depth = ..
NAME = documentation
-SUBDIRS= tex metadoc bibliography pictures topdocs ntweb
+SUBDIRS= user metadoc bibliography pictures topdocs ntweb
STEPMAKE_TEMPLATES=documentation texinfo
README_TOP_FILES=NEWS DEDICATION TODO AIMS
@itemize @bullet
@item @uref{TODO.txt,The TODO list}
@item @uref{CHANGES.txt,The Change log}
-@item @uref{hacking.html, About internals and working on lilypond}
@item @uref{../topdocs/out-www/AUTHORS.html,The Authors}
@item @uref{../topdocs/out-www/PATCHES.html,Sending and applying Patches}
@end itemize
HTML_FILES = $(addprefix $(outdir)/, $(TELY_FILES:.tely=.html))
PS_FILES = $(DVI_FILES:.dvi=.ps)
-STEPMAKE_TEMPLATES=tex documentation
+STEPMAKE_TEMPLATES=tex documentation texinfo
LOCALSTEPMAKE_TEMPLATES=lilypond mudela
export BIBINPUTS:=$(shell pwd)//$(PATHSEP)$(BIBINPUTS)
--- /dev/null
+\input texinfo @c -*-texinfo-*-
+@setfilename internals.info
+@settitle LilyPond internals
+
+@node Top, LilyPond internals, (dir), (dir)
+@top
+
+
+@menu
+* LilyPond internals::
+* Overview::
+* mudela::
+* Request_engraver::
+* Graphic elements::
+* Score elements::
+* Items::
+* Spanners::
+* Future work::
+* Coding standards::
+* Making patches::
+
+@end menu
+
+@node LilyPond internals, , Top, Top
+@menu
+* Overview:: Overview
+* mudela:: mudela
+* Request_engraver:: Request_engraver
+@end menu
+
+
+@chapter Help Needed!
+
+[Call for help]
+
+[List tasks:
+
+* Mutopia
+
+* Doco LilyPond
+
+* Straightforward extensions
+
+* GUI editors.
+
+]
+
+@chapter LilyPond internals
+
+
+This documents some aspects of the internals of GNU LilyPond. Some of
+this stuff comes from e-mail I wrote, some from e-mail others wrote,
+some are large comments taken away from the headers. This page may be
+a little incoherent. Unfortunately, it is also quite outdated. A
+more thorough and understandable document is in the works.
+
+You should use @code{doc++} to take a peek at the sources.
+
+@node Overview, mudela, Top, Top
+@section Overview
+
+GNU LilyPond is a "multi-pass" system. The different passes have been
+created so that they do not depend on each other. In a later stage
+some parts may be moved into libraries, or seperate programs, or they
+might be integrated in larger systems.
+
+@table @samp
+
+@item Parsing:
+
+No difficult algorithms. The .ly file is read, and converted to a list
+of @code{Scores}, which each contain @code{Music} and paper/midi-definitions.
+
+@item Interpreting music
+
+The music is walked through in time-order. The iterators which do the
+walking report Music to Translators which use this information to
+create elements, either MIDI or "visual" elements. The translators
+form a hierarchy; the ones for paper output are Engravers, for MIDI
+Performers.
+
+The translators swallow Music (mostly atomic gobs called Requests),
+create elements, broadcast them to other translators on higher or same
+level in the hierarchy:
+
+The stem of a voice A is broadcast to the staff which contains A, but
+not to the stems, beams and noteheads of a different voice (say B) or
+a different staff. The stem and noteheads of A are coupled, because
+the the Note_heads_engraver broadcasts its heads, and the Stem_engraver catches
+these.
+
+The engraver which agrees to handle a request decides whether to to
+honor the request, ignore it, or merge it with other requests. Merging
+of requests is preferably done with other requests done by members of
+the same voicegroups (beams, brackets, stems). In this way you can put
+the voices of 2 instruments in a conductor's score so they make chords
+(the Beam requests of both instruments will be merged).
+
+@item Prebreaking
+
+Breakable stuff (eg. clefs and bars) are copied into pre and
+postbreaks.
+
+@item Preprocessing
+
+Some dependencies are resolved, such as the direction of stems, beams,
+and "horizontal" placement issues (the order of clefs, keys etc,
+placement of chords in multi-voice music),
+
+@item Break calculation:
+
+The lines and horizontal positions of the columns are determined.
+
+@item Breaking
+
+Through some magical interactions with Line_of_score and Super_elem
+(check out the source) the "lines" are produced.
+
+All other spanners can figure across which lines they are spread. If
+applicable, they break themselves into pieces. After this, each piece
+(or, if there are no pieces, the original spanner itself) throws out
+any dependencies which are in the wrong line.
+
+@item Postprocesing:
+
+Some items and all spanners need computation after the Paper_column
+positions are determined. Examples: slurs, vertical positions of
+staffs.
+
+@item Output paper
+
+@end table
+
+@node mudela, Request_engraver, Overview, Top
+@section mudela
+
+Most information is stored in the form of a request. In music
+typesetting, the user might want to cram a lot more symbols on the
+paper than actually fits. To reflect this idea (the user asks more
+than we can do), the container for this data is called Request.
+
+In a lot of other formats this would be called an 'Event'
+
+@table @samp
+@item @code{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 @code{Note_req}
+ LilyPond 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 to decide. The engraver can decide on positioning based on
+ ottava commands and the appropriate clef.
+@item @code{Rest_req}
+ Typeset a rest.
+@item @code{Span_req}
+ This type of request typically results in the creation of a @code{Spanner}
+@item @code{Beam_req}
+ Start/stop a beam.
+ Engraver 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 @code{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 @code{Dynamic} request carries a time, measured
+ from the start of its note.
+@end table
+
+@node Request_engraver, , mudela, Top
+@section Request_engraver
+
+In the previous section the idea of Request has been explained, but
+this only solves one half of the problem. The other half is deciding
+which requests should be honored, which should merged with other
+requests, and which should be ignored. Consider this input
+
+@example
+
+ \type Staff < % chord
+ @{ \meter 2/4; [c8 c8] @}
+ @{\meter 2/4; [e8 e8] @}
+ >
+
+@end example
+
+Both the cs and es are part of a staff (they are in the same
+Voice_group), so they should share meters, but the two [ ] pairs
+should be merged.
+
+The judge in this "allocation" problem a set of brokers: the requests
+are transmitted to so-called engravers which respond if they want to
+accept a request eg, the @code{Notehead_engraver} will accept
+@code{Note_req}s, and turn down @code{Slur_req}s. If the Music_iterator
+cannot find a engraver that wants the request, it is junked (with a
+warning message).
+
+After all requests have been either assigned, or junked, the Engraver
+will process the requests (which usually means creating an @code{Item}
+or @code{Spanner}). If a @code{Request_engraver} creates something, it
+tells the enclosing context. If all items/spanners have been created,
+then each Engraver is notified of any created Score_element, via a
+broadcasting system.
+
+@unnumberedsubsec example:
+
+@example
+
+ c4
+
+@end example
+
+produces:
+
+@example
+
+ Note_request (duration 1/4)
+ Stem_request (duration 1/4)
+
+@end example
+
+Note_request will be taken by a @code{Notehead_engraver}, stem_request
+will be taken by a @code{Stem_beam_engraver}. @code{Notehead_engraver}
+creates a @code{Notehead}, @code{Stem_beam_engraver} creates a
+@code{Stem}. Both announce this to the Staff_engraver. Staff_engraver
+will tell @code{Stem_beam_engraver} about the @code{Notehead}, which
+will add the @code{Notehead} to the @code{Stem} it just created.
+
+To decide on merging, several engravers have been grouped. Please
+check @file{init/engraver.ly}.
+
+
+
+@node Graphic elements, , , Top
+@section Graphic elements
+
+
+Music notation is composed of a sets of interrelated glyphs. In
+Lilypond every glyph usually is represented by one object, a so-called
+Graphic Object. The primary relations between graphic objects involve
+positions:
+
+@itemize
+@item consecutive notes are printed left to right, grouped in a staff
+@item simultaneous notes are horizontally aligned (internally grouped in
+a paper column).
+@item the staccato mark is horizontally centered on the note it applies
+to.
+@end itemize
+
+The abstract encoding of such relations is done with the concept
+@dfn{reference point}. The reference point (in X direction) of the
+staccato mark is the note it applies to. The (X) position of the
+staccato mark is stored relative to the position of the note head. This
+means that the staccato will always maintain a fixed offset wrt to the
+note head, whereever the head is moved to.
+
+In the same vein, all notes on a staff have their Y positions stored
+relative to an abstract object called Axis_group_spanner. If the
+Axis_group_spanner of one staff is moved, the absolute Y positions of
+all objects in that spanner change along, in effect causing the staff
+and all its contents to move as a whole.
+
+Each graphic object stores a pointer and an relative offset for each
+direction: one for the X-axis, one for the Y-axis. For example, the X
+parent of a Note_head usually is a Note_column. The X parent of a
+Note_column usually is either a Collision or a Paper_column. The X
+parent of a Collision usually is a Paper_column. If the Collision
+moves, all Note_heads that have that Collision as parent also move, but
+the absolute position of the Paper_column does not change.
+
+To build a graphical score with Graphic_elements, conceptually, one
+needs to have one Root object (in Lilypond: Line_of_score), and
+recursively attach objects to the Root. However, due to the nature
+of the context selection mechanisms, it turns out to be more
+advantageous to construct the tree the other way around: first small
+trees (note heads, barlines etc.) are created, and these are
+subsequently composed into larger trees, which are finally hung on a
+Paper_column (in X direction) or Line_of_score (in Y direction).
