[TeX-music] dead link on TeX-music
Hi Christian Thanks a lot for your work on the new server for the TeX-music archive. Trying out downloading some scores I found that the link to Domenico Gabrielli's "Balletti" seams to be a dead one. Only the gif file works. regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
[TeX-music] sunsite down?
I can't connect to sunsite.dk any more (http/ftp/ping) since yestersay evening. Is is down or is this a problem of my network config? regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
[TeX-music] midi-wave
hello all This is not really a TeX-music question, but anyhow maybe someone of you out there knows an answer: Are there programs available for generating sound files in wave (.wav) format from midi-files? thanks Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Gzip revisited
The nice thing about gzip is that it can be used as a filter, seamlessly compressing or uncompressing things, unimportant where the data comes from and where it goes to, since it uses stdin and stdout in its filter mode. With zip that's not possible to my knowledge. I prefer using gzip (being a unix user). Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Vertival space in musixlyr
Hello all
> My problem is that lyrics are jumping up and down (I think it is
> because of lack of vertical space)
>
> Maybe there is some global setting that has influence on it. Can
> somebody help me with this?
I've got a similar problem with musixlyr.
PMXing the file to be found below (pmx2.30, musixtex T.102) yields moved
up lyrics in the bass stave. This happens always to the lowest of multiple
staves and only if there is more than one line per page (as can be
verified by adding a lower stave to the excerpt or cutting it down to only
four bars within one line).
Does anyone of you know where this could come from?
thanks in advance
Bernhard
PS: depending on the mailing program the lines containing \\\setlyrics...
could be screwed up. Everything from \\\setlyrics to the corresponding
trailing backslash should be within one line. Otherwise PMX will refuse to
work.
- pmx source ---
---
\input musixtex
\sepbarrules
\input pmx
\input musixlyr
\def\eM{\endmel}
\def\bM{\beginmel}
\def\Nl{\nolyr}
---
% nv, noinst, mtrnuml, mtrdenl, mtrnmp, mtrdnp, xmtrnum0, isig
6 6 323 2 0 -1
% npages, nsyst, musicsize, fracindent
1 2 16 0.1
Bassus
Tenor
Altus II
Altus I
Superius II
Superius I
bt
./
AI0.95
\\settrebleclefsymbol{2}\treblelowoct\
\\\setlyrics{11}{Tan-tum er-go sa-cra-men-tum, sa-cra-men-tum}\
\\\setlyrics{12}{Tan-tum er-go sa-cra-men-tum, tan-tum er-go sa-cra-men-tum er-go
sa-cra-men-tum, tan-tum, tan-tum er-go}\
\\\setlyrics{13}{Tan-tum er-go, tan-tum er-go sa-cra-men-tum, tan-tum er-go
sa-cra-men-tum}\
\\\setlyrics{14}{Tan-tum er-go sa-cra-men-tum, ve-ne-re-mur cer-nu-i, tan-tum er-go}\
\\\setlyrics{15}{Tan-tum er-go sa-cra-men-tum, sa-cra-men-tum, tan-tum er-go
sa-cra-men-tum, tan-tum er-go sa-cra-men-tum}\
\\\setlyrics{16}{Tan-tum er-go sa-cra-men-tum, tan-tum er-go sa-cra-men-tum,
sa-cra-men-tum}\
\\\assignlyrics{6}{11}\
\\\assignlyrics{5}{12}\
\\\assignlyrics{4}{13}\
\\\assignlyrics{3}{14}\
\\\assignlyrics{2}{15}\
\\\assignlyrics{1}{16}\
%
rp | rp | r4 f43 d f2 \Nl\ e4 | f2 d4 d a2 | d f4 f c c | g2+d g4 d e |
f2d f4 \bM\ c g+ | d8 e f g a4 f \eM\ c2 | /
%
r4 f45 d f2 \Nl\ e4 | f2 b4- f \bM\ c2+ | f4-d \eM\ g8 a4 a \Nl\ b.b |
\bM\ a.g f8 g a2 \eM\ e4 | f a2 c4 c ( \bM\ g | g8 ) a b \eM\ c d4.e f \Nl\ g |
c- c2 c4 \bM\ c ( d | d8 ) c a \eM\ b c4 a c2 | /
%
f04 g2 | a4.a b ( \bM\ a a8 ) \eM\ b ( \bM\ c4 | c8 ) b a g f4 a2 \eM\ g4 |
c2- d4.d e2 | d \bM\ c4.d \eM\ e c | d2 r2 r2 |
r4 \bM\ ( f4 f8 ) g a b \eM\ c4 b | \bM\ ( a a8 ) g1 f e4 \eM\ f2 e4 | /
%
rp | r4 f44 d f2 \Nl\ e4 | f f2 c+ c4 | c a2 a4 \bM\ a.g |
f8 e f g a4 \eM\ f e2 | r4 ( \bM\ g4 g8 ) a b c \eM\ d4 d |
\bM\ c.b a8 \eM\ g f4 e \bM\ d8 e | f g \eM\ a4 \bM\ a8 b \eM\ c4 c2 | /
%
rp | f04 g2 | a4 a d.c \bM\ f g | \eM\ f2 f4 d2 cs4 oes | d f2 f4 g e |
d2 r2 r2 | r4 ( \bM\ a4 a8 ) b c d e4 \eM\ g | f2 r4 ( c4 \Nl\ c8 ) da e4 | /
%
rp | rp | f04 g2 | a0 a2 | a0 g2 | b0 b2 | a0 g2 | a0 \Nl\ g2 | /
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Re: [TeX-music] Gzip revisited
> I see no reason whatsoever to prefer Gzip to Zip. But other people might have good reasons to do so. Thus, I'd find it more polite and inviting, if several solutions could exsist in parallel. Forcing people to use just one method should have serious reasons like running out of disk space or imposing too much workload on people maintaining the archive (thanks a lot, Christian!). Thats what I ment with "I prefer using..." in my last posting (sorry, should have expressed myself more clearly). > If we decide to link to .ps files experienced users will still have > access to the .ps.gz files from the directory entries of the archive, > i.e. from the composers' names as for example Since ".../scores/Introduction.html" already contains a short explanation what to find where, people knowing which type of format, compression or what-so-ever they like to use should be able to find what they want. Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Gzip revisited
> Christian wrote: > > - gzip'ed postscript files (donna.ps.gz) should be handled as MIME > types. I.e. browsers should know how to deal with them. This is > straightforward with Netscape having its own MIME type configuration > (Edit -> Preferences -> Navigator -> Applications) while Microsoft IE > for Win9x relies on the registry database. > Eva wrote: > > OK, but what exactly is a Mime type anyway, and what Mime type do I > have to specify to tell Netscape how to handle something with a .ps.gz > extension? Perhaps a short introduction (if there is any, or if anyone knows what would have to be within a such [and has got time to write it]) on the archive's site could help people teaching their browsers how to handle what they get. > and just want to get the file printed out and on the music stand :-) Ofcourse, that's what everybody'd like to have, UN*X users too. But that often means, someone else has to do part of the job, i.e. providing exactly what all browsers out there want to eat or telling them in some fancy way how to eat what they find. Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Gzip revisited
> Christian wrote: > > yes, my win98 netscape also presents the name of the file to be opened > as blabla.ps.ps and then handles it properly! I admit that that may > seem confusing. I still think, however, that the Netscape handling of > .ps.gz *is* straightforward since you need to do - nothing! > > Your comments on being confused and by that scared away from the > archive are highly worth taking into consideration. Do other of you > share Eva's opinion? Yes, in principle I do. But since the problem (at least for your netscape configuration) looks more like something virtual, wouldn't it be sufficient to tell people about that by means of a hint on the archive's introduction page not too far from the beginning? I think it is not too much to expect people to read the first paragraphs there when they do not suceed immediately. Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Gzip revisited
>> Another even better solution would be for those poor win9x and mac >> users, would be to install Linux :) > > ... not squinting at a CRT screen trying to figure out the intricacies > of Yet Another Bloody Operating System Let's calm down again, ladies and gentlemen. Many people have good reasons for using what they use. Did you ever use a ladder to climb onto a skyscrapper or an elevator to pick cherries from the tree? So... Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Installation of MusiXTeX / TeX-Live questions.
> I am running Redhat Linux, and my TeX file-structure is from the
> TeX-Live CD. Apparently the .rpm of musixtex is quite different -- and
> I am fairly lost with the .zip! If anyone is familiar with this
> file-structure, and can give me a ``step by step'' method for
> installation, well, I would be very pleased.
In the musixtex zip-file you'll find basicly three different types of
files: *.tex, *.mf and *.tfm. Assuming that you use teTeX it wouldn't
matter, where you put these files within the TeX tree. teTeX uses its own
book keeping mechanism. But since there are thousands of files around
there, it is a good idea to keep them in some order.
The *.tex files should go to some subdirectory of ../texmf/tex/ (it is
wise to put them all together in a separate, new directory,
/usr/shared/texmf/tex/generic/musixtex/ in my installation)
The *.tfm find their place somewhere in ../texmf/tex/fonts/tfm
(/usr/share/texmf/fonts/tfm/public/musixtex/)
*.mf files you find under ../texmf/tex/fonts/source/
(/usr/share/texmf/fonts/source/public/musixtex/)
To make these files visible to TeX you must now run texconfig with
"rehash" as command line argument. This updates teTeX's file database.
The remaining files are documentation which can go anywhere where you
think you'll find them again easily. And, ofcourse, musixflx. This is an
external program which does the line breaking job (see musixdoc.dvi for
further infos). In some tex distributions you find precompiled binaries
for different types of operating systems. Since you're using Linux it
shouldn't be a problem for you to compile it directly from the source file
("gcc -o musixflx musixflx.c"). Put the result to a directory which is in
your PATH environment variable (e.g. /usr/bin/).
I hope, I didn't forget anything (yes, there are some DOS batches around,
just put them to the junk). A last tip: try out the preprocessor PMX
(http://icking-music-archive.sunsite.dk/musixtex/software/pmx/) I think
you'll love it.
good luck
Bernhard
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Re: AW: [TeX-music] Installation of MusiXTeX / TeX-Live questions.
> > ... You can configure further your texmf tree by editing > > /etc/texmf/texmf.cnf. > > which configuration file with my Redhat 6.2 TeTeX installation is > located /usr/share/texmf/web2c/texmf.cnf typing locate yields three different texmf.cnf files (SuSE 6.1) /etc/texmf/texmf.cnf /usr/share/texmf/teTeX/share/texmf/web2c/texmf.cnf /var/lib/texmf/web2c/texmf.cnf Does anyone know which one is the one TeTeX actually uses? Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] slightly off topic: text of Latin psalms?
