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},
225 note = {A description of Lime internals (which resemble older (before 0.0.68pre) LilyPond data structures) HWN},
227 title = {The Tilia Music Representation: Extensibility, Abstraction, and Notation Contexts for the Lime Music Editor},
228 author = {Lippold Haken and Dorothea Blostein},
229 journal = {Computer Music Journal},
235 @InProceedings{haken95,
237 title = {A New Algorithm for Horizontal Spacing of Printed Music},
238 author = {Lippold Haken and Dorothea Blostein},
239 booktitle = {International Computer Music Conference},
243 note = {This describes an algorithm which uses springs between adjacent columns. This algorithm is a "subclass" of the LilyPond algorithm. HWN},
246 @Article {blostein91,
247 note = {This paper provides a shallow overview of the algorithm used in LIME for spacing individual lines. HWN},
249 title = {Justification of Printed Music},
250 author = {Dorothea Blostein and Lippold Haken},
251 journal = {Communications of the ACM},
260 author = {Dorothea Blostein and Lippold Haken},
261 title = {The Lime Music Editor: A Diagram Editor Involving Complex
263 journal = {Software Practice and Experience},
269 note = {A description of various conversions,
270 decisions and issues relating to this interactive editor HWN},
273 @InProceedings{bouzaiene98:_une,
274 author = {Nabil Bouzaiene and Lo\"ic Le Gall and Emmanuel Saint-James},
275 title = {Une biblioth\`eque pour la notation musicale baroque},
276 booktitle = {EP '98},
280 note = {Describes ATYS, an extension to Berlioz, that can mimick
281 handwritten baroque style beams}
286 @MastersThesis{gall97:_creat,
287 author = {Lo\"ic Le Gall},
288 title = {Cr\'eation d'une police adapt\'ee \`a la notation musicale baroque},
289 school = {\'Ecole Estienne},
293 @InProceedings{balaban88,
294 author = {M. Balaban},
295 title = {A Music Workstation Based on Multiple Hierarchical Views of Music},
296 booktitle = {Proceedings of the 1988 International Computer Music Conference},
298 address = {San Francisco},
299 organization = {International Computer Music Association}
305 @TechReport {gourlay87-spacing,
306 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},
308 title = {Spacing a Line of Music,},
309 author = {John S. Gourlay},
310 number = {OSU-CISRC-10/87-TR35},
311 institution ={Department of Computer and Information Science, The Ohio State University},
315 @TechReport {parish87,
316 note = {A brief overview of {MusiCopy} HWN},
318 title = {{MusiCopy}: An automated Music Formatting System},
319 author = {Allen Parish and Wael A. Hegazy and John S. Gourlay and Dean K. Roush and F. Javier Sola},
320 totalentry = {OSU-CISRC-10/87-TR29},
321 institution ={Department of Computer and Information Science, The Ohio State University},
325 @TechReport {gourlay87-formatting,
326 note = {This paper discusses the development of algorithms for the
327 formatting of musical scores (from abstract). It also appeared at
328 PROTEXT III, Ireland 1986},
330 title = {Computer Formatting of Music},
331 author = {John S. Gourlay and A. Parrish
332 and D. Roush and F. Sola and Y. Tien},
333 number = {OSU-CISRC-2/87-TR3},
334 institution ={Department of Computer and Information Science,
335 The Ohio State University},
339 @TechReport {hegazy87,
341 title = {On the Implementation of the {MusiCopy} Language Processor,},
342 author = {Wael A. Hegazy},
343 number = {OSU-CISRC-10/87-TR34},
344 institution={Department of Computer and Information Science, The Ohio State University},
346 note = {Describes the "parser" which converts {MusiCopy} MDL to
347 MusiCopy Simultaneities and columns.
349 MDL is short for Music Description Language\cite{gourlay86}. It
350 accepts music descriptions that are organised into measures filled
351 with voices, those filled notes. The measures can be arranged
352 simultaneously or sequentially. To address the 2-dimensionality,
353 almost all constructs in MDL must be labeled.
355 MDL uses begin/end markers for attribute values and spanners.
356 Rightfully the author concludes that MusiCopy must administrate a
357 "state" variable containing both properties and current spanning symbols.
359 MusiCopy attaches graphic information to the objects constructed in
360 the input: the elements of the input are partially complete graphic
363 Since the design goals of both LilyPond and MusiCopy were roughly the
364 same, both systems have superficial similarities: the details of the
365 input format, the notation of "musical state". However, LilyPond
366 stresses extensibility, modularity and separation between content and
367 presentation much more, and this shows: LilyPond is more flexible. To
368 be fair: development of MusiCopy was abandoned in 1987, so it is not
369 surprising that LilyPond is more mature.
