tonus 0.1.6 → 0.5.0

package/docs/api/score.md

@@ -0,0 +1,873 @@
+# Score
+
+`tonus.notatio` renders a chant into a score: the analyzed, tuned, and
+rhythm-classified reading of one GABC melody. The score is data: `phrases`,
+`tabula`, `prosody`, `cadences`, `modulations`, and `imprint`. The
+standalone `tonus.inscriptio(score)` draws it to SVG.
+
+- [Score](#score)
+  - [The score — `notatio`](#the-score--notatio)
+  - [Interpretation — `pondus` and `accentus`](#interpretation--pondus-and-accentus)
+  - [The note](#the-note)
+  - [The tabula](#the-tabula)
+  - [Rendering](#rendering)
+    - [inscriptio — the standalone renderer](#inscriptio--the-standalone-renderer)
+    - [theme — faces and ink](#theme--faces-and-ink)
+    - [The analysis tracks](#the-analysis-tracks)
+  - [The imprint](#the-imprint)
+  - [Prosody](#prosody)
+  - [Cadences](#cadences)
+    - [One spine, two annotations](#one-spine-two-annotations)
+    - [`finality` — how often this family closes](#finality--how-often-this-family-closes)
+  - [Modulations](#modulations)
+  - [Theory \& Context](#theory--context)
+    - [The model](#the-model)
+    - [The classification rules](#the-classification-rules)
+    - [Rhythmic types](#rhythmic-types)
+    - [Modeled and not](#modeled-and-not)
+
+## The score — `notatio`
+
+`notatio(chant, opts?)` builds a `Score` from a single `Chant`. Invalid
+input throws; recoverable GABC problems land in `score.errors`, and
+downstream fields degrade rather than throw.
+
+```js
+const [feast] = tonus.festum({ date: new Date("2026-12-25") });
+const [introit] = tonus.proprium({ feast, office: "in" }); // Puer natus est
+const t = tonus.temperamentum({ mode: 7 });
+
+const score = tonus.notatio(introit, { temperamentum: t });
+// 10 phrases, 78 syllables, 159 notes, 0 errors
+```
+
+The structured view is `score.phrases`; the flat view, one row per note,
+is `score.tabula`. Phrases split at every divisio — the bars of chant
+notation, signs of punctuation rather than measure:
+
+| divisio | name                         |
+| ------- | ---------------------------- |
+| `,`     | divisio minima (quarter bar) |
+| `` ` `` | virgula (tick)               |
+| `;`     | divisio minor (half bar)     |
+| `:`     | divisio maior (full bar)     |
+| `::`    | divisio finalis (double bar) |
+
+This hierarchy is read three ways in the engine, each weighting the bars for its
+own end: an analytic cadence weight (prosody), a phrasing strength (which zeroes
+the virgula), and a rest duration (the divisio's pause length). Each weighting
+is documented at its table in the code.
+
+```ts
+interface Score {
+  chant: Chant;
+  phrases: Phrase[];
+  errors: ParseError[];
+  tabula: ChantTabulaRow[];
+  prosody: Prosody;
+  cadences: Cadence[];
+  modulations: Modulation[];
+  imprint: Imprint;
+}
+
+interface Phrase {
+  syllables: Syllable[];
+  divisio?: RestEvent;
+  noteCount: number;        // notes across the phrase
+  syllableCount: number;    // sung syllables in the phrase
+  beats: CompoundBeat[];    // the incise's arsis/thesis sequence
+  rhythmicType: RhythmicType; // Le Guennant/Carroll type, or null
+}
+
+interface Syllable {
+  lyric: string;
+  runs?: LyricRun[];        // styled spans, present only when GABC markup styled this syllable
+  notes: Note[];
+  neume: Neume;
+  melisma: number;          // notes on this syllable (1 = syllabic, >1 melismatic)
+}
+```
+
+GABC's lyric markup is decoded at parse, so `lyric` is always clean display
+text: the `<sp>` shortcuts arrive as real characters (`<sp>V/</sp>` → ℣,
+`<sp>R/</sp>` → ℟, `<sp>+</sp>` → the flex †, `<sp>'ae</sp>` → ǽ, the
+`\greheightstar` verbatim → the raised *), centering braces and layout tags
+(`<clear>`, `<nlba>`) vanish, above-lines text (`<alt>`) is not lyric text,
+and page cross-references (`\pageref`) to the paper books are dropped. Style
+tags — `<i>`, `<b>`, `<sc>`, `<c>` (rubric color), `<e>` (elision) — survive
+as `runs`, styled spans that concatenate to `lyric`; a style opened in one
+syllable and closed several later (the common `<i>ij.</i>` and euouae
+patterns) styles every syllable it crosses. Both notation species draw the
+runs (italic, bold, small caps, rubric color) as SVG `<tspan>`s.
