On 4 Feb 2009, at 16:44, Valentin Villenave wrote:
After one week of this (BTW, there's an English phrase "eating
your own dog food"; I'm not certain if it translates into other
languages :), I'll begin another round of GOP recruitment.
What is with you guys and dog food? There's also this phr
On 6 Feb 2009, at 23:00, Anthony W. Youngman wrote:
I was surprised recently to discover how FEW rules it takes to
pronounce English words. Given that the average person has a 20,000
word vocabulary, it apparently only takes about 30 or 40 rules for a
computer speech program to *correctly*
On 3 Apr 2009, at 19:20, Anthony W. Youngman wrote:
If anybody can improve on those entries I'm all ears, otherwise can
somebody update the glossary? For the most part, I've just been far
more pedantic, but the existing bit about the trombone is, I'm
sorry, just plain wrong!
I think a pro
On 3 Apr 2009, at 19:20, Anthony W. Youngman wrote:
1.311 transposing instrument
..., the speed of sound in air is 343m/s,...
This is only true at about 19.6℃ (degrees Celsius):
The temperature of the air in the human blown instrument is higher,
clearly. If I quickly measure my flute with
On 5 Apr 2009, at 20:15, Mats Bengtsson wrote:
A flute playing friend of mine once demonstrated what happens if you
drink a bear just before you play and all of a sudden a burp
increases the proportion of carbon dioxide in the breathing air
significantly, resulting in a much lower pitch.
On 5 Apr 2009, at 20:48, wrote:
Dont have the OED handy, this library is very small and lacks a
copy, but
the dictionary in my mac and the larger one from the shelf both give
narrow definitions for the entry 'concert pitch', eg, a=440,
internationally agreed on, the pitch at which orchestral
On 5 Apr 2009, at 23:12, Anthony W. Youngman wrote:
Okay, we've got more feedback (isn't this fun :-).
You might have fun for a life-time! :-)
I'll try and do it again, following on from the comment that the
existing (and my replacement) entries actually try to cram too much
into the entr
On 6 Apr 2009, at 00:11, Hans Aberg wrote:
Depending on the design of the instrument, some instruments have a
lowest (pedal) note whose wavelength is twice the length of the
instrument and can play all harmonics thereof (1/2, 2/2, 3/2...),
while others have a pedal note whose wavelength is
On 7 Apr 2009, at 08:18, Peter Chubb wrote:
Here's my rough try at the three entries:
Concert Pitch:
Notes like a, b, c etc., describe a relationship between themselves,
not an absolute pitch. The nature of the relationship is the
so-called temperament (q.v.). To be in tune, a group instrumen
On 7 Apr 2009, at 18:37, > wrote:
it is transposed twice in opposite
directions: first by the composer who writes the sheet music
actually, the composer usually scribbles all the music in score at
pitch
and leaves part copying (with appropraite transpositions) to a
specialist
who has a g
On 9 Apr 2009, at 06:04, Han-Wen Nienhuys wrote:
Programming standards for LilyPond call for avoiding the tab
character.
We're free to choose whatever programming conventions we want for
our source
code.
I don't think it is a standard, but I would not mind making it a
standard.
Some ye
On 2 Jun 2009, at 01:29, Peter Chubb wrote:
I've put up a page on how to get more realistic sounding MIDI output
from current LilyPond, along with the scripts and scheme code used,
at
http://www.nicta.com.au/people/chubbp/articulate
(Isn't there a timing problem at the second triplet?)
On 3 Jun 2009, at 00:16, Peter Chubb wrote:
Hans> (Isn't there a timing problem at the second triplet?)
There is --- it's to do the gruppetto at the end of the trill, that
seems to interfere with the first note of the triplet in the MIDI
output. It's not something I can fix with articulate.
On 24 Jun 2009, at 15:47, Carl D. Sorensen wrote:
About 10 weeks ago I proposed a new architecture for autobeaming
rules,
which placed all the rules in a single nested alist, with one entry
per time
signature.
To me that sounds as though the time signature selects the meter,
which barely
On 24 Jun 2009, at 21:03, Carl D. Sorensen wrote:
I'm not sure I understand all of your points. With the new changes,
it is
possible to define any grouping you want to define within a time
signature.
