2 % TITLE=The music notation with computer bibliography
3 % AUTHOR=Han-Wen Nienhuys
6 @String{CitH = {Computing and the Humanities}}
7 @String{CMJ = {Computer Music Journal}}
10 note = {Rules on formatting music formulated for use in computers. Mainly distilled from [Ross] HWN},
12 title = {Music Formatting Guidelines},
14 number = {OSU-CISRC-3/88-TR10},
15 institution = {Department of Computer and Information Science, The Ohio State University},
20 @InProceedings{assayaag86,
21 author = {G. Assayaag and D. Timis},
22 title = {A Toolbox for music notation},
23 booktitle = {Proceedings of the 1986 International Computer Music Conference},
30 title = {Music Notation by Computer},
31 author = {Donald Byrd},
32 school = {Indiana University},
34 note = {Describes the SMUT (sic) system for automated music printout.}
42 title = {A System for Music Printing by Computer},
43 author = {Donald Byrd},
44 journal = {Computers and the Humanities},
50 author = {Donald Byrd},
51 title = {Music Notation Software and Intelligence},
52 journal = {Computer Music Journal},
58 note = {Byrd (author of Nightinggale) shows four problematic
59 fragments of notation, and rants about notation programs that try to
60 exhibit intelligent behaviour. HWN}
66 author = {R. F. Ericson},
67 title = {The DARMS Project: A status report},
68 journal = {Computing in the humanities},
73 note = {Gourlay\cite{gourlay86} writes: A discussion of the design
74 and potential uses of the DARMS music-description language.}
78 @Article{field-richards93,
79 author = {H.S. Field-Richards},
80 title = {Cadenza: A Music Description Language},
86 note = {A description through examples of a music entry language.
87 Apparently it has no formal semantics. There is also no
88 implementation of notation convertor. HWN}
94 author = {Herbert Bielawa},
95 title = {Review of Sibelius 7},
99 note = {A raving review/tutorial of Sibelius 7 for Acorn. (And did
100 they seriously program a RISC chip in ... assembler ?!) HWN}
106 author = {Donald Sloan},
107 title = {Aspects of Music Representation in HyTime/SMDL},
113 note = {An introduction into HyTime and its score description variant
114 SMDL. With a short example that is quite lengthy in SMDL}
118 author = {Geraint Wiggins and Eduardo Miranda and Alaaaan Smaill and Mitch Harris},
119 title = {A Framework for the evaluation of music representation systems},
125 note = {A categorisation of music representation systems (languages,
126 OO systems etc) splitted into high level and low level expressiveness.
127 The discussion of Charm and parallel processing for music
128 representation is rather vague. HWN}
134 @Article{dannenberg93,
135 author = {Roger B. Dannenberg},
136 title = {Music Representation: Issues, Techniques, and Systems},
141 url = {http://citeseer.nj.nec.com/52890.html},
142 note = {The title says it all. This article does not make any
143 statements, it points to some problems and solutions with music
144 representation. HWN},
148 @Article{rothstein93,
149 author = {Joseph Rothstein},
150 title = {Review of Passport Designs' Encore Music Notation Software},
154 note = {A no-science-here review of Encore. HWN}
161 author = {Alan Belkin},
162 title = {Macintosh Notation Software: Present and Future},
168 note = {Some music notation systems are analysed for ease of use, MIDI
169 handling. No rocket science here. The article ends with a plea for a
170 standard notation format. HWN},
176 title = {Editing and Printing Music by Computer},
177 author = {Leland Smith},
178 totalentry = {Journal of Music Theory},
181 note = {Gourlay\cite{gourlay86} writes: A discussion of Smith's music-printing system}
185 @InProceedings{montel97,
186 author = {Dominique Montel},
187 title = {La gravure de la musique, lisibilit\'e esth\'etique, respect de l'oevre},
188 booktitle = {Musique \& Notations},
191 editors ={Genevois \& Orlarey}
196 @PhdThesis {gomber75,
