--- /dev/null
+=head1 NAME
+
+Mudela - LilyPond input format 0.1
+
+=head1 DESCRIPTION
+
+This document describes the the LilyPond input format, which is an
+effective language for definining music. We call this language
+(rather arrogantly) The Musical Definition Language (S<Mudela 2>).
+
+The first aim of Mudela is to define a piece of music,
+being complete from both from a musical typesetting,
+as from a musical performing point of view.
+
+The design of Mudela has been (perfect past tense, hopefully)
+an ongoing process,
+the most important criteria being:
+
+=over 4
+
+=item *
+
+define the (musical) message of the composer as unambiguously as possible,
+
+=item *
+
+be intuitive, and easily readable
+(compared to, say, Musi*TeX input, or MIDI :-),
+
+=item *
+
+be writable in ASCII with a simple texteditor, yfte(TM).
+
+=back
+
+Other considerations were (and will be):
+
+=over 4
+
+=item *
+
+be able to edit the layout
+without danger of changing the original music (Urtext),
+
+=item *
+
+allow for adding different interpretations, again,
+without danger of changing the original,
+
+=item *
+
+easy to create a conductor's score,
+as well as the scores for all individual instruments,
+
+=item *
+
+provide simple musical manipulations, such as
+S<(i) extracting> a slice of music from a previously defined piece,
+S<(ii) extracting> only the rhythm from a piece of music,
+S<(iii) transposing>, etc.,
+
+=item *
+
+easy to comprehend to both programmers and others.
+
+=back
+
+Musical pieces could be
+
+=over 5
+
+=item *
+
+Mahlerian orchestral scores,
+
+=item *
+
+piano pieces (Schubertian, Rachmaninovian),
+
+=item *
+
+pop songs (lyrics and chords),
+
+=item *
+
+gregorian chants,
+
+=item *
+
+Bach multivoice organ pieces,
+
+=item *
+
+short excerpts to be used in musicological publications.
+
+=back
+
+
+=head1 Overview
+
+The Musical Definition Language (Mudela) S<version 2>,
+has a logical structure,
+making use of typing and naming (using identifiers),
+that allows for flexible input, and definition reuse.
+
+The below included for explanatory
+purposes only (i.e., for a complete and up-to-date definition, see
+F<lily/parser.y> and F<lily/lexer.l>):
+
+=head2 Files
+
+The de-facto extension of Mudela is F<.ly>. Files may be included by
+entering C<include> at the start of a line:
+
+ include "a_file.ly"
+
+=head2 Comments
+
+Line comments are introduced by a C<%>
+
+=head2 Words
+
+Keywords are preceded by a backslash "\". They contain alphabetic
+characters only.
+
+Identifiers in their normal form consist start with a alpha character,
+followed by alpha-numerics. Identifiers can contain any characters
+(except whitespace, C<$> and C<%>), if you use this construct:
+
+ $Id_with###@weird92chars =
+
+=head2 Nesting characters
+
+Mudela uses the brace (C<{> and C<}>) for hierarchical structures. To
+aid the eye in reading, for chords the C<<> and the C<>> are used as
+nesting braces.
+
+=head2 Identifiers
+
+=head2 Hierarchical structures
+
+The general structure consists of declarations:
+
+ IDENTIFIER = \TYPE{
+ <type specific data>
+ }
+
+and instantiations:
+
+ \TYPE{ <type specific data> }
+
+(Currently, C<\score> is the only type that can be instantiated
+at top level. Currently declarations can only be done at top level)
+
+Most instantiations that use an IDENTIFIER are specified as follows:
+
+ \TYPE { IDENTIFIER [...] }
+
+Some exceptions on this rule have been made to prevent inputting
+Mudela becoming tedious
+
+
+=head2 Simple mudela
+
+The actual musical part of Mudela that defines a melody, is known as
+I<simple mudela>.
+
+Simple mudela is the most common type of music. It consists of a list
+of notes or lyrics, chords, and commands.
