From 2246def69f127d840ac62fef6d792538ef47de75 Mon Sep 17 00:00:00 2001 From: ahankinson Date: Wed, 29 May 2024 13:24:08 +0000 Subject: [PATCH] =?UTF-8?q?Deploy=20preview=20for=20PR=20114=20?= =?UTF-8?q?=F0=9F=9B=AB?= MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 8bit --- pr-preview/pr-114/.gitignore | 2 + pr-preview/pr-114/CNAME | 1 + pr-preview/pr-114/EDITORIAL.md | 204 ++ pr-preview/pr-114/README.md | 42 + pr-preview/pr-114/bare_pr_preview/HEAD | 1 + pr-preview/pr-114/bare_pr_preview/config | 6 + pr-preview/pr-114/bare_pr_preview/description | 1 + .../hooks/applypatch-msg.sample | 15 + .../bare_pr_preview/hooks/commit-msg.sample | 24 + .../hooks/fsmonitor-watchman.sample | 174 ++ .../bare_pr_preview/hooks/post-update.sample | 8 + .../hooks/pre-applypatch.sample | 14 + .../bare_pr_preview/hooks/pre-commit.sample | 49 + .../hooks/pre-merge-commit.sample | 13 + .../bare_pr_preview/hooks/pre-push.sample | 53 + .../bare_pr_preview/hooks/pre-rebase.sample | 169 ++ .../bare_pr_preview/hooks/pre-receive.sample | 24 + .../hooks/prepare-commit-msg.sample | 42 + .../hooks/push-to-checkout.sample | 78 + .../hooks/sendemail-validate.sample | 77 + .../bare_pr_preview/hooks/update.sample | 128 + .../pr-114/bare_pr_preview/info/exclude | 6 + ...5e4e256db2022cde860fee7431094e5989400b.idx | Bin 0 -> 12216 bytes ...e4e256db2022cde860fee7431094e5989400b.pack | Bin 0 -> 151611 bytes ...5e4e256db2022cde860fee7431094e5989400b.rev | Bin 0 -> 1644 bytes pr-preview/pr-114/bare_pr_preview/packed-refs | 30 + pr-preview/pr-114/index.html | 63 + pr-preview/pr-114/static/img/dc-logo.png | Bin 0 -> 10750 bytes pr-preview/pr-114/static/img/edc-logo.png | Bin 0 -> 10612 bytes pr-preview/pr-114/static/img/pae-logo.svg | 17 + .../pr-114/static/js/verovio-rendering.js | 52 + pr-preview/pr-114/v1/index.html | 1591 +++++++++++ pr-preview/pr-114/v2/changes.html | 202 ++ pr-preview/pr-114/v2/guidelines.html | 224 ++ pr-preview/pr-114/v2/index.html | 2405 +++++++++++++++++ 35 files changed, 5715 insertions(+) create mode 100644 pr-preview/pr-114/.gitignore create mode 100644 pr-preview/pr-114/CNAME create mode 100644 pr-preview/pr-114/EDITORIAL.md create mode 100644 pr-preview/pr-114/README.md create mode 100644 pr-preview/pr-114/bare_pr_preview/HEAD create mode 100644 pr-preview/pr-114/bare_pr_preview/config create mode 100755 pr-preview/pr-114/bare_pr_preview/description create mode 100755 pr-preview/pr-114/bare_pr_preview/hooks/applypatch-msg.sample create mode 100755 pr-preview/pr-114/bare_pr_preview/hooks/commit-msg.sample create mode 100755 pr-preview/pr-114/bare_pr_preview/hooks/fsmonitor-watchman.sample create mode 100755 pr-preview/pr-114/bare_pr_preview/hooks/post-update.sample create mode 100755 pr-preview/pr-114/bare_pr_preview/hooks/pre-applypatch.sample create mode 100755 pr-preview/pr-114/bare_pr_preview/hooks/pre-commit.sample create mode 100755 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pr-preview/pr-114/bare_pr_preview/objects/pack/pack-fd5e4e256db2022cde860fee7431094e5989400b.rev create mode 100644 pr-preview/pr-114/bare_pr_preview/packed-refs create mode 100644 pr-preview/pr-114/index.html create mode 100644 pr-preview/pr-114/static/img/dc-logo.png create mode 100644 pr-preview/pr-114/static/img/edc-logo.png create mode 100644 pr-preview/pr-114/static/img/pae-logo.svg create mode 100644 pr-preview/pr-114/static/js/verovio-rendering.js create mode 100644 pr-preview/pr-114/v1/index.html create mode 100644 pr-preview/pr-114/v2/changes.html create mode 100644 pr-preview/pr-114/v2/guidelines.html create mode 100644 pr-preview/pr-114/v2/index.html diff --git a/pr-preview/pr-114/.gitignore b/pr-preview/pr-114/.gitignore new file mode 100644 index 0000000..090a1f0 --- /dev/null +++ b/pr-preview/pr-114/.gitignore @@ -0,0 +1,2 @@ +.idea +.DS_Store diff --git a/pr-preview/pr-114/CNAME b/pr-preview/pr-114/CNAME new file mode 100644 index 0000000..f664e75 --- /dev/null +++ b/pr-preview/pr-114/CNAME @@ -0,0 +1 @@ +plaine-and-easie.info diff --git a/pr-preview/pr-114/EDITORIAL.md b/pr-preview/pr-114/EDITORIAL.md new file mode 100644 index 0000000..cec0f91 --- /dev/null +++ b/pr-preview/pr-114/EDITORIAL.md @@ -0,0 +1,204 @@ +## Plaine & Easie Specification Editorial Process + +The editorial process is designed to capture the process and discussion behind changes to the specification, promote +transparency, and preserve an audit trail for the historical development of the specification in response to feedback. + +The process is divided into three main activities: + +1. Reporting an issue, or requesting a change, through the Issues section of this repository. Discussion may follow +to clarify the scope of a change, or to present alternate courses of action. +2. A Pull Request against the text of the specification enacts the change. The changes may go through several revisions, +and the history of those revisions are captured in the Pull Request. +3. Approval by the Editors and merging the Pull Request. At least two approvals by the Editors, not including the author +of the Pull Request, is required to merge a change. Once a change has been merged, it is part of the specification. + +Each of these steps serves to document the reason for the change and the person who requested it, the various iterations +and discussions the change has gone through, and then a record of the approving editors who accepted the change. + +More details about each of these steps follows. + +### Issue Reporting + +Individuals who have identified a change they wish to see should start by opening an issue on this repository. Please +do not open Pull Requests to enact a change without first having an issue describing it. In your issue, provide as much +detail as possible about the motivation for the change. Concrete use cases are extremely helpful for understanding +motivation. + +### Pull Requests and Revisions + +Once an issue has been described, a member of the Editors, or a community member on invitation from the Editors, can +open a pull request to make the changes to the specification. We use [ReSpec](https://respec.org) as the tool for +presenting the specifications; see the section below on how ReSpec works. Each Pull Request should limit itself to +solving one or, at most, two related issues. Editors other than the original author of the Pull Request can ask for +further changes. + +### Merging and Approval + +By convention, the original author of the pull request cannot approve their own change. Once a change has been approved +by two other editors it may be merged into the specification. The last approving editor also does the merge. + +There are two options open to editors for reviewing a pull request. + + 1. Approve. The Pull Request is approved without any further changes needed. + 2. Request changes. The Pull Request should be modified to include changes as described. + +To find these options, choose the "Files changed" tab on a Pull Request, and select the "Review changes" button. + +If an editor requests changes, then the Pull Request author should enact the changes, or try to convince the change +requester that they are not necessary. The only way the change can move forward is if two editors have selected +"Approve" without any further changes needed. + +Once merged, the change becomes part of the history of the specification. Since we use the git version control system, +these changes are preserved and the history of the changes comes "for free" with the system. Anyone can go back through +the history log of the changes and see when a change was made. + +When viewing a file, the "Blame" button at the top of the file will even annotate the whole code to show you who changed +every section of the underlying HTML, and will link back to the pull request that initiated that change. + +Sometimes, if many changes have been introduced, a conflict may appear that will prevent merging. In this case it is +up to the Pull Request author to clear the conflict and to ensure it can be safely merged. + +## Editorial Guidelines + +Prior to Version 2, the Plaine & Easie Code specification was written primarily for an audience of encoders; +that is, people who were responsible for creating Plaine & Easie encodings when cataloguing sources in RISM. As such, +it was a combination of specification and encoding guidelines, and had a number of under-specified, vague, or conflicting +rules. In Version 2, these two purposes were separated into dedicated documents, and the specifications are now written +to provide a comprehensive set of the rules of the encoding scheme, while the guidelines build on the specification to +provide further assistance with encoding scenarios. + +Changes to the Version 1 specification should only be made to fix language or resolve ambiguity without changing the core +encoding scheme. Since this is the most widely adopted form of the specification, and is used outside RISM, changes +to the scheme have knock-on effects for others. + +The Version 2 specification strives to provide unambiguous language for people who want an authoritative reference for +what is, and what is not, allowed in Plaine & Easie. In addition to assisting encoders by knowing what they can include, +it is also meant to serve as a reference for software developers and data scientists, to know what data they can expect +when building tools that use Plaine & Easie code, and to understand what constitutes "valid" or "invalid" data. + +When writing the specifications, it is important to keep in mind the concepts of "normative" and "non-normative". These +terms refer to the style and content of the sections of the specification. In a normative section, the content should be +written to set out the rules for a given component. To provide clarity, a restricted set of words drawn from +[RFC 2119](https://www.rfc-editor.org/rfc/rfc2119.txt) set out the parameters, and provide an easy way to identify the +core rules of the code. These words are spelled in all-caps in the specification. + +These words include: + + - MUST / MUST NOT: A hard requirement or prohibition; violating this requirement results in invalid PAE. + - SHOULD / SHOULD NOT: Recommended; violations do not affect validity, but they may raise warnings. + - MAY: Optional. + +Non-normative sections, in contrast, are meant to provide additional context or to describe additional technologies +without setting out a hard-and-fast set of rules for them. Non-normative notes may be included in normative sections, +but normative content cannot be included in non-normative sections. The RFC 2119 words should be avoided in non-normative +sections (the words themselves may be included, but not styled in upper-case). + +By way of example, a specification for a peanut butter sandwich might go something like this: + + The sandwich MUST include two slices of bread, and MUST include peanut butter. Peanut butter SHOULD be spread evenly + across the surface of the bread. Peanut butter MAY be spread on both slices. After spreading, both slices MUST be + pressed together, and the peanut butter MUST be between the slices. + + Non-normative note: Both crunchy and smooth peanut butter can be used to make a peanut butter sandwich. Some + implementations of peanut butter sandwiches also include other ingredients, such as jam or bananas. + +Although a somewhat trivial example, we can easily tell from these rules that the requirements for a peanut butter +sandwich are: + + - Two slices of bread + - Peanut butter + - Slices must be pressed together + - Peanut butter must be in the middle. + +Optionally, the peanut butter should be evenly spread (recommended, but there's no rule saying that it can't just be a +blob in the middle), and optionally the peanut butter can be on both slices (it does not affect the nature of the +sandwich if it's on one or both slices). + +The non-normative