198 title = {A Computer-Oriented System for Music Printing},
199 author = {David A. Gomberg},
200 school = {Washington University},
204 title = {A Computer-oriented System for Music Printing},
205 author = {David A. Gomberg},
211 note = {Gourlay \cite{gourlay86} writes: "A discussion of the
212 problems of representing the conventions of musical notation in
213 computer algorithms."}
220 note = {Annual editions since 1985, many containing surveys of music typesetting technology. SP},
221 title = {Directory of Computer Assisted Research in Musicology},
222 author = {Walter B Hewlett and Eleanor Selfridge-Field},
223 totalentry = {Menlo Park, CA: Center for Computer Assisted Research in the Humanities},
227 @Book{selfridge-field97:_beyon_midi,
228 editor = {Eleanor Selfridge-Field},
229 title = {Beyond MIDI},
230 publisher = {MIT Press},
232 note = {Description of various music interchange formats.}
236 @Book{hewlett01:_virtual_score,
237 editor = {Walter B. Hewlett and Eleanor Selfridge-Field},
238 title = {The Virtual Score; representation, retrieval and restoration},
239 publisher = {MIT Press},
240 series = {Computing in Musicology},
246 @InProceedings{hoos98:_guido_music_notat_format,
247 title={The {GUIDO} Music Notation Format---A Novel Approach
248 for Adequately Representing Score-level Music},
249 author = {H. H. Hoos and K. A. Hamel and K. Renz and J. Kilian},
250 booktitle = {Proceedings of International Computer Music Conference},
257 note = {A description of Lime internals (which resemble older (before 0.0.68pre) LilyPond data structures) HWN},
259 title = {The Tilia Music Representation: Extensibility, Abstraction, and Notation Contexts for the Lime Music Editor},
260 author = {Lippold Haken and Dorothea Blostein},
261 journal = {Computer Music Journal},
267 @InProceedings{haken95,
269 title = {A New Algorithm for Horizontal Spacing of Printed Music},
270 author = {Lippold Haken and Dorothea Blostein},
271 booktitle = {International Computer Music Conference},
275 note = {This describes an algorithm which uses springs between adjacent columns. This algorithm is a "subclass" of the LilyPond algorithm. HWN},
278 @Article {blostein91,
279 note = {This paper provides a shallow overview of the algorithm used in LIME for spacing individual lines. HWN},
281 title = {Justification of Printed Music},
282 author = {Dorothea Blostein and Lippold Haken},
283 journal = {Communications of the ACM},
292 author = {Dorothea Blostein and Lippold Haken},
293 title = {The Lime Music Editor: A Diagram Editor Involving Complex
295 journal = {Software Practice and Experience},
301 note = {A description of various conversions,
302 decisions and issues relating to this interactive editor HWN},
305 @InProceedings{bouzaiene98:_une,
306 author = {Nabil Bouzaiene and Lo\"ic Le Gall and Emmanuel Saint-James},
307 title = {Une biblioth\`eque pour la notation musicale baroque},
308 booktitle = {EP '98},
312 note = {Describes ATYS, an extension to Berlioz, that can mimick
313 handwritten baroque style beams}
318 @MastersThesis{gall97:_creat,
319 author = {Lo\"ic Le Gall},
320 title = {Cr\'eation d'une police adapt\'ee \`a la notation musicale baroque},
321 school = {\'Ecole Estienne},
325 @InProceedings{balaban88,
326 author = {M. Balaban},
327 title = {A Music Workstation Based on Multiple Hierarchical Views of Music},
328 booktitle = {Proceedings of the 1988 International Computer Music Conference},
330 address = {San Francisco},
331 organization = {International Computer Music Association}
337 @TechReport {gourlay87-spacing,
338 annote = {Algorithm for generating spacing in one line of (polyphonic) music, tailored for use with MusiCopy. LilyPond uses a variant of it (as of pl 76) HWN},
340 title = {Spacing a Line of Music,},
341 author = {John S. Gourlay},
342 number = {OSU-CISRC-10/87-TR35},
343 institution ={Department of Computer and Information Science, The Ohio State University},
