To avoid problems in PDF output made sure no @code{} type contructs were
over 72 char line limit or fix if manually broken over two lines.
used in the Medicaea (or Ratisbona) editions which were used prior
to the Solesmes editions. The most significant differences from
the @emph{Vaticana} style are the clefs, which have
used in the Medicaea (or Ratisbona) editions which were used prior
to the Solesmes editions. The most significant differences from
the @emph{Vaticana} style are the clefs, which have
-downward-slanted strokes, and the noteheads, which are square and
+downward-slanted strokes, and the note heads, which are square and
regular.
@cindex Ratisbona, Editio
regular.
@cindex Ratisbona, Editio
@itemize
@item The @emph{Mensural} style most closely resembles the
writing style used in late-medieval and early renaissance
@itemize
@item The @emph{Mensural} style most closely resembles the
writing style used in late-medieval and early renaissance
-manuscripts, with its small and narrow, diamond-shaped noteheads
+manuscripts, with its small and narrow, diamond-shaped note heads
and its rests which approach a hand-drawn style.
@cindex mensural
@item The @emph{Neomensural} style is a modernized and
and its rests which approach a hand-drawn style.
@cindex mensural
@item The @emph{Neomensural} style is a modernized and
-stylized version of the former: the noteheads are broader and the
+stylized version of the former: the note heads are broader and the
rests are made up of straight lines. This style is particularly
suited, e.g., for incipits of transcribed pieces of mensural
music.
rests are made up of straight lines. This style is particularly
suited, e.g., for incipits of transcribed pieces of mensural
music.
@emph{Baroque} and @emph{Classical} are not complete styles
but differ from the default style only in some details: certain
@emph{Baroque} and @emph{Classical} are not complete styles
but differ from the default style only in some details: certain
-noteheads (Baroque) and the quarter rest (Classical).
+note heads (Baroque) and the quarter rest (Classical).
Only the mensural style has alternatives for all aspects of the
notation. Thus, there are no rests or flags in the Gregorian
Only the mensural style has alternatives for all aspects of the
notation. Thus, there are no rests or flags in the Gregorian
the Petrucci style has no flags or accidentals of its own.
Each element of the notation can be changed independently of the
the Petrucci style has no flags or accidentals of its own.
Each element of the notation can be changed independently of the
-others, so that one can use mensural flags, petrucci noteheads,
+others, so that one can use mensural flags, petrucci note heads,
classical rests and vaticana clefs in the same piece, if one
wishes.
classical rests and vaticana clefs in the same piece, if one
wishes.
certain limitations). To use any of these styles, the default
@code{Ligature_bracket_engraver} has to be replaced with one of the
specialized ligature engravers in the @code{Voice} context,
certain limitations). To use any of these styles, the default
@code{Ligature_bracket_engraver} has to be replaced with one of the
specialized ligature engravers in the @code{Voice} context,
-as explained in @ref{White mensural ligatures} and @ref{Gregorian
-square neume ligatures}.
+as explained in @ref{White mensural ligatures} and
+@ref{Gregorian square neume ligatures}.
Accidentals must not be printed within a ligature, but instead need to
be collected and printed in front of it.
Accidentals must not be printed within a ligature, but instead need to
be collected and printed in front of it.
-The syntax still uses the deprecated infix style @code{\[ music expr
-\]}. For consistency reasons, it will eventually be changed to
-postfix style @code{note\[ ... note\]}.
+The syntax still uses the deprecated infix style
+@code{\[ music expr \]}. For consistency reasons, it will eventually
+be changed to postfix style @code{note\[ ... note\]}.
@c Alternatively, the file
@c @file{gregorian-init.ly} can be included; it provides a scheme
@c Alternatively, the file
@c @file{gregorian-init.ly} can be included; it provides a scheme
@cindex custos
@cindex custodes
@cindex custos
@cindex custodes
-A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard}) is a
-symbol that appears at the end of a staff. It anticipates the pitch
-of the first note of the following line, thus helping the performer
+A @emph{custos} (plural: @emph{custodes}; Latin word for @qq{guard})
+is a symbol that appears at the end of a staff. It anticipates the
+pitch of the first note of the following line, thus helping the performer
to manage line breaks during performance.