375 @TechReport {hegazy87-breaking,
376 note = {This generalizes \TeX's breaking algorithm to music. It also appeared in Document Manipulation and Typography, J.C. van Vliet (ed) 1988. HWN},
378 title = {Optimal line breaking in music},
379 author = {Wael A. Hegazy and John S. Gourlay},
380 number = {OSU-CISRC-8/87-TR33},
381 institution={Department of Computer and Information Science, The Ohio State University,},
385 @TechReport {roush87,
386 note = {User manual of MusiCopy. Includes an impressive example piece. HWN},
388 title = {Using {MusiCopy}},
389 author = {Dean K. Roush},
390 number = {OSU-CISRC-18/87-TR31},
391 institution={Department of Computer and Information Science, The Ohio State University},
395 @TechReport {parrish87-simultaneities,
396 note = {Placement of balls, stems, dots which occur at the same moment ("Simultaneity") HWN},
398 title = {Computer Formatting of Musical Simultaneities,},
399 author = {A. Parrish and John S. Gourlay},
400 institution={Department of Computer and Information Science, The Ohio State University},
401 number = {OSU-CISRC-10/87-TR28},
406 note = {Overview of a procedure for generating slurs HWN},
408 title = {Computer Design of Musical Slurs, Ties and Phrase Marks,},
410 institution={Department of Computer and Information Science, The Ohio State University},
411 number = {OSU-CISRC-10/87-TR32},
415 @TechReport {sola87-beams,
416 institution={Department of Computer and Information Science, The Ohio State University},
417 note = {Calculating beam slopes HWN},
419 title = {Design of Musical Beams,},
420 author = {F. Sola and D. Roush},
421 number = {OSU-CISRC-10/87-TR30},
426 note = {This paper describes the {MusiCopy} musicsetting system and an input language to go with it. HWN},
428 title = {A language for music printing},
429 author = {John. S. Gourlay},
430 journal = {Communications of the ACM},
439 note = {Describes a system called MusicEase, and explains that it uses "constraints" (which go unexplained) to automatically position various elements. HWN},
441 title = {Creating Printed Music Automatically},
442 author = {Gary M. Rader},
443 journal = {Computer},
454 note = {Don't ask Stephen for a copy. Write to the Bodleian Library, Oxford, or to the British Library, instead. SP},
456 title = {Computer Tools for Music Information Retrieval},
457 author = {Stephen Dowland Page},
458 school ={Dissertation University of Oxford},
461 @MastersThesis{roelofs91,
462 note = {This dutch thesis describes a simplistic (monophonic) typesetting system, and focuses on the breaking algorithm, which is taken from Hegazy & Gourlay HWN},
464 title = {Een Geautomatiseerd Systeem voor het Afdrukken van Muziek},
465 author = {Ren\'e Roelofs},
466 school={Erasmus Universiteit Rotterdam},
468 translation = {``An automated system for printing music'' Master's Thesis Managerial Computer Science.},
472 @Article {filgueiras93,
474 title = {Representation and manipulation of music documents in SceX},
475 author = {Miguel Filgueiras and Jos\'e Paulo Leal},
476 journal= {Electronic Publishing},
478 number={4}, pages = {507--518},
484 note = {A paper on a TROFF preprocessor to typeset music. The output shown is not very sophisticated, and contains some typographical atrocities HWN},
486 title = {Music --- A language for typesetting music scores},
487 author = {Eric Foxley},
488 journal = {Software --- Practice and Experience},
497 title = {Implementing a Symbolic Music Processing System},
498 author = {Miguel Filgueiras},
499 totalentry = {LIACC, Universidade do Porto, 1996; submitted},
503 title = {Some Music Typesetting Algorithms},
504 author = {Miguel Filgueiras},
505 totalentry = {Miguel Filgueiras. ``Some Music Typesetting Algorithms''. LIACC, Universidade do Porto, forthcoming},
509 @Article {colorado-web,
510 author ={Alyssa Lamb},
511 note = {Webpages about engraving (designed with finale users in mind) (sic) HWN},
512 institution = {The University of Colorado},
513 title ={The University of Colorado Music Engraving page.},
514 HTML={http://www.cc.colorado.edu/Dept/MU/Musicpress/},
521 @Article {Langston90,
522 note = {This paper deals with some command-line
523 tools for music editing and playback. It doesn't mention notation
524 issues, but does come with the grand idea (not) of using music to
525 monitor complex systems. Imagine your nuclear plant supervisor to
