1 @c -*- coding: latin-1; mode: texinfo; -*-
2 @node Interfaces for programmers
3 @chapter Interfaces for programmers
8 * Programmer interfaces for input ::
9 * Markup programmer interface::
10 * Contexts for programmers::
13 @node Programmer interfaces for input
14 @section Programmer interfaces for input
17 * Input variables and Scheme::
18 * Internal music representation::
19 * Extending music syntax::
20 * Manipulating music expressions::
21 * Using LilyPond syntax inside Scheme::
24 @node Input variables and Scheme
25 @subsection Input variables and Scheme
28 The input format supports the notion of variables: in the following
29 example, a music expression is assigned to a variable with the name
32 traLaLa = @{ c'4 d'4 @}
37 There is also a form of scoping: in the following example, the
38 @code{\layout} block also contains a @code{traLaLa} variable, which is
39 independent of the outer @code{\traLaLa}.
41 traLaLa = @{ c'4 d'4 @}
42 \layout @{ traLaLa = 1.0 @}
45 In effect, each input file is a scope, and all @code{\header},
46 @code{\midi}, and @code{\layout} blocks are scopes nested inside that
49 Both variables and scoping are implemented in the GUILE module system.
50 An anonymous Scheme module is attached to each scope. An assignment of
53 traLaLa = @{ c'4 d'4 @}
57 is internally converted to a Scheme definition
59 (define traLaLa @var{Scheme value of ``@code{... }''})
62 This means that input variables and Scheme variables may be freely
63 mixed. In the following example, a music fragment is stored in the
64 variable @code{traLaLa}, and duplicated using Scheme. The result is
65 imported in a @code{\score} block by means of a second variable
68 traLaLa = @{ c'4 d'4 @}
70 #(define newLa (map ly:music-deep-copy
71 (list traLaLa traLaLa)))
73 (make-sequential-music newLa))
78 In the above example, music expressions can be `exported' from the
79 input to the Scheme interpreter. The opposite is also possible. By
80 wrapping a Scheme value in the function @code{ly:export}, a Scheme
81 value is interpreted as if it were entered in LilyPond syntax. Instead
82 of defining @code{\twice}, the example above could also have been
86 @{ #(ly:export (make-sequential-music newLa)) @}
91 Mixing Scheme and LilyPond identifiers is not possible with the
94 @node Internal music representation
95 @subsection Internal music representation
97 When a music expression is parsed, it is converted into a set of
98 Scheme music objects. The defining property of a music object is that
99 it takes up time. Time is a rational number that measures the length
100 of a piece of music, in whole notes.
102 A music object has three kinds of types:
105 music name: Each music expression has a name, for example, a note
106 leads to a @internalsref{NoteEvent}, and @code{\simultaneous} leads to
107 a @internalsref{SimultaneousMusic}. A list of all expressions
108 available is in the internals manual, under
109 @internalsref{Music expressions}.
112 `type' or interface: Each music name has several `types' or
113 interfaces, for example, a note is an @code{event}, but it is also a
114 @code{note-event}, a @code{rhythmic-event}, and a @code{melodic-event}.
116 All classes of music are listed in the internals manual, under
117 @internalsref{Music classes}.
120 C++ object: Each music object is represented by a C++ object. For
121 technical reasons, different music objects may be represented by
122 different C++ object types. For example, a note is @code{Event}
123 object, while @code{\grace} creates a @code{Grace_music} object.
125 We expect that distinctions between different C++ types will disappear
129 The actual information of a music expression is stored in properties.
130 For example, a @internalsref{NoteEvent} has @code{pitch} and
131 @code{duration} properties that store the pitch and duration of that
132 note. A list of all properties available is in the internals manual,
133 under @internalsref{Music properties}.
