musixtex (20mar20)

git-svn-id: svn://tug.org/texlive/trunk@54431 c570f23f-e606-0410-a88d-b1316a301751

13 files changed, 181 insertions, 22 deletions

diff --git a/Master/texmf-dist/doc/generic/musixtex/ChangeLog-130.txt b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-130.txt
new file mode 100644
index 00000000000..69dae51de71
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/musixtex/ChangeLog-130.txt
@@ -0,0 +1,5 @@
+
+Changes from MusiXTeX 129 to 130:
+
+  *  defined \zdoublebar for use within a bar
+  *  defined \hbp and \hbpp 
diff --git a/Master/texmf-dist/doc/generic/musixtex/README b/Master/texmf-dist/doc/generic/musixtex/README
index aebd633e312..3e87b0e509f 100644
--- a/Master/texmf-dist/doc/generic/musixtex/README
+++ b/Master/texmf-dist/doc/generic/musixtex/README
@@ -1,4 +1,4 @@
-This is MusiXTeX, version 1.29 (2018-08-04).
+This is MusiXTeX, version 1.30 (2020-03-20).
 MusiXTeX is a TeX-based system for typesetting music.
 
 The main author was Daniel Taupin, who died in a climbing
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc.pdf b/Master/texmf-dist/doc/generic/musixtex/musixdoc.pdf
index d2b3b793db2..073774546f7 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc.pdf
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc.pdf
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/barlines.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/barlines.tex
index 0303b7a9a44..92cd5624c77 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/barlines.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/barlines.tex
@@ -14,10 +14,10 @@ To typeset a double bar line with two thin rules, use \keyindex{doublebar}. You
 also issue \keyindex{setdoublebar} to cause the next \verb|\bar| (or
 \keyindex{stoppiece}, \keyindex{alaligne}, or \keyindex{alapage}) to be replaced
 by a double bar.
-
 There is no specific command to print a thin-thick double bar line, but
 \keyindex{setdoubleBAR} will cause one in the same cases where
 \verb|\setdoublebar| would cause a thin-thin double bar line.
+To typeset a double-bar line in the middle of a bar, use \keyindex{zdoublebar}.
 
 To make the next bar line invisible, use \keyindex{setemptybar} before
 \verb|\bar|.
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/beams.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/beams.tex
index 354906640ed..2805e0aff61 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/beams.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/beams.tex
@@ -340,6 +340,10 @@ using the \keyindex{hb} macro:
 \Notes\ibbl0j0\hb0j\tbl0\hb0j\en
 \Notes\ibbl0h4\hb0h\tbl0\hb0j\en
 \end{verbatim}\end{quote}\noindent
+There are also dotted and double-dotted versions \keyindex{hbp} and
+\keyindex{hbpp}.
+
+
 A different look could be obtained as follows:
 
 \begin{music}\nostartrule
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/frontmatter.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/frontmatter.tex
index 42d4e645c0f..64be0c29fec 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/frontmatter.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/frontmatter.tex
@@ -1,6 +1,6 @@
 \title{\Huge\bfseries\musixtex\\[\bigskipamount]
 \LARGE\bfseries Using \TeX{} to write polyphonic\\or
-instrumental music\\\Large\itshape Version 1.29}
+instrumental music\\\Large\itshape Version 1.30}
 \author{}
 
 
@@ -68,7 +68,7 @@ Since then, the only significant update to \musixtex\ has been in version 1.15 (
 takes advantage of the greater capacity of the e\TeX\ version of \TeX. 
 This manual
 is the definitive reference to all features of
-\musixtex\ version~1.29.
+\musixtex\ version~1.30.
 
 Novice users need not start here.
 Most 
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/layout.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/layout.tex
index 10d8bbc3cfa..5d2b353b796 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/layout.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/layout.tex
@@ -16,9 +16,10 @@ mid-bar location as an optional line-breaking point, use \keyindex{zbar}.
 The heavy final double bar of a piece is one of the consequences of
 \keyindex{Endpiece} or \keyindex{Stoppiece}. If you just want to terminate
 the text with a simple bar, say \keyindex{stoppiece} or \keyindex{endpiece}.
-If you want to suppress right-justification of the last line of a score,
-use \keyindex{raggedstoppiece}.
 To terminate it with no bar line at all, code \keyindex{zstoppiece}.
+If you want to suppress right-justification of the last line of a score,
+use \keyindex{raggedstoppiece}; the bar line can be suppressed by
+using \keyindex{setemptybar}. 
 
