Merge branch 'master' of carldsorensen@git.sv.gnu.org:/srv/git/lilypond into ralph

[lilypond.git] / input / lsr / dodecaphonic-style-accidentals-for-each-note-including-naturals.ly

diff --git a/input/lsr/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly b/input/lsr/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly
index ae1aa4de8b4ef746d0fd79e673538d4d905b43de..f326d4f41bc31f35e124d46a111e07362a3b8975 100644 (file)
--- a/input/lsr/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly
+++ b/input/lsr/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly
@@ -1,42 +1,61 @@
-%% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
+%% Do not edit this file; it is auto-generated from input/new
 %% This file is in the public domain.
-\version "2.11.46"
+\version "2.12.0"
 
 \header {
-  lsrtags = "pitches"
+  doctitlees = "Alteraciones de estilo dodecafónico para todas las notas, incluidas las naturales"
+  texidoces = "
+En las obras de principios del s.XX, empezando por Schoenberg, Berg y
+Webern (la \"Segunda\" escuela de Viena), cada nota de la escala de
+doce tonos se debe tratar con igualdad, sin ninguna jerarquía como los
+grados clásicos tonales.  Por tanto, estos compositores imprimen una
+alteración accidental para cada nota, incluso en las notas naturales,
+para enfatizar su nuevo enfoque de la teoría y el lenguaje musicales.
 
-  texidoc = "
-In early 20th century works, starting with Schoenberg, Berg and Webern
-(the \"Second\" Viennese school), every pitch in the twelve-tone scale
-has to be regarded as equal, without any hierarchy such as the
-classical (tonal) degrees. Therefore, these composers print one
-accidental for each note, even at natural pitches, to emphasize their
-new approach to music theory and language.
+Este fragmento de código muestra cómo conseguir dichas reglas de
+notación.
 
-This snippet shows how to achieve such notation rules. 
+"
+
+ texidocde = "
+ In Werken des fürhen 20. Jahrhundert, angefangen mit Schönberg, Berg
+ und Webern (die zweite Wiener Schule), wird jeder Ton der 
+ Zwölftonleiter als gleichwertig erachtet, ohne hierarchische
+ Ordnung.  Deshalb wird in dieser Musik für jede Note ein Versetzungszeichen
+ ausgegeben, auch für unalterierte Tonhöhen, um das neue Verständnis
+ der Musiktheorie und Musiksprache zu verdeutlichen.
+ 
+ Dieser Schnipsel zeigt, wie derartige Notationsregeln zu erstellen sind.
+ "
+ 
+doctitlede = "Versetzungszeichen für jede Note im Stil der Zwölftonmusik"
+
+  lsrtags = "pitches"
+  texidoc = "In early 20th century works, starting with Schoenberg,
+Berg and Webern (the \"Second\" Viennese school), every pitch in the
+twelve-tone scale has to be regarded as equal, without any hierarchy
+such as the classical (tonal) degrees.  Therefore, these composers
+print one accidental for each note, even at natural pitches, to
+emphasize their new approach to music theory and language.
 
+This snippet shows how to achieve such notation rules. 
 "
+
   doctitle = "Dodecaphonic-style accidentals for each note including naturals"
 } % begin verbatim
-webernAccidentals = {
-  % the 5s are just "a value different from any accidental"
-  \set Staff.keySignature = #'((0 . 5) (1 . 5) (2 . 5) (3 . 5)
-                               (4 . 5) (5 . 5) (6 . 5))
-  \set Staff.extraNatural = ##f
-  #(set-accidental-style 'forget)
-}
+
 
 \score {
-  {
-    \webernAccidentals
+  \new Staff {
+    #(set-accidental-style 'dodecaphonic)
     c'4 dis' cis' cis'
     c'4 dis' cis' cis'
     c'4 c' dis' des'
   }
   \layout {
     \context {
-    \Staff
-    \remove "Key_engraver"
+      \Staff
+      \remove "Key_engraver"
     }
   }
 }