From 4bd698739df22936ec4af341844acd95e476b2dc Mon Sep 17 00:00:00 2001 From: fred Date: Wed, 27 Mar 2002 00:24:06 +0000 Subject: [PATCH] lilypond-1.3.93 --- Documentation/faq.texi | 825 --------------------------------------- scm/accordion-script.scm | 56 --- 2 files changed, 881 deletions(-) delete mode 100644 Documentation/faq.texi delete mode 100644 scm/accordion-script.scm diff --git a/Documentation/faq.texi b/Documentation/faq.texi deleted file mode 100644 index ad43f36b35..0000000000 --- a/Documentation/faq.texi +++ /dev/null @@ -1,825 +0,0 @@ -\input texinfo @c -*-texinfo-*- -@setfilename faq.info -@settitle FAQ - GNU LilyPond FAQs - -@node Top, , , (dir) -@top -@menu -* Miscellaneous:: Miscellaneous -* Installing:: Installing -* Documentation:: Documentation -* Language- mudela:: Language- mudela -* Do you support -:: Do you support - -* How do I -:: How do I - -* Development:: Development -* Running:: Running -* Copyright:: Copyright -* Windows32:: Windows32 -@end menu -@chapter FAQ - GNU LilyPond FAQs - - -@node Miscellaneous, ,,top -@section Miscellaneous - -[FIXME: rewrite FAQ, include general questions] - -@subsubsection HELP! I'm stuck! - -Please read this document carefully. If you are still at loss, send -your questions to the @strong{mailing list}, and not to authors -directly. - -Note: relative paths are meant to be relative to the source directory - -@subsubsection I've got a simple question, but this FAQ doesn't help! - -Please have a look in the searchable mail archives of gnu-music-discuss -and help-gnu-music (see next FAQ entry). Your question may well have -been answered before. - -@subsubsection Are there archives of the mailing list? - -Yes. Currently, all information on the mailing lists is available at -gnu.org: - -@itemize -@item @uref{http://mail.gnu.org/mailman/listinfo/gnu-music-discuss} -@item @uref{http://mail.gnu.org/mailman/listinfo/info-gnu-music} -@item @uref{http://mail.gnu.org/mailman/listinfo/bug-gnu-music} -@item @uref{http://mail.gnu.org/mailman/listinfo/help-gnu-music} -@end itemize - -Archives of mail before September 12, 2000 are at -@code{mail-archive.com}: - -@itemize -@item @uref{http://www.mail-archive.com/info-gnu-music@@gnu.org} -@item @uref{http://www.mail-archive.com/help-gnu-music@@gnu.org} -@item @uref{http://www.mail-archive.com/bug-gnu-music@@gnu.org}) -@item @uref{http://www.mail-archive.com/gnu-music-discuss@@gnu.org} -@end itemize - -@node Installing,, ,top -@section Installing - - -@subsubsection If I install the .exe file on my DOS/windows 3.11 machine, it doesn't work - -The NT port is done with the Cygnus GNU/Windows32 port of the GNU utils. -It does @emph{not} work with windows 3.x; you need Windows-NT (95/98?). - -@subsubsection Where is guile-config - -Old RedHat RPMS don't include guile-config. You need guile-config as it -was produced during the RPM build run. Build the RPM from source -(@file{.src.rpm}), and use the guile-config that is in -@file{/usr/src/redhat/BUILD/guile-1.3/guile-config/}. - -@subsubsection I get all kinds of errors while compiling @file{parser.cc} - -LilyPond uses features of bison version 1.25. Please confirm that -you are using a version 1.25 or better, that is @strong{GNU} bison -@strong{1.25}. Don't forget to do "make clean" after installing it. Don't -forget to remove the stale @file{bison.simple} as well. - -If the problem persists, then please send a bug report to the mailing list. - -@subsubsection I upgraded by applying a patch, and now my configure/build breaks. - -Patches don't include automatically generated files, i.e. -@file{configure} and files generated by @file{configure}. Regenerate them -yourself: -@example - - autoconf - configure - -@end example - - -@subsubsection Is there an emacs mode? - -Yes. It is included with the source archive as @file{lilypond-mode.el}. -If you have an RPM it is in @file{/usr/doc/lilypond-X/}. You have to -install it yourself. - -@subsubsection How do I