Thus, if you want to have 2/8 + 3/8 +2 8 = 7/8, it is trivial to get
(2 3 2)
grouping f
On 24 Jun 2009, at 23:13, Graham Percival wrote:
Carl is asking about the programming internals, not the end-user
input syntax.
Sure, but if the time signature is used as key, the worry is that the
user interface may already have been locked up.
Hans
_
On 18 Jul 2009, at 04:21, Mark Polesky wrote:
The
copyright symbol “©” can be included if you wish (and your character
set
supports it), but it's not necessary. There is no legal significance
to
using the three-character sequence “(C)”, although it does no harm.
There is nowadays no legal
On 18 Jul 2009, at 22:07, Graham Percival wrote:
The
copyright symbol “©” can be included if you wish (and your
character set
supports it), but it's not necessary. There is no legal
significance to
using the three-character sequence “(C)”, although it does no harm.
There is nowadays no le
On 18 Jul 2009, at 22:07, Graham Percival wrote:
That said, in some jurisdictions you can get higher damages if
you've included a "Copyright 20xx by blah".
There was an interesting example given about UK copyright law:
If somebody writes a letter to the Queen, she becomes the owner of
that
On 19 Jul 2009, at 19:52, > wrote:
ask them to provide proof that you were the
clicker.
can we afford to pay the legal fees associated with the asking of that
question in court?
Only in fair justice systems...
Why waste time debateing? find a willing tadpole and turn them loose.
...ther
On 25 Jul 2009, at 19:39, Patrick McCarty wrote:
One thing you could do right now, without awaiting approval, is to
check for lines that have tabs *after* spaces at the beginning. These
should be converted to tabs *followed* by spaces.
This is not correct, as if tabs are set to 8 spaces, 2 sp
On 8 Sep 2009, at 02:42, Joe Neeman wrote:
If you meant ghostscript in particular, then I guess we'll have to
stay with ghostscript <8.70 for now.
We don't link to ghostscript -- we merely call the command line
program
-- so the GPL doesn't apply.
I think that copyright only applies to ho
On 8 Sep 2009, at 14:33, Han-Wen Nienhuys wrote:
I think that copyright only applies to how it is redistributed, and
not how
it is used. Mac OS X LilyPond has a gs in its distribution. So its
GPL
version will apply to that part when (re-)distribution. So you need
to make
sure that when you
On 8 Sep 2009, at 15:06, Jan Nieuwenhuizen wrote:
Can you please read the GNU GPL before spreading too much nonsense?
I have now looked through it, and found nothing of it. So you will
have to clarify.
Hans
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On 8 Sep 2009, at 15:06, Jan Nieuwenhuizen wrote:
On 8 Sep 2009, at 02:42, Joe Neeman wrote:
I think that copyright only applies to how it is redistributed
Almost, copyright is about copying.
Quote?
So its GPL version will apply
No, it does not, as Joe pointed out.
Can you please read
On 8 Sep 2009, at 16:51, Reinhold Kainhofer wrote:
Can you please read the GNU GPL before spreading too much nonsense?
It is not about the GPL, but the WIPO copyright treaty, and copyright
law. The GPL cannot override that.
gs is GPL v3+, so anything that links to it has to be compatible to
On 9 Sep 2009, at 18:04, Joseph Wakeling wrote:
In addressing this there are several policies that can be put in
place NOW:
(1) All new files added to the code or docs must contain an
unambiguous copyright AND licensing notice: I suggest in this
case GPLv2 or later for code, and
On 9 Sep 2009, at 20:30, Joseph Wakeling wrote:
I think that the formulation should be "GPL, v2 or latest", because
otherwise those that want to redistribute the code can choose which
version, which is not the intent - v3 is in fact more restrictive
with
respect to tivoization. Only one GPL s
On 9 Sep 2009, at 22:37, Joseph Wakeling wrote:
You might check with the GNUers if it is the intention. It means that
sources can be tivoized, even in the face of the new v3.
It's GPLv2, and not the 'or later', that allows for tivoization ...