+
+```typescript
+interface LyricRun {
+  text: string;
+  italic?: boolean;
+  bold?: boolean;
+  smallCaps?: boolean;
+  rubric?: boolean;         // rendered in rubricaColor
+}
+
+interface Neume {
+  type: NeumeShape;    // "punctum", "pes", "clivis", "torculus" …
+  intervals: number[]; // semitones between successive notes
+  hasQuilisma: boolean;
+  hasLiquescent: boolean;
+  hasStrophicus: boolean;
+}
+
+interface RestEvent {
+  type: "rest";
+  divisio: string;
+  duration: number;
+}
+
+interface ParseError {
+  message: string;
+  index?: number;
+}
+```
+
+## Interpretation — `pondus` and `accentus`
+
+Interpretation is set at build time.
+
+- `pondus` governs articulation: note weight, duration, ornament response;
+- `accentus` governs phrasing: velocity curves, cadence weight, tenor emphasis.
+
+Each accepts a style name
+or an options object with overrides. `rhythmicShape` and `rhythmicIndex`
+are always populated by the Solesmes classifier, whatever the styles.
+
+```js
+tonus.notatio(chant, {
+  temperamentum: t,
+  pondus: "expressive", // style name…
+  accentus: {
+    style: "solemn",
+    overrides: {
+      /* … */
+    },
+  }, // …or opts
+});
+```
+
+| `pondus`       | articulation                                                           |
+| -------------- | ---------------------------------------------------------------------- |
+| `"restrained"` | minimal ornament response, flatter dynamics, the semiological approach |
+| `"balanced"`   | _default_; even articulation, moderate weight                          |
+| `"expressive"` | heightened ornament response, stronger shaping                         |
+| `"strict"`     | full Solesmes rule fidelity, careful episema and quilisma treatment    |
+
+| `accentus`     | phrasing                                            |
+| -------------- | --------------------------------------------------- |
+| `"recitative"` | flat, declamatory; minimal curve, strong tenor pull |
+| `"lyrical"`    | balanced arch, moderate cadence                     |
+| `"hymnic"`     | measured, steady; suits metrical hymns              |
+| `"solemn"`     | deep curve, strong cadence, elevated velocity       |
+
+When `accentus` is omitted, tabula shaping picks the best style per mode.
+
+A style is a named profile of numbers; `overrides` adjusts individual
+fields on top of the chosen style. The presets in
+`src/engines/score/articulation.ts` and `phrasing.ts` are the reference
+values to start from.
+
+```js
+tonus.notatio(chant, {
+  accentus: { style: "lyrical", overrides: { cadence: 1.0 } }, // heavier cadences
+  pondus: { style: "strict", overrides: { ictusBoost: 0 } }, // …without ictus stress
+});
+```
+
+The `pondus` profile (`ArticulationProfile`):
+
+| field                                                        | governs                                                                                            |
+| ------------------------------------------------------------ | -------------------------------------------------------------------------------------------------- |
+| `weights`                                                    | per-mark weight and duration multipliers: ictus, episema (single and double), strophicus, quilisma |
+| `weightBase`, `weightGain`, `weightSaturation`               | how ornament weight accumulates and where it caps                                                  |
+| `durationBase`, `durationGain`, `durationMin`, `durationMax` | how accumulated weight maps to note duration                                                       |
+| `neumeArch`, `durArch`                                       | arch shaping across a neume, in weight and duration                                                |
+| `ictusBoost`                                                 | extra weight on ictic notes                                                                        |
+| `ruleGain`, `contourScale`                                   | strength of rule-driven and contour-driven shaping                                                 |
+
+The `accentus` profile (`PhrasingProfile`):
+
+| field                       | governs                                            |
+| --------------------------- | -------------------------------------------------- |
+| `curve`                     | depth of the phrase-level velocity arch            |
+| `accent`                    | accent emphasis within the phrase                  |
+| `cadence`                   | weight given to phrase-final cadences              |
+| `tenor`                     | pull toward the reciting tone                      |
+| `baseVelocity`, `velSpread` | the velocity floor and the dynamic range above it  |
+| `contourVel`, `contourDur`  | melodic-contour influence on velocity and duration |
+| `ictusBoost`                | extra velocity on ictic notes                      |
+| `neumeArch`, `durArch`      | arch shaping across a neume                        |
+
+```ts
+interface ScoreOpts {
+  temperamentum?: Temperamentum;
+  pondus?: string | PondusOpts; // a style from the table, or opts
+  accentus?: string | AccentusOpts;
+}
+
+interface PondusOpts {
+  style?: string;
+  overrides?: Partial<ArticulationProfile>; // fields from the table above
+}
+
+interface AccentusOpts {
+  style?: string;
+  overrides?: Partial<PhrasingProfile>; // fields from the table above
+}
+```
+
+## The note
+
+The score's unified `Note` composes four concerns into sub-objects:
+`pitch` is the tuned identity and `step` the Guidonian annotation, both
+from the tuning engine ([tuning.md](tuning.md)); `performance` carries the
+interpretation; `context` the position, lyric, and ornament marks.
