+++ /dev/null
--*-text-*-
-
-CODING STANDARDS:
-
-Functions and methods do not return errorcodes, but use assert for
-checking status.
-
-INDENTATION, in emacs:
-
-
-(add-hook 'c-mode-hook
- '(lambda ()(setq c-basic-offset 4)))
-
-
-(add-hook 'c++-mode-hook
- '(lambda() (c-set-style "Stroustrup")
- )
- )
-
-
-CLASSES and TYPES:
-
- This_is_a_class
- AClass_name (for Abbreviation_class_name)
-
-DATA MEMBERS
-
- Class::member
-
-if the member's name resembles its type, then I use
-
- class Fubular { ..}
-
- Class::fubular_
-
-COMMENTS
-
-/// short description
-class Class {
- ///
- Data data_member_;
- /**
- ..
- */
-
- /****************/
-
- /// short memo
- member();
- /**
- long doco of member()
- */
-};
-/**
- Class documentation.
-*/
-
-Unfortunately most of the code isn't really documented that good.
-
-CLASSNAMES (2)
-
-A lot of classes in LilyPond start with 'P', this is to distinguish
-certain parts of LilyPond: the P stands for Printer, and the P-classes
-are supposed to be more lowlevel than the others. Example:
-
- Staff uses PStaff, PScore and PCol to do the typesetting of
-symbols. Staff is the "brains" for PStaff
-
-NB: in PCursor (which is part of the library) P stands for PointerCursor
-
-
-MEMBERS(2)
-
-Standard methods:
-
- ///check that *this satisfies its invariants, abort if not.
- void OK() const
-
- /// print *this (and substructures) to debugging log
- void print() const
-
- /// add some data to *this;
- add( .. )
- /**
- Presence of these methods usually imply that it is not feasible to this
- via a constructor
- */
-
- /// replace some data of *this
- set( .. )
-
+++ /dev/null
-Date: Tue, 5 Nov 1996 00:01:32 +0100
-From: Werner Icking <Werner.Icking@gmd.de>
-To: hanwen@stack.urc.tue.nl
-Cc: dsimons@logicon.com
-Subject: Re: font sizes.
-
-> Date: Mon, 4 Nov 1996 22:37:54 +0100 (MET)
-> From: Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
-> >
-> >There were different schemes when music was typeset by hand. If I remember
-> >right Harder uses another scheme that Gomberg. Both scheme may be used
->
-> Who are Harder and Gomberg? Do you have references?
-
-Both are mentioned in the master thesis by Steinbach & Schofer who
-invented M(u)TeX, the grandmother of all M...TeXs. The Musiclibrary
-in Bonn has the harder (printed in 1948?) and there are not many books
-I liked more to own.
-
-The master thesis should be available at the CTAN archives under MuTeX
-or MTEX maybe subdirectory DIPL (for Diplom). I have the TEX-source
-and I may pack it to ftp.gmd.de if you are interested and can't find it
-on CTAN.
-================================================================
-
-[breaking lines]
->
->Incidentally, I use a different approach in PMX, starting with the
->total number of systems for the piece instead of assuming a starting
->physical value for \elemskip. That's equivalent to setting the
->physical length of the whole piece if laid out in one long line.
->Knowing the total amount of scalable and fixed space I compute a
->starting physical value for \elemskip. I use that to get how many
->bars go in the first line. Then I force a line break there, remove
->those bars and their scalable and fixed space from the accounting, and
->start over with the second line, etc.
-
-
-Since you are getting into technical details, I will show mine too: I
-think my way is the most elegant algorithm i've seen so far. Some
-terminology: I call a vertical group of symbols (notes) which start at
-the same time a "column". Each line of a score has notes in it,
-grouped in columns. The difference in starting time between those
-columns makes it possible to determine ideal distances between those
-columns.
-
-Example:
-
- time ----->
-
- col1 col2 col3 col4
-
-
-voice1 1 1
-
-voice2 2 2 2 2
-
-
-(1 is a whole note, 2 a half note.)