create the @file{.tfm} files? - -You don't. The @file{.tfm} files should be generated automatically by -Metafont when you run TeX. Check your TeX installation, or ask -your local TeX guru. The supplied @file{.afm} files are intended to -be used by LilyPond, not by any other programs. - -@node Documentation,, ,top -@section Documentation - -@subsubsection What a sober website/manual you have there! - -LilyPond development is moving fast, so the documentation will often be out -of date. But don't hesitate to point out inaccuracies. Whip up your -mail reader and write to the mailing list. - -@subsubsection Please take me off your mailing list, I get so much mail! - -Don't ask Han-wen, don't ask David. Instead, read about -@uref{../../index.html#mailing-lists, the mailing lists} here. - - - -@node Language- mudela,, ,top -@section Language: mudela - -@subsubsection Why do I have to type the accidentals to the note if I -specified them in the keysignature? - -Take this example -@example - - cis cis - -@end example - -Independently of how it was written and what the current key was, you -would say that you are playing and reading "two C-sharp" notes, so you -have to enter C-sharp twice. - -@subsubsection What is @code{cis} anyway - -@code{cis} is the dutch naming for C-sharp. The notes are named -a, b,.., g. The suffix -is means sharp, and -es flat. This system is -common in a number of languages (such as swedish, dutch, german.) -Certain other languages (such as English, French and Italian) just add -the word for "sharp" to the notename. - -We chose the Dutch system, because we're dutch. You are free to chose -whatever names you like; they are user definable. - -@subsubsection Why are [] around the notes, and () inbetween? - -[] designate beams, a note can only be in one beam at the same -time. () is a slur, which connects notes. You need to be able to -specify -@example - - a()a()a - -@end example - -@subsubsection I want to insert some TeX commands. - -You shouldn't: it's against LilyPond philosophy to have typesetting -commands in the mudela source. Moreover, this would be difficult. -LilyPond uses TeX like a glorified output engine: the output consists -of (x,y) positions and symbols. You can only sensibly do TeX stuff in -the symbol string. You can access the symbol string easily for some -symbols (notably lyrics and @code{^"text"} commands). - -@node Do you support -,, ,top -@section Do you support ... - -@subsubsection Do you support pop songs (chords, single staff, lyrics)? - -Yes, see the @file{twinkle-pop} example. - -@subsubsection Do you support guitar fret diagrams? - -No. We ourselves don't play guitar, and don't know the fine points of -this notation. We would welcome anyone who could give this a try. - -@subsubsection Do you support TAB notation? - -No. The same as for the previous question goes. - -@subsubsection Do you support multiple staff-sizes? - -Yes. At this time you can choose between 11, 13, 16, 19, 20, 23 and 20 -pt staff-size. Use the @code{staffSpace} property for setting the -size of the staff, and @code{fontSize} for setting the size of the -glyphs. - -@subsubsection Do you support Gregorian chant notation? - -No. - - -@subsubsection Do you support grace notes? - -Yes. See @file{input/test/grace.ly}. - -@node How do I -,, ,top -@section How do I .... - -@subsubsection How do I change the page layout? - -The height and width of the music on each page is set -using the paper variables @code{textheight} and @code{linewidth} in -the input file. -If you want to change the placement of the page number or the -layout of the title, you could run @code{lilypond infile.ly} and -include the generated @file{infile.tex} file in your own LaTeX -wrapper file. The easiest way is to start from the ly2dvi default -layout, using the following steps (assuming that the input file -is @file{infile.ly}: - -@itemize @bullet - - @item @code{ly2dvi -kK infile.ly} - - @item Edit the generated LaTeX