+
+```ts
+interface Note {
+  pitch: Pitch; // tuned identity — tuning.md
+  step: Step; // modal/Guidonian annotation — tuning.md
+  performance: Performance;
+  context: Context;
+}
+
+interface Performance {
+  velocity: number; // 0–1 shaping factor
+  duration: number;
+  rhythmicShape: "arsic" | "thetic"; // quality of this note's compound beat
+  rhythmicIndex: number; // 1-based position within the compound beat
+}
+
+interface Context {
+  lyric: string;
+  vowel: string;
+  diphthong: string | null; // the pair the vowel belongs to: "ae" | "oe" | "au" | "ui"
+  syllableIndex: number;
+  accent: boolean; // this note's syllable bears the Latin tonic word-accent
+  neumeGroup: number; // neume figure within the syllable (0-based)
+  ictus: boolean;
+  ictusSign: boolean; // an editorial ictus mark is printed in the source
+  episema: boolean;
+  accidentalSource: "none" | "state" | "explicit";
+  quilisma: boolean;
+  liquescent: boolean;
+  strophicus: boolean;
+  oriscus: boolean;
+  mora: 0 | 1 | 2; // mora vocis: 0 none, 1 dot, 2 double dot
+  staffLetter: string; // the GABC staff letter as written
+  clef: string; // the clef in force at this note ("c3", "f4", …)
+  shape: string; // the notehead shape (punctum, inclinatum, quilisma, …)
+  weight: number; // articulation weight
+}
+```
+
+A compound beat is the group of notes between one ictus and the next;
+every note in the group shares its quality, arsic (rising, active) or
+thetic (resting, retractive). The classification rules are in
+[Theory & Context](#theory--context).
+
+## The tabula
+
+`score.tabula` is the flat iteration surface: one row per note, for
+analysis, visualization, or emission.
+
+`Harmony` exposes the same surface for voiced bodies
+([heavens.md](heavens.md#the-tabula)). The tabula is also the rendering
+surface — the SVG renderer ([below](#rendering)) consumes it directly, which is
+why `hz`, `velocity`, `bend`, and the ornament flags live on each row.
+
+```js
+score.tabula[0];
+// { lyric: "PU", midi: 43, hz: 97.8,
+//   name: "Γ", nomen: "Gammaut",
+//   rhythmicShape: "arsic", rhythmicIndex: 1, ictus: true,
+//   degree: 1, role: "finalis", … }
+```
+
+The first note of _Puer natus est_ sits on Gammaut, the bottom of the
+Guidonian hand.
+
+```ts
+interface ChantTabulaRow {
+  // position
+  phraseIndex: number;
+  syllableIndex: number;
+  noteIndex: number;
+  accent: boolean; // this note's syllable bears the Latin tonic word-accent
+  neumeGroup: number; // which neume figure within the syllable (0-based)
+  neumeIndex: number; // position of this note within that figure
+  wordStart: boolean; // first syllable of its word
+
+  // note fields
+  midi: number;
+  pc: number;
+  octave: number;
+  accidental: -1 | 0 | 1;
+  accidentalSource: "none" | "state" | "explicit";
+  quilisma: boolean;
+  liquescent: boolean;
+  strophicus: boolean;
+  oriscus: boolean;
+  mora: 0 | 1 | 2; // mora vocis: 0 none, 1 dot, 2 double dot
+  hz: number;
+  offset: number;
+  spn: string; // scientific pitch name, "D4"
+  staffLetter: string; // the GABC staff letter as written
+  staffPosition: number; // vertical staff position (line/space index)
+  clef: string; // the clef in force at this note ("c3", "f4", …)
+  shape: string; // the notehead shape (punctum, inclinatum, quilisma, …)
+  bend: number; // 14-bit MIDI pitch bend (8192 = center)
+  velocity: number | null;
+  duration: number;
+  shapedDuration: number;
+  rhythmicShape: "arsic" | "thetic";
+  rhythmicIndex: number;
+  ictus: boolean;
+  ictusSign: boolean; // an editorial ictus mark is printed in the source
+  episema: boolean;
+
+  // step fields
+  degree: number | null;
+  role: "finalis" | "tenor" | "other" | null;
+  name: string | null; // Guidonian short name
+  nomen: string | null; // Guidonian compound name, "Delasolre"
+  hand: { finger: Finger; region: Region } | null;
+  hexachord: "durum" | "naturale" | "molle" | null;
+  solfege: string | null;
+
+  // context
+  lyric: string;
+  runs?: LyricRun[];         // styled lyric spans (see Syllable above)
+  vowel: string;             // the NUCLEUS — one of a e i o u, or "" when textless
+  diphthong: string | null;  // the pair it belongs to: "ae" | "oe" | "au" | "ui"
+  divisio: string | null;
+  cadenceRef: number | null; // index into score.cadences[] when this note closes one
+  neume: Neume;
+}
+```
+
+## Rendering
+
+The score is drawn as **SVG** — a self-contained, square-note chant staff with
+SMuFL glyphs baked as inline paths (no external font). It consumes `score.tabula`,
+so the interpretation applied through `pondus` and `accentus` is already in the
+geometry. Microtuning lives on each tabula row's `bend`, `hz`, and `offset` for
+a Web-Audio player to read directly.