Right. Do you want v2 to applicable by a re-distr
On 9 Sep 2009, at 23:14, Joseph Wakeling wrote:
As long as you use "or later", tivoization and other new
restriction in v3 is allowed.
No, as long as you use _GPLv2_, whether it's GPLv2 or later or GPLv2
and
only GPLv2, tivoization is possible. 'GPLv3 or later' would not allow
tivoization
On 10 Sep 2009, at 08:35, Anthony W. Youngman wrote:
"Or later" will admit later restrictions, "or latest" will impose
them quietly on old sources.
BINGO!
And this is EXACTLY the problem with your suggestion. You are
RETROACTIVELY CHANGING THE LICENCE!
As has been pointed out elsewhere,
On 10 Sep 2009, at 09:42, Reinhold Kainhofer wrote:
Am Donnerstag, 10. September 2009 09:30:57 schrieb Hans Aberg:
I'm not a lawyer, but if I came across "v2 or latest" wording, my
advice would be to treat it as "v2 only" because to do anything else
IS TOO DANGEROUS
On 10 Sep 2009, at 11:20, Anthony W. Youngman wrote:
You can't simply go around and change licenses, unless you are the
copyright
holder!
But you are the copyright owner of the LilyPond code.
Copyright belongs to the person who wrote the code (sometimes).
Unless explicitly signed over to
On 10 Sep 2009, at 14:46, Joseph Wakeling wrote:
In GNU projects, the normal thing is that contributors sign a paper
which is sent in to GNU that they donate the code to GNU.
Nope.
"For a program to be GNU software does not require transferring
copyright to the FSF; that is a separate que
On 12 Nov 2009, at 12:34, Francisco Vila wrote:
The attached LY file was created in Windows Notepad, saved in UTF-8
encoding, and I compiled it on Linux with no errors or warnings.
Do you see an error message when compiling this file? If so, can you
post the error?
I'm afraid I cannot reprod
On 12 Nov 2009, at 15:22, David Kastrup wrote:
On Mac OS X 10.5.8, I can see it using 'less'; it looks like:
\version "2.12.1"
{ c }
But emacs 23.1.1 does not show it at all.
C-h C RET RET
gives
Coding system for saving this buffer:
U -- utf-8-with-signature-unix
Notice the "with-signatu
On 13 Nov 2009, at 02:27, Patrick McCarty wrote:
Please keep on touch
until I get a sample again from one of my students.
Perhaps they created it in another encoding, and the filled the file
with UTF-8?
No, I just used Windows Notepad (on Windows XP) to create the file,
and saved it with UTF
On 13 Nov 2009, at 10:08, Bertalan Fodor (LilyPondTool) wrote:
I think changing the LilyPond parser to support BOM in the middle
(ie not at the beginning) of the file is very hard. Actually if it
is not at the beginning, then it should be treated as a regular
character, which might not be p
o to follow that suggestion, that error-code should be removed, if
you now want to admit BOMs.
Hans
Hans Aberg wrote:
On 13 Nov 2009, at 10:08, Bertalan Fodor (LilyPondTool) wrote:
I think changing the LilyPond parser to support BOM in the middle
(ie not at the beginning) of the file i
On 13 Nov 2009, at 12:25, Bertalan Fodor (LilyPondTool) wrote:
{BOM_UTF8}/.* {
if (this->lexloc->line_number () != 1 || this->lexloc->column_number
() != 0)
{
LexerError (_ ("stray UTF-8 BOM encountered").c_str ());
exit (1);
Also, the conditions and the stuff following might possibl
On 19 Nov 2009, at 00:41, Patrick McCarty wrote:
Also, the conditions and the stuff following might possibly be
removed. Something like:
{BOM_UTF8} {}
or
{BOM_UTF8}+ {}
If a language always zips out spaces, one can have rules:
[ \f\r\t\v]+ {}
\n+ { \* Maybe action here counting lin
On 19 Nov 2009, at 11:14, Francisco Vila wrote:
I think that it was changed. If the BOM is only allowed in the
beginning of
the file, it becomes a state-dependent character. For example, if one
includes two files verbatim in another, then the BOMs will no
longer be in
the beginning of the c
On 19 Nov 2009, at 13:28, Hans Aberg wrote:
One can also use pipes and RPC - files can be made looking like
streams and vice versa.
