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 (by now antiquated) automated system
22 called Ikarus; EDV Means e(lektronischen) D(aten)v(erarbeitung),
23 electronic data processing HWN]
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 I<engraving> i.e. professional music typesetting, and
33 includes some good spacing tables MB]
35 Gardner Read. ``Modern Rhythmic Notation.'' Indiana University Press,
38 Gardner Read. ``Music Notation'' (2nd edition). Taplinger Publishing,
41 [This is as close to the ``standard'' reference work for music
42 notation issues as one is likely to get. MB]
44 K. Hader. ``Aus der Werkstatt eines Notenstechers'' Waldheim--Eberle
47 MPA. Standard music notation specifications for computer programming.
50 [Pamphlet explaining some fine points in music font design HWN]
52 =head2 Notation with computers
54 Donald Byrd. ``Music Notation by Computer''. Dissertation Indiana
57 Donald Byrd. ``A System for Music Printing by Computer.'' Computers
58 and the Humanities, 8 (1974), 161-72.
60 Leland Smith. ``Editing and Printing Music by Computer.'' Journal of
61 Music Theory, 17 (1973), 292-309.
63 [If I remember correctly, this was concerned more with an input
64 language than with the typography. SP.]
66 David A Gomberg. ``A Computer-Oriented System for Music Printing.''
67 Dissertation Washington University. 1975.
69 Walter B Hewlett. and Eleanor Selfridge-Field. ``Directory of Computer
70 Assisted Research in Musicology''. Menlo Park, CA: Center for Computer
71 Assisted Research in the Humanities.
73 [Annual editions since 1985, many containing surveys of music
74 typesetting technology. SP]
76 Wael A. Hegazy and John S. Gourlay. ``Optimal line breaking in music''. In
77 Document Manipulation and Typography, J.C. van Vliet (ed) 1988.
79 [This generalizes TeX's breaking algorithm to music HWN]
81 David A. Gomberg; ``A Computer-oriented System for Music Printing.''
82 Computers and the Humanities, Vol.11, pp 63-80.
84 John S. Gourlay. ``Spacing a Line of Music,'' Technical Report
85 OSU-CISRC-10/87-TR35, Department of Computer and Information Science,
86 The Ohio State University, 1987.
88 [Algorithm for generating spacing in one line of (polyphonic) music,
89 tailored for use with MusiCopy. LilyPond uses a variant of it (as of
92 Allen Parish, Wael A. Hegazy, John S. Gourlay, Dean K. Roush and
93 F. Javier Sola. ``MusiCopy: An automated Music Formatting System''.
94 Technical Report OSU-CISRC-10/87-TR29, Department of Computer and
95 Information Science, The Ohio State University, 1987.
97 [A brief overview of MusiCopy HWN]
99 John S. Gourlay, A. Parrish, D. Roush, F. Sola, Y. Tien. ``Computer
100 Formatting of Music,'' Technical Report OSU-CISRC-2/87-TR3, Department
101 of Computer and Information Science, The Ohio State University, 1987.
103 [This paper discusses the development of algorithms for the formatting
104 of musical scores (from abstract). It also appeared at PROTEXT III,
107 Wael A. Hegazy. ``On the Implementation of the MusiCopy Language
108 Processor,'' Technical Report OSU-CISRC-10/87-TR34, Department of
109 Computer and Information Science, The Ohio State University, 1987.
111 [Describes the "parser" which converts MusiCopy MDL to MusiCopy
112 Simultaneities & columns HWN]
114 Dean K. Roush. ``Using MusiCopy''. Technical Report
115 OSU-CISRC-18/87-TR31, Department of Computer and Information Science,
116 The Ohio State University, 1987
118 [User manual of MusiCopy. Includes an impressive example piece. HWN.]
120 A. Parrish and John S. Gourlay. ``Computer Formatting of Musical
121 Simultaneities,'' Technical Report OSU-CISRC-10/87-TR28, Department of
122 Computer and Information Science, The Ohio State University, 1987.
124 [Placement of balls, stems, dots which occur at the same moment
125 ("Simultaneity") HWN]
127 D. Roush. ``Music Formatting Guidelines,'' Technical Report
128 OSU-CISRC-3/88-TR10, Department of Computer and Information Science,
129 The Ohio State University, 1988.
131 [Rules on formatting music formulated for use in computers HWN]
133 F. Sola. ``Computer Design of Musical Slurs, Ties and Phrase Marks,''
134 Technical Report OSU-CISRC-10/87-TR32, Department of Computer and
135 Information Science, The Ohio State University, 1987.
137 [Overview of a procedure for generating slurs HWN]
139 F. Sola and D. Roush. ``Design of Musical Beams,'' Technical Report
140 OSU-CISRC-10/87-TR30, Department of Computer and Information Science,
141 The Ohio State University, 1987.
143 [Calculating beam slopes HWN]
145 John. S. Gourlay. ``A language for music printing'', Communications
146 of the ACM, Vol. 29(5), 388--401, 1986.
