From 23ddb59c62db20bbaef64bfa0ac5a395379ef58c Mon Sep 17 00:00:00 2001 From: Han-Wen Nienhuys Date: Fri, 5 Sep 2003 19:02:49 +0000 Subject: [PATCH] * Documentation/user/tutorial.itely (A lead sheet): remove duplicate chords. * Documentation/bibliography/computer-notation.bib (pages): reorganise. --- ChangeLog | 14 + .../bibliography/computer-notation.bib | 497 +++++++++--------- Documentation/bibliography/engraving.bib | 2 +- Documentation/user/tutorial.itely | 4 +- VERSION | 2 +- input/test/figured-bass-alternate.ly | 25 + scm/define-grobs.scm | 2 +- 7 files changed, 294 insertions(+), 252 deletions(-) create mode 100644 input/test/figured-bass-alternate.ly diff --git a/ChangeLog b/ChangeLog index 3163dc6399..8fc8904561 100644 --- a/ChangeLog +++ b/ChangeLog @@ -1,3 +1,15 @@ +2003-09-05 Han-Wen Nienhuys + + * Documentation/user/tutorial.itely (A lead sheet): remove + duplicate chords. + + * Documentation/bibliography/computer-notation.bib (pages): reorganise. + +2003-09-03 Han-Wen Nienhuys + + * Documentation/bibliography/computer-notation.bib (isbn): add + xivcim publication. + 2003-09-05 Heikki Junes * GNUmakefile.in: drop lilypond.words for generation. @@ -10,6 +22,8 @@ 2003-09-02 Han-Wen Nienhuys + * input/test/figured-bass-alternate.ly (fl): new file. + * Documentation/topdocs/README.texi (Top): clarifications. * Documentation/bibliography/computer-notation.bib (isbn): add phd diff --git a/Documentation/bibliography/computer-notation.bib b/Documentation/bibliography/computer-notation.bib index 2bf2ddb58f..23d915aecc 100644 --- a/Documentation/bibliography/computer-notation.bib +++ b/Documentation/bibliography/computer-notation.bib @@ -6,26 +6,87 @@ @String{CitH = {Computing and the Humanities}} @String{CMJ = {Computer Music Journal}} -@TechReport{roush88, - year = {1988}, - title = {Music Formatting Guidelines}, - author = {D. Roush}, - number = {OSU-CISRC-3/88-TR10}, - institution = {Department of Computer and Information Science, The Ohio State University}, - note = {Rules on formatting music formulated for use in - computers. Mainly distilled from [Ross] HWN}, +@Book {smith73, + year = {1973}, + title = {Editing and Printing Music by Computer}, + author = {Leland Smith}, + totalentry = {Journal of Music Theory}, + volume={17}, + pages ={292-309}, + + note = {Gourlay\cite{gourlay86} writes: A discussion of Smith's +music-printing system SCORE} } +@Article {byrd74, + year = {1974}, + title = {A System for Music Printing by Computer}, + author = {Donald Byrd}, + journal = {Computers and the Humanities}, + volume ={8}, + pages ={161-72}, +} -@InProceedings{assayaag86, - author = {G. Assayaag and D. Timis}, - title = {A Toolbox for music notation}, - booktitle = {Proceedings of the 1986 International Computer Music Conference}, - year = 1986 +@Article{ericson75, + author = {R. F. Ericson}, + title = {The DARMS Project: A status report}, + journal = {Computing in the humanities}, + year = 1975, + volume = 9, + number = 6, + pages = {291--298}, + note = {Gourlay\cite{gourlay86} writes: A discussion of the design + and potential uses of the DARMS music-description language.} +} + +% Gomberg +@PhdThesis {gomber75, + year = {1975}, + title = {A Computer-Oriented System for Music Printing}, + author = {David A. Gomberg}, + school = {Washington University}, +} + +@Book {gomberg, + title = {A Computer-oriented System for Music Printing}, + author = {David A. Gomberg}, + journal = CitH, + volume={11}, + month = {march}, + year = {1977}, + pages = {63-80}, + + note = {Gourlay \cite{gourlay86} writes: "A discussion of the + problems of representing the conventions of musical notation in + computer algorithms."