GEdit</application> を使って "
+"<application>SuperCollider</application> プログラムを書いて実行する"
 
 #. Tag: para
 #, no-c-format
-msgid "The <package>supercollider-gedit</package> package installs an extension for <application>GEdit</application> which allows editing and running <application>SuperCollider</application> code from within <application>GEdit</application>. There are also <application>SuperCollider</application> extensions for the <application>emacs</application> and <application>vim</application> text editors. This tutorial uses the <application>GEdit</application> extension, because it is easier to learn how to use <application>GEdit</application> than <application>vim</application> or \"emacs.\""
-msgstr ""
+msgid ""
+"The <package>supercollider-gedit</package> package installs an extension for"
+" <application>GEdit</application> which allows editing and running "
+"<application>SuperCollider</application> code from within "
+"<application>GEdit</application>. There are also "
+"<application>SuperCollider</application> extensions for the "
+"<application>emacs</application> and <application>vim</application> text "
+"editors. This tutorial uses the <application>GEdit</application> extension, "
+"because it is easier to learn how to use <application>GEdit</application> "
+"than <application>vim</application> or \"emacs.\""
+msgstr ""
+"<package>supercollider-gedit</package> "
+"パッケージは、<application>GEdit</application> "
+"のエクステンション、拡張機能をインストールし、<application>SuperCollider</application> のコードを "
+"<application>GEdit</application> "
+"の中から編集して実行することができるようにします。<application>emacs</application> と "
+"<application>vim</application> テキストエディタ用の "
+"<application>SuperCollider</application> "
+"エクステンションもあります。このチュートリアルでは、<application>GEdit</application> "
+"エクステンションを使います。なぜなら、<application>GEdit</application> は "
+"<application>vim</application> あるいは \"emacs\"より使い方を学ぶのが簡単だからです。"
 
 #. Tag: title
 #, no-c-format
 msgid "Enable and Configure SCEd in <application>GEdit</application>"
-msgstr ""
+msgstr "<application>GEdit</application> で、SCEd を有効にして、構成する"
 
 #. Tag: para
 #, no-c-format
-msgid "These steps should be followed the first time that you use <application>GEdit</application>'s <application>SuperCollider</application> extension."
+msgid ""
+"These steps should be followed the first time that you use "
+"<application>GEdit</application>'s <application>SuperCollider</application> "
+"extension."
 msgstr ""
+"<application>GEdit</application> の <application>SuperCollider</application> "
+"エクステンションを初めて使うときは以下のステップに従ってください。"
 
 #. Tag: para
 #, no-c-format
 msgid "Start <application>GEdit</application>"
-msgstr ""
+msgstr "<application>GEdit</application> を開始します。"
 
 #. Tag: para
 #, no-c-format
-msgid "Open the Preferences window (from the menu, choose <menuchoice><guimenu>Edit</guimenu> <guimenuitem>Preferences</guimenuitem></menuchoice>)"
+msgid ""
+"Open the Preferences window (from the menu, choose "
+"<menuchoice><guimenu>Edit</guimenu> "
+"<guimenuitem>Preferences</guimenuitem></menuchoice>)"
 msgstr ""
+"設定ウインドウを開きます。( メニューから <menuchoice><guimenu> 編集 </guimenu> <guimenuitem> 設定 "
+"</guimenuitem></menuchoice> を選択します。)"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose the 'Plugins' tab, and scroll down to <package>Sced</package>, then make sure that it is selected."
+msgid ""
+"Choose the 'Plugins' tab, and scroll down to <package>Sced</package>, then "
+"make sure that it is selected."
 msgstr ""
+"'プラグイン'タブを選択して、<package>Sced</package> までスクロールダウンします。それが選択されているのを確認下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "Click on the <guibutton>Configure Plugin</guibutton> button, then select a runtime folder where the <application>SuperCollider</application> server will store any synth sent to it during program execution. The safest place for this folder could be a sub-folder of the location where you will store your <application>SuperCollider</application> code."
+msgid ""
+"Click on the <guibutton>Configure Plugin</guibutton> button, then select a "
+"runtime folder where the <application>SuperCollider</application> server "
+"will store any synth sent to it during program execution. The safest place "
+"for this folder could be a sub-folder of the location where you will store "
+"your <application>SuperCollider</application> code."
 msgstr ""
+"<guibutton> プラグインの設定 </guibutton> "
+"ボタンをクリックして、<application>SuperCollider</application> "
+"サーバがプログラム実行中にそれに送られる合成を格納するランタイムのフォルダを選択します。このフォルダの一番安全な場所は、あなたが "
+"<application>SuperCollider</application> コードを格納するフォルダのサブフォルダでしょう。"
 
