Run convert-ly and update manual for syntax changes

[lilypond.git] / Documentation / user / ancient.itely

diff --git a/Documentation/user/ancient.itely b/Documentation/user/ancient.itely
index 357f1b082bbf5e3e0b9bd802b77165ada860667d..aff177a54f59c9667b385e57805b101b551b4a00 100644 (file)
--- a/Documentation/user/ancient.itely
+++ b/Documentation/user/ancient.itely
@@ -1,4 +1,10 @@
 @c -*- coding: utf-8; mode: texinfo; -*-
 @c -*- coding: utf-8; mode: texinfo; -*-

+@ignore
+    Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
+
+    When revising a translation, copy the HEAD committish of the
+    version that you are working on.  See TRANSLATION for details.
+@end ignore

 
 @node Ancient notation
 @section Ancient notation
 
 @node Ancient notation
 @section Ancient notation


@@ -14,7 +20,7 @@ and Gregorian Chant notation.  There is also limited support for
 figured bass notation.
 
 Many graphical objects provide a @code{style} property, see
 figured bass notation.
 
 Many graphical objects provide a @code{style} property, see

-@itemize @bullet
+@itemize

 @item
 @ref{Ancient note heads},
 @item
 @item
 @ref{Ancient note heads},
 @item


@@ -34,11 +40,11 @@ the affected graphical objects can be accommodated for a specific
 notation flavor without the need for introducing any new notational
 concept.
 
 notation flavor without the need for introducing any new notational
 concept.
 

-In addition to the standard articulation signs described in section
-@ref{Articulations}, specific articulation signs for ancient notation
-are provided.
+In addition to the standard articulation signs described in
+section @ref{Articulations and ornamentations}, specific
+articulation signs for ancient notation are provided.

 
 

-@itemize @bullet
+@itemize

 @item
 @ref{Ancient articulations}
 @end itemize
 @item
 @ref{Ancient articulations}
 @end itemize


@@ -48,7 +54,7 @@ in terms of just changing a style property of a graphical object or
 adding articulation signs.  Some notational concepts are introduced
 specifically for ancient notation,
 
 adding articulation signs.  Some notational concepts are introduced
 specifically for ancient notation,
 

-@itemize @bullet
+@itemize

 @item
 @ref{Custodes},
 @item
 @item
 @ref{Custodes},
 @item


@@ -63,7 +69,7 @@ how to customize a context, you may have a look at the predefined
 contexts.  Use them to set up predefined style-specific voice and
 staff contexts, and directly go ahead with the note entry,
 
 contexts.  Use them to set up predefined style-specific voice and
 staff contexts, and directly go ahead with the note entry,
 

-@itemize @bullet
+@itemize

 @item
 @ref{Gregorian Chant contexts},
 @item
 @item
 @ref{Gregorian Chant contexts},
 @item


@@ -73,12 +79,23 @@ staff contexts, and directly go ahead with the note entry,
 There is limited support for figured bass notation which came
 up during the baroque period.
 
 There is limited support for figured bass notation which came
 up during the baroque period.
 

-@itemize @bullet
+@itemize

 @item
 @ref{Figured bass}
 @end itemize
 
 @item
 @ref{Figured bass}
 @end itemize
 

-Here are all subtopics at a glance:
+@c Here are all subtopics at a glance:
+
+@menu
+* Alternative note signs for ancient music::
+* Additional note signs for ancient music::
+* Pre-defined contexts::
+* Musica ficta accidentals::
+* Figured bass::
+@end menu
+
+@node Alternative note signs for ancient music
+@subsection Alternative note signs for ancient music

 
 @menu
 * Ancient note heads::          
 
 @menu
 * Ancient note heads::          


@@ -87,21 +104,9 @@ Here are all subtopics at a glance:
 * Ancient clefs::               
 * Ancient flags::               
 * Ancient time signatures::     
 * Ancient clefs::               
 * Ancient flags::               
 * Ancient time signatures::     