Sorry, it should be IPC - interprocess communications. Though RPC -
remote process call - is a type of IPC. :-)
Hans
On 29 Dec 2009, at 03:11, Carl Sorensen wrote:
Does this seem like a feasible architecture?
I think a system that determines the measure from the time signature
is fundamentally flawed. I think n terms of a \meter that can be used
to define the beaming structure. I substructure of that is
On 29 Dec 2009, at 22:00, Carl Sorensen wrote:
Does this seem like a feasible architecture?
I think a system that determines the [meter] from the time signature
is fundamentally flawed. I think in terms of a \meter that can be
used
to define the beaming structure. I substructure of that is
On 30 Dec 2009, at 00:17, Carl Sorensen wrote:
I find the current LilyPond structure hard to cope with when wanting
subbeaming.
Yes, right now there is no sound method for dealing with subbeaming
(or beam
subdivision, as I think it's called). I hope to fix that.
That would be good. I thi
On 30 Dec 2009, at 12:27, David Kastrup wrote:
Hans Aberg writes:
Take tuplets. If there are quintuplets, then it should be a 5' unless
specified as typically 2'+3' or 3'+2'.
For sextuplets, there is a convention that the should be in 3, so
there is an implicit rul
On 30 Dec 2009, at 12:53, Reinhold Kainhofer wrote:
Am Mittwoch, 30. Dezember 2009 12:27:25 schrieb David Kastrup:
Hans Aberg writes:
Take tuplets. If there are quintuplets, then it should be a 5'
unless
specified as typically 2'+3' or 3'+2'.
For sextuplets, there
On 19 Jan 2010, at 15:27, Francisco Vila wrote:
Is there a difference between `make' and `make all'?
No. Where does the convention that all is the default target come
from,
by the way? Is it a GNU standard?
After reading the manuals of GNU make, I am confused. GNU software
should have
On 3 Feb 2010, at 12:51, Trevor Daniels wrote:
Currently, notation/world.itely mixes 'maqam' / 'maqams' and
'makam' /
'makamlar'. Is this correct for Arabic/Turkish respectively, or
should
it be unified?
Seems like "maqam" is Arabic and "makam" is Turkish.
See http://en.wikipedia.org/wiki
There is a description of Turkish notation systems in this paper by
Ozan Yarman:
http://www.musicstudies.org/Abjad_JIMS_071203.pdf
Hans
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On 7 Feb 2010, at 04:51, Michael J. O'Donnell wrote:
I *think* that I have the essential solution to include a file exactly
once, no matter how many times it is mentioned. That is, with the
following definition,
\includeIfAbsent "MyFile.ly"
should copy in MyFile.ly, just as though you had w
On 11 Feb 2010, at 05:32, Carl Sorensen wrote:
I have been hunting, so far in vain, for the code implementing
\include,
in the hope that I can tweak that code to get the right behavior.
It appears to me that \include is implemented in two places:
1) lily/lexer.ll, lines 304-336
2) lily/lil
On 11 Feb 2010, at 18:18, Michael J. O'Donnell wrote:
At present, I am seeking an add-on solution, involving a definition
that
I can put in a utility file to include. I think I am near finding
that.
I am not ready to hack the lexical analyzer, and I think that should
be
pondered carefully,
On 22 Feb 2010, at 04:26, Graham Percival wrote:
see the german wikipedia
http://de.wikipedia.org/wiki/LilyPond
too bad it's under dispute.
Is it? I don't see such a remark. It is only stated that the
picture
shows copyrighted material which can only be cited legally as a very
smal
On 22 Feb 2010, at 11:50, Graham Percival wrote:
That said, I can't see how using that exerpt could possibly
qualify under Canada's "fair dealing" provisions in the copyright
act. Distributing that de.wikipedia.org page in Canada would thus
constitute an infringement of copyright.
Since it is
On 22 Feb 2010, at 13:32, Johannes Schindelin wrote:
I repeat: there is no way that our use of Stockhausen would
qualify as
"fair dealing" under Canadian copyright law. I cannot speak to
copyright law in Germany, Sweden, or other jurisdictions.
