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},
37 title = {A System for Music Printing by Computer},
38 author = {Donald Byrd},
39 journal = {Computers and the Humanities},
45 author = {Donald Byrd},
46 title = {Music Notation Software and Intelligence},
47 journal = {Computer Music Journal},
53 note = {Byrd (author of Nightinggale) shows four problematic
54 fragments of notation, and rants about notation programs that try to
55 exhibit intelligent behaviour. HWN}
61 author = {R. F. Ericson},
62 title = {The DARMS Project: A status report},
63 journal = {Computing in the humanities},
68 note = {Gourlay\cite{gourlay86} writes: A discussion of the design
69 and potential uses of the DARMS music-description language.}
73 @Article{field-richards93,
74 author = {H.S. Field-Richards},
75 title = {Cadenza: A Music Description Language},
81 note = {A description through examples of a music entry language.
82 Apparently it has no formal semantics. There is also no
83 implementation of notation convertor. HWN}
89 author = {Herbert Bielawa},
90 title = {Review of Sibelius 7},
94 note = {A raving review/tutorial of Sibelius 7 for Acorn. (And did
95 they seriously program a RISC chip in ... assembler ?!) HWN}
101 author = {Donald Sloan},
102 title = {Aspects of Music Representation in HyTime/SMDL},
108 note = {An introduction into HyTime and its score description variant
109 SMDL. With a short example that is quite lengthy in SMDL}
113 author = {Geraint Wiggins and Eduardo Miranda and Alaaaan Smaill and Mitch Harris},
114 title = {A Framework for the evaluation of music representation systems},
120 note = {A categorisation of music representation systems (languages,
121 OO systems etc) splitted into high level and low level expressiveness.
122 The discussion of Charm and parallel processing for music
123 representation is rather vague. HWN}
129 @Article{dannenberg93,
130 author = {Roger B. Dannenberg},
131 title = {Music Representation: Issues, Techniques, and Systems},
137 note = {The title says it all. This article does not make any
138 statements, it points to some problems and solutions with music
139 representation. HWN},
143 @Article{rothstein93,
144 author = {Joseph Rothstein},
145 title = {Review of Passport Designs' Encore Music Notation Software},
149 note = {A no-science-here review of Encore. HWN}
156 author = {Alan Belkin},
157 title = {Macintosh Notation Software: Present and Future},
163 note = {Some music notation systems are analysed for ease of use, MIDI
164 handling. No rocket science here. The article ends with a plea for a
165 standard notation format. HWN},
171 title = {Editing and Printing Music by Computer},
172 author = {Leland Smith},
173 totalentry = {Journal of Music Theory},
176 note = {Gourlay\cite{gourlay86} writes: A discussion of Smith's music-printing system}
180 @InProceedings{montel97,
181 author = {Dominique Montel},
182 title = {La gravure de la musique, lisibilit\'e esth\'etique, respect de l'oevre},
183 booktitle = {Musique \& Notations},
186 editors ={Genevois \& Orlarey}
191 @PhdThesis {gomber75,
193 title = {A Computer-Oriented System for Music Printing},
194 author = {David A Gomberg},
195 school = {Washington University},
199 title = {A Computer-oriented System for Music Printing},
200 author = {David A. Gomberg},
206 note = {Gourlay \cite{gourlay86} writes: "A discussion of the
207 problems of representing the conventions of musical notation in
208 computer algorithms."}
215 note = {Annual editions since 1985, many containing surveys of music typesetting technology. SP},
216 title = {Directory of Computer Assisted Research in Musicology},
217 author = {Walter B Hewlett and Eleanor Selfridge-Field},
218 totalentry = {Menlo Park, CA: Center for Computer Assisted Research in the Humanities},
222 @Book{selfridge-field97:_beyon_midi,
223 editor = {Eleanor Selfridge-Field},
224 title = {Beyond MIDI},
225 publisher = {MIT Press},
227 note = {Description of various music interchange formats.}
231 @Book{hewlett01:_virtual_score,
232 editor = {Walter B. Hewlett and Eleanor Selfridge-Field},
233 title = {The Virtual Score; representation, retrieval and restoration},
234 publisher = {MIT Press},
235 series = {Computing in Musicology},
241 @InProceedings{hoos98:_guido_music_notat_format,
242 title={The {GUIDO} Music Notation Format---A Novel Approach
243 for Adequately Representing Score-level Music},
244 author = {H. H. Hoos and K. A. Hamel and K. Renz and J. Kilian},
245 booktitle = {Proceedings of International Computer Music Conference},
252 note = {A description of Lime internals (which resemble older (before 0.0.68pre) LilyPond data structures) HWN},