+
+The structure of the X,Y parent relations are determined by the
+engravers and notation contexts:
+
+The most important X-axis parent relation depends on the timing: notes
+that come earlier are attached to Paper_column that will be positioned
+more to the left.
+
+The most important Y-axis relation depends on containment of contexts:
+notes (created in a Thread or Voice context) are put in the staff where
+the originating context lives in.
+
+Graphical_axis_groups are special graphic objects, that are designed to
+function as a parent. The size of a Graphical_axis_groups group is the
+union of its children.
+
+@node Score elements, , , Top
+
+Besides relative positions there are lots of other relations between
+elements. Lilypond does not contain other specialized relation
+management (Like the relative positioning code). In stead, objects can
+be connected through dependencies, which sets the order in which objects
+are to be processed.
+
+Example: the direction of a beamed stem should equal the direction of
+the beam. When the stem is a added to the beam, a dependency on the
+beam is set in the stem: this means that @code{Beam::do_pre_processing
+()} (which does various direction related things) will be called before
+@code{Stem::do_pre_processing ()}.
+
+The code that manages dependencies resides in the class
+@code{Score_element}, a derived class of @code{Graphical_element}. The
+bulk of the code handles line breaking related issues.
+
+To sketch the problems with line breaking: suppose a slur spans a line
+break,
+@example
+
+c4( c'''' c | \break d d )d
+
+@end example
+In this case, the slur will appear as two parts, the first part spanning
+the first three notes (the @code{c}s), the second spanning the last
+three (the @code{d}s). Within Lilypond this is modeled as breaking the
+slur in parts: from the Original slur, two new clones of the old slur
+are made. Initially both clones depend on the six notes. After the
+hairy code in Score_element, Spanner and Item which does substitutions
+in sets of dependencies, the first clone depends on the first three
+notes, the second on the last three.
+
+The major derived classes of Score_element are Item and Spanner.
+An item has one horizontal position. A spanner hangs on two items.
+
+@node Items, , , Top
+@section Items
+
+
+
+An item is a score element that is associated with only one
+Paper_column. Examples are note heads, clefs, sup and superscripts, etc.
+Item is a derived class of Score_element.
+
+The shape of an item is known before the break calculations, and line
+spacing depends on the size of items: very wide items need more space
+than very small ones.
+
+An additional complication is the behavior of items at linebreaks. For
+example, when you do a time signature change, you get only one symbol.
+If it occurs at a linebreak, the new time signature must be printed both
+before and after the linebreak. Other `breakable symbols' such as
+clefs, and bar lines also exhibit this behavior.
+
+if a line of music is broken, the next line usually gets a clef. So in
+TeX terms, the clef is a postbreak. The same thing happens with meter
+signs: Normally the meter follows the bar. If a line is broken at that
+bar, the bar along with the meter stays on the "last" line, but the next
+line also gets a meter sign after the clef. To support this,
+breakable items are generated in the three versions: original
+(unbroken), left (before line break) and right (after line break).
+During the line spacing, these versions are used to try how the spacing
+of a line works out.
+
+Once the definitive spacing is determined, dependencies (and various
+other pointers) are substituted such that all dependencies point at the
+active items: either they point at the original, or they point at left
+and right.
+
+@node Spanners, , , Top
+@section Spanners
+
+Spanners are symbols that are of variable shape, eg. Slurs, beams, etc.
+Spanners is a derived class of Score_element.
+
+The final shape can only be determined after the line breaking process.
+All spanners are spanned on two items, called the left and right
+boundary item. The X reference point is the left boundary item.
+
+
+@node Future work, , , Top
+@section Future work
+
+There are plans to unify Spanner and Item, so there will no longer be
+such a clear distinction between the two. Right now, Score_elements are
+always either Item or either Spanner.
+
+Most of the properties of a graphic object are now member variables of
+the classes involved. To offer configurability, we want to move these
+variables to scheme (GUILE) variables, and no longer use C++ code to
+calculate them, but use Scheme functions.
+
+@node Coding standards, , , Top
+
+@chapter CodingStyle - standards while programming for GNU
+LilyPond
+
+Functions and methods do not return errorcodes.
+
+
+@unnumberedsubsec Languages
+
+C++ and Python are preferred. Perl is not. Python code should use an
+indent of 8, using TAB characters.
+
+@unnumberedsubsec Filenames
+
+Definitions of classes that are only accessed via pointers
+(*) or references (&) shall not be included as include files.
+
+filenames
+
+@example
+ ".hh" Include files
+ ".cc" Implementation files
+ ".icc" Inline definition files
+ ".tcc" non inline Template defs
+@end example
+
+in emacs:
+
+@example
+ (setq auto-mode-alist
+ (append '(("\\.make$" . makefile-mode)
+ ("\\.cc$" . c++-mode)
+ ("\\.icc$" . c++-mode)
+ ("\\.tcc$" . c++-mode)
+ ("\\.hh$" . c++-mode)
+ ("\\.pod$" . text-mode)
+ )
+ auto-mode-alist))
+@end example
+
+
+The class Class_name_abbreviation is coded in @file{class-name-abbr.*}
+
+@unnumberedsubsec Indentation
+
+Standard GNU coding style is used. In emacs:
+
+@example
+ (add-hook 'c++-mode-hook
+ '(lambda() (c-set-style "gnu")
+ )
+ )
+@end example
+
+If you like using font-lock, you can also add this to your @file{.emacs}:
+
+@example
+ (setq font-lock-maximum-decoration t)
+ (setq c++-font-lock-keywords-3
+ (append
+ c++-font-lock-keywords-3
+ '(("\\b\\([a-zA-Z_]+_\\)\\b" 1 font-lock-variable-name-face)
+ ("\\b\\([A-Z]+[a-z_]+\\)\\b" 1 font-lock-type-face))
+ ))
+@end example
+
+@unnumberedsubsec Classes and Types
+
+@example
+ This_is_a_class
+@end example
+
+@unnumberedsubsec Members
+
+@example
+ Class::member ()
+ Type Class::member_type_
+ Type Class::member_type ()
+@end example
+
+the @code{type} is a Hungarian notation postfix for @code{Type}. See below
+
+@unnumberedsubsec Macros
+
+Macros should be written completely in uppercase
+
+The code should not be compilable if proper macro declarations are not
+included.
+
+Don't laugh. It took us a whole evening/night to figure out one of
+these bugs, because we had a macro that looked like
+@code{DECLARE_VIRTUAL_FUNCTIONS ()}.
+
+@unnumberedsubsec Broken code
+
+Broken code (hardwired dependencies, hardwired constants, slow
+algorithms and obvious limitations) should be marked as such: either
+with a verbose TODO, or with a short "ugh" comment.
+
+@unnumberedsubsec Comments
+
+The source is commented in the DOC++ style. Check out doc++ at
+@uref{http://www.zib.de/Visual/software/doc++/index.html}
+
+@example
+
+ /*
+ C style comments for multiline comments.
+ They come before the thing to document.
+ [...]
+ */
+
+ /**
+ short description.
+ Long class documentation.
+ (Hungarian postfix)
+
+ TODO Fix boring_member ()
+ */
+ class Class @{
+ /**
+ short description.
+ long description
+ */
+
+ Data data_member_;
+
+ /**
+ short memo. long doco of member ()
+ @@param description of arguments
+ @@return Rettype
+ */
+ Rettype member (Argtype);
+
+ /// memo only
+ boring_member () @{
+ data_member_ = 121; // ugh
+ @}
+ @};
+
+@end example
+
+
+Unfortunately most of the code isn't really documented that good.
+
+@unnumberedsubsec Members (2)
+
+Standard methods:
+
+@example
+
+ ///check that *this satisfies its invariants, abort if not.
+ void OK () const
+
+ /// print *this (and substructures) to debugging log
+ void print () const
+
+ /**
+ protected member. Usually invoked by non-virtual XXXX ()
+ */
+ virtual do_XXXX ()
+
+ /**add some data to *this.
+ Presence of these methods usually imply that it is not feasible to this
+ via a constructor
+ */
+ add (..)
+
+ /// replace some data of *this
+ set (..)
+
+@end example
+
+@unnumberedsubsec Constructor
+
+Every class should have a default constructor.
+
+Don't use non-default constructors if this can be avoided:
+
+@example
+
+ Foo f(1)
+
+@end example
+
+is less readable than
+
+@example
+
+ Foo f;
+ f.x = 1
+
+@end example
+
+or
+
+@example
+
+ Foo f(Foo_convert::int_to_foo (1))
+
+@end example
+
+@unnumberedsec Hungarian notation naming convention
+
+Proposed is a naming convention derived from the so-called
+@emph{Hungarian Notation}. Macros, @code{enum}s and @code{const}s are all
+uppercase, with the parts of the names separated by underscores.
+
+The hungarian notation is to be used when variables are not declared
+near usage (mostly in member variables and functions).
+
+@unnumberedsubsec Types
+
+@table @samp
+@item @code{byte}
+ unsigned char. (The postfix _by is ambiguous)
+@item @code{b}
+ bool
+@item @code{bi}
+ bit
+@item @code{ch}
+ char
+@item @code{f}
+ float
+@item @code{i}
+ signed integer
+@item @code{str}
+ string class
+@item @code{sz}
+ Zero terminated c string
+@item @code{u}
+ unsigned integer
+@end table
+
+@unnumberedsubsec User defined types
+
+@example
+
+ /** Slur blah. blah.
+ (slur)
+ */
+ class Slur @{@};
+ Slur* slur_p = new Slur;
+
+@end example
+
+@unnumberedsubsec Modifiers
+
+The following types modify the meaning of the prefix.
