Grzegorz Rolek wrote:
>> >But here, the better we use the private area, that is, the better we fit into the nuances of Unicode model and its current support for music in running text, the greater are chances that the work done here could be compiled eventually into a successful proposal for proper encoding. That would mean platform-scale support of whatever we'll work out, and would make the development of music fonts, and music notation software itself, much more convenient.
That's right. But please keep in mind, that many of us deal with
single-byte encoded fonts on a daily basis. When designing arrangement
of characters in PUA, we have to maintain compatibility with these
fonts. So the proper encoding seems to be a long way ahead.
> I would like to add, that the more we figure out at the encoding level, the more independent we will be from a particular smart font technology. There are currently three of them in active development: Microsoft's OpenType, Apple's Advanced Typography, and Graphite from SIL International. They differ in their internal glyph processing models, but they all follow Unicode at the encoding level.
Anyway, I think that codepoints for vertical position indication in
running text (for chord symbols, figured bass, melodic contour) or for
size-variants (gracenotes, clef changes) can be useful in PUA, even if
they do not conform Unicode model (although I think they do, as the
vertical placement has its semantics and size does, too). Think about
the way the Bach font is used.
David Webber wrote:
> All sorts of things have a vertical relationship long before we get to
> figured bass: what about the note-heads in a simple triad?
I was trying to address the usage in running text. There is a place for
misunderstanding, as SMuFL wants to deal with the both usages of musical
symbols: within scoring applications and within a word processor.
--
Emil Wojtacki
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