254 title = {The Tilia Music Representation: Extensibility, Abstraction, and Notation Contexts for the Lime Music Editor},
255 author = {Lippold Haken and Dorothea Blostein},
256 journal = {Computer Music Journal},
262 @InProceedings{haken95,
264 title = {A New Algorithm for Horizontal Spacing of Printed Music},
265 author = {Lippold Haken and Dorothea Blostein},
266 booktitle = {International Computer Music Conference},
270 note = {This describes an algorithm which uses springs between adjacent columns. This algorithm is a "subclass" of the LilyPond algorithm. HWN},
273 @Article {blostein91,
274 note = {This paper provides a shallow overview of the algorithm used in LIME for spacing individual lines. HWN},
276 title = {Justification of Printed Music},
277 author = {Dorothea Blostein and Lippold Haken},
278 journal = {Communications of the ACM},
287 author = {Dorothea Blostein and Lippold Haken},
288 title = {The Lime Music Editor: A Diagram Editor Involving Complex
290 journal = {Software Practice and Experience},
296 note = {A description of various conversions,
297 decisions and issues relating to this interactive editor HWN},
300 @InProceedings{bouzaiene98:_une,
301 author = {Nabil Bouzaiene and Lo\"ic Le Gall and Emmanuel Saint-James},
302 title = {Une biblioth\`eque pour la notation musicale baroque},
303 booktitle = {EP '98},
307 note = {Describes ATYS, an extension to Berlioz, that can mimick
308 handwritten baroque style beams}
313 @MastersThesis{gall97:_creat,
314 author = {Lo\"ic Le Gall},
315 title = {Cr\'eation d'une police adapt\'ee \`a la notation musicale baroque},
316 school = {\'Ecole Estienne},
320 @InProceedings{balaban88,
321 author = {M. Balaban},
322 title = {A Music Workstation Based on Multiple Hierarchical Views of Music},
323 booktitle = {Proceedings of the 1988 International Computer Music Conference},
325 address = {San Francisco},
326 organization = {International Computer Music Association}
332 @TechReport {gourlay87-spacing,
333 note = {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},
335 title = {Spacing a Line of Music,},
336 author = {John S. Gourlay},
337 number = {OSU-CISRC-10/87-TR35},
338 institution ={Department of Computer and Information Science, The Ohio State University},
342 @TechReport {parish87,
343 note = {A brief overview of {MusiCopy} HWN},
345 title = {{MusiCopy}: An automated Music Formatting System},
346 author = {Allen Parish and Wael A. Hegazy and John S. Gourlay and Dean K. Roush and F. Javier Sola},
347 totalentry = {OSU-CISRC-10/87-TR29},
348 institution ={Department of Computer and Information Science, The Ohio State University},
352 @TechReport {gourlay87-formatting,
353 note = {This paper discusses the development of algorithms for the
354 formatting of musical scores (from abstract). It also appeared at
355 PROTEXT III, Ireland 1986},
357 title = {Computer Formatting of Music},
358 author = {John S. Gourlay and A. Parrish
359 and D. Roush and F. Sola and Y. Tien},
360 number = {OSU-CISRC-2/87-TR3},
361 institution ={Department of Computer and Information Science,
362 The Ohio State University},
366 @TechReport {hegazy87,
368 title = {On the Implementation of the {MusiCopy} Language Processor,},
369 author = {Wael A. Hegazy},
370 number = {OSU-CISRC-10/87-TR34},
371 institution={Department of Computer and Information Science, The Ohio State University},
373 note = {Describes the "parser" which converts {MusiCopy} MDL to
374 MusiCopy Simultaneities and columns.
376 MDL is short for Music Description Language\cite{gourlay86}. It
377 accepts music descriptions that are organised into measures filled
378 with voices, those filled notes. The measures can be arranged
379 simultaneously or sequentially. To address the 2-dimensionality,
380 almost all constructs in MDL must be labeled.
382 MDL uses begin/end markers for attribute values and spanners.
383 Rightfully the author concludes that MusiCopy must administrate a
384 "state" variable containing both properties and current spanning symbols.
386 MusiCopy attaches graphic information to the objects constructed in
387 the input: the elements of the input are partially complete graphic
390 Since the design goals of both LilyPond and MusiCopy were roughly the
391 same, both systems have superficial similarities: the details of the
392 input format, the notation of "musical state". However, LilyPond
393 stresses extensibility, modularity and separation between content and
394 presentation much more, and this shows: LilyPond is more flexible. To
395 be fair: development of MusiCopy was abandoned in 1987, so it is not
396 surprising that LilyPond is more mature.
