Auto-commit of schema build for music-encoding/music-encoding@f92ebc5

music-encoding · Mar 22, 2024 · 95cc957 · 95cc957
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diff --git a/dev/mei-CMN.rng b/dev/mei-CMN.rng
@@ -5,7 +5,7 @@
           xmlns:xlink="http://www.w3.org/1999/xlink"
           datatypeLibrary="http://www.w3.org/2001/XMLSchema-datatypes"
           ns="http://www.music-encoding.org/ns/mei"><!--
-Schema generated from ODD source 2024-03-06T16:50:09Z. . 
+Schema generated from ODD source 2024-03-22T13:51:19Z. . 
 TEI Edition: Development Version 
 TEI Edition Location: https://www.tei-c.org/Vault/P5// 
 

diff --git a/dev/mei-Mensural.rng b/dev/mei-Mensural.rng
@@ -5,7 +5,7 @@
           xmlns:xlink="http://www.w3.org/1999/xlink"
           datatypeLibrary="http://www.w3.org/2001/XMLSchema-datatypes"
           ns="http://www.music-encoding.org/ns/mei"><!--
-Schema generated from ODD source 2024-03-06T16:50:10Z. . 
+Schema generated from ODD source 2024-03-22T13:51:20Z. . 
 TEI Edition: Development Version 
 TEI Edition Location: https://www.tei-c.org/Vault/P5// 
 

diff --git a/dev/mei-Neumes.rng b/dev/mei-Neumes.rng
@@ -5,7 +5,7 @@
           xmlns:xlink="http://www.w3.org/1999/xlink"
           datatypeLibrary="http://www.w3.org/2001/XMLSchema-datatypes"
           ns="http://www.music-encoding.org/ns/mei"><!--
-Schema generated from ODD source 2024-03-06T16:50:11Z. . 
+Schema generated from ODD source 2024-03-22T13:51:21Z. . 
 TEI Edition: Development Version 
 TEI Edition Location: https://www.tei-c.org/Vault/P5// 
 

diff --git a/dev/mei-all.rng b/dev/mei-all.rng
@@ -5,7 +5,7 @@
           xmlns:xlink="http://www.w3.org/1999/xlink"
           datatypeLibrary="http://www.w3.org/2001/XMLSchema-datatypes"
           ns="http://www.music-encoding.org/ns/mei"><!--
-Schema generated from ODD source 2024-03-06T16:50:04Z. . 
+Schema generated from ODD source 2024-03-22T13:51:14Z. . 
 TEI Edition: Development Version 
 TEI Edition Location: https://www.tei-c.org/Vault/P5// 
 

diff --git a/dev/mei-all_anyStart.rng b/dev/mei-all_anyStart.rng
@@ -5,7 +5,7 @@
           xmlns:xlink="http://www.w3.org/1999/xlink"
           datatypeLibrary="http://www.w3.org/2001/XMLSchema-datatypes"
           ns="http://www.music-encoding.org/ns/mei"><!--
-Schema generated from ODD source 2024-03-06T16:50:06Z. . 
+Schema generated from ODD source 2024-03-22T13:51:17Z. . 
 TEI Edition: Development Version 
 TEI Edition Location: https://www.tei-c.org/Vault/P5// 
 

diff --git a/dev/mei-basic.rng b/dev/mei-basic.rng
@@ -5,7 +5,7 @@
           xmlns:xlink="http://www.w3.org/1999/xlink"
           datatypeLibrary="http://www.w3.org/2001/XMLSchema-datatypes"
           ns="http://www.music-encoding.org/ns/mei"><!--
-Schema generated from ODD source 2024-03-06T16:50:08Z. . 
+Schema generated from ODD source 2024-03-22T13:51:18Z. . 