+
+### inscriptio — the standalone renderer
+
+`tonus.inscriptio(score, opts?)` draws a `Score` and returns `{ svg, geometry }`.
+Rendering is a standalone function that _takes_ a score, not a method on one — the
+score analyzes, `inscriptio` inks. It throws on a non-Score or an unknown
+notation species (the builder-function contract).
+
+```js
+const score = tonus.notatio(introit);
+const { svg, geometry } = tonus.inscriptio(score, { width: 680, title: "Puer natus est" });
+```
+
+Two notation species, each with its own spacing pass:
+
+| `notation` | look |
+| --- | --- |
+| `"quadrata"` (default) | square-note chant staff, SMuFL glyphs baked inline |
+| `"moderna"` | modern round-note transcription: treble-8 clef, engraved slurs |
+
+**Layout is deterministic, and lyric widths are computed rather than measured.**
+The same score and options give byte-identical SVG on every machine, with no
+DOM, no canvas, and no font file — `inscriptio` runs anywhere Node does. Note
+glyphs carry exact SMuFL advance widths; lyric text is computed from character
+classes, since measuring it would require the font's own metrics. Line breaks,
+system fill, and the width of the returned canvas all rest on that figure. It is
+close, not exact: a lyric set in a face far from the assumed proportions will
+break slightly early or late.
+
+Two consequences worth planning around. `width` is a **request, not a promise** —
+the canvas returned is `max(width, content)`, so a chant whose content cannot fit
+comes back wider rather than clipped. And a caller who needs typographic
+precision should render at a generous `width` and scale the result, rather than
+relying on the estimate to land a tight column exactly.
+
+Options, by group (all optional):
+
+- **layout** — `width` wraps systems to fit (absent = a single line); `scale`
+  sets how big the chant is drawn: `"small"`, `"normal"` (default), `"large"`,
+  or a staff height in px for fitting a known column. Everything scales from it
+  — notes, lyrics, the air between systems — and it reflows the music, so a
+  larger scale means fewer notes per line. The page margin does not scale: it
+  belongs to the page rather than the notation, and scaling it gave a large
+  chant *less* usable width than a small one.
+- **front matter** — set as the Solesmes books open a piece: `title` centers
+  over the score; `rubric` (or `annotation: "auto"` to derive the genus/mode
+  mark, e.g. _Introitus. 8._) sits upright at the left margin; `dropcap` draws
+  the initial the printed books open with, taking the first letter out of the
+  lyric and indenting the first system to hold it. Both species take the
+  title; the margin mark and the initial are **quadrata's alone** — moderna is
+  a transcription read as an edition, and carries the analysis tracks a
+  reserved cap column would fight. It ignores them rather than refusing.
+- **theme** — the dress: `fonts` and `colors`.
+
+### theme — faces and ink
+
+```js
+tonus.inscriptio(score, {
+  width: 900,
+  theme: {
+    fonts: {
+      dropcap:    { family: "Pfeffer Simpelgotisch", weight: 700 },
+      title:      "Junicode",
+      annotation: "Junicode",
+      lyric:      { family: "Junicode", weight: 400, scale: 1.06 },
+    },
+    colors: { note: "#111", staffLine: "#111", rubrica: "#9E2B25" },
+  },
+});
+```
+
+**`fonts`** carries four roles. A book's dropcap is very often *not* its lyric
+face — a Lombardic or uncial initial against a text hand, which is the pairing
+the printed books use. Each role takes a font-family string or
+`{ family, weight?, scale? }` (`scale` adjusts that role's size, for a face
+whose apparent size differs from the house serif).
+
+The SVG carries font-family *references* by default, and the page hosting it
+supplies the face (`@font-face`). A slot may instead carry
+`embed: { base64, format? }` — the caller's own bytes — and the face then rides
+inside the SVG's `<style>`, making the file self-contained (at the cost of its
+size; one `@font-face` per family + weight, deduped). tonus bundles no font
+files: with `embed` it is a conduit for data the consumer supplies, so the
+consumer carries the face's license terms. Unset roles keep the house serif.
+`moderna` honours the `lyric`, `title`, and `annotation` slots.
+
+**`colors`** reach the SVG as CSS custom properties with the theme's own value
+as the fallback — `fill="var(--tonus-note, #111)"`. A rendered chant therefore
+carries the ink it was drawn with *and* stays themable: a host stylesheet that
+sets the property rethemes the score without re-rendering it.
+
+```css
+/* the page follows its own tokens; the chant follows the page */
+.score svg {
+  --tonus-note: var(--ink);
+  --tonus-staff-line: var(--ink);
+  --tonus-rubrica: var(--rubrica);
+}
+```
+
+The emitter's semantic classes — `note`, `lyric`, `dropcap`, `custos`,
+`episema`, `divisio`, `clef`, `mora`, `ictus` — are stylable from the host page.
