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Re: Lily 2.2.0 is out
From: |
Hans Forbrich |
Subject: |
Re: Lily 2.2.0 is out |
Date: |
Thu, 1 Apr 2004 05:10:13 -0700 |
User-agent: |
KMail/1.5.1 |
Tarball download still points to 2.1 directory. (Manually changing to 2.2
gets the file :) )
/Hans
On Thursday 01 April 2004 04:32, Han-Wen Nienhuys wrote:
> Dear music enthousiasts,
>
>
> LilyPond is a program for making beautiful music notation. It is
> free/open source software, and is available for all popular operating
> systems. It runs on most Unix flavors --including Linux and MacOS X-- and
> MS Windows. Use it for your music too!
>
>
>
> LilyPond version 2.2 was released today!
>
> This release has completely revamped support for for orchestral score
> formatting, cue notes, font size management, lyric formatting, drum
> notation/playback and document integration.
>
> In addition, it has numerous syntax simplifications, proper support
> for 8va brackets, and a completely updated manual.
>
> Go and grab it at
>
> http://lilypond.org
>
>
> A big thank-you goes out to our contributors:
>
> David Bobroff, Edward Sanford Sutton, Heikki Junes, and Nicolas
> Sceaux.
>
> Also thanks to our bug-hunters:
>
> Alexandre Beneteau, Andrew McNabb, Atte Andre Jensen , Bertalan Fodor,
> Bruce McIntyre, Dave Symonds, David Bobroff, Darius, Delma Avers, Doug
> Linhardt, Eric Wurbel, Erik Sandberg, Ferenc Wagner, Hans Forbrich,
> John Williams, José Luis Cruz, Juergen Reuter, Kieren Richard
> MacMillan, Laurent Martelli, Mats Bengtsson, Matthias Kilian, Nancho
> Alvarez, Nick Busigin, Nicolas Sceaux , Olivier Guery, Patrick
> Atamaniuk, Paul Scott, Pawel D, Pedro Kroger, Ray McKinney, Reuben
> Thomas, Rob V, Stef Epardaud, Thomas Willhalm, Thomas Scharkowski, Tom
> Bäckström, Werner Lemberg, and Will Oram.
>
>
>
> Happy music printing,
>
>
>
>
> Han-Wen Nienhuys & Jan Nieuwenhuizen
> (core development team)
>
>
>
>
>
>
> New features in 2.2 since 2.0
> *****************************
>
> * Setting `raggedlast = ##t' in the `\paper' block causes the last
> line to be set flush-left instead of justified.
>
> * The `Timing_engraver' now sets the `Timing' alias on its
> containing context automatically.
>
> * The code for font selection has been rewritten. In addition to
> existing font selection properties, the property `font-encoding'
> has been added, which makes the switch between normal `text' and
> other encodings like `braces', `music' and `math'.
>
> * The pmx2ly script has been removed from the distribution.
>
> * Pedal brackets will now run to the last bar of a piece if they are
> not explicitly ended.
>
> * Context definitions now use the word `\context' instead of
> `\translator'.
>
> * Property functions may be used as an argument to `set!', for
> example
>
> (set! (ly:grob-property grob 'beam) ... )
>
> * In anticipation of Emacs 21.4 or 22.1, the info documentation
> contains images.
>
> * Cue notes can be quoted directly from the parts that contain them.
> This will take into account transposition of source and target
> instrument. For example,
>
>
> \addquote clarinet \notes\relative c' {
> \transposition bes
> fis4 fis fis fis
> }
>
> \score {
> \notes \relative c'' {
> c8 d8 \quote 2 oboe es8 gis
> }
> }
>
> * The transposition of an instrument can be specified using the
> `\transposition' command. An E-flat alto saxophone is specified as
>
> \transposition es'
>
> * The naming of exported Scheme functions now follows Scheme
> conventions. Changes be applied to Scheme files with
>
> convert-ly -e -n --from=2.1.24 --to=2.1.26 *.scm
>
> * Notes can be excluded from auto-beaming, by marking them with
> `\noBeam'
> c8 c \noBeam c c
>
> will print two separate eighth notes, and two beamed notes.