526 use AC/DC for checking the reactor HWN},
529 title = {Unix music tools at Bellcore},
530 author = {Peter S. Langston},
531 journal={Software --- Practice and Experience},
537 @Article {tablature-web,
538 note = {FAQ (with answers) about TAB, the ASCII variant of Tablature. HWN},
539 title = {how to read and write tab: a guide to tab notation},
540 author = {Howard Wright},
541 email={Howard.Wright@ed.ac.uk},
542 url={http://www.guitartabs.cc/tabfaq.shtml},
546 note = {Specs for NIFF, a reasonably comprehensive but binary (yuk) format for notation HWN},
549 title = {NIFF6a Notation Interchange File Format},
550 author = {Cindy Grande},
551 publisher={Grande Software Inc.},
552 HTML= {http://www.jtauber.com/music/encoding/niff/},
553 ftp = {ftp://blackbox.cartah.washington.edu}
558 title = {SMDL, Standard Musical Description Language},
559 pdf= {ftp://ftp.ornl.gov/pub/sgml/wg8/smdl/10743.pdf},
560 note={ISO/IEC DIS 10743
562 SGML instance for describing music. Very comprehensive in music
563 definition, but no support for notation / performance whatsoever (They
564 basically say: "You can embed a NIFF or MIDI file") HWN}
569 @TechReport{Ornstein83,
570 author={Ornstein, Severo M. and John Turner Maxwell III},
571 title={Mockingbird: A Composer's Amanuensis},
572 institution={Xerox Palo Alto Research Center},
573 address={3333 Coyote Hill Road, Palo Alto, CA, 94304},
582 author={Ornstein, Severo M. and John Turner Maxwell III},
583 title={Mockingbird: A Composer's Amanuensis},
588 note={A discussion of an interactive and graphical computer system for
593 @PhdThesis{mueller90:_inter_bearb_musik,
594 author = {Giovanni M\"uller},
595 title = {Interaktive Bearbeitung konventioneller Musiknotation},
596 school = {Eidgen\"ossischen Technischen Hochschule Z\"urich},
599 note = {This is about engraver-quality typesetting with computers. It
600 accepts the axiom that notation is too difficult to generate
601 automatically. The result is that a notation program should be a
602 WYSIWYG editor that allows one to tweak everything.
604 The implementation therefore is quite "weak". The introductory
605 chapters on engraving and notation are well structured and clear,
611 % three part study by John Gr/over
612 @TechReport{grover89-symbols,
613 author = {John Gr\/over},
614 title = {A computer-oriented description of Music Notation. Part I. The Symbol Inventory},
615 institution = {Department of informatics, University of Oslo},
619 note = {The goal of this series of reports is a full description of
620 music formatting. As these largely depend on parameters of fonts, it
621 starts with a verbose description of music symbols.
623 The subject is treated backwards: from general rules of typesetting
624 the author tries to extract dimensions for characters, whereas the
625 rules of typesetting (in a particular font) follow from the dimensions
626 of the symbols. His symbols do not match (the stringent) constraints
627 formulated by eg. \cite{wanske}} }
629 @TechReport{grover89-twovoices,
630 author = {John Gr\/over},
631 title = {A computer-oriented description of Music Notation. Part II: Two Voice Sharing a Staff, Leger Line Rules, Dot Positioning},
633 institution = {Department of informatics, University of Oslo},
637 note = {A lot rules for what is in the title are formulated. The
638 descriptions are long and verbose. The verbosity shows that
639 formulating specific rules is not the proper way to approach the
640 problem. Instead, the formulated rules should follow from more
641 general rules, similar to\cite{parrish87-simultaneities}},
644 @TechReport{grover89-accidentals,
645 author = {John Gr\/over},
646 title = {A computer-oriented description of Music Notation. Part III: Accidental Positioning},
647 institution = {Department of informatics, University of Oslo},
651 note = {Placement of accidentals crystallised in an enormous set of
652 rules. Same remarks as for \cite{grover89-twovoices} applies} }
654 @TechReport{droettboom00:_study_notat_descr_languag,
655 author = {Michael Droettboom},
656 title = {Study of music Notation Description Languages},
658 url= {http://gigue.peabody.jhu.edu/~mdboom/format.pdf},
659 annote ={Author compares GUIDO and lilypond. LilyPond wins on practical issues as usability and availability of tools, GUIDO wins on implementation simplicity.}