Custodes were frequently used in music notation until the
to manage line breaks during performance.
Custodes were frequently used in music notation until the
@cindex mensuration sign
@cindex time signatures
@cindex mensuration sign
@cindex time signatures
-There is limited support for mensuration signs (which are similar to, but
-not exactly the same as time signatures). The glyphs are hard-wired to
-particular time fractions. In other words, to get a particular mensuration
-sign with the @code{\time n/m} command, @code{n} and @code{m} have to be
-chosen according to the following table
+There is limited support for mensuration signs (which are similar to,
+but not exactly the same as time signatures). The glyphs are hard-wired
+to particular time fractions. In other words, to get a particular mensuration sign with the @code{\time n/m} command, @code{n} and
+@code{m} have to be chosen according to the following table
@lilypond[quote,ragged-right]
\layout {
@lilypond[quote,ragged-right]
\layout {
@knownissues
Ratios of note durations do not change with the time signature. For
@knownissues
Ratios of note durations do not change with the time signature. For
-example, the ratio of 1@tie{}breve = 3@tie{}semibreves (@emph{tempus
-perfectum}) must be made by hand, by setting
+example, the ratio of 1@tie{}breve = 3@tie{}semibreves
+(@emph{tempus perfectum}) must be made by hand, by setting
@example
breveTP = #(ly:make-duration -1 0 3 2)
@example
breveTP = #(ly:make-duration -1 0 3 2)
@cindex note heads, ancient
@cindex note heads, ancient
-For ancient notation, a note head style other than the @code{default} style
-may be chosen. This is accomplished by setting the @code{style} property of
-the @code{NoteHead} object to @code{baroque}, @code{neomensural},
-@code{mensural} or @code{petrucci}.
+For ancient notation, a note head style other than the
+@code{default} style may be chosen. This is accomplished by setting
+the @code{style} property of the @code{NoteHead} object to
+@code{baroque}, @code{neomensural}, @code{mensural} or
+@code{petrucci}.
The @code{baroque} style differs from the @code{default} style by:
The @code{baroque} style differs from the @code{default} style by:
@item Using a square shape for @code{\breve} note heads.
@end itemize
@item Using a square shape for @code{\breve} note heads.
@end itemize
-The @code{neomensural}, @code{mensural}, and @code{petrucci} styles differ from
-the @code{baroque} style by:
+The @code{neomensural}, @code{mensural}, and @code{petrucci} styles
+differ from the @code{baroque} style by:
-@item Using rhomboidal heads for semibreves and all smaller durations, and
+@item Using rhomboidal heads for semibreves and all smaller durations,
+and
@item Centering the stems on the note heads.
@end itemize
@item Centering the stems on the note heads.
@end itemize
-@ref{Note head styles}, gives an overview of all available note head styles.
+@ref{Note head styles}, gives an overview of all available note head
+styles.
-This will treat @emph{every} subsequent accidental as @emph{musica
-ficta} until it is unset with @code{\set suggestAccidentals =
-##f}. A more practical way is to use @code{\once \set
-suggestAccidentals = ##t}, which can even be defined as a
-convenient shorthand:
+This will treat @emph{every} subsequent accidental as
+@emph{musica ficta} until it is unset with
+@code{\set suggestAccidentals = ##f}. A more practical way is to
+use @code{\once \set suggestAccidentals = ##t}, which can even be
+defined as a convenient shorthand:
@lilypond[quote,verbatim]
ficta = { \once \set suggestAccidentals = ##t }
@lilypond[quote,verbatim]
ficta = { \once \set suggestAccidentals = ##t }
A @emph{divisio} (plural: @emph{divisiones}; Latin word for
@q{division}) is a staff context symbol that is used to indicate
A @emph{divisio} (plural: @emph{divisiones}; Latin word for
@q{division}) is a staff context symbol that is used to indicate
-the phrase and section structure of Gregorian music. The musical meaning of
-@emph{divisio minima}, @emph{divisio maior}, and @emph{divisio maxima}
-can be characterized as short, medium, and long pause, somewhat like
-the breathmarks from @ref{Breath marks}. The @emph{finalis} sign not
-only marks the end of a chant, but is also frequently used within a
-single antiphonal/responsorial chant to mark the end of each section.