+These are preceded by the prefixes:
+
+@table @samp
+@item @code{a}
+ array
+@item @code{array}
+ user built array.
+@item @code{c}
+ const. Note that the proper order is @code{Type const}
+ i.s.o. @code{const Type}
+@item @code{C}
+ A const pointer. This would be equivalent to @code{_c_l}, but since any
+ "const" pointer has to be a link (you can't delete a const pointer),
+ it is superfluous.
+@item @code{l}
+ temporary pointer to object (link)
+@item @code{p}
+ pointer to newed object
+@item @code{r}
+ reference
+@end table
+
+@unnumberedsubsec Adjective
+
+Adjectives such as global and static should be spelled out in full.
+They come before the noun that they refer to, just as in normal english.
+
+@example
+
+foo_global_i: a global variable of type int commonly called "foo".
+
+@end example
+
+static class members do not need the static_ prefix in the name (the
+Class::var notation usually makes it clear that it is static)
+
+@table @samp
+@item @code{loop_i}
+ Variable loop: an integer
+@item @code{u}
+ Temporary variable: an unsigned integer
+@item @code{test_ch}
+ Variable test: a character
+@item @code{first_name_str}
+ Variable first_name: a String class object
+@item @code{last_name_ch_a}
+ Variable last_name: a @code{char} array
+@item @code{foo_i_p}
+ Variable foo: an @code{Int*} that you must delete
+@item @code{bar_i_l}
+ Variable bar: an @code{Int*} that you must not delete
+@end table
+
+Generally default arguments are taboo, except for nil pointers.
+
+The naming convention can be quite conveniently memorised, by
+expressing the type in english, and abbreviating it
+
+@example
+
+ static Array<int*> foo
+
+@end example
+
+@code{foo} can be described as "the static int-pointer user-array", so you get
+
+@example
+
+ foo_static_l_arr
+
+@end example
+
+
+@unnumberedsec Miscellaneous
+
+For some tasks, some scripts are supplied, notably creating patches, a
+mirror of the website, generating the header to put over cc and hh
+files, doing a release.
+
+Use them.
+
+@node Making patches, , , Top
+
+
+@unnumberedsec name
+
+
+PATCHES - track and distribute your code changes
+
+This page documents how to distribute your changes to GNU lilypond
+
+We would like to have unified context diffs with full pathnames. A
+script automating supplied with Lily.
+
+Distributing a change normally goes like this:
+
+@itemize @bullet
+@item make your fix/add your code
+@item Add changes to CHANGES, and add yourself to Documentation/topdocs/AUTHORS.texi
+@item generate a patch,
+@item e-mail your patch to one of the mailing lists
+ gnu-music-discuss@@gnu.org or bug-gnu-music@@gnu.org
+@end itemize
+
+Please do not send entire files, even if the patch is bigger than the
+original. A patch makes it clear what is changed, and it won't
+overwrite previous (not yet released) changes.
+
+@unnumberedsec Generating a patch
+
+Simple version: run
+
+@example
+ make -C lilypond-x.y.z/ distclean
+ make -C lilypond-x.y.z.NEW/ distclean
+ diff -urN lilypond-x.y.z/ lilypond-x.y.z.NEW/
+@end example
+
+Complicated (but automated) version:
+
+In @file{VERSION}, set MY_PATCH_LEVEL:
+
+@example
+
+ VERSION:
+ ...
+ MY_PATCH_LEVEL=jcn1
+
+@end example
+
+In @file{CHANGES}, enter a summary of changes:
+
+@example
+ pl 0.1.73.jcn1
+ - added PATCHES.texi
+@end example
+
+Then, from the top of Lily's source tree, type
+
+@example
+ make release
+@end example
+
+These handy python scripts assume a directory structure which looks
+like:
+
+@example
+
+ lilypond -> lilypond-x.y.z # symlink to development directory
+ lilypond-x.y.z/ # current development
+ patches/ # patches between different releases
+ releases/ # .tar.gz releases
+
+@end example
+
+(Some scripts also assume this lives in @file{$HOME/usr/src}).
+
+
+@unnumberedsec Applying patches
+
+
+If you're following LilyPond development regularly, you probably want to
+download just the patch for each subsequent release.
+After downloading the patch (into the patches directory, of course), simply
+apply it:
+
+@example
+
+ gzip -dc ../patches/lilypond-0.1.74.diff.gz | patch -p1 -E
+
+@end example
+
+and don't forget to make automatically generated files:
+
+@example
+
+ autoconf footnote(patches don't include automatically generated files,
+ i.e. file(configure) and files generated by file(configure).)
+
+ configure
+
+@end example
+
+
+@bye
+
+
\begin{document}
\maketitle
-[THIS IS WORK IN PROGRESS. THIS PAPER IS NOT FINISHED]
+[THIS IS WORK IN PROGRESS. THIS IS NOT FINISHED]
% -*-LaTeX-*-
\section{Introduction}
@setfilename programs.info
@settitle Programs
-@node Top, , mudela-book Authors, (dir)
+@node Top, , midi2ly Authors, (dir)
@top
@menu
* Programs:: Your Softs-
* LilyPond:: the GNU Music Typesetter
* Ly2dvi:: Python utility to convert mudela to DVI
* midi2ly:: convert MIDI to -mudela-
-* mudela-book:: integrate LaTeX and mudela
@end menu
The GNU LilyPond music typesetter.
@end table
-@node midi2ly Authors, mudela-book, midi2ly SEE ALSO, midi2ly
+@node midi2ly Authors, Top, midi2ly SEE ALSO, midi2ly
@section Authors
Please consult the documentation file @file{AUTHORS} for more detailed
-@node mudela-book, mudela-book SYNOPSIS, midi2ly Authors, Top
-@menu
-* mudela-book SYNOPSIS:: mudela-book SYNOPSIS
-* mudela-book DESCRIPTION:: mudela-book DESCRIPTION
-* mudela-book OPTIONS:: mudela-book OPTIONS
-* mudela-book FILES:: mudela-book FILES
-* mudela-book BUGS:: mudela-book BUGS
-* mudela-book Authors:: mudela-book Authors
-@end menu
-@chapter mudela-book
-
-@node mudela-book SYNOPSIS, mudela-book DESCRIPTION, mudela-book, mudela-book
-@section SYNOPSIS @strong{mudela-book} [options] inputfile
-
-@node mudela-book DESCRIPTION, mudela-book OPTIONS, mudela-book SYNOPSIS, mudela-book
-@section DESCRIPTION @file{mudela-book} is a script that helps
-integrating mudela and LaTeX. mudela-book runs LilyPond on
-fragments of mudela in your source file, and includes the results into
-document that can be processed with LaTeX. The result is a text
-document with formatted music integrated.
-
-Lilypond will by default create all output files in directory @file{out}.
-The file to give to latex has ext @file{.latex}.
-
-@strong{About the input}
-
-If the file contains the ``block''
-
-@example
-
- \begin@{mudela@}
- CONTENTS
- \end@{mudela@}
-
-@end example
-
-then LilyPond is run on CONTENTS. mudela-book puts the result back,
-surrounded by @code{\preMudelaExample} and @code{\postMudelaExample}
-commands. @code{\preMudelaExample} and @code{posMudelaExample} is
-defined to nothing by default, and the user can redefine them
-to whatever he wants.
-
-@code{\begin} takes the following options:
-
-@table @samp
-@item eps
- the music is created as eps graphics that can be inserted in
- the middle of a text line, not only as a separate paragraph
-@item verbatim
- CONTENTS is copied into the TeX source enclosed in a verbatim block.
-@item 11pt, 13pt, 16pt, 20pt, 26pt
- set the fontsize to use for the music
-@item singleline
- linewidth = -1.
-@item multiline
- linewidth = textwidth
-@item fragment
-@item nonfragment
- Override mudela-book autodetection of what type of code is in the
- mudela block, voice contents or complete code.
-@end table
-
-@node mudela-book OPTIONS, mudela-book FILES, mudela-book DESCRIPTION, mudela-book
-@section OPTIONS
-
-@table @samp
-
-@item --default-mudela-fontsize=??pt
- Set the fontsize to use for mudela if no fontsize is given
- as option.
-@item --force-mudela-fontsize=??pt
- Force all mudela to use this fontsize, overriding options
- given to \begin@{mudela@}
-@item --outname=FILE
- The name of LaTeX file to output. If this option is not given,
-the output name derived from the input name.
-@item --out-www=DIRECTORY
- The name of the directory to output lilypond output and input to.
- This must be a name; the subdirectory will be created in the cwd. [FIXME]
-@item --help
- Print a short help message
-@item --dependencies
- Write dependencies to out-www/filename.dep
-@item --force-verbatim
- Make all mudela verbatim.
-@item --initfile=FILE
- read command definitions from @file{FILE}
-@end table
-
-@node mudela-book FILES, mudela-book BUGS, mudela-book OPTIONS, mudela-book
-@section FILES
- See @file{Documentation/tex/out/mudela-book-doc.dvi} for more info.
- You have to install LaTeX.
- @file{mudela-book} is written in python 1.5, so you have to install
- @uref{http://www.python.org,python}.
-
-@node mudela-book BUGS, mudela-book Authors, mudela-book FILES, mudela-book
-@section BUGS
-
-The LaTeX \includeonly@{...@} command is ignored.
-
-You get trouble if you use the --force-verbatim option and have some
-music in \footnote@{...@} or \marginpar@{...@}.
-
-Ignores almost all LaTeX commands that changes margins and linewidths.