 Once you have stopped the score by any of these means, you may want to restart
 it, and there are several ways to do so. If you don't need to change the key
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/miscellaneous.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/miscellaneous.tex
index 50be2c03442..f212b769d74 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/miscellaneous.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/miscellaneous.tex
@@ -81,9 +81,14 @@ small circle above a note head at pitch $p$.
 \end{itemize}
 These marks are horizontally centered relative to solid note heads. 
 To
-compensate for the fact that whole notes are wider, you should use
-\keyindex{wholeshift}\verb|{|\ital{Any nonspacing macro}\verb|}| to center accents
-and other items (e.g.,~\verb|\Fermataup|) above a whole note.
+compensate for the fact that whole notes are wider, you may use
+\begin{quote}
+\keyindex{wholeshift}\verb|{|\ital{Any nonspacing macro}\verb|}| 
+\end{quote}
+to center accents
+(and other items) above or below a whole note.  For example,
+\keyindex{Fermataup}\pitchp~(described in Section~{\ref{ornaments}}) is
+\emph{defined} as \keyindex{wholeshift}\verb|{|\keyindex{fermataup}\pitchp\verb|}|.
 
 There are also variants of the most common accents\footnote{Thanks to Klaus
 {\sc Bechert}'s corrections.} which will be automatically positioned
@@ -139,6 +144,7 @@ The macro
 \verb|\tuplettxt| serves the same role for the last two macros. 
 The font used is defined by
 \verb|\txtfont| and is, by default, \verb|\eightit| (in normal music size) but may be re-defined. 
+\zkeyindex{txtfont}
 
 The first four commands in the table  
 are normally used with beamed xtuplets. As indicated in the
@@ -273,6 +279,7 @@ it is possible to define \verb|\txt| or
 \end{verbatim}\end{quote}
 
  \section{Ornaments}
+\label{ornaments}
 
 
  \subsection{Simple ornaments}\index{ornaments}
@@ -302,7 +309,7 @@ compensate for the fact that whole notes are wider, you may use
 \keyindex{wholeshift}\verb|{|\mbox{\ital{Any nonspacing macro}}\verb|}| 
 \end{quote}
 to center any of these ornaments
-above a whole note.
+above (or below) a whole note.
 