+
+=head2 Modes:
+
+To simplify different aspects of music definition (entering the notes
+and manipulating them) Mudela has a number of different input "modes":
+
+=over 4
+
+=item Normal mode
+
+At the start of parsing, Mudela assumes normal mode.
+In Normal mode, a word is looked up in the following order:
+
+ word identifier, string
+ \word keyword, string
+
+In normalmode, a word is assumed to start with an alphabetic
+character, followed by alpha-numeric characters.
+
+=item Note mode
+
+Note mode (and thus Simple mudela) is introduced by the keyword C<\music>.
+In Note mode, a word is looked up in the following order:
+
+ word identifier, string
+ \word keyword, string
+
+In Note mode a word is considered to have alphabetic characters only.
+
+=item Lyric mode
+
+Lyrics mode (and thus Simple mudela) is introduced by the keyword C<\lyrics>.
+
+In Lyrics mode, a word is looked up in the following order:
+
+ word string
+ \word keyword, string
+
+In Lyric mode every sequence of non-digit and non-white characters
+starting with an alphabetic character is considered a word.
+
+ a&@&@&TSI|{[ % a word
+ 1THtrhortho % not a "word"
+ Leise Fl\"u\ss{}teren meine Sapfe % 4 words
+
+
+=back
+
+These modes are of a lexical nature. Normal and Note mode largely
+resemble each other, save the possibility of entering Reals, and
+meaning of C<_>
+
+=head2 Notes
+
+Simple mudela basically is a sequence of the notes you want to
+enter.
+
+ a'4 % dutch names
+
+is a A-1 pitched quaver. The ' as well as the ' signify an octave change.
+A-1 is 440 Hz concert-pitch. C<c'> is also known as the central
+c. More examples:
+
+ 'a % 110
+ a % 220
+ a' % 440
+ a'' % 880
+
+another example:
+
+ 'as4.*2/3
+
+This is an A flat, (just below 110 Hz concert-pitch). The C<*2/3>
+signifies that this note is part of a triplet (3 in stead of 2). The
+duration is one and a half quaver (C<4.>) times 2/3.
+
+The default language for notenames is defined to be dutch,
+
+ % double sharp
+ cisis disis eisis fisis gisis aisis bisis
+ % sharps
+ cis dis eis fis gis ais bis
+ % naturals
+ c d e f g a b
+ % flats
+ ces des es fes ges as bes
+ % double flats
+ ceses deses eses feses geses ases beses
+
+The standard notenames also have uppercase versions, which octavate
+down:
+
+ a % 220 concert-pitch
+ A % 110
+ 'A % 55
+ A' % 220
+ Cisis
+
+The rest is named
+
+ r
+
+These notenames along with duration are enough material to construct
+simple melodies:
+
+ c4 c4 g4 g4 a4 a4 g2
+ f4 f4 e4 e4 d4 d4 c2
+
+Music is able to express more. generally speaking, the other
+'features' are either connected between notes (slurs, beams: spanning
+requests) or attached to notes (eg. accents). The former are
+implemented as START and STOP stop features and then attached to the note.
+
+ [] START/STOP a beam
+ () START/STOP a slur
+
+
+example:
+
+ [c8 () d8 () e8 ]
+
+Please note that these two characters do I<not> necessarrily nest, eg:
+
+ [c8 e8(] [)g8 c'8]
+
+
+Symbols which can be put at either side of a staff are entered as follows:
+
+ a-^ % marcato, direction: default
+ a^- % portato, direction: above note
+ a_. % staccato, direction: below note
+ a^\script { "symbolindex" . . . } % see script.ini for details.
+
+Dynamics can be put after the notename:
+
+ a4 \dynamic { 0 } % 0 = fff, 7 = ppp
+
+Mudela defines the following dynamic identifiers:
+
+ ppp pp p mp mf df ff fff % df iso f, f is a notename.
+
+The general form of a note is:
+
+ post-requests de-octavate notename octavate duration pre-requests
+
+Notenames are just identifiers, and can be declared for any
+language appropriate (see F<dutch.ini>).