note provides some additional context about the sandwich. It answers questions that do not affect +the core specification (both crunchy and smooth are peanut butters, so we didn't need to specify this, but it may +be a question that a reader might have). + +You will also notice that nothing is said about other forms of peanut butter sandwiches, like a single piece of +bread folded over; In our scheme, this is an invalid form of sandwich because it does not meet the two-slice rule. +This is not to say that in the greater world this is invalid, but in our specific universe that we have constructed, it +is not a valid form of sandwich. + +To bring this back to Plaine & Easie, it is clear that we are not specifying how *all* music notation works, but we are +only concerned with describing how it works within a limited context. So if we say that a clef MUST specify line numbers +from 1-5, we are not saying that other forms of clefs on 6-line staves do not exist; we are simply saying that Plaine & +Easie does not support it. + +### Style + +Spelling follows the US form of words (flavor, neighbor, digitize). Serial commas are used in lists. Titles of sections use headline case (Key Signature, not Key signature). Dates, if necessary, +are given in YYYY-MM-DD form. Measurements are given in metric. + +Do not, except under specific circumstances, change font face, size, color, or other style features. + +### ReSpec and Markup + +The specification is written in plain HTML, but it uses [ReSpec](https://respec.org), a tool developed by the W3C, +to enhance and augment the plain HTML with additional functionality. Some examples of the additional things that ReSpec +does is to add notes that a section is non-normative, creates a table-of-contents for the sections, adds nicely +formatted front matter to the top with editors and other administrative information, among other things. These features +are controlled by adding special CSS classes or IDs to the HTML elements, which then mark them to be processed specially. + +The easiest way to write ReSpec to get it to format it the way you want is to copy what has been done in previous +sections. The ReSpec documentation also provides examples of how you can mark some things up, but it is not exhaustive, +so you may have to resort to trying something and seeing if it works. + +### Previewing Pull Requests + +When a pull request is opened, a GitHub action will publish the version of the specification so that others can preview +how it looks. The URL will contain the number of the pull request in the URL. Subsequent updated to the pull request +will also update the preview. + +For example, https://rism-digital.github.io/pae-code-spec/pr-preview/pr-49/ will provide a preview of Pull Request #49. + +You can always find a link to the preview in the Pull Request itself. + +### Rendering Examples with Verovio + +At present, previewing Plaine & Easie code with Verovio within the specifications is possible. Rendering is only available +within a table of examples. For example: + +```html + + + + + + + + + + + + + +
CodeNotation
+ + {''6E'B8G}{GA}-''C{'3B8..G} +
+``` + +The important elements about this markup are: + + - The `notation-example` class on the `` element. This signals that the row contains some markup that should be +passed to Verovio. + - The `notation-code` class on the `` element. Within the `` you should embed a script tag with a JSON-formatted +Plaine & Easie document. This will be the format used by Verovio to render the example. It will not be shown to users. + - The `` tags within the `notation-code` element are what will be shown to the users. This means you can restrict +the example being shown to just the elements you are trying to illustrate, while omitting any additional code needed to +render, but unnecessary for the example. + - The `notation-result` `td` must always be blank. The SVG output of the rendering will be placed in this cell. + +Any other `` elements within the `` can be present, but will be ignored. + diff --git a/pr-preview/pr-114/README.md b/pr-preview/pr-114/README.md new file mode 100644 index 0000000..7a23944 --- /dev/null +++ b/pr-preview/pr-114/README.md @@ -0,0 +1,42 @@ +## Plaine & Easie Code Specification + +The Plaine & Easie Code is a text-based music notation encoding system, primarily designed to be used +for encoding small, monophonic extracts from a larger musical composition. + +The Plaine & Easie code system was first proposed by Barry S. Brook, with input from several others, in 1964, +as a means of capturing incipits for more precisely identifying musical compositions in manuscripts. Incipits were +a means of uniquely identifying compositions that could not otherwise be uniquely identified by the title or composer +of the work. + +Plaine & Easie code was used in the RISM cataloguing systems, first typewritten on index cards, and then in +software databases. In 2004 the Plaine & Easie code was [adopted](https://www.loc.gov/marc/marbi/2004/2004-05.html) as +part of the MAchine Readable Catalog (MARC) standard. Currently, the RISM uses Muscat as its cataloguing system which +has Plaine & Easie support integrated. + +RISM now holds well over 1 million incipits encoded using the Plaine & Easie code; a significant corpus of notated music +and an impressive global effort. These incipits have been the subject of a number of tools, databases, +and studies, and with an increasing number of software tools and projects using it, further improvements and enhancements +to the code, and to the documents that describe it, were felt to be necessary. In some areas, the lack of clear specifications, +or inconsistent behaviours, have made it challenging for ensuring consistency across the whole corpus, which in turn +made it difficult to build data authoring and validation tools. + +This repository hosts two different versions of the Plaine & Easie Code specification. The first, which we are calling +"Version 1", represents the status of the code as it was until 2022. We have decided to forego any significant changes +to this version of the specification, as it represents the most widely adopted form of the code, and changes to this +specification would risk introducing confusion. + +The second version, "Version 2", represents work-in-progress for changes to the Plaine & Easie Code. These changes are +largely based in the goal of making the Plaine & Easie Code more consistent, such that the large existing corpus of +incipits can be more easily used in notation search, data analysis, and data science. + + +### References + +Brook, B., et al. 1964. Notating music with ordinary typewriter characters (A Plaine and Easie code system for Musicke). +_Fontes Artis Musicae_ 11 (3). pp. 142–159. + +Brook, B. 1965. The simplified "Plaine and Easie Code System" for notating music: A proposal for international adoption. +_Fontes Artis Musicae_ 12 (2/3). pp. 156–160. + +MARC Development Office. 2004. Proposal No.: 2004-05, Changes needed to Accommodate RISM Data -- Music Incipits. +https://www.loc.gov/marc/marbi/2004/2004-05.html diff --git a/pr-preview/pr-114/bare_pr_preview/HEAD b/pr-preview/pr-114/bare_pr_preview/HEAD new file mode 100644 index 0000000..b870d82 --- /dev/null +++ b/pr-preview/pr-114/bare_pr_preview/HEAD @@ -0,0 +1 @@ +ref: refs/heads/main diff --git a/pr-preview/pr-114/bare_pr_preview/config b/pr-preview/pr-114/bare_pr_preview/config new file mode 100644 index 0000000..d14c137 --- /dev/null +++ b/pr-preview/pr-114/bare_pr_preview/config @@ -0,0 +1,6 @@ +[core] + repositoryformatversion = 0 + filemode = true + bare = true +[remote "origin"] + url = https://github.com/rossjrw/pr-preview-action diff --git a/pr-preview/pr-114/bare_pr_preview/description b/pr-preview/pr-114/bare_pr_preview/description new file mode 100755 index 0000000..498b267 --- /dev/null +++ b/pr-preview/pr-114/bare_pr_preview/description @@ -0,0 +1 @@ +Unnamed repository; edit this file 'description' to name the repository. diff --git a/pr-preview/pr-114/bare_pr_preview/hooks/applypatch-msg.sample b/pr-preview/pr-114/bare_pr_preview/hooks/applypatch-msg.sample new file mode 100755 index 0000000..a5d7b84 --- /dev/null +++ b/pr-preview/pr-114/bare_pr_preview/hooks/applypatch-msg.sample @@ -0,0 +1,15 @@ +#!/bin/sh +# +# An example hook script to check the commit log message taken by +# applypatch from an e-mail message. +# +# The hook should exit with non-zero status after issuing an +# appropriate message if it wants to stop the commit. The hook is +# allowed to edit the commit message file. +# +# To enable this hook, rename this file to "applypatch-msg". + +. git-sh-setup +commitmsg="$(git rev-parse --git-path hooks/commit-msg)" +test -x "$commitmsg" && exec "$commitmsg" ${1+"$@"} +: diff --git a/pr-preview/pr-114/bare_pr_preview/hooks/commit-msg.sample b/pr-preview/pr-114/bare_pr_preview/hooks/commit-msg.sample new file mode 100755 index 0000000..b58d118 --- /dev/null +++ b/pr-preview/pr-114/bare_pr_preview/hooks/commit-msg.sample @@ -0,0 +1,24 @@ +#!/bin/sh +# +# An example hook script to check the commit log message. +# Called by "git commit" with one argument, the name of the file +# that has the commit message. The hook should exit with non-zero +# status after issuing an appropriate message if it wants to stop the +# commit. The hook is allowed to edit the commit message file. +# +# To enable this hook, rename this file to "commit-msg". + +# Uncomment the below to add a Signed-off-by line to the message. +# Doing this in a hook is a bad idea in general, but the prepare-commit-msg +# hook is more suited to it. +# +# SOB=$(git var GIT_AUTHOR_IDENT | sed -n 's/^\(.*>\).*$/Signed-off-by: \1/p') +# grep -qs "^$SOB" "$1" || echo "$SOB" >> "$1" + +# This example catches duplicate Signed-off-by lines. + +test "" = "$(grep '^Signed-off-by: ' "$1" | + sort | uniq -c | sed -e '/^[ ]*1[ ]/d')" || { + echo >&2 Duplicate Signed-off-by lines. + exit 1 +} diff --git a/pr-preview/pr-114/bare_pr_preview/hooks/fsmonitor-watchman.sample b/pr-preview/pr-114/bare_pr_preview/hooks/fsmonitor-watchman.sample new file mode 100755 index 0000000..23e856f --- /dev/null +++ b/pr-preview/pr-114/bare_pr_preview/hooks/fsmonitor-watchman.sample @@ -0,0 +1,174 @@ +#!/usr/bin/perl + +use strict; +use warnings; +use IPC::Open2; + +# An example hook script to integrate Watchman +# (https://facebook.github.io/watchman/) with git to speed up detecting +# new and modified files. +# +# The hook is passed a version (currently 2) and last update token +# formatted as a string and outputs to stdout a new update token and +# all files that have been modified since the update token. Paths must +# be relative to the root of the working tree and separated by a single NUL. +# +# To enable this hook, rename this file to "query-watchman" and set +# 'git config core.fsmonitor .git/hooks/query-watchman' +# +my ($version, $last_update_token) = @ARGV; + +# Uncomment for debugging +# print STDERR "$0 $version $last_update_token\n"; + +# Check the hook interface version +if ($version ne 2) { + die "Unsupported query-fsmonitor hook version '$version'.\n" . + "Falling back to scanning...\n"; +} + +my $git_work_tree = get_working_dir(); + +my $retry = 1; + +my $json_pkg; +eval { + require JSON::XS; + $json_pkg = "JSON::XS"; + 1; +} or do { + require JSON::PP; + $json_pkg = "JSON::PP"; +}; + +launch_watchman(); + +sub launch_watchman { + my $o = watchman_query(); + if (is_work_tree_watched($o)) { + output_result($o->{clock}, @{$o->{files}}); + } +} + +sub output_result { + my ($clockid, @files) = @_; + + # Uncomment for debugging watchman output + # open (my $fh, ">", ".git/watchman-output.out"); + # binmode $fh, ":utf8"; + # print $fh "$clockid\n@files\n"; + # close $fh; + + binmode STDOUT, ":utf8"; + print $clockid; + print "\0"; + local $, = "\0"; + print @files; +} + +sub watchman_clock { + my $response = qx/watchman clock "$git_work_tree"/; + die "Failed to get clock id on '$git_work_tree'.