file @file{infile_lyN.tex} (@code{N} is - some number) to get the desired layout. Some aspects are determined in - the file titledefs.tex. - - @item Run @code{latex infile_lyN.tex} - - @item If you update the Mudela file, run @code{lilypond infile.ly} - and then @code{latex infile_lyN.tex}. -@end itemize -Another alternative is to use @command{mudela-book}, where smaller or -larger music examples can be included in a LaTeX or Texinfo file. - -@subsubsection The tagline is visible in the .dvi file but is not printed on paper. - -The default page size is A4. If you use letter sized papers, -add the following at the top of your Mudela file. -@example -\paper@{ - papersize="letter"; -@} -\include "paper20.ly" -@end example -(Note that setting the papersize in the ordinary paper section inside -a score declaration will not have the desired effect.) -The default paper size can be set globally for the installation -in the file @file{declarations.ly}. - -@subsubsection How do I place lyrics under @emph{each} of the staves in a score, as choral music. I can work out how to put lyrics for each line all under the top line, or at the bottom but not between! - -You change the order lyrics and staves. You have to name all -staves (lyric and melodic), otherwise they will end up in the same -staff/lyricline -@example - \score @{ - < \melodic \type Staff = "treble" \trebleMelody - \lyric \type Lyrics = "tlyrics" \trebtext - \type Staff = "bass" \melodic \bassMelody - \lyric \type Lyrics = "blyrics" \basstext - > - \paper @{ @} - @} - -@end example - -@subsubsection How do I put more than one marking on a note? - -You can stack them -@example - - c4^"a"^"b" - -@end example - -or use spacing-notes to put markings at different horizontal positions -@example - - < c1 - @{ s4\ff s4^"text" s4-\marcato s4 @} - > - -@end example - -This also works for crescendi, eg, -@example - - < c1 - @{ s4\< s2 \! s4 @} - > - -@end example - -@subsubsection How do I get a fermata on a barline - -The trick is to specify the fermata as a \mark. Use the following macro -before the bar line where you want the fermata: - -@example -barFermata = \mark "\\font\\fetafont=feta20\\fetafont\\char40"; -@end example - -The problem is that marks that occur at a line break are typeset only at -the beginning of the next line, opposite to what you want for the -fermata. This can be corrected by the following code - -@example - \property basicMarkProperties \push #'visibility-lambda = #begin-of-line-i\nvisible -@end example - -You can use a similar trick to put coda signs and comma's on barline. - -@subsubsection How do I combine multiple pieces into one document? - -There are several solutions: - -@itemize @bullet -@item -@example - - ly2dvi foo.ly bar.ly - -@end example - -produces one combined @file{foo.dvi} -@item make a toplevel @file{.ly} file that contains al pieces: -@example - - % booklet.ly - \input "piece-1.ly" - \input "piece-2.ly" - \input "piece-3.ly" - -@end example - -@item make a hybrid TeX/LilyPond @file{.doc} document (see the - @file{Documentation/tex} directory). -@end itemize - -For the first two solutions, you will need to move @code{\header} info -in each individual piece from toplevel into the @code{\paper} block. - -There are several examples in the @file{mutopia} directory. - -@subsubsection How do I change the tagline 'Lily was here'? - -In the @code{\header} field, add a @code{tagline} entry, e.g. -@example - -tagline="Typeset by GNU LilyPond" - -@end example - -@subsubsection Can I make blank manuscript paper with LilyPond? - -Theoretically, yes but it is easier to do with (La)TeX. This LaTeX file -will do the trick for you: - - -@example -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -% notepaper.tex -% Mats Bengtsson, 18/5 2000 -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -\documentclass[a4paper]@{article@} - -\usepackage@{ifthen@} -\usepackage[noheadfoot,hmargin=15mm,vmargin=20mm]@{geometry@} - -\pagestyle@{empty@} - -\newcounter@{staffnumber@} -\newlength@{\interstaffline@} - -\newcommand@{\drawline@}@{\hbox@{\rule@{\textwidth@}@{0.5pt@}@} - \nointerlineskip\vskip\interstaffline\nointerlineskip@} - -\newcommand@{\printstaff@}@{\vfill - \vbox@{\drawline\drawline\drawline\drawline\drawline@} - \vfill@} - -\begin@{document@} -\typeout@{@}\typeout@{@} -\typein[\staffsize]@{Type in the staff size (20pt is a common value):@} -\setlength@{\interstaffline@}@{\staffsize@} -\setlength@{\interstaffline@}@{.25\interstaffline@} -\typeout@{@} -\typein[\num]@{Type in the number of staffs:@} -\setcounter@{staffnumber@}@{\num@} - -\mbox@{@} % To get a starting point for the \vfill -\whiledo@{\value@{staffnumber@}>0@}@{% - \printstaff \addtocounter@{staffnumber@}@{-1@}@} - -\end@{document@} -@end example - - -@node Development,, ,top -@section Development - -@subsubsection Could you implement feature XXXX? It is really easy, just extend the syntax to allow YYYY! - -In general finding a cute syntax (such as YYYY) isn't very hard. The -complicated issue how to adapt the internals to do XXXX. The parser is -really a simple front end to the complicated internals. - -@subsubsection Can I join in on LilyPond development? How do I do this? - -Yes, we do frequent releases, you are welcome to send in a patch or do -suggestions. Join the list @email{gnu-music-discuss@@gnu.org} to -participate. - - -@subsubsection Is there a GUI frontend? Should I start building one? - -Matthew Hiller has extended Midiscore and Koobase to handle mudela, He -is now working on @uref{http://denemo.sourceforge.net/,Denemo}, a GTK -based notation program. This is the most advanced LilyPond front-end -currently available. - -Chris Cannam is working a rewrite of Rosegarden. The new design should -be more modular, and could conceivably be used to output -mudela. However, the not much seems to have happened the past year. See -@uref{http://www.all-day-breakfast.com/rosegarden/development.html}. - -@subsubsection I want to implement XXXX! How should I do this? - -Your best bet of getting us to include code, is to present it as a -"fait accompli", i.e., to send a patch to the mailing list. - -Please use the diff command to generate a patch, and don't send complete -files, even if the diff is larger than the whole file. - -Don't forget to put your name and e-mail address in the file -@file{Documentation/topdocs/AUTHORS.texi}, or you won't get credits -:-) - - -@subsubsection Your make system does not adhere to GNU coding standards, could you please fix it? - -No. We have evaluated the standard GNU combination for compiling -programs (autoconf, automake, libtool) and found to be inadequate for -our needs. - -@subsubsection How do I inspect @code{String}s and @code{SCM} values in GDB? - -Use the following command definitions, which can be put in -the file ~/.gdbinit. - -@example -define printstr - print $arg0->ch_C() -end - -define printscm - call gh_display($arg0) - call gh_newline() -end -@end example - -@subsubsection GDB crashes when I debug! - -Upgrade/downgrade to 4.17. - -@node Running,, ,top -@section Running - -@subsubsection LilyPond takes ages to run, what am I doing wrong? - -LilyPond uses a lot CPU time, and insane amounts of memory. The amount -of memory it requires is proportional to the size of the score, in other -words. For a moderately complex piano scores of 5 pages, the footprint -can easily become 20 megs. (Our favorite test is the coriolan: -approx. 