+the phrase and section structure of Gregorian music. The musical
+meaning of @emph{divisio minima}, @emph{divisio maior}, and
+@emph{divisio maxima} can be characterized as short, medium, and
+long pause, somewhat like the breath marks from @ref{Breath marks}.
+The @emph{finalis} sign not only marks the end of a chant, but is
+also frequently used within a single antiphonal/responsorial chant
+to mark the end of each section.
To use divisiones, include the file @file{gregorian.ly}. It
contains definitions that you can apply by just inserting
To use divisiones, include the file @file{gregorian.ly}. It
contains definitions that you can apply by just inserting
In addition to the standard articulation signs described in
section @ref{Articulations and ornamentations}, articulation signs
In addition to the standard articulation signs described in
section @ref{Articulations and ornamentations}, articulation signs
-specifically designed for use with notation in @emph{Editio
-Vaticana} style are provided.
+specifically designed for use with notation in
+@emph{Editio Vaticana} style are provided.
@lilypond[quote,ragged-right,verbatim]
\include "gregorian.ly"
@lilypond[quote,ragged-right,verbatim]
\include "gregorian.ly"
liquescent neumes. They are used under certain circumstances at
the end of a syllable which ends in a @q{liquescent} letter, i.e.
the sounding consonants that can hold a tone (the nasals, l, r, v,
liquescent neumes. They are used under certain circumstances at
the end of a syllable which ends in a @q{liquescent} letter, i.e.
the sounding consonants that can hold a tone (the nasals, l, r, v,
-j, and their diphtong equivalents). Thus, the liquescent neumes
+j, and their diphthong equivalents). Thus, the liquescent neumes
are never used alone (although some of them can be produced), and
they always fall at the end of a ligature.
are never used alone (although some of them can be produced), and
they always fall at the end of a ligature.
more or less interchangeable ways: with a smaller note or by
@q{twisting} the main note upwards or downwards. The first is
produced by making a regular @code{pes} or @code{flexa} and
more or less interchangeable ways: with a smaller note or by
@q{twisting} the main note upwards or downwards. The first is
produced by making a regular @code{pes} or @code{flexa} and
-modifying the shape of the second note: @code{\[ a \pes \deminutum
-b \] }, the second by modifying the shape of a single-note neume
-with @code{\auctum} and one of the direction markers
-@code{\descendens} or @code{\ascendens}, e.g., @code{ \[ \auctum
-\descendens a \] }.
+modifying the shape of the second note:
+@code{\[ a \pes \deminutum b \] }, the second by modifying the shape
+of a single-note neume with @code{\auctum} and one of the direction
+markers @code{\descendens} or @code{\ascendens}, e.g.,
+@code{ \[ \auctum \descendens a \] }.
commands @code{\versus}, @code{\responsum}, @code{\ij},
@code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
corresponding characters, e.g., for use in lyrics, as section
commands @code{\versus}, @code{\responsum}, @code{\ij},
@code{\iij}, @code{\IJ}, and @code{\IIJ}, that will produce the
corresponding characters, e.g., for use in lyrics, as section
-markers, etc. These commands use special unicode characters and
+markers, etc. These commands use special Unicode characters and
will only work if a font is used which supports them.
will only work if a font is used which supports them.
The following table shows a limited, but still representative pool
of Gregorian ligatures, together with the code fragments that
produce the ligatures. The table is based on the extended neumes
The following table shows a limited, but still representative pool
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
+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.
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.
results. Another alternative is to use @code{\CadenzaOn} and
@code{\CadenzaOff}.
results. Another alternative is to use @code{\CadenzaOn} and
@code{\CadenzaOff}.