\n" . + "Falling back to scanning...\n" if $? != 0; + + return $json_pkg->new->utf8->decode($response); +} + +sub watchman_query { + my $pid = open2(\*CHLD_OUT, \*CHLD_IN, 'watchman -j --no-pretty') + or die "open2() failed: $!\n" . + "Falling back to scanning...\n"; + + # In the query expression below we're asking for names of files that + # changed since $last_update_token but not from the .git folder. + # + # To accomplish this, we're using the "since" generator to use the + # recency index to select candidate nodes and "fields" to limit the + # output to file names only. Then we're using the "expression" term to + # further constrain the results. + my $last_update_line = ""; + if (substr($last_update_token, 0, 1) eq "c") { + $last_update_token = "\"$last_update_token\""; + $last_update_line = qq[\n"since": $last_update_token,]; + } + my $query = <<" END"; + ["query", "$git_work_tree", {$last_update_line + "fields": ["name"], + "expression": ["not", ["dirname", ".git"]] + }] + END + + # Uncomment for debugging the watchman query + # open (my $fh, ">", ".git/watchman-query.json"); + # print $fh $query; + # close $fh; + + print CHLD_IN $query; + close CHLD_IN; + my $response = do {local $/; }; + + # Uncomment for debugging the watch response + # open ($fh, ">", ".git/watchman-response.json"); + # print $fh $response; + # close $fh; + + die "Watchman: command returned no output.\n" . + "Falling back to scanning...\n" if $response eq ""; + die "Watchman: command returned invalid output: $response\n" . + "Falling back to scanning...\n" unless $response =~ /^\{/; + + return $json_pkg->new->utf8->decode($response); +} + +sub is_work_tree_watched { + my ($output) = @_; + my $error = $output->{error}; + if ($retry > 0 and $error and $error =~ m/unable to resolve root .* directory (.*) is not watched/) { + $retry--; + my $response = qx/watchman watch "$git_work_tree"/; + die "Failed to make watchman watch '$git_work_tree'.\n" . + "Falling back to scanning...\n" if $? != 0; + $output = $json_pkg->new->utf8->decode($response); + $error = $output->{error}; + die "Watchman: $error.\n" . + "Falling back to scanning...\n" if $error; + + # Uncomment for debugging watchman output + # open (my $fh, ">", ".git/watchman-output.out"); + # close $fh; + + # Watchman will always return all files on the first query so + # return the fast "everything is dirty" flag to git and do the + # Watchman query just to get it over with now so we won't pay + # the cost in git to look up each individual file. + my $o = watchman_clock(); + $error = $output->{error}; + + die "Watchman: $error.\n" . + "Falling back to scanning...\n" if $error; + + output_result($o->{clock}, ("/")); + $last_update_token = $o->{clock}; + + eval { launch_watchman() }; + return 0; + } + + die "Watchman: $error.\n" . + "Falling back to scanning...\n" if $error; + + return 1; +} + +sub get_working_dir { + my $working_dir; + if ($^O =~ 'msys' || $^O =~ 'cygwin') { + $working_dir = Win32::GetCwd(); + $working_dir =~ tr/\\/\//; + } else { + require Cwd; + $working_dir = Cwd::cwd(); + } + + return $working_dir; +} diff --git a/pr-preview/pr-114/bare_pr_preview/hooks/post-update.sample b/pr-preview/pr-114/bare_pr_preview/hooks/post-update.sample new file mode 100755 index 0000000..ec17ec1 --- /dev/null +++ b/pr-preview/pr-114/bare_pr_preview/hooks/post-update.sample @@ -0,0 +1,8 @@ +#!/bin/sh +# +# An example hook script to prepare a packed repository for use over +# dumb transports. +# +# To enable this hook, rename this file to "post-update". + +exec git update-server-info diff --git a/pr-preview/pr-114/bare_pr_preview/hooks/pre-applypatch.sample b/pr-preview/pr-114/bare_pr_preview/hooks/pre-applypatch.sample new file mode 100755 index 0000000..4142082 --- /dev/null +++ b/pr-preview/pr-114/bare_pr_preview/hooks/pre-applypatch.sample @@ -0,0 +1,14 @@ +#!/bin/sh +# +# An example hook script to verify what is about to be committed +# by applypatch from an e-mail message. +# +# The hook should exit with non-zero status after issuing an +# appropriate message if it wants to stop the commit. +# +# To enable this hook, rename this file to "pre-applypatch". + +. git-sh-setup +precommit="$(git rev-parse --git-path hooks/pre-commit)" +test -x "$precommit" && exec "$precommit" ${1+"$@"} +: diff --git a/pr-preview/pr-114/bare_pr_preview/hooks/pre-commit.sample b/pr-preview/pr-114/bare_pr_preview/hooks/pre-commit.sample new file mode 100755 index 0000000..29ed5ee --- /dev/null +++ b/pr-preview/pr-114/bare_pr_preview/hooks/pre-commit.sample @@ -0,0 +1,49 @@ +#!/bin/sh +# +# An example hook script to verify what is about to be committed. +# Called by "git commit" with no arguments. The hook should +# exit with non-zero status after issuing an appropriate message if +# it wants to stop the commit. +# +# To enable this hook, rename this file to "pre-commit". + +if git rev-parse --verify HEAD >/dev/null 2>&1 +then + against=HEAD +else + # Initial commit: diff against an empty tree object + against=$(git hash-object -t tree /dev/null) +fi + +# If you want to allow non-ASCII filenames set this variable to true. +allownonascii=$(git config --type=bool hooks.allownonascii) + +# Redirect output to stderr. +exec 1>&2 + +# Cross platform projects tend to avoid non-ASCII filenames; prevent +# them from being added to the repository. We exploit the fact that the +# printable range starts at the space character and ends with tilde. +if [ "$allownonascii" != "true" ] && + # Note that the use of brackets around a tr range is ok here, (it's + # even required, for portability to Solaris 10's /usr/bin/tr), since + # the square bracket bytes happen to fall in the designated range. + test $(git diff-index --cached --name-only --diff-filter=A -z $against | + LC_ALL=C tr -d '[ -~]\0' | wc -c) != 0 +then + cat <<\EOF +Error: Attempt to add a non-ASCII file name. + +This can cause problems if you want to work with people on other platforms. + +To be portable it is advisable to rename the file. + +If you know what you are doing you can disable this check using: + + git config hooks.allownonascii true +EOF + exit 1 +fi + +# If there are whitespace errors, print the offending file names and fail. +exec git diff-index --check --cached $against -- diff --git a/pr-preview/pr-114/bare_pr_preview/hooks/pre-merge-commit.sample b/pr-preview/pr-114/bare_pr_preview/hooks/pre-merge-commit.sample new file mode 100755 index 0000000..399eab1 --- /dev/null +++ b/pr-preview/pr-114/bare_pr_preview/hooks/pre-merge-commit.sample @@ -0,0 +1,13 @@ +#!/bin/sh +# +# An example hook script to verify what is about to be committed. +# Called by "git merge" with no arguments. The hook should +# exit with non-zero status after issuing an appropriate message to +# stderr if it wants to stop the merge commit. +# +# To enable this hook, rename this file to "pre-merge-commit". + +. git-sh-setup +test -x "$GIT_DIR/hooks/pre-commit" && + exec "$GIT_DIR/hooks/pre-commit" +: diff --git a/pr-preview/pr-114/bare_pr_preview/hooks/pre-push.sample b/pr-preview/pr-114/bare_pr_preview/hooks/pre-push.sample new file mode 100755 index 0000000..4ce688d --- /dev/null +++ b/pr-preview/pr-114/bare_pr_preview/hooks/pre-push.sample @@ -0,0 +1,53 @@ +#!/bin/sh + +# An example hook script to verify what is about to be pushed. Called by "git +# push" after it has checked the remote status, but before anything has been +# pushed. If this script exits with a non-zero status nothing will be pushed. +# +# This hook is called with the following parameters: +# +# $1 -- Name of the remote to which the push is being done +# $2 -- URL to which the push is being done +# +# If pushing without using a named remote those arguments will be equal. +# +# Information about the commits which are being pushed is supplied as lines to +# the standard input in the form: +# +# +# +# This sample shows how to prevent push of commits where the log message starts +# with "WIP" (work in progress). + +remote="$1" +url="$2" + +zero=$(git hash-object --stdin &2 "Found WIP commit in $local_ref, not pushing" + exit 1 + fi + fi +done + +exit 0 diff --git a/pr-preview/pr-114/bare_pr_preview/hooks/pre-rebase.sample b/pr-preview/pr-114/bare_pr_preview/hooks/pre-rebase.sample new file mode 100755 index 0000000..6cbef5c --- /dev/null +++ b/pr-preview/pr-114/bare_pr_preview/hooks/pre-rebase.sample @@ -0,0 +1,169 @@ +#!/bin/sh +# +# Copyright (c) 2006, 2008 Junio C Hamano +# +# The "pre-rebase" hook is run just before "git rebase" starts doing +# its job, and can prevent the command from running by exiting with +# non-zero status. +# +# The hook is called with the following parameters: +# +# $1 -- the upstream the series was forked from. +# $2 -- the branch being rebased (or empty when rebasing the current branch). +# +# This sample shows how to prevent topic branches that are already +# merged to 'next' branch from getting rebased, because allowing it +# would result in rebasing already published history. + +publish=next +basebranch="$1" +if test "$#" = 2 +then + topic="refs/heads/$2" +else + topic=`git symbolic-ref HEAD` || + exit 0 ;# we do not interrupt rebasing detached HEAD +fi + +case "$topic" in +refs/heads/??/*) + ;; +*) + exit 0 ;# we do not interrupt others. + ;; +esac + +# Now we are dealing with a topic branch being rebased +# on top of master. Is it OK to rebase it? + +# Does the topic really exist? +git show-ref -q "$topic" || { + echo >&2 "No such branch $topic" + exit 1 +} + +# Is topic fully merged to master? +not_in_master=`git rev-list --pretty=oneline ^master "$topic"` +if test -z "$not_in_master" +then + echo >&2 "$topic is fully merged to master; better remove it." + exit 1 ;# we could allow it, but there is no point. +fi + +# Is topic ever merged to next? If so you should not be rebasing it. +only_next_1=`git rev-list ^master "^$topic" ${publish} | sort` +only_next_2=`git rev-list ^master ${publish} | sort` +if test "$only_next_1" = "$only_next_2" +then + not_in_topic=`git rev-list "^$topic" master` + if test -z "$not_in_topic" + then + echo >&2 "$topic is already up to date with master" + exit 1 ;# we could allow it, but there is no point. + else + exit 0 + fi +else + not_in_next=`git rev-list --pretty=oneline ^${publish} "$topic"` + /usr/bin/perl -e ' + my $topic = $ARGV[0]; + my $msg = "* $topic has commits already merged to public branch:\n"; + my (%not_in_next) = map { + /^([0-9a-f]+) /; + ($1 => 1); + } split(/\n/, $ARGV[1]); + for my $elem (map { + /^([0-9a-f]+) (.