100 megs for a 50 page orchestral score). If your system has not -got enough memory, it can easily start swapping. - -A part of the memory is used as temporary storage, and is reclaimed -through GUILE's garbage collection. A way to trade in CPU time for -storage is by decreasing the environment variable -@var{GUILE_MAX_SEGMENT_SIZE} (default 8388608, which is 8 megs). - - -@subsubsection Correcting errors is so tedious. Is there a better way? - -As of 1.3.73, lilypond provides support for the xdvi @code{src:} -special. This can be used with Xdvik (22.16 or better) and xdvi (22.28 -or better) to go to the place in the input that corresponds to a symbol -in the output: click on the note, and your editor jumps to the place -where it was defined - -lilypond: - -Decide if you want column positioning, and edit @file{lily.scm} -according to the comments at the function @code{define-origin}. - -emacs: - -Put this in @file{~/.emacs}: -@example -(server-start) -@end example - -For column positioning, apply -@uref{http://www.cs.uu.nl/~hanwen/software/emacsclient-column, this -patch} to @code{emacsclient.c} and @code{server.el}. Stick the compiled -emacsclient into a bin directory, and put @code{server.el} into a elisp -directory (eg. @file{~/usr/share/emacs/}). Add the following to your -@file{.emacs} init file, before invoking server-start. -@example -(setq load-path (cons (concat (getenv "HOME") "/usr/share/emacs") - load-path)) -@end example - -Xdvik: - -Warning: @uref{Xdvik,ftp://ftp.cs.uu.nl/pub/tex-archive/dviware/xdvik/}, -which is shipped with most TeX distributions, doesn't work very well for -src specials. You're better off using plain xdvi. -@example - xdvi -srcmode -srcvisibility output.dvi -@end example - -Click control-mouse button 2 for making emacs jump to the appropriate place. - -For column positioning you must install -@uref{http://www.cs.uu.nl/~hanwen/software/xdvik-src, this patch} to -make Xdvik emit column numbers. Add the command line option -@code{-srceditorcommand "emacsclient --no-wait +%l:%c %f"} - -Xdvi - -@uref{Xdvi,ftp://ftp.math.berkeley.edu/pub/Software/TeX/xdvi.tar.gz} has -better support for src specials. Apply -@uref{http://www.cs.uu.nl/~hanwen/software/xdvi-src, this patch}. Before -starting, set the environment variable @code{XEDITOR} to -@code{"emacsclient --no-wait +%d %s"}. When viewing, -control-mousebutton 1 will take you to the correct -line/column. Control-mousebutton 2 will show all clickable boxes. - -dvips: - -dvips will complain about the specials, but the complaints are harmless. - - -@subsubsection I use dvilj4, and there are lots of warning messages for the printing - -You should use dvips and ghostscript to print the @code{dvi} output: the -slurs and beams are PS @code{\special} commands. - - -@subsubsection My symbols are all messed up after I upgraded, I get the wrong symbols and dvi-checksum errors! - -We obviously mucked with the fonts in the upgrade. Remove @emph{all} -previous fonts, including the @file{.pk} and @file{.tfm} fonts in -@file{/var/lib/texmf}. A script automating this has been included, see -@file{buildscripts/clean-fonts.sh}. - -@subsubsection all the pk and tfm fonts are created in the directory where the mudela file is, not in "/var/spool/texmf" where I think they should be. - -Mats Bengtsson writes: - -The simple solution used by Anthony Fok in the Debian distribution of -Lilypond is to link the mf/ directory to -/usr/lib/texmf/fonts/source/public/lilypond Depending on what -distribution of teTeX and Linux you have installed, there might also -be other places like /usr/local/lib/texmf/fonts/source/public/lilypond -or /var/spool/texmf//fonts/source/public/lilypond - -Wherever you put it, don't forget to run mktexlsr (or texhash for -older installations) afterwards, so that TeX will find the files. -Also, don't forget to remove all old .tfm and .