So what makes you so sure. Is that what a copy
On 22 Feb 2010, at 15:26, Graham Percival wrote:
"The fair dealing clauses[1] of the Canadian Copyright Act allow
users
to engage in certain activities relating to research, private study,
criticism, review, or news reporting."
Read it yourself. Does the use affect the market of the original
On 23 Feb 2010, at 02:15, Graham Percival wrote:
You have the law here:
http://laws.justice.gc.ca/eng/C-42/page-3.html#anchorbo-ga:l_III-
gb:s_29
...
How seriously have you read the act?
So I have at least checked the relevant section.
Unless the government of Canada webservers are giving
On 23 Feb 2010, at 03:08, Reinhold Kainhofer wrote:
Sorry, guys, but isn't this discussion drifting into the wrong
direction? The
original post was about the GERMAN wikipedia example, so I don't see
where
Canadian copyright law comes into play.
He is worrying about what happens when he vie
RMS says he thinks it is better using artificial examples, not risking
a lawsuit when it is so easy to avoid and still have good results.
Hans
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On 7 Mar 2010, at 08:12, James Bailey wrote:
Currently, the instructions on getting LilyPond up and running in a
terminal on mac osx have the user create a script which calls the
lilypond application, and then add the location of the script to the
$PATH. Is there any advantage of this over
On 7 Mar 2010, at 12:30, Graham Percival wrote:
But one could add /usr/local/bin/ before the
Lilypond directory. In addition, I have paths to MacPorts /opt/, Fink
/sw/, and TeX-Live /usr/local/texlive/ TeX.
LilyPond seems fairly up-to-date, so it might be added after before
or
after MacPorts
On 9 Mar 2010, at 11:59, James Lowe wrote:
Currently, the instructions on getting LilyPond up and running in
a terminal on mac osx have the user create a script which calls
the lilypond application, and then add the location of the script
to the $PATH. Is there any advantage of this over ju
On 9 Mar 2010, at 22:23, Graham Percival wrote:
Among the resources the LilyPond Application adds are some UNIX
programs
it uses. The idea is to get the right versions. In fact it doesn't:
guile
will call the stuff /usr/local/ even if LilyPond has its own stuff.
That's a bug.
I don't expe
On 15 Mar 2010, at 19:50, Trevor Daniels wrote:
... your emails with unicode
included don't render properly on my email client.
Nor mine. ...
Might a Unicode font be amiss, like Code2001, Euterpe or Musical
Symbols?
Hans
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On 15 Mar 2010, at 20:21, Carl Sorensen wrote:
... your emails with unicode
included don't render properly on my email client.
Nor mine. ...
Might a Unicode font be amiss, like Code2001, Euterpe or Musical
Symbols
Yes, they might. And that's exactly my point
I don't want to have any
On 2 Jul 2010, at 16:22, Carl Sorensen wrote:
I'm trying to redo auto-beaming so that it matches better with what
I read
in the literature. When I get it done, I hope to have it set up so
that the
default properties do the right thing, and all we have to do is define
exceptions. Working in
On 2 Jul 2010, at 23:11, Carl Sorensen wrote:
By CPP, do you mean Common Practice Period, i.e. western European
Baroque,
Classical, and Romantic?
Yes, it is sort of practical when discussing music; used a lot in
rec.music.theory.
For other types of music, one would like to depart from t
On 3 Jul 2010, at 01:04, Carl Sorensen wrote:
If I throw in tuplets in this AST, setting them to 1:1, I get:
+
|
(1:1, [(2, 1/8), (3, 1/8), +, (3, 1/8)])
|
(1:1, [(2, 1/8), ((3, 1/8), (2, 1/8)])
That is, the tuplet p:q just appears a
On 3 Jul 2010, at 12:37, Carl Sorensen wrote:
If I throw in tuplets in this AST, setting them to 1:1, I get:
+
|
(1:1, [(2, 1/8), (3, 1/8), +, (3, 1/8)])
|
(1:1, [(2, 1/8), ((3, 1/8), (2, 1/8)])
That is, the tuplet p:q just appears as a
On 3 Jul 2010, at 12:37, Carl Sorensen wrote:
Can you give me a specific example of beaming where the tuplets
would be
necessary?