On Sat, 19 May 2001, Maurizio Codogno wrote: > I need them since I want to write a choral in Latin, and my knowledge of > the language is not enough to write the text from scratch: what the heck, > it's twenty years since I learned it! I have some, but not all, so which one do you actually need? Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
[TeX-music] number of instruments in pmx
Hello all I've a question concerning variable numbers of instruments within one piece (several short movements). The problem is that the piece does not start with all instruments. It seems to be impossible to tell pmx to change instruments right at the beginning (using something like L1Mn...). Does anybody know a solution? (For the moment, I've added one extra page in front, containing two empty bars. But that's not really what I want). many thanks Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] clusters
> > How can I do the following with MusiXTeX? > > > > 1) Intervals of not perfect firsts (see attached example), > > Wow - this seems really hard. I think it cannot be accomplished on the > fly because TeX is unable to draw arbitrary sloped lines. After all, I > can imagine these solution approaches: > (a) A sloped line technique similar to beams, requiring an additional > font for line chars. > (b) Drawing the lines with PostScript specials; then they are invisible > in DVI output. > (c) Assembling the lines of tiny dots, similar to the technique applied > to the recently discussed arpeggio arrowhead solution. (d) copy latex's solution to draw (non horizontal/vertical) lines in the picture environment. (Works like (a), but the font is already there) In German these animals are sometimes called "Kirschennoten". Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] clusters
> Therefore my question is: Are the horizontal distances within the > clusters fixed or glue? In general, I would go for fixed distances, since the note heads in this group of symbols belong all to the same beat. So it should be a thing fixed in size, independent from \elemskip and friends. But Alexandros, you would perhaps like to have something different? Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
[TeX-music] scor2prt problem
Hi all I've a question concerning scor2prt. I've typeset a piece with one solo voice accompanied by piano. The piano part is in general a four voice part set on two lines, but sometimes only three voices (still on two steves, of course). When I run scor2prt the first output file contains the two lower voices of the piano part *and* the solo voice while the second contains the two upper piano voices. Furthermore non of the two generated files is pmxable (Bar line marker out of place / Block duration not equal to voice 1). Did I miss something? (all program versions 2.3) Bernhard --- The top of the pmx-file I start with looks like % nv, noinst, mtrnuml, mtrdenl, mtrnmp, mtrdnp, xmtrnum0, isig 3 -2,2,1 444 4 0 2 ... piano voice 1 // piano voice 2 / piano voice 3 // piano voice 4 / solo voice / piano voice 1 // piano voice 2 / piano voice 3 // piano voice 4 / solo voice / ... scor2prt output, file 1 % nv, noinst, mtrnuml, mtrdenl, mtrnmp, mtrdnp, xmtrnum0, isig 2 1 4 44 4 .00 2 ... piano voice 1 // piano voice 2 / solo voice / piano voice 1 // piano voice 2 / solo voice / ... scor2prt output, file 2 % nv, noinst, mtrnuml, mtrdenl, mtrnmp, mtrdnp, xmtrnum0, isig 1 1 4 44 4 .00 2 ... piano voice 3 // piano voice 4 / piano voice 3 // piano voice 4 / ... ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Trills
On Mon, 9 Jul 2001, Joerg Anders wrote: > I want to implement trills into "noteedit". Unfortunately > I don't know exactly how to play them. > > I think it is an 32th alternation between the note with trill > and the next semitone. But is it the semitone above or the > semitone below ? Or are there 2 different symbols for above > and below ? Depending on what you exactly want to know, I fear there won't be a short answer. The question of ornaments turnes out to be its own, long story. I) To my knowledge the trill is always with the note above, if semi tone or full tone depends on harmony (or how you'd like to call it in earlier music). But there are several possibilities to play it depending on when and where the music has been written. For example in the age of baroque you find mainly three different rules. a) In French music the normal trill starts with the upper note unless it is specially marked. b) In Italian music it starts normally with the lower (main) note. c) In northern German music it starts with the note which is dissonant to the actual harmony and this first note should be longer than the following ones unless the trill goes with a very short note. II) A trill-like ornament with the next note below you find mostly in french music, called "pince" if it is a very short and fast one. It can start either with the upper note (fast one) or with the lower note as a dissonance held into the new harmony. In the latter this first note should be held longer than the following (like the inversed version of the nothern German trill from above). There are two different symbols for these two cases. III) Besides that there are a lot of other ornaments, especially in french music, and furthermore you'll find all possible combinations so that very often you'll have to decide yourself how to play it exactly. In fact, since French composers normally tried to controll the way how to play the ornaments as much as possible, in printed French music you find very often a table in the front or back matter explaining all the used symbols. For music after 1750 you shouldn't ask me because there I'm far from being an expert. But may I ask why you think you need to know how to play them for implementing? Do you want them to get written out as single note heads? Except for such tables explaining symbols I would never do that because ornaments should always be played freely. Ok, except its for something like producing a midi file. regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Oriental signatures
On Mon, 13 Aug 2001, Samy Abbes wrote:
> Standard notation does exist ! In fact it's the same as western
> notation. The difference is in the "exotic" accidentals, and
> the numerous scales, including sharps, flats, but also half sharps
> and half flats in the same scale.
>
> The symbols are quiet simple : a flat with a bar makes the half
> flat, and a sharp with only one vertical bar instead of two makes
> the half sharp.
>
> The problem is : how could I introduce them in MusiXTeX,
> and how can I totally decide of the signature ?
> Samy
For the moment you could set up your own font by copying the appropriate
lines of musixgen.mf and musix.mf (where is the pt music-size)
to another new metafont input file and modify it to your needs. Then
you'll have to define a new font inside your MusixTeX input file by
\font\musix=arabmus scaled 1000
if you called your metafont file arabmus.mf and use something like
\loffset{\SomeNumber}{\zcharnote{\SomePitch}{{\YourFont\char{\CharNumber
to put the character you want to have.
The code for the sharp I've copied below (coming from musixgen.mf) where
you just have to find out (by adding %-comment characters) which draw
command is responsible for which bar of the sharp. The values of the
constants used here are set in musix.mf which you'll have to copy also
to your file.
Note that z is a pair of coordinates automatically composed by metafont
using the variables x and y. The flat seems to me to be a bit more
of work since you have to add something. Which means you'll first have to
find out about all the variables, where they are set and what they
control.
def sharp (expr reduction, zshift) =
sthick:= .5reduction*thick;
nx:= reduction*1.5nhh;
ny:= reduction*.8nhw;
y1 =-y7= nx-1.5sthick; y2 =-y8 = .5sthick-nx;
x1 = x2 = y3 = -y6 = ny-x7 = ny-x8 = 2sthick;
y4 =-y5 = y3 + 3sthick;
x3 = x5 = 0; x4 = x6 = ny;
pickup penrazor scaled max(1,thin) rotated angle(z4-z3);
draw z1--z2; draw z8--z7;
pickup penrazor scaled 3sthick rotated 90;
draw z3--z4; draw z5--z6;
shift_pic (zshift, 0);
labels (range 1 thru 8)
enddef;
beginchar(52, nhw#, 1.5nhh#, 1.5nhh#); "sharp";
sharp (1, 0);
endchar;
The first number in the argument here tells that character no 52 of the
font created by this file will be what's defined hereafter.
If you feel you don't get through this messy procedure, ask me for
further help. I have a similar job on my schedule for modifying some
continuo figures. I hope, I manage to attack it in September.
Bernhard
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Re: [TeX-music] Ack.polyphony / triplets
On Thu, 6 Sep 2001, Andreas Kurth wrote: > Since PMX 2.331 is still in Beta state I didn't take the time to > prepare a UNIX version. I will of course package the next final > version. (Well, if anybody wants a C port of 2.331, please let me > know.) > Yes, I did just some days ago, reusing several files of your 2.30 package. Don has already placed it on the archive. regards Bernhard Bernhard Lang | Physical Chemistry Departement, Sciences II 21, Avenue du Denantou | University of Geneva, 30, Quai Ernest Ansermet CH-1006 Lausanne, Suisse | CH-1211 Geneva 4, Switzerland TEL/FAX: +41(0)21 601 3657 | TEL +41(0)22 702-6535, FAX -6518 email: [EMAIL PROTECTED] ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Re: ... No, I mean ..
On page six of the pmx manual near the bottom of the page you'll find the answer to your question. "The number of lines in a voice can only be 1 or 2,..." That means what you're asking for is not directly possible with PMX. The only solution would be inline TeX, i.e. the third line of music has to be coded directly using musixTeX commands, bypassing PMX. I think the reason for that is that it is not easy to set up general rules for stem direction, beaming and note head shifting in case that more than two lines of music share the same five lines. regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Re: ... No, I mean ..
On Fri, 7 Sep 2001, Johan Tufvesson wrote: > It can be done with PMX. There was a discussion on the topic (I think in > May) that provided at least two different solutions within PMX (with or > without some inline TeX). I'm using one of the solutions for a > transcription, but unfortunately I don't have the sources here now. Search > the archive. Oops, this I've overseen. Here's the link to the related posting. http://sunsite.dk/pipermail/tex-music/2001-May/000250.html ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
[TeX-music] Dynamic Signs
Hi all Using the dynamic signs of PMX for the first time I've got a question. Is there a possibility to change the default location of dynamic signs to above the staff? Below it tends to conflict with lyrics. thanks Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Newbie's experiences
> BUG IN DYNAMIC LINKER ld.so: dl-version.c: 210: _dl_check_map_versions:
> Assertion `needed != ((void *)0)' failed!
> This is TeX, Version 3.14159 (Web2C 7.3.1)
> (Fatal format file error; I'm stymied)
The first message looks pretty like a problem with different versions of
the GNU libraries, respectively a bug in the auto detection of version
conflicts. I used SuSE linux 6.2 on a PC for quite some time and didn't
have any problems with MusixTeX and friends. So we shouldn't blame SuSE. I
remember that around the version you mention there was a major change in
the glibc version.
For you there is only one solution. Recompile pmx from its fortran
sources on your system (ask me for help if you don't know how to do that).
The second message tells me that either a TeX format file is missing or
the one you use is in a wrong binary format. Try to musixtex your file
without the musixtex format file by inserting the line '\input musixtex'
into your musixtex source and texing it directly ('virtex ').
If that works you should (re-) generate your format file by typing on the
shell prompt 'initex musixtex.ins'.
Other problems with binary files may show up afterwards:
- font metrics (*.tfm, in SuSE Linux usually under
/usr/share/texmf/fonts/tfm/public/musixtex/)
- pixel fonts (*.???pk, /var/cache/fonts/pk//public/musixtex/)
Try to move these files to a save place and run 'texconfig rehash'. After
that TeX should recognise that they are missing and should regenerate them
on the fly. Once that works you can savely remove the backupped old files.