-
-@node mudela-book Authors, Top, mudela-book BUGS, mudela-book
-@section Authors
-
-@email{hanwen@@cs.uu.nl, Han-Wen Nienhuys}, @uref{http://www.cs.uu.nl/people/hanwen}
-
-@email{tomato@@xoommail.com, Tom Cato Amundsen}
-
-
@bye
--- /dev/null
+# Documentation/tex/Makefile
+
+depth=../..
+
+DATA_FILES = $(wildcard *.data)
+datafiles = $(addprefix $(outdir)/,$(DATA_FILES:.data=.html))
+
+DOC_FILES = $(wildcard *.doc)
+
+DVI_FILES = $(addprefix $(outdir)/,$(DOC_FILES:.doc=.dvi) $(TELY_FILES:.tely=.dvi))
+
+EXTRA_DIST_FILES= $(DOC_FILES) $(DATA_FILES)
+HTML_FILES = $(addprefix $(outdir)/, $(TELY_FILES:.tely=.html))
+
+PS_FILES = $(DVI_FILES:.dvi=.ps) $(OUTDOC_FILES:.doc=.ps) $(OUTTEX_FILES:.tex=.ps)
+PS_GZ_FILES= $(addsuffix .gz, $(PS_FILES))
+
+STEPMAKE_TEMPLATES=tex texinfo documentation
+LOCALSTEPMAKE_TEMPLATES=lilypond mudela
+
+include $(depth)/make/stepmake.make
+
+
+dvi: $(DVI_FILES)
+
+ps: $(PS_FILES)
+
+# urg
+default:
+
+GENHTMLS = engraving colorado glossary computer-notation
+OUTGENHTMLS = $(addprefix $(outdir)/, $(GENHTMLS:%=%.html))
+
+local-WWW: $(HTML_FILES) $(datafiles) $(PS_GZ_FILES)
+ $(PYTHON) $(step-bindir)/ls-latex.py --title 'User documentation about LilyPond' \
+ $(DOC_FILES) $(TEX_FILES) $(TELY_FILES) \
+ | sed "s!$(outdir)/!!g" > $(outdir)/index.html
+ $(footify) $(outdir)/index.html
+
+$(outdir)/%.bib: %.bib
+ ln -f $< $@
+
+localclean:
+ rm -f fonts.aux fonts.log feta*.tfm feta*.*pk
--- /dev/null
+\input texinfo @c -*-texinfo-*-
+@setfilename reference-manual.info
+@settitle Reference Manual
+
+@node Top, , , (dir)
+@top
+
+
+@section Introduction
+
+[TODO: THIS MANUAL IS OUTDATED. FIXME.]
+
+Mudela-book is a script that process your \LaTeX file and with great
+help from GNU LilyPond it translates blocks of mudela code it finds
+inside @code{mudela} environments to tex or eps graphics. It then
+creates a new file that can be sent through \LaTeX to create a
+@file{.dvi} file with lines of music integrated with text.
+
+Mudela-book will do its best to try to align the music to the left and
+right margins. Currently the most used papersizes and one- and
+twocolumn mode is supported, but if you use the geometry-package from
+LaTeX or change the margins things will break.
+
+This document assumes you have basic knowledge of GNU LilyPond and
+LaTeX.
+
+So what does this look like? Well, here is an example:
+@mudela[veryverbatim, intertext="produces this music:"]
+\score{
+ \notes\relative c'{
+ \time 5/8;
+ [e16( g b c a g][e a b d] | )e2 d,8 |
+ [e16( g b c a g][e a b d] | )b2 [a16( f] |
+ [e a b d] )e4 c8 | [es16( bes a as g es][d c b! )g] |
+ [f( a b d b a][f a b d] | )e2
+ }
+}
+@end mudela
+If you are lucky, the above example show a nice feature of LilyPond
+and LaTeX. Since LilyPond can output the music as \TeX graphics,
+LaTeX can insert pagebreaks between the lines of music.
+
+Notice that there is no @code{\paper} statement in the example
+above. Mudela-book will insert some code for you that defines the
+linewidth and the font to use. If you don't want to change the default,
+there is no need to put an empty @code{\paper@{@}} inside the @code{\score}.
+In the example above, something like
+this might be inserted before your code:
+@example
+\include "paper16.ly"
+\paper@{ \paper_sixteen
+ linewidth = 390.\pt;
+ castingalgorithm = \Gourlay;
+@}
+@end example
+The actual values for linewidth will differ depending on papersize and
+number of columns. Also, if you use a different fontsize for the
+music, another file than @code{paper16.ly} will be included.
+
+If you want to make the music not so wide, you can insert a
+@code{\paper} statement that set the linewidth:
+
+@mudela[veryverbatim, intertext="produces this music:"]
+\score{
+ \notes\relative c'{
+ \time 5/8;
+ [e16( g b c a g][e a b d] | )e2 d,8 |
+ [e16( g b c a g][e a b d] | )b2 [a16( f] |
+ [e a b d] )e4 c8 | [es16( bes a as g es][d c b! )g] |
+ [f( a b d b a][f a b d] | )e2
+ }
+ \paper{linewidth = 10.\cm;}
+}
+@end mudela
+
+Very often, if you mix music and text, the music is often only a
+few notes or at most a few bars. This music should be as short as
+possible and not stretched to be aligned to the right margin.
+
+If you only write voice-contents in the mudela block, mudela-book
+will set the @code{linewidth} variable to -1, so Lilypond
+will make the music as short as possible but without breaking the
+line. Here is a well know harmonic progression:
+@mudela[veryverbatim, intertext="produce a well known harmonic progression:"]
+ <c' e g> <b d g> <c2 e g>
+@end mudela
+
+If you want to place music examples in the text,
+@mudela[eps]
+ <c' e g> <b d g> <c2 e g>
+@end mudela
+, you can use the @code{eps} option. This will create the music as
+eps graphics and include it into the document with the
+@code{\includegraphics} command.
+
+The code used look like this:
+@example
+@mudela[eps]
+ <c' e g> <b d g> <c2 e g>
+@end mudela
+@end example
+
+You can also use the @code{eps} option if the block is a complete
+mudela source. This 5 cm long empty line,
+@mudela[eps]
+\score{
+ \notes{s}
+ \paper{ linewidth = 5.\cm;}
+}
+@end mudela
+was created with this code:
+@example
+@mudela[eps]
+\score{
+ \notes{s}
+ \paper{ linewidth = 5.\cm;}
+}
+@end mudela
+@end example
+
+To avoid that LaTeX places the music on a line of its one, there should
+be no empty lines between the normal text and the mudela
+environment.
+
+You can also use @code{mudelafile} (on a separate line, FIXME), to
+include another file. Files with name ending with @code{.sly}
+
+@section Fontsize options You can use all lilypond fontsizes in
+mudela-book. The default 16pt fontsize is probably to big to be
+included in the middle of the text, 11pt or 13pt is probably better.
+
+The code can look like this:
+@example
+@mudela[13pt, eps]
+<c' e g>
+@end mudela
+@end example
+
+The following options set the fontsize:
+@itemize
+@item @code{11pt}
+@mudela[11pt, eps]
+ \relative c'{
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+ [d16 g, a b][c a b g][d'8 g f-\prall g]
+ }
+@end mudela
+@item @code{13pt}
+@mudela[13pt, eps]
+ \relative c'{
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+ [d16 g, a b][c a b g][d'8 g f-\prall g]
+ }
+@end mudela
+@item @code{16pt}
+@mudela[16pt, eps]
+ \relative c'{
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+ [d16 g, a b][c a b g][d'8 g f-\prall g]
+ }
+@end mudela
+@item @code{20pt}
+@mudela[20pt, eps]
+ \relative c'{
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+ [d16 g, a b][c a b g][d'8 g f-\prall g]
+ }
+@end mudela
+@item @code{26pt}
+@mudela[26pt, eps]
+ \relative c'{
+ r16 [c d e][f d e c] [g'8 c][b-\prall c] |
+ [d16 g, a b][c a b g][d'8 g f-\prall g]
+ }
+@end mudela
+@end itemize
+
+
+@section More options
+@itemize
+@item The @code{singleline} option set @code{linewidth} to -1.0.
+@item The @code{multiline} option set @code{linewidth} to a value letting
+the music be aligned to the right margin. The music can span several
+lines.
+@end itemize
+
+@section Just in case...
+The options @code{fragment} and @code{nonfragment} will override
+mudela-book when it scans the mudela code to see if it is voice
+contents or complete code. This might be useful if mudela-book choose
+wrong.
+
+Since there is no finder's fee which doubles every year, there is no
+need to wait for the price money to grow. So send a bug report today
+if you need this one of these options.
+
+@section Examples
+
+This was all options to @code{\begin}. The rest of the mudela
+document will show some ways you can use mudela in
+LaTeX documents. It will also act as a simple test-suite for
+mudela-book. You can place @code{eps} mudela in and marginspars just
+as any other included eps graphics.