 
 In the following macros for fermatas, the argument $p$ is the pitch of the
@@ -951,6 +958,55 @@ The coding is
 \zendextract
 \end{verbatim}\end{quote}
 \end{footnotesize}
+
+\clearpage
+
+Here is the same example with \verb|\tabstylespacetrue|:
+\begin{music}
+\input musixps
+\def\psslurhgt{0.5}
+\instrumentnumber{2}
+\songbottom1\songtop2
+\generalmeter{\meterfrac34}
+\generalsignature{-1}
+\setlines16
+\setclefsymbol1\tabclef\setclefsymbol2\treblelowoct
+\tabstylespacetrue
+\setsize1\largevalue
+\setsign10
+\nobarnumbers
+\interinstrument=4\internote
+\parindent=2ex
+\setname1{\tabstringfnt\baselineskip=1.5\internote%
+          \vbox{\hbox to\parindent{\hss E \hss}%
+                \hbox to\parindent{\hss B \hss}%
+                \hbox to\parindent{\hss G \hss}%
+                \hbox to\parindent{\hss D \hss}%
+                \hbox to\parindent{\hss A \hss}%
+                \hbox to\parindent{\hss D \hss}%
+}}
+\startextract
+\NOtesp\zltab55\zltab43\ltab32&\zh{d}\zhl{f}\qu{.h}\en
+\Notes\ltab32&\cu{h}\en
+\bar%
+\NOtes\zltab55\zltab45\zltab33\ltab10&\zq d\zql g\zq i\qu l\en
+\NOtesp\zltab54\zltab45\zltab32\ltab10&\rhl{^c}\rhu{g}\zh{h}\qu{.l}\en
+\Notes\ltab10&\cu{l}\en
+\bar%
+\NOtes\zltab40\zltab32\zltab23\ltab11&\zq d\zq h\zq k\qu{m}\en
+\NOtes\zltab51\zltab43\zltab33\ltab23&\zhl b\zh f\zq{.i}\qu{.k}\en
+\Notes\ltab35&\cu j\en
+\bar%
+\NOtes\zltab65\zltab45\ltab33&\zql N\zq g\qu i\en
+\NOtes\zltab50\zltab43\ltab32&\zql a\zq f\qu h\en
+\notes\zltab54\ltab45\ilsluru05\ltab43\ltab42\tlslur05\ltab43%
+&\zql{^c}\ibbu0g{-1}\qb0{g}\slur eed2\qb0{fe}\tqu0f\en
+\bar%
+\notes\zltab60\zltab50\ltab45\ilsluru05\ltab42\ltab43\tlslur05\ltab40%
+&\zq K\zql a\ibbu0g{-1}\qb0g\slur edd2\qb0e\qb0f\tqu0d\en
+\znotes&\lcn{14}{J.S. Bach}\en
+\zendextract
+\end{music}
 Tablature support in \musixtex\ has been adapted
 from \verb|tabdefs.tex| by R.J.~Gelten, which is available 
 \href{http://icking-music-archive.org/software/musixtex/add-ons/tabdefs.tex}
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.pdf b/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.pdf
deleted file mode 100644
index d2b3b793db2..00000000000
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/musixdoc.pdf
+++ /dev/null
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/parameters.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/parameters.tex
index 6cdd48b62f9..8ecffdad46c 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/parameters.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/parameters.tex
@@ -138,3 +138,83 @@ to their default values: \keyindex{staffbotmarg} (\verb|3\Interligne|),
  number of lines per staff for all instruments ($5$); and will reset all clef
 symbols to standard clef symbols.
 