135 A compound music expression is a music object that contains other
136 music objects in its properties. A list of objects can be stored in
137 the @code{elements} property of a music object, or a single `child'
138 music object in the @code{element} object. For example,
139 @internalsref{SequentialMusic} has its children in @code{elements},
140 and @internalsref{GraceMusic} has its single argument in
141 @code{element}. The body of a repeat is stored in the @code{element}
142 property of @internalsref{RepeatedMusic}, and the alternatives in
148 @node Extending music syntax
149 @subsection Extending music syntax
151 The syntax of composite music expressions, like
152 @code{\repeat}, @code{\transpose}, and @code{\context}
153 follows the general form of
156 \@code{keyword} @var{non-music-arguments} @var{music-arguments}
159 Such syntax can also be defined as user code. To do this, it is
160 necessary to create a @emph{music function}. This is a specially marked
161 Scheme function. For example, the music function @code{\applymusic} applies
162 a user-defined function to a music expression. Its syntax is
165 \applymusic #@var{func} @var{music}
168 A music function is created with @code{ly:make-music-function},
171 (ly:make-music-function
174 @code{\applymusic} takes a Scheme function and a Music expression as
175 arguments. This is encoded in its parameter list,
178 (list procedure? ly:music?)
181 The function itself takes another argument, an Input location
182 object. That object is used to provide error messages with file names
183 and line numbers. The definition is the second argument of
184 @code{ly:make-music-function}. The body simply calls the function
187 (lambda (where func music)
191 The above Scheme code only defines the functionality. The tag
192 @code{\applymusic} is selected by defining
195 applymusic = #(ly:make-music-function
196 (list procedure? ly:music?)
197 (lambda (location func music)
201 A @code{def-music-function} macro is introduced on top of
202 @code{ly:make-music-function} to ease the definition of music
206 applymusic = #(def-music-function (location func music)
207 (procedure? ly:music?)
211 Examples of the use of @code{\applymusic} are in the next section.
214 @file{ly/@/music@/-functions@/-init@/.ly}.
216 @node Manipulating music expressions
217 @subsection Manipulating music expressions
219 Music objects and their properties can be accessed and manipulated
220 directly, through the @code{\applymusic} mechanism.
221 The syntax for @code{\applymusic} is
223 \applymusic #@var{func} @var{music}
227 This means that the Scheme function @var{func} is called with
228 @var{music} as its argument. The return value of @var{func} is the
229 result of the entire expression. @var{func} may read and write music
230 properties using the functions @code{ly:music-property} and
231 @code{ly:music-set-property!}.
233 An example is a function that reverses the order of elements in
235 @lilypond[quote,verbatim,raggedright]
236 #(define (rev-music-1 m)
237 (ly:music-set-property! m 'elements
238 (reverse (ly:music-property m 'elements)))
241 \applymusic #rev-music-1 { c'4 d'4 }
244 The use of such a function is very limited. The effect of this
245 function is void when applied to an argument that does not have
246 multiple children. The following function application has no effect
249 \applymusic #rev-music-1 \grace @{ c4 d4 @}
253 In this case, @code{\grace} is stored as @internalsref{GraceMusic}, which
254 has no @code{elements}, only a single @code{element}. Every generally
255 applicable function for @code{\applymusic} must -- like music expressions
256 themselves -- be recursive.
258 The following example is such a recursive function: It first extracts
259 the @code{elements} of an expression, reverses them and puts them
260 back. Then it recurses, both on @code{elements} and @code{element}
263 #(define (reverse-music music)
264 (let* ((elements (ly:music-property music 'elements))
265 (child (ly:music-property music 'element))
266 (reversed (reverse elements)))
269 (ly:music-set-property! music 'elements reversed)
272 (if (ly:music? child) (reverse-music child))
273 (map reverse-music reversed)
278 A slightly more elaborate example is in
279 @inputfileref{input/@/test,reverse@/-music@/.ly}.
281 Some of the input syntax is also implemented as recursive music
282 functions. For example, the syntax for polyphony
288 is actually implemented as a recursive function that replaces the
289 above by the internal equivalent of
291 << \context Voice = "1" @{ \voiceOne a @}
292 \context Voice = "2" @{ \voiceTwo b @} >>
295 Other applications of @code{\applymusic} are writing out repeats
296 automatically (@inputfileref{input/@/test,unfold@/-all@/-repeats@/.ly}),
297 saving keystrokes (@inputfileref{input/@/test,music@/-box@/.ly}) and
298 exporting LilyPond input to other formats
299 (@inputfileref{input/@/test,to@/-xml@/.ly})
301 @cindex internal storage
302 @cindex @code{\displayMusic}
303 When writing a music function, it is often instructive to inspect how
304 a music expression is stored internally. This can be done with the
305 music function @code{\displayMusic}.
