From 17d5db5304259b0692799ec3e41f52e53fd0ece8 Mon Sep 17 00:00:00 2001 From: fred Date: Sun, 24 Mar 2002 19:38:35 +0000 Subject: [PATCH] lilypond-0.0.49 --- Documentation/lilygut.pod | 148 +++++++++++++++++++++++++++++++++++++- 1 file changed, 147 insertions(+), 1 deletion(-) diff --git a/Documentation/lilygut.pod b/Documentation/lilygut.pod index da7ebcea59..a1b8497f52 100644 --- a/Documentation/lilygut.pod +++ b/Documentation/lilygut.pod @@ -47,6 +47,77 @@ Very simple, just walk all Line_of_* and follow the links over there =back +Some of the important requests are: + +=over 4 + +=item C + +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 C + +Staff 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 C to decide. The C can decide on positioning +based on ottava commands and the appropriate clef. + +=item C + +Typeset a rest. + +=item C + +This type of request typically results in the creation of a C + +=item C + +Start/stop a beam. + +Staff 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 C + +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 C request carries a time, measured +from the start of its note. + +=head2 Voice + +=head2 Voice_element + +=head2 Voice groups + +=head1 Requests + +inc +The result of a request will be an C or a C, which +will be put on a C. Note that the C and the original +C need not have anything in common. For example, the +``double'' piano Staff could interpret commands which juggle +melodies across the left and right hand, and may put the result in +two five-line PStaffs (maybe with extra PStaffs to carry the dynamic +signs and any lyric. + +The class C should be thought as a container for the +Cs, and an interpreter for Cs. +Different staffs can produce different outputs; a melodious voice +which is put into a percussion-Staff, will be typeset as the rythm of +that voice. + +After C made up her mind, the resultant items and +spanners are put on the PScore. + + =head1 Request_register In the previous section the idea of Request has been explained, but @@ -233,8 +304,12 @@ into symbols of other columns.) [partly by Mark Basinski ] -Herbert Chlapik, +Herbert Chlapik, Die Praxis des Notengraphikers. Doblinger, 1987. +Maxwell Weaner and Walter Boelke, Standard Music Notation Practice, +revised edition by Arnold Broido and Daniel Dorff. Music Publisher's +Association of the United States Inc., 1993. + W.A. Hegazy and J. S. Gourlay. Optimal line breaking in music. In ``Document Manipulation and Typography'', J.C. van Vliet (ed) 1988. @@ -286,3 +361,74 @@ Rosecrans, Glen. Music Notation Primer. New York: Passantino, 1979. Stone, Kurt. Music Notation in the Twentieth Century. New York: Norton, 1980. +=head2 On typesettig programs + +From: Miguel Filgueiras + +... as well as other systems. I contribute with some references: + + +D. Blostein, L. Haken, The Lime Music Editor: a Diagram Editor +Involving Complex Translations. {\em +Software --- Practice and Experience}, Vol. 24(3), 289--306, 1994. + +Alexander Brinkman, {\em PASCAL Programming for Music Research}. +The University of Chicago Press, 1990. + +Miguel Filgueiras, Implementing a Symbolic Music Processing +System. LIACC, Universidade do Porto, 1996; submitted. + +Miguel Filgueiras, Some Music Typesetting Algorithms. LIACC, +Universidade do Porto, {\em forthcoming}. + + Miguel Filgueiras and Jos\'e Paulo Leal, A First Formulation of +\SceX, a Music Typesetting System. Centro de Inform\'atica da +Universidade do Porto, 1993. + +Miguel Filgueiras and Jos\'e Paulo Leal. Representation and +manipulation of music documents in \SceX. {\em Electronic Publishing}, +vol. 6 (4), 507--518, 1993. + +Eric Foxley, Music --- A language for typesetting music scores. {\em +Software --- Practice and Experience}, Vol. 17(8), 485--502, 1987. + +John S. Gourlay, A language for music printing. {\em Communications of +the ACM}, Vol. 29(5), 388--401, 1986. + +Cindy Grande, NIFF6a Notation Interchange File Format. +Grande Software Inc., 1995. {\tt ftp:blackbox.cartah.washington.edu} + +Fran\c{c}ois Jalbert, Mu\TeX\ User's Guide (Version $1.1$). Computer +Science Department, University of British Columbia, 1989. + +Peter S. Langston, Unix music tools at Bellcore. {\em +Software --- Practice and Experience}, Vol. 20(S1), S1/47--S1/61, 1990. + +Andreas Mahling, J. Herczeg, M. Herczeg and S B\"ocker, Beyond +visualization: knowing and understanding. In P.~Gorny, M.~J. Tauber +(eds.), {\em Visualization in Human-Computer Interaction}, Lecture +Notes in Computer Science, 439, 16--26, Springer-Verlag, 1990. + +Jan Nieuwenhuizen, Using \TeX\ and the MusiX\TeX\ macro package to +write parts and scores of music. Department of Physics, Eindhoven +University of Technology, 1995. + +Don Simons, PMX, A Preprocessor for MusiX\TeX\ (Version 1.04). +dsimons@logicon.com. + +Daniel Taupin. Music\TeX: Using \TeX\ to Write Polyphonic or +Instrumental Music (Version 5.17). Laboratoire de Physique des +Solides, Centre Universitaire, Orsay, 1996. + +Daniel Taupin, Ross Mitchell and Andreas Egler, Musix\TeX: Using \TeX\ +to Write Polyphonic or Instrumental Music (Version T.64). Laboratoire +de Physique des Solides, Centre Universitaire, Orsay, 1993. + +Barry Vercoe, Csound --- A Manual for the Audio Processing System and +Supporting Programs with Tutorials. Media Lab, M.I.T., Cambridge, +Massachusetts, 1986 (rev. 1992). + +Chris Walshaw, {\tt ABC2M\TeX} --- An easy way of transcribing folk +and traditional music. School of Maths, University of Greenwich, 1993. + + -- 2.39.5