Flexible architecture (Essay on automated music engraving)

#### Flexible architecture

When we started, we wrote the LilyPond program entirely in the C++ programming language; the program’s functionality was set in stone by the developers. That proved to be unsatisfactory for a number of reasons:

- When LilyPond makes mistakes, users need to override formatting decisions. Therefore, the user must have access to the formatting engine. Hence, rules and settings cannot be fixed by us at compile-time but must be accessible for users at run-time.
- Engraving is a matter of visual judgment, and therefore a matter of taste. As knowledgeable as we are, users can disagree with our personal decisions. Therefore, the definitions of typographical style must also be accessible to the user.
- Finally, we continually refine the formatting algorithms, so we need a flexible approach to rules. The C++ language forces a certain method of grouping rules that cannot readily be applied to formatting music notation.

These problems have been addressed by integrating an interpreter for the Scheme programming language and rewriting parts of LilyPond in Scheme. The current formatting architecture is built around the notion of graphical objects, described by Scheme variables and functions. This architecture encompasses formatting rules, typographical style and individual formatting decisions. The user has direct access to most of these controls.

Scheme variables control layout decisions. For example, many graphical objects have a direction variable that encodes the choice between up and down (or left and right). Here you see two chords, with accents and arpeggios. In the first chord, the graphical objects have all directions down (or left). The second chord has all directions up (right).

The process of formatting a score consists of reading and writing the variables of graphical objects. Some variables have a preset value. For example, the thickness of many lines – a characteristic of typographical style – is a variable with a preset value. You are free to alter this value, giving your score a different typographical impression.

Formatting rules are also preset variables: each object has variables containing procedures. These procedures perform the actual formatting, and by substituting different ones, we can change the appearance of objects. In the following example, the rule governing which note head objects are used to produce the note head symbol is changed during the music fragment.

#### Essay on automated music engraving v2.26.0 (stable-branch).

- 1 Music engraving
  - 1.1 The LilyPond story
  - 1.2 Engraving details
    - Music fonts
    - Optical spacing
    - Ledger lines
    - Optical sizing
    - Why work so hard?
  - 1.3 Automated engraving
    - Beauty contests
    - Improvement by benchmarking
    - Getting things right
  - 1.4 Building software
    - Music representation
    - What symbols to engrave?
    - Flexible architecture
  - 1.5 Putting LilyPond to work
  - 1.6 Engraved examples (BWV 861)
- 2 Literature list
  - 2.1 Short literature list
  - 2.2 Long literature list
- Appendix A GNU Free Documentation License
- Appendix B Index