Imported Upstream version 2.12.3

[lilypond.git] / input / lsr / dodecaphonic-style-accidentals-for-each-note-including-naturals.ly

diff --git a/input/lsr/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly b/input/lsr/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly
index 721ad91a1d4aa23b7316a2436c256f0c406415e8..cea81a132b2e509e501f04d2960c70b9acf8512f 100644 (file)
--- a/input/lsr/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly
+++ b/input/lsr/dodecaphonic-style-accidentals-for-each-note-including-naturals.ly
@@ -1,35 +1,63 @@
 %% Do not edit this file; it is auto-generated from LSR http://lsr.dsi.unimi.it
 %% This file is in the public domain.
-\version "2.11.38"
+\version "2.12.3"
 
 \header {
   lsrtags = "pitches"
- texidoc = "
+
+  doctitlees = "Alteraciones de estilo dodecafónico para todas las notas, incluidas las naturales"
+  texidoces = "
+En las obras de principios del s.XX, empezando por Schoenberg, Berg y
+Webern (la \"Segunda\" escuela de Viena), cada nota de la escala de
+doce tonos se debe tratar con igualdad, sin ninguna jerarquía como los
+grados clásicos tonales.  Por tanto, estos compositores imprimen una
+alteración accidental para cada nota, incluso en las notas naturales,
+para enfatizar su nuevo enfoque de la teoría y el lenguaje musicales.
+
+Este fragmento de código muestra cómo conseguir dichas reglas de
+notación.
+
+"
+
+ texidocde = "
+ In Werken des fürhen 20. Jahrhundert, angefangen mit Schönberg, Berg
+ und Webern (die zweite Wiener Schule), wird jeder Ton der 
+ Zwölftonleiter als gleichwertig erachtet, ohne hierarchische
+ Ordnung.  Deshalb wird in dieser Musik für jede Note ein Versetzungszeichen
+ ausgegeben, auch für unalterierte Tonhöhen, um das neue Verständnis
+ der Musiktheorie und Musiksprache zu verdeutlichen.
+ 
+ Dieser Schnipsel zeigt, wie derartige Notationsregeln zu erstellen sind.
+ "
+ 
+doctitlede = "Versetzungszeichen für jede Note im Stil der Zwölftonmusik"
+
+  texidoc = "
 In early 20th century works, starting with Schoenberg, Berg and Webern
 (the \"Second\" Viennese school), every pitch in the twelve-tone scale
 has to be regarded as equal, without any hierarchy such as the
 classical (tonal) degrees. Therefore, these composers print one
 accidental for each note, even at natural pitches, to emphasize their
-new approach to music theory and language. This snippet shows how to
-achieve such notation rules. 
-" }
-% begin verbatim
-webernAccidentals = {
-  % the 5s are just "a value different from any accidental"
-  \set Staff.keySignature = #'((0 . 5) (1 . 5) (2 . 5) (3 . 5)
-                               (4 . 5) (5 . 5) (6 . 5))
-  \set Staff.extraNatural = ##f
-  #(set-accidental-style 'forget)
-}
+new approach to music theory and language.
+
+This snippet shows how to achieve such notation rules. 
+
+"
+  doctitle = "Dodecaphonic-style accidentals for each note including naturals"
+} % begin verbatim
 
 \score {
-  {
-    \webernAccidentals
-    c' dis' cis' cis'
-    c' dis' cis' cis'
-    c' c' dis' des'
+  \new Staff {
+    #(set-accidental-style 'dodecaphonic)
+    c'4 dis' cis' cis'
+    c'4 dis' cis' cis'
+    c'4 c' dis' des'
   }
   \layout {
-    \context { \Staff \remove "Key_engraver" }
+    \context {
+      \Staff
+      \remove "Key_engraver"
+    }
   }
 }
+