The meter mentioned before, 12 = 3+2+2+3+2 with quadruplets, is very
popular in the historical region of Macedonia, on both the Macedonian
and the Greek side
On 3 Jul 2010, at 20:20, Carl Sorensen wrote:
The meter mentioned before, 12 = 3+2+2+3+2 with quadruplets, is very
popular in the historical region of Macedonia, on both the Macedonian
and the Greek side (though a lot seems to play it in 16 = 4+2+3+4+3).
There is a music example here, listening
On 2 Jul 2010, at 23:11, Carl Sorensen wrote:
In your earlier email (which I didn't understand before, but I think I
figured it out now), you proposed a working notation with '
indicating "in
one". But then every specific proposal you wrote used ', so I
wasn't able
to understand the differ
On 3 Jul 2010, at 00:55, Hans Aberg wrote:
On 2 Jul 2010, at 23:11, Carl Sorensen wrote:
In your earlier email (which I didn't understand before, but I
think I
figured it out now), you proposed a working notation with '
indicating "in
one". But then every specific pro
On 9 Jul 2010, at 06:24, Carl Sorensen wrote:
I've got a draft of accordion push and pull symbols. Please let me
know
what you think of them.
There is a variation of symbols. Blatter suggests using arrows: <-
above a notehead for open, -> for close, and <-> with the arrowheads
above two
I made an algorithm that computes accidentals on the algebraic level:
the notes of the scales of staff and music are defined by linear
combinations from a set of formal seconds. The typesetting is
independent of the tuning system: the pitches are found by plugging
values into these seconds,
On 20 Sep 2010, at 00:50, Joseph Wakeling wrote:
Hence why I say that the issue of effective microtonal support still
requires action at the code level, and is not simply a matter of
better
documentation ... :-(
I made a post about this issue last week, but there were no responses.
http://
On 20 Sep 2010, at 12:08, Joseph Wakeling wrote:
Hence why I say that the issue of effective microtonal support still
requires action at the code level, and is not simply a matter of
better
documentation ... :-(
I made a post about this issue last week, but there were no
responses.
http
On 20 Sep 2010, at 14:48, Joseph Wakeling wrote:
I saw the post but was not sure quite how to interpret it.
I expected someone to ask for details. In the past, I discussed
part of
it with Graham Breed, who did some LilyPond microtonal
implementation,
but perhaps he is not working on it an
On 20 Sep 2010, at 18:08, Joseph Wakeling wrote:
One scan should be fine. The first step is to convince people that
the representation needs to be extended, and Stone should be
sufficient for that. The next step is for somebody actually code it.
Sure. I'll try and follow up with Hans separa
On 20 Sep 2010, at 18:00, Wols Lists wrote:
As a related issue, have you considered how (different kinds of)
transposition would be handled in your pitch scheme?
This is much simpler: the linear combinations are vectors that you
just add. For example, if a, b, c, ... are represented by 0, M,
On 21 Sep 2010, at 11:46, Joseph Wakeling wrote:
A sharp is M-m and a flat m-M.
If I understand right, this is a key "trick" of your system, since
such
representations allow you to raise or lower the pitch without
affecting
the degree.
Yes - accidentals do not affect the degree: they ar
On 21 Sep 2010, at 14:16, Carl Sorensen wrote:
A sharp is M-m and a flat m-M.
If I understand right, this is a key "trick" of your system, since
such
representations allow you to raise or lower the pitch without
affecting
the degree.
So by extension, if we say that q is a quarter-tone, t
On 21 Sep 2010, at 16:05, Joseph Wakeling wrote:
Yes - accidentals do not affect the degree: they are of degree
zero. One
can add notes and intervals on this abstract level, and the degrees
add
as well. In mathematics, a function f is called a homomorphism (of
abelian groups) when f(0) = 0,
On 21 Sep 2010, at 14:16, Carl Sorensen wrote:
It seems to me that the pitches natural+1/4 and sharp - 1/4 are the
same
pitch (i.e. enharmonic equivalents) and that it is appropriate to have
either one represent the same pitch.