+ \section{Split and Shortened Systems}
+It is sometimes desirable to typeset a ``shortened'' system or to split
+a system into left and right segments, as in the following (extracted from a 
+Geminiani \emph{concerto grosso}):
+
+\begin{music}
+\smallmusicsize
+\setclef1\bass
+\setclef5\treble\settrebleclefsymbol5\trebleoct
+\generalsignature{-2}
+\instrumentnumber5
+\songbottom{1}\songtop{5}
+\setinterinstrument4{1\internote}
+\nobarnumbers
+\generalmeter{\meterfrac38}
+\hbox to\hsize\bgroup\vbox\bgroup\hsize=1.7in  
+\startpiece\addspace\afterruleskip
+\Notes\qa G\sk&\ibu1i{-1}\qb1i\qb1{.g}&\ca d\qa g&\ca n\itieu3n\qa n&\ca g\ds\en
+\notes\ds\sk&\sk\tbbu1\tqu1g&\sk\sk&\sk\sk\ttie3&\ds\sk\en
+\znotes&&&&\lcn{q}{\bf D.S. al\kern3ex}\coda p\en
+\setdoublebar\endpiece
+\egroup\hfill\vbox\bgroup\hsize=3.7in         
+\generalmeter{\allabreve}
+\startpiece\addspace\afterruleskip
+\znotes&&&&\coda o\en
+\NOtes\qa{.G}&\qa{.k}&\qa{.d}&\qa n&\qa g\en
+\notes\sk\sk\qs\cca N&\sk\sk\qs\cca i&\sk\sk\qs\cca k&\qs\ibbl3p{-2}\qb3{p}\qb3{o}\tql3n&\qp\sk\sk\sk\en
+\NOtes\qa{.M}&\qa{.h}&\qa{.k}&\qa o&\ha k\en
+\Notes\sk&\sk&\sk&\itieu3r\qa r&\sk\en
+\notes\qs\cca M&\qs\cca h&\qs\cca k&\sk\sk&\sk\sk\en
+\bar
+\NOtes\wh L\sk&\qa{g}\qa{g}&\ha{l}\sk&\ttie3\ha r\sk&\ha{g}\sk\en
+\NOTes\sk&\ha j&\ha{n}&\tr s\ha q&\ha{n}\en
+\bar
+\nspace
+\NOtesp\ha{.K}&\ha{.h}&\ha{.k}&\ha{.r}&\ha{.^m}\en
+\setdoublebar\endpiece
+\egroup\egroup                                  
+\end{music}
+
+This was coded as follows:
+\begin{footnotesize}
+\begin{quote}\begin{verbatim}
+\setclef1\bass\setclef5\treble\settrebleclefsymbol5\trebleoct
+\generalsignature{-2}
+\instrumentnumber5\songbottom{1}\songtop{5}
+\nobarnumbers
+\generalmeter{\meterfrac38}
+\hbox to\hsize\bgroup\vbox\bgroup\hsize=1.7in % specify length of left segment
+\startpiece\addspace\afterruleskip
+\Notes\qa G\sk&\ibu1i{-1}\qb1i\qb1{.g}
+  &\ca d\qa g&\ca n\itieu3n\qa n&\ca g\ds\en
+\notes\ds\sk&\sk\tbbu1\tqu1g
+  &\sk\sk&\sk\sk\ttie3&\ds\sk\en
+\znotes&&&&\lcn{q}{\bf D.S. al\kern3ex}\coda p\en
+\setdoublebar\endpiece
+\egroup\hfill\vbox\bgroup\hsize=3.7in         % specify length of right segment
+\generalmeter{\allabreve}
+\startpiece\addspace\afterruleskip
+\znotes&&&&\coda o\en
+\NOtes\qa{.G}&\qa{.k}&\qa{.d}&\qa n&\qa g\en
+\notes\sk\sk\qs\cca N&\sk\sk\qs\cca i
+  &\sk\sk\qs\cca k
+  &\qs\ibbl3p{-2}\qb3{p}\qb3{o}\tql3n
+  &\qp\sk\sk\sk\en
+\NOtes\qa{.M}&\qa{.h}&\qa{.k}&\qa o&\ha k\en
+\Notes\sk&\sk&\sk&\itieu3r\qa r&\sk\en
+\notes\qs\cca M&\qs\cca h&\qs\cca k
+  &\sk\sk&\sk\sk\en
+\bar
+\NOtes\wh L\sk&\qa{g}\qa{g}&\ha{l}\sk
+  &\ttie3\ha r\sk&\ha{g}\sk\en
+\NOTes\sk&\ha j&\ha{n}&\tr s\ha q&\ha{n}\en
+\bar
+\nspace
+\NOtesp\ha{.K}&\ha{.h}&\ha{.k}&\ha{.r}&\ha{.^m}\en
+\setdoublebar\endpiece
+\egroup\egroup                                % close open \bgroups 
+\end{verbatim}\end{quote}
+\end{footnotesize}
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesTypeK.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesTypeK.tex
index b7bfca7d649..c387eb2b685 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesTypeK.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/slurstiesTypeK.tex
@@ -61,7 +61,11 @@ or right by substituting one of the commands \keyindex{ilsluru},
 For shifts farther to the left, use
 \keyindex{iLsluru},
 \keyindex{iLslurd} 
-or \keyindex{tLslur}.
+or \keyindex{tLslur}; 
+for shifts farther to the right, use
+\keyindex{iRsluru},
+\keyindex{iRslurd} 
+or \keyindex{tRslur}.
 
 
 You can control the shape of type~K slurs with variants of
diff --git a/Master/texmf-dist/doc/generic/musixtex/musixdoc/writingnotes.tex b/Master/texmf-dist/doc/generic/musixtex/musixdoc/writingnotes.tex
index 7bd5c83375f..bc8b3cd4d70 100644
--- a/Master/texmf-dist/doc/generic/musixtex/musixdoc/writingnotes.tex
+++ b/Master/texmf-dist/doc/generic/musixtex/musixdoc/writingnotes.tex
@@ -44,7 +44,7 @@ macro from the letter.
  \item[\keyindex{breve}{\tt\char123}$p${\tt\char125} :]breve (\hbox to 8pt{\zbreve1\hss}) .
  \item[\keyindex{longa}{\tt\char123}$p${\tt\char125} :]longa (\hbox to8pt{\zlonga1\hss}) .
  \item[\keyindex{longaa}{\tt\char123}$p${\tt\char125} :]longa with automatic stem direction\footnote{Editor's note: Evidently there is no explicit up-stemmed longa} .
- \item[\keyindex{zmaxima}{\tt\char123}$p${\tt\char125} :]maxima(\hbox to16pt{\zmaxima1\hss}) .
+ \item[\keyindex{maxima}{\tt\char123}$p${\tt\char125} :]maxima (\hbox to16pt{\zmaxima1\hss}) .
  \item[\keyindex{wq}{\tt\char123}$p${\tt\char125} :]arbitrary duration note (\hbox to8pt{\zwq1\hss})
 (also used as alternate representation of a \ital{breve}).
  \item[\keyindex{wqq}{\tt\char123}$p${\tt\char125} :]long arbitrary duration note
@@ -214,7 +214,7 @@ Non spacing variants are also provided, namely
 