-To remove the barlines, the radical approach is to @code{\remove}
+To remove the bar lines, the radical approach is to @code{\remove}
the Bar_engraver from the Staff context. Again, one may want to
use @code{\override BarLine #'transparent = ##t} instead, if an
occasional barline is wanted.
the Bar_engraver from the Staff context. Again, one may want to
use @code{\override BarLine #'transparent = ##t} instead, if an
occasional barline is wanted.
longer melisma. One way to achieve this is to use a fixed
@code{\time}, e.g., 1/4, and let each syllable or note group fill
one of these measures, with the help of tuplets or shorter
longer melisma. One way to achieve this is to use a fixed
@code{\time}, e.g., 1/4, and let each syllable or note group fill
one of these measures, with the help of tuplets or shorter
-durations. If the barlines and all other rhythmical indications
-are made transparent, and the space around the barlines is
+durations. If the bar lines and all other rhythmical indications
+are made transparent, and the space around the bar lines is
increased, this will give a fairly good representation in modern
notation of the original.
increased, this will give a fairly good representation in modern
notation of the original.
@c TODO Add text
@c try Till Rettig
@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 Add example of white note heads:
+@c In the french baroque some composers used white note heads 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 mainly in 3/2-time. A quarter looks there like a eighth with a white
@c notehead. (Franz-Rudolf Kuhnen)
@end multitable
The example below shows the use of the vector form to control the
@end multitable
The example below shows the use of the vector form to control the
+visibility of bar lines:
@lilypond[quote,verbatim,relative=1,ragged-right]
f4 g a b
@lilypond[quote,verbatim,relative=1,ragged-right]
f4 g a b
@item Feathered beams are addressed in @ref{Feathered beams}.
@item Feathered beams are addressed in @ref{Feathered beams}.
-@item Mensurstriche barlines (barlines between staves only) are
+@item Mensurstriche bar lines (bar lines between staves only) are
addressed in @ref{Grouping staves}.
@end itemize
addressed in @ref{Grouping staves}.
@end itemize
especially common in popular music to use chord diagrams above
a staff of traditional notation. The guitar and the banjo are
transposing instruments, sounding an octave lower than written.
especially common in popular music to use chord diagrams above
a staff of traditional notation. The guitar and the banjo are
transposing instruments, sounding an octave lower than written.
-Scores for these instruments should use the @code{"treble_8"} clef (or
-@code{\transposition c} to get correct MIDI output).
+Scores for these instruments should use the @code{"treble_8"} clef
+(or @code{\transposition c} to get correct MIDI output).
Some other elements pertinent to fretted string instruments
are covered elsewhere:
@itemize
Some other elements pertinent to fretted string instruments
are covered elsewhere:
@itemize
-@item Fingerings are indicated as shown in @ref{Fingering instructions}.
+@item Fingerings are indicated as shown in
+@ref{Fingering instructions}.
@item Instructions for @notation{Laissez vibrer} ties
as well as ties on arpeggios and tremolos can be found in
@item Instructions for @notation{Laissez vibrer} ties
as well as ties on arpeggios and tremolos can be found in
@funindex \tabChordRepetition
@funindex \tabChordRepetition
-Chord constructs can be repeated by the chord repetition symbol @code{q}.
-To use this feature in combination with tablature, @code{\tabChordRepetition}
-is provided. It preserves the string information explicitly given within
-chord constructs so repeated chords get identical tablature representations.
+Chord constructs can be repeated by the chord repetition symbol
+@code{q}. To use this feature in combination with tablature,
+@code{\tabChordRepetition} is provided. It preserves the string
+information explicitly given within chord constructs so repeated chords
+get identical tablature representations.
@lilypond[quote,verbatim]
\tabChordRepetition
@lilypond[quote,verbatim]
\tabChordRepetition
-Other fret diagram properties must be adjusted using @code{\override} when using
-the fret-diagram-terse markup.
+Other fret diagram properties must be adjusted using
+@code{\override} when using the fret-diagram-terse markup.
@cindex fret-diagram-verbose markup
@cindex capo
@cindex fret-diagram-verbose markup
@cindex capo
-All other fret diagram properties must be adjusted using @code{\override}
-when using the fret-diagram-verbose markup.
+All other fret diagram properties must be adjusted using
+@code{\override} when using the fret-diagram-verbose markup.