347 @TechReport {parish87,
348 annote = {A brief overview of {MusiCopy} HWN},
350 title = {{MusiCopy}: An automated Music Formatting System},
351 author = {Allen Parish and Wael A. Hegazy and John S. Gourlay and Dean K. Roush and F. Javier Sola},
352 totalentry = {OSU-CISRC-10/87-TR29},
353 institution ={Department of Computer and Information Science, The Ohio State University},
357 @TechReport {gourlay87-formatting,
358 note = {This paper discusses the development of algorithms for the
359 formatting of musical scores (from abstract). It also appeared at
360 PROTEXT III, Ireland 1986},
362 title = {Computer Formatting of Music},
363 author = {John S. Gourlay and A. Parrish
364 and D. Roush and F. Sola and Y. Tien},
365 number = {OSU-CISRC-2/87-TR3},
366 institution ={Department of Computer and Information Science,
367 The Ohio State University},
371 @TechReport {hegazy87,
373 title = {On the Implementation of the {MusiCopy} Language Processor,},
374 author = {Wael A. Hegazy},
375 number = {OSU-CISRC-10/87-TR34},
376 institution={Department of Computer and Information Science, The Ohio State University},
378 note = {Describes the "parser" which converts {MusiCopy} MDL to
379 MusiCopy Simultaneities and columns.
381 MDL is short for Music Description Language\cite{gourlay86}. It
382 accepts music descriptions that are organised into measures filled
383 with voices, those filled notes. The measures can be arranged
384 simultaneously or sequentially. To address the 2-dimensionality,
385 almost all constructs in MDL must be labeled.
387 MDL uses begin/end markers for attribute values and spanners.
388 Rightfully the author concludes that MusiCopy must administrate a
389 "state" variable containing both properties and current spanning symbols.
391 MusiCopy attaches graphic information to the objects constructed in
392 the input: the elements of the input are partially complete graphic
395 Since the design goals of both LilyPond and MusiCopy were roughly the
396 same, both systems have superficial similarities: the details of the
397 input format, the notation of "musical state". However, LilyPond
398 stresses extensibility, modularity and separation between content and
399 presentation much more, and this shows: LilyPond is more flexible. To
400 be fair: development of MusiCopy was abandoned in 1987, so it is not
401 surprising that LilyPond is more mature.
408 @TechReport {hegazy87-breaking-tr,
409 annote = {This generalizes \TeX's breaking algorithm to music. It also appeared in Document Manipulation and Typography, J.C. van Vliet (ed) 1988. HWN},
411 title = {Optimal line breaking in music},
412 author = {Wael A. Hegazy and John S. Gourlay},
413 number = {OSU-CISRC-8/87-TR33},
414 institution={Department of Computer and Information Science, The Ohio State University,},
417 @InProceedings{hegazy88:_optim,
418 author = {Wael A. Hegazy and John S. Gourlay},
420 booktitle = {Proceedings of the International Conference on
421 Electronic Publishing, Document Manipulation and Typography. Nice (France)
425 editor={J. C. van Vliet},
426 publisher = {Cambridge University Press},
427 ISBN={0-521-36294-6},
428 title = {Optimal line breaking in music},
432 @TechReport {roush87,
433 note = {User manual of MusiCopy. Includes an impressive example piece. HWN},
435 title = {Using {MusiCopy}},
436 author = {Dean K. Roush},
437 number = {OSU-CISRC-18/87-TR31},
438 institution={Department of Computer and Information Science, The Ohio State University},
442 @TechReport {parrish87-simultaneities,
443 note = {Placement of balls, stems, dots which occur at the same moment ("Simultaneity") HWN},
445 title = {Computer Formatting of Musical Simultaneities,},
446 author = {A. Parrish and John S. Gourlay},
447 institution={Department of Computer and Information Science, The Ohio State University},
448 number = {OSU-CISRC-10/87-TR28},