} +} + + +@TechReport{Ornstein83, + author={Ornstein, Severo M. and John Turner Maxwell III}, + title={Mockingbird: A Composer's Amanuensis}, + institution={Xerox Palo Alto Research Center}, + address={3333 Coyote Hill Road, Palo Alto, CA, 94304}, + number={CSL-83-2}, + month={January}, + year={1983} +} + +@Article{Ornstein84, + author={Ornstein, Severo M. and John Turner Maxwell III}, + title={Mockingbird: A Composer's Amanuensis}, + journal= {Byte}, + volume= 9, + month = {January}, + year= { 1984}, + + note={A discussion of an interactive and graphical computer system +for music composition} + } % byrd @@ -39,17 +100,26 @@ note = {Describes the SMUT (sic) system for automated music printout.} } +@InProceedings{assayaag86, + author = {G. Assayaag and D. Timis}, + title = {A Toolbox for music notation}, + booktitle = {Proceedings of the 1986 International Computer Music Conference}, + year = 1986 +} + +@TechReport{roush88, + year = {1988}, + title = {Music Formatting Guidelines}, + author = {D. Roush}, + number = {OSU-CISRC-3/88-TR10}, + institution = {Department of Computer and Information Science, The Ohio State University}, + note = {Rules on formatting music formulated for use in + computers. Mainly distilled from [Ross] HWN}, -@Article {byrd74, - year = {1974}, - title = {A System for Music Printing by Computer}, - author = {Donald Byrd}, - journal = {Computers and the Humanities}, - volume ={8}, - pages ={161-72}, } + @Article{byrd94, author = {Donald Byrd}, title = {Music Notation Software and Intelligence}, @@ -65,20 +135,6 @@ exhibit intelligent behaviour. HWN} } - -@Article{ericson75, - author = {R. F. Ericson}, - title = {The DARMS Project: A status report}, - journal = {Computing in the humanities}, - year = 1975, - volume = 9, - number = 6, - pages = {291--298}, - note = {Gourlay\cite{gourlay86} writes: A discussion of the design - and potential uses of the DARMS music-description language.} -} - - @Article{field-richards93, author = {H.S. Field-Richards}, title = {Cadenza: A Music Description Language}, @@ -93,8 +149,6 @@ implementation of notation convertor. HWN} } - - @Article{bielawa93, author = {Herbert Bielawa}, title = {Review of Sibelius 7}, @@ -176,20 +230,6 @@ representation. HWN}, } -@Book {smith73, - year = {1973}, - title = {Editing and Printing Music by Computer}, - author = {Leland Smith}, - totalentry = {Journal of Music Theory}, - volume={17}, - pages ={292-309}, - - note = {Gourlay\cite{gourlay86} writes: A discussion of Smith's -music-printing system SCORE} - -} - - @InProceedings{montel97, author = {Dominique Montel}, title = {La gravure de la musique, lisibilit\'e esth\'etique, respect de l'oevre}, @@ -200,29 +240,6 @@ music-printing system SCORE} } -% Gomberg -@PhdThesis {gomber75, - year = {1975}, - title = {A Computer-Oriented System for Music Printing}, - author = {David A. Gomberg}, - school = {Washington University}, -} - -@Book {gomberg, - title = {A Computer-oriented System for Music Printing}, - author = {David A. Gomberg}, - journal = CitH, - volume={11}, - month = {march}, - year = {1977}, - pages = {63-80}, - - note = {Gourlay \cite{gourlay86} writes: "A discussion of the - problems of representing the conventions of musical notation in - computer algorithms."} - -} - @Book {CASR, @@ -234,8 +251,8 @@ music-printing system SCORE} @Book{selfridge-field97:_beyon_midi, + title = {Beyond MIDI: the handbook of musical codes}, editor = {Eleanor Selfridge-Field}, - title = {Beyond MIDI}, publisher = {MIT Press}, year = 1997, @@ -243,16 +260,6 @@ music-printing system SCORE} } -@Book{hewlett01:_virtual_score, - editor = {Walter B. Hewlett and Eleanor Selfridge-Field}, - title = {The Virtual Score; representation, retrieval and restoration}, - publisher = {MIT Press}, -series = {Computing in Musicology}, - year = 2001 -} - - - @InProceedings{hoos98:_guido_music_notat_format, title={The {GUIDO} Music Notation Format---A Novel Approach for Adequately Representing Score-level Music}, @@ -262,30 +269,6 @@ year = 1998, pages = {451--454}, } -% LIME -@Article {haken93, - note = {A description of Lime internals (which