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 [What I do know, I've commented inside brackets. They are just my
11 personal comments, not to be taken too seriously]
13 =head2 Music engraving: references
15 Helene Wanske. ``Musiknotation --- Von der Syntax des Notenstichs zum
16 EDV-gesteuerten Notensatz'', Schott-Verlag, Mainz 1988.ISBN 3-7957-2886-x.
18 [I. A very thorough overview of engraving practices of various
19 craftsmen. It includes detailed specs of characters, dimensions etc.
20 II. a thorough overview of a (by now antiquated) automated system
21 called Ikarus; EDV Means e(lektronischen) D(aten)v(erarbeitung),
22 electronic data processing HWN]
24 Maxwell Weaner and Walter Boelke, Standard Music Notation Practice,
25 revised edition by Arnold Broido and Daniel Dorff. Music Publisher's
26 Association of the United States Inc., 1993.
28 Ted Ross. ``Teach yourself the art of music engraving and processing''
29 (3rd edition). Hansen House, Miami Beach, FLorida.
31 [This is about I<engraving> i.e. professional music typesetting, and
32 includes some good spacing tables MB]
34 Gardner Read. ``Modern Rhythmic Notation.'' Indiana University Press,
37 Gardner Read. ``Music Notation'' (2nd edition). Taplinger Publishing,
40 [This is as close to the ``standard'' reference work for music
41 notation issues as one is likely to get. MB]
43 MPA. Standard music notation specifications for computer programming.
46 [Pamphlet explaining some fine points in music font design HWN]
48 =head2 Notation with computers
50 Donald Byrd. ``Music Notation by Computer''. Dissertation Indiana
53 Donald Byrd. ``A System for Music Printing by Computer.'' Computers
54 and the Humanities, 8 (1974), 161-72.
56 Leland Smith. ``Editing and Printing Music by Computer.'' Journal of
57 Music Theory, 17 (1973), 292-309.
59 [If I remember correctly, this was concerned more with an input
60 language than with the typography. SP.]
62 David A Gomberg. ``A Computer-Oriented System for Music Printing.''
63 Dissertation Washington University. 1975.
65 Walter B Hewlett. and Eleanor Selfridge-Field. ``Directory of Computer
66 Assisted Research in Musicology''. Menlo Park, CA: Center for Computer
67 Assisted Research in the Humanities.
69 [Annual editions since 1985, many containing surveys of music
70 typesetting technology. SP]
72 Wael A. Hegazy and John S. Gourlay. ``Optimal line breaking in music''. In
73 Document Manipulation and Typography, J.C. van Vliet (ed) 1988.
75 [This generalizes TeX's breaking algorithm to music HWN]
77 David A. Gomberg; ``A Computer-oriented System for Music Printing.''
78 Computers and the Humanities, Vol.11, pp 63-80.
80 John S. Gourlay. ``Spacing a Line of Music,'' Technical Report
81 OSU-CISRC-10/87-TR35, Department of Computer and Information Science,
82 The Ohio State University, 1987.
84 [Algorithm to generate spacing in polyphonic music, tailored for use
87 Allen Parish, Wael A. Hegazy, John S. Gourlay, Dean K. Roush and
88 F. Javier Sola. ``MusiCopy: An automated Music Formatting System''.
89 Technical Report OSU-CISRC-10/87-TR29, Department of Computer and
90 Information Science, The Ohio State University, 1987.
92 [A brief overview of MusiCopy HWN]
94 John S. Gourlay, A. Parrish, D. Roush, F. Sola, Y. Tien. ``Computer
95 Formatting of Music,'' Technical Report OSU-CISRC-2/87-TR3, Department
96 of Computer and Information Science, The Ohio State University, 1987.
98 [This paper discusses the development of algorithms for the formatting
99 of musical scores (from abstract). It also appeared at PROTEXT III,
102 Wael A. Hegazy. ``On the Implementation of the MusiCopy Language
103 Processor,'' Technical Report OSU-CISRC-10/87-TR34, Department of
104 Computer and Information Science, The Ohio State University, 1987.
106 [Describes the "parser" which converts MusiCopy MDL to MusiCopy
107 Simultaneities & columns HWN]
109 Dean K. Roush. ``Using MusiCopy''. Technical Report
110 OSU-CISRC-18/87-TR31, Department of Computer and Information Science,
111 The Ohio State University, 1987
113 [User manual of MusiCopy. Includes an impressive example piece. HWN.]
115 A. Parrish and John S. Gourlay. ``Computer Formatting of Musical
116 Simultaneities,'' Technical Report OSU-CISRC-10/87-TR28, Department of
117 Computer and Information Science, The Ohio State University, 1987.
119 [Placement of balls, stems, dots which occur at the same moment
120 ("Simultaneity") HWN]
122 D. Roush. ``Music Formatting Guidelines,'' Technical Report
123 OSU-CISRC-3/88-TR10, Department of Computer and Information Science,
124 The Ohio State University, 1988.
126 [Rules on formatting music formulated for use in computers HWN]
128 F. Sola. ``Computer Design of Musical Slurs, Ties and Phrase Marks,''
129 Technical Report OSU-CISRC-10/87-TR32, Department of Computer and
130 Information Science, The Ohio State University, 1987.
132 [Overview of a procedure for generating slurs HWN]
134 F. Sola and D. Roush. ``Design of Musical Beams,'' Technical Report
135 OSU-CISRC-10/87-TR30, Department of Computer and Information Science,
136 The Ohio State University, 1987.
138 [Calculating beam slopes HWN]
140 John. S. Gourlay. ``A language for music printing'', Communications
141 of the ACM, Vol. 29(5), 388--401, 1986.
