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Initial Survey Results from the Lilypond Consortium

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Initial Survey Results from the Lilypond Consortium ICMC 2015 – Sept. 25 - Oct. 1, 2015 – CEMI, University of North Texas Initial Survey Results from The LilyPond Consortium MikeSolomon Urs Liska Trevor Bacaˇ Ensemble101 openlilylib Harvard University [email protected] [email protected] [email protected] ABSTRACT abjad Algorithmic composition, analysis Frescobaldi Graphical typesetting The present poster introduces The LilyPond Consortium (lily- University of Alicante Computational musicology pondconsortium.org), a newly formed international federa- OuMuPo Composition tion of companies, institutions, associations, professionals and Scores of Beauty User blog hobbyists that use the GNU LilyPond score writer. The poster PWGL Musical visual programming presents the broad goals and missions of the LilyPond Con- denemo Graphical typesetting sortium as well as specific recommendations formulated by Clairnote Alternative notation systems the consortium’s working groups regarding the evolution of ensemble 101 Performance LilyPond in the near future. lilyglyphs Font library OpenMusic Music visual programming Music Notation Project Alternative notation systems 1. INTRODUCTION SCORA Publisher Created in October 2014, The LilyPond Consortium is a fed- Scorio Graphical typesetting eration of companies, institutions, and individuals using the sound-rep Publisher GNU LilyPond [1] music typesetter. It is founded upon the OpenLilyLib Development project conviction that beautiful music engraving is an evolving art that requires constant exchange around an open set of ideas. Table 1. Members of the LilyPond Consortium as of February, 2015. The LilyPond Consortium seeks to break down institutional, geographical, economical, cultural and educational barriers that prevent collaboration between LilyPond users, develop- 2. STRUCTURE OF THE ORGANIZATION ers and educators. The LilyPond consortium currently exists of sixteen projects The primary mission of The LilyPond Consortium is to help (Table 1) that use LilyPond for a variety of typesetting needs. its members effectively collaborate on projects that use Lily- The consortium organizes its membership using two different Pond. This collaboration, in turn, contributes to the evolution taxonomical schemes: and perfection of LilyPond’s open-source code base. By ad- vocating LilyPond in musical and academic communities and 1. Sections: Channels of communication between projects matching members’ interests with logistical, financial and hu- with similar themes. Current sections are scholarly edit- man, resources, The LilyPond Consortium aims to increase ing, contemporary composition and graphical user in- LilyPond’s presence in the music engraving market, which terfaces. will in turn contribute to the evolution and perfection of Lily- 2. Projects: Initiatives taken on by one or more mem- Pond’s open-source code base. ber organizations with logistical, financial and admin- In December 2014, The LilyPond Consortium conducted a istrative help from The LilyPond Consortium. Current survey of its membership in order to elaborate a strategic plan projects include alternative notation systems, modular- for collaborative development effort in 2015 and 2016. Cer- ization of the LilyPond code base and the creation of tain members’ suggestions have sparked projects focusing on standards for interchange of LilyPond data and meta- infrastructural improvements to LilyPond’s code base so that data. it can evolve with a rapidly changing technological landscape. Other projects significantly extend LilyPond’s functionality The LilyPond consortium produces a public, bi-monthly sum- and usability from the perspective of our members’ require- mary of sections’ discussions and projects’ advancement. ments. In addition to sections and projects, The LilyPond Consor- tium offers three additional services to its member base: Copyright: c 2015 Mike Solomon et al. This is an open-access article dis- 1. Representation of its members at international music tributed under the terms of the Creative Commons Attribution License 3.0 and technology conferences, publishing reports of the Unported, which permits unrestricted use, distribution, and reproduction in status of the organization’s activities and connecting any medium, provided the original author and source are credited. members with musical and technological initiatives. It – 250 – ICMC 2015 – Sept. 25 - Oct. 1, 2015 – CEMI, University of North Texas also provides a limited number of travel grants for mem- personal communication, January 3 2015). This section also bers to present their work. includes issues of incorporating LilyPond into other platforms in which scholarly editions can be compiled. “lilyglyphs is a 2. Downloads of GNU LilyPond