-* Ancient articulations::       
-* Custodes::                    
-* Divisiones::                  
-* Ligatures::                   
-* White mensural ligatures::    
-* Gregorian square neumes ligatures::  
-* Gregorian Chant contexts::    
-* Mensural contexts::           
-* Musica ficta accidentals::    
-* Figured bass::                

 @end menu
 
 @end menu
 

-
-
-@anchor{Ancient note heads}
+@node Ancient note heads

 @unnumberedsubsubsec Ancient note heads
 
 @cindex note heads, ancient
 @unnumberedsubsubsec Ancient note heads
 
 @cindex note heads, ancient


@@ -143,7 +148,7 @@ engravers work.
 @ref{Note head styles}, gives an overview over all available note head styles.
 
 
 @ref{Note head styles}, gives an overview over all available note head styles.
 
 

-@anchor{Ancient accidentals}
+@node Ancient accidentals

 @unnumberedsubsubsec Ancient accidentals
 
 @cindex accidentals
 @unnumberedsubsubsec Ancient accidentals
 
 @cindex accidentals


@@ -156,7 +161,7 @@ ancient accidentals.
 @lilypond[quote,ragged-right,staffsize=26]
 \score {
 {
 @lilypond[quote,ragged-right,staffsize=26]
 \score {
 {

-  \fatText
+  \textLengthOn

   s^\markup {
     \column {
       "vaticana"
   s^\markup {
     \column {
       "vaticana"


@@ -203,16 +208,16 @@ controlled by the @code{glyph-name-alist} property of the
 
 @seealso
 
 
 @seealso
 

-In this manual: @ref{Pitches}, @ref{Cautionary accidentals}, and
+Notation Reference: @ref{Pitches}, @ref{Accidentals}, and

 @ref{Automatic accidentals}, give a general introduction of the use of
 accidentals.  @ref{Key signature}, gives a general introduction of
 the use of key signatures.
 
 @ref{Automatic accidentals}, give a general introduction of the use of
 accidentals.  @ref{Key signature}, gives a general introduction of
 the use of key signatures.
 

-Program reference: @internalsref{KeySignature}.
+Internals Reference: @internalsref{KeySignature}.

 
 Examples: @lsrdir{ancient}
 
 
 Examples: @lsrdir{ancient}
 

-@anchor{Ancient rests}
+@node Ancient rests

 @unnumberedsubsubsec Ancient rests
 
 @cindex rests, ancient
 @unnumberedsubsubsec Ancient rests
 
 @cindex rests, ancient


@@ -244,11 +249,11 @@ There are no rests in Gregorian Chant notation; instead, it uses
 
 @seealso
 
 
 @seealso
 

-In this manual: @ref{Rests}, gives a general introduction into the use of
+Notation Reference: @ref{Rests}, gives a general introduction into the use of

 rests.
 
 
 rests.
 
 

-@anchor{Ancient clefs}
+@node Ancient clefs

 @unnumberedsubsubsec Ancient clefs
 
 @cindex clefs
 @unnumberedsubsubsec Ancient clefs
 
 @cindex clefs


@@ -479,7 +484,7 @@ beams, depending on which staff line it is printed.
 
 @seealso
 
 
 @seealso
 

-In this manual: see @ref{Clef}.
+Notation Reference: see @ref{Clef}.

 
 @refbugs
 
 
 @refbugs
 


@@ -487,7 +492,7 @@ The mensural g clef is mapped to the Petrucci g clef.
 
 
 
 
 
 

-@anchor{Ancient flags}
+@node Ancient flags

 @unnumberedsubsubsec Ancient flags
 
 @cindex flags
 @unnumberedsubsubsec Ancient flags
 
 @cindex flags


@@ -525,7 +530,7 @@ staff lines.  This may not always be true when using advanced layout
 features of classical notation (which however are typically out of
 scope for mensural notation).
 
 features of classical notation (which however are typically out of
 scope for mensural notation).
 