 TEI Edition: Development Version 
 TEI Edition Location: https://www.tei-c.org/Vault/P5// 
 

diff --git a/dev/mei-source_canonicalized_v5.1-dev.xml b/dev/mei-source_canonicalized_v5.1-dev.xml
@@ -20,7 +20,7 @@
 <?xml-model href=../../../source/"validation/mei_odds.rng" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?>
 <?xml-model href=../../../source/"validation/mei_odds.rng" type="application/xml" schematypens="http://relaxng.org/ns/structure/1.0"?>
 <?xml-model href=../../../source/"validation/mei-source.sch" type="application/xml" schematypens="http://purl.oclc.org/dsdl/schematron"?>
-<!--canonicalized: 2024-03-06T17:50:00.314163995+01:00-->
+<!--canonicalized: 2024-03-22T14:51:10.829535814+01:00-->
 <TEI xmlns="http://www.tei-c.org/ns/1.0" xmlns:rng="http://relaxng.org/ns/structure/1.0" xmlns:sch="http://purl.oclc.org/dsdl/schematron" xmlns:xi="http://www.w3.org/2001/XInclude" version="5.0" rend="book" xml:lang="en">
    <teiHeader>
       <fileDesc>
@@ -5524,7 +5524,7 @@ or
                      <div xml:id="cmnChordsBasic" type="div5">
                         <head>Chords in CMN</head>
                         <p>A chord is any set of pitches consisting of multiple notes that are to be played simultaneously and are usually grouped together visually with a single stem. In MEI the <gi scheme="MEI">chord</gi> element functions as a container for all participating notes. Also it features many attributes that are allowed for notes, <abbr>e.g.</abbr>, usually all notes in a chord have a common duration, so it can be applied to the whole chord within it’s <att>dur</att> attribute.</p>
-                        <p>Some notational features like articulations or lyrics are connected to a whole chord instead of a single note. Therefore elements like <gi scheme="MEI">artic</gi> or <gi scheme="MEI">verse</gi> are also allowed as children of <gi scheme="MEI">chord</gi> elements. In the following example from Sergei Rachmaninoff’s <hi rend="italic">Prelude in C-sharp minor</hi>, Op. 3, No. 2 all chords carry an accent.</p>
+                        <p>Some notational features like articulations or lyrics are connected to a whole chord instead of a single note. Therefore elements like <gi scheme="MEI">artic</gi> or <gi scheme="MEI">verse</gi> are also allowed as children of <gi scheme="MEI">chord</gi> elements. In the following example from <name ref="https://en.wikipedia.org/wiki/Sergei_Rachmaninoff">Sergei Rachmaninoff’s</name> <hi rend="italic">Prelude in C-sharp minor</hi>, Op. 3, No. 2 all chords carry an accent.</p>
                         <p>
                            <figure>
                               <head>Chords in Rachmaninoff’s Prelude in C-sharp minor, Op. 3, No. 2</head>
@@ -5959,7 +5959,7 @@ or
                         <graphic url="../images/ExampleImages/cross-staff.1.png"/>
                      </figure>
                   </p>
-                  <p>Beams that connect events on different staves may be encoded in two different ways. First, a single-layer approach may be taken that treats the events lying under the beam as logically belonging to the same layer as the initial event but visually ‘displaced’ to an adjacent staff. In the example above from <ref target="https://en.wikipedia.org/wiki/Moritz_Moszkowski">Moritz Moszkowski’s</ref>
+                  <p>Beams that connect events on different staves may be encoded in two different ways. First, a single-layer approach may be taken that treats the events lying under the beam as logically belonging to the same layer as the initial event but visually ‘displaced’ to an adjacent staff. In the example above from <name ref="https://en.wikipedia.org/wiki/Moritz_Moszkowski">Moritz Moszkowski’s</name>
                      <hi rend="italic">12 Pianoforte Studies for the left hand</hi>, Op. 92, MoszWV 117 this method makes even from a semantic perspective perfect sense. It can be achieved with an additional <att>staff</att> attribute value that contradicts the ‘normal’ staff placement indicated by the <att>n</att> attribute of their ancestor <gi scheme="MEI">staff</gi>.</p>
                   <p>
                      <figure>
@@ -6007,7 +6007,7 @@ or
                      </figure>
                   </p>