453 note = {Overview of a procedure for generating slurs HWN},
455 title = {Computer Design of Musical Slurs, Ties and Phrase Marks,},
457 institution={Department of Computer and Information Science, The Ohio State University},
458 number = {OSU-CISRC-10/87-TR32},
462 @TechReport {sola87-beams,
463 institution={Department of Computer and Information Science, The Ohio State University},
464 note = {Calculating beam slopes HWN},
466 title = {Design of Musical Beams,},
467 author = {F. Sola and D. Roush},
468 number = {OSU-CISRC-10/87-TR30},
473 note = {This paper describes the {MusiCopy} musicsetting system and an input language to go with it. HWN},
475 title = {A language for music printing},
476 author = {John. S. Gourlay},
477 journal = {Communications of the ACM},
486 note = {Describes a system called MusicEase, and explains that it uses "constraints" (which go unexplained) to automatically position various elements. HWN},
488 title = {Creating Printed Music Automatically},
489 author = {Gary M. Rader},
490 journal = {Computer},
501 note = {Don't ask Stephen for a copy. Write to the Bodleian Library, Oxford, or to the British Library, instead. SP},
503 title = {Computer Tools for Music Information Retrieval},
504 author = {Stephen Dowland Page},
505 school ={Dissertation University of Oxford},
508 @MastersThesis{roelofs91,
509 note = {This dutch thesis describes a simplistic (monophonic) typesetting system, and focuses on the breaking algorithm, which is taken from Hegazy & Gourlay HWN},
511 title = {Een Geautomatiseerd Systeem voor het Afdrukken van Muziek},
512 author = {Ren\'e Roelofs},
513 school={Erasmus Universiteit Rotterdam},
515 translation = {``An automated system for printing music'' Master's Thesis Managerial Computer Science.},
519 @Article {filgueiras93,
521 title = {Representation and manipulation of music documents in SceX},
522 author = {Miguel Filgueiras and Jos\'e Paulo Leal},
523 journal= {Electronic Publishing},
525 number={4}, pages = {507--518},
526 url={http://citeseer.nj.nec.com/512957.html},
531 note = {A paper on a TROFF preprocessor to typeset music. The output shown is not very sophisticated, and contains some typographical atrocities HWN},
533 title = {Music --- A language for typesetting music scores},
534 author = {Eric Foxley},
535 journal = {Software --- Practice and Experience},
544 title = {Implementing a Symbolic Music Processing System},
545 author = {Miguel Filgueiras},
546 totalentry = {LIACC, Universidade do Porto, 1996; submitted},
550 title = {Some Music Typesetting Algorithms},
551 author = {Miguel Filgueiras},
552 totalentry = {Miguel Filgueiras. ``Some Music Typesetting Algorithms''. LIACC, Universidade do Porto, forthcoming},
556 @Article {colorado-web,
557 author ={Alyssa Lamb},
558 note = {Webpages about engraving (designed with finale users in mind) (sic) HWN},
559 institution = {The University of Colorado},
560 title ={The University of Colorado Music Engraving page.},
561 HTML={http://www.cc.colorado.edu/Dept/MU/Musicpress/},
568 @Article {Langston90,
569 note = {This paper deals with some command-line
570 tools for music editing and playback. It doesn't mention notation
571 issues, but does come with the grand idea (not) of using music to
572 monitor complex systems. Imagine your nuclear plant supervisor to
573 use AC/DC for checking the reactor HWN},
576 title = {Unix music tools at Bellcore},
577 author = {Peter S. Langston},
578 journal={Software --- Practice and Experience},
584 @Article {tablature-web,
585 note = {FAQ (with answers) about TAB, the ASCII variant of Tablature. HWN},
586 title = {how to read and write tab: a guide to tab notation},
587 author = {Howard Wright},
588 email={Howard.Wright@ed.ac.uk},
589 url={http://www.guitartabs.cc/tabfaq.shtml},
593 note = {Specs for NIFF, a reasonably comprehensive but binary (yuk) format for notation HWN},
596 title = {NIFF6a Notation Interchange File Format},
