On 17.12.2015 03:53, Kieren MacMillan wrote:
Hi Andrew,
Judging by the sheer number of these fonts and the number of professional type
designers who devote sincere effort to making this style, there is a desire in
people to overcome the stiff rigidity of the typical printed letterform.
The o
Kieren MacMillan writes:
> Hi Andrew,
>
>> Judging by the sheer number of these fonts and the number of
>> professional type designers who devote sincere effort to making this
>> style, there is a desire in people to overcome the stiff rigidity of
>> the typical printed letterform.
>
> The overus
Hi,
>
> You might get some use out of the \scaleDegree markup command found here:
> https://github.com/davidnalesnik/lilypond-roman-numeral-tool
>
> It handles altered scale degrees, too.
>
> The \rN command could be used to create note names in the diagram you
> posted.
>
>
In case anybody trie
On Thu, 17 Dec 2015, David Kastrup wrote:
> LilyPond's focus is creating good, readable scores. That's what
> typography is about. Not creating visual artworks. The boundary
Some material on the LilyPond Web site - in particular, the "Essay" -
gives the impression that it *is* about creating vi
Hi David,
David Nalesnik-2 wrote
> From my inspection of the code, though, this seems to be a
> rather bigger enterprise than a modification of OttavaBracket. This
> should
> be tackled in C++, and the code seems awfully convoluted, I can't put the
> time in to figuring it out given such sparse
Some contemporary curves:
https://www.facebook.com/photo.php?fbid=666598190018722&l=cec5b5f1f5
Andrew
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Am 18.12.2015 um 00:46 schrieb Andrew Bernard:
> Some contemporary curves:
>
> https://www.facebook.com/photo.php?fbid=666598190018722&l=cec5b5f1f5
>
>
> Andrew
And - for reference - the example from which I started this thread:
http://notengrafik.com/pdf/examples/Eoetvoes.pdf
Urs
>
>
>
> ___
Hi all,
I created a simple function which helps handle chords when using
\autochange, but although the function works great I get some warning
messages. This is the code:
\version "2.19.32"
autochord = #(define-music-function
(parser location chordDown chordUp)
(ly:music? ly:music?)
Urs and Andrew (and others),
>> Some contemporary curves:
>> https://www.facebook.com/photo.php?fbid=666598190018722&l=cec5b5f1f5
> And - for reference - the example from which I started this thread:
> http://notengrafik.com/pdf/examples/Eoetvoes.pdf
Okay… but what do they mean, and why is their
Most professional typographers regard their work as a very refined art, and
would be disappointed to be regarded as mere drudges producing glyphs that are
just ‘legible’. Typography and fine printing and fine editions are a deeply
appreciated art forms that have centuries of tradition. And think
Am 18.12.2015 um 00:57 schrieb Kieren MacMillan:
> Urs and Andrew (and others),
>
>>> Some contemporary curves:
>>> https://www.facebook.com/photo.php?fbid=666598190018722&l=cec5b5f1f5
>> And - for reference - the example from which I started this thread:
>> http://notengrafik.com/pdf/examples/Eo
I am starting to think there are two general classes of musicians, the
functionalists, and the aestheticists. For the first group, all the matters is
the sound output, and the notated input should be considered purely a means to
that end, conveyed with the most efficiency, and essentially irrele
>"LilyPond's focus is creating good, readable scores. That's what
typography is about. Not creating visual artworks. The boundary
conditions for bulk manufacturing work (like engraving once was) are not
that dissimilar: skilled and effective workers are not the same as
artists. Typography is ab
Hi all,
> I am starting to think there are two general classes of musicians, the
> functionalists, and the aestheticists.
> […] I suspect these groupings may be mutually exclusive!
I think a binary view like that is limiting, and in general unhelpful.
I, for one, take great care to make sure th
Hi Matthew,
> Some material on the LilyPond Web site - in particular, the "Essay" -
> gives the impression that it *is* about creating visual artworks.
I just read through the Essay in its entirety, and found nothing which suggests
to me that Lilypond ever sacrifices clarity or functionality for
Hi David,
> curved beams are an area where there's a lot to lose and little to gain.
It would be nearly impossible to put the point more succinctly than that.
Thanks,
Kieren.
Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacm
Hi Simon,
> Comic Sans being a particularly offputting example, amongst many nice and
> better fonts.
Which is precisely why I chose it. =)
Best,
Kieren.
Kieren MacMillan, composer
‣ website: www.kierenmacmillan.info
‣ email: i...@kierenmacmillan.info
__
On Thu, 17 Dec 2015, Kieren MacMillan wrote:
> I just read through the Essay in its entirety, and found nothing which
> suggests to me that Lilypond ever sacrifices clarity or functionality
> for "visual artistry”.
That is not what I said.
A focus on creating beautiful output does not imply "sacr
Hi Matthew,
http://lilypond.org/background.html states, as the very first line summarising
the Essay:
We have an extensive essay describing computational aesthetics: the art of
creating beauty with a computer.
Newcomers could therefore be forgiven for getting the impression that the
foremost e
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