@ignore
The following example shows the three fret-diagram markup
@ignore
The following example shows the three fret-diagram markup
@funindex fret-diagram-interface
The graphical layout of a fret diagram can be customized according to
@funindex fret-diagram-interface
The graphical layout of a fret diagram can be customized according to
-user preference through the properties of the @code{fret-diagram-interface}.
-Details are found at @rinternals{fret-diagram-interface}. For a fret diagram
+user preference through the properties of the
+@code{fret-diagram-interface}. Details are found at
+@rinternals{fret-diagram-interface}. For a fret diagram
markup, the interface properties belong to @code{Voice.TextScript}.
@snippets
markup, the interface properties belong to @code{Voice.TextScript}.
@snippets
@end lilypond
The graphical layout of a fret diagram can be customized according to
@end lilypond
The graphical layout of a fret diagram can be customized according to
-user preference through the properties of the @code{fret-diagram-interface}.
-Details are found at @rinternals{fret-diagram-interface}. For a
-predefined fret diagram, the interface properties belong to
-@code{FretBoards.FretBoard}.
+user preference through the properties of the
+@code{fret-diagram-interface}. Details are found at
+@rinternals{fret-diagram-interface}. For a predefined fret diagram,
+the interface properties belong to @code{FretBoards.FretBoard}.
an acceptable diagram. This can often be remedied by
manually assigning a note to a string. In many cases, only one
note need be manually placed on a string; the rest of
an acceptable diagram. This can often be remedied by
manually assigning a note to a string. In many cases, only one
note need be manually placed on a string; the rest of
-the notes will then be placed appropriately by the @code{FretBoards}
-context.
+the notes will then be placed appropriately by the
+@code{FretBoards} context.
@cindex fret diagrams, adding fingerings
@cindex fingerings, adding to fret diagrams
@cindex fret diagrams, adding fingerings
@cindex fingerings, adding to fret diagrams
information on the @code{stringTunings} property.
The graphical layout of a fret diagram can be customized according to
information on the @code{stringTunings} property.
The graphical layout of a fret diagram can be customized according to
-user preference through the properties of the @code{fret-diagram-interface}.
-Details are found at @rinternals{fret-diagram-interface}. For a
-@code{FretBoards} fret diagram, the interface properties belong to
+user preference through the properties of the
+@code{fret-diagram-interface}. Details are found at
+@rinternals{fret-diagram-interface}. For a @code{FretBoards} fret
+diagram, the interface properties belong to
@code{FretBoards.FretBoard}.
@code{FretBoards.FretBoard}.
Some performance indications, e.g., @notation{rallentando} or
@notation{accelerando}, are written as text and are extended over
Some performance indications, e.g., @notation{rallentando} or
@notation{accelerando}, are written as text and are extended over
-multiple notes with dotted lines. Such objects, called @qq{spanners},
-may be created from one note to another using the following syntax:
+multiple notes with dotted lines. Such objects, called
+@qq{spanners}, may be created from one note to another using the
+following syntax:
@lilypond[verbatim,quote,relative=2]
\override TextSpanner #'(bound-details left text) = "rit."
@lilypond[verbatim,quote,relative=2]
\override TextSpanner #'(bound-details left text) = "rit."
@cindex syntax, markup
The markup syntax is similar to LilyPond's usual syntax: a
@cindex syntax, markup
The markup syntax is similar to LilyPond's usual syntax: a
-@code{\markup} expression is enclosed in curly braces @code{@{
-@dots{} @}}. A single word is regarded as a minimal expression,
+@code{\markup} expression is enclosed in curly braces
+@code{@{@dots{} @}}. A single word is regarded as a minimal expression,
and therefore does not need to be enclosed with braces.
Unlike simple @qq{quoted text} indications, @code{\markup} blocks may
and therefore does not need to be enclosed with braces.
Unlike simple @qq{quoted text} indications, @code{\markup} blocks may
@noindent
Some objects may have alignment procedures of their own, and therefore
are not affected by these commands. It is possible to move such
@noindent
Some objects may have alignment procedures of their own, and therefore
are not affected by these commands. It is possible to move such
-markup objects as a whole, as shown for instance in @ref{Text marks}.