143 [This paper describes the MusiCopy musicsetting system and an input
144 language to go with it. HWN]
146 Dorothea Blostein and Lippold Haken, ``The Lime Music Editor: A Diagram
147 Editor Involving Complex Translations'', Software Practice and
148 Experience, Vol. 24, No. 3, March 1994, pp. 289-306.
150 [A description of various conversions, decisions and issues relating
151 to this interactive editor HWN]
153 Lippold Haken and Dorothea Blostein, ``The Tilia Music Representation:
154 Extensibility, Abstraction, and Notation Contexts for the Lime Music
155 Editor'', Computer Music Journal, Vol. 17, No. 3, 1993, pp. 43-58
157 [A description of Lime internals (which resemble older (before
158 0.0.68pre) LilyPond data structures somewhat) HWN]
160 Lippold Haken and Dorothea Blostein, ``A New Algorithm for Horizontal
161 Spacing of Printed Music'', International Computer Music Conference,
162 Banff, Sept. 1995, pp. 118-119.
164 [This describes an algorithm which uses springs between adjacent
165 columns. This algorithm is a "subclass" of the LilyPond algorithm. HWN]
167 Dorothea Blostein and Lippold Haken, ``Justification of Printed Music'',
168 Communications of the ACM, VolJ34, No. 3, March 1991, pp. 88-99.
170 [This paper provides a shallow overview of the algorithm used in LIME
171 for spacing individual lines. HWN]
173 Gary M. Rader. ``Creating Printed Music Automatically''. Computer Vol
174 29(6), June 1996, pp 61--69.
176 [Describes a system called MusicEase, and explains that it uses
177 "constraints" (which go unexplained) to automatically position various
180 Stephen Dowland Page. ``Computer Tools for Music Information
181 Retrieval''. Dissertation University of Oxford, 1988.
183 [Don't ask Stephen for a copy. Write to the Bodleian Library, Oxford,
184 or to the British Library, instead. SP]
186 Ren\'e Roelofs. ``Een Geautomatiseerd Systeem voor het Afdrukken van
187 Muziek'' afstudeerscriptie Bestuurlijke informatica, no 45327, Erasmus
188 universiteit Rotterdam, 1991. (``An automated system for printing
189 music'' Master's Thesis Managerial Computer Science.)
191 [This thesis describes a simplistic (monophonic) typesetting system,
192 and focuses on the breaking algorithm, which is taken from Hegazy &
195 Miguel Filgueiras and Jos\'e Paulo Leal. ``Representation and
196 manipulation of music documents in SceX''. Electronic Publishing,
197 vol. 6 (4), 507--518, 1993.
199 Eric Foxley, Music --- A language for typesetting music scores.
200 Software --- Practice and Experience, Vol. 17(8), 485--502, 1987.
202 [A paper on a TROFF preprocessor to typeset music. The output shown is
203 not very sophisticated, and contains some typographical atrocities HWN]
205 Miguel Filgueiras, ``Implementing a Symbolic Music Processing
206 System''. LIACC, Universidade do Porto, 1996; submitted.
208 Miguel Filgueiras, ``Some Music Typesetting Algorithms''. LIACC,
209 Universidade do Porto, forthcoming.
211 =head2 Engraving: further reading
213 Herbert Chlapik. ``Die Praxis des Notengraphikers''. Doblinger, 1987.
214 ISBN 3-9000 035-96-2.
216 [An clearly written book for the casually interested reader. It shows
217 some of the conventions and difficulties in printing music HWN]
219 The University of Colorado Music Engraving page.
220 http://obenamots.cc.colorado.edu/Musicpress/engraving.html
222 Anthony Donato. Preparing Music Manuscript. Englewood Cliffs:
225 Donemus. ``Uitgeven van muziek''. Donemus Amsterdam, 1900
227 George Heussenstamm. The Norton Manual of Music Notation. New York:
230 Erdhard Karkoshka. ``Notation in New Music. Trans. Ruth
231 Koenig''. Praeger Publishers, New York, 1972. Out of print.
233 C. Roemer, The Art of Music Copying. Roerick music co., Sherman Oaks
236 Glen Rosecrans. Music Notation Primer. New York: Passantino, 1979.
238 Kurt Stone. Music Notation in the Twentieth Century. New York: Norton,
246 http://dept-info.labri.u-bordeaux.fr/~strandh/Gsharp
248 Tablature: http://wabakimi.carleton.ca/~phacket2/guitar/tabfaq.html
251 Peter S. Langston, ``Unix music tools at Bellcore''. Software ---
252 Practice and Experience, Vol. 20(S1), S1/47--S1/61, 1990.
254 [This paper deals with some command-line tools for music editing and
255 playback. It doesn't mention notation issues, but does come with the
256 grand idea (not) of using music to monitor complex systems. Imagine
257 your nuclear plant supervisor to use AC/DC for checking the reactor HWN]
259 Cindy Grande, NIFF6a Notation Interchange File Format. Grande
260 Software Inc., 1995. ftp://blackbox.cartah.washington.edu/pub/
262 [Specs for NIFF, a comprehensive but binary (yuk) format for notation HWN]
264 Alexander Brinkman, ``PASCAL Programming for Music Research''. The
265 University of Chicago Press, 1990.
269 References contributed by Han-Wen Nienhuys, Miguel Filgueiras, Mark
270 Basinski, Dorothea Blostein, Stephen Page, Jan Nieuwenhuizen.
272 This should really be redone in BibTeX