402 @TechReport {hegazy87-breaking,
403 note = {This generalizes \TeX's breaking algorithm to music. It also appeared in Document Manipulation and Typography, J.C. van Vliet (ed) 1988. HWN},
405 title = {Optimal line breaking in music},
406 author = {Wael A. Hegazy and John S. Gourlay},
407 number = {OSU-CISRC-8/87-TR33},
408 institution={Department of Computer and Information Science, The Ohio State University,},
412 @TechReport {roush87,
413 note = {User manual of MusiCopy. Includes an impressive example piece. HWN},
415 title = {Using {MusiCopy}},
416 author = {Dean K. Roush},
417 number = {OSU-CISRC-18/87-TR31},
418 institution={Department of Computer and Information Science, The Ohio State University},
422 @TechReport {parrish87-simultaneities,
423 note = {Placement of balls, stems, dots which occur at the same moment ("Simultaneity") HWN},
425 title = {Computer Formatting of Musical Simultaneities,},
426 author = {A. Parrish and John S. Gourlay},
427 institution={Department of Computer and Information Science, The Ohio State University},
428 number = {OSU-CISRC-10/87-TR28},
433 note = {Overview of a procedure for generating slurs HWN},
435 title = {Computer Design of Musical Slurs, Ties and Phrase Marks,},
437 institution={Department of Computer and Information Science, The Ohio State University},
438 number = {OSU-CISRC-10/87-TR32},
442 @TechReport {sola87-beams,
443 institution={Department of Computer and Information Science, The Ohio State University},
444 note = {Calculating beam slopes HWN},
446 title = {Design of Musical Beams,},
447 author = {F. Sola and D. Roush},
448 number = {OSU-CISRC-10/87-TR30},
453 note = {This paper describes the {MusiCopy} musicsetting system and an input language to go with it. HWN},
455 title = {A language for music printing},
456 author = {John. S. Gourlay},
457 journal = {Communications of the ACM},
466 note = {Describes a system called MusicEase, and explains that it uses "constraints" (which go unexplained) to automatically position various elements. HWN},
468 title = {Creating Printed Music Automatically},
469 author = {Gary M. Rader},
470 journal = {Computer},
481 note = {Don't ask Stephen for a copy. Write to the Bodleian Library, Oxford, or to the British Library, instead. SP},
483 title = {Computer Tools for Music Information Retrieval},
484 author = {Stephen Dowland Page},
485 school ={Dissertation University of Oxford},
488 @MastersThesis{roelofs91,
489 note = {This dutch thesis describes a simplistic (monophonic) typesetting system, and focuses on the breaking algorithm, which is taken from Hegazy & Gourlay HWN},
491 title = {Een Geautomatiseerd Systeem voor het Afdrukken van Muziek},
492 author = {Ren\'e Roelofs},
493 school={Erasmus Universiteit Rotterdam},
495 translation = {``An automated system for printing music'' Master's Thesis Managerial Computer Science.},
499 @Article {filgueiras93,
501 title = {Representation and manipulation of music documents in SceX},
502 author = {Miguel Filgueiras and Jos\'e Paulo Leal},
503 journal= {Electronic Publishing},
505 number={4}, pages = {507--518},
511 note = {A paper on a TROFF preprocessor to typeset music. The output shown is not very sophisticated, and contains some typographical atrocities HWN},
513 title = {Music --- A language for typesetting music scores},
514 author = {Eric Foxley},
515 journal = {Software --- Practice and Experience},
524 title = {Implementing a Symbolic Music Processing System},
525 author = {Miguel Filgueiras},
526 totalentry = {LIACC, Universidade do Porto, 1996; submitted},
530 title = {Some Music Typesetting Algorithms},
531 author = {Miguel Filgueiras},
532 totalentry = {Miguel Filgueiras. ``Some Music Typesetting Algorithms''. LIACC, Universidade do Porto, forthcoming},
536 @Article {colorado-web,
537 author ={Alyssa Lamb},
538 note = {Webpages about engraving (designed with finale users in mind) (sic) HWN},
539 institution = {The University of Colorado},
540 title ={The University of Colorado Music Engraving page.},
541 HTML={http://www.cc.colorado.edu/Dept/MU/Musicpress/},
548 @Article {Langston90,
549 note = {This paper deals with some command-line
550 tools for music editing and playback. It doesn't mention notation
551 issues, but does come with the grand idea (not) of using music to
552 monitor complex systems. Imagine your nuclear plant supervisor to