309 @file{scm/@/music@/-functions@/.scm}, @file{scm/@/music@/-types@/.scm},
310 @inputfileref{input/@/test,add@/-staccato@/.ly},
311 @inputfileref{input/@/test,unfold@/-all@/-repeats@/.ly}, and
312 @inputfileref{input/@/test,music@/-box@/.ly}.
315 @node Using LilyPond syntax inside Scheme
316 @subsection Using LilyPond syntax inside Scheme
318 Creating music expressions in Scheme can be tedious, as they are
319 heavily nested and the resulting Scheme code is large. For some
320 simple tasks, this can be avoided, using common LilyPond syntax inside
321 Scheme, with the dedicated @code{#@{ ... #@}} syntax.
323 The following two expressions give equivalent music expressions:
325 mynotes = @{ \override Stem #'thickness = #4
328 #(define mynotes #@{ \override Stem #'thickness = #4
332 The content of @code{#@{ ... #@}} is enclosed in an implicit @code{@{
333 ... @}} block, which is parsed. The resulting music expression, a
334 @code{SequentialMusic} music object, is then returned and usable in Scheme.
336 Arbitrary Scheme forms, including variables, can be used in @code{#@{ ... #@}}
337 expressions with the @code{$} character (@code{$$} can be used to
338 produce a single @code{$} character). This makes the creation of simple
339 functions straightforward. In the following example, a function
340 setting the TextScript's padding is defined:
342 @lilypond[quote,verbatim,raggedright]
343 #(use-modules (ice-9 optargs))
344 #(define* (textpad padding #:optional once?)
345 (ly:export ; this is necessary for using the expression
346 ; directly inside a block
348 #{ \once \override TextScript #'padding = #$padding #}
349 #{ \override TextScript #'padding = #$padding #})))
353 #(textpad 3.0 #t) % only once
362 Here, the variable @code{padding} is a number; music expression
363 variables may also be used in a similar fashion, as in the following
366 @lilypond[quote,verbatim,raggedright]
367 #(define (with-padding padding)
369 #{ \override TextScript #'padding = #$padding
371 \revert TextScript #'padding #}))
375 \applymusic #(with-padding 3) { c'^"2" c'^"3" }
380 The function created by @code{(with-padding 3)} adds @code{\override} and
381 @code{\revert} statements around the music given as an argument, and returns
382 this new expression. Thus, this example is equivalent to:
387 @{ \override TextScript #'padding = #3
389 \revert TextScript #'padding
395 This function may also be defined as a music function:
397 @lilypond[quote,verbatim,raggedright]
399 #(def-music-function (location padding music) (number? ly:music?)
400 #{ \override TextScript #'padding = #$padding
402 \revert TextScript #'padding #})
406 \withPadding #3 { c'^"2" c'^"3"}
412 @node Markup programmer interface
413 @section Markup programmer interface
415 @c Please rewrite the second sentence; I don't understand its meaning. AS
416 Markups are implemented as special Scheme functions. When applied with as
417 arguments an output definition (@code{\layout} or @code{\paper}),
418 and a list of properties and other arguments, produce a Stencil
422 * Markup construction in Scheme::
423 * How markups work internally ::
424 * Markup command definition::
427 @node Markup construction in Scheme
428 @subsection Markup construction in Scheme
430 @cindex defining markup commands
432 The @code{markup} macro builds markup expressions in Scheme while
433 providing a LilyPond-like syntax. For example,
435 (markup #:column (#:line (#:bold #:italic "hello" #:raise 0.4 "world")
436 #:bigger #:line ("foo" "bar" "baz")))
442 \markup \column < @{ \bold \italic "hello" \raise #0.4 "world" @}
443 \bigger @{ foo bar baz @} >
447 This example exposes the main translation rules between regular
448 LilyPond markup syntax and Scheme markup syntax, which are summed up
452 @multitable @columnfractions .3 .3
453 @item @b{LilyPond} @tab @b{Scheme}
454 @item @code{\command} @tab @code{#:command}
455 @item @code{\variable} @tab @code{variable}
456 @item @code{@{ ... @}} @tab @code{#:line ( ... )}
457 @item @code{\center-align < ... >} @tab @code{#:center ( ... )}
458 @item @code{string} @tab @code{"string"}
459 @item @code{#scheme-arg} @tab @code{scheme-arg}
463 Besides, the whole scheme language is accessible inside the
464 @code{markup} macro: thus, one may use function calls inside
465 @code{markup} in order to manipulate character strings for
466 instance. This proves useful when defining new markup commands (see
467 @ref{Markup command definition}).