There is another general point: You could think about upgrading your Linux
system to a newer version using an actual binary format of the glib
libraries. This is certainly a major task. But when you want to use new
versions of software you probabely will have similar problems in future
when using an old library format :-(
Bernhard
Bernhard Lang | Physical Chemistry Departement, Sciences II
21, Avenue du Denantou | University of Geneva, 30, Quai Ernest Ansermet
CH-1006 Lausanne, Suisse | CH-1211 Geneva 4, Switzerland
TEL/FAX: +41(0)21 601 3657 | TEL +41(0)22 702-6535, FAX -6518
email: [EMAIL PROTECTED]
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Re: [TeX-music] Newbie's experiences (2)
> again something seems to be incompatible with Don Simons's files > pmxab.f, pmxab.c and the way SuSE Linux tries to compile. Compiling Don's original source pmxab.for with GNU Fortran g77 or converting it via f2c into C code and using gcc afterwards does not work directly. There are two lines which have to be replaced by the commented out succeeding lines. They can be identified by the comment "! May need to replace this w/ next line". Once this is done compiling should work straight forward. But for the newest versions (>2.3.0) no compiler optimisation option should be used. Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Octave of grace notes
> If I give the absolute octave there's no possibility to automatically > transpose the whole piece. The only place to give an absolute octave > is the first note of the piece (This was one of my first lessons > learned from Werner). May this have changed? I've typeset now quite some pieces using PMX's transposition feature and I never payed special attention where to use absolute octaves. Nevertheless, also +/- is allowed in grace notes. This should help you? regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
[TeX-music] problems in compiling pmx with g77
Hi all Christian Mondrup wrote: > According to reports I've received the above described 2-step > compilation shouldn't be necessary on SuSe linux'es. With these linux'es > using g77 should be sufficient, i.e. > > g77 pmxab.f -o pmxab On my system (SuSE Linux 7.1 PPC) this does not work correctly with newer versions of pmx. The compiled binary turns out to be instable and crashes in some situations. I had send a 'bug report' to Don. But he couldn't reproduce the problem on his machines. So I compared the two possible ways to get a running pmx on my machine. Via conversion into C code (f2c) and gcc it works $ cp pmx2341.for pmx2341.f $ f2c -Nx400 -Nn802 pmx2341.f $ gcc -Wall pmx2341.c -lf2c -lm -o pmx2341 While the direct method $ g77 pmx2341.for -o pmx2341 results in a binary with the above stated problem. If this is due to g77 on my machine or due to a pretty hidden bug inside pmx which shows up only under rare conditions (including internal structure of the binary) I cannot tell. So, at present the two step process should be preferred. regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
RE: [TeX-music] problems in compiling pmx with g77
Hi Don > 1. Maybe you could diff the source with the next earlier version that does > work? The crash occures at a caesura ornament which you implemented in a very recent version. Testing against older versions won't help therefore. I've let my instable version run inside the gnu debugger. I found that the crash occures in a (library-) function called z_wnew() inside a call of write() in line 13910 of pmx2341.for and I poked a bit around in the code and stack neighborhood of this place. The line is passed many times. At the pass when the crash occures the variable "ioctup" shows the value 306781831 while at the other passes I've only seen things like 1, 0, -1... When I reset the value to zero just before this pass (if I counted right its the 99th) the program continues without failing. Inspecting the stack I see that the value of "ioctup" comes from the variable "ioff" witch gets in turn its value from "islhgt" being a parameter of "putorn()" (->remember that an "oc" caused the crash). This gets set by the variable "islhgt" one stack level (function call) above which seems to be "make2bar()". At the start of this procedure I see a decent value of "islhgt" at most calls, sometimes a strange one like that one above. And in that single run, where the crash occures, the strange value persists until the call of "putorn". Beyond this point I didn't hunt since I do not know much about fortran and even less about internals of pmx... The strange value of "islhgt" could be a hint of an improper initialisation of that variable. But I also observed that tracing the binary on a change of this variable stops at various unexpected places. I havn't got that much experience with tracing features of gdb but this looks to me like a sign of an improper initialisation of a pointer elsewhere which leads to an overwriting of "islhgt" (ugh). regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: AW: [TeX-music] PDF: a dissident view
> I usually do use gv for pdf -- but some documents are encrypted (there > seems to be a way around that but I never figured it out from lack of > real interest) or simply contain some stuff which confuses > ghostscript. If gs gets an encrypted PDF file to read it normally prints an error message containing a hyper-link to a site where you can download a file like "decrypt.ps" or something like that. You have to let gs read it just before the encrypted file. I did this once and it worked fine. ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] PostScript slurs
> Assuming we don't find any show-stopping problems with the slurs > themselves, one big issue is how they work in dviwin and other dvi > viewers. In my initial tests they did not show up at all in dviwin. > However I recall seeing something about "specials" in dviwin. Does that > mean there is some way to tweak dviwin to display them? I suspect not, > in which case one will need to use a real postscript viewer to see the > results. For me this would pose no problem at all...I have fast > processors, dvips takes just seconds at most, and gsview works fine. Specials do address special dvi drivers for doing some specific jobs. There is no standard about how they should look like etc. However, some widely used dvi drivers like dvips (or the drivers of the emTeX distribution in former days) have established some standard like commonly supported specials. But there is no guaranty for any special to work with any particular driver/viewer. Thus I guess, a solution using specials would open up many compatibility problems giving rise to requests like "Since I'm using viewer nnn, version xx.yy I don't see any slurs any more. Is this a PMX problem and does any newer version of PMX solve it?" Anyway, for people using gsview and friends there is no problem (actually including postscript into TeX makes extensive use of dvips-specials). And there ara now many dvi viewers which are capable of viewing included postscript by calling gsview as a child process. xdvi is one of them in the un*x world. yap, coming with MikTeX, is another I think. Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] PostScript slurs
Christian Mondrup wrote: > The disadvantage is of course that typesetters will be forced to > re-edit their scores if they want to change to postscript slurs. The > advantage is that a new syntax might better adopt to the curvature > variations offered in Stanislafs code. And the severity of the disadvantage is related to the amount of slurs you have in your PMX formated scores which you still want to change/improve. I vote for keeping the syntax and replacing the thechnique. Perhaps there is a decent way of extending the already existing syntax? Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] PostScript slurs
> > And the severity of the disadvantage is related to the amount of slurs > > you have in your PMX formated scores which you still want to > > change/improve. vote for keeping the syntax and replacing the > > thechnique. Perhaps there is a decent way of extending the already > > existing syntax? > > When silently replacing the technique: Is there a guarantee that the > old slur expressions yield the same slur shapes in PS? If not, I'd > prefer leaving PS-or-not as a global option for the user, either on > the command line or in the score header (or even both). a) Sorry for being unclear. The latter is exactly what I ment. I don't think that its time to drop the non postscript slurs now although it might be time somewhen in the future. But when you have to change the definition of all slurs in a score in order to improve only some few you think twice before doing so. On the other hand if changing to PS slurs has allways to be done on single slur basis will stay being a stranger. > Call me an oldtimer, but I do not want that PostScript (or any other > output device) will be mandatory to print TeX documents. b) There are quite some dvi viewer which automatically detect changes in the dvi file and reload/redisplay it. At least during basic typesetting work those viewers are a pretty good help in fast checking if everything is there where it should be. Fine tuning (as choosing PS or non-PS slurs) comes later. Using PS and gsview you have allways do do the format conversion and a manual reload in gsview (well at least on un*x everything is scriptable, but...). Thus, keeping the posibillity of typesetting slurs traditionally by using MusixTeX's \islurxxx (with the same syntax of course) would be nice. Fazit: renewed vote for using the syntax as it is with a global A-option for either switching on or off the new technique. Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] PostScript slurs
> I strongly concur with the last statement: since the advent of dvips > and gsview (years back!) I have stopped using any dvi viewer > whatsoever --- the ps route is simple more convenient (both in Winxx > and in Linux!). I encourage anybody who has not done so already to > give a try, in ALL TeX-related work! In principle I agree. But if you're making use of one of the big advantages of TeX that you don't have allways to use the newest and fastest machine in order do get to a rasonably fast total working speed then it makes an extra step which slows down things. For me this is a quite important aspect when I have to typeset something rapidly. Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] installing musixtex, pmx and mtx in windows xp
On Fri, 23 Nov 2001, Andre Van Ryckeghem wrote: > I installed Miktex on Windows XP, which is working normally (as far as i can > see) > > In Windows98 i had to change autoexec.bat for a path: > > set PATH=c:\musixtex\pmx;c:\musixtex\mtx\prepmx;%path% > > in XP, i do not find autoexec.bat That's correct because there is no more autoexec.bat in WinNT/2000/XP. In NT you'd have to go to ->control-panel->system. There you find "envorinment" where you can either add your path system wide (if you have administrator priviledges) or personally. In Win2000 its the same if I remember right (I don't have a Wintel machine in my office, next time I'm in the lab I can look it up). I assume that this holds also for XP but as allways, in version n+1 you may find the place where to set something somewhere else than you'd in version n :-) Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Sautereau
> A friend asked me this: what is the german word for the french > "Sauterau": " Dans le clavecin, tige de bois porteuse d' une languette > munie D' un bec qui pince cordes." I *think* this the piece which > acually "makes" the sound, like the fingers which (push/pull/move/...) > the strings of a guitar, but i don't have a word for it :( The thing which plucks the harpsichord string is called "Kiel" in German (origin "Federkiel"). ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Ornament Doppel cadence
> I would need a trill sign that has the vertical slash in the middle of > the third upward line. I probably could manage by a long serie of > trial and error to create such a font, but I think this would be a > waste of time when so many TeXperts or metafont wizards are around. I started to modify some digits from the CM font set into sharped basso continuo figures some months ago. The thing you ask for looks similar to me. Unfortonately at present I'm stuck due to serious lack of time. But I hope I can get back on it at the very end of the year. If there's no solution shown up until then, ask me again. ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Ornament Doppel cadence
> However, I have a wish for the continuo number: In all modern editions,
> unfortunately also in those typeset with pmx, the numbers are far too
> small, at least for older players with limited eye adaptation . In contrast,
> it is a pleasure to play from the original typesets: The numbers
> are large, readily visible and usually over the continuo voice. In the
> modern editions, a sharpened 4 is difficult to distinguish from a normal
> one because the stroke is so small.
If you have a look into pmx.tex you'll find at line 214 (version 2.34)
\def\figfont{\normtype\rm}%
By redefining this you should be able to adapt the size of figures. But we
should ask Don
-- are you there Don?
if this could impose some interferences with internals of PMX or pmx.tex.
Anyway, modified figures would either go to MusixTeX's fontset or into a
separate font. So this would have to be modified once they are available.
Thinking about the problem of readability, a separate font might be the
better choice because it enables to change sizes independend from each
other. Furthermore, this prevents us from having problems with
interferences inside the MF sources of MusixTeX.
Bernhard
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Re: [TeX-music] Could anybody explain PMX to me ...