148 [This paper describes the MusiCopy musicsetting system and an input
149 language to go with it. HWN]
151 Dorothea Blostein and Lippold Haken, ``The Lime Music Editor: A Diagram
152 Editor Involving Complex Translations'', Software Practice and
153 Experience, Vol. 24, No. 3, March 1994, pp. 289-306.
155 [A description of various conversions, decisions and issues relating
156 to this interactive editor HWN]
158 Lippold Haken and Dorothea Blostein, ``The Tilia Music Representation:
159 Extensibility, Abstraction, and Notation Contexts for the Lime Music
160 Editor'', Computer Music Journal, Vol. 17, No. 3, 1993, pp. 43-58
162 [A description of Lime internals (which resemble older (before
163 0.0.68pre) LilyPond data structures somewhat) HWN]
165 Lippold Haken and Dorothea Blostein, ``A New Algorithm for Horizontal
166 Spacing of Printed Music'', International Computer Music Conference,
167 Banff, Sept. 1995, pp. 118-119.
169 [This describes an algorithm which uses springs between adjacent
170 columns. This algorithm is a "subclass" of the LilyPond algorithm. HWN]
172 Dorothea Blostein and Lippold Haken, ``Justification of Printed Music'',
173 Communications of the ACM, VolJ34, No. 3, March 1991, pp. 88-99.
175 [This paper provides a shallow overview of the algorithm used in LIME
176 for spacing individual lines. HWN]
178 Gary M. Rader. ``Creating Printed Music Automatically''. Computer Vol
179 29(6), June 1996, pp 61--69.
181 [Describes a system called MusicEase, and explains that it uses
182 "constraints" (which go unexplained) to automatically position various
185 Stephen Dowland Page. ``Computer Tools for Music Information
186 Retrieval''. Dissertation University of Oxford, 1988.
188 [Don't ask Stephen for a copy. Write to the Bodleian Library, Oxford,
189 or to the British Library, instead. SP]
191 Ren\'e Roelofs. ``Een Geautomatiseerd Systeem voor het Afdrukken van
192 Muziek'' afstudeerscriptie Bestuurlijke informatica, no 45327, Erasmus
193 universiteit Rotterdam, 1991. (``An automated system for printing
194 music'' Master's Thesis Managerial Computer Science.)
196 [This dutch thesis describes a simplistic (monophonic) typesetting system,
197 and focuses on the breaking algorithm, which is taken from Hegazy &
200 Miguel Filgueiras and Jos\'e Paulo Leal. ``Representation and
201 manipulation of music documents in SceX''. Electronic Publishing,
202 vol. 6 (4), 507--518, 1993.
204 Eric Foxley, Music --- A language for typesetting music scores.
205 Software --- Practice and Experience, Vol. 17(8), 485--502, 1987.
207 [A paper on a TROFF preprocessor to typeset music. The output shown is
208 not very sophisticated, and contains some typographical atrocities HWN]
210 Miguel Filgueiras, ``Implementing a Symbolic Music Processing
211 System''. LIACC, Universidade do Porto, 1996; submitted.
213 Miguel Filgueiras, ``Some Music Typesetting Algorithms''. LIACC,
214 Universidade do Porto, forthcoming.
216 =head2 Engraving: further reading
218 Herbert Chlapik. ``Die Praxis des Notengraphikers''. Doblinger, 1987.
219 ISBN 3-9000 035-96-2.
221 [An clearly written book for the casually interested reader. It shows
222 some of the conventions and difficulties in printing music HWN]
224 The University of Colorado Music Engraving page.
225 http://obenamots.cc.colorado.edu/Musicpress/engraving.html
227 Anthony Donato. Preparing Music Manuscript. Englewood Cliffs:
230 Donemus. ``Uitgeven van muziek''. Donemus Amsterdam, 1900
232 George Heussenstamm. The Norton Manual of Music Notation. New York:
235 Erdhard Karkoshka. ``Notation in New Music. Trans. Ruth
236 Koenig''. Praeger Publishers, New York, 1972. Out of print.
238 C. Roemer, The Art of Music Copying. Roerick music co., Sherman Oaks
241 Glen Rosecrans. Music Notation Primer. New York: Passantino, 1979.
243 Kurt Stone. Music Notation in the Twentieth Century. New York: Norton,
251 http://dept-info.labri.u-bordeaux.fr/~strandh/Gsharp
253 Tablature: http://wabakimi.carleton.ca/~phacket2/guitar/tabfaq.html
256 Peter S. Langston, ``Unix music tools at Bellcore''. Software ---
257 Practice and Experience, Vol. 20(S1), S1/47--S1/61, 1990.
259 [This paper deals with some command-line tools for music editing and
260 playback. It doesn't mention notation issues, but does come with the
261 grand idea (not) of using music to monitor complex systems. Imagine
262 your nuclear plant supervisor to use AC/DC for checking the reactor HWN]
264 Cindy Grande, NIFF6a Notation Interchange File Format. Grande
265 Software Inc., 1995. ftp://blackbox.cartah.washington.edu/pub/
267 [Specs for NIFF, a comprehensive but binary (yuk) format for notation HWN]
271 References and comments contributed by Han-Wen Nienhuys (HWN), Miguel
272 Filgueiras, Mark Basinski (MB), Dorothea Blostein, Stephen Page (SP),
275 This should really be redone in BibTeX