471 One can not feed the @code{#:line} (resp @code{#:center},
472 @code{#:column}) command with a variable or the result of a function
476 (markup #:line (fun-that-returns-markups))
480 is invalid. One should use the @code{make-line-markup} (resp.,
481 @code{make-center-markup} or @code{make-column-markup}) function
484 (markup (make-line-markup (fun-that-returns-markups)))
487 @node How markups work internally
488 @subsection How markups work internally
497 @code{\raise} is actually represented by the @code{raise-markup}
498 function. The markup expression is stored as
501 (list raise-markup 0.5 (list simple-markup 'latin1 "foo"))
505 In this case, @code{latin1} is the input encoding, which is set with
506 the @code{\encoding} command.
508 When the markup is converted to printable objects (Stencils), the
509 @code{raise-markup} function is called as
514 @var{list of property alists}
516 @var{the "foo" markup})
519 The @code{raise-markup} first creates the stencil for the @code{foo}
520 string, and then it raises that Stencil by 0.5 staff space. This is a
521 rather simple example; more complex examples are in the rest of this
522 section, and in @file{scm/@/define@/-markup@/-commands@/.scm}.
524 @node Markup command definition
525 @subsection Markup command definition
527 New markup commands can be defined
528 with the @code{def-markup-command} scheme macro.
530 (def-markup-command (@var{command-name} @var{layout} @var{props} @var{arg1} @var{arg2} ...)
531 (@var{arg1-type?} @var{arg2-type?} ...)
535 The arguments signify
539 @var{i}th command argument
541 a type predicate for the i@var{th} argument
543 the `layout' definition
545 a list of alists, containing all active properties.
548 As a simple example, we show how to add a @code{\smallcaps} command,
549 which selects @TeX{}'s small caps font. Normally, we could select the
550 small caps font as follows:
553 \markup @{ \override #'(font-shape . caps) Text-in-caps @}
556 This selects the caps font by setting the @code{font-shape} property to
557 @code{#'caps} for interpreting @code{Text-in-caps}.
559 To make the above available as @code{\smallcaps} command, we have to
560 define a function using @code{def-markup-command}. The command should
561 take a single argument, of type markup. Therefore, the start of the
562 definition should read
564 (def-markup-command (smallcaps layout props argument) (markup?)
569 What follows is the content of the command: we should interpret
570 the @code{argument} as a markup, i.e.,
573 (interpret-markup layout @dots{} argument)
577 This interpretation should add @code{'(font-shape . caps)} to the active
578 properties, so we substitute the following for the @dots{} in the
582 (cons (list '(font-shape . caps) ) props)
586 The variable @code{props} is a list of alists, and we prepend to it by
587 cons'ing a list with the extra setting.
590 Suppose that we are typesetting a recitative in an opera, and
591 we would like to define a command that will show character names in a
592 custom manner. Names should be printed with small caps and translated a
593 bit to the left and top. We will define a @code{\character} command
594 that takes into account the necessary translation, and uses the newly
595 defined @code{\smallcaps} command:
598 #(def-markup-command (character layout props name) (string?)
599 "Print the character name in small caps, translated to the left and
600 top. Syntax: \\character #\"name\""
601 (interpret-markup layout props
602 (markup "" #:translate (cons -3 1) #:smallcaps name)))
605 There is one complication that needs explanation: texts above and below
606 the staff are moved vertically to be at a certain distance (the
607 @code{padding} property) from the staff and the notes. To make sure
608 that this mechanism does not annihilate the vertical effect of our
609 @code{#:translate}, we add an empty string (@code{""}) before the
610 translated text. Now the @code{""} will be put above the notes, and the
611 @code{name} is moved in relation to that empty string. The net effect is
612 that the text is moved to the upper left.