> Ok, I set > > % npages,nsyst,musicsize,fracindent > 33 20 0.07 > > (see attachment)! One would think that produces 3 pages and 3 > systems, i.e. one system per page. > > But the result is one page with all 3 systems in uneadable manner. > > Ok I try > > % npages,nsyst,musicsize,fracindent >66 20 0.07 > > But this gives 6 systems on one page. Similar things happen to me sometimes. I have the feeling that PMX's page breaking algorithm tends to get confused if you try to force it to go kind of far away from what it thinks it should normally do, very crowded or too empty pages or whatever. However, the solution was always to break up the piece into several files, setting page numbers accordingly and putting the score together with dvicat. bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] How to install musictex
> I've tried for a while now to install musictex, but haven't succeeded. > My problem is that I don't know where to put the files. > I've found the following at http://www.tex.ac.uk/cgi-bin/texfaq2html but I > don't know what to put instead of //. > > .sty, .cls or .fd: $TEXMF/tex/latex// > .dvi, .ps or .pdf: $TEXMF/doc/latex// > .tfm: $TEXMF/fonts/tfm/// > .vf: $TEXMF/fonts/vf/// > .afm: $TEXMF/fonts/afm/// > .pfb: $TEXMF/fonts/type1/// > .ttf: $TEXMF/fonts/truetype/// First of all: "musictex" is an old version of "musixtex". If you don't have special reasons for doing else you should install the latter. To your question: In principle you are free to put these packages anywhere you want, if it is inside TeX's file tree (or trees). But making subdirectories helps to keep order with the endless number of files coming with TeX and it's macro packages. All TeX distributions I know have a twofold file tree. One is for the standard files and packages and one is for local stuff. It is up to you in which tree you want to put them. In my distribution (coming with SuSE Linux) musixtex is integrated in the standard tree (TEXMF=/usr/share/texmf, $TEXMF/tex/generic/musixtex, $TEXMF/fonts/tfm/public/musixtex, $TEXMF/fonts/sources/public/musixtex etc, local tree would be /usr/local/share/texmf). Installing musixtex in the standard tree of distributions coming without musixtex has the disadvantage that you may loose the added stuff when you uprgade to a newer version of the distribution. After installing the packages you shouldn't forget to run the configuration utility (e.g. texconfig under Linux's standard TeX distribution teTeX) in order to make the new files visible to TeX's file searching tool. good luck, regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
[TeX-music] screwed up page layout
dear pmxpert(s) Using pmx2355 the attached pmx source (gloria from Brumel's missa Et ecce terrae motus) produces a screwed up page layout for the first and the last page. It looks like this has to do with a bug which recently showed up and has been fixed in one of the latest beta versions. There, long scores with several forced line/page breaks (+other conditions?) lead to overlayed lines. In fact, using pmx2341 yields such a result. Note that due to the change in pmx's slur/tie numbering, some inlined slur/tie numbers have to be changed when switching from 2355 to 2341. Otherwise they will produce some musixtex-errors. Without the last page and its line/page break everything is fine in both versions. regards Bernhard brumel.zip Description: Zip archive
RE: [TeX-music] screwed up page layout
On Thu, 28 Feb 2002, Don Simons wrote: > Meanwhile, please try breaking the score in half and see if that gets rid of > the problem. Yes, it does. There's just one miner problem: the first page of the second half doesn't get numbered. Numbering starts only at second page. Am I doing something wrong? I use the P statement right after the definition of instrument names. regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
[TeX-music] "Problem finding index for literal string"
hi pmxperts pmxing the attached pmx file I get === RUNNING PMX === This is PMX, Version 2.355, 26 January 2002 Opening gloria1.pmx Starting first PMX pass Bar 1 ... Bar 59 Done with first pass Starting second PMX pass Bar 1 ... Bar 19 Bar 20 Problem finding index for literal string STOP 1 statement executed ??? What's that? An error in the source file, a bug or a feature? The problem appeared when I inserted the pieces of inline TeX code for lyrics. regards and thaks for help Bernhard gloria.zip Description: Zip archive
RE: [TeX-music] "Problem finding index for literal string"
On Tue, 12 Mar 2002, Don Simons wrote: > As you may have guessed by now, you exceeded the maximum dimension for > the number of literal TeX strings per input block: 52. AFAIK you are > the first person in the history of PMX to have done so. I guessed already that is has to do with the length of the source. > I'll make a note to increase this dimension in the next release, but > meanwhile you can solve the problem simply by breaking the offending > input block in two. Since the piece is quite large (twelve voices in about 600 bars) I was already expecting to touch some limits like that. Breaking it into smaller pieces works fine. But would it be a big thing to get the page number printed on the first page even when there is only one system? The number of throw-away-pages is getting larger and larger :-) regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
[TeX-music] Re: Muffat violin sonata on Werner Icking Music Archive
On Wed, 27 Mar 2002, Tony Kitchen wrote: > I have download your edition of the Muffat violin sonata, prior to > printing it I noticed (with some horror) that there a number of C > flats in it. Eventually I realised that these should be C naturals. > There are many instances. Hi Tony Thanks for your comment. I should perhaps have mentioned this point in the preface. All these C flats are original. They are to be found in Muffat's manuscript. I changed nothing. However, although I carefully checked against transcription errors I cannot exclude mistypings. But these notes are not mistypings. Note that in the renaissance and early baroque notation system there was no natual "accidental" except for the b which had already in middle age music two species "b quadratus" and "b mollis". In bar 122 of the sonata you'll find indeed a b natural in the sense of an accidental and as a trace of this notation tradition. The sharp was invented during renaissance. I don't know when the natural "accidental" overtaken from the "b quadratus" became common for other notes. Apparently Muffat uses the flat for indicating a cancelled sharp signature and a sharp for canceling a flat. You find this in many scores of the 17th century. For keybord instruments this has no great importance, but my personal experience is that when you have a variable intonation (as with a violin or as a singer) this system shows much better which notes have to be taken (or to be thought) higher or lower than expected, or as a sort of average feeling would tell. Furthermore in the continuo figures you'll allways find a flat indicating a minor third and a sharp indicating a major third or just a 3 if there is nothing unexpected (except the third itself or the moment when it should be taken) > I know that many baroque composers were very adventurous hamonically, > but these seem to be simple errors, involving the incorrect > accidental. In modern sens of reading surely. But since my edition does not try to describe music of the 17th century with the language of the 19th century (or from whatever era) I would rather tell the way of reading it as being incorrect :-) Actually, as the manuscript of this sonata is written with excellent clearness and as it is available in a fac simile edition, I'd like to encourage everybody who has access to it to use this original. > I am however looking forward to playing the sonata. enjoy it :-) regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Re: Muffat violin sonata on Werner Icking MusicArchive
Thank's for your comments, Don and Christian > And BTW that should clearly be a g# in bar 114, by comparison with the > other 2 times the same thing happens). I checked the source: there is clearly no sharp at this point. But I agree with your opinion that this does not mean there soudn't be played one. I'll put an editorial accidental in the next revision. > However, it is not always straight forward what to do: there > might a significant information with a *missing* accidental in a bar > where other notes of same pitch *have* an accidental. A modern editor > can't escape choices and the resulting musical interpretations. This is one point why I decided not to change anything with respect to the source. There are some places where the interpret has to make a choice. Therefore it should be visible without doubt what the source tells. And then as typesetter you have to decide where's the borderline between a "pure" transcription into another notation system and an interpretation. Another point is the intonation. I made once as an ensemble singer the experience with Heinrich Schuetz's Cantiones Sacrae where we have an edition dating from the 60es and one from Fridrich Spitta (about 1880). It turned out that the modern edition was completely unusable when playing the continuo on an organ tuned in middletone tune due to transposed notation (chiavetti, transposing key combination). In the sixties editors were not aware of that tradition writing in transposed notation. When turning back to the old Spitta edition I realised that even the problem of intonation, which note has to be thought low or high, is immediately solved. It is just visible where you have to do what when using the old way of writing accidentals since it is consistent with respect to intonation, the modern is not, since a natural means sometimes higher, sometimes lower. Thus you have always to analyse its actual harmonical context where you directly see it in the old system. Thus, I don't see it as teaching when I "force" other people to read the old system by publishing scores this way. It's a question of practical use. When getting in contact the first time with early music on a somewhat "higher level" by reading several of Harnoncourt's essays I couldn't imagine that what he is telling about old tuning systems could become true for me. But now I really hear wrong notes when someone is playing Frescobaldi or singing Monteverdi without respecting the middletone tune. Thus, we still may happen to escape our first training. However, in the next revision I will add some sentences in the preface to clarify this point. Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] (no subject)
On Wed, 17 Apr 2002, Stefan Svensson wrote: > * Printing revisions, copyright information, dates, etc at the bottom or >top of each page. See the PMX source of Muffat's sonata for violin on the archive (macros adapted from Werner's edition of Bach's violin sonatas) regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] PMX crash on xtuplets beginning with a rest
> On Thu, 16 May 2002, Christian Mondrup wrote: > > > f2c pmxab.f -Nn802 -Nx400 > > > > gcc pmxab.c -lf2c -lm -o pmxab > > This is, as far as I can remember, how I compiled PMX. I'm not sure on the > '-lm' thing. I'll try to recompile PMX to see if that helps. > The '-lm' thing does just tell gcc to link against the math library. This doesn't change anything on the level of compiling (up to my knowledge). regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Can't get extract to work with plain TeX.
On Sun, 19 May 2002, Don Simons wrote:
> Can anyone see why the extract is screwing up the page layout (width, font,
> and indentation)? If I comment it out, the page is centered differently
> (properly) and the width is constant like it should be.
Looking in musixtex.tex you'll find the following lines (from line 36 on)
> \ifx\undefined\documentstyle % -> []plain.tex
> \parindent0pt
> \hoffset-15.4mm
> \voffset-10mm
> \hsize190mm
> \vsize260mm
> \fi
Adding \def\documentstyle{} to the top of your extract solves the problem
of page format/centering. The margins come out like you've coded it in the
example. I didn't investigate further the font changing, but I guess it is
something similar. The easiest way to solve this would be first to \input
musixtex and then to set the actual font (That's what you are doing in PMX
generated TeX input files, I guess, when you first \input musixtex.tex and
afterwards pmx.tex)
regards
Bernhard
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Re: [TeX-music] Postscript slurs, New PMX Beta (Version 2.358)-headspace error!
On Sat, 1 Jun 2002, Stanislav Kneifl wrote: > BTW, why is the screen of so importance? Do you know any musician > playing from the computer screen? :-) Yes, me. But up to now only for private use. Especially when checking new PMXed scores I find it very useful to put my laptop on the harpsichord and play right away from the screen. I remember having read about a symphony orchestra (don't ask which one) which recently made a test with flat screen monitors mounted on the stands. regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] playing_from_computer_screen
On Mon, 3 Jun 2002, Christof Biebricher wrote: > I am somewhat puzzled. [...] In contrast to YAP, xdvi has no problems > in displaying postscript slurs. This is because xdvi calls ghostscript as a child process if it finds some postscript embedded within the dvi file. GS shows the ps part if it can handle it without converting the whole dvi file into ps. regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] multi-line heading in PMX
On Mon, 1 Jul 2002, Diane Blaurock wrote:
> I've just read through the list of changes to PMX since 2.3 and
> immediately tried out the multi-line titles. Terrific! My acute problem
> right now, though, is that I have a movement in the middle of the piece
> with a title that's too long to fit on one line. The double backslash
> doesn't work with the "h" command. Is there some other way I can produce
> a line break there? In my desperation I've even been reading the
> MusiXTeX handbook, but can't figure this one out>
> Thanks for any help.