+
+@mudela
+\score{
+ \notes\relative c'{
+ \time 12/8;
+ r4-\fermata [b16-.( )b-.] [f'8-- dis16-.( )dis-. gis8--]
+ [f16-.( )f-. dis8-- gis16-.( )gis-.] cis4.-\fermata |
+
+ r4.-\fermata [cis,16 cis g'8 f16 f b8][g16 g f8 b16 b] dis4.-\fermata
+ }
+ \paper{linewidth = 7.\cm;}
+}
+@end mudela
+
+
+To the right you can see some bars from the trumpet fanfara from the
+beginning of the fantastic street opera ``Houdini the Great'', by the
+Danish composer Andy Pape. The music is put inside a
+@code{floatingfigure} environment, and the music will be aligned by
+the right marging if you set floatingfigure width and mudela linewidth
+to the same value. The code looks like this:
+
+@mudela[verbatim]
+\score{
+ \notes\relative c'{
+ \time 12/8;
+ r4.-\fermata [b16-.( )b-.] [f'8-- dis16-.( )dis-. gis8--]
+ [f16-.( )f-. dis8-- gis16-.( )gis-.] cis8.-\fermata |
+
+ r4.-\fermata [cis,16 cis g'8 f16 f b8]
+ [g16 g f8 b16 b] dis4.-\fermata
+ }
+ \paper{linewidth = 7.\cm;}
+}
+@end mudela
+
+If you have a lot of small music examples like this in the middle of
+your text, you might get a nicer look by using ``double'' line
+spacing. Put the @code{\linespread@{1.6@}} command into the preamble of
+your document. Then the line spacing will not be increased between the
+lines where you have music printed with the smallest font size.
+
+Mudela-book does know about @code{\onecolumn} and @code{\twocolumn}.
+So the music will be adjusted to the new linewith:
+
+Verbatim environments will also ignore the page margins. That is
+a feature of LaTeX. (But you usually put things inside a verbatim
+environment when you don't want LaTeX to do any linebreaking)
+
+
+@section Texinfo behavior
+
+[TODO]
+
+@section Invocation
+
+@file{mudela-book} is a script that helps integrating mudela and
+LaTeX. mudela-book runs LilyPond on fragments of mudela in your
+source file, and includes the results into document that can be
+processed with LaTeX. The result is a text document with formatted
+music integrated.
+
+Lilypond will by default create all output files in directory @file{out}.
+The file to give to latex has ext @file{.latex}.
+
+@strong{About the input}
+
+If the file contains the ``block''
+
+@example
+
+ \begin@{mudela@}
+ CONTENTS
+ \end@{mudela@}
+
+@end example
+
+then LilyPond is run on CONTENTS. mudela-book puts the result back,
+surrounded by @code{\preMudelaExample} and @code{\postMudelaExample}
+commands. @code{\preMudelaExample} and @code{posMudelaExample} is
+defined to nothing by default, and the user can redefine them
+to whatever he wants.
+
+@code{\begin} takes the following options:
+
+@table @samp
+@item eps
+ the music is created as eps graphics that can be inserted in
+ the middle of a text line, not only as a separate paragraph
+@item verbatim
+ CONTENTS is copied into the TeX source enclosed in a verbatim block.
+@item 11pt, 13pt, 16pt, 20pt, 26pt
+ set the fontsize to use for the music
+@item singleline
+ linewidth = -1.
+@item multiline
+ linewidth = textwidth
+@item fragment
+@item nonfragment
+ Override mudela-book autodetection of what type of code is in the
+ mudela block, voice contents or complete code.
+@end table
+
+
+@table @samp
+
+@item --default-mudela-fontsize=??pt
+ Set the fontsize to use for mudela if no fontsize is given
+ as option.
+@item --force-mudela-fontsize=??pt
+ Force all mudela to use this fontsize, overriding options
+ given to \begin@{mudela@}
+@item --outname=FILE
+ The name of LaTeX file to output. If this option is not given,
+the output name derived from the input name.
+@item --out-www=DIRECTORY
+ The name of the directory to output lilypond output and input to.
+ This must be a name; the subdirectory will be created in the cwd. [FIXME]
+@item --help
+ Print a short help message
+@item --dependencies
+ Write dependencies to out-www/filename.dep
+@item --force-verbatim
+ Make all mudela verbatim.
+@item --initfile=FILE
+ read command definitions from @file{FILE}
+@end table
+
+
+
+@file{mudela-book} is written in python 1.5, so you have to install
+@uref{http://www.python.org,python}.
+
+
+
+@section Bugs
+
+The LaTeX \includeonly@{...@} command is ignored.
+
+Ignores almost all LaTeX commands that changes margins and linewidths.
+
+@section Authors
+
+@email{hanwen@@cs.uu.nl, Han-Wen Nienhuys}, @uref{http://www.cs.uu.nl/people/hanwen}
+
+@email{tomato@@xoommail.com, Tom Cato Amundsen}
+
+
+@bye
+
+
+
+
+
+
--- /dev/null
+\input texinfo @c -*-texinfo-*- vim:tw=72
+@setfilename regression-test.info
+@settitle LilyPond Regression test
+
+@c fool ls-latex
+@ignore
+@author Han-Wen Nienhuys and Jan Nieuwenhuizen
+@title LilyPond Regression test
+@end ignore
+
+@node Top, , ,
+
+@section Introduction
+
+This document tries give an brief overview of LilyPond features. When
+the text correspond with the shown notation, we consider LilyPond
+Officially BugFree (tm). This document is intended for finding bugs,
+and documenting bugfixes.
+
+@section Notes and rests
+
+Rests. Note that the dot of 8th, 16th and 32nd rests rest should be
+next to the top of the rest. All rests except the whole rest are
+centered on the middle staff line.
+
+@mudelafile{rest.fly}
+
+Note head shapes are settable. The stem endings should be adjusted
+per note head. If you want different note head styles on one stem,
+you must create a special context called Thread.
+
+@mudelafile{noteheadstyle.ly}
+
+Noteheads can have dots, and ---although this is bad style in duple
+meters--- rests can too. Augmentation dots should never be printed on
+a staff line, but rather be shifted vertically. They should go up, but
+in case of multiple parts, the down stems have down shifted dots.
+(Wanske p. 186) In case of chords, all dots should be in a column.
+The dots go along as rests are shifted to avoid collisions.
+
+@mudelafile{dots.fly}
+
+Multiple measure rests do not collide with barlines and clefs. They
+are not expanded when you set @code{Score.SkipBars}. Although the
+multi-measure-rest is a Spanner, minimum distances are set to keep it
+colliding from barlines.
+
+@mudelafile{multi-measure-rest.ly}
+
+@section Stems
+
+Stem tremolos (official naming?) or rolls are tremolo signs that look
+like beam segments crossing stems. If the stem is in a beam, the
+tremolo must be parallel to the beam. If the stem is invisible
+(eg. on a whole note), the tremolo must be centered on the note.
+
+@mudelafile{stem-tremolo.ly}
+
+Chord tremolos look like beams, but are a kind of repeat symbol.
+To avoid confusion, chord tremolo beams do not reach the stems, but
+leave a gap. Chord tremolo beams on half notes are not ambiguous,
+as half notes cannot appear in a regular beam, and should reach the
+stems.
+
+@mudelafile{chord-tremolo.sly}
+
+Beams, stems and noteheads often have communication troubles, since
+the two systems for y dimensions (1 unit = staffspace, 1 unit = 1
+point) are mixed.
+
+Stems, beams, ties and slurs should behave similarly, when placed
+on the middle staff line. Of course stem-direction is down for high
+notes, and up for low notes.
+
+@mudelafile{stem-direction.sly}
+
+Similarly, if @code{stem_default_neutral_direction} is set to @code{-1}.
+
+@mudelafile{stem-direction-down.ly}
+
+@section Scripts
+
+The staccato dot (and all scripts with follow-into-staff set), must
+not be on staff lines.
+
+@mudelafile{staccato-pos.sly}
+
+@section Grace notes
+
+Grace notes are typeset as an encapsulated piece of music. You can
+have beams, notes, chords, stems etc. within a @code{\grace} section.
+Slurs that start within a grace section, but aren't ended are attached
+to the next normal note. Grace notes have zero duration. If there
+are tuplets, the grace notes won't be under the brace. Grace notes
+can have accidentals, but they are (currently) spaced at a fixed
+distance. Grace notes (of course) come before the accidentals of the
+main note. Grace notes can also be positioned after the main note.
+
+@mudelafile{grace.ly}
+
+
+@section Beams, slurs and other spanners
+
+Beaming is generated automatically. Beams may cross bar lines. In that
+case, line breaks are forbidden. Yet clef and key signatures are
+hidden just as with breakable bar lines.
+
+@mudelafile{beaming.ly}
+
+Beams should behave reasonably well, even under extreme circumstances.
+Stems may be short, but noteheads should never touch the beam.
+
+@mudelafile{beam-extreme.ly}
+
+Beams should always reach the middle staff line, the second beam
+counting from the note head side, should never be lower than the
+second staff line. This does not hold for grace note beams.
+
+@mudelafile{beam-position.sly}
+
+Slurs should look nice and symmetric. The curvature may increase
+only to avoid noteheads, and as little as possible.
+
+@mudelafile{slur-symmetry.ly}
+@mudelafile{slur-symmetry-1.ly}
+
+Ties are strictly horizontal. They are placed in between note heads.
+The horizontal middle should not overlap with a staffline.
+
+@mudelafile{tie.ly}
+
+Beams can be typeset over fixed distance aligned staffs, beam
+beautification doesn't really work, but knees do. Beams should be
+behave well, wherever the switching point is.
+
+@mudelafile{beam-interstaff.ly}
+
+The same goes for slurs. They behave decently when broken across
+linebreak.
+
+@mudelafile{slur-interstaff.ly}
+
+Tuplets are indicated by a bracket with a number. There should be no
+bracket if there is one beam that matches the length of the tuplet.
+The bracket does not interfere with the stafflines, and the number is
+centered in the gap in the bracket.
+
+@mudelafile{tup.ly}
+
+@section Repeats
+
+LilyPond has three modes for repeats: folded, unfolded and
+semi-unfolded. Unfolded repeats are fully written out. Semi unfolded
+repeats have the body written and all alternatives sequentially.