*)$/; + [$1 => $2]; + } split(/\n/, $ARGV[2])) { + if (!exists $not_in_next{$elem->[0]}) { + if ($msg) { + print STDERR $msg; + undef $msg; + } + print STDERR " $elem->[1]\n"; + } + } + ' "$topic" "$not_in_next" "$not_in_master" + exit 1 +fi + +<<\DOC_END + +This sample hook safeguards topic branches that have been +published from being rewound. + +The workflow assumed here is: + + * Once a topic branch forks from "master", "master" is never + merged into it again (either directly or indirectly). + + * Once a topic branch is fully cooked and merged into "master", + it is deleted. If you need to build on top of it to correct + earlier mistakes, a new topic branch is created by forking at + the tip of the "master". This is not strictly necessary, but + it makes it easier to keep your history simple. + + * Whenever you need to test or publish your changes to topic + branches, merge them into "next" branch. + +The script, being an example, hardcodes the publish branch name +to be "next", but it is trivial to make it configurable via +$GIT_DIR/config mechanism. + +With this workflow, you would want to know: + +(1) ... if a topic branch has ever been merged to "next". Young + topic branches can have stupid mistakes you would rather + clean up before publishing, and things that have not been + merged into other branches can be easily rebased without + affecting other people. But once it is published, you would + not want to rewind it. + +(2) ... if a topic branch has been fully merged to "master". + Then you can delete it. More importantly, you should not + build on top of it -- other people may already want to + change things related to the topic as patches against your + "master", so if you need further changes, it is better to + fork the topic (perhaps with the same name) afresh from the + tip of "master". + +Let's look at this example: + + o---o---o---o---o---o---o---o---o---o "next" + / / / / + / a---a---b A / / + / / / / + / / c---c---c---c B / + / / / \ / + / / / b---b C \ / + / / / / \ / + ---o---o---o---o---o---o---o---o---o---o---o "master" + + +A, B and C are topic branches. + + * A has one fix since it was merged up to "next". + + * B has finished. It has been fully merged up to "master" and "next", + and is ready to be deleted. + + * C has not merged to "next" at all. + +We would want to allow C to be rebased, refuse A, and encourage +B to be deleted. + +To compute (1): + + git rev-list ^master ^topic next + git rev-list ^master next + + if these match, topic has not merged in next at all. + +To compute (2): + + git rev-list master..topic + + if this is empty, it is fully merged to "master". + +DOC_END diff --git a/pr-preview/pr-114/bare_pr_preview/hooks/pre-receive.sample b/pr-preview/pr-114/bare_pr_preview/hooks/pre-receive.sample new file mode 100755 index 0000000..a1fd29e --- /dev/null +++ b/pr-preview/pr-114/bare_pr_preview/hooks/pre-receive.sample @@ -0,0 +1,24 @@ +#!/bin/sh +# +# An example hook script to make use of push options. +# The example simply echoes all push options that start with 'echoback=' +# and rejects all pushes when the "reject" push option is used. +# +# To enable this hook, rename this file to "pre-receive". + +if test -n "$GIT_PUSH_OPTION_COUNT" +then + i=0 + while test "$i" -lt "$GIT_PUSH_OPTION_COUNT" + do + eval "value=\$GIT_PUSH_OPTION_$i" + case "$value" in + echoback=*) + echo "echo from the pre-receive-hook: ${value#*=}" >&2 + ;; + reject) + exit 1 + esac + i=$((i + 1)) + done +fi diff --git a/pr-preview/pr-114/bare_pr_preview/hooks/prepare-commit-msg.sample b/pr-preview/pr-114/bare_pr_preview/hooks/prepare-commit-msg.sample new file mode 100755 index 0000000..10fa14c --- /dev/null +++ b/pr-preview/pr-114/bare_pr_preview/hooks/prepare-commit-msg.sample @@ -0,0 +1,42 @@ +#!/bin/sh +# +# An example hook script to prepare the commit log message. +# Called by "git commit" with the name of the file that has the +# commit message, followed by the description of the commit +# message's source. The hook's purpose is to edit the commit +# message file. If the hook fails with a non-zero status, +# the commit is aborted. +# +# To enable this hook, rename this file to "prepare-commit-msg". + +# This hook includes three examples. The first one removes the +# "# Please enter the commit message..." help message. +# +# The second includes the output of "git diff --name-status -r" +# into the message, just before the "git status" output. It is +# commented because it doesn't cope with --amend or with squashed +# commits. +# +# The third example adds a Signed-off-by line to the message, that can +# still be edited. This is rarely a good idea. + +COMMIT_MSG_FILE=$1 +COMMIT_SOURCE=$2 +SHA1=$3 + +/usr/bin/perl -i.bak -ne 'print unless(m/^. Please enter the commit message/..m/^#$/)' "$COMMIT_MSG_FILE" + +# case "$COMMIT_SOURCE,$SHA1" in +# ,|template,) +# /usr/bin/perl -i.bak -pe ' +# print "\n" . `git diff --cached --name-status -r` +# if /^#/ && $first++ == 0' "$COMMIT_MSG_FILE" ;; +# *) ;; +# esac + +# SOB=$(git var GIT_COMMITTER_IDENT | sed -n 's/^\(.*>\).*$/Signed-off-by: \1/p') +# git interpret-trailers --in-place --trailer "$SOB" "$COMMIT_MSG_FILE" +# if test -z "$COMMIT_SOURCE" +# then +# /usr/bin/perl -i.bak -pe 'print "\n" if !$first_line++' "$COMMIT_MSG_FILE" +# fi diff --git a/pr-preview/pr-114/bare_pr_preview/hooks/push-to-checkout.sample b/pr-preview/pr-114/bare_pr_preview/hooks/push-to-checkout.sample new file mode 100755 index 0000000..af5a0c0 --- /dev/null +++ b/pr-preview/pr-114/bare_pr_preview/hooks/push-to-checkout.sample @@ -0,0 +1,78 @@ +#!/bin/sh + +# An example hook script to update a checked-out tree on a git push. +# +# This hook is invoked by git-receive-pack(1) when it reacts to git +# push and updates reference(s) in its repository, and when the push +# tries to update the branch that is currently checked out and the +# receive.denyCurrentBranch configuration variable is set to +# updateInstead. +# +# By default, such a push is refused if the working tree and the index +# of the remote repository has any difference from the currently +# checked out commit; when both the working tree and the index match +# the current commit, they are updated to match the newly pushed tip +# of the branch. This hook is to be used to override the default +# behaviour; however the code below reimplements the default behaviour +# as a starting point for convenient modification. +# +# The hook receives the commit with which the tip of the current +# branch is going to be updated: +commit=$1 + +# It can exit with a non-zero status to refuse the push (when it does +# so, it must not modify the index or the working tree). +die () { + echo >&2 "$*" + exit 1 +} + +# Or it can make any necessary changes to the working tree and to the +# index to bring them to the desired state when the tip of the current +# branch is updated to the new commit, and exit with a zero status. +# +# For example, the hook can simply run git read-tree -u -m HEAD "$1" +# in order to emulate git fetch that is run in the reverse direction +# with git push, as the two-tree form of git read-tree -u -m is +# essentially the same as git switch or git checkout that switches +# branches while keeping the local changes in the working tree that do +# not interfere with the difference between the branches. + +# The below is a more-or-less exact translation to shell of the C code +# for the default behaviour for git's push-to-checkout hook defined in +# the push_to_deploy() function in builtin/receive-pack.c. +# +# Note that the hook will be executed from the repository directory, +# not from the working tree, so if you want to perform operations on +# the working tree, you will have to adapt your code accordingly, e.g. +# by adding "cd .." or using relative paths. + +if ! git update-index -q --ignore-submodules --refresh +then + die "Up-to-date check failed" +fi + +if ! git diff-files --quiet --ignore-submodules -- +then + die "Working directory has unstaged changes" +fi + +# This is a rough translation of: +# +# head_has_history() ? "HEAD" : EMPTY_TREE_SHA1_HEX +if git cat-file -e HEAD 2>/dev/null +then + head=HEAD +else + head=$(git hash-object -t tree --stdin &2 + exit 1 +} + +unset GIT_DIR GIT_WORK_TREE +cd "$worktree" && + +if grep -q "^diff --git " "$1" +then + validate_patch "$1" +else + validate_cover_letter "$1" +fi && + +if test "$GIT_SENDEMAIL_FILE_COUNTER" = "$GIT_SENDEMAIL_FILE_TOTAL" +then + git config --unset-all sendemail.validateWorktree && + trap 'git worktree remove -ff "$worktree"' EXIT && + validate_series +fi diff --git a/pr-preview/pr-114/bare_pr_preview/hooks/update.sample b/pr-preview/pr-114/bare_pr_preview/hooks/update.sample new file mode 100755 index 0000000..c4d426b --- /dev/null +++ b/pr-preview/pr-114/bare_pr_preview/hooks/update.sample @@ -0,0 +1,128 @@ +#!/bin/sh +# +# An example hook script to block unannotated tags from entering. +# Called by "git receive-pack" with arguments: refname sha1-old sha1-new +# +# To enable this hook, rename this file to "update". +# +# Config +# ------ +# hooks.allowunannotated +# This boolean sets whether unannotated tags will be allowed into the +# repository. By default they won't be. +# hooks.allowdeletetag +# This boolean sets whether deleting tags will be allowed in the +# repository. By default they won't be. +# hooks.allowmodifytag +# This boolean sets whether a tag may be modified after creation. By default +# it won't be. +# hooks.allowdeletebranch +# This boolean sets whether deleting branches will be allowed in the +# repository. By default they won't be. +# hooks.denycreatebranch +# This boolean sets whether remotely creating branches will be denied +# in the repository. By default this is allowed. +# + +# --- Command line +refname="$1" +oldrev="$2" +newrev="$3" + +# --- Safety check +if [ -z "$GIT_DIR" ]; then + echo "Don't run this script from the command line." >&2 + echo " (if you want, you could supply GIT_DIR then run" >&2 + echo " $0 )" >&2 + exit 1 +fi + +if [ -z "$refname" -o -z "$oldrev" -o -z "$newrev" ]; then + echo "usage: $0 " >&2 + exit 1 +fi + +# --- Config +allowunannotated=$(git config --type=bool hooks.allowunannotated) +allowdeletebranch=$(git config --type=bool hooks.allowdeletebranch) +denycreatebranch=$(git config --type=bool hooks.denycreatebranch) +allowdeletetag=$(git config --type=bool hooks.allowdeletetag) +allowmodifytag=$(git config --type=bool hooks.allowmodifytag) + +# check for no description +projectdesc=$(sed -e '1q' "$GIT_DIR/description") +case "$projectdesc" in +"Unnamed repository"* | "") + echo "*** Project description file hasn't been set" >&2 + exit 1 + ;; +esac + +# --- Check types +# if $newrev is 0000...0000, it's a commit to delete a ref. +zero=$(git hash-object --stdin &2 + echo "*** Use 'git tag [ -a | -s ]' for tags you want to propagate." >&2 + exit 1 + fi + ;; + refs/tags/*,delete) + # delete tag + if [ "$allowdeletetag" != "true" ]; then + echo "*** Deleting a tag is not allowed in this repository" >&2 + exit 1 + fi + ;; + refs/tags/*,tag) + # annotated tag + if [ "$allowmodifytag" != "true" ] && git rev-parse $refname > /dev/null 2>&1 + then + echo "*** Tag '$refname' already exists." >&2 + echo "*** Modifying a tag is not allowed in this repository." >&2 + exit 1 + fi + ;; + refs/heads/*,commit) + # branch + if [ "$oldrev" = "$zero" -a "$denycreatebranch" = "true" ]; then + echo "*** Creating a branch is not allowed in this repository" >&2 + exit 1 + fi + ;; + refs/heads/*,delete) + # delete branch + if [ "$allowdeletebranch" != "true" ]; then + echo "*** Deleting a branch is not allowed in this repository" >&2 + exit 1 + fi + ;; + refs/remotes/*,commit) + # tracking branch + ;; + refs/remotes/*,delete) + # delete tracking branch + if [ "$allowdeletebranch" != "true" ]; then + echo "*** Deleting a tracking branch is not allowed in this repository" >&2 + exit 1 + fi + ;; + *) + # Anything else (is there anything else?) + echo "*** Update hook: unknown type of update to ref $refname of type $newrev_type" >&2 + exit 1 + ;; +esac + +# --- Finished +exit 0 diff --git a/pr-preview/pr-114/bare_pr_preview/info/exclude b/pr-preview/pr-114/bare_pr_preview/info/exclude new file mode 100755 index 0000000..a5196d1 --- /dev/null +++ b/pr-preview/pr-114/bare_pr_preview/info/exclude @@ -0,0 +1,6 @@ +# git ls-files --others --exclude-from=.git/info/exclude +# Lines that start with '#' are comments. +# For a project mostly in C, the following would be a good set of +# exclude patterns (uncomment them if you want to use them): +# *.[oa] +# *~ diff --git a/pr-preview/pr-114/bare_pr_preview/objects/pack/pack-fd5e4e256db2022cde860fee7431094e5989400b.idx 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+7df1ee45a802b8bc8dca1845a5241d118c610810 refs/tags/v1.4.5 +4668d7cb417ce7067b0b59bc152b1ae1513010de refs/tags/v1.4.6 +f31d5aa7b364955ea86228b9dcd346dc3f29c408 refs/tags/v1.4.7 diff --git a/pr-preview/pr-114/index.html b/pr-preview/pr-114/index.html new file mode 100644 index 0000000..b6f5718 --- /dev/null +++ b/pr-preview/pr-114/index.html @@ -0,0 +1,63 @@ + + + + The Plaine & Easie Code + + + +
+ +
+ +