resemble older (before 0.0.68pre) LilyPond data structures) HWN}, - year = {1993}, - title = {The Tilia Music Representation: Extensibility, Abstraction, and Notation Contexts for the Lime Music Editor}, - author = {Lippold Haken and Dorothea Blostein}, - journal = {Computer Music Journal}, - volume= {17}, - number={3}, - pages = {43--58}, -} - -@InProceedings{haken95, - year = {1995}, - title = {A New Algorithm for Horizontal Spacing of Printed Music}, - author = {Lippold Haken and Dorothea Blostein}, - booktitle = {International Computer Music Conference}, - address={Banff}, - month={Sept}, - pages = {118-119}, - - note = {This describes an algorithm which uses springs between -adjacent columns. }, } - @Article {blostein91, note = {This paper provides a overview of the algorithm used in LIME @@ -302,6 +285,16 @@ adjacent columns. }, } } +@Article {haken93, + note = {A description of Lime internals (which resemble older (before 0.0.68pre) LilyPond data structures) HWN}, + year = {1993}, + title = {The Tilia Music Representation: Extensibility, Abstraction, and Notation Contexts for the Lime Music Editor}, + author = {Lippold Haken and Dorothea Blostein}, + journal = {Computer Music Journal}, + volume= {17}, + number={3}, + pages = {43--58}, +} @Article{blostein94, author = {Dorothea Blostein and Lippold Haken}, title = {The Lime Music Editor: A Diagram Editor Involving Complex @@ -318,6 +311,21 @@ relating to this interactive editor HWN}, } + + +@InProceedings{haken95, + year = {1995}, + title = {A New Algorithm for Horizontal Spacing of Printed Music}, + author = {Lippold Haken and Dorothea Blostein}, + booktitle = {International Computer Music Conference}, + address={Banff}, + month={Sept}, + pages = {118-119}, + + note = {This describes an algorithm which uses springs between +adjacent columns. }, } + + @InProceedings{bouzaiene98:_une, author = {Nabil Bouzaiene and Lo\"ic Le Gall and Emmanuel Saint-James}, title = {Une biblioth\`eque pour la notation musicale baroque}, @@ -331,12 +339,6 @@ relating to this interactive editor HWN}, -@MastersThesis{gall97:_creat, - author = {Lo\"ic Le Gall}, - title = {Cr\'eation d'une police adapt\'ee \`a la notation musicale baroque}, -school = {\'Ecole Estienne}, -year = 1997, -} @InProceedings{balaban88, author = {M. Balaban}, @@ -415,8 +417,6 @@ objects. } - - @TechReport {hegazy87-breaking-tr, annote = {This generalizes \TeX's breaking algorithm to music. It also @@ -433,10 +433,8 @@ appeared in Document Manipulation and Typography, J.C. van Vliet (ed) @InProceedings{hegazy88:_optim, author = {Wael A. Hegazy and John S. Gourlay}, -year = 1988, booktitle = {Proceedings of the International Conference on -Electronic Publishing, Document Manipulation and Typography. Nice (France) -}, +Electronic Publishing, Document Manipulation and Typography. Nice (France)}, month = {April}, year =1988, editor={J. C. van Vliet}, @@ -481,19 +479,6 @@ note = {This note discusses } -@TechReport {sola87-beams, - -institution={Department of Computer and Information Science, The Ohio -State University}, - - note = {Calculating beam slopes HWN}, - year = {1987}, - title = {Design of Musical Beams,}, - author = {F. Sola and D. Roush}, - number = {OSU-CISRC-10/87-TR30}, -} - - @Article {gourlay86, note = {This paper describes the {MusiCopy} musicsetting system and an input language to go with it.