I have been intrigued by the highly technical correspondence on this topic. However I have struggled to understand what is being discussed.
A bit of googling has shed some light http://debussy.music.ubc.ca/muset/guido/section3.html for instance but other sources are even more technical. I was particularly thrown by the term “semantics” this is a slippery customer that seems to mean different things in different contexts.
In the link above it is simply a recipe for how to populate various properties or parameters if not explicitly defined.
If size or style are not specified when using \noteFormat, their current settings remain unaffected. If not modified using \noteFormat, the default settings are size=1.0, style="standard".
The specified parameters are applied to all notes within the range of \noteFormat, or, if no range is specified, until (i) the next \noteFormat tag changing that parameter or (ii) the end of the current voice.
>I have been intrigued by the highly technical correspondence on this
>topic. However I have struggled to understand what is being discussed.
>Other links such as
>http://motools.sourceforge.net/chord_draft_1/chord.html describe in some
>detail the structure of chords beyond the simple C G7 etc descriptions
>including where a strong note outside the ³normal² chord members is
>employed often by a solo instrument.
>All this is way outside by musical knowledge whilst interesting it is
>difficult to understand.
This proposal for a chord ontology is one possible choice for assigning
semantics, although I don't like it at all. As you say, it is very
technical, and doesn't really help with meaning, in my opinion.
>Am I correct in seeing ³semantics² in this way ?
When we talk of "semantics", we talk of the meaning of the notes in the
chord. At its most basic, a chord is a group of notes played
simultaneously. In the context of western music, the notes in the chord
are selected to achieve a particular kind of harmonic progression. We can
look at music theory and see that each chord has a particular reason for
being part of the music in relation to the preceding and succeeding
chords. So for example see