On 08/09/12 16:10, Han-Wen Nienhuys wrote:
I have in the past talked with people from Henle; also, Schirmer has a
style guide that you can order as a book.
How far in the past are we talking about? (Just for clarity.)
My overall impression is that they are primarily interested in:
* Strict adherence to their publisher style
* Delivering printed parts on a low budget.
Once the edition is printed, there is little reason to keep the files
around, and in some cases (due to editing PS output), it's not useful
at all. Music publishers (at least a few years ago) are still very
much focused on putting ink on dead trees in large quantities in the
most uniform and cost-efficient way possible, a business model which
makes ever less sense in the digital age.
But that's great news for Lilypond, because it suggests that publishers are
completely agnostic about software choices so long as their (visual) stylistic
requirements are met.
It suggests that two very productive lines of work for Lilypond would be making
it easy to implement publisher styles, and making sure that they are indeed
implemented for several of the major publishers.
This is something that's interesting to think of in terms of Janek's work
reproducing an old hand-engraved Bärenreiter score:
http://news.lilynet.net/?The-LilyPond-Report-26#lilypond_output_analysis
... as it's quite revealing about what aspects of Lilypond engraving can be
tweaked easily, what engraving details need to be "coupled" so that they are
changed in proportion to one another, and what small aspects of placement can be
problematic when implementing a non-default style.
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