-/*
- UGH UGH UGH .
-
- rewrite this complely. --hwn
- */
-
-/*
- * This class implements an engraver for ambitus grobs.
- *
- * TODO: There are quite some conceptional issues left open:
- *
- * - Many publishers put ambitus _before_ the first occurrence of a
- * clef. Hence, formally the pitches are undefined in this case. Of
- * course, one could always silently assume that ambitus pitches refer
- * to the first occurrence of a clef. Or should we, by default, put
- * the ambitus always after the first clef, if any?
- *
- * - Enharmonically equal pitches: Assume piece contains once a "gis",
- * another time an "aes" as highest pitch. Which one should be
- * selected for the ambitus grob? The "aes", because it is
- * musically/notationally "higher" than "gis"? Or "gis", because (if
- * using pure temperament) it has a slightly higher frequency? Or
- * that pitch that come closer to the key signature? But there may be
- * key signature changes in the piece...
- *
- * - Multiple voices in single staff: Assume a vocal piece of music,
- * where the soprano voice and the alto voice are put into the same
- * staff (this is generally a bad idea, but unfortunately common
- * practice). Then, there probably should be two ambitus grobs, one
- * for each voice. But how can you see which ambitus grob refers to
- * which voice? Most probably you can guess it from the fact that the
- * ambitus of the alto voice typically lies in a lower range than that
- * of the soprano voice, but this is just a heuristic rather than a
- * generally valid rule. In the case of only two voices, using stems
- * in the ambitus grob might help, but probably looks quite ugly.
- *
- * - If a piece consists of several loosely coupled sections, should
- * there be multiple ambitus grobs allowed, one for each section?
- * Then there probably should be some "\ambitus" event added to
- * mudela, stating where an ambitus grob should be placed. This
- * ambitus grob should then represent the ambitus in the range of time
- * between this "\ambitus" event and the next one (or the end of the
- * piece, if there is no more such event). To be compliant with the
- * current implementation, we might implicitly assume an "\ambitus"
- * event at the beginning of the piece, but then the question where
- * to put this first ambitus grob (before/after the clef?) becomes
- * even more urgent.
- *
- * - Incipits of transcribed music may need special treatment for
- * ambitus, since, for readability, the ambitus most probably should
- * not refer to the ancient clefs of the incipit, but rather to the
- * clefs used in the transcribed parts.
- */