+ The Plaine & Easie Code is a music notation encoding system + designed for the capture of melodic incipits: Short fragments of + music notation that help to identify the musical work. +

+ +

Version 1

+ +

+ Plaine & Easie version 1 is the + currently accepted version of the specification. +

+ +

Version 2

+ +

+ Plaine & Easie version 2 + specification is under preparation. It is due to contain significant + changes, and should not be used until it is finalized. +

+ +

+ Encoding guidelines for Plaine + & Easie are also in preparation. +

+ +

+ Developed and maintained by the RISM Editorial Center and the RISM + Digital Center. +

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zW42h9wVN^K>mqU%?%(}2%d%!Ax}Jy}W!v`MX$<{O$8pk6v+2tEtZm!Z1K-W0Ulycw z532fdb93{RS&s2x=o-TsI$#k9SorI&K;-8M+6c;Blr71=8eLoEI*=BROD|+vWB+{B zUwLF5?I$Q=CH0p8^ALFn)sKMpaqFWLp=^sV4%LI` zc<(n%UFeUhRor^fyTBaKxs=>+5Td7|dK$uscxJo@;AK>QjY=D9svk)zd)eJSy5A~C z^h}VafF4i<5kv*07~xX<_5Vv-brSO?0jp}C#$VqIY{)7pRnLT*5cwjQbs(F7E|3pU zV-VQ^C`4s9Fl#AoSV(JC=1OaTG&eUl&zd#s&b++5uZhS>sybOjid6Mo5qaJibD!fl ze^1okvaIWjF=?-S8DsjU!GS;^XxsJ-fUd5tgku0SHa2!uR8*9x>S53q^N|pBD^<>r zG-^kM3X`W@>?`sfLb9Bts$yAI%96f5pYP^iFc?-UL%($;#PB+v{EN>7xhMXFmeW>q zQ~dD(5(rp4yTe|nH5p_Z(5+a$cgV}%n06Jzq2`Q5yK~=y^_&#QqiCXUB&H?F$kpY^ zkqJYa79f_kntSoruLNRJ8b}@fx`)#)D3&g6`Ht5^uhGYu_4^UzL13RyBB#O2_Maoi z2r&Fv$9wXtfY`W=?Z8^Wrz#7&3PEx3%2=Nx#~5Y!AK+ij>p7)?7#a*iBhfss=vD=z3H$aJEkTme0t zLd`70+gPHsu`(2qd~MS3{v0{RAS3GpU0eMhEIFU}n#1$lAh%B#B@G9ndM)rTinqUZ zq{YdRW3UAN#ThbY-ZBnL?*Iz0tP4U3t8?V|L^1LT1t5RY zmBi;x*_NPb;~Ptdb+_b@vE{vGD2Je2%c{y@-T0Ox$8a$^6iUmCAYC#Y;rW;|`%}=< zMpM%wqTe2HL9st<|dcHX*yqSGMj3q;N|@G~7T{c> zEfqmoLdoK9kC0TUnbNR5*0}pY4+oy$qwe!^$|T39g@ISw8%qB1z~9;b>n|ac(l4tZ z;^%-V!ap8(bOfb~$6r^BPaZ({GVlzTukovkV=Dya$nl9~^iFvqaT7D$hFcM>A7u#z zld5T%F|6elJ(*rN31h7T4h5d2C;yaCg}@v+J~fODg#s|W@mP#$CBDSQTDEqd!-JQ8 zG!kL~;IBUdXan{@vSLQa|F__Q*1ER-<*x?+&qJ!%N`B62kyn|~5Yr#Q5fHSIueR|BeH z2l3q$Z-0Jnk4}zHGh^TvF*AITG{9Qz&7|78TL$J3AC*dkQcthZY75Hkx%{s=a-`;yt571DdCNFD z-a8RXj&uu(%K^Y{z&Mm5gihQ%ESpgN2Kp!R + + + + + + + + + + + + + + + + diff --git a/pr-preview/pr-114/static/js/verovio-rendering.js b/pr-preview/pr-114/static/js/verovio-rendering.js new file mode 100644 index 0000000..820b8b0 --- /dev/null +++ b/pr-preview/pr-114/static/js/verovio-rendering.js @@ -0,0 +1,52 @@ +document.addEventListener("DOMContentLoaded", (event) => { + verovio.module.onRuntimeInitialized = async _ => { + let tk = new verovio.toolkit(); + tk.setOptions({ + footer: 'none', + header: 'none', + breaks: 'auto', + pageMarginTop: 15, + pageMarginBottom: 15, + spacingSystem: 2, + pageMarginLeft: 0, + pageMarginRight: 0, + scale: 50, + adjustPageHeight: true, + adjustPageWidth: true, + svgHtml5: true, + // svgFormatRaw: true, + svgRemoveXlink: true, + // svgViewBox: true, + inputFrom: "pae" + }); + + let notationExamples = document.querySelectorAll("tr.notation-example"); + + if (notationExamples !== null) + { + for (let row of notationExamples) + { + let verovioSvg = ""; + + for (let column of row.children) + { + + if (column && column.classList.contains("notation-code")) + { + let paeCode = column.querySelector("script").textContent; + let loadSuccess = tk.loadData(JSON.stringify(JSON.parse(paeCode))); + + if (loadSuccess) + { + verovioSvg = tk.renderToSVG(); + } + } + else if (column.classList.contains("notation-result")) + { + column.innerHTML = verovioSvg; + } + } + } + } + } +}); diff --git a/pr-preview/pr-114/v1/index.html b/pr-preview/pr-114/v1/index.html new file mode 100644 index 0000000..74a0807 --- /dev/null +++ b/pr-preview/pr-114/v1/index.html @@ -0,0 +1,1591 @@ + + + + + Plaine & Easie Code + + + + + + + +

+ CC0 1.0 Universal (CC0 1.0) Public Domain Dedication +

+
+

+ This document serves as both a specification and as a source of examples, and is largely a verbatim copy + of the existing specification hosted by the International Association of Music Libraries. We are aware + of a number of areas where the examples could be more extensive, or the specification could be made more + precise. The hope is to address these in Version 2 of the Plaine & Easie specification, and to add supporting + materials to accompany it. +

+

+ The Plaine & Easie Code is a library standard that enables entering music incipits in modern or mensural + notation. +

+

+ This version of the code is maintained by the International Association of Music Libraries, Archives and + Documentation Centres (IAML) and the Répertoire International des Sources Musicales (RISM) for use as an + exchange format in the library environment. Observations or queries may be addressed to Massimo + Gentili-Tedeschi or Balázs Mikusi. A tutorial is available + here. +

+

+ Last update to the code: 28 June 2019 +

+

+ Also available in PDF format. +

+

+ Adapted from the RISM guidelines. Corresponds to UNIMARC 036 and + MARC21 031 fields. +

+
+ +
+

General Principles

+

+ Music incipits help identify works and facilitate the comparison of historical musical sources. +

+

+ Which music incipits to enter depends on the kind of music. Best practice for instrumental music is to enter + incipits for the violin or the highest part. For vocal music, enter the highest voice plus the first violin or + the highest instrumental part. +

+

+ The incipit should be neither too long nor too short, and make as much musical sense as possible. It should + contain at least 3 bars or 10 non-repeated notes. +

+

+ The code should be written on a single line. When using MARC-format subfields, omit the special characters that + precede the encoded notes. +

+
+ +
+

The Plaine & Easie Code

+
+

Clef

+ +

+ The clef code is preceded by % and is three characters long. +

+

+ The first character specifies the clef shape. +

+ +

+ The second character is - to indicate modern notation or + to indicate mensural + notation. +

+

+ The third character (numerals 1-5) indicates the position of the clef on the staff, starting from the bottom + line. +

+

+ If the music is written for a transposing instrument, notate the incipit at sounding pitch. +

+ +
+
+

Key Signature

+ +

+ Begin this field with the character $; if there are no sharps or flats in the key signature, + the $ is omitted. +

+

+ The symbol x indicates sharp keys and b flat keys. The symbol is followed by the + capital letters that indicate the altered notes. +

+ +
+
+

Time Signature

+ +

+ The time signature is preceded by @ and indicates the time value or the mensuration sign of the + incipit. If the incipit has no time signature, the @ is omitted. +

+

+ Fractional or numeric values are transcribed as fractions and mensuration signs are transcribed with a + lowercase letter, if necessary followed by / or .: +

+ +
+
+

Musical Notation

+ +
+

Octave Symbol

+

+ Apostrophes are used for the octaves c4 and above, while commas are used for the octaves c3 and below. +

+ + +
+
+

Rhythmic Values

+ +

+ Periods are used for dotted notes. Multiple periods can be added to a note. +

+ +
+
+

Accidentals

+ +
+
+

Note Names

+

C, D, E, F, G, A, B

+
+
+

Grace Notes

+ +
+
+

Rests

+

Rests for single notes are indicated by - (a minus sign).

+ + + + + + + + + + + + + + + + + + +
CodeName
-single-note rest (preceded by rhythmic value like note names)
=measure rest (followed by number of measures and a bar line)
+ + +
+
+

Bar (measure) Lines

+ + +
+
+

Other Symbols

+ +
+
+

Beaming

+ + + + + + + + + + + + + + + + + +
CodeNote
{beginning of beaming
}end of beaming
+ + +
+
+

Special Rhythmic Groupings

+ + + + + + + + + + + + + + + + + +
CodeName
(beginning of special group
)end of special group
+

+ Before ( you must indicate the total value of the group. +

+

+ After ( you must indicate the rhythmic value of the first note, even if it is equal to that + of the group. +

+

+ Before ) you must indicate the number of notes of the group, preceded by ;. +

+ +

+ The triplet is a special case; strictly speaking, it should be coded as follows: +

+ 
+                8(6ABC;3) or 8({6ABC};3)
+
+

+ Instead, the following shortcut is permitted: +

+ 
+                (6ABC) or ({6ABC})
+
+

+ The rhythmic value inside the parentheses is required. +

+
+
+

Shortcuts

+
+
Repeated figures
+ + + + + + + + + + + + + + + + + +
CodeName
!beginning and end of passage
frepetition indication of the notes that appear within !...!
+

+ The group will be repeated as many times as the f appears after the second + !. Repetition is possible only within the same measure. +

+ +
+
+
Repeated measures
+

+ The symbol i repeats the last measure. It must always be included within bar lines. +

+ +
+
+
Rhythmic sequence
+

+ When the same rhythmic sequence is repeated, the sequence of rhythmic values can be stated once + before the note names. +

+ +
+
+
+

Change of Clef, Key Signature, Time Signature

+

+ Use % to change the clef, $ to change the key, and @ to change + the time signature. Follow this with the new indication (clef, key, or time), followed by a space. +

+

+ The introductory characters are mandatory. +

+ +
+
+

Abbreviations

+

+ Notation abbreviations, such as tremolo, slash, etc., must be written out in full using the actual + notation. +

+ +
+
+

Chords

+

+ Enter chords from the highest to the lowest note, each one separated by ^. +

+ +
+
+
+

Coded Validity Note

+ +

+ A one-character coded validity note can be introduced by a ~ at the end of the code. +

