Juergen Reuter wrote:
> That reminds me of related topic that should also go onto the TODO list:
>
> In today's notation of Renaissance music, a slightly different
> notation of bars is used.
that depends on the transcription and publishing methods used ! But I agree that
the features described below would be very useful. Recently there has been a
related discussion on the recordler-l mail list where Laura Conrad on the occasion
of her edition of Thomas Morley's 'The First Booke of Canzonets' has argued for
the barless edition practice used in her edition. While I don't totally agree
myself I think that 'renaissance mode' described here might be a good compromise
(a good example is the german choral anthology 'Gesellige Zeit'). One should,
however, be aware of the problems arising when not too early-music-informed
singers or musicians are presented with scores typeset like that. 40 years of
recorder consort playing and instruction have learned me that !
>
> Firstly, bars are not drawn across staff lines (where the notes usually
> go), but rather between them (where the lyrics usually go).
>
> Secondly, but more important and related to the above discusssion:
> The sum of the durations in a single bar may be
> greater than the duration of that bar. E.g. when being in
> "Renaissance mode" -- whatever that means (maybe setting some
> Renaissance specific properties) --, in 4/4 time signature,
> look at the code "| e2 f1 | d2 | e1 |".
>
> Here, lily should NOT print a warning pointing out the duration
> overflow in the first bar and the duration underflow in the second bar.
> Instead, as far as scheduling of events is concerned, this should be
> interpreted as "| e2 f2~ | f2 d2 | e1 |".
> Note that turning off all bar warnings is no solution, because
> "| e2 f2 g2 | d2 | e1 |" should still produce a duration overflow
> warning, as, in that case, there is no reason not to write
> "| e2 f2 | g2 d2 | e1|" instead. Similarly, lily should produce a
> warning when there is a duration underflow that is not compensated
> by a preceding duration overflow.
>
> All these constraints can be fullfilled by shortening the last note
> of a bar, if there is a duration overflow in a bar, and implicitly
> adding a tied note of the same pitch and proper length to the next
> bar, and leaving the rest of lily's bar checking code unchanged
> (i.e. basically what Tim suggested).
>
> Notationally however, lily should interpret the initial code sample
> as it is, namely "| e2 f1 | d2 | e1 |". That is, lily should really
> produce a bar that contains e2 and f1. The next bar should only
> contain the d2, but aligned to the second half of the bar.
>
> N.B.: As far as I know, the mensural notation system of Renaissance
> music did not at all make use of bars. The barlines in today's
> notation of Renaissance music is only a help for today's musicians
> for better reading, because we are used to bar notation. This would
> also explain why the bar lines are placed between the staff lines,
> i.e. aside the music itself.
>
> Bye,
> Juergen
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