Arab music uses E24 quarter-tone accidentals, though the actual
On 21 Sep 2010, at 16:52, Carl Sorensen wrote:
Here are scans from the relevant section of Stone's book. It
explicitly
*says* that natural+1/4 and sharp-1/4 are enharmonic equivalents,
and that
the notation for those pitches must be chosen with care.
Another interpretation might be slight
On 21 Sep 2010, at 21:31, Benkő Pál wrote:
In algebraic terms, choose a neutral n between m and M. The total
pitch
system will be i m + j M + k n, where i, j, k are integers. But the
staff
system only has the pitches i' m + j' M. When taking the difference
with the
staff note, reducing the
On 22 Sep 2010, at 08:18, Benkő Pál wrote:
In algebraic terms, choose a neutral n between m and M. The total
pitch
system will be i m + j M + k n, where i, j, k are integers. But
the staff
system only has the pitches i' m + j' M. When taking the
difference with
the
staff note, reducing the
On 22 Sep 2010, at 08:18, Benkő Pál wrote:
I didn't mean to replace the whole of your system
by d and a, only M and m. similarly to your P5-P8 example,
(1 0)(d) = (M)
(1 -1)(a) (m)
But it becomes complicated when adding pitches. If one has seconds
s_1, ...,
s_k, then there is an accidenta
On 27 Oct 2010, at 14:53, v.villen...@gmail.com wrote:
I think it's best if we treat non-Western stuff as "notations and
tunings" rather than just "note names". Here's a new patch set,
please
have a look.
As it now stands in the manual, it looks out of context to me. So it
should be chan
On 27 Oct 2010, at 19:41, tdanielsmu...@googlemail.com wrote:
A few editorial suggestions ... some apply to other similar instances,
which I've not marked.
The description of Turkish music is rather cursory: there are several
descriptions. See for example Ozan Yarman, "A Comparative Evaluati
On 28 Oct 2010, at 00:20, Valentin Villenave wrote:
Just mentioning it. When LilyPond expand being capable of handling
more
music outside CPP, there might be more such details [popping] up.
(no comment)
Sorry, a typo. :-)
Hans, you always have very interesting things to say on these
subj
On 28 Oct 2010, at 01:01, tdanielsmu...@googlemail.com wrote:
http://codereview.appspot.com/2755041/diff/22001/Documentation/notation/pitches.itely
File Documentation/notation/pitches.itely (right):
http://codereview.appspot.com/2755041/diff/22001/Documentation/notation/pitches.itely#newcode588
On 28 Oct 2010, at 06:03, percival.music...@gmail.com wrote:
http://codereview.appspot.com/2755041/diff/22001/Documentation/notation/pitches.itely#newcode41
Documentation/notation/pitches.itely:41: * Non-Western notations and
tunings::
WTM is "notations" ?
You might use "notation and tuning s
On 6 Nov 2010, at 03:33, Erich Enke wrote:
I just happened across a Sept 2010 post on lilypond-devel regarding
microtones. It reminded me how I've been wanting to work on Byzantine
notation support for lilypond. I would love to have a tool that could
actually transcribe between western and By
On 6 Nov 2010, at 03:33, Erich Enke wrote:
I just happened across a Sept 2010 post on lilypond-devel regarding
microtones. It reminded me how I've been wanting to work on Byzantine
notation support for lilypond. I would love to have a tool that could
actually transcribe between western and Byz
On 11 Nov 2010, at 18:47, Erich Enke wrote:
If you like, you might start using staff notation alone: there are
similar
scales in oriental (Persian/Arab/Turkish) music. One then
introduces some
microtonal accidentals.
I have looked through some Byzantine scales, and can see more or
less ho
On 11 Nov 2010, at 18:47, Erich Enke wrote:
Thank you for the pointers. Since translation to Western notation
remains a goal of mine, it would make sense to develop the staff
notation. The responses were encouraging enough that I'll begin
looking into implementing this in lilypond.
I have ha
On 30 Dec 2010, at 23:16, Felipe Gonçalves Assis wrote:
1. How should we represent alterations?
It is clear to me that the most general representation would be as
a list of integers of arbitrary length (see sections 1 and 2 of the
attachment).
I made a proposal for a representation, and there
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