-@anchor{Ancient time signatures}
+@node Ancient time signatures

 @unnumberedsubsubsec Ancient time signatures
 
 @cindex time signatures
 @unnumberedsubsubsec Ancient time signatures
 
 @cindex time signatures


@@ -593,7 +598,7 @@ The following examples show the differences in style,
 
 @lilypond[ragged-right,fragment,relative=1,quote]
 {
 
 @lilypond[ragged-right,fragment,relative=1,quote]
 {

-  \fatText
+  \textLengthOn

 
   \time 2/2
   c1^\markup { \hspace #-2.0 \typewriter default }
 
   \time 2/2
   c1^\markup { \hspace #-2.0 \typewriter default }


@@ -638,15 +643,29 @@ This sets @code{breveTP} to 3/2 times 2 = 3 times a whole note.
 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
 addressable with @code{\time}.  Use a @code{\markup} instead
 
 The @code{old6/8alt} symbol (an alternate symbol for 6/8) is not
 addressable with @code{\time}.  Use a @code{\markup} instead
 

-@anchor{Ancient articulations}
+
+@node Additional note signs for ancient music
+@subsection Additional note signs for ancient music
+
+@menu
+* Ancient articulations::       
+* Custodes::                    
+* Divisiones::                  
+* Ligatures::                   
+* White mensural ligatures::    
+* Gregorian square neumes ligatures::  
+@end menu
+
+
+@node Ancient articulations

 @unnumberedsubsubsec Ancient articulations
 
 @cindex articulations
 
 @unnumberedsubsubsec Ancient articulations
 
 @cindex articulations
 

-In addition to the standard articulation signs described in section
-@ref{Articulations}, articulation signs for ancient notation are
-provided.  These are specifically designed for use with notation in
-Editio Vaticana style.
+In addition to the standard articulation signs described in
+section @ref{Articulations and ornamentations}, articulation signs
+for ancient notation are provided.  These are specifically
+designed for use with notation in Editio Vaticana style.

 
 @lilypond[quote,ragged-right,verbatim]
 \include "gregorian-init.ly"
 
 @lilypond[quote,ragged-right,verbatim]
 \include "gregorian-init.ly"


@@ -672,7 +691,7 @@ corresponding note heads.
 The episem line is not displayed in many cases.  If it is displayed,
 the right end of the episem line is often too far to the right.
 
 The episem line is not displayed in many cases.  If it is displayed,
 the right end of the episem line is often too far to the right.
 

-@anchor{Custodes}
+@node Custodes

 @unnumberedsubsubsec Custodes
 
 @cindex custos
 @unnumberedsubsubsec Custodes
 
 @cindex custos


@@ -746,13 +765,13 @@ supported are @code{vaticana}, @code{medicaea}, @code{hufnagel}, and
 
 @seealso
 
 
 @seealso
 

-Program reference: @internalsref{Custos}.
+Internals Reference: @internalsref{Custos}.

 
 Examples:
 @lsr{ancient,custodes@/.ly}.
 
 
 
 Examples:
 @lsr{ancient,custodes@/.ly}.
 
 

-@anchor{Divisiones}
+@node Divisiones

 @unnumberedsubsubsec Divisiones
 
 @cindex divisio
 @unnumberedsubsubsec Divisiones
 
 @cindex divisio


@@ -796,14 +815,14 @@ Therefore, @file{gregorian@/-init@/.ly} also defines @code{\virgula} and
 
 @seealso
 
 
 @seealso
 

-In this manual: @ref{Breath marks}.
+Notation Reference: @ref{Breath marks}.

 
 

-Program reference: @internalsref{BreathingSign}.
+Internals Reference: @internalsref{BreathingSign}.

 
 Examples: @lsr{expressive,breathing-sign.ly}.
 
 
 
 Examples: @lsr{expressive,breathing-sign.ly}.
 