614 The final result is as follows:
617 c''^\markup \character #"Cleopatra"
618 e'^\markup \character #"Giulio Cesare"
622 @lilypond[quote,raggedright]
623 #(def-markup-command (smallcaps layout props str) (string?)
624 "Print the string argument in small caps. Syntax: \\smallcaps #\"string\""
625 (interpret-markup layout props
628 (if (= (string-length s) 0)
630 (markup #:large (string-upcase (substring s 0 1))
631 #:translate (cons -0.6 0)
632 #:tiny (string-upcase (substring s 1)))))
633 (string-split str #\Space)))))
635 #(def-markup-command (character layout props name) (string?)
636 "Print the character name in small caps, translated to the left and
637 top. Syntax: \\character #\"name\""
638 (interpret-markup layout props
639 (markup "" #:translate (cons -3 1) #:smallcaps name)))
642 c''^\markup \character #"Cleopatra" c'' c'' c''
643 e'^\markup \character #"Giulio Cesare" e' e' e'
647 We have used the @code{caps} font shape, but suppose that our font
648 does not have a small-caps variant. In that case we have to fake
649 the small caps font by setting a string in upcase with the first
650 letter a little larger:
653 #(def-markup-command (smallcaps layout props str) (string?)
654 "Print the string argument in small caps."
655 (interpret-markup layout props
658 (if (= (string-length s) 0)
660 (markup #:large (string-upcase (substring s 0 1))
661 #:translate (cons -0.6 0)
662 #:tiny (string-upcase (substring s 1)))))
663 (string-split str #\Space)))))
666 The @code{smallcaps} command first splits its string argument into
667 tokens separated by spaces (@code{(string-split str #\Space)}); for
668 each token, a markup is built with the first letter made large and
669 upcased (@code{#:large (string-upcase (substring s 0 1))}), and a
670 second markup built with the following letters made tiny and upcased
671 (@code{#:tiny (string-upcase (substring s 1))}). As LilyPond
672 introduces a space between markups on a line, the second markup is
673 translated to the left (@code{#:translate (cons -0.6 0) ...}). Then,
674 the markups built for each token are put in a line by
675 @code{(make-line-markup ...)}. Finally, the resulting markup is passed
676 to the @code{interpret-markup} function, with the @code{layout} and
677 @code{props} arguments.
681 @node Contexts for programmers
682 @section Contexts for programmers
686 * Context evaluation::
687 * Running a function on all layout objects::
690 @node Context evaluation
691 @subsection Context evaluation
693 @cindex calling code during interpreting
694 @cindex @code{\applycontext}
696 Contexts can be modified during interpretation with Scheme code. The
699 \applycontext @var{function}
702 @var{function} should be a Scheme function taking a single argument,
703 being the context to apply it to. The following code will print the
704 current bar number on the standard output during the compile:
709 (format #t "\nWe were called in barnumber ~a.\n"
710 (ly:context-property x 'currentBarNumber)))
715 @node Running a function on all layout objects
716 @subsection Running a function on all layout objects
719 @cindex calling code on layout objects
720 @cindex @code{\applyoutput}
723 The most versatile way of tuning an object is @code{\applyoutput}. Its
726 \applyoutput @var{proc}
730 where @var{proc} is a Scheme function, taking three arguments.
732 When interpreted, the function @var{proc} is called for every layout
733 object found in the context, with the following arguments:
735 @item the layout object itself,
736 @item the context where the layout object was created, and
737 @item the context where @code{\applyoutput} is processed.
741 In addition, the cause of the layout object, i.e., the music
742 expression or object that was responsible for creating it, is in the
743 object property @code{cause}. For example, for a note head, this is a
744 @internalsref{NoteHead} event, and for a @internalsref{Stem} object,
745 this is a @internalsref{NoteHead} object.
747 Here is a function to use for @code{\applyoutput}; it blanks
748 note-heads on the center-line:
751 (define (blanker grob grob-origin context)
752 (if (and (memq (ly:grob-property grob 'interfaces)
754 (eq? (ly:grob-property grob 'staff-position) 0))
755 (set! (ly:grob-property grob 'transparent) #t)))