-
-time_difference (col1 , col2) = 0.5 wholes,
-time_difference (col1 , col3) = 1 wholes,
-time_difference (col2 , col3) = 0.5 wholes,
-etc.
-
-these differences are translated into ideal distances (these translations
-have been the subject of discussion in this thread).
-
- distance (col1,col2) = 10 pt
- distance (col1,col3) = 14.1 pt
- distance (col2,col3) = 10 pt
- etc.
-
-as you can see, these distance are conflicting. So instead of
-satisfying all those ideals simultaneously, a compromise is sought.
-
-This is Columbus' egg: LilyPond attaches "springs" to each
-column-pair. each spring has an equilibrium-position which is equal to
-the above mentioned distance, so
-
- spring (col1, col2) and spring(col2,col3) try to push column 1
-and 3 away (to a distance of 20pt) from each other, whereas the spring
-between col 1 and col 3 tries to pull those two together (to a
-distance of 14.1 pt). The net result of this pushing and pulling is an
-equilibrium situation (the pushing cancels the pulling), which can be
-calculated as the solution of Quadratic program: it is the solution
-with minimum potential energy, for you physicists out there.
-
-This algorithm for doing one line, gives a "badness" parameter for
-each line (the potential energy). Now one can use TeX's algorithm for
-making paragraphs (using this new version of "badness"): one should
-try to minimise the overall badness of a paragraph. LilyPond also uses the
-concept of pre- and post-breaks.
-
-(actually, it is a bit more complicated: each column also has a
-minimum distance to other columns, to prevent symbols from running
-into symbols of other columns.)
-
+++ /dev/null
-[Source files: command.hh, scommands.cc]
-
-BREAKING, PREBREAK POSTBREAK, etc.
-
-So what's the deal with PREBREAK and POSTBREAK and all this
-stuff?
-
-Let's take text as an example. In German some compound
-words change their spelling if they are broken: "backen" becomes
-"bak-ken". TeX has a mechanism to deal with this, you would define
-the spelling of "backen" in TeX in this way
-
- \discretionary{bak-}{ken}{backen}
-
-These 3 arguments are called "prebreak", "postbreak" and "nobreak"
-text.
-
-The same problem exists when typesetting music. 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. Using the previous notation,
-
- \discretionary{bar meter}{clef meter}{ bar meter }
-
-In Lilypond, we have the same concepts (and the same
-terminology). Each (nonrhythmic) symbol is typeset using a Command
-(code: TYPESET). At a breakpoint, TYPESET commands can be grouped
-using separators (in lower case):
-
- BREAK_PRE, typeset(bar), typeset(meter),
- BREAK_MID, typeset(bar), typeset(meter),
- BREAK_POST, typeset(clef), typeset(meter), BREAK_END
-
-The BREAK command sequence is terminated with BREAK_END, so other
-commands (like INTERPRET) may follow this sequence.
-
+++ /dev/null
-This table decribes the proper order for the different commands:
-
-
-interpret
- which priority
- ========================
-
- key 200
- clef 190
- meter 180
- bar 170
-
-typeset
-
- which priority
- ========================
-
- bar 100
- clef 90
- currentclef 80
- key 70
- currentkey 60
- meter 40
-
\ No newline at end of file
+++ /dev/null
-LilyPond is a "5-pass" system:
-
-1. Parsing:
-
-No difficult algorithms. Associated datastructures have prefix Input
-(eg Input_score, Input_command)
-
-2. Processing:
-
-Requests are processed and granted. In this step data-structures for
-3. are created and filled with data: PScore, PCol, PStaff
-
-3. Calculation:
-
-This step uses structures which have names starting with 'P'.
-linebreaks and horizontal positions of PCols are determined. Line_of_*
-generated.
-
-4. Postprocesing:
-
-Some items and all spanners need computation after the PCol positions
-are determined.
-
-5. Output
-
-Very simple, just walk all Line_of_* and follow the links over there
\ No newline at end of file
+++ /dev/null
-General format of a construct:
-
- BLOCKNAME { <info to go with this block> }
-
-Some types allow declarations:
-
- IDENTIFIER = BLOCKNAME {
- <info to go with this block>
- }
-
- ..