+

+ Accepted characters are: +

    +
  • ?: a mistake in the incipit has not been corrected
    • +
  • +: a mistake in the incipit has been corrected
    • +
  • t: incipit has been transcribed into modern notation
    • + +
+

+

+ These characters may be explained in a note (UNIMARC 036 $q — MARC21 031 $q). +

+
+
+
+

Representations

+

+ There are several ways in which Plaine & Easie code can be expressed. The choice of representation depends + on the environment in which you are using Plaine & Easie code, and the support of your software tools. +

+
+

MARC21 and UNIMARC

+

+ The most common use of Plaine & Easie code is as part of a MARC (MAchine Readable Catalogue) + record or UNIMARC (UNIversal MARC). The 031 MARC field is used to record incipits for + bibliographic catalogues. For UNIMARC the 036 field is similarly used. +

+

+ In MARC and UNIMARC records, the Plaine & Easie notation components are separated out into subfields. + The specifics of this encoding are given in the MARC + documentation, or in the + UNIMARC documentation. +

+
+
+

Single-Line Text

+

+ Plaine & Easie code can be represented in a single, continuous line of text by using + the field delimiters for each notation component: % for clef, + $ for key signature, and @ for time signature. These components + are given at the beginning of the line, and separated by a space with the notation data. +

+ +
+
+

Multi-Line Text with Field Delimiters

+

+ This format puts each component on its own line, separated by a newline character \n, and + with the component field preceded by a @ symbol and followed by a colon :. + There are five such fields: @clef, @keysig, @timesig, + @key, and @data. +

+ +
+
+

JavaScript Object Notation (JSON)

+

+ JavaScript Object Notation (JSON) is a key-value format that is easy to process in web browsers. Some + tools may support Plaine & Easie encoding using JSON. The same field names as the multi-line format are + used, but the preceding @ is dropped. Fields are separated by a comma. +

+ +
+
+ + diff --git a/pr-preview/pr-114/v2/changes.html b/pr-preview/pr-114/v2/changes.html new file mode 100644 index 0000000..e4a1f10 --- /dev/null +++ b/pr-preview/pr-114/v2/changes.html @@ -0,0 +1,202 @@ + + + + + Plaine & Easie Version 2 Change Log + + + + + + + +

+ CC0 1.0 Universal (CC0 1.0) Public Domain Dedication +

+
+

+ This document is a companion to the Plaine & Easie Version 2 + specifications. It describes the major differences between + Version 1 and Version 2, including those that introduce + compatibility issues between the two versions. +

+
+
+

Breaking Changes

+
+

Clef is a required field

+

+ It is now an error to have a Plaine & Easie Code + document without also specifying a clef. This change was + introduced because the clef specifies the line on the staff + on which the note should be drawn, and without a clef this + is ambiguous. +

+
+
+

Encoding of fermatas

+

+ The lower-case character p was introduced to + indicate fermatas, replacing the previous practice of + enclosing the note in parentheses, (). This + change was introduced because the parentheses were already + in use as the enclosing characters for a rhythmic group + (i.e., tuplets), and there was no need to indicate more than + one note for a fermata. +

+
+
+

Order of elements within a note

+
+
+

Neume Notation

+

+ Previously, neume notation was indicated with the special + duration of 7.. This introduced an arbitrary + restriction on coding dotted 128th notes, while also making + it unclear whether neume notation could be mixed with other + types of notation. +

+

+ Version 2 introduces the : character in the + clef to indicated that it is neume notation, following the + same pattern established by Mensural notation. +

+
+
+

Changed tie to underscore

+

+ Previously, the plus character + was used to + indicate that two notes were tied. This created some + problems when using the Plaine & Easie Code in a web + environment, where the + + symbol caused problems when it was instead interpreted as a + space. +

+

+ Notably, the first version of the Plaine & Easie Code + also used the underscore for tied notes. This was changed in + subsequent revisions, but is now reverted to its original + character. +

+
+
+

Removal of Coded Validity Note

+

+ The previous version of the Plaine & Easie Code had a + provision for a "coded validity note" that indicated whether + corrections had or had not been applied, or that the incipit + was transcribed into modern notation. +

+

+ In Version 2 this has been removed. It was not deemed + expressive enough to be useful (it did not specify which + corrections had, or had not, been introduced). An evaluation + of the usage of this field showed no consistent application + of this field, so it was removed in favor of putting any + explanatory notes in a notes field. +

+
+
+

Appogiatura Group Opening Character

+

+ Previously the characters qq were used to start + an appogiatura (a.k.a grace note) group. However, this was + the only instance in the Plaine & Easie Code where two + characters were used to start a group. It also meant that + parsing the code was a bit more difficult, since it created + ambiguities between a single `q`, or a single appogiatura + notes, or a group of notes. +

+

+ In Version 2 the start of an appogiatura group is now + signalled by the lower-case letter y. It is + still ended by the lower-case letter r. +

+
+
+
+

New Features

+
+

Introduction of JSON as a representation format

+

+ JavaScript Object Notation (JSON) is now an accepted + representation format for the Plaine & Easie Code. +

+
+
+
+

Clarifications

+
+

Order of elements within a note

+
+
+ + diff --git a/pr-preview/pr-114/v2/guidelines.html b/pr-preview/pr-114/v2/guidelines.html new file mode 100644 index 0000000..9367363 --- /dev/null +++ b/pr-preview/pr-114/v2/guidelines.html @@ -0,0 +1,224 @@ + + + + + Plaine & Easie Encoding Guidelines + + + + + + + +

+ CC0 1.0 Universal (CC0 1.0) Public Domain Dedication +

+
+

+
+
+

Introduction

+
+

+ These cataloging guidelines are written as an accompaniment to the Plaine & Easie Code (PAEC) specification. + In previous editions of the specifications, the formal description of the code, and the guidelines for its + interpretation, were given as a single document. Although convenient as a reference, it also posed significant + challenges for the interpretation of what was actually required, and what was recommended. + In the new edition of the PAEC, the specification document provides a formal description of a valid PAEC + encoding, while this document will provide recommendations on the application of the code to incipit capture. +

+
+
+

Considerations for Incipit Capture

+
+

+ The thematic index derives its superiority over non-thematic lists be cause it can not only arrange + a body of music in a systematic order, but it provides, at the same time, positive identification + in a minimum of space and symbols. It does so by the use of the "incipit," or musical citation + of the opening notes. For most music, an incipit of no more than a dozen pitches is required. + When rhythmic values accompany the pitches, the incipit's "uniqueness quotient" is astonishingly high. +

+ +

+ A musical work, printed or manuscript, may be identified by composer, title, opus number, key, + instrumentation, movement headings, first line of text, date, publisher, dedicatee, plate number, etc. + No one of these, indeed no combination of these, can provide as certain an identification as an incipit. + For example, an anonymous 15th-century Latin motet may also appear as a French chanson entitled + "L'amant douloureux." A composer may write a dozen trio sonatas in D major, three of them with the + same tempo sequence. A concert aria found in a library in Vienna, in the key of F, may turn up in + Prague in the key of G, and with added horn parts. Two printings of a set of quartets may be given + different plate numbers by the same publisher. Two publications of the same opera, in different cities, + may bear different titles, and dedications to different patrons. Finally, a set of six symphonies + may be published in Amsterdam with one opus number, in Offenbach with another, and in London within + a series of Periodical Overtures without any at all, and under another composer's name. +

+ +

+ By contrast, the presence of the incipit avoids confusion. Identification is certain. Even transposed + works can be readily identified in properly organized incipit files. In dealing with anonymi and with + works of disputed authorship, the incipit becomes indispensable-as a catalog without them will readily + demonstrate. In short, the collection, classification, transposition, and lexicographical ordering + of the incipits into thematic catalogs have enabled scholars to solve a myriad of otherwise insoluble + problems, and have provided musicians, librarians, students, biographers, and program annotators with + an invaluable reference tool. +

+
+ + Brook, Barry S. 1973. A Tale of Thematic Catalogues. + Notes, vol. 29, no. 3. pp. 407–15. + +
+
+

+ The cataloging of musical incipits in RISM is primarily intended for the purposes of identification and + disambiguation, where all other bibliographic means of doing so are not sufficient to uniquely identify a + musical piece. +

+

+ The most important component of incipit cataloging is the capture of identifiable musical material. + This will, in most cases, be the opening measures of a piece. It may, occasionally, be the entrance + of a melodic instrument when the opening of the piece starts with otherwise ambiguous accompaniment, such + as a ground bass. In rare instances, it may be the entrance of a theme that is many measures in. +

+

+ In all cases, the encoder of the incipit must keep in mind the primary motivations of identification + and disambiguation when choosing the musical content to capture as the incipit. It does not serve the users + of the catalog to encode a unique part of a musical work when all other instances of the incipit in the + catalog identify the opening measures. The uniqueness of the cataloging simply means that the incipit will not + group with like, and it will thus be "lost" in the larger catalog. +

+

+ The capture of melodic and rhythmic qualities is of primary importance. Considerations of visual + appearance, phrasing, polyphony, or other special indications are of secondary importance, or should be ignored + altogether, when capturing incipits. While it may seem important to capture for any single given source, it + can also pose significant challenges to positive identification or disambiguation when compared to all other + sources. Other means of capture, such as analytical notes fields, may be a more suitable mechanism for + accurately describing these features. +

+
+
+

The Plaine & Easie Code

+

+ From the beginning, the PAEC was purpose-built for the capture of identifying incipits. It could be written + by hand, or typed on a standard mechanical typewriter. Unlike other codes, the goal of the PAEC was to be + simple. Indeed, the first version of the PAEC, issued in 1964, was subsequently simplified in 1965, to "make + the code more usable on an international basis." (Brook, Fontes, 1965). The current PAEC specification is based + primarily on this simplified version. +

+

+ In the intervening years since the introduction of the PAEC, a number of changes and additional features have + been introduced. In some cases these additions have significantly improved the coding scheme; in other cases + the additions have ultimately distracted from the central purpose of the PAEC when put into practice. The + reasons for these changes are not always known. They may have been in response to a specific need, or they may + have been added as a "nice-to-have" without an identified use case. Whatever the reason, they have been + available and widely adopted and standardized, making it difficult to introduce retrospective changes to the + coding system to address problems and clarify ambiguities. With no clear versioning scheme in place, the + previous version is now no longer updated, and is now known as "Version 1". +

+

+ The new version, Version 2, contains several backwards-incompatible changes from Version 1. It is not the case + that incipits in Version 1 need to be "upgraded," nor is it a problem to have software or other standards + support PAEC Version 1. It is simply a way to differentiate the two versions. In most cases, unless the + version of the incipit is plainly stated as being Version 2, it should be assumed that it is supposed to conform + to Version 1 of the specification. +

+
+

Version 2

+

+ The goals of the effort behind Version 2 were to clarify ambiguities in the previous specification, and + to make the PAEC more suitable for machine processing of incipits. Since the previous version was developed + before the World Wide Web, and even before there was software available to render the code into a graphical + representation, several parts of the specification existed that made it difficult to unambiguously + and reliably process the data into the notation it was intended to represent. +

+

+ Version 2 of the specification is written to make the requirements of the encoding system clear, to help + software developers to build applications that can process the data in a uniform way. The requirements are + given using [RFC2119], which provide keywords, such as "MUST" and "MAY", to indicate required or optional + features, respectively. Most of the sections in the specification have also been expanded to include + an actual description of the code, as well as illustrative examples. +

+
+
+

Maintenance

+

+ This version of the code is maintained by the International Association of Music Libraries, Archives and + Documentation Centres (IAML) and the Répertoire International des Sources Musicales (RISM) for use as an + exchange format in the library environment. +