553 use AC/DC for checking the reactor HWN},
556 title = {Unix music tools at Bellcore},
557 author = {Peter S. Langston},
558 journal={Software --- Practice and Experience},
564 @Article {tablature-web,
565 note = {FAQ (with answers) about TAB, the ASCII variant of Tablature. HWN},
566 title = {how to read and write tab: a guide to tab notation},
567 author = {Howard Wright},
568 email={Howard.Wright@ed.ac.uk},
569 url={http://www.guitartabs.cc/tabfaq.shtml},
573 note = {Specs for NIFF, a reasonably comprehensive but binary (yuk) format for notation HWN},
576 title = {NIFF6a Notation Interchange File Format},
577 author = {Cindy Grande},
578 publisher={Grande Software Inc.},
579 HTML= {http://www.jtauber.com/music/encoding/niff/},
580 ftp = {ftp://blackbox.cartah.washington.edu}
585 title = {SMDL, Standard Musical Description Language},
586 pdf= {ftp://ftp.ornl.gov/pub/sgml/wg8/smdl/10743.pdf},
587 note={ISO/IEC DIS 10743
589 SGML instance for describing music. Very comprehensive in music
590 definition, but no support for notation / performance whatsoever (They
591 basically say: "You can embed a NIFF or MIDI file") HWN}
596 @TechReport{Ornstein83,
597 author={Ornstein, Severo M. and John Turner Maxwell III},
598 title={Mockingbird: A Composer's Amanuensis},
599 institution={Xerox Palo Alto Research Center},
600 address={3333 Coyote Hill Road, Palo Alto, CA, 94304},
609 author={Ornstein, Severo M. and John Turner Maxwell III},
610 title={Mockingbird: A Composer's Amanuensis},
615 note={A discussion of an interactive and graphical computer system for
620 @PhdThesis{mueller90:_inter_bearb_musik,
621 author = {Giovanni M\"uller},
622 title = {Interaktive Bearbeitung konventioneller Musiknotation},
623 school = {Eidgen\"ossischen Technischen Hochschule Z\"urich},
626 note = {This is about engraver-quality typesetting with computers. It
627 accepts the axiom that notation is too difficult to generate
628 automatically. The result is that a notation program should be a
629 WYSIWYG editor that allows one to tweak everything.
631 The implementation therefore is quite "weak". The introductory
632 chapters on engraving and notation are well structured and clear,
638 % three part study by John Gr/over
639 @TechReport{grover89-symbols,
640 author = {John Gr\/over},
641 title = {A computer-oriented description of Music Notation. Part I. The Symbol Inventory},
642 institution = {Department of informatics, University of Oslo},
646 note = {The goal of this series of reports is a full description of
647 music formatting. As these largely depend on parameters of fonts, it
648 starts with a verbose description of music symbols.
650 The subject is treated backwards: from general rules of typesetting
651 the author tries to extract dimensions for characters, whereas the
652 rules of typesetting (in a particular font) follow from the dimensions
653 of the symbols. His symbols do not match (the stringent) constraints
654 formulated by eg. \cite{wanske}} }
656 @TechReport{grover89-twovoices,
657 author = {John Gr\/over},
658 title = {A computer-oriented description of Music Notation. Part II: Two Voice Sharing a Staff, Leger Line Rules, Dot Positioning},
660 institution = {Department of informatics, University of Oslo},
664 note = {A lot rules for what is in the title are formulated. The
665 descriptions are long and verbose. The verbosity shows that
666 formulating specific rules is not the proper way to approach the
667 problem. Instead, the formulated rules should follow from more
668 general rules, similar to\cite{parrish87-simultaneities}},
671 @TechReport{grover89-accidentals,
672 author = {John Gr\/over},
673 title = {A computer-oriented description of Music Notation. Part III: Accidental Positioning},
674 institution = {Department of informatics, University of Oslo},
678 note = {Placement of accidentals crystallised in an enormous set of
679 rules. Same remarks as for \cite{grover89-twovoices} applies} }
681 @TechReport{droettboom00:_study_notat_descr_languag,
682 author = {Michael Droettboom},
683 title = {Study of music Notation Description Languages},
685 url= {http://gigue.peabody.jhu.edu/~mdboom/format.pdf},
686 annote ={Author compares GUIDO and lilypond. LilyPond wins on practical issues as usability and availability of tools, GUIDO wins on implementation simplicity.}