+
+=head2 Defaults
+
+If omit the duration of a, a default value is substituted. For this
+default value, there are two modes:
+
+=over 4
+
+=item 1
+
+Use the last duration explicitly entered
+
+=item 2
+
+Use the explicitly set "default duration"
+
+=back
+
+Thus the following inputs are equivalent
+
+ c4 c4 c16 c16 c16 s16 c4 c16
+
+ \duration { "last" }
+ c4 c c16 c c c c4 c16
+
+ \duration { 4 }
+ c c c16 c16 c16 c16 c c16
+
+ \duration { 16 }
+ c4 c4 c c c c c4
+
+If you are typing music which does not lie in the "small" and "large"
+octave, you can prevent having to type C<'> all the time by using the
+C<\octave> command: These two notes have the same pitch.
+
+ c'' \octave{2} c
+
+By default the setting of C<\octave> is 0.
+
+=head2 Lyrics
+
+Lyrics in Mudela resemble Simple mudela a lot, with notes substituted
+by text.
+
+All syllables are entered separately, separated by whitespace
+
+ Twin-4 kle4 twin-4 kle4 ...
+
+Two syllables or words that compose a single
+duration entry are bound together using an underscore
+
+ He_could4 not4
+
+=head2 Music direction
+
+Mudela reads left to right, but LilyPond can stack voices and
+Voice_elements which are produced in two directions: horizontal
+(voice like) and vertical (chord like)
+
+You can start horizontal music by enclosing a sequence of notes with { and }
+
+ { c c g g a a g2 } % twinkle twinkle
+
+You can start vertical music (a "chord") by enclosing a sequence of
+notes with < and >. Example:
+
+ <a cis e'> % a-major chord
+
+You can also put vertical music inside horizontal music:
+
+ { c < c e > <c e g> <c e g c'> } % 4 increasing chords
+
+And vice versa
+
+ < \multivoice
+ {c c g g a a g2}
+ {r2 r2 c c g g a a g2} > % a canon
+
+The duration of a chord equals the union of the durations of each of
+its elements. The C<\multivoice> is a construct which is explained
+below.
+
+=head2 Rhythms
+
+Rhythms in Mudela are entered identical to Simple mudela.
+The melodic part of the information is ignored.
+
+=head1 STRUCTURE
+
+In concrete, a piece of Mudela has the following structure:
+
+ % declare pieces of music:
+ melody = \music{ <simple mudela> }
+ accompany = \music{ <simple mudela> }
+
+ % instantiate (=create tex, midi output) the score:
+ \score{
+ \staff{ melody }
+ \staff{ accompany }
+ \commands{ <score global commands> }
+ \midi{ <midi definitions> }
+ \paper{ <paper and layout definitions }
+ }
+
+=head2 Examples
+
+Examples are included with the LilyPond distribution. For the sake of
+maintenance no long examples are included in this document.
+
+
+=head2 Requests
+
+=head2 Voice
+
+=head2 Voice_element
+
+=head2 Voice groups
+
+=head2 Other
+
+LilyPond first reads F<symbol.ini>, which contains declarations crucial
+to proper operation of LilyPond (symbol tables, note names).
+
+=head1 HISTORY
+
+
+This language has a number of roots. First and foremost, LilyPond's
+predecessor mpp was the inspiration of simple Mudela. Secondly, the
+hierarchical structure looks a lot like Rayce's (Rayce is a raytracer
+that I've written as a hobby project. ), which in turn owes a lot to
+POVRay.
+
+Now, we know, musictypesetting and raytracing do not necessarily
+require the same input format, and we know that a lot more ways exist
+to convert music to ASCII, but we did give this language some
+thoughts. As always suggestions are appreciated.