 

-@anchor{Ligatures}
+@node Ligatures

 @unnumberedsubsubsec Ligatures
 
 @cindex Ligatures
 @unnumberedsubsubsec Ligatures
 
 @cindex Ligatures


@@ -861,7 +880,7 @@ with the same effect and is believed to be stable.
 * Gregorian square neumes ligatures::  
 @end menu
 
 * Gregorian square neumes ligatures::  
 @end menu
 

-@anchor{White mensural ligatures}
+@node White mensural ligatures

 @unnumberedsubsubsec White mensural ligatures
 
 @cindex Mensural ligatures
 @unnumberedsubsubsec White mensural ligatures
 
 @cindex Mensural ligatures


@@ -950,7 +969,7 @@ to the following
 
 Horizontal spacing is poor.
 
 
 Horizontal spacing is poor.
 

-@anchor{Gregorian square neumes ligatures}
+@node Gregorian square neumes ligatures

 @unnumberedsubsubsec Gregorian square neumes ligatures
 
 @cindex Square neumes ligatures
 @unnumberedsubsubsec Gregorian square neumes ligatures
 
 @cindex Square neumes ligatures


@@ -988,7 +1007,7 @@ Deminutae}
 @c Therefore, it should somehow be included rather than duplicated all
 @c the time. --jr
 
 @c Therefore, it should somehow be included rather than duplicated all
 @c the time. --jr
 

-@c why not make identifiers in ly/engraver-init.ly? --hwn
+@c why not make variables in ly/engraver-init.ly? --hwn

 
 @c Because it's just used to typeset plain notes without
 @c a staff for demonstration purposes rather than something
 
 @c Because it's just used to typeset plain notes without
 @c a staff for demonstration purposes rather than something


@@ -1902,7 +1921,17 @@ of the staff.
 unary music function, such that @code{\augmentum} can be intermixed
 with head prefixes in arbitrary order.
 
 unary music function, such that @code{\augmentum} can be intermixed
 with head prefixes in arbitrary order.
 

-@anchor{Gregorian Chant contexts}
+
+@node Pre-defined contexts
+@subsection Pre-defined contexts
+
+@menu
+* Gregorian Chant contexts::    
+* Mensural contexts::           
+@end menu
+
+
+@node Gregorian Chant contexts

 @unnumberedsubsubsec Gregorian Chant contexts
 
 @cindex VaticanaVoiceContext
 @unnumberedsubsubsec Gregorian Chant contexts
 
 @cindex VaticanaVoiceContext


@@ -1936,17 +1965,18 @@ the following excerpt demonstrates
 @end lilypond
 
 
 @end lilypond
 
 

-@anchor{Mensural contexts}
+@node Mensural contexts

 @unnumberedsubsubsec Mensural contexts
 
 @cindex MensuralVoiceContext
 @cindex MensuralStaffContext
 
 The predefined @code{MensuralVoiceContext} and
 @unnumberedsubsubsec Mensural contexts
 
 @cindex MensuralVoiceContext
 @cindex MensuralStaffContext
 
 The predefined @code{MensuralVoiceContext} and

-@code{MensuralStaffContext} can be used to engrave a piece in mensural
-style.  These contexts initialize all relevant context properties and
-grob properties to proper values, so you can immediately go ahead
-entering the chant, as the following excerpt demonstrates
+@code{MensuralStaffContext} can be used to engrave a piece in
+mensural style.  These contexts initialize all relevant context
+properties and grob properties to proper values, so you can
+immediately go ahead entering the chant, as the following excerpt
+demonstrates

 
 @lilypond[quote,ragged-right,verbatim]
 \score {
 
 @lilypond[quote,ragged-right,verbatim]
 \score {


@@ -1968,13 +1998,13 @@ entering the chant, as the following excerpt demonstrates
 }
 @end lilypond
 
 }
 @end lilypond
 

-@anchor{Musica ficta accidentals}
-@unnumberedsubsubsec Musica ficta accidentals
+@node Musica ficta accidentals
+@subsection Musica ficta accidentals

 
 

-In European music from before about 1600, singers were often expected
-to chromatically alter notes at their own initiative. This is called
-@q{Musica Ficta}. In modern transcriptions, these accidentals are
-usually printed over the note.
+In European music from before about 1600, singers were often
+expected to chromatically alter notes at their own initiative.
+This is called @q{Musica Ficta}.  In modern transcriptions, these
+accidentals are usually printed over the note.