                   <p>Downstream processing needs are the determining factor in the choice between the two alternative encoding methods.</p>
-                  <p>Due to the potential problem of overlapping hierarchies, the <gi scheme="MEI">beam</gi> element only allows the encoding of beams that do not cross bar lines. When beams cross bar lines, the use of the <gi scheme="MEI">beamSpan</gi> element is required. Unlike <gi scheme="MEI">beam</gi>, the <gi scheme="MEI">beamSpan</gi> element does not contain the beamed notes as its children. Instead, it references the <att>xml:id</att> values of all affected notes in its <att>plist</att> attribute and denotes the initial and terminal notes of the beam using <att>startid</att> and <att>endid</att> attributes. This configuration allows beams to cross measure boundaries. The following example from <ref target="https://en.wikipedia.org/wiki/Erwin_Schulhoff">Erwin Schulhoff’s</ref>
+                  <p>Due to the potential problem of overlapping hierarchies, the <gi scheme="MEI">beam</gi> element only allows the encoding of beams that do not cross bar lines. When beams cross bar lines, the use of the <gi scheme="MEI">beamSpan</gi> element is required. Unlike <gi scheme="MEI">beam</gi>, the <gi scheme="MEI">beamSpan</gi> element does not contain the beamed notes as its children. Instead, it references the <att>xml:id</att> values of all affected notes in its <att>plist</att> attribute and denotes the initial and terminal notes of the beam using <att>startid</att> and <att>endid</att> attributes. This configuration allows beams to cross measure boundaries. The following example from <name ref="https://en.wikipedia.org/wiki/Erwin_Schulhoff">Erwin Schulhoff’s</name>
                      <hi rend="italic">Violin Sonata</hi> demonstrates a typical example of such hierarchy-crossing beams:</p>
                   <p>
                      <figure>
@@ -6411,7 +6411,7 @@ or
 </egXML>
                      </figure>
                   </p>
-                  <p>The following example from <ref target="https://en.wikipedia.org/wiki/B%C3%A9la_Bart%C3%B3k">Béla Bartók’s</ref>
+                  <p>The following example from <name ref="https://en.wikipedia.org/wiki/B%C3%A9la_Bart%C3%B3k">Béla Bartók’s</name>
                      <hi rend="italic">Mikrokosmos</hi>, Sz.107 shows a <hi rend="italic">diminuendo</hi> between two staves that begins on the first beat (in the current measure) and ends on the first one in the penultimate measure. The duration is highlighted with a dashed line, which can be indicated with the <att>extender</att> attribute.</p>
                   <p>
                      <figure>
@@ -6537,7 +6537,7 @@ or
 </egXML>
                         </figure>
                      </p>
-                     <p>The usual direction for the performance of an arpeggio is from lowest note to highest, but this is not always the case. The customary signal of an downward arpeggio is an arrowhead added to the bottom of the wavy line. The indication of the presence of an arrowhead and the direction of the arpeggio are handled separately, however. The <att>arrow</att> attribute indicates the presence of an arrowhead in the arpeggiation sign, while the <att>order</att> attribute records the preferred sequence of notes. <ref target="https://en.wikipedia.org/wiki/B%C3%A9la_Bart%C3%B3k">Béla Bartók</ref> uses a wavy line behind the chord to indicate a downward arpeggio. In such cases, the <att>ho</att> attribute can be used to indicate the offset from the usual position.</p>
+                     <p>The usual direction for the performance of an arpeggio is from lowest note to highest, but this is not always the case. The customary signal of an downward arpeggio is an arrowhead added to the bottom of the wavy line. The indication of the presence of an arrowhead and the direction of the arpeggio are handled separately, however. The <att>arrow</att> attribute indicates the presence of an arrowhead in the arpeggiation sign, while the <att>order</att> attribute records the preferred sequence of notes. <name ref="https://en.wikipedia.org/wiki/B%C3%A9la_Bart%C3%B3k">Béla Bartók</name> uses a wavy line behind the chord to indicate a downward arpeggio. In such cases, the <att>ho</att> attribute can be used to indicate the offset from the usual position.</p>
