=back
+Some of the important requests are:
+
+=over 4
+
+=item C<Barcheck_req>
+
+Checks during music processing if start of this voice element
+coincides with the start of a measure. Handy to check if you left out
+some voice elts.
+
+=item C<Note_req>
+
+Staff has to decide if the ball should be hanging left or right. This
+influences the horizontal dimensions of a column, and this is why
+request processing should be done before horizontal spacing.
+
+Other voices' frivolities may cause the need for accidentals, so this
+is also for the C<Staff> to decide. The C<Staff> can decide on positioning
+based on ottava commands and the appropriate clef.
+
+=item C<Rest_req>
+
+Typeset a rest.
+
+=item C<Span_req>
+
+This type of request typically results in the creation of a C<Spanner>
+
+=item C<Beam_req>
+
+Start/stop a beam.
+
+Staff has to combine this request with the stem_request, since the
+number of flags that a stem wants to carry will determine the
+number of beams.
+
+=item C<Dynamic>
+
+Each dynamic is bound to one note (a crescendo spanning multiple
+notes is thought to be made of two "dynamics": a start and a stop).
+Dynamic changes can occur in a smaller time than the length of its
+note, therefore fore each C<Dynamic> request carries a time, measured
+from the start of its note.
+
+=head2 Voice
+
+=head2 Voice_element
+
+=head2 Voice groups
+
+=head1 Requests
+
+inc
+The result of a request will be an C<Item> or a C<Spanner>, which
+will be put on a C<PStaff>. Note that the C<PStaff> and the original
+C<Staff> need not have anything in common. For example, the
+``double'' piano Staff could interpret commands which juggle
+melodies across the left and right hand, and may put the result in
+two five-line PStaffs (maybe with extra PStaffs to carry the dynamic
+signs and any lyric.
+
+The class C<Staff> should be thought as a container for the
+C<Voice>s, and an interpreter for C<Request>s.
+Different staffs can produce different outputs; a melodious voice
+which is put into a percussion-Staff, will be typeset as the rythm of
+that voice.
+
+After C<Staff> made up her mind, the resultant items and
+spanners are put on the PScore.
+
+
=head1 Request_register
In the previous section the idea of Request has been explained, but
[partly by Mark Basinski <basinski@arizona.edu>]
-Herbert Chlapik,
+Herbert Chlapik, Die Praxis des Notengraphikers. Doblinger, 1987.
+Maxwell Weaner and Walter Boelke, Standard Music Notation Practice,
+revised edition by Arnold Broido and Daniel Dorff. Music Publisher's
+Association of the United States Inc., 1993.
+
W.A. Hegazy and J. S. Gourlay. Optimal line breaking in music. In
``Document Manipulation and Typography'', J.C. van Vliet (ed) 1988.
Stone, Kurt. Music Notation in the Twentieth Century. New York: Norton, 1980.
+=head2 On typesettig programs
+
+From: Miguel Filgueiras <mig@ncc.up.pt>
+
+... as well as other systems. I contribute with some references:
+
+
+D. Blostein, L. Haken, The Lime Music Editor: a Diagram Editor
+Involving Complex Translations. {\em
+Software --- Practice and Experience}, Vol. 24(3), 289--306, 1994.
+
+Alexander Brinkman, {\em PASCAL Programming for Music Research}.
+The University of Chicago Press, 1990.
+
+Miguel Filgueiras, Implementing a Symbolic Music Processing
+System. LIACC, Universidade do Porto, 1996; submitted.
+
+Miguel Filgueiras, Some Music Typesetting Algorithms. LIACC,
+Universidade do Porto, {\em forthcoming}.
+
+ Miguel Filgueiras and Jos\'e Paulo Leal, A First Formulation of
+\SceX, a Music Typesetting System. Centro de Inform\'atica da
+Universidade do Porto, 1993.
+
+Miguel Filgueiras and Jos\'e Paulo Leal. Representation and
+manipulation of music documents in \SceX. {\em Electronic Publishing},
+vol. 6 (4), 507--518, 1993.
+
+Eric Foxley, Music --- A language for typesetting music scores. {\em
+Software --- Practice and Experience}, Vol. 17(8), 485--502, 1987.
+
+John S. Gourlay, A language for music printing. {\em Communications of
+the ACM}, Vol. 29(5), 388--401, 1986.
+
+Cindy Grande, NIFF6a Notation Interchange File Format.
+Grande Software Inc., 1995. {\tt ftp:blackbox.cartah.washington.edu}
+
+Fran\c{c}ois Jalbert, Mu\TeX\ User's Guide (Version $1.1$). Computer
+Science Department, University of British Columbia, 1989.
+
+Peter S. Langston, Unix music tools at Bellcore. {\em
+Software --- Practice and Experience}, Vol. 20(S1), S1/47--S1/61, 1990.
+
+Andreas Mahling, J. Herczeg, M. Herczeg and S<H.-D.> B\"ocker, Beyond
+visualization: knowing and understanding. In P.~Gorny, M.~J. Tauber
+(eds.), {\em Visualization in Human-Computer Interaction}, Lecture
+Notes in Computer Science, 439, 16--26, Springer-Verlag, 1990.
+
+Jan Nieuwenhuizen, Using \TeX\ and the MusiX\TeX\ macro package to
+write parts and scores of music. Department of Physics, Eindhoven
+University of Technology, 1995.
+
+Don Simons, PMX, A Preprocessor for MusiX\TeX\ (Version 1.04).
+dsimons@logicon.com.
+
+Daniel Taupin. Music\TeX: Using \TeX\ to Write Polyphonic or
+Instrumental Music (Version 5.17). Laboratoire de Physique des
+Solides, Centre Universitaire, Orsay, 1996.
+
+Daniel Taupin, Ross Mitchell and Andreas Egler, Musix\TeX: Using \TeX\
+to Write Polyphonic or Instrumental Music (Version T.64). Laboratoire
+de Physique des Solides, Centre Universitaire, Orsay, 1993.
+
+Barry Vercoe, Csound --- A Manual for the Audio Processing System and
+Supporting Programs with Tutorials. Media Lab, M.I.T., Cambridge,
+Massachusetts, 1986 (rev. 1992).
+
+Chris Walshaw, {\tt ABC2M\TeX} --- An easy way of transcribing folk
+and traditional music. School of Maths, University of Greenwich, 1993.
+
+
projects / lilypond.git / blobdiff