+
+
+
+

General Guidelines for Incipit Capture

+

+ Music incipits help identify works and facilitate the comparison of historical musical sources. +

+

+ Which music incipits to enter depends on the kind of music. Best practice for instrumental music is to enter + incipits for the violin or the highest part. For vocal music, enter the highest voice plus the first violin or + the highest instrumental part. +

+

+ The incipit should be neither too long nor too short, and make as much musical sense as possible. It should + contain at least 3 bars or 10 non-repeated notes. +

+

+ If the music is written for a transposing instrument, notate the incipit at sounding pitch. +

+
+ + diff --git a/pr-preview/pr-114/v2/index.html b/pr-preview/pr-114/v2/index.html new file mode 100644 index 0000000..635f80f --- /dev/null +++ b/pr-preview/pr-114/v2/index.html @@ -0,0 +1,2405 @@ + + + + + + Plaine & Easie Code + + + + + + + + +
+

+ CC0 1.0 Universal (CC0 1.0) Public Domain Dedication +

+
+

+ The Plaine & Easie Code is a music notation encoding system + designed for the capture of melodic incipits: Short fragments of + music notation that help to identify the musical work. +

+
+
+

Introduction

+

+ The Plaine & Easie Code was first defined in 1964 by Barry S. Brook and Murray Gould + [[BrookGould1964]][[Brook1965]]. Perhaps the most important design feature of this system + was that it could represent music notation with "ordinary" typewriter characters, to be + put on index cards to build a thematic index to accompany bibliographic source descriptions. +

+

+ The specifics of the code system have changed over time, but, until the present specification, + the changes have not been clearly versioned. Features have been added to the Plaine & Easie + Code and the expected publication medium has shifted from index cards to computer systems. These + changes have resulted in incipits that may have conformed to the specifications at the time, but + which are now at odds with current practices and methods. +

+

+ The present specifications seeks to establish a clearly defined "Version 2" + of the Plaine & Easie Code. This is an attempt to distinguish it from "Version 1" of the Code, + which is now fixed at its last revision date. Incipits encoded to the specifications + given in Version 1 are still valid, and will continue to be. +

+

+ Version 2 of the Plaine & Easie Code is written in a specification language that attempts + to clearly communicate the normative requirements of the Code. This is a recognition that the + a significant "audience" for the code is data processing systems, and by extension, the + programmers that create them. This audience needs clear definitions of the code so that it + can be accurately and uniformly processed for search, retrieval, automated comparison, + and notation display. +

+

+ At the same time, however, it must be recognized that the core of this code must remain "Plaine" + and "Easie" to facilitate easy capture of musical notation by catalogers. Although now couched + in normative language, the present specification does not deviate far from the earlier + specifications—indeed, some changes that are introduced in this new version are drawn from + the original papers by Brook and Gould. In this way, the present specification is an + attempt to "pave the cowpaths"; + that is, to normalize and standardize existing practices. +

+

+ Catalogers who are familiar with Version 1 of the Plaine & Easie Code may wish to consult + the Change Log to see what has changed in Version 2. +

+

+ The Plaine & Easie Code is maintained by the Digial and Editorial Centers of the + Répertoire International des Sources Musicales (RISM), and by the International Association of Music Libraries, + Archives and Documentation Centres (IAML) for use as an exchange format in the library environment. +

+
+
+

Terminology

+
+
Circle of fifths
+
+
Transcriber
+
The person or persons who transcribe the source into Plaine & Easie.
+
Logical Unit
+
A logical unit of notation data consists of one or more characters that represent a single musical notation + figure.
+
+
+
+

The Plaine & Easie Code

+
+
+

Staff Definitions

+

+ The clef, key signature, and time signature of an incipit is defined separately from the + Musical Notation of the incipit. These properties affect the whole staff. +

+
+
+

Clef

+

+ Every encoding MUST include a clef. +

+

+ The clef code MUST be three characters long. The first character specifies the clef shape and MUST + be one of the values G, g (octave G), C, or F. +

+

+ The second character MUST be one of the characters - to indicate modern notation, + + to indicate mensural notation, or : to indicate neume notation. Each + of these notations impose different interpretations on the music notation in the incipit. +

+

+ The third character MUST be a numeric value in the range 1-5, and indicates the reference staff line + for the clef starting from the bottom. +

+ +

+ The clef indications imply the octave in which each note on the staff will sound and + its visual placement on the staff. The following table gives the indicative octave and note + for the bottom and top lines of each staff. +

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
Shape and LineBottom Line Octave and NoteTop Line Octave and Note
G-2'E (E4)''F (F5)
F-4,,G (G2),A (A3)
g-2,E (E3)'F (F4)
C-3,F (F3)'G (G4) +
+ +
+
+

Key Signature

+

+ An encoding MAY include a key signature. +

+

+ The character x indicates sharp keys and b flat keys. These characters MUST be + followed by a list of note names that indicate the altered notes. +

+

+ The list of note names in a key signature SHOULD follow the circle of fifths ordering. Missing + accidentals in this list SHOULD be supplied by the transcriber. Note names MUST NOT be repeated. +

+

+ All notes given in the key signature MUST be interpreted as having their sounding pitch altered + accordingly. In cases where a note in a key signature is further altered by use of an accidental, + directly on the note, the written pitch and sounding pitch indicated by the accidental + will take precedence. +

+

+ A key signature containing a single n character MAY be supplied to indicate a natural key + signature, i.e., C Major or A minor. This character MUST NOT be followed by any note names. +

+

+ A key signature MAY contain note names within square brackets [] to indicate that the + note names are not in the original source and have been supplied by the transcriber. Consecutively + supplied note names MUST be within a single set of brackets. A key signature MAY contain more than one + set of non-consecutive bracket groups. +

+ +

+ For neume notation, the key signature MUST be omitted. Any alterations to individual pitches MUST + be encoded as accidentals. +

+ +
+
+
+
+
+
+
+

Time Signature

+

+ An encoding MAY include a time signature. +

+

+ There are two main categories of time signature forms, Common Western Music Notation + (CWMN) and Mensural. + If a mensuration sign is specified, the clef MUST specify a + separator to + indicate the encoding is in mensural notation. +

+

+ For neume notation, the time signature MUST be omitted. +

+

+ CWMN and Mensural time signatures MUST NOT + be mixed on the same staff. +

+

+ CWMN time signatures are expressed as one number + above another. These numbers MUST be separated by a / character. Any positive digit MAY + be used, but encoders SHOULD use commonly accepted values where possible. The c + ("common", or 4/4) and c/ ("alla breve", or 2/4) characters + MAY be used. +

+

+ CWMN time signatures that indicate alternating + measures MAY be indicated by transcribing both. These MUST be separated by a single space character. +

+

+ For mensuration signs, the c and o characters indicate tempus + imperfectus and tempus perfectus, respectively. The . character indicates + "major" prolation; omitting . indicates "minor" prolation. A / character may + follow the tempus character to indicate diminution. +

+

+ A mensuration sign MAY include a numerical component as a proportion or augmentation, + indicating Modus cum tempore. These numerals MUST be either a 3 or 2. + These numbers MAY be combined and separated by a /. +

+ +
+
+
+

Musical Notation

+
+
+
+

Structure

+

+ The Musical Notation section of an encoding is given as a single line of characters. These characters + represent a staff of musical notation. To represent complex notational figures, such as + notes, chords, beams, or tuplets, groups of characters can act as a single logical unit. +

+

+ A musical note is the most complex logical unit. It consists of one or more characters representing + a note on a musical staff. Many characters representing a note are optional—the only required character + is the note name—but where one or more characters for a note occurs, they MUST occur in the following order: +

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
Note FeatureCharactersRequirement
Grace Note[qg]Optional
Octave[,']Optional
Duration / Duration Dot[0-9][.]Optional
Accidental[xb]Optional
Fermata[p]Optional
Note Name[A-G]Required
Trill[t]Optional
Order of characters representing a note
+

+ Logical units MAY be nested to represent complex notational features; for example, a beam will + contain two or more notes. All logical units of the same kind MUST be closed before a new one is + started (i.e., no nested groups of the same kind). +

+ +

+ Many logical units use the same character(s) to represent the same musical concept. Notes and rests, + for example, both make use of the same duration character(s). +

+

+ There MUST be no spaces within the Musical Notation section. The only time a space MAY occur is to separate + a change of Clef, Key Signature, or Time Signature. +

+
+
+

Note Names

+

+ A note name MUST be provided to indicate the pitch class of the note. +

+

+ Note names MUST be one of the following characters: + C, D, E, F, + G, A, B. +

+

+ All letters MUST be uppercase; lowercase letters MUST NOT be used. +

+ +
+
+

Octaves

+

+ Octaves in Plaine & Easie are enumerated according to [[ScientificPitch]]. The boundary note + between octaves is C. +

+

+ Octaves MUST be indicated using the apostrophe ' for octave C4 and above, and the comma + , for octaves C3 and below. These characters are repeated to indicate successively + higher or lower octaves: '' indicates C5, ''' indicates C6, ,, + indicates C2, and so on. +

+

+ The number of apostrophes MUST NOT exceed four, corresponding to C7. The number of commas MUST NOT + exceed three, corresponding to C1. +

+

+ The octave indication for a given note MAY be omitted. If the octave is omitted, the last specified + octave indication is used for all following notes. +

+

+ An encoding MAY omit all octave indications. If no octave is supplied on any note, all notes are + assumed to be in octave C4. +

+ +
+
+
+

Durations

+

+ Note durations MUST be represented by integer values in the range 0-9. The corresponding + note value for each number is given in [[[#note-duration-map]]]. +

+

+ Duration values MUST be interpreted differently if the encoding is in + CWMN or Mensural notation. Mensural notation + MUST NOT use durations of 3, 5, or 7. +

+

+ Notes in neume notation MUST NOT be given a duration value. +

+
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
DurationNotationCWMNMensural
+ + 0 + Longa
+ + 9 + Breve
+ + 1 + Whole noteSemibreve
+ + 2 + Half noteMinim
+ + 4 + Quarter note / crochetSemiminim
+ + 8 + Eighth note / quaverFusa
+ + 6 + 16th note / semiquaverSemifusa
+ + 3 + 32nd note / demisemiquaver-
+ + 5 + 64th note / hemidemisemiquaver-
+ + 7 + 128th note-
+
Note duration value mapping, ordered from longest to shortest note value.
+
+

+ The duration value for a given note MAY be omitted. If the duration is omitted, the last specified + duration is used for all following notes. +

+

+ An encoding MAY omit all duration indications. If no duration is supplied on any note, all + notes are assumed to have a duration value of 4 (quarter note / crochet / semiminim). +

+

+ For CWMN the period character . MAY be used to indicate a dot of augmentation, + extending the duration of the note by half again the indicated duration value. This character MUST be + appended to the duration value. Multiple dots MAY be used, with each successive dot indicating that + the duration is extended by half again. +

+ +
+
+

Accidentals

+

+ An accidental MAY be used to alter the written and sounding pitch of a note. Accidentals MUST + be one of the values given in [[[#accidental-map]]]. +

+
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
AccidentalNotationRemarks
+ + x + sharp
+ + b + flat
+ + xx + double-sharp
+ + bb + double-flat
+ + n + natural
+
Accidental values
+
+

+ The sounding pitch of a note MAY be altered by both a key signature or an accidental. In the case of + a note being altered by both, the alteration of the accidental MUST be interpreted as an alteration + of the pitch in the key signature. +

+

+ A note altered by an accidental SHOULD NOT be altered subsequent times within the same bar. The + alteration to the sounding pitch of the note is continued on subsequent notes with the same name + until the next bar line. +