}, @@ -507,26 +492,19 @@ State University}, } +@TechReport {sola87-beams, -@Article {rader96, - - note = {Describes a system called MusicEase, and explains that it - uses "constraints" (which go unexplained) to automatically position - various elements. }, +institution={Department of Computer and Information Science, The Ohio +State University}, - year = {1996}, - title = {Creating Printed Music Automatically}, - author = {Gary M. Rader}, - journal = {Computer}, - volume={29}, - number={6}, - month={June}, - pages = {61--69}, + note = {Calculating beam slopes HWN}, + year = {1987}, + title = {Design of Musical Beams,}, + author = {F. Sola and D. Roush}, + number = {OSU-CISRC-10/87-TR30}, } - - @PhdThesis {page88, note = {Don't ask Stephen for a copy. Write to the Bodleian Library, Oxford, or to the British Library, instead. SP}, year = {1988}, @@ -535,6 +513,70 @@ State University}, school ={Dissertation University of Oxford}, } + +% +% three part study by John Gr/over +@TechReport{grover89-symbols, + author = {John Gr\/over}, + title = {A computer-oriented description of Music Notation. Part I. The Symbol Inventory}, + institution = {Department of informatics, University of Oslo}, + year = 1989, + number = 133, + +note = {The goal of this series of reports is a full description of +music formatting. As these largely depend on parameters of fonts, it +starts with a verbose description of music symbols. + + The subject is treated backwards: from general rules of typesetting +the author tries to extract dimensions for characters, whereas the +rules of typesetting (in a particular font) follow from the dimensions +of the symbols. His symbols do not match (the stringent) constraints +formulated by eg. \cite{wanske}} } + +@TechReport{grover89-twovoices, + author = {John Gr\/over}, + title = {A computer-oriented description of Music Notation. Part II: Two Voice Sharing a Staff, Leger Line Rules, Dot Positioning}, + + institution = {Department of informatics, University of Oslo}, + year = 1989, + number = 134, + + note = {A lot rules for what is in the title are formulated. The +descriptions are long and verbose. The verbosity shows that +formulating specific rules is not the proper way to approach the +problem. Instead, the formulated rules should follow from more +general rules, similar to\cite{parrish87-simultaneities}}, +} + +@TechReport{grover89-accidentals, + author = {John Gr\/over}, + title = {A computer-oriented description of Music Notation. Part III: Accidental Positioning}, + institution = {Department of informatics, University of Oslo}, + year = 1989, + number = 135, + +note = {Placement of accidentals crystallised in an enormous set of +rules. Same remarks as for \cite{grover89-twovoices} applies} } + + +@PhdThesis{mueller90:_inter_bearb_musik, + author = {Giovanni M\"uller}, + title = {Interaktive Bearbeitung konventioneller Musiknotation}, + school = {Eidgen\"ossischen Technischen Hochschule Z\"urich}, + year = 1990, + +note = {This is about engraver-quality typesetting with computers. It +accepts the axiom that notation is too difficult to generate +automatically. The result is that a notation program should be a +WYSIWYG editor that allows one to tweak everything. +} + +} + + + + + @MastersThesis{roelofs91, note = {This dutch thesis describes a monophonic typesetting system, @@ -574,6 +616,20 @@ note = {A paper on a simple TROFF preprocessor to typeset music. }, pages = {485-502}, } +@Article {Langston90, + + note = {This paper deals with some command-line + tools for music editing and playback. }, + + year = {1990}, + title = {Unix music tools at Bellcore}, + author = {Peter S. Langston}, + journal={Software --- Practice and Experience}, + volume={20}, + number={S1}, + pages={47--61}, +} + @Book {filgueiras96, year = {1996}, @@ -604,19 +660,6 @@ users in mind) (sic) HWN}, -@Article {Langston90, - - note = {This paper deals with some command-line - tools for music editing and playback. }, - - year = {1990}, - title = {Unix music tools at Bellcore}, - author = {Peter S. Langston}, - journal={Software --- Practice and Experience}, - volume={20}, - number={S1}, - pages={47--61}, -} @Article {tablature-web, note = {FAQ (with answers) about TAB, the ASCII variant of Tablature. HWN}, @@ -652,90 +695,31 @@ basically say: "You can embed a NIFF or MIDI file")} }, } -@TechReport{Ornstein83, - author={Ornstein, Severo M. and John Turner