-
- BLOCKNAME {
- IDENTIFIER
- ...
- }
-
-
-In musicmode, eg,
-
- ''!c8.-"text"_v
-
-a lot of characters parse differently
-than in "command" mode, eg,
-
- identifier = score { .. }
-
-So you have to signal that to the tokenizer. This is done with
-'$'. '$' is a delimiter, which used by the tokenizer only.
-
-* musicmode: The brace still is used to group grammatical groups.
-* musicmode: "word" are preceded by a '\' (backslash)
-
-This means you can write some stuff in a zillion ways:
-
-1. $\var = \blockname { ... } $
-
-2. var = blockname { $ ... $ }
-
-3. var = $ $ $\blockname { ... $ }
-
-COMMENTS
-
-not really crystallized; you can use '#' or '%' as line comment
-
-OTHER
-
-A correctly parsed .ly does not guarantuee output. A lot (most) of the
-checking is done *after* parsing (some checks even are done after the
-break calc!); I'm sorry.
-
-The parser's job is to construct appropriate objects. It will *only*
-detect parse errors.
-
-LilyPond first reads 'symbol.ini', which contains declarations crucial
-to proper operation of LilyPond (symbol tables, note names)
-
-This language looks a lot like Rayce's which in turn owes a lot to the
-POVRay raytracer. Now, I know, musictypesetting and Raytracing do not
-necessarily require the same input format, but I was just to lazy to
-make up a new/better input format. Suggestions welcome.
+++ /dev/null
-\chapter{References \& Further reading}
-
-Herbert Chlapik,
-
-Ren\'e Roelofs, ``Een Geautomatiseerd Systeem voor het Afdrukken van
-Muziek'' afstudeerscriptie Bestuurlijke informatica, no 45327, Erasmus
-universiteit Rotterdam, 1991. (``An automated system for printing
-music'' Master's Thesis Management and Computer Science.)
-
-G. Read, ``Modern Rhythmic Notation.'' Indiana University Press, 1978.
-
-C. Roemer, The Art of Music Copying. Roerick music co., Sherman Oaks (CA), 1973.
-
-Donemus, Uitgeven van muziek. Donemus Amsterdam, 1900
-
-W.A. Hegazy and J. S. Gourlay. Optimal line breaking in music. In
-``Document Manipulation and Typography'',J.C. van Vliet (ed) 1988.
-
-\begin{verbatim}
-Date: Thu, 03 Aug 1995 22:55:48 -0700
-From: Mark Basinski <basinski@arizona.edu>
-To: Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
-Newsgroups: comp.music, comp.text.tex
-Subject: Re: [WANTED] references on typesetting music
-
-(A copy of this message has also been posted to the following newsgroups:
-comp.music, comp.text.tex)
-
-In article <3vqr50$den@turtle.stack.urc.tue.nl>, hanwen@stack.urc.tue.nl
-(Han-Wen Nienhuys) wrote:
-
-> I am currently typesetting music with a preprocessor to the TeX package
-> MusiXTeX, and I want to enhance this preprocessor with an some sort of
-> algorithm to do spacing. Currently the output looks nice, but there are some
-> flaws in the spacing when I combine accidentals, slurs, triplets and strange
-> pitchjumps and so on. Therefore I am interested in all literature on
-> typesetting music. The FAQS for comp.music did not have any references.
->
-Probably the best 2 reference books are:
-
-1) ``Teach yourself the art of music engraving and processing'' by Ted Ross
-(3rd edition), published by Hansen House, Miami Beach, FL.
-
-Hansen House
-1820 West Ave.
-Miami, FL 33139
-(305) 532-5461
-
-This is about *engraving* i.e. professional music typesetting, and includes
-some good spacing tables
-
-2) ``Music Notation'' by Gardner Read (2nd edition), published by Taplinger
-Publishing, New York.
-
-This is as close to the ``standard'' reference work for music notation issues
-as one is likely to get.