+Folded repeats have the body written and all alternatives
+simultaneously. If the number of alternatives is larger than the
+repeat count, the excess alternatives are ignored. If the number of
+alternatives is smaller, the first alternative is multiplied to get to
+the number of repeats.
+
+Unfolded behavior:
+
+@mudelafile{repeat-unfold.ly}
+
+Semi (un)folded behavior. Voltas can start on non-barline moments.
+If they don't barlines should still be shown.
+
+@mudelafile{repeat-semifold.ly}
+
+Folded. This doesn't make sense without alternatives, but it works.
+
+@mudelafile{repeat-fold.ly}
+
+@section Lyrics
+
+Lyrics can be set to a melody automatically. Excess lyrics will be
+dumped. Lyrics will not be set over rests. You can have melismata
+either by setting a property melismaBusy, or by setting
+automaticMelismas (which will set melismas during slurs and ties). If
+you want a different order than first Music, then Lyrics, you must
+precook a chord of staffs/lyrics and label those. Of course
+@code{\rhythm} ignores any other rhythms in the piece. Hyphens and
+extenders do not assume anything about lyric lengths, so they continue
+to work.
+
+@mudelafile{lyric-combine.ly}
+
+@section Multiple notes
+
+Rests should not collide with beams, stems and noteheads. Rests may
+be under beams. Rests should be move by integral number of spaces
+inside the staff, and by half spaces outside. Notice that the half
+and whole rests just outside the staff get ledger lines in different
+cases.
+
+@mudelafile{rest-collision.ly}
+
+Normal collisions. We have support for polyphony, where the
+middle voices are horizontally shifted.
+
+@mudelafile{collisions.ly}
+
+The number of stafflines of a staff can be set with the property
+numberOfStaffLines. Ledger lines both on note heads and rests are
+adjusted. Barlines also are adjusted.
+
+
+@mudelafile{number-staff-lines.fly}
+
+@section Spacing
+
+In a limited number of cases, LilyPond corrects for optical spacing
+effects. In this example, space for opposite pointed stems is adjusted
+
+@mudelafile{stem-spacing.sly}
+
+If there are accidentals in the music, we add space, but the space
+between note and accidentals is less than between the notes with the
+same value. Clef changes also get extra space, but not as much as
+barlines.
+
+
+Even if a line is very tightly spaced, there will still be room
+between prefatory matter and the following notes. The space after the
+prefatory is very rigid. In contrast, the space before the barline
+must stretch like the space within the measure.
+
+Tight:
+
+@mudelafile{spacing-tight.ly}
+
+Natural:
+
+@mudelafile{spacing-natural.ly}
+
+Loose:
+
+@mudelafile{spacing-loose.ly}
+
+
+@section Global stuff
+
+Markings that are attached to (invisible) barlines are
+delicate: the are attached to the rest of the score without the score
+knowing it. Consequently, they fall over often.
+
+@mudelafile{bar-scripts.ly}
+
+Staff margins are also markings attached to barlines. They should be
+left of the staff, and be centered vertically wrt the staff. They may
+be on normal staffs, but also on compound staffs, like the PianoStaff
+
+@mudelafile{staff-margin.ly}
+
+Breathing signs, also used for phrasing, do normally not influence
+global spacing -- only if space gets tight, notes are shifted to make
+room for the breathing sign. Breathing signs break beams running
+through their voice. In the following example, the notes in the first
+two measures all have the same distance from each other:
+
+@mudelafile{breathing-sign.ly}
+
+Fonts are available in a default set of sizes: 11, 13, 16, 20, 23 and
+26pt staffheight. Sizes of the text fonts and symbol fonts are made
+to match the staff dimensions.
+
+@mudelafile[nofly]{size11.ly}
+
+@mudelafile[nofly]{size13.ly}
+
+@mudelafile[nofly]{size16.ly}
+
+@mudelafile[nofly]{size20.ly}
+
+@mudelafile[nofly]{size23.ly}
+
+@mudelafile[nofly]{size26.ly}
+
+
+@section Clefs and Time Signatures
+
+The transparent clef should not occupy any space and with style
+@code{fullSizeChanges}, the changing clef should be typeset in full
+size. For octaviated clefs, the ``8'' should appear closely above or
+below the clef respectively. The ``8'' is processed in a convoluted
+way, so this is fragile as well.
+
+@mudelafile{clefs.ly}
+
+@ignore
+@c the input file is too long and does not test for specific bugs
+By default, time signatures are written with two numbers. With style
+``C'', 4/4 and 2/2 are written with their corresponding symbols and
+with style ``old'', 2/2, 3/2, 2/4, 3/4, 4/4, 6/4, 9/4, 4/8, 6/8 and
+9/8 are typeset with symbols, all other signatures retain the default
+layout. The style ``1'', gives single number signatures for all
+signatures.
+%
+\mu delafile{time.fly}
+@end ignore
+
+@bye
-WHAT'S NEW?
+
+WHAT'S NEW SINCE 1.2.0
+
+* Much faster spacing engine.
+
+* Features: automatic staff switching
+
+* Documentation now all is in texinfo.
+
+
+WHAT'S NEW SINCE 1.0.17
* Large cleanups, enhanced design and GUILE integration for smaller
memory footprint and more flexible code.
.* TODO
. * use Rhythmic_head::position_i () for all Staff_referenced
+. * make diff and make release should leave junk in out/, not in ../test/
. * setting indent to 0 with \shape fails
. * junk -M ?
. * mudela-book doco
. * Depracate Wordwrap
. * rerun profile
+. * fix or replace feta-accordion.mf
+. * fix configure with CFLAGS or LDFLAGS, try:
++ CFLAGS=-g LDFLAGS='-Wl,--warn-common' ./configure
++ configure will use them while testing the compiler, but they don't
++ appear in config.make
+
. * Break_req handling is silly (break_forbid () + \break fucks up.)
. * script engraver
. * HaraKiriStaffContext removes bar lines and doesn't remove
.* BUGS
. * [c8. c16 c16 c16] in 6/8 timesig.
. * staffside spanner (crescendo!) along with staffswitch.
-. * --- 2, margin notes don't work correctly for the pianostaff (in the
-following example, i expect the "piano" string to be centered
-vertically between the two staves):
-
-\score {
- \notes \context PianoStaff <
- \property PianoStaff.instrument = "Piano"
- \context Staff = treble {
- a b c
- }
- \context Staff = bass {
- \clef bass;
- a, b, c,
- }
- >
- \paper {
- \translator { \StaffContext \consists "Staff_margin_engraver"; }
- \translator { \PianoStaffContext \consists "Staff_margin_engraver"; }
- }
-}
+
. *
> \context Staff <
> {\voiceone''4. r8}
.* STUFF
. * We need feta-din*.mf files for more sizes than 10.
-. *
-- The syntax for chords looks clumsy with two different meanings of
- '-' and different syntax for separating modifiers from the tonic
- and from other modifiers. Why not use for example ':' between
- tonic and modifier and between the different modifiers?
-
- Rests and beams don't work too well together. Example:
[ r8 g''16 des'] [r8 c16 a]
. * deps for ly2dvi
. * TODO: merge atom & molecule; make tree from molecule.
. * Align_element::padding ?
-. * typo checks on property names?
. * use streambufs and iostream
to provide IO handling for TeX stream, mudela stream, data-file.
. * seriously buffer TeX output (do profile of writing .5 mb TeX file.)
-. * strip EXEs before installing
-. * zip target for binary windows dist (JBR)
. * fix partial measures in meaningful way.
. * uniformise recent feta contributions.
. * bigger and fatter 4/4 C
syntax: \repeat "repeatsymbol" 2 {...}, but I'm not sure that
I understand the implementation of repeats well enough.
. * add full cello suites to web site (kom op, Maarten!)
-. * rename 'staff_line_leading' (who is being lead where?) to
-staff_space, interline; (or other meaningful name) and use throughout
-lily
-
-[-> leading are the lead strips between the sticks (lines) of
-typeface. ie. leading is vertical space --hwn]
. * add mudela-book-doc source to webstie.
. * Rethink Time_description
\cadenza , \meter, should all be \properties
axeses.push (as);
}
-. * GNU diff 2.7: diff -rN does not see a new directory with empty file
+
. * patch: don't touch timestamp if all patches fail.
. * MetaPost: should not generate setgray for unfill
. * mfplain.ini not in tetex 0.9
# numbered files
if [ "x$named" = "x" ]; then
- NUMS=`grep "^C *[0-9]*;" $afm | sed "s!^C *\([^;]*\).*!\\1!"`
- PBMS=`grep "^C *[0-9]*;" $afm | sed "s!^C *\([^;]*\).*!out/$font-\\1.pbm!"`
+ NUMS=`grep "^C *[0-9]* *;" $afm | sed "s!^C *\([^ ;]*\).*!\\1!"`
+ PBMS=`grep "^C *[0-9]* *;" $afm | sed "s!^C *\([^ ;]*\).*!out/$font-\\1.pbm!"`
else
- NUMS=`grep "^C *[0-9]*;" $afm | sed "s!^C [^;]*; *N *\([^;]*\).*!\\1!"`
- PBMS=`grep "^C *[0-9]*;" $afm | sed "s!^C [^;]*; *N *\([^;]*\).*!out/$font-\\1.pbm!"`
+ NUMS=`grep "^C *[0-9]* *;" $afm | sed "s!^C *.*; *N *\([^ ;]*\).*!\\1!"`
+ PBMS=`grep "^C *[0-9]* *;" $afm | sed "s!^C *.*; *N *\([^ ;]*\).*!out/$font-\\1.pbm!"`
fi
# $PKTOPBM out/$font.${RESOLUTION}pk -x 100 -y 100 $PBMS
AC_ARG_ENABLE(printing,
[ enable-printing turn on debug printing. Default: off],
[printing_b=$enableval])
-
+
if test "$optimise_b" = yes; then
DEFINES="$DEFINES -DSTRING_UTILS_INLINED"
AC_DEFINE(STRINGS_UTILS_INLINED)
fi
+if test "$printing_b" = no; then
+ # ugh
+ AC_DEFINE(NPRINT)
+ DEFINES="$DEFINES -DNPRINT"
+fi
+
AC_STEPMAKE_CXX
AC_STEPMAKE_GXX
AC_STEPMAKE_CXXTEMPLATE
--- /dev/null
+% core dumps
+
+global = \notes {
+ \key a \minor;
+ \time 6/4;
+}
+
+\score{
+ \notes \context PianoStaff <
+ \global
+ \context Staff=up { c }
+ %\context Staff=down { \autochange Staff c }
+% \context Staff=down { c }
+ >
+ \paper {
+ \translator{
+ \StaffContext
+
+ % other core dump when this is removed?