 #. Tag: title
 #, no-c-format
-msgid "Enable <application>SuperCollider</application> Mode and Start a Server"
-msgstr ""
+msgid ""
+"Enable <application>SuperCollider</application> Mode and Start a Server"
+msgstr "<application>SuperCollider</application> モードを有効にして、サーバを開始します。"
 
 #. Tag: para
 #, no-c-format
-msgid "These steps should be followed every time you open <application>GEdit</application>, and wish to use the <application>SuperCollider</application> extension."
+msgid ""
+"These steps should be followed every time you open "
+"<application>GEdit</application>, and wish to use the "
+"<application>SuperCollider</application> extension."
 msgstr ""
+"以下のステップは、あなたが <application>GEdit</application> "
+"を開始して、<application>SuperCollider</application> エクステンションを使うときに毎回やってください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Choose <menuchoice><guimenu>Tools</guimenu><guimenuitem>SuperCollider Mode</guimenuitem></menuchoice>"
+msgid ""
+"Choose <menuchoice><guimenu>Tools</guimenu><guimenuitem>SuperCollider "
+"Mode</guimenuitem></menuchoice>"
 msgstr ""
+"<menuchoice><guimenu> ツール </guimenu><guimenuitem>SuperCollider "
+"Mode</guimenuitem></menuchoice> を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "A <guimenu>SuperCollider</guimenu> menu should appear, and a window at the bottom which says, \"<application>SuperCollider</application> output\"."
+msgid ""
+"A <guimenu>SuperCollider</guimenu> menu should appear, and a window at the "
+"bottom which says, \"<application>SuperCollider</application> output\"."
 msgstr ""
+"<guimenu>SuperCollider</guimenu> メニューが現れて、下に "
+"\"<application>SuperCollider</application> output\"と書かれたウインドウが現れるはずです。"
 
 #. Tag: para
 #, no-c-format
-msgid "If you cannot see the window at the bottom, then select <menuchoice><guimenu>View</guimenu><guimenuitem>Bottom Pane</guimenuitem></menuchoice> from the menu, so that it shows up. It is sometimes important to see the information that <application>SuperCollider</application> provides in this window."
+msgid ""
+"If you cannot see the window at the bottom, then select "
+"<menuchoice><guimenu>View</guimenu><guimenuitem>Bottom "
+"Pane</guimenuitem></menuchoice> from the menu, so that it shows up. It is "
+"sometimes important to see the information that "
+"<application>SuperCollider</application> provides in this window."
 msgstr ""
+"下にウインドウが見えないときは、メニューから <menuchoice><guimenu> 表示 </guimenu><guimenuitem> "
+"ボトムペイン </guimenuitem></menuchoice> "
+"を選択すれば現れるはずです。<application>SuperCollider</application> "
+"がこのウインドウに提供する情報を見ることは、ときに重要になることがあります。"
 
 #. Tag: para
 #, no-c-format
-msgid "After enabling <application>SuperCollider</application> mode, the window should display a series of notices. Near the end should be something like this:"
+msgid ""
+"After enabling <application>SuperCollider</application> mode, the window "
+"should display a series of notices. Near the end should be something like "
+"this:"
 msgstr ""
+"<application>SuperCollider</application> "
+"モードを有効にした後、このウインドウにはいくつかのメッセージが表示されるはずです。終わりの方は、こうあるはずです："
 