-
-Some others (of varying usefulness):
-
-Donato, Anthony. Preparing Music Manuscript. Englewood Cliffs:
-Prentice-Hall, 1963.
-
-Heussenstamm, George. The Norton Manual of Music Notation. New York:
-Norton, 1987.
-
-Karkoshka, Erdhard. Notation in New Music. Trans. Ruth Koenig. New York:
-Praeger Publishers, 1972. Out of print.
-
-Roemer, Clinton. The Art of Music Copying. Roerick Music. Sherman Oaks, 1973.
-
-Rosecrans, Glen. Music Notation Primer. New York: Passantino, 1979.
-
-Stone, Kurt. Music Notation in the Twentieth Century. New York: Norton, 1980.
-
-\end{verbatim}
-
+++ /dev/null
-This describes the ownership of certain classes in LilyPond. +
-signifies a "list of". (This is not complete)
-
-Score:
- Paperdef
- Staff+
- Score_commands
- Score_columns+
- PScore
-
-Staff:
- Voice
- Staff_column+
- Command+
-
-
-Voice:
- Voice_element
-
-Voice_element:
- Request+
-
-
-PScore:
- PStaff+
- PCol+
- Idealspacing+
- Item+
- Spanner+
- Spanner+ (broken)
-
+++ /dev/null
-How are slur fonts organised?
-
-xhslu20: see xslhu20
-
-xslhu20: half slurs, pointing up
- right
- width in steps of 12pt (12pt-96pt)
- height in 16 steps
- left
- idem
-
-xslhd20: half slurs, pointing down, idem
-
-xslu20: whole slurs, ascending
- pointing up
- height (dy) in 8 steps
- width in 16 steps of 4pt (8 pt - 64pt)
- pointing down
- height (dy) in 8 steps
- width in steps of 4pt (8 pt - 64pt)
-
-xsld20: whole slurs, descending
- pointing up
- height (dy) in 8 steps
- width in steps of 4pt (8 pt - 60pt)
- pointing down
- height (dy) in 8 steps
- width in steps of 4pt (8 pt - 60pt)
-
-
-xslhz: middlepieces for half-slurs
- pointing up
- width in 100 steps of 4 pt (4 pt to 400pt)
- pointing down
- idem
-
-xslz: horizontal slurs
- pointing up
- width in 54 steps of 4pt
- pointing down
- idem
-
-xtie: same as xslhz.
+++ /dev/null
-#include "moment.hh"
-#include "debug.hh"
-
-void
-Moment::print() const
-{
- mtor << " at "<<when<<'\n';
- mtor << "meeter " << whole_per_measure << "/" << 1/one_beat
- << "\nposition "<< bars << ":" << whole_in_measure <<'\n';
-}
-void
-Moment::OK() const
-{
- assert(whole_in_measure < whole_per_measure && 0 <= whole_in_measure);
- assert(one_beat);
-}
-Moment::Moment(Real dt, Moment const *prev)
-{
- if (prev) {
- assert(dt >0);
- *this = *prev;
- when += + dt;
- whole_in_measure += dt;
- while ( whole_in_measure >= whole_per_measure ) {
- whole_in_measure -= whole_per_measure;
- bars ++;
- }
- } else { // default 4/4
- whole_per_measure = 1;
- whole_in_measure =0;
- one_beat = 0.25;
- when = 0.0;
- bars = 0;
- }
-}
-
-void
-Moment::set_meter(int l, int o)
-{
- assert(o);
- one_beat = 1/Real(o);
- whole_per_measure = Real(l) * one_beat;
-}
-
-void
-Moment::setpartial(Real p)
-{
- if (when)
- error_t ("Partial measure only allowed at beginning.", when);
- if (p<0||p > whole_per_measure)
- error_t ("Partial measure has incorrect size", when);
- whole_in_measure = whole_per_measure - p;
-}
-Real
-Moment::barleft()
-{
-return whole_per_measure-whole_in_measure;
-}
projects / lilypond.git / commitdiff