>
> * Translators and contexts have been split. The result of this
> internal cleanup is that `Score' no longer is the top context;
> `Score' is contained in the `Global' context. Consequently, it is
> possible to tweak `Score' as follows:
>
> \context Score \with {
> ...
> }
>
> * The number of staff lines in Tablature notation is now
> automatically deduced from the `stringTunings' property.
>
> * The program reference has been cleaned up and revised.
>
> * The syntax for setting properties has been simplified: the
> following table lists the differences:
>
> (old) (new)
>
> \property A.B = #C \set A.B = #C
> \property A.B \unset \unset A.B
> \property A.B \set #C = #D \override A.B #C = #D
> \property A.B \override #C = #D (removed)
> \property A.B \revert #C \revert A.B #C
>
> Furthermore, if `A' is left out, the bottommost context is used by
> default. In other words, it is no longer necessary to explicitly
> mention `Voice', `Lyrics' or `ChordNames'.
>
> Old:
>
> \property Voice.autoBeaming = ##f
> \property Staff.TimeSignature \set #'style = #'C
>
> New:
>
> \set autoBeaming = ##f
> \override Staff.TimeSignature #'style = #'C
>
> * Tweaks made with `\override' and `\revert' no longer hide tweaks
> at higher context levels.
>
> * Melismata in lyrics are also properly handled in the MIDI output.
>
> * The lilypond-book script has been rewritten. It is shorter,
> cleaner and faster. The special construct `mbinclude' has been
> removed, plain address@hidden' or `\input' can be used now.
>
> It now supports running convert-ly on the lilypond snippets,
> lilypond-book --filter='convert-ly --from=2.0.0' my-book.tely
>
> * The `LyricsVoice' context has been removed. Lyrics should only be
> constructed in `Lyrics'.
>
> * The `Thread' context has been removed. Note heads and rests are
> now constructed at `Voice' level.
>
> * Harmonic notes can now be entered as
>
> <c' g''\harmonic>
>
> * Drum notation is now supported as a regular feature: percussion
> may be entered in `\drums' mode, and printed or performed in a
> `DrumStaff' context:
>
> \score {
> \drums \new DrumStaff { hihat4 cowbell8 }
> }
>
> * The automatic staff changer was internally rewritten. As a result,
> the syntax has been simplified as well:
>
> \autochange THE-MUSIC
>
> * The ergonomic syntax of `\markup' now has an equivalent in Scheme.
> The `markup*' macro creates such objects; the following two markup
> commands are equivalent:
> f4^#(markup* #:raise 0.2 #:bold "hi")
> f4^\markup { \raise #0.2 \bold hi }
>
> * Voice names, for vocal lines, have been added. They are similar to
> instrument names. They can be set by defining `vocalName' and
> `vocNam'.
>
> * Safe mode has been reinstated for lilypond. When lilypond is
> invoked with `--safe-mode', TeX and PostScript file output is
> disallowed, and lilypond-bin is invoked with `--safe-mode', the
> user's Guile expressions are evaluated in a safe environment and
> file inclusion is not allowed.
>
> Warning: this does not protect against denial-of-service attacks
> using Guile, TeX or PostScript.
>
> (This feature is still experimental.)
>
> * There is now a Scheme macro for defining markup commands. Special
> mark-up commands can be defined in user-files too.
>
> * Many fixes for dimension scaling have been made, resulting in
> correct results for scores that mix staves in different sizes.
>
> * Improved robustness when layout properties are accidentally
> removed.
>
> * A more cleanly constructed part combiner has been installed. It
> is more robust and less buggy. The part-combiner can be used with
> \partcombine MUS1 MUS2
>
> See `input/regression/new-part-combine.ly' for an example.
>
> * Formatting of rehearsal marks has been improved. The `\mark'
> command now only does automatic incrementing for marks specified as
> integer. For example, `\mark #1' will print an A in the default
> style. See `input/regression/rehearsal-mark-letter.ly',
> `input/regression/rehearsal-mark-number.ly'.
>
> * Formatting of ottava brackets has been much improved.