+% \remove "Time_signature_engraver";
+ }
+ }
+}
+
--- /dev/null
+% core dumps
+
+global = \notes {
+ \key a \minor;
+ \time 6/4;
+}
+
+\score{
+ \notes \context PianoStaff <
+ \global
+ \context Staff=up { c }
+ %\context Staff=down { \autochange Staff c }
+ \context Staff=down { c }
+ >
+ \paper {
+ \translator{
+ \StaffContext
+
+ % other core dump when this is removed?
+ \remove "Time_signature_engraver";
+ }
+ }
+}
+
--- /dev/null
+global = \notes {
+ \key a \minor;
+ \time 6/4;
+% \skip 1.*34;
+% \bar ".|";
+}
+
+melody = \notes\relative c''{
+ r2 r r
+ r2 r r
+ r4 a'8-- \< a-- a-- a-- c-- \!b-- a--\> gis f \!e
+ es8 \grace b c r4 r2 r
+}
+
+basloopje = \notes\relative c{
+ d,8( a' d f a d f d a f d )a
+}
+
+accompany = \notes \relative c{
+ \notes\relative c \basloopje
+ \notes\relative c \basloopje
+ \notes\relative c \basloopje
+ \notes\relative c \basloopje
+}
+
+\score{
+ \notes \context PianoStaff <
+% \global
+ \context Staff=up <
+ \global
+ \context Voice=foo {
+ \property Voice.verticalDirection = 1
+ \property Voice.scriptVerticalDirection = 1
+ \melody
+ }
+ >
+ \context Staff=down <
+ \global
+ \clef bass;
+ \autochange Staff \accompany
+ >
+ >
+
+ \paper {
+ gourlay_maxmeasures = 4.;
+ indent = 8.\mm;
+ textheight = 295.\mm;
+
+ % no slur damping
+ slur_slope_damping = 100.0;
+
+ \translator{
+ \StaffContext
+ % don't auto-generate bars: not a good idea: -> no breakpoints
+ % barAuto = "0";
+ % urg defaultBarType = "";
+ defaultBarType = "empty";
+ \remove "Time_signature_engraver";
+
+ slurVerticalDirection = 1;
+ verticalDirection = -1;
+ beamAutoEnd = "1/2";
+ }
+ }
+ \midi {
+ \tempo 4 = 54;
+ }
+}
+
public:
Staff_symbol_referencer ();
void set_staff_symbol (Staff_symbol*);
+ /**
+ Leading are the lead strips between the sticks (lines) of
+ typeface. ie. leading is vertical space.
+
+ */
Real staff_line_leading_f () const;
Staff_symbol * staff_symbol_l () const;
int lines_i () const;
virtual void do_add_processing ();
virtual bool do_try_music (Music *req_l);
virtual void do_print () const;
- virtual void do_pre_move_processing(){}
- virtual void do_post_move_processing(){}
- virtual void do_process_requests () {}
- virtual void do_creation_processing() {}
- virtual void do_removal_processing() {}
+ virtual void do_pre_move_processing();
+ virtual void do_post_move_processing();
+ virtual void do_process_requests () ;
+ virtual void do_creation_processing() ;
+ virtual void do_removal_processing();
};
COPYING NEWS-0.1 NEWS-1.0 NEWS-0.0 NEWS-1.1 NEWS TODO AIMS CHANGES
README_TXT_FILES = README.txt AUTHORS.txt INSTALL.txt
IN_FILES := $(wildcard *.in)
-EXTRA_DIST_FILES = dstreamrc mudela-mode.el vimrc VERSION $(README_FILES) $(SCRIPTS) $(IN_FILES) TASKS
+EXTRA_DIST_FILES = dstreamrc mudela-mode.el vimrc VERSION $(README_FILES) $(SCRIPTS) $(IN_FILES)
NON_ESSENTIAL_DIST_FILES = $(README_TXT_FILES)
# bootstrap stepmake:
STEPMAKE_TEMPLATES=metafont metapost install install-out
-EXTRA_DIST_FILES += README
+EXTRA_DIST_FILES += README feta.tex
FET_FILES = $(wildcard feta[0-9]*.mf)
FONT_FILES = $(wildcard feta*[0-9].mf)
+XPM_FONTS = feta20
LOG_FILES = $(addprefix $(outdir)/, $(FET_FILES:.mf=.log))
TEXTABLES = $(addprefix $(outdir)/, $(FET_FILES:.mf=.tex))
of the doco is in comments in the MF code, and in
Documentation/tex/fonts.doc
+To make xpms of feta20 font:
+
+ make xpms
+
+
+Accordion symbols are broken: comment-out
+
+ input feta-accordion;
+
+from feta-schrift, and remake mf dir:
+
+ make clean
+ make all xpms
--- /dev/null
+% display all feta chars in a pretty picture
+% GNU LilyPond
+% (c) 1998 Jan Nieuwenhuizen <janneke@gnu.org>
+%
+% urg: fool ls-latex
+\def\urg{
+\title{The Feta font}
+\author{JCN}
+\begin{document}
+}
+
+
+\parindent0pt
+\nopagenumbers
+\newcount\n
+\newcount\i
+
+\font\fetatwenty = feta20
+\font\fetanumber = feta-nummer12
+\font\fetafinger = feta-nummer5
+\font\fetadyn = feta-din10 scaled \magstep 2
+\font\titlefont = cmbx12 scaled \magstep 4
+\font\subtitle = cmr9
+
+\def\lilyfooter{Lily was here}
+\def\setchar#1#2{\hbox to\charwidth{\hss{#1\char#2}\hss}}
+
+\def\charsperline{6}
+\def\charheight{55pt}
+\def\charwidth{60pt}
+
+\def\listfont#1#2#3{
+ \n=#2
+ \advance\n by-1
+ \advance\n by-\charsperline
+ \loop\ifnum\n<#3
+ \advance\n by\charsperline
+ \i=0
+ {\vbox to\charheight{\vss\centerline{
+ {\loop\ifnum\i<\charsperline
+ \advance\i by1
+ \advance\n by1
+ {\setchar{#1}{\number\n}}
+ \repeat}}}}\repeat}
+
+\def\title#1{\centerline{\titlefont #1}}
+\def\author#1{\centerline{#1}}
+
+\title{FETA}
+
+\centerline{\subtitle (definitely not an abbreviation for Font-En-Tja)}
+
+\author{Han-Wen Nienhuys and Jan Nieuwenhuizen}
+
+
+\vskip5mm
+
+\listfont{\fetatwenty}{0}{105}
+% urg
+\vskip-\charheight
+\listfont{\fetanumber}{48}{58}
+\vskip-\charheight
+\listfont{\fetafinger}{48}{58}
+\vskip-\charheight
+\listfont{\fetadyn}{0}{6}
+\vskip-\charheight
+
+\lilyfooter
+
+\bye
--- /dev/null
+\header {
+ filename = "gnossienne-4.ly";
+ title = "Gnossienne";
+ subtitle = "4";
+ source = "";
+ composer = "Erik Satie (1866-1925)";
+ enteredby = "jcn";
+ copyright = "Public Domain";
+}
+
+%{
+ Tested Features: cross staff auto beams and slurs, grace notes, no bars
+%}
+
+\version "1.2.0";
+
+\include "nederlands.ly"
+
+global = \notes {
+ \key a \minor;
+ \time 6/4;
+ \skip 1.*34;
+ \bar ".|";
+}
+
+melody = \notes\relative c''{
+ \clef violin;
+ \property Voice.verticalDirection = 1
+ \property Voice.graceFraction = "1/4"
+ r2 r r
+ r2 r r
+ r4 a'8--(\< a-- a-- a-- c-- \!b-- a--\> gis f \!e
+ es8 \grace b( ))c r4 r2 r
+ r2 r r
+ r4 a'8--(\< a-- a-- a-- c-- \!b-- a--\> gis f \!e
+ es8 \grace b( ))c r4 r2 r
+ r4 g16( a bes a g a bes a g a bes a g a bes a g fis es fis
+ )d4 \grace fis8()gis4 ~ gis8 r r4 r2
+ r4 g16( a bes a g a bes a g a bes a g a bes a g fis es fis
+ )d4 \grace fis8()gis4 ~ gis8 r r4 r2
+ \grace a8()f4 ~ f8 r r2 r
+ r2 r4 a8( b c d c b \grace b8()e \grace a,())g r4 r2 r
+ r2 r4 a8( b c d c b a b c d c b a b c d c b
+ \grace b8()e \grace a,())g r4 r2 r
+ a2( \grace e'8()f4 ~ )f8 r r2
+ r2 r r
+ fis,4( \grace dis8<)cis4 ais> r2 r
+ \grace b'8()a \grace b()a r4 r2 r
+ r4 a'8--(\< a-- a-- a-- c-- \!b-- a--\> gis f \!e
+ es8 \grace b())c r4 r2 r
+ d,4( \grace fis8()gis4 ~ )gis8 r r4 r2
+ f4 ~ f8 r r2 r
+ f'8( g a b a g f g a b a g
+ \grace f8()g \grace d)e r4 r2 r
+ f8( g a b a g f g a b a g
+ \grace f8()g8 \grace d())e r4 r2 r
+ a,2( \grace e'8() f4 ~ )f8 r r2
+ r2 r r
+ fis,4( \grace dis8<)cis4 ais> r2 r
+ <e1 g b e> ~ <e g b e>
+}
+
+basloopje = \notes\relative c{
+% d,8( a' d f a \translator Staff=treble d f d \translator Staff=bass a f d )a
+ d,8( a' d f a d f d a f d )a
+}
+
+accompany = \notes \relative c{
+ % snapnie, hoevaak relative c heeft ze nodig?
