On Dec 6, 2009, at 7:18 PM, "Ian Hulin" <i...@hulin.org.uk> wrote:
> Carl, Trevor, > > You've discussed the overloading of 'string' in Scheme and what > variable > name to use, and looked at Dana's suggestion of using 'course' but did > you consider the other important point Dana made? I think so. That's why I suggested a list of (string or markup), which I think is completely general. At that point the user can select any glyph from any font available. The possibility of adding the afm-type info that Dana talked about is a separate patch, because it applies to all markups. Is there something else you were thinking of? Thanks, Carl > > dem...@suffolk.lib.ny.us wrote: >> <snip> >>> Hhm, I'm not so sure about this. I had envisaged changing >>> only the c to r, leaving all letters beyond c to default. >> >> I don't understand this insistance on misreading gamma as r. It >> was not >> written as gamma, the letterform used was always understood as >> 'c'. It >> should be read today as c, and is most logically encoded as c. >> Yes, naive >> musicologists and new players might take a while to get used to the >> idea, >> but no experienced player reads gamma as 'r' to my knowledge. Go >> this way >> and you make a nightmare for possible analytical use of music thus >> encoded. >> >> Let the choice of font display a glyph in the proper shape. Provide >> the >> user with a way to display arbitrary glyphs and ligatures for each >> encoded >> 'stop'. This will be useful for bass stops (/a /b /c... //a // >> b //c, >> ///a) and essential for german tab should we go there. >> >> It would be wrong to presume the encoding of the font. The need for >> glyphs beyond what is used in prose makes necessary special fonts >> whose >> encoding has no standard. >> >> afm-like information in external files keyed by name to their >> relevant >> font would be my suggestion for that. >> >>> Although if i not j is a general rule >> >> I have generally seen i used in preference to j, but I have seen >> both in >> the same document albeit this was german tab (same semantic). Note >> that >> that edition had large pages and lots of staves, it must have been a >> challenge to find enough sorts to set the amount of type on each >> page, >> several sizes and flavors of each sort were also used interchangeably >> (both tall and short s for example). >> >> J Wolf Handbuck der Notationskunde (2vv, ca 1926) and Apel >> _Notation of >> Polyphonic Music 900-1600_ are the two standard references. Groves >> Dictionary of Music and Musicians (22vv or 26vv edition) >> 'Tabulature' is a >> lengthy article also worth having a copy of. >> >> -- >> Dana Emery > > Cheers, > Ian _______________________________________________ lilypond-devel mailing list lilypond-devel@gnu.org http://lists.gnu.org/mailman/listinfo/lilypond-devel