Maxwell III}, - title={Mockingbird: A Composer's Amanuensis}, - institution={Xerox Palo Alto Research Center}, - address={3333 Coyote Hill Road, Palo Alto, CA, 94304}, - number={CSL-83-2}, - month={January}, - year={1983} -} - - - -@Article{Ornstein84, - author={Ornstein, Severo M. and John Turner Maxwell III}, - title={Mockingbird: A Composer's Amanuensis}, - journal= {Byte}, - volume= 9, - month = {January}, - year= { 1984}, - - note={A discussion of an interactive and graphical computer system -for music composition} - -} -@PhdThesis{mueller90:_inter_bearb_musik, - author = {Giovanni M\"uller}, - title = {Interaktive Bearbeitung konventioneller Musiknotation}, - school = {Eidgen\"ossischen Technischen Hochschule Z\"urich}, - year = 1990, +@Article {rader96, -note = {This is about engraver-quality typesetting with computers. It -accepts the axiom that notation is too difficult to generate -automatically. The result is that a notation program should be a -WYSIWYG editor that allows one to tweak everything. -} + note = {Describes a system called MusicEase, and explains that it + uses "constraints" (which go unexplained) to automatically position + various elements. }, + year = {1996}, + title = {Creating Printed Music Automatically}, + author = {Gary M. Rader}, + journal = {Computer}, + volume={29}, + number={6}, + month={June}, + pages = {61--69}, } -% -% three part study by John Gr/over -@TechReport{grover89-symbols, - author = {John Gr\/over}, - title = {A computer-oriented description of Music Notation. Part I. The Symbol Inventory}, - institution = {Department of informatics, University of Oslo}, - year = 1989, - number = 133, - -note = {The goal of this series of reports is a full description of -music formatting. As these largely depend on parameters of fonts, it -starts with a verbose description of music symbols. - - The subject is treated backwards: from general rules of typesetting -the author tries to extract dimensions for characters, whereas the -rules of typesetting (in a particular font) follow from the dimensions -of the symbols. His symbols do not match (the stringent) constraints -formulated by eg. \cite{wanske}} } - -@TechReport{grover89-twovoices, - author = {John Gr\/over}, - title = {A computer-oriented description of Music Notation. Part II: Two Voice Sharing a Staff, Leger Line Rules, Dot Positioning}, - - institution = {Department of informatics, University of Oslo}, - year = 1989, - number = 134, - - note = {A lot rules for what is in the title are formulated. The -descriptions are long and verbose. The verbosity shows that -formulating specific rules is not the proper way to approach the -problem. Instead, the formulated rules should follow from more -general rules, similar to\cite{parrish87-simultaneities}}, +@MastersThesis{gall97:_creat, + author = {Lo\"ic Le Gall}, + title = {Cr\'eation d'une police adapt\'ee \`a la notation musicale baroque}, + school = {\'Ecole Estienne}, + year = 1997, } -@TechReport{grover89-accidentals, - author = {John Gr\/over}, - title = {A computer-oriented description of Music Notation. Part III: Accidental Positioning}, - institution = {Department of informatics, University of Oslo}, - year = 1989, - number = 135, - -note = {Placement of accidentals crystallised in an enormous set of -rules. Same remarks as for \cite{grover89-twovoices} applies} } - @TechReport{droettboom00:_study_notat_descr_languag, author = {Michael Droettboom}, title = {Study of music Notation Description Languages}, @@ -746,16 +730,6 @@ rules. Same remarks as for \cite{grover89-twovoices} applies} } issues as usability and availability of tools, GUIDO wins on implementation simplicity.} } -@InBook{powell02:_music, - author = {Steven Powell}, - title = {Music engraving today}, - publisher = {Brichtmark}, - year = 2002, - - note = {A "How Steven uses Finale" manual.