=head1 NAME Lily literature -- reading on music engraving/typesetting/etc. =head1 DESCRIPTION A list of resources on music printing/writing and engraving. Please note that don't have access to most material. [What I do know, I've commented inside brackets. They are just my personal comments, not to be taken too seriously] =head2 References Wanske, Helene. ``Musiknotation --- Von der Syntax des Notenstichs zum EDV-gesteuerten Notensatz'', Schott-Verlag, Mainz 1988. ISBN 3-7957-2886-x. [I. A very thorough overview of engraving practices of various craftsmen. It includes detailed specs of characters, dimensions etc. II. a thorough overview of a (by now antiquated) automated system called Ikarus; EDV Means e(lektronischen) D(aten)v(erarbeitung), electronic data processing] Maxwell Weaner and Walter Boelke, Standard Music Notation Practice, revised edition by Arnold Broido and Daniel Dorff. Music Publisher's Association of the United States Inc., 1993. W.A. Hegazy and J. S. Gourlay. Optimal line breaking in music. In ``Document Manipulation and Typography'', J.C. van Vliet (ed) 1988. [This generalizes TeX's breaking algorithm to music] Ross, Ted. ``Teach yourself the art of music engraving and processing'' (3rd edition). Hansen House, Miami Beach, FL. Hansen House 1820 West Ave. Miami, FL 33139 (305) 532-5461 [This is about I i.e. professional music typesetting, and includes some good spacing tables] Read, Gardner. ``Modern Rhythmic Notation.'' Indiana University Press, 1978. Read, Gardner. ``Music Notation'' (2nd edition). Taplinger Publishing, New York. [This is as close to the ``standard'' reference work for music notation issues as one is likely to get.] =head2 Related papers David A. Gomberg; A Computer-oriented System for Music Printing. Computers and the Humanities, Vol.11, pp 63-80. J. Gourlay, ``Spacing a Line of Music,'' Technical Report OSU-CISRC-10/87-TR35, Department of Computer and Information Science, The Ohio State University, 1987. J. Gourlay, A. Parrish, D. Roush, F. Sola, Y. Tien, ``Computer Formatting of Music,'' Technical Report OSU-CISRC-2/87-TR3, Department of Computer and Information Science, The Ohio State University, 1987. W. Hegazy, ``On the Implementation of the MusiCopy Language Processor,'' Technical Report OSU-CISRC-10/87-TR34, Department of Computer and Information Science, The Ohio State University, 1987. A. Parrish and J. Gourlay, ``Computer Formatting of Musical Simultaneities,'' Technical Report OSU-CISRC-10/87-TR28, Department of Computer and Information Science, The Ohio State University, 1987. D. Roush, ``Music Formatting Guidelines,'' Technical Report OSU-CISRC-3/88-TR10, Department of Computer and Information Science, The Ohio State University, 1988. F. Sola, ``Computer Design of Musical Slurs, Ties and Phrase Marks,'' Technical Report OSU-CISRC-10/87-TR32, Department of Computer and Information Science, The Ohio State University, 1987. F. Sola and D. Roush, ``Design of Musical Beams,'' Technical Report OSU-CISRC-10/87-TR30, Department of Computer and Information Science, The Ohio State University, 1987. J. S. Gourlay. A language for music printing. In ``Communications of the ACM''. Vol. 29(5), 388--401, 1986. [This paper describes a vapourware music setting system and an input language to go with it. ] D. Blostein and L. Haken, The Lime Music Editor: A Diagram Editor Involving Complex Translations, Software Practice and Experience, Vol. 24, No. 3, March 1994, pp. 289-306. [A description of various conversions, decisions and issues relating to this interactive editor] L. Haken and D. Blostein, The Tilia Music Representation: Extensibility, Abstraction, and Notation Contexts for the Lime Music Editor, Computer Music Journal, Vol. 17, No. 3, 1993, pp. 43-58 [A description of Lime internals (which resemble older (before 0.0.68pre) LilyPond data structures