+

+ Accidentals MUST be interpreted by their written value, and MUST NOT be interpreted by their values + relative to each other. +

+ +
+
+

Rests

+

+ Rests for single notes MUST be indicated by a hyphen/minus character -. This character + MAY be preceded by a duration value giving the musical duration of the rest. If the duration + is omitted, the last specified duration is used. If no duration is supplied in the encoding + a default duration of 4 is assumed. +

+

+ Measure rests MUST be indicated by an equal sign character =. This character MUST be + followed by a non-negative integer indicating the number of measures for which this rest applies, + unless the measure rest only applies to a single measure. In this case, the number MAY be omitted. +

+

+ Measure rests MUST be followed by a bar line character. +

+

+ Measure rests MUST NOT be used with Mensural notation, due to the general absence of measures in + this notation. +

+

+ Measure rests MAY indicate the number of measures that are being skipped in the + original source before the musical content being captured by the incipit, regardless of whether + these measures in the original source contain musical content. +

+ +
+
+

Chords

+
+
+
+

+ Enter chords from the highest to the lowest note, each one separated by ^. +

+ +
+
+

Beaming

+
+

+ Beamed notes are encoded using braces {}. +

+

+ Beam groups MUST start with an opening brace {, and + MUST end with a closing brace, }. Nested beam groups + MUST NOT occur, except as part of a grace note group. +

+

+ Notes with duration values of 0, 1, 2, + 4, and 9 MUST NOT occur within + a beam group. Notes with other duration values MAY occur within + a beam group. +

+

+ Beam groups SHOULD NOT occur in Mensural encodings. +

+ +
+
+

Bar Lines

+
+

+ Bar lines MUST be indicated using one of the code options given in [[[#barlines-spec]]]. +

+

+ Bar lines SHOULD be inserted at intervals that correspond to the current time signature. +

+

+ Neume and Mensural notations SHOULD NOT use bar lines. +

+
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
CodeNotationRemarks
+ + / + Single bar line
+ + // + Double bar line
+ + //: + Double bar line with repeat sign on the right
+ + :// + Double bar line with repeat sign on the left
+ + ://: + Double bar line with repeat sign on the left and on the right
+
Types of bar lines
+
+ +
+
+

Tuplets

+

+ A tuplet group MUST begin with a duration value to indicate the duration + of the tuplet group. +

+

+ All musical symbols MAY occur within a tuplet group. The members of the tuplet + group MUST be enclosed within parentheses (). +

+

+ The duration value MUST be provided for the first note or rest after the + opening parenthesis (. +

+

+ A semicolon ; and a non-negative integer MAY immediately precede + the closing parenthesis of a tuplet group. This number indicates the number of + beat divisions in the group; that is, the number of beats that occur within + the tuplet in the space of the given duration value. If a number is not + given, a value of 3 is the default. +

+

+ A special encoding shortcut is available for triplets. +

+ +
+
+
+

Tied Notes

+

+ Tied notes MUST be indicated with an underscore character _. + Ties MUST occur between successive notes with the same pitch and octave. + A tie MUST NOT occur between a note and a rest. +

+

+ The underscore character MUST occur on the first note of the tie. +

+

+ Tied notes MAY occur over bar lines. +

+

+ The underscore character MUST NOT be used to indicate slurs, phrase + marks, or ligatures. +

+ +
+
+

Grace Notes

+

+ There are two types of grace note: Acciaccatura and appogiatura. +

+

+ For a single acciaccatura the lower-case character g + MUST be used. This character MUST be specified in the order given above; + that is, it MUST precede the note name, and MUST also precede all other + optional attributes of the note. Consecutive single acciaccatura + SHOULD NOT occur. +

+

+ For a single appogiatura note, the lower-case character q + MUST be used. This character MUST be specified in the order given above; + that is, it MUST precede the note name, and MUST also precede all other + optional attributes of the note. Consecutive single appogiatura + SHOULD NOT occur. +

+
+
Appogiatura Group
+

+ For multiple consecutive appogiatura notes, the appogiatura group SHOULD + be used. The lower-case character y MUST be given as the first + characters before the first note of the group, and the lower-case character + r MUST be the last character in the final note of the group. + There MUST be more than one note in a appogiatura group. +

+

+ The r character MUST follow any closing beam character + that is part of the appogiatura group. +

+

+ An appogiatura group with beams MAY occur within a non-appogiatura + beam. +

+
+ +
+
+

Trill

+

+ The lower-case character t is used to indicate + a trilled note. The t MUST immediately follow the + note name. +

+ +
+
+

Fermata

+

+ The lower-case character p is used to indicate + a fermata on a note. The p MUST immediately precede the + note name, and MUST follow any other attributes on the note that + occur before the note name. +

+ +
+
+

Tremolo, Slash

+

+ Notation abbreviations, such as tremolo, slash, etc., must be written out in full using the actual + notation. +

+ +
+
+

Shortcuts

+
+
Repeat group
+

+ If one or notes or rests are repeated several times, a repeat group + MAY be used. +

+

+ A repeat group is only valid within a single measure. +

+

+ To use a repeat group, mark the beginning and the end of the group with + an exclamation mark character !. The lower-case character + f MUST immediately follow the ending !, and + MUST occur the number of times the figure should be repeated. The + f MUST be specified at least once. +

+ +
+
+
Repeated measures
+

+ If one or more whole measures are repeated, a measure + repeat MAY be used. +

+

+ The measure to be repeated MUST end with a bar line. The lower-case + character i MUST occur immediately after this bar line, + and MUST be immediately followed by another bar line. There MUST NOT + be any other characters between the two bar lines. +

+

+ Any type of bar line MAY be used to begin or end a measure repeat group. +

+

+ Measure repeats SHOULD NOT be used with Mensural notation. +

+ +
+
+
Rhythmic sequence
+

+ When the same rhythmic sequence is repeated, the sequence of rhythmic values can be stated once + before the note names. +

+ +
+
+
Triplets
+

+ The triplet is a special case; strictly speaking, it should be coded as follows: +

+ 
+                    8(6ABC;3) or 8({6ABC};3)
+
+

+ Instead, the following shortcut is permitted: +

+ 
+                    (6ABC) or ({6ABC})
+
+

+ The rhythmic value inside the parentheses is required. +

+
+
+
+

Change of Clef, Key Signature, Time Signature

+

+ Clefs, key signatures, and time signatures MAY be changed within an incipit. +

+

+ The percent character % MUST be used to indicate a clef change. A clef change MAY occur anywhere + within the music notation section. This character MUST be followed by a clef definition according + to the specifications given in the Clefs section. +

+

+ The dollar character $ MUST be used to indicate a key signature change. A key signature + change MAY appear anywhere in the music notation, but SHOULD appear immediately following a + bar line. This character MUST be followed by a key signature definition according to the + specifications given in the Key Signatures section. +

+ +

+ The at sign character @ MUST be used to indicate a time signature change. A time signature + change MAY appear anywhere in the music notation, but SHOULD appear immediately following a + bar line. This character MUST be followed by a time signature definition according to the + specifications given in the Time Signatures section. +

+

+ For any change of clef, key signature, time signature, or combination thereof, the change indication + MUST be separated from the notation that follows by a single space character. In the case of multiple + changes at once (for example, a key and a time signature change) the individual change indications + MUST NOT be separated by a space. +

+ +
+
+
+
+

Representation Formats

+

+ The original expression of the Plaine & Easie Code was intended for physical + media such as an index card, or a printed book. In the intervening years, usage of the + Plaine & Easie Code has shifted to use within a digital context, such as online + library catalogs and on the World Wide Web. +

+

+ This section provides the specification of the acceptable representations of the Plaine & + Easie Code. It is expected that these representations—with the possible exception of + "single-line text"—are constructed and used by automated tools and not written "by hand." +

+
+

Character Encodings

+

+ All characters used in the Plaine & Easie Code MUST be within the [[ASCII]] + code range. Plaine & Easie MAY be transmitted as part of another encoding standard, + such as UTF-8, as long as the characters used within the encoding itself do not + fall outside of the ASCII range. +

+

+ Depending on the application, some ASCII characters MAY be encoded in another + way; for example, Plaine & Easie Code could be embedded in HTML where some + characters are replaced by Named + character references. +

+ +
+
+

MARC21 and UNIMARC

+

+ The Plaine & Easie code is accepted as a format within a MARC (MAchine Readable Catalogue) + or UNIMARC (UNIversal MARC) record. The specifics of each system are given in the [[MARC21]] + documentation or in the [[UNIMARC]] documentation. The 031 MARC21 field is used + to record incipits, while UNIMARC uses the 036 field. The subfields used by these + formats for Plaine & Easie Code is given in [[[#marc21-unimarc-subfields]]]. +

+

+ In both systems, the $2 subfield indicates the coding system used for the + incipit. This code MUST be pe2 for Version 2 of the Plaine & Easie Code. +

+ +
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
FieldMARC21UNIMARC
Clef$g$m
Key Signature$n$n
Time Signature$o$o
Musical Notation$p$p
Source$2$2
+
MARC21 and UNIMARC subfields for the Plaine & Easie Code +
+
+
+

Multi-Line Text with Field Delimiters

+

+ The Plaine & Easie Code MAY be represented in a multi-line text format. +

+

+ Each field MUST be separated by a newline character \n. +

+

+ Each field MUST begin with a field identifier. This identifier consists of an at sign + character @, followed by a field name. The field identifier MUST end with + a colon character :. +

+

+ The field name MUST be one of the following: clef, keysig, timesig, + key, data, or version. +

+

+ The field value MUST immediately follow the colon in the field identifier. The field value MUST NOT + contain any characters that are not part of the value itself; for example, the value must not be + enclosed in quotation marks. +

+

+ There MUST be at least two fields in the encoding: clef and data. +

+

+ The version field MAY be included. The value of the version field + MUST be pe2 for incipits that conform to Version 2 of the specification. If a + version field is not specified, the incipit SHOULD be interpreted as conforming + to Version 1 of the specification. +

+ +
+
+

JavaScript Object Notation (JSON)

+

+ Plaine & Easie Code MAY be represented as JavaScript Object Notation + ([[JSON]]). All JSON encodings of the Plaine & Easie Code MUST be valid + JSON. +

+

+ The keys in the JSON MUST be one of the following: clef, + keysig, timesig, key, + data, or version. Unlike the multi-line text + representation, they MUST NOT begin with an at sign character @. +

+

+ There MUST be at least two keys in the encoding: clef and data. +

+

+ The version key MAY be included. The value of the version key + MUST be pe2 for incipits that conform to Version 2 of the specification. If a + version key is not specified, the incipit SHOULD be interpreted as conforming + to Version 1 of the specification. +

+ +
+
+

Single-Line Text

+

+ Plaine & Easie code MAY be represented in a single, continuous line of text. +

+

+ This line MUST start with the string ;pe2 for incipits that + conform to Version 2 of the specification. +

+

+ Following the version declaration, the line MUST contain with a declaration of the clef. + The format of the clef declaration follows the same format for an inline change of clef; + that is, the clef declaration MUST start with the percent character %. +

+

+ The line of text SHOULD specify a key signature and a time signature. This also + follows the same format for an inline change of key and time signatures. +

+ The clef, key signature, and time signature declarations MUST NOT themselves be + separated by a space character. +

+

+ The clef, key signature and time signature MUST be separated from the rest of the music + notation by a single space character. +

+

+ The rest of the line of text follows the format for the music notation section of the code. + Further changes to the clef, key signature, and time signature are permitted as normal. +

+ + +
+
+
+
+

Changes

+

+ A list of substantive changes between Version 1 and Version 2 of the Plaine & Easie Code + can be found in the Change Log. +

+
+
+ + + +