3 Lily Literature -- reading on music engraving/typesetting/etc.
7 A list of resources on music printing/writing and engraving. Please
8 note that don't have access to most material.
10 [Personal comments appear in brackets. What I (HWN) know, I've
11 commented myself. They are just my personal comments, not to be taken
14 =head2 Music engraving: references
16 Helene Wanske. ``Musiknotation --- Von der Syntax des Notenstichs zum
17 EDV-gesteuerten Notensatz'', Schott-Verlag, Mainz 1988.ISBN 3-7957-2886-x.
19 [I. A very thorough overview of engraving practices of various
20 craftsmen. It includes detailed specs of characters, dimensions etc.
21 II. a thorough overview of a anonymous (by now antiquated) automated
22 system. EDV Means e(lektronischen) D(aten)v(erarbeitung), electronic
25 Maxwell Weaner and Walter Boelke, Standard Music Notation Practice,
26 revised edition by Arnold Broido and Daniel Dorff. Music Publisher's
27 Association of the United States Inc., 1993.
29 Ted Ross. ``Teach yourself the art of music engraving and processing''
30 (3rd edition). Hansen House, Miami Beach, FLorida.
32 [This is about engraving, i.e. the real thing with metal plates, but
33 it also contains directions on good typesetting. It includes some good
36 Gardner Read. ``Modern Rhythmic Notation.'' Indiana University Press,
39 [Sound (boring) review of the various hairy rhythmic notations used by
40 avant-garde composers HWN]
42 Gardner Read. ``Music Notation'' (2nd edition). Taplinger Publishing,
45 [This is as close to the ``standard'' reference work for music
46 notation issues as one is likely to get. MB]
48 Karl Hader. ``Aus der Werkstatt eines Notenstechers'' Waldheim--Eberle
51 [Hader was the chief-engraver of the Waldheim-Eberle music publishers.
52 This book contains the most important rules on engraving (according to
55 MPA. Standard music notation specifications for computer programming.
58 [Pamphlet explaining some fine points in music font design HWN]
60 D. Roush. ``Music Formatting Guidelines,'' Technical Report
61 OSU-CISRC-3/88-TR10, Department of Computer and Information Science,
62 The Ohio State University, 1988.
64 [Rules on formatting music formulated for use in computers HWN]
66 =head2 Notation with computers
68 Donald Byrd. ``Music Notation by Computer''. Dissertation Indiana
71 Donald Byrd. ``A System for Music Printing by Computer.'' Computers
72 and the Humanities, 8 (1974), 161-72.
74 Leland Smith. ``Editing and Printing Music by Computer.'' Journal of
75 Music Theory, 17 (1973), 292-309.
77 [If I remember correctly, this was concerned more with an input
78 language than with the typography. SP.]
80 David A Gomberg. ``A Computer-Oriented System for Music Printing.''
81 Dissertation Washington University. 1975.
83 Walter B Hewlett. and Eleanor Selfridge-Field. ``Directory of Computer
84 Assisted Research in Musicology''. Menlo Park, CA: Center for Computer
85 Assisted Research in the Humanities.
87 [Annual editions since 1985, many containing surveys of music
88 typesetting technology. SP]
90 David A. Gomberg; ``A Computer-oriented System for Music Printing.''
91 Computers and the Humanities, Vol.11, pp 63-80.
93 John S. Gourlay. ``Spacing a Line of Music,'' Technical Report
94 OSU-CISRC-10/87-TR35, Department of Computer and Information Science,
95 The Ohio State University, 1987.
97 [Algorithm for generating spacing in one line of (polyphonic) music,
98 tailored for use with MusiCopy. LilyPond uses a variant of it (as of
101 Allen Parish, Wael A. Hegazy, John S. Gourlay, Dean K. Roush and
102 F. Javier Sola. ``MusiCopy: An automated Music Formatting System''.
103 Technical Report OSU-CISRC-10/87-TR29, Department of Computer and
104 Information Science, The Ohio State University, 1987.
106 [A brief overview of MusiCopy HWN]
108 John S. Gourlay, A. Parrish, D. Roush, F. Sola, Y. Tien. ``Computer
109 Formatting of Music,'' Technical Report OSU-CISRC-2/87-TR3, Department
110 of Computer and Information Science, The Ohio State University, 1987.