somewhat)] L. Haken and D. Blostein, A New Algorithm for Horizontal Spacing of Printed Music, International Computer Music Conference, Banff, Sept. 1995, pp. 118-119. [This describes an algorithm which uses springs between adjacent columns. This algorithm is a "subclass" of the LilyPond algorithm.] D. Blostein and L. Haken, Justification of Printed Music, Communications of the ACM, VolJ34, No. 3, March 1991, pp. 88-99. [This paper provides a shallow overview of the algorithm used in LIME for spacing individual lines.] Gary M. Rader, ``Creating Printed Music Automatically''. Computer Vol 29(6), June 1996, pp 61--69. [Describes a system called MusicEase, and explains that it uses "constraints" (which go unexplained) to automatically position various elements.] =head2 Further reading Chlapik, Herbert. ``Die Praxis des Notengraphikers''. Doblinger, 1987. ISBN 3-9000 035-96-2. [An clearly written book for the casually interested reader. It shows some of the conventions and difficulties in printing music] The University of Colorado Music Engraving page. http://obenamots.cc.colorado.edu/Musicpress/engraving.html More on GNU Music: http://dept-info.labri.u-bordeaux.fr/~strandh/Gsharp Tablature: http://wabakimi.carleton.ca/~phacket2/guitar/tabfaq.html (of varying usefulness): Donato, Anthony. Preparing Music Manuscript. Englewood Cliffs: Prentice-Hall, 1963. Donemus. "Uitgeven van muziek". Donemus Amsterdam, 1900 Heussenstamm, George. The Norton Manual of Music Notation. New York: Norton, 1987. Karkoshka, Erdhard. Notation in New Music. Trans. Ruth Koenig. New York: Praeger Publishers, 1972. Out of print. Roelofs, Ren\'e. ``Een Geautomatiseerd Systeem voor het Afdrukken van Muziek'' afstudeerscriptie Bestuurlijke informatica, no 45327, Erasmus universiteit Rotterdam, 1991. (``An automated system for printing music'' Master's Thesis Managerial Computer Science.) [This thesis describes a simplistic (monophonic) typesetting system, and focuses on the breaking algorithm, which is taken from Hegazy & Gourlay] C. Roemer, The Art of Music Copying. Roerick music co., Sherman Oaks (CA), 1973. Rosecrans, Glen. Music Notation Primer. New York: Passantino, 1979. Stone, Kurt. Music Notation in the Twentieth Century. New York: Norton, 1980. =head2 other stuff Andreas Mahling, J. Herczeg, M. Herczeg and S B\"ocker, Beyond visualization: knowing and understanding. In P.~Gorny, M.~J. Tauber (eds.), Visualization in Human-Computer Interaction, Lecture Notes in Computer Science, 439, 16--26, Springer-Verlag, 1990. Peter S. Langston, Unix music tools at Bellcore. Software --- Practice and Experience, Vol. 20(S1), S1/47--S1/61, 1990. [This paper deals with some command-line tools for music editing and playback. It doesn't mention notation issues, but does come with the grand idea (not) of using music to monitor complex systems. Imagine your nuclear plant supervisor to use AC/DC for checking the reactor] Cindy Grande, NIFF6a Notation Interchange File Format. Grande Software Inc., 1995. ftp://blackbox.cartah.washington.edu/pub/ [Specs for NIFF, a comprehensive but binary (yuk) format for notation] Miguel Filgueiras and Jos\'e Paulo Leal. Representation and manipulation of music documents in SceX. Electronic Publishing, vol. 6 (4), 507--518, 1993. Eric Foxley, Music --- A language for typesetting music scores. Software --- Practice and Experience, Vol. 17(8), 485--502, 1987. [A paper on a TROFF preprocessor to typeset music. The output shown is not very sophisticated, and contains some typographical atrocities] Alexander Brinkman, PASCAL Programming for Music Research. The University of Chicago Press, 1990. Miguel Filgueiras, Implementing a Symbolic Music Processing System. LIACC, Universidade do Porto, 1996; submitted. Miguel Filgueiras, Some Music Typesetting Algorithms. LIACC, Universidade do Porto, forthcoming.