Try to put your head line into a macro definition in the top part of the
PMX file like
\def\myheadline{this is the first line \\ this is the second line}
Further down where you actually want to have your head line you put
h
\myheadline
Since PMX doesn't get to see here anything but the macro call you can put
into it whatever and to wichever extent you want.
regards
Bernhard
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Re: [TeX-music] special characters in PMX?
On Mon, 1 Jul 2002, Diane Blaurock wrote: > Me again. Honestly, I've been PMXing along for a while and getting by > fine with just the handbook, but ... Blame it on Lully and French > Baroque opera. Now I need to enter movement titles with French accents. > The only workaround I've been able to figure out is to generate the tex > file with pmx and then go in and add the "\'" or whatever for the > accents. It works, but is there a more elegant solution that I can build > in at the pmx level? And again me, the solution for titles with several lines should work also here. By the way, I forgot to mention that you may run into problems with vertical spacing using this solution since PMX doesn't get to see the extra amount of space induced by this trick. regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
[TeX-music] Timing problem w/ forced beams & PMX crash
Hi Don Typesetting a violin sonanta from Geminiani I get a "Timing problem w/ forced beams" What should that tell me? pmx2357a crashes after giving that message for the fifth time. The smallest reduced piece of the source behaves similar but crashes after the second message. pmx2401 does not crash on the smaller excerpt but gives again these messages. And it crashes when compiling the whole piece. I remarked that pmx2357a gets through when uncommenting any pair of lines (voice 1/2) in the excerpt (of course I didn't try *any* combination, but a reasonable number :-). I think it has to do with the number of forced beams--I'm using a lot. The reason for doing so is that in a 4/4 measure pmx beams four consecutive 8 together where I want only groups of two 8. (Is there a possibility to change this rule for an entire score?) Please find below the excerpt and attached as zip file the (unfinished) source. Further observation: unzipping the just downloaded pmx2401.zip I get > unzip -a pmx2401 Archive: pmx2401 End-of-central-directory signature not found. Either this file is not a zipfile, or it constitutes one disk of a multi-part archive. In the latter case the central directory and zipfile comment will be found on the last disk(s) of this archive. note: pmx2401 may be a plain executable, not an archive Archive: pmx2401.zip inflating: pmx2401.exe [binary] inflating: pmx2401.for [text] inflating: pmxbeta.html[text] > Apparently the file is somehow damaged (I downloaded it a second time from the archive, same result). Nevertheless pmx2401.for looks fine, except line 20617 which g77 refuses to compile. A line break is missing there. After fixing that it gets compiled normally. regards Bernhard Bernhard Lang | Physical Chemistry Departement, Sciences II 21, Avenue du Denantou | University of Geneva, 30, Quai Ernest Ansermet CH-1006 Lausanne, Suisse | CH-1211 Geneva 4, Switzerland TEL/FAX: +41(0)21 601 3657 | TEL +41(0)22 702-6535, FAX -6518 email: [EMAIL PROTECTED] --- pmx source --- 2 2 4 4 4 4 0 2 1 2 16 0.0 bt ./ % 35 % [ f83 c+ ] [ es- c ] [ f gs ] [ a f ] | [ b a ] [ gs e ] a4d 9 f8 | [ g f ] [ es c ] f4d 9 a8 6 | [ b gs ] [ c 64 c- # ] [ f gs ] [ a f ] | e4 64 e- # [ a8 b ] [ c a ] | [ d 65 d ] [ e # e ] [ f 5 f ] [ f c 6 ] | [ d 65 c1 d ] [ e8 # e- ] [ a a+ ] [ g a1 g ] | / % a15 gs a b gs a b gs a gs f8 r1 c c e- | d c+ c b b d- b+ d- c b+ b a a c- a+ c- | b a+ a gs g b- g+ b- a gs+ g f f b- a gs | f d+ c b a8 gs f4 r1 a+ a c- | c e d c b f e d c b+ b a a e d c | b a+ a gs g d c b a d c b a a+ a e | f gs a b gs e+ e b c a+ a c- c a+ a c | / gem.zip Description: Zip archive
Re: [TeX-music] Timing problem w/ forced beams & PMX crash
On Fri, 12 Jul 2002, Christof Biebricher wrote: > On Fri, 12 Jul 2002, Bernhard Lang wrote: > > > > > > > Further observation: unzipping the just downloaded pmx2401.zip I get > > > > > unzip -a pmx2401 > > Archive: pmx2401 > > End-of-central-directory signature not found. Either this file is not > > a zipfile, or it constitutes one disk of a multi-part archive. In the > > latter case the central directory and zipfile comment will be found on > > the last disk(s) of this archive. > I downloaded pmx2401.zip; it is oK, both in Linux and in Windows. > Could it be that your downloading protocol loaded it as an ASCII-file > instead of a binary? The message sounds like that. Very strange. I can't imagine what happened there. For sure I didn't download it as ascii since unzip managed to decompress the file although it complained. Downloading as ascii would have totally scrambled the file's content. (Furthermore I don't remember having changed netscape's settings :-(. But many thanks for testing my input file. regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
RE: [TeX-music] Timing problem w/ forced beams & PMX crash
On Fri, 12 Jul 2002, Don Simons wrote: > If you keep that number below 20 it should solve this problem. BTW, > this restriction is listed in the "Limits" section of the manual. Sorry, I've overseen that. But I was already thinking, its due to something like that. > In this case, you don't even need to break up the blocks. For example, > > e43.es [ f8 c+ ] es- c | > > gives the same output as > > e43.es [ f8 c+ ] [ es- c ] | I know. This came in because my typing assistant was to lazy to change the typing of beamed 8's every pair of notes. But I'll advice him to type things less consumptive in future :-) regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] displacing note dots
On Wed, 24 Jul 2002, George Sicherman wrote:
> I often use chords with displaced notes; e.g., \rq{g}\zq{f}\qu{d}.
> When these notes are dotted, the dots on the displaced notes must be
> displaced, and so must the other dots, so that all the dots line up.
>
> To do this I use a macro of my own, \rpt, which is just a shifted \pt:
>
> \def\rpt#1{\kern6pt\pt{#1}\kern-6pt}%
> \rpt{d}\rpt{f}\rq{.g}\zq{f}\qu{d}\relax
>
> But this would be a useful standard feature for MusicTeX/MusiXTeX.
If I remeber well we discussed already once that point whether dots should
be lined up or not and came to the conclusion that it is more a question
of personal taste. At least there is no general rule (in earlier days the
dot was sometimes to be found at the place where the tied note replaced by
the dot would have been placed). I think we talked about it during the
discussions when Don improved PMX's automatical shifting of accidentals in
chord notes some months ago.
regards
Bernhard
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[TeX-music] off-topic: help for a piano maker
Hello All I received the following email about a piano maker in Meissen who lost his whole workshop and stock of instruments in the recent flood in eastern Germany. It's somewhat off-topic to our list. But anyhow I think I should forward it. The attached document is only written in german, but the second part of the email text below contains an english version. regards Bernhard Bernhard Lang | Physical Chemistry Departement, Sciences II 21, Avenue du Denantou | University of Geneva, 30, Quai Ernest Ansermet CH-1006 Lausanne, Suisse | CH-1211 Geneva 4, Switzerland TEL/FAX: +41(0)21 601 3657 | TEL +41(0)22 702-6535, FAX -6518 email: [EMAIL PROTECTED] -- Forwarded message -- > - Original Message - > From: Ulrike und Guido Titze > To: Freunde, Musikliebhaber und Kollegen > Sent: Tuesday, September 03, 2002 12:00 AM > Subject: Hilfe für einen Meißner Klavierbauer > > > Hilfe für einen Meißner Klavierbauer > > Liebe Freunde, Musikliebhaber und Kollegen! > Die Bilder der Hochwasserflut sind uns noch deutlich vor Augen. Das Schicksal > eines Freundes hat uns besonders betroffen gemacht: > Der Meißner Klavierbaumeister Wolfgang Trobisch verlor innerhalb weniger > Stunden durch die Hochwasserflut von Triebisch und Elbe seine gesamte > berufliche Existenzgrundlage: Werkstatt, Verkaufsladen, Lager, Instrumente. > Der Schaden beträgt schätzungsweise 350.000,- Euro. Die Versicherung kommt > in diesem Stadtteil nicht dafür auf. Zum Glück geht es der Familie gut und > das Wohnhaus überstand die Katastrophe unbeschadet. Wolfgang Trobisch und > seine Kollegen sehen ihre Arbeit von zehn Jahren zunichte gemacht, wollen > aber nicht aufgeben. > Auf der Suche nach Hilfe kam uns folgende Idee: Wenn jeder, der einen Flügel, > ein Klavier oder Cembalo besitzt, einen Betrag von 10,- Euro für Wolfgang > Trobisch überweist und außerdem diesen Brief an seine musikliebenden Freunde > weitergibt, ... > ... kommt auf alle Fälle mehr finanzielle Unterstützung zusammen, > als wir allein zu geben vermögen, > ... könnte sogar ein hoher Prozentsatz der Schadenssumme für einen > Neuanfang zur Verfügung stehen und > ... haben vielleicht noch Andere etwas von unserer Aktion: Falls mehr > Geld auf dem Konto eingeht, als die Klavierbaufirma verloren hat, werden die > Spenden an das Theater der Stadt Meißen weitergeleitet, das ebenfalls durch > die Flut stark zerstört wurde. > Als Anlage senden wir einen Bericht von Wolfgang Trobisch über die Zerstörung > seiner Werkstatt mit. Wenn Interesse an Fotos oder einer Druckvorlage für > Handzettel besteht, senden wir diese ebenfalls gern per eMail zu. > > Klavierbau Trobisch > 01665 Meißen, Leipziger Str. 18 > > Spendenkonto der Stadt Meißen: Kto.-Nr. 3100 200 208 > BLZ: 850 550 00 bei der Kreissparkasse Meißen > Kennwort: Stadt Meißen - Hilfe für Klavierbauer Trobisch > Einzahlungsbeleg / Kontoauszug gilt als Spendenquittung. > > Wir bitten um Eure / Ihre Mithilfe! > > Ulrike Titze - Konzertmeisterin des Dresdner Barockorchesters > Guido Titze - Solooboist der Dresdner Philharmonie > Heinrich-Zille-Straße 39, D - 01445 Radebeul > Tel. +49 351 8306761 > eMail: [EMAIL PROTECTED] > > -- > -- > > > Help us to help a piano-maker in Meißen > > Dear friends, music lovers and colleagues, > The pictures in the media of the recent floods in Saxony still haunt our > memories. We have been particularly distressed by what has happened to one > of our friends: > The master piano-maker Wolfgang Trobisch lost his entire professional > livelihood in the space of a few hours when the Triebisch and the Elbe > flooded his workshop, shop and stock rooms and ruined all his instruments. > The total damage has been assessed at 350.000 Euro. No insurance company is > prepared to make compensation payments in this part of Meißen. Fortunately > the Trobisch family are safe and well and the family home survived the > catastrophe unscathed. Wolfgang Trobisch and his colleagues do not want to > abandon their workshop, although they have lost everything they have worked > for over the past 10 years. > We would like to find a way to help Mr. Trobisch and came up with the > following idea: If everybody who owned a piano or harpsichord made over 10 > Euro for Mr. Trobisch and forwarded this letter to his musical friends - > then ... > ... in any case Mr. Trobisch would receive more financial support than > we would be able to give him on our own, > ... it might be possible to raise enough in donations to cover a large > percentage of the damages, which would help him to make a fresh start, > ... perhaps other flood victi
[TeX-music] pmx "bug" report
Hi Don A message "Program error in fnote, send source to Dr. Don" missleaded me for a minute until i realised that i'd just forgotten to put a meter change. But maybe this tells you something else hidden behind the sceene. Here's the extract giving the same error message. --- 1 1 4 4 0 6 0 -1 0 7 16 0.1 b ./ g92 of Rd / --- And a question concerning the limitation of 12 voices: I'd like to type a piece with 14 voices where 2 x 4 vocal voices could be packed together in 2 x 2 lines (four choirs, voices: BC + 4 + 4 + 3 + 2 ==> lines: BC + 2 + 2 + 3 + 2). With musixtex or pmx plus inline tex it workes, but it is awfully tiresome. Is there another limitation on the number of voices inside pmx, else than musixtex' limitation? regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] pmx "bug" report
On Mon, 23 Sep 2002, Andre Van Ryckeghem wrote: > Replacing 1 1 4 4 0 6 0 -1 by 1 1 4 2 4 2 0 -1 solves the problem If the whole source has a bar length of two whole notes, yes. In my case it ts just the final bar which has breve notes (as very often in 16/17th century music). My point was not that the source did not compile, but that the error message looks odd. This might show that there's eventually another problem. ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] TeX programming
On Tue, 24 Sep 2002, Stefan Svensson wrote:
> I would like to simplify this with a macro that iterates over a string
> with all notes in the scale ({cd_efg'_ab}) and adds the corresponding
> numbers below, perhaps from a string like {12{\flt3}45{\flt6}{\flt7}}.