597 author = {Cindy Grande},
598 publisher={Grande Software Inc.},
599 HTML= {http://www.jtauber.com/music/encoding/niff/},
600 ftp = {ftp://blackbox.cartah.washington.edu}
605 title = {SMDL, Standard Musical Description Language},
606 pdf= {ftp://ftp.ornl.gov/pub/sgml/wg8/smdl/10743.pdf},
607 note={ISO/IEC DIS 10743
609 SGML instance for describing music. Very comprehensive in music
610 definition, but no support for notation / performance whatsoever (They
611 basically say: "You can embed a NIFF or MIDI file") HWN}
616 @TechReport{Ornstein83,
617 author={Ornstein, Severo M. and John Turner Maxwell III},
618 title={Mockingbird: A Composer's Amanuensis},
619 institution={Xerox Palo Alto Research Center},
620 address={3333 Coyote Hill Road, Palo Alto, CA, 94304},
629 author={Ornstein, Severo M. and John Turner Maxwell III},
630 title={Mockingbird: A Composer's Amanuensis},
635 note={A discussion of an interactive and graphical computer system for
640 @PhdThesis{mueller90:_inter_bearb_musik,
641 author = {Giovanni M\"uller},
642 title = {Interaktive Bearbeitung konventioneller Musiknotation},
643 school = {Eidgen\"ossischen Technischen Hochschule Z\"urich},
646 note = {This is about engraver-quality typesetting with computers. It
647 accepts the axiom that notation is too difficult to generate
648 automatically. The result is that a notation program should be a
649 WYSIWYG editor that allows one to tweak everything.
651 The implementation therefore is quite "weak". The introductory
652 chapters on engraving and notation are well structured and clear,
658 % three part study by John Gr/over
659 @TechReport{grover89-symbols,
660 author = {John Gr\/over},
661 title = {A computer-oriented description of Music Notation. Part I. The Symbol Inventory},
662 institution = {Department of informatics, University of Oslo},
666 note = {The goal of this series of reports is a full description of
667 music formatting. As these largely depend on parameters of fonts, it
668 starts with a verbose description of music symbols.
670 The subject is treated backwards: from general rules of typesetting
671 the author tries to extract dimensions for characters, whereas the
672 rules of typesetting (in a particular font) follow from the dimensions
673 of the symbols. His symbols do not match (the stringent) constraints
674 formulated by eg. \cite{wanske}} }
676 @TechReport{grover89-twovoices,
677 author = {John Gr\/over},
678 title = {A computer-oriented description of Music Notation. Part II: Two Voice Sharing a Staff, Leger Line Rules, Dot Positioning},
680 institution = {Department of informatics, University of Oslo},
684 note = {A lot rules for what is in the title are formulated. The
685 descriptions are long and verbose. The verbosity shows that
686 formulating specific rules is not the proper way to approach the
687 problem. Instead, the formulated rules should follow from more
688 general rules, similar to\cite{parrish87-simultaneities}},
691 @TechReport{grover89-accidentals,
692 author = {John Gr\/over},
693 title = {A computer-oriented description of Music Notation. Part III: Accidental Positioning},
694 institution = {Department of informatics, University of Oslo},
698 note = {Placement of accidentals crystallised in an enormous set of
699 rules. Same remarks as for \cite{grover89-twovoices} applies} }
701 @TechReport{droettboom00:_study_notat_descr_languag,
702 author = {Michael Droettboom},
703 title = {Study of music Notation Description Languages},
705 url= {http://gigue.peabody.jhu.edu/~mdboom/format.pdf},
707 annote ={Author compares GUIDO and lilypond. LilyPond wins on practical issues as usability and availability of tools, GUIDO wins on implementation simplicity.
712 @InBook{powell02:_music,
713 author = {Steven Powell},
714 title = {Music engraving today},
715 publisher = {Brichtmark},
719 A "How Steven uses Finale" manual.