                      <p>The following examples illustrate various ways in which the arrow and order attributes may be employed. The default visual rendition and performance are assumed in the absence of both attributes, while the typical downward arpeggio is indicated by the presence of both attributes. The last two possibilities occur less frequently, but are sometimes appropriate: The presence of the arrow attribute without the order attribute may be used in those cases where the arrowhead is redundant but is added to the symbol for the sake of consistency or when the direction of successive arpeggios changes frequently. The last possibility, an order attribute without an arrow attribute, is ambiguous; however, it can be used as an encoding shortcut since a downward arpeggio must have a visual indication of its direction to distinguish it from the upward arpeggio; therefore, the presence of the arrowhead can be implied.</p>
                      <p>
                         <figure>
@@ -6617,8 +6617,8 @@ or
 </egXML>
                         </figure>
                      </p>
-                     <p>The <att>unitdur</att> attribute value indicates the exact note values in an aural rendition of a measured tremolo, <abbr>i.e.</abbr>, quarters, 8ths, and so on. The <att>stem.mod</att> attribute must also be explicity set on the child <gi scheme="MEI">note</gi> or <gi scheme="MEI">chord</gi> element for a complete visual representation. The example above shows a short excerpt from the second movement of <ref target="https://en.wikipedia.org/wiki/Franz_Schubert">Franz Schubert’s</ref>
-                        <ref target="https://en.wikipedia.org/wiki/String_Quartet_No._15_(Schubert">String Quartet in G major, D. 887</ref>).</p>
+                     <p>The <att>unitdur</att> attribute value indicates the exact note values in an aural rendition of a measured tremolo, <abbr>i.e.</abbr>, quarters, 8ths, and so on. The <att>stem.mod</att> attribute must also be explicity set on the child <gi scheme="MEI">note</gi> or <gi scheme="MEI">chord</gi> element for a complete visual representation. The example above shows a short excerpt from the second movement of <name ref="https://en.wikipedia.org/wiki/Franz_Schubert">Franz Schubert’s</name>
+                        <ref target="https://en.wikipedia.org/wiki/String_Quartet_No._15_(Schubert)">String Quartet in G major, D. 887</ref>.</p>
                      <p>However, the number of slashes present on the note may disagree with the number of slashes that should be present according to the <att>unitdur</att> attribute, especially in music manuscripts.</p>
                      <p>
                         <figure>
@@ -6934,7 +6934,7 @@ or
                   </div>
                   <div xml:id="cmnHarp" type="div4">
                      <head>Harp Pedals</head>
-                     <p>Modern harps have seven pedals which allow adjustment of their strings to different pitches. The settings for these pedals occur at the beginning of the harp notation and/or whenever it is necessary to change the harp’s tuning. These settings may be rendered using letter pitches (in the order of the pedals from left to right) or in a diagrammatic fashion, such as the form invented by <ref target="https://en.wikipedia.org/wiki/Carlos_Salzedo">Carlos Salzedo</ref>.</p>
+                     <p>Modern harps have seven pedals which allow adjustment of their strings to different pitches. The settings for these pedals occur at the beginning of the harp notation and/or whenever it is necessary to change the harp’s tuning. These settings may be rendered using letter pitches (in the order of the pedals from left to right) or in a diagrammatic fashion, such as the form invented by <name ref="https://en.wikipedia.org/wiki/Carlos_Salzedo">Carlos Salzedo</name>.</p>
                      <p>In MEI, harp pedal settings are encoded using the <gi scheme="MEI">harpPedal</gi> element. It is a member of the <ident type="class">model.controlEventLike.cmn</ident> class and is therefore placed within <gi scheme="MEI">measure</gi>, following all <gi scheme="MEI">staff</gi> children. The <att>staff</att> and <att>layer</att> attributes may be used to assign it to a certain <gi scheme="MEI">staff</gi> or <gi scheme="MEI">layer</gi>. Either a <att>tstamp</att> or <att>startid</att> attribute must be used to indicate the placement within the measure (see <ptr target="#cmnTstamp"/> and <ptr target="#linkingdata"/> for further details about those linking mechanisms).</p>
