From 83de91e5294d2a8a1b53462f01eca7e6d060889b Mon Sep 17 00:00:00 2001 From: Eyolf Oestrem Date: Tue, 30 Sep 2008 11:47:10 +0100 Subject: [PATCH] Docs: NR 2.8 Ancient third round --- Documentation/user/ancient.itely | 259 +++++++++++++++---------------- 1 file changed, 125 insertions(+), 134 deletions(-) diff --git a/Documentation/user/ancient.itely b/Documentation/user/ancient.itely index 0d62766078..c28ea69fa0 100644 --- a/Documentation/user/ancient.itely +++ b/Documentation/user/ancient.itely @@ -160,7 +160,7 @@ satisfied with these defaults, one can proceed directly with note entry without worrying about the details on how to customize a context. See one of the pre-defined contexts @code{VaticanaVoice}, @code{VaticanaStaff}, @code{MensuralVoice}, -and @code{MensuralStaff}. See +and @code{MensuralStaff}. See further @itemize @item @ref{Gregorian chant contexts}, @@ -233,6 +233,8 @@ postfix style @code{note\[ ... note\]}. @c with the same effect and is believed to be stable. @c TODO: this does not seem to work at the moment. + @c -- eo + @c {{{2 Custodes @@ -741,32 +743,22 @@ Notation Reference: @ref{Rests}, gives a general introduction into the use of rests. -@c {{{2Mensural accidentals -@node Mensural accidentals -@unnumberedsubsubsec Mensural accidentals +@c {{{2Mensural accidentals and key signatures +@node Mensural accidentals and key signatures +@unnumberedsubsubsec Mensural accidentals and key signatures @cindex accidentals +@cindex key signature -Four different accidental styles for ancient music are available: +The @code{mensural} style provides a sharp and a flat sign +different from the default style. If called for, the natural sign +will be taken from the @code{vaticana} style. @lilypond[quote,ragged-right,staffsize=26] \score { { \textLengthOn s^\markup { - \column { - "vaticana" - \line { " " \musicglyph #"accidentals.vaticana-1" - " " \musicglyph #"accidentals.vaticana0" } - } - \column { - "medicaea" - \line { " " \musicglyph #"accidentals.medicaea-1" } - } - \column { - "hufnagel" - \line { " " \musicglyph #"accidentals.hufnagel-1" } - } \column { "mensural" \line { " " \musicglyph #"accidentals.mensural-1" @@ -788,11 +780,6 @@ Four different accidental styles for ancient music are available: } @end lilypond -As shown, not all accidentals are supported by each style. When -trying to access an unsupported accidental, LilyPond will switch to a -different style, as demonstrated in -@rlsr{Ancient}. - The style for accidentals and key signatures is controlled by the @code{glyph-name-alist} property of the grobs @rinternals{Accidental} and @rinternals{KeySignature}, respectively; e.g.: @@ -957,6 +944,7 @@ Horizontal spacing is poor. @menu * Gregorian chant contexts:: * Gregorian clefs:: +* Gregorian accidentals and key signatures:: * Divisiones:: * Gregorian articulation signs:: * Augmentum dots (@emph{morae}):: @@ -1147,6 +1135,71 @@ hufnagel style combined do/fa clef Notation Reference: see @ref{Clef}. +@c {{{2 Gregorian accidentals and key signatures +@node Gregorian accidentals and key signatures +@unnumberedsubsubsec Gregorian accidentals and key signatures + +@cindex accidentals +@cindex key signature + +Accidentals for the three different Gregorian styles are available: + +@lilypond[quote,ragged-right,staffsize=26] +\score { +{ + \textLengthOn + s^\markup { + \column { + "vaticana" + \line { " " \musicglyph #"accidentals.vaticana-1" + " " \musicglyph #"accidentals.vaticana0" } + } + \column { + "medicaea" + \line { " " \musicglyph #"accidentals.medicaea-1" } + } + \column { + "hufnagel" + \line { " " \musicglyph #"accidentals.hufnagel-1" } + } + } +} +\layout { + interscoreline = 1 + \context { \Score \remove "Bar_number_engraver" } + \context { \Staff + \remove "Clef_engraver" + \remove "Key_engraver" + \remove "Time_signature_engraver" + \remove "Staff_symbol_engraver" + \override VerticalAxisGroup #'minimum-Y-extent = ##f + } + } +} +@end lilypond + +As shown, not all accidentals are supported by each style. When +trying to access an unsupported accidental, LilyPond will switch to a +different style. + +@c @lilypondfile[verbatim,lilyquote,texidoc,doctitle] +@c {ancient-accidentals.ly} + +The style for accidentals and key signatures is controlled by the +@code{glyph-name-alist} property of the grobs @rinternals{Accidental} and +@rinternals{KeySignature}, respectively; e.g.: + +@code{\override Staff.Accidental #'glyph-name-alist = +#alteration-mensural-glyph-name-alist} + +@seealso + +Notation Reference: @ref{Pitches}, @ref{Accidentals}, and +@ref{Automatic accidentals} give a general introduction of the use of +accidentals. @ref{Key signature} gives a general introduction of +the use of key signatures. + +Internals Reference: @rinternals{KeySignature}. @c {{{2Divisiones @node Divisiones @@ -1278,6 +1331,13 @@ already be typeset, but essential issues for serious typesetting are still lacking, such as (among others) horizontal alignment of multiple ligatures, lyrics alignment, and proper handling of accidentals. +The support for Gregorian neumes is enabled by @code{\include}ing +"gregorian.ly" at the beginning of the file. This makes available +a number of extra commands to produce the neume symbols used in +plainchant notation. + + + Note heads can be @emph{modified} and/or @emph{joined}. @itemize @@ -1306,7 +1366,6 @@ with any of the following commands: @code{\cavum}, @funindex \linea @code{\linea}. -A note name without any qualifiers will produce a @emph{punctum}. @item Ligatures, properly speaking (i.e. notes joined together), are produced by placing one of the joining commands @code{pes} or @@ -1314,10 +1373,15 @@ produced by placing one of the joining commands @code{pes} or @emph{between} the notes to be joined. @end itemize -All neumes are in principle considered as ligatures, even the -single-note neumes @emph{punctum} and @emph{virga}, and should -therefore be placed between @code{\[...\]}. +A note name without any qualifiers will produce a @emph{punctum}. +All other neumes, including the single-note neumes with a +different shape such as the @emph{virga}, are in principle +considered as ligatures and should therefore be placed +between @code{\[...\]}. +@c Regarding the @emph{punctum}, @code{b} and @code{\[ b \]} are +@c equivalent. +@noindent Single-note neumes: @itemize @@ -1334,22 +1398,26 @@ lines on either side of the note. produced by the modifier @code{\virga}. @end itemize -@c On ligatures - -Unlike most other neumes notation systems, the input language for -neumes does not reflect the typographical appearance, but is designed -to focus on musical meaning. For example, @code{\[ a \pes b -\flexa g \]} produces a Torculus consisting of three Punctum heads, -while @code{\[ a \flexa g \pes b \]} produces a Porrectus with a -curved flexa shape and only a single Punctum head. There is no -command to explicitly typeset the curved flexa shape; the decision of -when to typeset a curved flexa shape is based on the musical -input. The idea of this approach is to separate the musical aspects -of the input from the notation style of the output. This way, the -same input can be reused to typeset the same music in a different -style of Gregorian chant notation. +@noindent +Ligatures + +Unlike most other neumes notation systems, the typographical +appearance of ligatures is not directly dictated by the input +commands, but follows certain conventions dependent on musical +meaning. For example, a three-note ligature with the musical shape +low-high-low, such as @code{\[ a \pes b \flexa g \]}, produces a +Torculus consisting of three Punctum heads, while the shape +high-low-high, such as @code{\[ a \flexa g \pes b \]}, produces a +Porrectus with a curved flexa shape and only a single Punctum +head. There is no command to explicitly typeset the curved flexa +shape; the decision of when to typeset a curved flexa shape is +based on the musical input. The idea of this approach is to +separate the musical aspects of the input from the notation style +of the output. This way, the same input can be reused to typeset +the same music in a different style of Gregorian chant notation. -@c Liquescent neumes +@noindent +Liquescent neumes Another main category of notes in Gregorian chant is the so-called liquescent neumes. They are used under certain circumstances at @@ -1369,7 +1437,8 @@ with @code{\auctus} and one of the direction markers @code{\descendens} or @code{\ascendens}, e.g. @code{ \[ \auctus \descendens a \] }. -@c Special signs +@noindent +Special