 By appending one or two \verb|p|'s (for ``pointed'') to the name, many of the
 macros just introduced provide one or two dots after the notehead:
-\keyindex{whp}\pitchp, \keyindex{whpp},
+\keyindex{whp}, \keyindex{whpp},
 \keyindex{zwp}, \keyindex{zwpp},
 \keyindex{hup}, \keyindex{hupp},
 \keyindex{hlp}, \keyindex{hlpp},
@@ -226,12 +226,14 @@ macros just introduced provide one or two dots after the notehead:
 \keyindex{zqp}, \keyindex{zqpp},
 \keyindex{cup}, \keyindex{cupp},
 \keyindex{clp}, \keyindex{clpp},
-\keyindex{qbp} and \keyindex{qbpp}.
-Naturally, the ones that start with ``\verb|z|'' are used in chords.
+\keyindex{qbp}  and \keyindex{qbpp}, all followed by a pitch argument.
+The ones that start with ``\verb|z|'' are used in chords.
 The dot(s) will be raised if the note is on a line.
 
-A more explicit way uses one of the macros \keyindex{pt}{\tt\char123}$p${\tt\char125},
-\keyindex{ppt}, or \keyindex{pppt} right
+A more explicit way uses one of the macros 
+\keyindex{pt}{\tt\char123}$p${\tt\char125},
+\keyindex{ppt}{\tt\char123}$p${\tt\char125}, or 
+\keyindex{pppt}{\tt\char123}$p${\tt\char125} right
 before any note macro to place one to three dots after the normal note
 head at pitch $p$. Again they will be raised if on a line. In fact this is the only
 way to get a triple-dotted note.
@@ -239,6 +241,10 @@ For example a
 quarter note with one dot could be coded \verb|\pt h\qu h|, with two dots
 as \keyindex{ppt}\verb| h\qu h| and with three as
 \keyindex{pppt}\verb| h\qu h|.
+As a matter of style, if two voices share one staff, the dots in
+the lower voice should be \emph{lowered} if the note is on a line. For
+this you can use \keyindex{lpt}, 
+\keyindex{lppt} and \keyindex{lpppt}. 
 
 Yet another method for posting a dot is to insert a \ital{period} before
 the letter representing the pitch. Thus \verb|\qu{.a}| is equivalent to
@@ -248,14 +254,17 @@ section.
 
 Non-spacing dotted notes can be produced using
 \keyindex{zhup}, \keyindex{zhlp}, \keyindex{zqup}, \keyindex{zqlp},
-\keyindex{zcup}, \keyindex{zclp}, \keyindex{zqbp},
+\keyindex{zcup}, \keyindex{zclp}, \keyindex{zqbp}, followed by a pitch,
+and similarly with two \verb|p|'s for
+double-dotted notes.
+The following provide dotted chord notes shifted left or right:
+\keyindex{lhp},
+\keyindex{rhp},
+\keyindex{lqp},
+\keyindex{rqp},
 and similarly with two \verb|p|'s for
 double-dotted notes.
 
-As a matter of style, if two voices share one staff, the dots in
-the lower voice should be lowered if the note is on a line. For
-this you can use \keyindex{lpt}{\tt\char123}$p${\tt\char125} and
-\keyindex{lppt}{\tt\char123}$p${\tt\char125}.
 
 \section{Sequences of equally spaced notes; collective coding}
 \label{CollectiveCoding}
diff --git a/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.pdf b/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.pdf
index e8caf62c92e..ec49d4a3d6e 100644
--- a/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.pdf
+++ b/Master/texmf-dist/doc/generic/musixtex/scripts/musixtex.pdf