This looks like beeing a job for \futurelet: \futurelet\a\b<...> sets \a
to the first token of <...> and executes then \b. You may set up a loop
using this control sequence by iteration:
1 append an end character to the string
2 read the first character into a macro
3 if it is not the end character
- process it
- set a temporary macro to the operations 2-4
else
- drop the end character
- set the temporary macro to a void action
4 put the temporary macro
this should look like follows (not tested)
\def\processtoken#1{whatever you want to do with the single tokens}
\def\setend#1{#1-}% sets an endmark (`-`) behind the string
\def\check{% checks one token
\if\temp-\let\next\relax
\else\processtoken\temp\let\next\iterate
\fi
\next
}
\def\iterate{\futurelet\temp\check}
\def\processstring#1{\expandafter\iterate\setend{#1}}
happy hacking
Bernhard
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Re: [TeX-music] Questions about typesetting keyboard parts
On Mon, 21 Oct 2002, Jean-Pierre Coulon wrote:
> {slightly off topic:}
> This Duphly site raises an interesting copyright issue, about which I
> have always been curious:
>
> Some facsimile publishers put a copyright notice on their facsimiles.
> In other words, you may not re-photocopy what they have photocopied.
> (I assume a facsimile is nothing but a well bound, hight quality photocopy).
>
> I have seen such notices on Minkoff's facsimiles, and I guess Fuzeau
> has such notices too (Minkoff is still more expensive than Fuzeau).
>
> Any comments ? May be we should hurry to download the Duphly
> stuff before this Duphly site is forced to close :-)
If you once have made a "high quality photocopy" of an old source, you'll
know that this might be quite a lot of work. Therefore even if copyright
may be the wrong term since it is made for protecting the rights of the
author, I find it understandable that publishers of facsimile editions ask
people for paying the edition and not reproducing their "high quality
photocopy". If you ask the photographic service of a library for making a
good quality copy of a manuscript for you, you'll pay in most
circumstances more than what you'd pay for a printed Fuzeau edition for
example.
Anyhow, if people are willing to publish things free, so much the better.
Bernhard
Bernhard Lang | Physical Chemistry Departement, Sciences II
21, Avenue du Denantou | University of Geneva; 30, Quai Ernest Ansermet
CH-1006 Lausanne, Suisse | CH-1211 Geneva 4, Switzerland
TEL/FAX: +41(0)21 601 3657 | TEL +41(0)22 702-6535, FAX -6518
email: [EMAIL PROTECTED]
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Re: [TeX-music] Automatic line-breaking in PMX
Some time ago, I did some experiments on music line breaking algorithms and finally I found a solution which was astonishingly easy to implement, gave stable and nice looking results (as far as I tested it) and was pretty fast. I didn't dig into the PMX source for finding out how it does the job. Here's the outline of the idea [inspired by TeX's line breaking algorithm (the way I understood it :-)] * Quality of lines is given by 1) stretching or shrinking them as less as possible, best fit could be sum of absolute differences or least square or any other method 2) neighboured lines should match, i.e. a) their stretching shouldn't be too different, quantification as above b) outstanding symbols from the both lines should not come too close or even crash into each other. * Consider now bar n and all possible lines ending at this bar. Suppose that we knew already for each line i out of these lines how to optimally break the chunk from bar 1 to n under the condition that it ends with that line i. Consider now all possible lines starting with bar n+1. Using the information already collected about the lines ending at bar n we may easily get the optimal break of the chunk bar 1 to m(j) where m(j) is the end of the jth line starting at bar n+1 (got it? wow!). * The rest is recursion and book keeping about line starts and ends. * The advantages are: - both cpu-time and memory consumption scale linearly with the number of bars. In order to test the performance I tried it once with a score containing about 700 bars and didn't notice a difference to trials of just some pages. - The algorithm can account for "soft" linebreaks, i.e. not only 'do what you want/force here' but something inbetween like TeX's \linebreak[n]. - It is easily extensible to page and even movement breaking. - The method of how to find the "optimal solution" is rather easy exchangable. However, before having performed tests on a lot of other special situations, I cannot tell anything quantitative about usability and quality of results. Bernhard Bernhard Lang | Physical Chemistry Departement, Sciences II 21, Avenue du Denantou | University of Geneva; 30, Quai Ernest Ansermet CH-1006 Lausanne, Suisse | CH-1211 Geneva 4, Switzerland TEL/FAX: +41(0)21 601 3657 | TEL +41(0)22 702-6535, FAX -6518 email: [EMAIL PROTECTED] ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
[TeX-music] x-tuplet problem in PMX
In the following code I have two problems with x-tuplets: 1) The last four notes in the first bar are not beamed as I would like them to be. I didn't find a way to convince PMX or musicTeX to do this. 2) The quarter note in the second bar should be up up-stem. An u-option in the xtuplet before the 'D' results in an error message, behind the 'D' it is ignored, at least there's no visible change. Am I missing something? Bernhard 1 1 2 2 0 6 0 0 1 1 16 0.0 t ./ a24x3 b cs d2x6Dn3 g f e d | ex6n3 f e d c b ax6Dn3 a+ g f e | / Bernhard Lang | Physical Chemistry Departement, Sciences II 21, Avenue du Denantou | University of Geneva; 30, Quai Ernest Ansermet CH-1006 Lausanne, Suisse | CH-1211 Geneva 4, Switzerland TEL/FAX: +41(0)21 601 3657 | TEL +41(0)22 702-6535, FAX -6518 email: [EMAIL PROTECTED] ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] pmx: big and small accidentals
On Tue, 26 Nov 2002, Jan Nieuwenhuizen wrote: > "Don Simons" <[EMAIL PROTECTED]> writes: > > > It has occurred to me from time to time that a default-override file might > > be useful. There are a few drawbacks, though. Now, the output from a given > > pmx file depends *only* on the binary, and that's a very good thing. > > Why not make default overrides part of the pmx language, so that > they may be specified at top of the pmx file. > What's the difference to the actual state? At present one has to insert the Ab option somewhere near to the top of the pmx input file. ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Litetrature on music engraving
On Wed, 11 Dec 2002, Christian Mondrup wrote: > Could someone in this honoured, learned community recommend some > suitable titles? Herbert Chaplik, "Die Praxis des Notengraphikers" is quite excellent. ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Litetrature on music engraving
On Wed, 11 Dec 2002, Jean-Pierre Coulon wrote: > BTW, does Chlapik has a good paragraph about horizontal > spacings ? >> [...] Nach der bewaehrten Einteilungsmethode des Notenstichs ist dies (die einwandfreie unterscheidung der Notenwerte, Anmerkung von BL) dann gewaehrleistet, wenn z.B. 1 Viertel 1 1/2 Achtelabstaende 1 Halbe2 - 2 1/2 Achtelabstaende 1 Ganze3 - 4 Achtelabstaende einnimmt. In der Praxis ergeben sich mitunter geringfuegige Variationen, die aber musikalisch oder technisch begruendet sein muessen. Die Breiteneinteilung ist dann richtig, wenn innerhalb einer Zeile oder eines Systems gleiche Notenwerte stets denselben Abstand haben. Dieser ist, falls bei den Noten Versetzungszeichen, Wechselschluessel etc. stehen, um deren Breite zu erweitern. [...] Die Masszahl fuer alle Berechnungen ist die Rasterbreite in Zwischenraeumen (zwischen zwei der fuenf Notenlinien, Anm. BL). [...] Dabei wird immer vom kleinsten Wert ausgegangen, z.B. 1 : 1 1/2 : 2 etc., oder 1 1/2 : 2 1/4 (2 1/2) : 3 1/2 (4) << Thus apparently, Chaplik prefers a system which is not that easy to describe mathematically. For smaller notes it goes like a_0 + a_1 * d But for spacing between whole notes a_1 increases a bit. I didn't try this system myself nor do I have printed music engraved by Chaplik. For ancient music being still in the tradition of white mensural notation I surely wouldn't apply any special rule for whole notes. Later on Chaplik spends some words on a topic concerning one-voice music (which your question concerned). As ligatures and kerning for special combinations of letters in text typesetting, a sort of optical compensation should be done: >> Da jedoch die Abstaende zwischen den Zeichen eine bestimmte Funktion fuer die rhythmische Gliederung haben und ihr spontanes Erfassen ermoeglichen sollen, muessen diese nicht nur gemaess der Berechnung, sondern auch optisch richtig sein. Ein optischer Ausgleich ist erforderlich: 1) bei gegeneinander gestrichenen Noten. (Ct e44 e+ e- e+ --> shift upper notes slightly to the right) 2) Wenn nach einer Pause eine (tiefere) hinaufgestrichene Note steht. (Ct r4 b43 c+ b --> shift first quarter slightly to the left) 3) In auf zwei Zeilen notierten Notengruppen. (printed example is too complicated to give a short pmx version) 4) Bei groesseren Intervallen. (Ct d86 e-- d4 --> shift second note slightly to the left) 5) Fuer den Abstand kleiner hinaufgestrichener Notenwerte zum Taktstrich. (Ct [ d14 e d e de ] | ) Der Abstand der letzten Note zum Taktstrich ist bei exakter Einteilung etwas zu erweitern. In mehrzeiligen Systemen ist ein optischer Ausgleich nur dann sinnvoll, wenn dadurch in den anderen Stimmen keine Verzerrungen entstehen. << Apparently, these optical compensations come in always when the horizontal positions of the "bulky part" (note head, quarter rest...) and the horizontal position of the stem do not go in parallel. I.E. the eye takes as "real position" of a note with a stem something like the average position of the head and the stem. Thus a compensation is necessary whenever stem direction changes or there's an object without a stem. regards Bernhard Bernhard Lang | Physical Chemistry Departement, Sciences II 21, Avenue du Denantou | University of Geneva; 30, Quai Ernest Ansermet CH-1006 Lausanne, Suisse | CH-1211 Geneva 4, Switzerland TEL/FAX: +41(0)21 601 3657 | TEL +41(0)22 702-6535, FAX -6518 email: [EMAIL PROTECTED] ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Litetrature on music engraving
I don't remember from where I've got this reference, and I havn't read it. But it might by worth considering it... Musiknotation : von der Syntax des Notenstichs zum EDV-gesteuerten Notensatz / Helene Wanske. - Mainz ; London ; New York ; Tokyo : Schott, 1988. - 457 S. : graph. Darst., Noten; (dt.)(Schott-Musikwissenschaft) ISBN 3-7957-2886-X Zugl.: Hamburg, Univ., Diss., 1984 regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] MusiXTeX and TeX register limitation [was: I wantyour tests]
