Hi Andrew, Charles -

actually a lilypond script can reflect the formal structure of a musical
composition rather better than a score .. where you have pesky things like
having to fit bars into lines and lines into pages, and breaks are probably
going to occur in the 'wrong' places.

Also, it's very easy to transpose passages both exactly and tonally .. not
really more than a cut and paste.  I don't think Frescobaldi has a 'fugue
tonal answer' function yet but it couldn't be that hard to code.

Since a score (finished or unfinished) can be typeset in a few seconds,
there is no question of not seeing the 'canvas' or 'stone'.  The real
question is whether the composition is done 'at the keyboard' - in which
case pencil/pen are probably still preferable - or away from it.

BTW, it's unlikely that many Baroque composers had useful pencils ...

T

Hi Charles,
>
> There is nobody that regards lilypond as a tool for composition, that is
> not the intended use of the program. It is a highly advanced technical
> environment for fine engraving of scores, completely unsuited to 'rapid
> prototyping'. In the same way, I am pretty sure no composers wrote directly
> to copper in the first instance.
>
> Andrew
>
>
>
> On 29 January 2017 at 09:21, Charles <[log in to unmask]> wrote:
>
> > A composer of the past would surely have been delighted to have a tool
> > like Lilypond to format finished works. But would Bach have developed
> > invertible fugues with it?  Maybe a sculptor needs to see the evolving
> > stone for inspiration? Likely, a painter needs a canvas rather than a
> > formal specification? In the mid-Eighties I wrote my doctoral thesis at a
> > WYSIWYG editor without recourse to paper, developing the maths by
> > meditating on the screen. A few years later the whole thing had to be
> > reformatted in LaTex for a book publisher. There’s no way I would have
> > chosen to manipulate equations in that ungainly format. So Lilypond is
> > presumably a boon for publishing, but probably inferior to a sheet of paper
> > when it comes to composition and arranging.
> >
> >
>
>

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