+
+**`scale` is not part of the theme**: line breaking consumes it, so a scale
+change re-renders while a colour change does not.
+
+Nothing else about the layout is a caller's decision. The margin, the air
+between systems, the notehead calibration against the staff, and the line-end
+custos are constants. The custos appears whenever a system wraps, as it does in
+a chant book.
+
+**The geometry contract (public API).** `geometry` is one `NoteGeometry` per note,
+in tabula order — the interface analysis _tracks_ build on, so they place marks
+by index and coordinate instead of scraping the SVG. The library's own tracks
+(below) consume exactly these anchors; a custom track downstream does the same:
+
+```ts
+interface NoteGeometry {
+  phraseIndex: number; syllableIndex: number; neumeGroup: number; noteIndex: number;
+  system: number;      // which wrapped system the note landed in
+  x: number; y: number; // notehead anchor, svg user units
+  systemY: number;      // the system's top offset within the svg
+}
+```
+
+### The analysis tracks
+
+`tracks` draws an analysis band beneath every system. Any track rides either
+species, and all may ride one score — the selection is independent of the
+notation, as `notation` itself is. One governing ink system runs through them:
+every mark draws in the score's black, strata graded by opacity alone (the
+liturgical red belongs to the claims — the tonarium's mode line and the
+prosodia's accent dots), and every pressure-bearing line shares one nib law —
+velocity as stroke width.
+
+```js
+tonus.inscriptio(score, { width: 680, tracks: ["prosodia"] });
+tonus.inscriptio(score, { width: 680, tracks: ["chironomia"] });
+tonus.inscriptio(score, { notation: "moderna", width: 680, tracks: ["tonarium"] });
+tonus.inscriptio(score, { width: 680, tracks: ["chironomia", "tonarium"] });      // stacked
+tonus.inscriptio(score, { width: 680, tracks: ["prosodia", "chironomia", "tonarium"] });
+```
+
+The conventional pairing is the chironomia under `quadrata` and the tonarium
+under `moderna`; the prosodia, reading the text rather than the notation,
+rides either as naturally. The renderer enforces none of it.
+
+Requesting several stacks them in a fixed order — the prosodia first, directly
+under the lyric line it reads; the chironomia next; the tonarium below —
+whichever order they are asked for, and the page grows by the sum of the
+bands.
+
+- **`"prosodia"`** — how the melody treats the word, in two lanes. The upper
+  lane draws one **tent per word** — the hairpin pair's top edge, dynamics'
+  own mark for swell and release — its apex over the accented syllable, with
+  the accent's landing at the peak in the liturgical red: a **filled dot**
+  when the accent lands arsic (struck), an **open ring** when it lands thetic
+  (deferred). Accented words rise past the lane's single rule; unaccented
+  words crest on it. The lower lane is a fence on a rail, one mark per
+  syllable by how the melody treats it: a spoken syllable stands as a stem
+  (height, its notes), a syllable **recited on the tenor lies flat** — a
+  short dash floating above the rail — and a **melisma of four notes or more
+  becomes a block** as wide as its real extent and as tall as its count
+  (counts of eight or more print inside). Connected melismas join into one
+  ridge, each block's top sloping toward its neighbours, the line between
+  them crossing the gaps. A divisio drops a hairline through both lanes.
+  Accents are the book's written accents (the GABC accented vowels) — the
+  track derives none.
+- **`"chironomia"`** — the conducting hand as one continuous line:
+  arsic beats crest, thetic beats trough, single-note theses pass through
+  shallow, and the hand picks up between close arses in a small backward loop
+  [biblio: carroll-chironomy]. Pressure is the stroke's _weight_: each note's
+  `velocity` (the `accentus` shaping) becomes nib width over solid ink, so the
+  line presses where the voice does. Pierik letters (A · T · PT) name the
+  beats — the incise's rhythmic shape is read straight off them.
+- **`"tonarium"`** — the melodic-analysis lane, named for the book
+  that catalogued chants by mode. Four rails — the maneriae finals ladder, D on
+  the bottom (categories, not pitches) — carry the **mode line** in the
+  liturgical red: the governing mode of each phrase, its numeral above
+  (authentic-vs-plagal lives in the numeral). A modulation of kind
+  `"inflection"` steps the line solid; a `"transposition"` (the affinal frame
+  read as displacement) draws dashed. Through the rails runs the melody itself,
+  compressed to the chant's ambitus and wearing the same pressure grammar, a
+  lighter stratum — context, not message.
+  A **cadence is the melody's own ending re-inked black**: the same curve at
+  the same width turns pure black across the cadential figure and lands on a
+  terminal node — filled when the family's measured `finality` closes, open
+  when it suspends. Beneath the node, centred on it, sits the family's
+  **in-mode share**: `"3.9%"`, how often this close ends a chant in this
+  chant's mode — the frequency a singer actually meets it at. Where the chant
+  has no mode, or the family has too few occurrences in it to divide honestly,
+  the label falls back to the plain corpus share, which is the same kind of
+  number.