binaries as well as Lily- A LTEXpackage that allows to integrate notational elements into Pond-related software and libraries. It also offers a A LTEXdocuments by either accessing the glyphs from Lily- continuous-integration service for its internal projects Pond’s Emmentaler font or using small PDF files generated via Jenkins. with LilyPond (to use arbitrary notational constructs not avail- able through the font itself)” (lilyglyphs, personal communi- 3. Showcase of members’ work and activities on its web- cation, January 1, 2015). site, http://www.lilypondconsortium.org. The scholarly editing section is currently comprised of Scores of Beauty, lilyglyphs, Music Notation Project, The University 3. SURVEY RESULTS of Alicante, SCORA, sound-rep, ensemble 101 and OpenLilyLib. In December 2014, members of The LilyPond consortium participated in a voluntary survey (presented below in its en- 3.1.2 Contemporary composition tirety) in order to determine the consortium’s sections and projects for 2015 and 2016. This section presents salient find- Consortium members dealing with issues in contemporary ings from the survey. In cases where a member wished to re- musical composition are disproportionately highly represented main anonymous, they are referred to by an uppercase letter in The LilyPond Consortium with respect to other musics for (i.e. Member A). which LilyPond is used as a typesetter. OpenMusic “is a Computer Assisted Compositional environment using a Vi- sual Programming Language. ... [OpenMusic] exports Om To kick things off, our goal is to submit a poster for Score Objects into [sic] LilyPond .ly format” (OpenMusic, consideration to the International Computer Music Con- personal communication, December 22, 2014). abjad uses ference (http://icmc2015.unt.edu/). The poster will act LilyPond as a backend to display scores written in Python as a roadmap for the Consortium’s activities by defining via its libraries. Clairnote displays notation via “chromatic the following two core concepts: staff, use of solid and hollow notes for inciting pitch, verti- 1) sections: themed clusters into which members can cally compressed staff, alternative key signature and acciden- be grouped based on how they use LilyPond 2) projects: tal signs, etc.)” (The Music Notation Project and Clairnote, development initiatives on the LilyPond code base that personal communication, December 22, 2014). are needed by members The contemporary composition section is currently com- To help define these concepts, we’ve come up with the prised of abjad, OuMuPo, Clairnote, OpenMusic, PWGL, en- two questions below, which I would like everyone on this semble 101, Music Notation Project and OpenLilyLib. list to answer (either to me personally or reply-to-all): 1) In what ways does your project use LilyPond? 2) 3.1.3 Graphical user interfaces How, if at all, can LilyPond be improved to better inte- Members creating graphical user interfaces with LilyPond grate with your project? fall into three categories. denemo an Scorio provide graph- The answers to these questions can be as specific or ical front-ends that are translated into LilyPond code and ren- general as you’d like. der to LilyPond in realtime. Frescobaldi is a “text editor to edit LilyPond files. It provides syntax highlighting and tries to understand at a very high level the contents of the Lily- 3.1 Sections Pond file” (Frescobaldi, personal communication, January 6, 2015). OpenMusic and PWGL provide no direct visualiza- 3.1.1 Scholarly editing tion of LilyPond scores, but export to the LilyPond format. This section represents members whose primary interest is The graphical user interfaces section is currently comprised the generation of critical editions and other forms of high- of Frescobaldi, denemo, Scorio, OpenMusic and PWGL. quality scores suitable for both performance and academic study. It represents multiple forms of engraving know-how 3.2 Projects codified into LilyPond syntax and workflows. As OpenLilyLib 3.2.1 Modularity states, “The original idea behind OpenLilyLib was to make li- brary material publicly available that was gathered during an Modularity has surfaced as the principal concern in survey re- edition project” (OpenLilyLib, personal communication, De- sults. As summarized by Member B, “What makes it hard for cember 12, 2014). ensemble 101 reports, “we are part of an newbies to understand the LilyPond source code is the lack of emerging trend of performer-composer-engravers for whom modularization. Although the code is pretty well-structured, the generation of Urtext documents and artistic creation is in- it is very hard to identify components (such as Parsing, Mu- creasingly inseparable. As such, the LilyPond libraries we sic interpretation, Grob processing, ...) and how they interact. have developed over the years likely reveal as much about ty-
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