signs A third category of signs is made up of a small number of signs with a special meaning (which, incidentally, in most cases is only @@ -1396,13 +1465,14 @@ perfectly possible to make a single-note quilisma. @c neume table The following table shows a limited, but still representative pool -of Gregorian ligature examples, with the code fragments that -produce the ligatures. The the extended neumes table of the 2nd -volume of the Antiphonale Romanum (@emph{Liber Hymnarius}), published -1983 by the monks of Solesmes The second column -gives the name of the ligature. The third column shows the code -fragment that produces this ligature, using @code{g}, @code{a}, -and @code{b} as example pitches. +of Gregorian ligatures, together with the code fragments that +produce the ligatures. The table is based on the extended neumes +table of the 2nd volume of the Antiphonale Romanum (@emph{Liber +Hymnarius}), published 1983 by the monks of Solesmes. The first +column gives the name of the ligature, with the main form in +boldface and the liquescent forms in italics. The third column +shows the code fragment that produces this ligature, using +@code{g}, @code{a}, and @code{b} as example pitches. @b{Single-note neums} @@ -2207,7 +2277,6 @@ with head prefixes in arbitrary order. * Transcribing Gregorian chant:: * Ancient and modern from one source:: * Editorial markings:: -* Baroque rhythmic notation:: @end menu Working with ancient music frequently involves particular tasks @@ -2255,87 +2324,9 @@ orientation aids that bar lines give. @lilypondfile[verbatim,lilyquote,texidoc] {mensurstriche-layout-bar-lines-between-the-staves.ly} -This simple setup will take care of the -@c TODO Add text -@c from lsr and -user -TBC - -@seealso - -@c ... and reference to other sections ... - - -@c {{{2Transcribing Gregorian chant -@node Transcribing Gregorian chant -@unnumberedsubsubsec Transcribing Gregorian chant - -@c TODO Add text -@c extract from 1.6.1.1 -TBC - -@seealso - -@c ... and reference to other sections ... - - -@c {{{2Ancient and modern from one source -@node Ancient and modern from one source -@unnumberedsubsubsec Ancient and modern from one source - -@c TODO Add text -@c Here among others the snippets about reducing note length -TBC - -@seealso - -@c ... and reference to other sections ... - - -@c {{{2Editorial markings -@node Editorial markings -@unnumberedsubsubsec Editorial markings - -@c {{{2Baroque rhythmic notation -@node Baroque rhythmic notation -@unnumberedsubsubsec Baroque rhythmic notation - -@c TODO Add text -@c try Till Rettig -@c Add example of white noteheads: -@c In the french baroque some composers used white noteheads in slow pieces, -@c mainly in 3/2-time. A quarter looks there like a eighth with a white -@c notehead. (Franz-Rudolf Kuhnen) - -@c TODO Add example of this: -@c I was referring to e.g. notated a8. a16, which should, if I -@c remember correctly, be interpreted more like a8.. a32 (in the french -@c style). The editor might want to show that rythmic figure above the -@c staff as an hint to performers. (Karl Hammer) - - -TBC - -@seealso - -@c ... and reference to other sections ... - -@c {{{2Mensurstriche layout -@node Mensurstriche layout -@unnumberedsubsubsec Mensurstriche layout - -@emph{Mensurstriche} (@q{mensuration lines}) is the accepted term -for bar lines that are drawn between the staves of a system but -not through the staves themselves. It is a common way to preserve -the rhythmic appearance of the original, i.e. not having to break -syncopated notes at bar lines, while still providing the -orientation aids that bar lines give. - - -@lilypondfile[verbatim,lilyquote,texidoc] -{mensurstriche-layout-bar-lines-between-the-staves.ly} - -This simple setup will take care of the -@c TODO Add text +@c This simple setup will take care of the +@c TODO Add text about lyrics to the lowest line, to be placed +@c outside the StaffGroup. @c from lsr and -user TBC @@ -2375,8 +2366,8 @@ TBC @unnumberedsubsubsec Editorial markings @c {{{2Baroque rhythmic notation -@node Baroque rhythmic notation -@unnumberedsubsubsec Baroque rhythmic notation +@c @node Baroque rhythmic notation +@c @unnumberedsubsubsec Baroque rhythmic notation @c TODO Add text @c try Till Rettig -- 2.39.5