Now that I have reviewed the original thread I believe that I understand. Best of luck on you endeavor.

Thank you. I think this is essentially where I am coming from as well.

Maybe we could call it "The American Lexicon"

Or maybe sell it the publisher of "for Dummies" books and call it, Doumbek Rhythms for Dummies".

Or, maybe we could then write a book for the snooty crowd and call it "Darbuka/Derbekke/Tabla/whatever/yougetthepoint/I'masnob Rhythms for the Cogniscentii", and then we could start 15 thousand web flame wars and have people strapping on explosive vests to blow up our neighbor's hookah bar simply because he called a fellahi a maqsuum.

Geez

"For instance, no offense to Jeffrey, but I personally have no plans to ever play at an SCA event, I don't do drum circles, etc."
No offense taken because I seldom play at SCA events anymore and I haven't for a few years. I have nothing against them, but I do most of my playing in clubs and for dance classes and haven't had much time for the SCA in a few years. It is a real fun loving group and I do miss them.

I think that we are talking at cross-purposes here though. I personally think that this "Lexicon" is a great idea. If you are going to hope for a complete pat on the back "attaboy" consensus on everything, it just ain't gonna happen. We probably won't agree completely on anything.
But that doesn't deny that this can be a very useful tool when talking to each other.
I don't give a flying F*** how we choose to spell Kooleegee so long as we have a name for it and we can all use it to talk to each other in English. I don't care if the Turks/Roms call the 9/8 Karislama or anything else. When we are called upon to play it for a dancer, that is what they will call it and ask for and new drummers should know that. Just about every single rhythm out there has an additional name or hundred and people that will argue that each one is "correct". This` gets us nowhere. The dancer Morocco compiled a list of over one hundred different ways to refer to finger cymbals (zils) and indigenous people that will argue "to the death" (maybe that's an exaggeration) that their way is correct.............. but most people know what you mean when you say "zils".

When this idea was first presented, we knew and stated that it would not be approved by the "musicologists" and it is certainly not meant to direct the indigenous musicians in ways of naming and playing rhythms that they know all too well. It is meant as a tool for those of us that are from the western civilization that are communicating with each other in English to standardize our speech and to standardize and omit bizarre regional (western) nicknames that can cause confusion when we are referring to a specific rhythm.

Mark wrote:
" If you want to use names that are inaccurate, especially due to their supposedly widespread acceptance, then that should be indicated"

Okay. This is what we are doing consider it indicated. The word "inaccurate" is your word and is a bit harsh. It is standardizing the terminology to make it easier to communicate rhythms to Western English speaking people and especially newer drummers and students.

i.e. What is the rhythm for a debke? What is the rhythm for a Khaligi? Is it "Shashkin" or is it "Ya ein Moleyatin"? What is the Arabic goblet drum called? What is a Ciftitelli? Do they play Malfouf in Lebanon? Is it Zar or is it Ayoub?
See the problem?

Thank you David,
Please, this is a very benign thing. The last thing that I intend is to hurt anyones feelings or to be argumentative. We are all about sharing ideas here and appreciate all contributions and the information that you give is most welcomed and appreciated.
Please understand that there is no intention to slight anyone or to be arrogant towards anyone or region. As you now live in an area that is rich with history and information about this art form, you may find our efforts here a bit silly and unnecessary, but I think that it will help.

I am serious about the necessity of a more involved scholarly tome that will go into depth about all of the rhythms, their history, applications and alternate names. One that is written in English that can be translated into other European and world languages that will explain in depth
this music. That would really be something special........... and long and very welcomed.

What I understand our purposes here to be with this is a very simple guide, that's all. Sort of like a quick travel guide that you might pick up giving you a few useful phrases and places of interest that you'd buy before you visit a foreign country. But this lexicon will be written for English speaking people with a useful and simple language for a standardized reference when talking about rhythms.

That's what happens when you waste 2-3 years in some foreign country.

On a serious note, all these rhythms have names, sometimes too many. Just because we may not know them is not sufficient reason to make one up. If one is going to perpetuate something incorrect like with Karshlima and Khaliji, then I would rather see that pointed out in a lexicon with a set up like: 9/8 - 2, 2, 2, 3 - commonly mislabeled Karshlama, other names include this, that, etc., can be played D - T - D - TTT, usually played D - T - D - TT- in countries of origin.

Defintions of beat: Beat A steady succession of units of rhythm. Beat - The unit of musical rhythm. Beat - music set rhythm: a single element of measured time in a musical piece or poem. Beats occur at regular intervals and are the rhythmic and metrical foundations of music.

By musical definition a 9/8 has 9 beats, not 4. Also, in the world of 9's, I'm sure Geoff can supply the name of the Balkan 9 that is divided:
2-3-2-2.

And, in general, good to have a paragraph saying if you've got new, different, and/or better info, let us know. Jas's site is quite extensive and usually if not always accurate, I think Johnnie's (sp?) site maqamworld.com is also excellent.