 #. Tag: programlisting
 #, no-c-format
@@ -405,26 +700,54 @@ msgid ""
 "RESULT = 0\n"
 "Welcome to SuperCollider, for help type ctrl-c ctrl-h (Emacs) or :SChelp (vim) or ctrl-U (sced/gedit)\n"
 msgstr ""
+"\n"
+"⏎\n"
+"RESULT = 0⏎\n"
+"Welcome to SuperCollider, for help type ctrl-c ctrl-h (Emacs) or :SChelp (vim) or ctrl-U (sced/gedit)⏎\n"
 
 #. Tag: para
 #, no-c-format
-msgid "If this window gives a non-zero value for \"RESULT,\" then an error has probably occurred, and you should scroll up to see what it is, and try to fix it. If you receive the following warning: \"The GUI scheme 'swing' is not installed\" then you will not be able to run any <application>SuperCollider</application> prorams that use a GUI (graphical user interface). The GUI components are not used anywhere in this Guide, and they are highly optional."
+msgid ""
+"If this window gives a non-zero value for \"RESULT,\" then an error has "
+"probably occurred, and you should scroll up to see what it is, and try to "
+"fix it. If you receive the following warning: \"The GUI scheme 'swing' is "
+"not installed\" then you will not be able to run any "
+"<application>SuperCollider</application> prorams that use a GUI (graphical "
+"user interface). The GUI components are not used anywhere in this Guide, and"
+" they are highly optional."
 msgstr ""
+"もし、ウインドウの "
+"\"RESULT\"がゼロ以外の値の時は、エラーが起きたと思われるので、それが何か、上にスクロールして、見て、修正する必要があります。\"The GUI"
+" scheme 'swing' is not installed\"というワーニングがでた場合、GUI （グラフィカルユーザインタフェース）を使う "
+"<application>SuperCollider</application> プログラムは一切、動かすことができません。GUI "
+"コンポーネントはこのガイドでは使われておらず、とてもオプショナルなものです。"
 
 #. Tag: para
 #, no-c-format
-msgid "You will probably also want to start a server at this point, so from the menu select '<application>SuperCollider</application> &gt; Start Server'."
+msgid ""
+"You will probably also want to start a server at this point, so from the "
+"menu select '<application>SuperCollider</application> &gt; Start Server'."
 msgstr ""
+"ここで、あなたはサーバを開始したいことでしょう。メニューから、'<application>SuperCollider</application> "
+"&gt; Start Server'を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "After the server starts, you should see messages from \"JackDriver\". If a JACK server is not already started, then <application>SuperCollider</application> will start one automatically."
+msgid ""
+"After the server starts, you should see messages from \"JackDriver\". If a "
+"JACK server is not already started, then "
+"<application>SuperCollider</application> will start one automatically."
 msgstr ""
+"サーバが開始した後、\"JackDriver\"からのメッセージが見えるはずです。もし JACK "
+"サーバが既に実行中でなければ、<application>SuperCollider</application> はそれを自動的に開始します。"
 
 #. Tag: para
 #, no-c-format
-msgid "If the <application>SuperCollider</application> server started successfully, you should see a message similar to this:"
+msgid ""
+"If the <application>SuperCollider</application> server started successfully,"
+" you should see a message similar to this:"
 msgstr ""
+"<application>SuperCollider</application> サーバが正常に開始したら、このようなメッセージが見えるはずです："
 
 #. Tag: programlisting
 #, no-c-format
@@ -434,98 +757,170 @@ msgid ""
 "JackDriver: max output latency 46.4 ms\n"
 "notification is on\n"
 msgstr ""
+"\n"
+"⏎\n"
+"SuperCollider 3 server ready..⏎\n"
+"JackDriver: max output latency 46.4 ms⏎\n"
+"notification is on⏎\n"
 
 #. Tag: title
 #, no-c-format
 msgid "Executing Code in <application>GEdit</application>"
-msgstr ""
+msgstr "<application>GEdit</application> でコードを実行する"
 