*pk files when the font -is updated (as it will be in version 1.1.40, for example). - -@subsubsection Are there scalable versions of the font? - -Yes, they are type-3 fonts. In the @file{mf/} -subdirectory, issue: -@example - - make pfa - -@end example - in the mf/ subdirectory. This will also make @file{mfplain} for metapost. -The @file{pfa}s will be in the subdirectory @file{out/}. - -@subsubsection How does PS output work? - -@itemize @bullet - @item -Generate the PostScript Type-3 fonts. -@item -Run lilypond with option @code{-f ps}: -@example - - lilypond -fps foo.ly - -@end example - -@item To view the @file{.ps} output with GhostView, set GS_FONTPATH to the -directory containing the @file{pfa}s. In the source tree, this is @file{mf/out/}. - -i.e. do something like: -@example - - export GS_FONTPATH=$HOME/usr/src/lilypond/mf/out - gv foo.ps & - -@end example - -@end itemize - -Direct PS output is not used often, and therefore likely to exhibit -bugs. For creating nice looking ps output, use TeX and @code{dvips}. - - -@subsubsection The beams and slurs are gone when using the XDvi magnifying glass!? - -Various dynamic symbols, such as beams, crescendi, slurs are done in -PostScript. XDvi doesn't show PostScript in the magnifying glass. -Complain to the XDvi maintainers. - - -@subsubsection Beams, slurs and crescendi are not displayed at all! - -See previous answer. XDvi uses GhostScript for displaying PostScript, -check that you have GhostScript installed. If you use a different -DVI viewer, check if it will display embedded PostScript. Don't worry, -the symbols should appear on the printout. - -@subsubsection A lot of musical stuff doesn't make it to the MIDI file, eg. dynamics, articulation, etc. - -The MIDI output was originally put in as a proof that MIDI could be -done, and as a method of proof"reading" the input. The MIDI support -is by no means finished. Patches appreciated. - -@node Copyright,, ,top -@section Copyright - -@subsubsection What is Urtext? Critical Edition? - -Werner Lemberg: - -It may be translated best as `that what the composer intended to tell -the reader' - -Peter Chubb writes: - -An Urtext is a reconstruction of the earliest form of a text, -including mistakes the original author wrote. Where there is no -available facsimile of the original, creating this can involve some -inspired detective work (in comparing various later editions and -trying to deduce what the original form was). As far as copyright -goes, my guess is that, for works that are otherwise out of copyright, -an Urtext is copyright to the person who reconstructed it, as a -derived work from the editions s/he consulted. If the edition is -created directly from a facsimile, as would be the case for most -Urtext editions of music, then the amount of new (copyright) material -is minimal. - -A critical edition is an edition that is designed for critical -study of a text. It'll usually have lots of footnotes, alternative -readings, possible realisations of bass parts and harmonies, etc. It -aims to elucidate the author's original intentions, as opposed to -reproduce exactly what was written. The critical apparatus will be -copyright to its author. - -A playing edition is one that has been edited for modern usage. -It'll have fewer or no alternative readings, it'll be in modern -notation, it may have additional editorial marks (phrase marks, slurs, -etc.) will often have a fully realised basso continuo part (if oone -was present in the original) and may have had key changes, time -signature changes, time compression (original in 4/1, playing edition -in 4/4, for example, with all semibreves replaced with crotchets) -Copyright is in the arranger/editor. - -@subsubsection How does copyright for sheet music work? Can I enter and spread my newly bought Bach urtext? - -Silas S. Brown : - -@quotation - -There are several aspects to sheet music copyright: - -1. The music itself - copyright for the composer's life plus 70 years (so -not applicable to Bach). - -2. If the music is an arrangement, then the arranger holds copyright on -that arrangement. However, you can produce your own arrangement using -that arrangement as a reference point. Obviously your arrangement must be -sufficently different to be called your own arrangement - you need to do -more than change one note! - -3. In some countries, the same applies for editions. This could be -relevant to the Bach example. If a modern person has edited the music, -then they hold the copyright on the edition. This does not