+
% (except for grace notes) are printed
%
%%1
-melodie = \music { \clef\violin
+melodie = \music { \clef\violin\octave{1}
\key{bes}
\meter{3/4}\duration{ 8 }
- r pp < [ d `a-| > f-| < d `a-| > f-| < d `a-| ] > |
+ r pp < [ d 'a-| > f-| < d 'a-| > f-| < d 'a-| ] > |
%%2
- r < [ d `bes-| > f-| < d `bes-| > f-| < d `bes-| ] > |
+ r < [ d 'bes-| > f-| < d 'bes-| > f-| < d 'bes-| ] > |
%%3
\textstyle "italic"
- r_"simile" < [ d `bes > e < d `bes > e < d `bes ] >
+ r_"simile" < [ d 'bes > e < d 'bes > e < d 'bes ] >
\textstyle "roman" |
%%4
- r < [ `a cis > e < `a cis > e < `a cis ] > |
+ r < [ 'a cis > e < 'a cis > e < 'a cis ] > |
%#%:|
%%5
[ a()bes a ]2/3 d'4. a |
\key{bes}\meter{3/4}
\clef\bass
\duration{2}
- `d r4 |
+ 'd r4 |
%%2
- ``bes r4 |
+ ''bes r4 |
%%3
- ``g r4 |
+ ''g r4 |
%%4
- ``a r4 |
+ ''a r4 |
%#%:|
%%5
\duration{ 8 }
- < \multivoice { \stem{ 1 } [ `f `a d `a d `a ] }
- { \stem{ -1 } `d2 r4 } > |
+ < \multivoice { \stem{ 1 } [ 'f 'a d 'a d 'a ] }
+ { \stem{ -1 } 'd2 r4 } > |
%%6
- < \multivoice { \stem{ 1 } [ `d `e `g `e `g `e ] }
- { \stem{ -1 } ``bes2 r4 } > |
+ < \multivoice { \stem{ 1 } [ 'd 'e 'g 'e 'g 'e ] }
+ { \stem{ -1 } ''bes2 r4 } > |
%%7
- < \multivoice { \stem{ 1 } [ `cis `e `g `e `g e ] }
- { \stem{ -1 } ``a2 r4 } > |
+ < \multivoice { \stem{ 1 } [ 'cis 'e 'g 'e 'g e ] }
+ { \stem{ -1 } ''a2 r4 } > |
%%8
- < \multivoice { \stem{ 1 } [ `d `a d `a d `a ] }
- { \stem{ -1 } `d2 r4 } > |
+ < \multivoice { \stem{ 1 } [ 'd 'a d 'a d 'a ] }
+ { \stem{ -1 } 'd2 r4 } > |
%%9
- [ `a e g e g e ] |
+ [ 'a e g e g e ] |
%%10
- [ `d `a d `a d `a ] |
+ [ 'd 'a d 'a d 'a ] |
%%11
- < \multivoice { \stem{ 1 } [ `f `a d `a d `a ] }
- { \stem{ -1 } `d2 r4 } > |
+ < \multivoice { \stem{ 1 } [ 'f 'a d 'a d 'a ] }
+ { \stem{ -1 } 'd2 r4 } > |
%%12 == 6
- < \multivoice { \stem{ 1 } [ `d `e `g `e `g `e ] }
- { \stem{ -1 } ``bes2 r4 } > |
+ < \multivoice { \stem{ 1 } [ 'd 'e 'g 'e 'g 'e ] }
+ { \stem{ -1 } ''bes2 r4 } > |
%13
- < \multivoice { [ `e `g `bes `g `bes `g ] }
- { \stem{ -1 } `c2 r4 } > |
+ < \multivoice { [ 'e 'g 'bes 'g 'bes 'g ] }
+ { \stem{ -1 } 'c2 r4 } > |
%%14
- < \multivoice { \stem{ 1 } [ `a c f c f c ] }
- { \stem{ -1 } `f2 r4 } > |
+ < \multivoice { \stem{ 1 } [ 'a c f c f c ] }
+ { \stem{ -1 } 'f2 r4 } > |
%%15
- [ `c `g `bes `g `bes `g ] |