On Wed, 8 Jan 2003, Rainer Dunker wrote: > On Mon, Jan 06, 2003 at 11:57:37PM +0100, taupin (wanadoo-lps) wrote: > > > Is there somebody who observes difficulties or slowing down when \including > > > musixadd? Otherwise it could IMO also be incorporated in musixtex. > > > > I'm really reluctant, once more, because of the problem of register > > consumption. > > This make musixadd and musixmadd not compatible with other register > > consuming packages, especially in LaTeX. Otherwise, MusiXTeX would > > become reserved for Omega users. > > Just an idea: What about having MusiXTeX use macros instead of > registers? Sure, this would make musixtex.tex's coding somewhat more > complicated, especially where calculations are to be performed, but in > many situations, macros behave just like allocated registers. I've done > this change with musixlyr, and in the end I was surprised how little the > necessary code changes actually were. > > Having overcome the register limitation, MusiXTeX could easily > be made capable of handling arbitrary numbers of instruments, slurs, > beams, etc. Wouldn't changing from registers to macros dramatically affect the speed? For typing short pieces this shouldn't be a problem. But for rather big scores? I remarked already that adding lyrics to a piece using musixlyr considerably slows down PMXing and TeXing. regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] MusiXTeX and TeX register limitation [was: I wantyour tests]
> It's a rather general property of musixlyr, based on the fact that the > necessary lyrics analysis (i.e. the splitting into syllables) can be > accomplished with TeX data structures only in squared-degree, not > linear, execution time (related to the length of the lyrics input). Thus, n bytes of lyrics, cut into some small pieces and put at the proper position, will win over n bytes at one shot at the beginning? > It shouldn't have any significance on PMXing, though. I agree. regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Incompatibity between MusiXTeX T110 and T111 / gracenote problem
On Fri, 10 Jan 2003, Cornelius C. Noack wrote: > Hello: > > Here is an entirely different problem that may (mor likely may not) > have anything to do with the new versions: > > I find that when coding graces with more than note, PMX runs OK, but > musixtex complains about undef'd \settiny and \resetsize -- ?? > The simple attached gracetst.pmx shows the effect. > > The strange thing is: Don Simons tried to reproduce the problem; but > with him my test source ran flawlessly !? > > I am using PMX 240.1 and musixtex 109,110, 111 (doesnt matter !). > > My question: >(i) can anybody reproduce my error ? using PMX Version 2.401 and MusiXTeX(c) T.102 <16 January 2001> I dont see any problem > (ii) does anybody have an idea whats going on ? >The problem surely has to do with setting the grace note sizes, >and possibly with some redefinition of \Internote / \internote >(???). And by the way, With PMX I had once a similar problem and there it was system dependend through a GNU CC compiler optimisation. But your problem seems to occure inside the TeX macros. Are you sure (stupid question) that there's not some older version of the musixtex/pmx TeX files in your search path elsewhere? regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
[TeX-music] pmx/musixtex bug?
hi all The following excerpt yields a [][][][][] [][][][][][][][][][][][][][][][][] when PMXing it and the dot of the r9d in the second voice, second block, is missing. In fact, this rest causes the spacing problem. Has anyone an idea what is going on? Is this a PMX bug, Don? (PMX 2.401, MusiXTeX(c) T.102) regards Bernhard ---pmx file--- g03 c0- | // g03d c2 | / m12/2/0/0 b0d b2 c0 c0 a0 6 g0 | // r9d c0- d0 e0 | / ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
[TeX-music] MTX questions
Hi all a) Using MTX I need a meter called in PMX 4/0/0/4. The first problem is that MTX refuses the first zero although this would make sense, regarding PMX's language. Well, this is not a real problem, since m8/2/0/4 fixes this. But the second problem is that the third and fourth numbers do not go through MTX. In the resulting PMX file I find in the preamble "8 2 8 2" instead of the expected "8 2 0 4". Is this intended? b) Apparently, MTX cannot handle the nice "rp" full bar rest provided by PMX. This seems to mess up MTX's meter/length counting. In the above mentioned meter I would like to use a \PAUSe. Well, "\PAUSe\ rb9 rb9" or "rb9 \PAUSe\ rb9" are workarounds but both do not produce very nice output since a full bar rest should appear centered within the bar. A construct with \centerPAUSe\ on the other hand is also not a real solution as the pice has 12 voices and many such rests. So I don't see a direct TeX macro solution. Does anyone have a suggestion? regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
RE: [TeX-music] MTX questions
On Mon, 27 Jan 2003, Don Simons wrote:
> Since the programming is more involved and this is such a rare occurrance,
> I'm not inclined to change PMX to print \PAUSe in these cases. But I don't
> understand why a macro won't work for Bernhard. Here's a compact example
> that Bernhard can use right now if in any bar that has been subdivided in
> some other voice:
Thanks a lot Don, that's perfecly what I wanted. In fact, I was a bit
misslead by the paragraph on \centerpause and friends in the musixtex
manual which are used by \def\atnextbar{\znotes&\centerpause...&...\en}
there. Thus each combination of centered rests would ask for its own macro
(being 11*12 or even 12! or somehing like that). But I didn't think about
redefining the rest command itself.
\loop nothing's impossible with TeX \ifx don't believe that \repeat
\best{regards}
Bernhard
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[TeX-music] spacing problem with \liftPAuse
hi all running tex/musixflx/tex on the following lines \input musixtex \input pmx \instrumentnumber1 \startmuflex\startpiece \notes\liftPAuse1\en \stoppiece \bye yields [...] MusiXTeX(c) T.111 <3 Jan. 2003> ) (/usr/share/texmf/tex/generic/musixtex/pmx.tex PMX, a Preprocessor for MusiXTeX, Version 2.406a <13 October 02> ) (test.mx2) < 1> bar 1 Underfull \hbox (badness 1) in paragraph at lines 4--6 [][][][][] [][] [1] ) Changing \liftPAuse1 to \PAuse lets the spacing problem disappear. Does anyone have an idea what is going on here? regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
[TeX-music] problem with \treblelowoct
hi all
Can anyone tell why in the following example the 8 appears below he meter
sign rather than the clef? (PMX 2.407, a Preprocessor for MusiXTeX,
Version 2.406a <13 October 02>, MusiXTeX(c) T.111 <3 Jan. 2003>)
1 1 1 4 0 6 0.0 0 1 1 20 0
0
./
\\settrebleclefsymbol{1}\treblelowoct\
a44 /
regards
Bernhard
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Re: [TeX-music] problem with \treblelowoct
thanks Andre, thanks Christian It seems that there was a problem in TeX's font cache. After deleting and regenerating musixtex' pk fonts the problem has gone. regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
[TeX-music] PMX and scor2prt problem
Hi all
I've got a problem with a lengthy PMX source which looks to me like being
a PMX problem due to the length of the file. Some attempts to considerably
shorten the file failed. Breaking the sources into shorter pieces is
unfortunately not a real solution: I was asked to make instrumental parts
of my score of Brumel's 12 voice mass. Doing cut and paste for 12 voices
times 15 pmx sources makes a lot of work :-(. Thus I would like to have
the mass parts (kyrie, gloria, credo, sanctus/benedictus, agnus) as one
PMX file each, and auomatically generating one single-part per voice file
from each. Now the problem:
uncommenting line 489 ( see attached zip file, line "%L7P4Mi.0c" )
yields
! Missing number, treated as zero.
*
\setname #1#2->\n@v #1
\relax \expandafter \edef \csname
instrument\romannume...
l.540 \setname*{}
%
It is the 'M' which causes the trouble.
Making then parts with
> scor2prt kyrie
> pmx kyrie1
yields
Bar 55 Bar 56 Bar 57 Bar 58 Bar 59 Bar 60 Bar 61 Bar 62
ERROR in line 383, bar 64 Bar line marker out of place
v
\beginmel\ d0 g2d- a4 b2d c4 d2d e4 f2d g4 a2 d2- | /
^
and the meter change given in line 1160 seems not to get through the part
making procedure. Is this error reproducable? Am I'doing something wrong?
(newest PMX and musixTeX versions)
regards and thanks for any help
Bernhard
kyrie.zip
Description: Zip archive
[TeX-music] PMX and scor2prt problem
On Thu, 20 Feb 2003, Andre Van Ryckeghem wrote: > i cannot test because i do not have > > brumel-settings.mtx Ups, sorry. I've attached it to this mail. regards Bernhard settings.zip Description: Zip archive
Re: [TeX-music] PMX and scor2prt problem
On Thu, 20 Feb 2003, Christof Biebricher wrote: > If your editor has good macro facilities, everything goes > more or less automatically. A perl file or a script may do it as well. I'm using emacs, so plenty features for automatisation should be available. Unfortunately I don't know emacs-lisp and for the moment I don't have the time to learn it. Are the macros/scripts you used for you Bach edition perhaps adaptable to my problem? > By the way: the tex file does not seem to have any length restriction. > This comes from shipping out completed pages. I didn't suppose that this problem is caused by TeX itself but rather by a limitation inside a musixTeX macro construct or inside PMX (sorry Don for steadily touching limits with this 12 voice thing) > This may look more complicated, but if you considering the time saving > using pmx, it is really still an enormous bargain. That's exactly why I'm asking (and hoping that the problem might be only a minor and simply to fix thing) salutations Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
RE: [TeX-music] PMX and scor2prt problem
Hi Don Thanks a lot for your help. > The first is at line 516, where you had a type-3 TeX string followed > on the same line by some PMX input. It's a no-no that unfortunately > did not bother PMX, but really confused scor2prt. Type-3 TeX strings > should never be followed by PMX input on the same line. > Should I modify PMX to check for this? In this case it didn't matter > to PMX. So I suspect there may be lots of existing sources out there > that have never gone through scor2prt, and would no longer make it > through PMX if I tightened up the rules. But of course the error > message would guide the user to a quick fix. I think so too. At least a warning message of PMX or scor2prt would be helpful. I used MTX for processing the lyrics. So the PMX file was not so much under my control and I didn't play with this sort of things. > The other error was on line 1090 where you used "L15P8" without "%%" on the > previous line. Again, not an error in the score. But after fixing the first > problem, when processing one of the parts, PMX did catch this one. I see, I should have noiced that :-( many thanks, also to Christian and Christof regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Barnumber with PMX and MusiXTeX T111
On Tue, 4 Mar 2003, Hermann Hinsch wrote:
> I made an update of my MusiXTeX to version T111 by replacing the files of the
> .../tex-directory and the .../mf-directory and deleting the old tfm-files.