 #. Tag: para
 #, no-c-format
-msgid "You can execute code directly from <application>GEdit</application>, without having to use <command>sclang</command> from the command-line."
+msgid ""
+"You can execute code directly from <application>GEdit</application>, without"
+" having to use <command>sclang</command> from the command-line."
 msgstr ""
+"コマンドラインから <command>sclang</command> を使わないでも、<application>GEdit</application>"
+" から直接コードを実行できます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Ensure that <application>SuperCollider</application> mode is enabled, and that a server has been started."
-msgstr ""
+msgid ""
+"Ensure that <application>SuperCollider</application> mode is enabled, and "
+"that a server has been started."
+msgstr "<application>SuperCollider</application> モードが有効で、サーバが開始しているのを確認下さい。"
 
 #. Tag: para
 #, no-c-format
-msgid "Select the code that you wish to execute. A single line of code may be executed simply by placing the text-input cursor on that line."
-msgstr ""
+msgid ""
+"Select the code that you wish to execute. A single line of code may be "
+"executed simply by placing the text-input cursor on that line."
+msgstr "実行したいコードを選択します。１行のコードは、単にテキスト入力カーソルをその行に置くだけで実行させることができます。"
 
 #. Tag: para
 #, no-c-format
-msgid "Press 'Ctrl+E' on the keyboard, or from the menu select '<application>SuperCollider</application> &gt; Evaluate'"
+msgid ""
+"Press 'Ctrl+E' on the keyboard, or from the menu select "
+"'<application>SuperCollider</application> &gt; Evaluate'"
 msgstr ""
+"キーボードで'Ctrl+E'を押すか、メニューから'<application>SuperCollider</application> &gt; "
+"Evaluate'を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "To stop all sound on the server, press 'Esc' on the keyboard, or from the menu select '<application>SuperCollider</application> &gt; Stop Sound'"
+msgid ""
+"To stop all sound on the server, press 'Esc' on the keyboard, or from the "
+"menu select '<application>SuperCollider</application> &gt; Stop Sound'"
 msgstr ""
+"サーバですべての音を止めるには、キーボードで'Esc'を押すか、メニューから'<application>SuperCollider</application>"
+" &gt; Stop Sound'を選択します。"
 
 #. Tag: para
 #, no-c-format
-msgid "If the server successfully executes the code, then it will output something to the \"<application>SuperCollider</application> output\" pane. The output will be different, depending on what <application>SuperCollider</application> asked the server to do, but will usually either look like this:"
+msgid ""
+"If the server successfully executes the code, then it will output something "
+"to the \"<application>SuperCollider</application> output\" pane. The output "
+"will be different, depending on what "
+"<application>SuperCollider</application> asked the server to do, but will "
+"usually either look like this:"
 msgstr ""
+"サーバがコードを正常に実行したら、 \"<application>SuperCollider</application> "
+"output\"ペインに何かを表示するはずです。出力は <application>SuperCollider</application> "
+"が何をするようにサーバに頼んだかによりますが、普通はこのように見えるでしょう："
 
 #. Tag: programlisting
 #, no-c-format
 msgid "Synth(\"temp_0\": 1000)"
-msgstr ""
+msgstr "Synth(\"temp_0\": 1000)"
 
 #. Tag: para
 #, no-c-format
 msgid "or this:"
-msgstr ""
+msgstr "あるいは、こうです："
 
 #. Tag: programlisting
 #, no-c-format
 msgid "RESULT = 0"
-msgstr ""
+msgstr "RESULT = 0"
 
 #. Tag: title
 #, no-c-format
-msgid "Other Tips for Using <application>GEdit</application> with <application>SuperCollider</application>"
+msgid ""
+"Other Tips for Using <application>GEdit</application> with "
+"<application>SuperCollider</application>"
 msgstr ""
+"<application>GEdit</application> ã‚’ <application>SuperCollider</application> "
+"と使うための他のヒント"
 