112 [This paper discusses the development of algorithms for the formatting
113 of musical scores (from abstract). It also appeared at PROTEXT III,
116 Wael A. Hegazy. ``On the Implementation of the MusiCopy Language
117 Processor,'' Technical Report OSU-CISRC-10/87-TR34, Department of
118 Computer and Information Science, The Ohio State University, 1987.
120 [Describes the "parser" which converts MusiCopy MDL to MusiCopy
121 Simultaneities & columns HWN]
123 Wael A. Hegazy and John S. Gourlay. ``Optimal line breaking in
124 music''. Technical Report OSU-CISRC-8/87-TR33, Department of Computer
125 and Information Science, The Ohio State University, 1987
127 [This generalizes TeX's breaking algorithm to music. It also appeared in
128 Document Manipulation and Typography, J.C. van Vliet (ed) 1988. HWN]
130 Dean K. Roush. ``Using MusiCopy''. Technical Report
131 OSU-CISRC-18/87-TR31, Department of Computer and Information Science,
132 The Ohio State University, 1987
134 [User manual of MusiCopy. Includes an impressive example piece. HWN.]
136 A. Parrish and John S. Gourlay. ``Computer Formatting of Musical
137 Simultaneities,'' Technical Report OSU-CISRC-10/87-TR28, Department of
138 Computer and Information Science, The Ohio State University, 1987.
140 [Placement of balls, stems, dots which occur at the same moment
141 ("Simultaneity") HWN]
143 F. Sola. ``Computer Design of Musical Slurs, Ties and Phrase Marks,''
144 Technical Report OSU-CISRC-10/87-TR32, Department of Computer and
145 Information Science, The Ohio State University, 1987.
147 [Overview of a procedure for generating slurs HWN]
149 F. Sola and D. Roush. ``Design of Musical Beams,'' Technical Report
150 OSU-CISRC-10/87-TR30, Department of Computer and Information Science,
151 The Ohio State University, 1987.
153 [Calculating beam slopes HWN]
155 John. S. Gourlay. ``A language for music printing'', Communications
156 of the ACM, Vol. 29(5), 388--401, 1986.
158 [This paper describes the MusiCopy musicsetting system and an input
159 language to go with it. HWN]
161 Dorothea Blostein and Lippold Haken, ``The Lime Music Editor: A Diagram
162 Editor Involving Complex Translations'', Software Practice and
163 Experience, Vol. 24, No. 3, March 1994, pp. 289-306.
165 [A description of various conversions, decisions and issues relating
166 to this interactive editor HWN]
168 Lippold Haken and Dorothea Blostein, ``The Tilia Music Representation:
169 Extensibility, Abstraction, and Notation Contexts for the Lime Music
170 Editor'', Computer Music Journal, Vol. 17, No. 3, 1993, pp. 43-58
172 [A description of Lime internals (which resemble older (before
173 0.0.68pre) LilyPond data structures somewhat) HWN]
175 Lippold Haken and Dorothea Blostein, ``A New Algorithm for Horizontal
176 Spacing of Printed Music'', International Computer Music Conference,
177 Banff, Sept. 1995, pp. 118-119.
179 [This describes an algorithm which uses springs between adjacent
180 columns. This algorithm is a "subclass" of the LilyPond algorithm. HWN]
182 Dorothea Blostein and Lippold Haken, ``Justification of Printed Music'',
183 Communications of the ACM, VolJ34, No. 3, March 1991, pp. 88-99.
185 [This paper provides a shallow overview of the algorithm used in LIME
186 for spacing individual lines. HWN]
188 Gary M. Rader. ``Creating Printed Music Automatically''. Computer Vol
189 29(6), June 1996, pp 61--69.