+ [ 'c 'g 'bes 'g 'bes 'g ] |
%%16
- [ ``f `c `f `c `f `c ] |
+ [ ''f 'c 'f 'c 'f 'c ] |
%%17
- < \multivoice { \stem{ 1 } [ ``a `e `g `e `g `e ] }
- { \stem{ -1 } ``a2 r4 } > |
+ < \multivoice { \stem{ 1 } [ ''a 'e 'g 'e 'g 'e ] }
+ { \stem{ -1 } ''a2 r4 } > |
%%18
- < \multivoice { \stem{ 1 } [ `d `a d `a d `a ] }
- { \stem{ -1 } `d2 r4 } > |
+ < \multivoice { \stem{ 1 } [ 'd 'a d 'a d 'a ] }
+ { \stem{ -1 } 'd2 r4 } > |
%%19
- < \multivoice { \stem{ 1 } [ ``bes `f `bes `f `bes `f ] }
- { \stem{ -1 } ``bes2 r4 } > |
+ < \multivoice { \stem{ 1 } [ ''bes 'f 'bes 'f 'bes 'f ] }
+ { \stem{ -1 } ''bes2 r4 } > |
%%20
- < \multivoice { \stem{ 1 } [ ``f `c `f `c `f `c ] }
- { \stem{ -1 } ``f2 r4 } > |
+ < \multivoice { \stem{ 1 } [ ''f 'c 'f 'c 'f 'c ] }
+ { \stem{ -1 } ''f2 r4 } > |
%%21
- < [ `e `c > `g c `g c `g ] |
+ < [ 'e 'c > 'g c 'g c 'g ] |
%%22
- [ `f `a c `a `f `c ] |
+ [ 'f 'a c 'a 'f 'c ] |
%%23
- < \multivoice { \stem{ 1 } [ ``a `e `g `e `g `e ] }
- { \stem{ -1 } ``a2 r4 } > |
+ < \multivoice { \stem{ 1 } [ ''a 'e 'g 'e 'g 'e ] }
+ { \stem{ -1 } ''a2 r4 } > |
%%24
- < \multivoice { \stem{ 1 } [ `d `fis `a `fis `a `fis ] }
- { \stem{ -1 } `d2 r4 } > |
+ < \multivoice { \stem{ 1 } [ 'd 'fis 'a 'fis 'a 'fis ] }
+ { \stem{ -1 } 'd2 r4 } > |
%%25
- < \multivoice { \stem{ 1 } [ ``g `d `b `d `b `d ] }
- { \stem{ -1 } ``g2 r4 } > |
+ < \multivoice { \stem{ 1 } [ ''g 'd 'b 'd 'b 'd ] }
+ { \stem{ -1 } ''g2 r4 } > |
%%26
- < \multivoice { \stem{ 1 } [ `d `a d `a d `a ] }
- { \stem{ -1 } `d2 r4 } > |
+ < \multivoice { \stem{ 1 } [ 'd 'a d 'a d 'a ] }
+ { \stem{ -1 } 'd2 r4 } > |
%%27
- < [ `cis ``a > `e `a `e `a `e ] |
+ < [ 'cis ''a > 'e 'a 'e 'a 'e ] |
%%28
- [ `d `a d `a d `a ] |
+ [ 'd 'a d 'a d 'a ] |
%%29
- [ `d `g `bes `g `bes `g ] |
+ [ 'd 'g 'bes 'g 'bes 'g ] |
%#%\volta1
%%30
- [ `d `fis `a `fis `a `fis ] |
+ [ 'd 'fis 'a 'fis 'a 'fis ] |
%%31
- [ ``a `e `a `e `a `e ] |
+ [ ''a 'e 'a 'e 'a 'e ] |
%%32
- [ `d `fis `a `fis `a `fis ] |
+ [ 'd 'fis 'a 'fis 'a 'fis ] |
%%33
- [ `d `g `b `g `b `g ] |
+ [ 'd 'g 'b 'g 'b 'g ] |
%%34
- [ `d `fis `a `fis `a `fis ] |
+ [ 'd 'fis 'a 'fis 'a 'fis ] |
%%35
- [ ``a `e `a `e `a `e ] |
+ [ ''a 'e 'a 'e 'a 'e ] |
%%36
- [ `d `fis `a `fis `a `fis ] |
+ [ 'd 'fis 'a 'fis 'a 'fis ] |
%#%\volta2
%#%:|
%%37