+ \notes\relative c \basloopje
+ \notes\relative c \basloopje
+ \notes\relative c \basloopje
+ \transpose bes \notes\relative c{ \basloopje }
+ \transpose bes \notes\relative c{ \basloopje }
+ \notes\relative c \basloopje
+ \transpose bes \notes\relative c{ \basloopje }
+ \transpose bes \notes\relative c{ \basloopje }
+ \transpose a \notes\relative c{ \basloopje }
+ \transpose bes \notes\relative c{ \basloopje }
+ \transpose a \notes\relative c{ \basloopje }
+ \notes\relative c \basloopje
+ \notes\relative c \basloopje
+ % huh? d'
+ \transpose d' \notes\relative c{ \basloopje }
+ \notes\relative c \basloopje
+ \notes\relative c \basloopje
+ \transpose d' \notes\relative c{ \basloopje }
+ \notes\relative c \basloopje
+ \notes\relative c \basloopje
+ \transpose e' \notes\relative c{ \basloopje }
+ \notes\relative c \basloopje
+ \notes\relative c \basloopje
+ \transpose bes \notes\relative c{ \basloopje }
+ \transpose a \notes\relative c{ \basloopje }
+ \notes\relative c \basloopje
+ \notes\relative c \basloopje
+ \transpose d' \notes\relative c{ \basloopje }
+ \notes\relative c \basloopje
+ \transpose d' \notes\relative c{ \basloopje }
+ \notes\relative c \basloopje
+ \notes\relative c \basloopje
+ \transpose e' \notes\relative c{ \basloopje }
+ < e1 b' e> ~ < e b' e>
+}
+
+
+\score{
+ \notes{
+ \context PianoStaff \relative c <
+ %\context Staff=upper <
+ \context Staff=up <
+ \global
+ \context Voice=foo {
+ \property Voice.verticalDirection = 1
+ \property Voice.scriptVerticalDirection = 1
+ \melody
+ }
+ >
+ \context Staff=down <
+ \global
+ \clef bass;
+ \accompany
+ >
+ >
+ }
+ \paper {
+ gourlay_maxmeasures = 4.;
+ indent = 8.\mm;
+ textheight = 295.\mm;
+
+ slur_interstaff_slope_damping = 100.0;
+ slur_interstaff_height_damping = 100.0;
+
+ \translator{
+ \StaffContext
+ % don't auto-generate bars: not a good idea: -> no breakpoints
+ % barAuto = "0";
+ % urg defaultBarType = "";
+ defaultBarType = "empty";
+ \remove "Time_signature_engraver";
+
+ slurVerticalDirection = 1;
+ verticalDirection = -1;
+ beamAutoEnd = "1/2";
+ }
+ }
+ \midi {
+ \tempo 4 = 54;
+ }
+}
\key a \minor;
\time 6/4;
\skip 1.*34;
- \bar ".|";
+% \bar ".|";
}
melody = \notes\relative c''{
\score{
\notes{
\context AutoSwitchGrandStaff \relative c <
- \global
- \context Staff=upper {
- \context Voice=foo
- \property Voice.verticalDirection = 1
- \property Voice.scriptVerticalDirection = 1
- \melody
- }
- \context AutoSwitchContext \accompany
+ \context Staff=upper <
+ \global
+ \context Voice=foo{
+ \property Voice.verticalDirection = 1
+ \property Voice.scriptVerticalDirection = 1
+ \melody
+ }
+ >
+ \context AutoSwitchContext <
+ \global
+ \accompany
+ >
>
}
\paper {
def makediff (fromdir, todir, patch_name):
-
# urg, again?
from packagepython import *
if not patch_name:
pn = to_diff + '.diff'
- patch_name = os.path.join (os.getcwd (), pn)
+ patch_name = os.path.join (os.getcwd (), 'out')
+ patch_name = os.path.join (patch_name, pn)
from_diff = '/tmp/package-diff/' + from_diff
to_diff = '/tmp/package-diff/' + to_diff
sys.stderr.write ('\n')
os.chdir (prev_cwd)
+
#!@PYTHON@
# release.py
-name = 'release'
-version = '0.1'
-
import os
import sys
import getopt
-(options, files) = getopt.getopt(sys.argv[1:], 'hp:', ['help', 'package='])
+topdir = ''
+outdir = '.'
+
+(options, files) = getopt.getopt(sys.argv[1:], 'ho:p:', ['help', 'outdir=', 'package='])
def help ():
- sys.stdout.write ("Usage: release [OPTION]...\n"
- "Make a tarball and patch and combined ../test/updeet\n\n"
- + "Options:\n"
- + " -h, --help print this help\n"
- + " -p, --package=DIR specify package\n"
- )
- sys.exit (0)
+ sys.stdout.write (r"""Usage: release [OPTION]...
+Make a tarball and patch
+
+Options:
+ -o, --outdir=DIR where to leave patches.
+ -h, --help print this help
+ -p, --package=DIR specify package"""
+)
+ sys.exit (0)
for opt in options:
- o = opt[0]
- a = opt[1]
- if o == '-h' or o == '--help':
- help ()
- elif o == '-p' or o == '--package':
- topdir = a
+ o = opt[0]
+ a = opt[1]
+ if o == '-h' or o == '--help':
+ help ()
+ elif o == '-p' or o == '--package':
+ topdir = a
+ elif o == '--outdir' or o == '-o':
+ outdir = a
+
sys.path.append (topdir + '/stepmake/bin')
from packagepython import *
package = Package (topdir)
-packager = Packager ()
+os.chdir(package.topdir)
+try:
+ os.system ('set -x; rm ' + os.path.join (outdir, package.name + '*gz'))
+except:
+ pass
-os.chdir(package.topdir)
-status =os.system('make dist')
+
+
+status = os.system('make dist')
if status:
- raise 'make dist failed'
+ raise 'make dist failed'
cur_ver = package.version
-# urg?
-# print tarball(cur_ver)
-barbaal=package.name + '-' + version_tuple_to_str (cur_ver) + '.tar.gz'
-print barbaal
-# os.rename('out/' + tarball(cur_ver), released_tarball(cur_ver))
-# hmmm
-os.remove(package.release_dir + barbaal)
-os.link('out/' + barbaal, package.release_dir + barbaal)
-os.chdir(package.test_dir)
+
+
+pn = '%s-%s' %(package.name, version_tuple_to_str(cur_ver))
+tarball = pn + '.tar.gz'
+orig = os.path.join (outdir, tarball)
try:
- os.system('set -x; rm ' + package.test_dir + package.name + '*gz')
+ os.remove(os.path.join (package.release_dir, tarball))
except:
pass
-# os.link(released_tarball(cur_ver), tarball(cur_ver))
-os.link(package.release_dir + barbaal, barbaal)
+os.link(orig, os.path.join (package.release_dir, tarball))
-# not a module, but a script (JCN)
-# makepatch.main()
-
-# Module wherefore aren't thou Script
-# A Rose by any other name would be as blonde. --HWN
-
-# urg
-# os.system('@PYTHON@ ' + package.topdir + '/stepmake/bin/package-diff.py --package=' + topdir)
os.system(sys.executable + ' ' + package.topdir + '/stepmake/bin/package-diff.py --package=' + topdir)
-pn = package.name + '-%s' % version_tuple_to_str(cur_ver)
-pn = pn + '.diff'
-pn = pn + '.gz'
-rel_pn = package.patch_dir + pn
+diffname = pn + '.diff.gz'
+rel_pn = package.patch_dir + diffname
+
+diffname = os.path.join (outdir, diffname)
-os.rename(pn, rel_pn)
-os.link(rel_pn, pn)
+os.rename(diffname, rel_pn)
+os.link(rel_pn, diffname)
$(PYTHON) $(step-bindir)/package-diff.py --package=$(topdir) $(makeflags)
release:
- $(PYTHON) $(step-bindir)/release.py --package=$(topdir)
+ $(PYTHON) $(step-bindir)/release.py --outdir=$(topdir)/$(outdir) --package=$(topdir)
rpm: $(depth)/$(package-icon) dist
su -c 'rpm -tb $(depth)/$(outdir)/$(distname).tar.gz'
cd $(outdir); texi2dvi ../$<
$(outdir)/%.txt: $(outdir)/%.texi
- $(MAKEINFO) --no-split --no-headers --output $@ $<
+ $(MAKEINFO) -I../ --no-split --no-headers --output $@ $<
$(outdir)/%.texi: %.texi
cp $< $@
projects / lilypond.git / commitdiff