stop you from -removing the editorial features - remove all editorial slurs, phrasemarks, -ornaments etc and only leave those that you know to be original. You can -then add some of your own if you want to be your own editor. - -4. If there are lyrics, then the lyricist also holds copyright. This -does not stop you from using the music without the lyrics if it is -otherwise out of copyright. - -5. The copyright of the printed page is held by the publisher for 30 -years after printing (25 in some countries). This stops you from -photocopying (unless it's "fair use" eg. you're partially sighted and need -to enlarge the music) or otherwise reproducing the typesetting that is -used on it. But the copyright is only held over the typesetting work, not -the music itself. Since Mudela specifies the notes, independently of any -typesetting work that went into your reference copy, you are not -duplicating any of the publisher's work. - -6. If you want to violate copyright, there are two main cases where you -may do so: fair use, and with permission. The former is rather fuzzily -defined, but it includes such things as including small extracts of a -score in a critique, and making a large print or Braille copy for a blind -or partially-sighted performer (many people argue that in this case it -should always be kept with the original copy and/or destroyed after it is -no longer needed). The latter is obvious: You can always write to the -composer, arranger, editor, lyricist or publisher in subsubsection and ask if -you can do whatever it is you're trying to do. Some will respond more -readily than others, but anything that they say will override any copying -restrictions imposed on you. - -References - best one I know is the UK-based Performing Right Society, -@uref{http://www.prs.co.uk/} (especially "membership") and their links to other -international equivalents. -@end quotation - -Werner Lemberg @email{wl@@gnu.org} writes: - -@quotation - -Typesetting [at least in Austria or Germany, but not in France] [..] -isn't copyrighted -- typesetting is a handcraft, not an -art. - -What's copyrighted in an Urtext edition is the editor's comment or -the revision remarks, cadenzas added by the editor, etc. - -Urtext editions per se are @emph{not} copyrighted -- if you print -exactly what the composer has written, how can there some copyright be -added? Copyrighted are usually only the `Critical notes', the foreword, -and the cadenzas some editors have added. - -This means that the `Photocopying forbidden' sign in many scores is not -always correct for e.g. J.S. Bach -- you are allowed to copy the pages -which don't contain editorial stuff which is probably copyrighted. - -A very unfortunate situation for the publishers. - -@end quotation - - -Glen Prideaux, @email{glenprideaux@@MailAndNews.com}: - -@quotation -One has to be careful. In Australia typesetting IS covered by copyright, but -only for 25 years (as opposed to 50 years from the death of the -author/composer/artist for virtually any other copyright). If the -typesetting originates in a country that does not protect typesetting then -there may indeed be no copyright protection available to control the use of -mudela files. -@end quotation - -Juergen Reuter @email{reuterj@@ira.uka.de} - -[More information can be had at: ] - -@uref{http://lcweb.loc.gov/copyright/} -(USA copyright law) - -@uref{http://fairuse.stanford.edu/} -(meta site about copyright with many links to other resources) - -@uref{http://host.mpa.org/crc.html} -(copyright from the viewpoint of the USA music publishers' association) - -@uref{http://www.wipo.int} -(World Intellectual Property Organization (a UNO agency); with -information about international copyright) - -John Sankey: - -See @uref{http://www.geocities.com/Vienna/Studio/1714/harpsichord.html} -for a summary of copyright relative to old music, also for the -expert forum for such subsubsections. - -Benjy (benjy@@indiansprings.org) - -@quotation -(In the UK, the typesetting of a piece of music goes out of copyright 25 year\s -after it is published. Maybe you can tell me what copyright law says in othe\r -countries.) -@end quotation - -The US has had several schemes over the last century meaning that -anything published after January 1, 1923 and before 1964 requires that -you put in some work to determine its status. However, anything -published before 1923 is fair game in the US. See -@uref{http://www.loc.gov/copyright/circs/circ22.html} for the whole -twisted tale. - - -@node Windows32,, ,top -@section Windows32 - -@subsubsection I downloaded the windows32 port, and it doesn't match the website! - -The website is usually made from the latest snapshots. Binary releases, -in particular the windows32 binaries, are only made every once in a while. -They may lag several versions behind the latest version. - -@subsubsection But i want a native DOS/Windows-NT/95 port - -Reconsider. Try Linux. It's fun! - -@bye diff --git a/scm/accordion-script.scm b/scm/accordion-script.scm deleted file mode 100644 index 63877537ec..0000000000 --- a/scm/accordion-script.scm +++ /dev/null @@ -1,56 +0,0 @@ -;; (name . '((downindexstring . upindexstring) -;; follow-into-staff :: bool -;; dir-relative-to-stem :: int -;; force-dir :: int -;; priority :: int - - -(set! script-alist - (append - '(("accDiscant" . ((accordion "Discant" "") #f 0 1 0)) - ("accDiscantF" . ((accordion "Discant" "F") #f 0 1 0)) - ("accDiscantE" . ((accordion "Discant" "E") #f 0 1 0)) - ("accDiscantEh" . ((accordion "Discant" "Eh") #f 0 1 0)) - ("accDiscantFE" . ((accordion "Discant" "FE") #f 0 1 0)) - ("accDiscantFEh" . ((accordion "Discant" "FEh") #f 0 1 0)) - ("accDiscantEE" . ((accordion "Discant" "EE") #f 0 1 0)) - ("accDiscantFEE" . ((accordion "Discant" "FEE") #f 0 1 0)) - ("accDiscantEEE" . ((accordion "Discant" "EEE") #f 0 1 0)) - ("accDiscantFEEE" . ((accordion "Discant" "FEEE") #f 0 1 0)) - ("accDiscantS" . ((accordion "Discant" "S") #f 0 1 0)) - ("accDiscantFS" . ((accordion "Discant" "FS") #f 0 1 0)) - ("accDiscantES" . ((accordion "Discant" "ES") #f 0 1 0)) - ("accDiscantEhS" . ((accordion "Discant" "EhS") #f 0 1 0)) - ("accDiscantFES" . ((accordion "Discant" "FES") #f 0 1 0)) - ("accDiscantFEhS" . ((accordion "Discant" "FEhS") #f 0 1 0)) - ("accDiscantEES" . ((accordion "Discant" "EES") #f 0 1 0)) - ("accDiscantFEES" . ((accordion "Discant" "FEES") #f 0 1 0)) - ("accDiscantEEES" . ((accordion "Discant" "EEES") #f 0 1 0)) - ("accDiscantFEEES" . ((accordion "Discant" "FEEES") #f 0 1 0)) - ("accDiscantSS" . ((accordion "Discant" "SS") #f 0 1 0)) - ("accDiscantESS" . ((accordion "Discant" "ESS") #f 0 1 0)) - ("accDiscantEESS" . ((accordion "Discant" "EESS") #f 0 1 0)) - ("accDiscantEEESS" . ((accordion "Discant" "EEESS") #f 0 1 0)) - ("accFreebase" . ((accordion "Freebase" "") #f 0 -1 0)) - ("accFreebaseF" . ((accordion "Freebase" "F") #f 0 -1 0)) - ("accFreebaseE" . ((accordion "Freebase" "E") #f 0 -1 0)) - ("accFreebaseFE" . ((accordion "Freebase" "FE") #f 0 -1 0)) - ("accBayanbase" . ((accordion "Bayanbase" "") #f 0 -1 0)) - ("accBayanbaseT" . ((accordion "Bayanbase" "T") #f 0 -1 0)) - ("accBayanbaseE" . ((accordion "Bayanbase" "E") #f 0 -1 0)) - ("accBayanbaseTE" . ((accordion "Bayanbase" "TE") #f 0 -1 0)) - ("accBayanbaseEE" . ((accordion "Bayanbase" "EE") #f 0 -1 0)) - ("accBayanbaseTEE" . ((accordion "Bayanbase" "TEE") #f 0 -1 0)) - ("accStdbase" . ((accordion "Stdbase" "") #f 0 -1 0)) - ("accStdbaseFE" . ((accordion "Stdbase" "FE") #f 0 -1 0)) - ("accStdbaseTFE" . ((accordion "Stdbase" "TFE") #f 0 -1 0)) - ("accStdbaseMES" . ((accordion "Stdbase" "MES") #f 0 -1 0)) - ("accStdbaseTFMES" . ((accordion "Stdbase" "TFMES") #f 0 -1 0)) - - ("accSB" . ((accordion "SB" "") #f 0 -1 0)) - ("accBB" . ((accordion "BB" "") #f 0 -1 0)) - ("accOldEE" . ((accordion "OldEE" "") #f 0 -1 0)) - ("accOldEES" . ((accordion "OldEES" "") #f 0 -1 0))) - script-alist) - ) - -- 2.39.5