 #. Tag: para
 #, no-c-format
-msgid "If you close <application>GEdit</application> while the <application>SuperCollider</application> server is running, then <application>GEdit</application> will automatically shut down the server."
+msgid ""
+"If you close <application>GEdit</application> while the "
+"<application>SuperCollider</application> server is running, then "
+"<application>GEdit</application> will automatically shut down the server."
 msgstr ""
+"<application>SuperCollider</application> サーバが実行中に "
+"<application>GEdit</application> をクローズすると、<application>GEdit</application> "
+"は自動的にサーバを停止します。"
 
 #. Tag: para
 #, no-c-format
-msgid "If <systemitem>JACK</systemitem> is started by <application>SuperCollider</application>, then it will automatically terminate when the <application>SuperCollider</application> server terminates."
+msgid ""
+"If <systemitem>JACK</systemitem> is started by "
+"<application>SuperCollider</application>, then it will automatically "
+"terminate when the <application>SuperCollider</application> server "
+"terminates."
 msgstr ""
+"<application>SuperCollider</application> によって <systemitem>JACK</systemitem> "
+"が開始された場合、それは <application>SuperCollider</application> サーバが終了するときに自動的に終了します。"
 
 #. Tag: para
 #, no-c-format
-msgid "<application>SuperCollider</application> will automatically attempt to connect its outputs to the system's outputs. If your audio output doesn't work, then you should use <application>QjackCtl</application> to verify that it is correctly connected."
+msgid ""
+"<application>SuperCollider</application> will automatically attempt to "
+"connect its outputs to the system's outputs. If your audio output doesn't "
+"work, then you should use <application>QjackCtl</application> to verify that"
+" it is correctly connected."
 msgstr ""
+"<application>SuperCollider</application> "
+"は自動的にその出力をシステムの出力に接続しようとします。もし、オーディオ出力がうまくいかないときは、<application>QjackCtl</application>"
+" を使って、出力が正しく接続されているか確かめてください。"
 
 #. Tag: para
 #, no-c-format
-msgid "Other functions available in the <application>SuperCollider</application> menu include:"
-msgstr ""
+msgid ""
+"Other functions available in the <application>SuperCollider</application> "
+"menu include:"
+msgstr "<application>SuperCollider</application> メニューで可能な機能は："
 
 #. Tag: para
 #, no-c-format
-msgid "Find Help (Opens the <application>SuperCollider</application> help file for currently-selected object)."
+msgid ""
+"Find Help (Opens the <application>SuperCollider</application> help file for "
+"currently-selected object)."
 msgstr ""
+"Find Help ( 現在選択されているオブジェクトについての <application>SuperCollider</application> "
+"ヘルプファイルを開きます。)"
 
 #. Tag: para
 #, no-c-format
-msgid "Find Definition (Opens the <application>SuperCollider</application> source file for the currently-selected object)."
+msgid ""
+"Find Definition (Opens the <application>SuperCollider</application> source "
+"file for the currently-selected object)."
 msgstr ""
+"Find Definition ( 現在選択されているオブジェクトについての "
+"<application>SuperCollider</application> ソースファイルを開きます。)"
 
 #. Tag: para
 #, no-c-format
-msgid "Restart Interpreter (Restarts the <application>SuperCollider</application> interpreter; also closes running servers, but does not restart them)."
+msgid ""
+"Restart Interpreter (Restarts the <application>SuperCollider</application> "
+"interpreter; also closes running servers, but does not restart them)."
 msgstr ""
+"Restart Interpreter (<application>SuperCollider</application> "
+"インタプリタを再開始します。実行中のサーバも止めます。ただし、それらは再開始しません。)"
 
 #. Tag: para
 #, no-c-format
-msgid "Clear output (Clears all output from the \"<application>SuperCollider</application> output\" pane)."
+msgid ""
+"Clear output (Clears all output from the "
+"\"<application>SuperCollider</application> output\" pane)."
 msgstr ""
+"Clear output (\"<application>SuperCollider</application> "
+"output\"ペインのすべての出力をクリアします。)"
+
+

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