+markup objects as a whole, as shown for instance in
+@ref{Text marks}.
@cindex text, vertical alignment
@cindex vertical text alignment
@cindex text, vertical alignment
@cindex vertical text alignment
@ref{Rotating objects}.
Three families of text fonts are made available: the @emph{roman}
@ref{Rotating objects}.
Three families of text fonts are made available: the @emph{roman}
-(serif) font, that defaults to New Century Schoolbook, the @emph{sans}
-font and the monospaced @emph{typewriter} font -- these last two
-families are determined by the Pango installation.
+(serif) font, that defaults to New Century Schoolbook, the
+@emph{sans} font and the monospaced @emph{typewriter} font -- these
+last two families are determined by the Pango installation.
Each family may include different shapes and series. The following
example demonstrates the ability to select alternate families, shapes,
Each family may include different shapes and series. The following
example demonstrates the ability to select alternate families, shapes,
@cindex Spacing lyrics
@cindex Lyrics, increasing space between
@cindex Spacing lyrics
@cindex Lyrics, increasing space between
-To increase the spacing between lyrics, set the @code{minimum-distance}
-property of @code{LyricSpace}.
+To increase the spacing between lyrics, set the
+@code{minimum-distance} property of @code{LyricSpace}.
@lilypond[relative=1,verbatim,quote,ragged-right]
{
@lilypond[relative=1,verbatim,quote,ragged-right]
{
Names of singers can also be added. They are printed at the start of
the line, just like instrument names. They are created by setting
Names of singers can also be added. They are printed at the start of
the line, just like instrument names. They are created by setting
-@code{vocalName}. A short version may be entered as @code{shortVocalName}.
+@code{vocalName}. A short version may be entered as
+@code{shortVocalName}.
@lilypond[ragged-right,quote,verbatim,relative=2]
\new Voice {
@lilypond[ragged-right,quote,verbatim,relative=2]
\new Voice {
-The text for the first stanza is set to the melody called @q{lahlah}
-in the usual way, but the second stanza is set initally to the
-@code{lahlah} context and is then switched to the @code{alternative}
-melody for the syllables @q{ran} to @q{sau} by the lines:
+The text for the first stanza is set to the melody called
+@q{lahlah} in the usual way, but the second stanza is set initally
+to the @code{lahlah} context and is then switched to the
+@code{alternative} melody for the syllables @q{ran} to @q{sau} by
+the lines:
@example
\set associatedVoice = "alternative" % applies to "ran"
@example
\set associatedVoice = "alternative" % applies to "ran"
@node Lead sheets
@unnumberedsubsubsec Lead sheets
@node Lead sheets
@unnumberedsubsubsec Lead sheets
-Lead sheets may be printed by combining vocal parts and @q{chord mode};
-this syntax is explained in @ref{Chord notation}.
+Lead sheets may be printed by combining vocal parts and
+@q{chord mode}; this syntax is explained in @ref{Chord notation}.
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
@snippets
@lilypondfile[verbatim,lilyquote,ragged-right,texidoc,doctitle]
@ref{Grouping staves}.
@item
@ref{Grouping staves}.
@item
-Shape noteheads, as used in Sacred Harp and similar notation, are
+Shape note heads, as used in Sacred Harp and similar notation, are
described in @ref{Shape note heads}.
@item
described in @ref{Shape note heads}.
@item
To remove bar lines from just a section of music treat it as a
cadenza. If the section is long you may need to insert dummy
To remove bar lines from just a section of music treat it as a
cadenza. If the section is long you may need to insert dummy
-barlines with @code{\bar ""} to show where the line should break.
+bar lines with @code{\bar ""} to show where the line should break.
@lilypond[verbatim,quote,relative=2]
a4 b c2 |
@lilypond[verbatim,quote,relative=2]
a4 b c2 |
@node Ancient vocal music
@subsection Ancient vocal music
@node Ancient vocal music
@subsection Ancient vocal music
-Ancient vocal music is supported, as explained in @ref{Ancient notation}.
+Ancient vocal music is supported, as explained in
+@ref{Ancient notation}.