>
> * Objects in the output can now be documented: the following fragment
> boxes the note head, and adds the text "heads or tails?" three
> spaces below the box.
>
> \context Voice \applyoutput #(add-balloon-text
> 'NoteHead "heads, or tails?"
> '(0 . -3))
>
>
> c8
>
> * Default staff sizes are now scalable. There are two new mechanisms
> for setting staff sizes. Both are demonstrated in this fragment:
>
> #(set-global-staff-size 15)
> \paper {
> #(paper-set-staff-size (* 15 pt))
> }
>
> Both have the same effect on the global layout of a piece.
> Similarly, the paper size may be changed as follows
>
> #(set-default-paper-size "a4")
> \paper {
> #(set-paper-size "a4")
> }
>
> * Warnings for bar check errors are more cleverly printed. This
> makes `barCheckSynchronize' superfluous, so it is now switched off
> by default.
>
> Warning: this will cause problems in scores that use bar checks to
> shorten measures.
>
> * The black note head was made a little rounder, which causes a less
> frantic graphic impression.
>
> * A more concise syntax for checking octaves was introduced. A note
> may be followed by `='QUOTES which indicates what its absolute
> octave should be. In the following example,
>
> \relative c'' { c='' b=' d,='' }
>
> the d will generate a warning, because a d" is expected, but a d'
> is found.
>
> * There is a new mechanism for putting lyrics to melodies. With
> this mechanism, `Lyrics' lines can be put melodies individually,
> allowing for different melismatic sections in every `Lyrics'. See
> `input/regression/lyric-combine-new.ly'.
>
> * Bar lines may now be dotted.
>
> * The documentation now has links to a wiki, where everyone can add
> personal comments to the manual.
>
> * Contexts may now be changed locally for an isolated music
> expression. For example,
>
> \new Voice \with {
> \consists "Pitch_squash_engraver"
> } {
> c'4
> }
>
> * The syntax for changing staffs has changed. The keyword `\change'
> should now be used, e.g.
>
> \change Staff = up
>
> * Features of spanner contexts, like `Staff', can now be changed
> using `\set', eg.
>
> \new Staff {
> \override Staff.StaffSymbol #'line-count = #4
> c'4
> }
>
> puts a quarter note C on a staff with 4 lines.
>
> * Multi measure rests are now truly centered between the
> clefs/barlines of the staff, their position is independent of
> symbols on the other staffs.
>
> * Collision resolution for dots in chords has been improved greatly.
>
> * Spacing following barlines was improved for widely stretched lines.
>
> * Lyric hyphens and extenders now conform to standard typesetting
> practice.
>
> * Lyrics are now aligned under note heads conforming to engraving
> standards. The responsible code has been rewritten, and is
> drastically simpler from the previous version. To aid this
> rewrite, the syntactic function of the extender line ( __ ) has
> been changed: it is now attached to the lyric syllable.
>
> * When redefining a context, the associated identifier is also
> updated. For example, after reading the following snippet,
> \translator {
> \ScoreContext
> autoBeaming = ##f
> }
> the definition of `ScoreContext' is updated to include the changed
> setting.
>
> * The weight of the stafflines is now heavier at smaller staff sizes.
> The font has been modified to match this look: at smaller sizes,
> the font is heavier and the note heads are more rounded.
>
> * Processing scores is now done while parsing the file. New Scheme
> functions give more flexibility: for example, it is now possible
> interpret a score, collecting synchronized musical events in a
> list, and manipulate that information using inline Scheme. For an
> example, see `input/no-notation/recording.ly'.
>
> * Font sizes can now truly be scaled continuously: the `font-size'
> is similar to the old `font-relative-size', but may be set to
> fractional values; the closest design size will be scaled to
> achieve the desired size. As a side-effect, there are now no longer
> limitations in using smaller fonts (eg. grace notes) at small staff
> sizes.
>
> * Stem tips are now also engraved with rounded corners.
>
> * The placement of accidentals on chords and ledgered notes is
> improved.
- Re: Lily 2.2.0 is out,
Hans Forbrich <=