 
 @cindex Accidental, musica ficta
 @cindex Musica ficta
 
 @cindex Accidental, musica ficta
 @cindex Musica ficta


@@ -1990,13 +2020,24 @@ fis gis
 ais bis
 @end lilypond
 
 ais bis
 @end lilypond
 

+This will treat @emph{every} subsequent accidentals as
+@emph{musica ficta} until it is unset with @code{\set
+suggestAccidentals = ##f}.  A more convenient way is to use
+@code{\once}:
+
+@lilypond[verbatim,fragment,relative=1]
+fis gis
+\once \set suggestAccidentals = ##t
+ais ais bis
+@end lilypond
+

 @seealso
 
 @seealso
 

-Program reference: @internalsref{Accidental_engraver} engraver and the
-@internalsref{AccidentalSuggestion} object.
+Internals Reference: @internalsref{Accidental_engraver} engraver and
+the @internalsref{AccidentalSuggestion} object.

 
 

-@anchor{Figured bass}
-@unnumberedsubsubsec Figured bass
+@node Figured bass
+@subsection Figured bass

 
 @cindex Basso continuo
 
 
 @cindex Basso continuo
 


@@ -2043,7 +2084,7 @@ diminished fifths and sevenths can be obtained with @code{5/} and @code{7/}.
 @end lilypond
 
 Spaces may be inserted by using @code{_}.  Brackets are
 @end lilypond
 
 Spaces may be inserted by using @code{_}.  Brackets are

-introduced with @code{[} and @code{]}. You can also include text
+introduced with @code{[} and @code{]}.  You can also include text

 strings and text markups, see @ref{Overview of text markup commands}.
 
 @example
 strings and text markups, see @ref{Overview of text markup commands}.
 
 @example


@@ -2074,7 +2115,7 @@ It is also possible to use continuation lines for repeated figures,
 In this case, the extender lines always replace existing figures.
 
 The @code{FiguredBass} context doesn't pay attention to the actual
 In this case, the extender lines always replace existing figures.
 
 The @code{FiguredBass} context doesn't pay attention to the actual

-bass line. As a consequence, you may have to insert extra figures to
+bass line.  As a consequence, you may have to insert extra figures to

 get extender lines below all notes, and you may have to add @code{\!}
 to avoid getting an extender line, e.g.
 
 get extender lines below all notes, and you may have to add @code{\!}
 to avoid getting an extender line, e.g.
 


@@ -2093,8 +2134,8 @@ to avoid getting an extender line, e.g.
 @end lilypond
 
 When using continuation lines, common figures are always put in the
 @end lilypond
 
 When using continuation lines, common figures are always put in the

-same vertical position. When this is unwanted, you can insert a rest
-with @code{r}. The rest will clear any previous alignment.  For
+same vertical position.  When this is unwanted, you can insert a rest
+with @code{r}.  The rest will clear any previous alignment.  For

 example, you can write
 
 @example
 example, you can write
 
 @example


@@ -2180,7 +2221,7 @@ use @code{stacking-dir} on @code{BassFigureAlignment}.
 
 @seealso
 
 
 @seealso
 

-Program reference: @internalsref{NewBassFigure},
+Internals Reference: @internalsref{NewBassFigure},

 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
 @internalsref{BassFigureBracket}, and
 @internalsref{BassFigureContinuation} objects and
 @internalsref{BassFigureAlignment}, @internalsref{BassFigureLine},
 @internalsref{BassFigureBracket}, and
 @internalsref{BassFigureContinuation} objects and