Le 19/12/2022 à 01:59, Eduardo Ochs a écrit :
Can anyone give me some examples of how to use the REPL to inspect some interesting variables and data structures? I am hoping to get something like a 5-line demo that I can use as a starting point...
This is a late reply, but try this: \version "2.24.0" mus = { c'1 <>\< \after 4 \! d'2 } \include "scheme-sandbox.ly" { \mus } $ ~/lilies/2.24.0/bin/lilypond test.ly GNU LilyPond 2.24.0 (running Guile 2.2) Processing `test.ly' Parsing... GNU Guile 2.2.7 Copyright (C) 1995-2019 Free Software Foundation, Inc. Guile comes with ABSOLUTELY NO WARRANTY; for details type `,show w'. This program is free software, and you are welcome to redistribute it under certain conditions; type `,show c' for details. Enter `,help' for help. scheme@(#{ g100}#)> mus [lots of output deleted] scheme@(#{ g100}#)> (display-scheme-music mus) (make-music 'SequentialMusic 'elements (list (make-music 'NoteEvent 'duration (ly:make-duration 0) 'pitch (ly:make-pitch 0 0)) (make-music 'EventChord 'elements (list (make-music 'CrescendoEvent 'span-direction -1))) (make-music 'ContextSpeccedMusic 'property-operations '() 'context-type 'Bottom 'element (make-music 'SimultaneousMusic 'elements (list (make-music 'SequentialMusic 'elements (list (make-music 'SkipMusic 'duration (ly:make-duration 2)) (make-music 'EventChord 'elements (list (make-music 'CrescendoEvent 'span-direction 1))))) (make-music 'NoteEvent 'duration (ly:make-duration 1) 'pitch (ly:make-pitch 0 1))))))) scheme@(#{ g100}#)> (display-lily-music mus) { c'1 < >\< \after 4 \! d'2 } scheme@(#{ g100}#)> (exit) Interpreting music... Preprocessing graphical objects... Finding the ideal number of pages... Fitting music on 1 page... Drawing systems... Converting to `test.pdf'... Success: compilation successfully completed Keep in mind, though, that LilyPond doesn't operate in a single pass, so "what LilyPond knows about the file at the current point" isn't all that much: it has just desugared some high-level constructs like \after into simpler music expressions. The story of what happens to those music expressions afterwards is complicated. Best, Jean
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