+
+  **Every inked cadence carries a label.** A close that does not join
+  [`CADENTIAE`](index.md#the-appendix) at all reads `"rara"` — not a gap but a
+  measurement: the catalogue holds the 110 families above fifty corpus
+  occurrences, so failing to join means rarer than anything it records. About
+  44% of cadences land there.
+
+  `rara` is a word rather than a number, so it is not read on the percentage
+  scale beside it.
+
+  The lift rides the group as `data-lift` for a caller who wants distinctiveness
+  rather than frequency, beside `data-cadentia` — the family key, which is the
+  join back to [`CADENTIAE`](index.md#the-appendix) and the provenance a margin
+  gloss can print. Crowded labels dodge to a second row.
+
+Everywhere, confidence is opacity, and a claim below confidence 0.45 draws
+nothing — weak claims are not inked. Every mark sits under the notation that
+would falsify it.
+
+## The imprint
+
+Both `Score` and `Harmony` expose `imprint: Imprint`, analytic
+fingerprints computed from different inputs: unweighted pitch-class counts
+from chant phrases, presence-weighted voiced bodies from the sky. The two
+are comparable.
+
+```js
+score.imprint.attractors[0];
+// { pc: 0, weight: 0.39, pitch: { spn: "C4", … } }
+
+score.imprint.modalAffinity.slice(0, 2);
+// [ { mode: 7, alias: "mixolydian",     score: 2.64 },
+//   { mode: 8, alias: "hypomixolydian", score: 2.18 } ]
+```
+
+The ranking reads three signals beyond the pitch-class distribution: the opening
+note (each mode's initials, in Rockstro's ordering), the closing note (a chant
+rests on its final, the treatises' first determinant of mode), and the tessitura
+(how high the melody sits above its final, the classical authentic/plagal
+separator). Together these rank the labelled mode first for a typical chant, its
+plagal/authentic twin usually second. _Puer natus est_ (mode 7) leads with 7,
+then its plagal twin 8.
+
+It remains a measurement, not a confirmation: a transposed or mislabelled chant
+will not rank its nominal mode first, which is itself a useful signal.
+Conformance against the declared mode is read directly:
+
+```js
+const declared = parseInt(score.chant.mode, 10);
+score.imprint.modalAffinity.find((m) => m.mode === declared).score;
+```
+
+```ts
+interface Imprint {
+  pcDistribution: Record<number, number>; // fractions sum to 1
+  attractors: Attractor[]; // top pitch classes, tuned
+  vowelAttractors: VowelAttractor[]; // vowel-weighted resonances, tuned
+  modalAffinity: ModalAffinity[]; // all 8 modes ranked by fit
+}
+
+interface Attractor {
+  pc: number; // pitch class 0–11
+  weight: number; // normalized 0–1
+  pitch: Pitch; // tuned through the score/harmony's temperamentum
+}
+
+interface VowelAttractor {
+  vowel: string; // "a" | "e" | "i" | "o" | "u"
+  weight: number; // fraction of total vowel weight
+  pitch: Pitch; // the vowel's most-associated tuned pitch
+}
+
+interface ModalAffinity {
+  mode: number; // 1–8
+  alias: string; // "dorian" | "hypodorian" | …
+  score: number; // pc-distribution weight against mode's structural tones
+}
+```
+
+## Prosody
+
+`score.prosody` measures the chant's shape — counts, range, melisma,
+melodic motion, contour, tessitura, rhythm, cadence. It is chant-specific;
+`Harmony` has no prosody. For _Puer natus est_: ambitus 10 semitones, melisma
+ratio 2.04 notes per syllable, tessitura ~5 semitones above the final, a near-
+perfect melodic arch, mostly stepwise motion (leap rate ~5%).
