All music in Carnatic Classical music is written in solfege. Not sure if this
is an example of what you are talking about. Plus there is no specific
standard, but rather a bunch of different conventions. And the
ornamentations are left to the performer and not specifically written.
Timing is handled - all solfeges are quarter notes, a comma extends it to a
half note, and a semicolon extends it by one note. Eighth, sixteenth, etc
notes are obtained by adding one or more underlines to the solfege. Measures
are seperated by vertical bars, with dotted bars used for sub-measures.
If we were to use the solfege {sa ri ga ma pa da ni} for {c d e f g a b},
then c4 d2 e1 would be written sa ri, ga,; where sa is a c4, "ri," is d2
and "ga,;" is e1. The same three notes with an underline covering all three
notes would be - c8 d4 e2. With two underlines, c16 d8 e4 and so on. "ga;"
would be e2. (dotted note).
Also, the solfeges are in lilypond terms absolute, with the higher octaves
represented with a dot on top of the solfeges and the lower octaves with a
dot below. Another complication is that the solfege frequencies are only
fixed relative to each other.
I essentially use a combination of programs to get the solfege to lilypond
format. Depending on the accuracy of the original writers of the solfeges,
the results are not bad.
There are 72 key signatures, and I ended up defining these in lilypond
itself.
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