- [ ``a `e `g `e ``bes^> `e ] |
+ [ ''a 'e 'g 'e ''bes^> 'e ] |
%%38
- [ ``a < e cis `a > < e cis `a > < e cis `a > < e cis `a > < e cis `a ] > |
+ [ ''a < e cis 'a > < e cis 'a > < e cis 'a > < e cis 'a > < e cis 'a ] > |
%%39
- [ ``a `e `g `e ``bes^> `e ] |
+ [ ''a 'e 'g 'e ''bes^> 'e ] |
%%40
- [ ``a < e cis `a > < e cis `a > < e cis `a > < e cis `a > < e cis `a ] > |
+ [ ''a < e cis 'a > < e cis 'a > < e cis 'a > < e cis 'a > < e cis 'a ] > |
%%41
- [ ``ais `e `fis `e `fis `e ] |
+ [ ''ais 'e 'fis 'e 'fis 'e ] |
%%42
- < [ `d ``b > `fis `b `fis `b `fis ] |
+ < [ 'd ''b > 'fis 'b 'fis 'b 'fis ] |
%%43
- < [ `e ``b > `g `b `g `b `g ] |
+ < [ 'e ''b > 'g 'b 'g 'b 'g ] |
%%44
- < [ `d ``b > `fis `b `fis `b `fis ] |
+ < [ 'd ''b > 'fis 'b 'fis 'b 'fis ] |
%%45
- < \multivoice { \stem{ 1 } [ ``g `d `b `d `b `d ] }
- { \stem{ -1 } ``g2 r4 } > |
+ < \multivoice { \stem{ 1 } [ ''g 'd 'b 'd 'b 'd ] }
+ { \stem{ -1 } ''g2 r4 } > |
%%46
- < \multivoice { \stem{ 1 } [ `d `a d `a d `a ] }
- { \stem{ -1 } `d2 r4 } > |
+ < \multivoice { \stem{ 1 } [ 'd 'a d 'a d 'a ] }
+ { \stem{ -1 } 'd2 r4 } > |
%%47
- < [ `cis ``a > `e `a `e `a `e ] |
+ < [ 'cis ''a > 'e 'a 'e 'a 'e ] |
%%48
- [ `d `fis `a `fis `a `fis ] |
+ [ 'd 'fis 'a 'fis 'a 'fis ] |
%%49
- [ `d `a d `a d `a ] |
+ [ 'd 'a d 'a d 'a ] |
%%50
- [ ``g `e `g `e `g `e ] |
+ [ ''g 'e 'g 'e 'g 'e ] |
%%51
- [ ``a `e `g `e `g `e ] |
+ [ ''a 'e 'g 'e 'g 'e ] |
%%52
- [ ``d `d `fis `d `fis `d ] |
+ [ ''d 'd 'fis 'd 'fis 'd ] |
%%53
- [ `d `g `bes `g `bes `g ] |
+ [ 'd 'g 'bes 'g 'bes 'g ] |
%%54
- [ `d `fis `a `fis `a `fis ] |
+ [ 'd 'fis 'a 'fis 'a 'fis ] |
%%55
- [ ``a `e `g `e `g `e ] |
+ [ ''a 'e 'g 'e 'g 'e ] |
%%56
- [ ``d ``a `d ``a `d ``a ] |
+ [ ''d ''a 'd ''a 'd ''a ] |
%%57
- [ ``d ``a `d ``a `d ``a ]
+ [ ''d ''a 'd ''a 'd ''a ]
%%58
- < `d2.^\fermata ``d2. > |
+ < 'd2.^\fermata ''d2. > |
}
\music { tekstI }
\music { tekstII }
}
-% Setting up music ...lilypond: ../flower/include/cursor.inl:98: class Cursor<void *> Cursor<void *>::operator ++(int): Assertion `pointer_' failed.
+% Setting up music ...lilypond: ../flower/include/cursor.inl:98: class Cursor<void *> Cursor<void *>::operator ++(int): Assertion 'pointer_' failed.
%IOT trap/Abort
% als geen music in staff
\staff {
projects / lilypond.git / commitdiff