                      <p>The musical intention of the element is described using the <att>c</att>, <att>d</att>, <att>e</att>, <att>f</att>, <att>g</att>, <att>a</att> and <att>b</att> attributes, which affect the corresponding strings of the harp. All of these attributes may take the values <val>f</val> (flat), <val>s</val> (sharp) or <val>n</val> (natural), where a natural is the default value, which is assumed when one of these attributes is not specified.</p>
                      <p>
@@ -6992,7 +6992,7 @@ or
                   <div xml:id="cmnFing" type="div4">
                      <head>Fingering</head>
                      <p>A common feature for keyboard music is fingering, indicating the finger, which should be used to play a single note. Basic fingering can be encoded in MEI using the <gi scheme="MEI">fing</gi> element, which is a member of the <ident type="class">model.fingeringLike</ident> class, and thus part of the <ident type="class">model.controlEventLike</ident> class.</p>
-                     <p>The following example, taken from <ref target="https://en.wikipedia.org/wiki/Charles-Louis_Hanon">Charles-Louis Hanon’s</ref>
+                     <p>The following example, taken from <name ref="https://en.wikipedia.org/wiki/Charles-Louis_Hanon">Charles-Louis Hanon’s</name>
                         <hi rend="italic">Le Pianiste virtuose</hi>, shows typical fingering:</p>
                      <p>
                         <figure>
@@ -7843,7 +7843,7 @@ or
                <div xml:id="cmnOrnamentsMultiple" type="div3">
                   <head>Ornaments in Combinations</head>
                   <p>Particularly in baroque keyboard music, but also in the early classical period, various combinations of ornaments can be found. Despite being written vertically above the same note, they are to be performed in sequence.</p>
-                  <p>The following example from <ref target="https://en.wikipedia.org/wiki/Carl_Philipp_Emanuel_Bach">Carl Philipp Emanuel Bach’s</ref> song <hi rend="italic">Dorinde</hi> Wq 199/7 shows a turn followed by a inverted mordent:</p>
+                  <p>The following example from <name ref="https://en.wikipedia.org/wiki/Carl_Philipp_Emanuel_Bach">Carl Philipp Emanuel Bach’s</name> song <hi rend="italic">Dorinde</hi> Wq 199/7 shows a turn followed by a inverted mordent:</p>
                   <p>
                      <figure>
                         <head>Combined ornaments in C.P.E. Bach’s song Dorinde</head>
@@ -10514,7 +10514,7 @@ or
                <head>Vocally Performed Text Encoded Within Notes</head>
                <p>Each lyric syllable can be encoded directly within an associated note, either by using the <att>syl</att> attribute on <gi scheme="MEI">note</gi> or the <gi scheme="MEI">verse</gi> element.</p>
                <p>Using the <att>syl</att> attribute on notes is the simplest way of encoding vocally performed text and is recommended only for simple situations or for those encodings which do not focus on vocally performed text.</p>
-               <p>The following example from Handel’s <hi rend="italic">Messiah</hi> (HWV 56) shows the use of <att>syl</att>:</p>
+               <p>The following example from <name ref="https://en.wikipedia.org/wiki/George_Frideric_Handel">Handel’s</name> <hi rend="italic">Messiah</hi> (HWV 56) shows the use of <att>syl</att>:</p>
                <p>
                   <figure>
                      <head>Handel, Messiah HWV 56, Hallelujah</head>
@@ -10544,7 +10544,7 @@ or
                      <specDesc key="verse"/>
                   </specList>
                </p>
-               <p>The following example from Handel’s <hi rend="italic">Messiah</hi> (HWV 56) shows the use of <gi scheme="MEI">verse</gi>:</p>
+               <p>The following example from <name ref="https://en.wikipedia.org/wiki/George_Frideric_Handel">Handel’s</name> <hi rend="italic">Messiah</hi> (HWV 56) shows the use of <gi scheme="MEI">verse</gi>:</p>
                <p>
                   <figure>
                      <head/>