+
+```ts
+interface Prosody {
+  noteCount: number;
+  syllableCount: number;
+  phraseCount: number;
+  noteRange: NoteRange | null;
+  ambitus: number | null;
+  melismaRatio: number;         // notes ÷ syllables, whole score
+  melismaByPhrase: number[];    // per-phrase melisma density
+  melismaCadential: number;     // mean notes on each phrase's final syllable
+  tessitura: number | null;     // mean pitch − final, in semitones
+  intervals: IntervalStats;     // melodic motion over adjacent within-phrase notes
+  arcus: Arcus | null;          // the melodic arch
+  ictusRate: number;
+  rhythmicProfile: RhythmicProfile;
+  cadenceWeight: number;
+  cadenceDistribution: CadenceDistribution;
+}
+
+interface IntervalStats {
+  histogram: Record<number, number>; // signed semitone interval → count
+  maxLeap: number;                   // largest absolute interval (semitones)
+  leapRate: number;                  // fraction of motions that are leaps (a 4th+)
+  motus: { step: number; skip: number; leap: number }; // 1–2 st / 3–4 / 5+
+}
+
+interface Arcus {
+  initial: number;   // first note MIDI
+  peak: number;      // highest note MIDI
+  final: number;     // last note MIDI
+  archIndex: number; // signed: +1 rises and returns, 0 flat/monotonic
+}
+
+interface NoteRange {
+  min: number;
+  max: number;
+  span: number;
+}
+
+interface RhythmicProfile {
+  arsic: number; // count of arsic notes across the score
+  thetic: number; // count of thetic notes across the score
+  avgGroupSize: number; // mean notes per compound beat
+  maxGroupSize: number; // largest compound beat observed
+}
+
+interface CadenceDistribution {
+  comma: number; // divisio minima
+  tick: number; // virgula
+  semicolon: number; // divisio minor
+  colon: number; // divisio maior
+  doubleBar: number; // divisio finalis
+}
+```
+
+## Cadences
+
+`score.cadences` names the melodic close of each phrase — where prosody
+only counts the divisio bars, this identifies the figure. One `Cadence` per
+phrase-ending divisio: its resolution `target`, the melodic `approach`, and the
+`divisio` that tells medial from final (the double bar `::` is the final
+cadence). Each note that forms a cadence carries a `cadenceRef` back-index on
+the tabula.
+
+### One spine, two annotations
+
+Two catalogues describe a cadence, and they answer different questions. Read
+this before deciding which field to use:
+
+> Every cadence carries a **`signature`** — always. Some are **catalogued** by
+> the corpus (`finality`, and everything in
+> [`CADENTIAE`](index.md#the-appendix)). Some, on the final, are **named** by
+> received theory (`formula`).
+
+- **`formula`** is _tradita_: the mode's cadence figures as the treatises give
+  them ([tuning.md](tuning.md#cadence-figures)), matched in solmization
+  relative to the final — `"la-sol"`, `"mi-re"`. It fires **only on the
+  finalis**, because the received catalogue holds only final figures.
+- **`signature`** is _inventa_: the tail's interval shape and where it lands,
+  keyed as `"2,0,-2 @0"` and mined from the corpus. It fires on **any** target,
+  so it is the one of the two that speaks about **medial** cadences.
+
+Measured over the cadences `notatio` reports across the shipped corpus — about
+20,500 of them — roughly 43% carry a formula, 56% join the catalogue, 31% carry
+both, and 44% fall outside it. Neither is derivable from the other, because the
+signature is mode-blind and the formula is mode-relative.
+
+### `finality` — how often this family closes
+
+`finality` is the share of **this family's** corpus occurrences that fall at a
+final close. It is a measurement, not a property of this particular cadence,
+and it cannot be read off the signature: of the 50 families that land **on**
+the final, 31 do not close, and finality across the catalogue runs the whole
+range from 0 to 1. So
+`arrival === 0` implies nothing about whether a close is final.
+
+It is `null` when the signature falls below the catalogue's floor — an
+uncatalogued close, not a close that never closes.
+
+```ts
+interface Cadence {
+  phraseIndex: number;
+  divisio: string; // the bar that ends the phrase ("::" = final cadence)
+  target: "finalis" | "tenor" | "other";
+  approach: "descending" | "ascending" | "unison";
+  formula: string | null; // tradita: matched figure id, e.g. "la-sol"; finalis only
+  pcs: number[]; // observed pitch classes, resolution last
+  steps: (number | null)[]; // diatonic steps from the target; [] with no mode
+  confidence: number; // 0–1
+  notes: [number, number, number][]; // [phrase, syllable, note] positions
+  signature: string | null; // inventa: the family key, "shape @arrival"
+  shape: number[]; // the tail's successive semitone intervals
+  arrival: number; // SIGNED semitones from the chant's own closing note
+  finality: number | null; // the family's measured finality; null below the floor
+}
+```
+
+A one-note phrase is a cadence — a landing with no gesture — and keys with an
+empty shape (`" @0"`), which is why `signature` is that key rather than null.
+
+`arrival` is signed and not octave-reduced: `@-5`, a fourth below the final,
+and `@+7`, a fifth above, are distinct families.
+
+## Modulations
+
+`score.modulations` marks where the tonal centre leans away from the home
+mode — the local, temporal counterpart to the imprint's global modal
+affinity. Each phrase is scored against all eight modes (the imprint's
+affinity math); a run of phrases that favours a foreign mode, by a margin,
+becomes one `Modulation` span. The margin is calibrated against Suñol's
+worked examples (_Christus resurgens_ modulates toward mode 3). It is
+distribution-based: it finds where a passage leans, not a functional analysis.