> Using PMX the barnumbers are positioned directly above the upper note line
> with no space between. Replacing musixtex.tex by musixtex.tex of T107 the
> barnumbers are positioned as they should. I use linux (SuSE 8.0).
>
> Does anyone observe the same?
>
> Hermann
>
Yes I do so (PMX 2408, MusiXTeX T111). I suspected it was due to some
experiments of mine and I fixed it with for the moment a quick-and-dirty
patch. Now I tend more to think that the reason is located in
pmx.tex/musixtex.tex. Inserting
\def\raisebarno{3.5\internote}%
\def\shiftbarno{3.5\internote}%
after reading in pmx.tex puts the bar numbers back to where they used to
be. I didn't dig more into details (a comment in pmx.tex near line
250 states
% The following 2 macros are messy, but they retain \raisebarno as a macro and
% retain original definition in musixtex for the end-of-line utility.
:-) but it seems that somehow \raisebarno and \shiftbarno, respectively
the retaining macros/dimension registers get reset to zero later on during
read in of pmx.tex (inspecting this with some inserted \show and \the
commands in inline-TeX commands). Thus redefining them afterwards fixes
the actual problem but may kill the stated end-of-line feature.
Has anyone got any idea what may go on there?
regards
Bernhard
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Re: [TeX-music] Barnumber with PMX and MusiXTeX T111
On Wed, 5 Mar 2003, Olivier Vogel wrote: > The problem you describe seems similar to the one I observed in January > 2003. Look at the messages with the subject "Incompability between MusiXTeX > T110 and T111". > > Try the solution proposed by Daniel Taupin: > make the following change at line 4418 of the file musixtex.tex > < [EMAIL PROTECTED]@[EMAIL PROTECTED] > --- > > [EMAIL PROTECTED]@[EMAIL PROTECTED] > Yes, that works. Thanks Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
[TeX-music] Re: was M-Tx on Windows: starting up problems
> Wow... Leave for a day and you miss a lot... I am glad to hear that Gert > found the answer needed. I want to add that I frequently use a utility > called FLIP to convert whole directories from Unix to MS-DOS line endings. > > There are many utilities named FLIP, so a search on Google will bring up a > lot, but this FLIP is the one I recommend. (This is for Windows PC Systems, > where the user knows how to use the MS-DOS Prompt and do basic operations > from the 'command line.') It's good to distribute infos about useful tools. Thanks Joel. I'd like to add a remark/question. Upon Gerds problem I peeked in the prepmx sources for file IO operations. The fopen commands in the p2c sources show indeed only mode "r", resp. "w" (binary), as opposed to "rt", resp. "wt" (text). Thus files are treated in binary mode. Using gcc on UN*X I never had line ending problems when using text mode. At least the glibc routines seem to be smart enough. However, I don't know how that is on the DOS/WIN side and if there is a similar feature available in PASCAL (in which MTX seems to be written originally). If so, it might be useful to apply a corresponding patch which avoids the problem in future. regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
[TeX-music] Basso Continuo Source
Hi all For those who are interested in historic documents about playing basso continuo: On the archive, you'll find my translation of Agostino Agazzari's >>Del Sonare Sopra'l Basso Con Tutti Li Stromenti E dell'Uso Loro Nel Conserto<< 1607, one of the most important sources about early continuo practice. http://icking-music-archive.sunsite.dk/ByComposer/Agazzari.html I still consider it to be draft, although the german translation should be already quite ok, but the english version remains to be improved, since I'm not a native speaker. I understand it as a starting point and invite everybody being interested to have a look on it, and I'm happy for all comments, suggestions, corrections etc. Anyhow and naturally, this holds also for the german part... regards Bernhard Bernhard Lang | Physical Chemistry Departement, Sciences II 21, Avenue du Denantou | University of Geneva; 30, Quai Ernest Ansermet CH-1006 Lausanne, Suisse | CH-1211 Geneva 4, Switzerland TEL/FAX: +41(0)21 601 3657 | TEL +41(0)22 702-6535, FAX -6518 email: [EMAIL PROTECTED] ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
[TeX-music] meter changes and PMX spacing
Dear all Setting a piece from Monteverdi I've the problem that meter is changing several times within a few bars from common time (four half notes) to "tempus perfectum diminutum" (six whole notes) and back. The tempo relation is about such that on half note of the former corresponds to three whole notes of the latter. Setting this straight forward I get either much to wide spacing in one or much to crowded in the other meter. Setting each meter change at a line break does not help, this produces some odd looking lines. Has anyone got an idea if and how how PMX could be convinced to change spacing within a running line? regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Most basic PMX file or template?
Hi Martin Sending a short file with which you have problems may help us to find out what the problem is. regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] cue notes, "a defauts": translation needed.
> Does anyone know the right English term for these notes ? Or does the > French term belong to the mostly Italian "lingua franca" of music ? German > term is also welcome. A "sub-partition", having some but not all voices, for example the continuo part, where you find also the singer's part in small size, but not all the other instruments, is called in german "Particell". But I think this is not really what you mean. regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
re [TeX-music] PMX score layout question
Hi Joerg Obviously you provide PMX not the right number of clefs OR names of voices/instrument (one per line, which are before the clefs). This error is somehow easy to oversee since PMX wants to have exactly n lines for the names, even if these lines are empty. And the fact that PMX complains about clefs missleads in finding the origin of the error. As a first step I would check this. regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] PMX and brackets ?
On Mon, 4 Aug 2003, Joerg Anders wrote: > > Besides, I notice that you use version 2.3 of PMX. I strongly recommend you > > to use the latest version (2.410) which contains a lot of ameliorations. > > > > Yes, but for Unix/Linux there is 2.3 the latest version). You can easily compile it yourself from the sources (having g77 or f2c this will take you about two minutes) 1) download and unzip the pmx version in question 2) load pmxab.for into an editor 3) look for two lines with comment "! May need to replace this w/ next line " and do so (in vers. 2401 that's line 543 and 556) 4) delete the very last line (^Z) 5) g77 pmxab.for -o pmxab 6) if you don't have g77 (the fortran frontend of the gcc collection) you may use f2c: a) mv pmxab.for pmxab.f b) f2c -Nx400 -Nn802 pmxab.f c) gcc -o pmxab pmxab.c -lf2c -lm 7) copy the result to some location being mentioned in the PATH environment that's it reards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] figured bass question and PMX - and the next question
On Tue, 5 Aug 2003, Johan Tufvesson wrote: > On Mon, 4 Aug 2003, Diane Blaurock wrote: > > > If I understand what I've read about copyright law correctly, scholarly > > editions with critical apparatus are covered only for a period of 25 years. > > I am assuming that this pertains to the edition that I have, because the > > editor lists all of the corrections that he made. If I reset the score, > > omitting the realization of the continuo line and only giving the figured > > bass, would I be able to post my score and parts to the archive? > > I have not heard anything about those 25 years, and I presume that it > differs in different countries. I have taken the "easy" way and only > published pieces transcribed from 17- and 18th century prints and > manuscripts. > > > Or should I keep it to myself and we all pretend I never wrote this? > > And do like me? :-) > This is why I could not keep myself from commenting this. Yes, I have > transcribed exactly that sonata and kept it to myself because of copyright > questions that I did not have the energy to solve. If you do come to a > conclusion, I'm interested in hearing about it. I'm not a lawyer, but to my understanding of the matter you must differentiate two things which are addressed by the same word "copyright" in english as far as I know: a) the right (or prohibition) to copy something printed by using a photocopying machine or something similar and b) to copy a text or sheet music or whatever from a certain author by reediting it. Obviously the former is bound to the edition and its graphical outcome, while the latter is bound to the content. The latter holds in Germany for 70 years or so. After this time, anyone is free to do with a text whatever he wants. Thus any music from before 1900 you can safely reedit (in Germany) because noone can have rights on what the music tells. However you may not scan and redistribute a modern edition of this piece. On the other hand, if you want to redistribute a scanned old source which is to be found in a certain library, you may have to pay fees to this library, because it may have rights on the "graphical part". I would be very surprised if this is substantially different in other western countries, except that the delays and fees may vary quite. regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] Copyright
On Tue, 5 Aug 2003, Hermann Hinsch wrote: > >So if the composer has been dead for 70 years, and you > >have access to the compostition in it's original, > >unedited form, nobody can stop you from publishing it > >if you do the typesetting yourself. > > Is this true too if I use a commercially available facsimile as source? Again, as to Simon, who should be able to proof it. You may have got a copy of the original source from someone somewhere. You find exactly the same content, maybe just a bit more lisible. So noone can have rights on the content. Of course you must not reproduce the facsimile which might be of substatially better quality as the original, due to modern graphics processing programs. regards Bernhards ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] figured bass question and PMX - and the next question
On Tue, 5 Aug 2003, Simon Dreher wrote: > If you want to re-edit a piece and use any editorial work, you'll have > to wait for 50 years after the publication of the edition you use. > > This is what I heard about the copyright (at least in Germany). Who ever would be able to proof, which edition you used? If you don't copy obvious missprints, parallels between yours and another edition might by just parallels in interpretation of the original source. Of course you shouldn't copy things like continuo realisations (ugh such stuff should never go into an edition! Those things are the job of the players). regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] PMX and continued/discontinued bar rules
> Is there a possibility to declare individual bar > rules in PMX ? I assume I can use TeX statments together with It has to be done by inline-TeX. But there was a short thread on the list just about this some days ago. regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
Re: [TeX-music] MusiXTeX with LaTeX without problems
I ran into exactly that problem "no room left for new dimen register..." yesterday when I included a PMX generated tex file into a longer latex document. And I discovered that \inputting all the supplementary files automatically included by the PMX output already in the latex preamble solves the problem. It seems that TeX eats up some of its space during the latex run but manages to survive when the space necessary for allocating registers has been reserved right at the beginnig. Does anyone have an idea what that is due to? regards Bernhard ___ TeX-music mailing list [EMAIL PROTECTED] http://sunsite.dk/mailman/listinfo/tex-music