} -} - - @PhdThesis{gieseking01:_code_gener_noten, author = {Martin Gieseking}, title = {Code-basierte Generierung interaktiver Notengraphik @@ -763,9 +737,18 @@ implementation simplicity.} } }, school = {Universit\"at Osnabr\"uck}, year = 2001, -isbn = {ISBN 3-923486-30-8} + isbn = {ISBN 3-923486-30-8} } +@Book{hewlett01:_virtual_score, + editor = {Walter B. Hewlett and Eleanor Selfridge-Field}, + title = {The Virtual Score; representation, retrieval and restoration}, + publisher = {MIT Press}, +series = {Computing in Musicology}, + year = 2001 +} + + @PhdThesis{renz02:_algor_guido, author = {Kai Renz}, @@ -774,3 +757,23 @@ isbn = {ISBN 3-923486-30-8} year = 2002 } +@InBook{powell02:_music, + author = {Steven Powell}, + title = {Music engraving today}, + publisher = {Brichtmark}, + year = 2002, + + note = {A "How Steven uses Finale" manual.} +} + + +@InProceedings{nienhuys03:_lilyp, + author = {Han-Wen Nienhuys and Jan Nieuwenhuizen}, + title = {LilyPond, a system for automated music engraving}, + booktitle = {XIV Colloquium on Musical Informatics}, + year = 2003, + pages = {167--172}, + address = {Firenze}, + month = {May} +} + diff --git a/Documentation/bibliography/engraving.bib b/Documentation/bibliography/engraving.bib index 47c0a1df2c..b4383faa6e 100644 --- a/Documentation/bibliography/engraving.bib +++ b/Documentation/bibliography/engraving.bib @@ -208,7 +208,7 @@ year={1989} } @Book{schirmer90, - author={G. Schirmer, Inc.}, + author={{G. Schirmer, Inc.}}, title={The G. Schirmer Manual of Style and Usage}, address={New York}, publisher={The G. Schirmer Publications Department}, diff --git a/Documentation/user/tutorial.itely b/Documentation/user/tutorial.itely index f3ab5d6d09..97879f8034 100644 --- a/Documentation/user/tutorial.itely +++ b/Documentation/user/tutorial.itely @@ -412,7 +412,7 @@ This example shows the key signature, accidentals and ties in action: \key g \minor \clef violin r4 r8 a8 gis4 b - g8 d4.-~ d' e'8 + g8 d4.-~ d e'8 fis4 fis8 fis8 eis4 a8 gis-~ gis2 r2 @} @@ -1096,7 +1096,7 @@ Printing chords is done by adding @code{\context ChordNames} before the chords thus entered: @c @lilypond[verbatim] - \context ChordNames \chords \chords { c2 f4.:m g4.:maj7 gis8:dim7 } + \context ChordNames \chords { c2 f4.:m g4.:maj7 gis8:dim7 } @end lilypond @cindex lead sheet diff --git a/VERSION b/VERSION index e40bd83d6d..9fdaf45b6e 100644 --- a/VERSION +++ b/VERSION @@ -1,7 +1,7 @@ PACKAGE_NAME=LilyPond MAJOR_VERSION=1 MINOR_VERSION=9 -PATCH_LEVEL=4 +PATCH_LEVEL=5 MY_PATCH_LEVEL= # Use the above to send patches: MY_PATCH_LEVEL is always empty for a diff --git a/input/test/figured-bass-alternate.ly b/input/test/figured-bass-alternate.ly new file mode 100644 index 0000000000..6de27a6192 --- /dev/null +++ b/input/test/figured-bass-alternate.ly @@ -0,0 +1,25 @@ +\header +{ +texidoc = "An alternate method to make bass figures is to use +markup texts." +} +\version "1.9.4" + +nat = \markup { \musicglyph #"accidentals-0" } +sh = \markup { \smaller \raise #0.6 \musicglyph #"accidentals-1" } +fl = \markup { \musicglyph #"accidentals--1" } + +\score { + \context Voice \notes { + \clef bass + \property Voice.TextScript \set #'font-family = #'number + \property Voice.TextScript \set #'font-relative-size = #-3 + \property Voice.TextScript \set #'baseline-skip = #1.4 + + dis4_\markup { 6 } + + c_\markup { 7 } + d_\markup { \column < { 6 \sh } \bracket { \nat } >} + ais_\markup { \column < 6 5 \bracket { 3 \sh } >} + } +} diff --git a/scm/define-grobs.scm b/scm/define-grobs.scm index 530f0b1fff..e1ac6d13aa 100644 --- a/scm/define-grobs.scm +++ b/scm/define-grobs.scm @@ -120,7 +120,7 @@ (Y-offset-callbacks . (,Self_alignment_interface::aligned_on_self)) (direction . 1) (font-family . number) - (font-relative-size . -1) + (font-relative-size . -3) (kern . 0.2) (meta . ((interfaces . (text-interface rhythmic-grob-interface bass-figure-interface item-interface -- 2.39.5