191 [Describes a system called MusicEase, and explains that it uses
192 "constraints" (which go unexplained) to automatically position various
195 Stephen Dowland Page. ``Computer Tools for Music Information
196 Retrieval''. Dissertation University of Oxford, 1988.
198 [Don't ask Stephen for a copy. Write to the Bodleian Library, Oxford,
199 or to the British Library, instead. SP]
201 Ren\'e Roelofs. ``Een Geautomatiseerd Systeem voor het Afdrukken van
202 Muziek'' afstudeerscriptie Bestuurlijke informatica, no 45327, Erasmus
203 universiteit Rotterdam, 1991. (``An automated system for printing
204 music'' Master's Thesis Managerial Computer Science.)
206 [This dutch thesis describes a simplistic (monophonic) typesetting system,
207 and focuses on the breaking algorithm, which is taken from Hegazy &
210 Miguel Filgueiras and Jos\'e Paulo Leal. ``Representation and
211 manipulation of music documents in SceX''. Electronic Publishing,
212 vol. 6 (4), 507--518, 1993.
214 Eric Foxley, Music --- A language for typesetting music scores.
215 Software --- Practice and Experience, Vol. 17(8), 485--502, 1987.
217 [A paper on a TROFF preprocessor to typeset music. The output shown is
218 not very sophisticated, and contains some typographical atrocities HWN]
220 Miguel Filgueiras, ``Implementing a Symbolic Music Processing
221 System''. LIACC, Universidade do Porto, 1996; submitted.
223 Miguel Filgueiras, ``Some Music Typesetting Algorithms''. LIACC,
224 Universidade do Porto, forthcoming.
226 =head2 Engraving: further reading
228 Herbert Chlapik. ``Die Praxis des Notengraphikers''. Doblinger, 1987.
229 ISBN 3-9000 035-96-2.
231 [An clearly written book for the casually interested reader. It shows
232 some of the conventions and difficulties in printing music HWN]
234 The University of Colorado Music Engraving page.
235 http://obenamots.cc.colorado.edu/Musicpress/engraving.html
237 [Webpages about engraving (designed with finale users in mind) (sic) HWN]
239 Anthony Donato. Preparing Music Manuscript. Englewood Cliffs:
242 Donemus. ``Uitgeven van muziek''. Donemus Amsterdam, 1900
244 George Heussenstamm. The Norton Manual of Music Notation. New York:
247 Erdhard Karkoshka. ``Notation in New Music. Trans. Ruth
248 Koenig''. Praeger Publishers, New York, 1972. Out of print.
250 C. Roemer, The Art of Music Copying. Roerick music co., Sherman Oaks
253 Glen Rosecrans. Music Notation Primer. New York: Passantino, 1979.
255 Kurt Stone. Music Notation in the Twentieth Century. New York: Norton,
262 Peter S. Langston, ``Unix music tools at Bellcore''. Software ---
263 Practice and Experience, Vol. 20(S1), S1/47--S1/61, 1990.
265 [This paper deals with some command-line tools for music editing and
266 playback. It doesn't mention notation issues, but does come with the
267 grand idea (not) of using music to monitor complex systems. Imagine
268 your nuclear plant supervisor to use AC/DC for checking the reactor HWN]
273 Tablature: http://wabakimi.carleton.ca/~phacket2/guitar/tabfaq.html
275 Cindy Grande, NIFF6a Notation Interchange File Format. Grande
276 Software Inc., 1995. ftp://blackbox.cartah.washington.edu/pub/,
277 http://www.jtauber.com/music/encoding/niff/
279 [Specs for NIFF, a comprehensive but binary (yuk) format for notation HWN]
281 SMDL, Standard Musical Description Language,
282 ftp://ftp.ornl.gov/pub/sgml/wg8/smdl/10743.pdf. ISO/IEC DIS 10743.
284 [An ISO defined SGML language. A much more thorough treatment of music
285 definition than Mudela (but not suited for manual entry). It deals
286 with notation and perfomance issues by (basically) saying "You can
287 embed a MIDI or NIFF file" (sic) HWN]
291 HMSL, Hierarchical Music Structured Language,
302 References and comments contributed by Han-Wen Nienhuys (HWN), Miguel
303 Filgueiras, Mark Basinski (MB), Dorothea Blostein, Stephen Page (SP),
304 Jan Nieuwenhuizen, Peter Kerr.
306 This should really be redone in BibTeX