+
+`kind` says what the span is evidence OF, which matters because the three are
+not the same phenomenon. **`inflection`** is a single phrase leaning away and
+back — passing colour, not a shift. **`modulation`** is a sustained internal
+excursion, two phrases or more, that returns. **`transposition`** is the whole
+chant sitting in a foreign mode's frame: it does not close on its labelled
+final and one foreign mode dominates most of its phrases, meaning the melody is
+notated at a transposed position (the affinal) or the label disagrees with the
+notation. A transposed chant is not modulating — the displacement is global —
+so a caller displaying "modulations" should treat those spans as a re-reading of
+the whole chant rather than an event inside it.
+
+```ts
+interface Modulation {
+  startPhrase: number; // first phrase of the span (inclusive)
+  endPhrase: number; // last phrase (inclusive)
+  toMode: number; // the mode the passage leans toward (1–8)
+  confidence: number; // 0–1, the averaged margin over the home mode
+  kind: "inflection" | "modulation" | "transposition";
+}
+```
+
+## Theory & Context
+
+The rhythm model is the Solesmes school's arsis/thesis synthesis, taken
+from Gajard's lectures and Carroll's chironomy manuals. The full
+treatise-level model lives at the classifier in
+[`score/ir.ts`](https://github.com/jeffreypierce/tonus/blob/main/src/engines/score/ir.ts), which also derives Le Guennant's
+incise rhythmic types ([below](#rhythmic-types)).
+
+### The model
+
+Arsis and thesis are properties of the **compound beat**, the group of
+notes between one **ictus** and the next, not of single notes. Every
+note in the group shares its quality, arsic (rising) or thetic (resting).
+The ictus marks the grouping and is not itself an accent, which is why
+tonus stores the quality as `Performance.rhythmicShape` rather than as a
+velocity signal. Phrases, bounded by any divisio, serve as the
+**incise**, the unit within which rhythm is judged.
+
+### The classification rules
+
+The classifier applies Carroll's three melodic rules in priority order
+(_Chironomy_ Ch. 4):
+
+1. **Incise unity.** Ictuses before the melodic apex of the incise are
+   arsic; after it, thetic. The apex is the incise's highest-pitched
+   ictus.
+2. **Relative ictus pitch.** An ictus higher than the one before it tends
+   arsic; lower tends thetic.
+3. **Neume slope.** When the first two are inconclusive, rising notes are
+   arsic, falling thetic.
+
+The first compound beat of an incise is always arsic. When every rule is inconclusive, the
+shape alternates from the previous group. Two conventional overrides
+precede the rules: the **salicus** is always arsic — the tension toward its
+summit is the arsic gesture — and the **doubly-dotted clivis** is always
+thetic, as a cadential figure.
+
+A salicus here is Cardine's: an ascent of at least three notes whose
+**next-to-last note is an oriscus** [biblio: cardine-semiology, ch. 16]. The
+oriscus is what makes one. An ascending group carrying only the editorial
+Solesmes ictus is a **scandicus** that was marked for rhythm — a distinction
+worth stating because conflating the two is, in Bevenot's word, a trap: over
+the sung corpus tonus finds about 260 salici against about 1,900 scandici, so
+only about an eighth of that wider set carries an oriscus at all.
+
+Cardine's correction also decides WHICH note is principal. The printed
+editions lengthen the oriscus itself; the manuscripts show the principal note
+is the one **immediately following** it — the summit — so tonus prolongs that
+note and takes the oriscus lightly. This is the one point where the rhythmic
+layer departs from Mocquereau and Suñol, and it does so deliberately.
+
+### Rhythmic types
+
+Above the per-beat arsis/thesis, each phrase carries a `rhythmicType` — Le
+Guennant's taxonomy (via Carroll) of how the incise's compound beats chain, and
+the `beats` sequence it reads. The observable types are modeled: **IV** (a single
+arsis to a single thesis), **V** (several arses to one thesis), **VI** (one arsis
+to several theses), **VII** (regular A–T alternation), and **VIII** (a
+contraction — two simple rhythms overlapping at a shared ictus, after Suñol).
+Types I–III use sub-beat cells that never surface in isolation and are not
+labeled; an incise that fits no type is `null`. The classification rules live at
+the data — see `classifyRhythmicType` in
+[`score/ir.ts`](https://github.com/jeffreypierce/tonus/blob/main/src/engines/score/ir.ts).
+
+### Modeled and not
+
+tonus models the compound-beat classification, the per-note rhythmic index,
+mode-specific cadence figures ([above](#cadences)), and the incise rhythmic types
+(above). It does not yet model Carroll's textual rules (word-accent → arsic,
+word-final → thetic) or accentual (spondaic vs. dactylic) cadences.
+
+## Sources
+
+Sources for this page are in the central [bibliography](https://github.com/jeffreypierce/tonus/blob/main/BIBLIOGRAPHY.md):
+`carroll-chironomy`, `carroll-applied`, `gajard-rhythm`, `mocquereau-nombre`,
+`cardine-semiology`, `desrocquettes-values`, `sunol-textbook`, `homan-cadence`,
+`pierik-spirit`, `apel-chant`, `liber-usualis`, `bravura-smufl`.