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},
29 title = {Music Notation by Computer},
30 author = {Donald Byrd},
31 school = {Indiana University},
35 author = {Donald Byrd},
36 title = {Music Notation Software and Intelligence},
37 journal = {Computer Music Journal},
43 note = {Byrd (author of Nightinggale) shows four problematic
44 fragments of notation, and rants about notation programs that try to
45 exhibit intelligent behaviour. HWN}
52 author = {R. F. Erickson},
53 title = {The DARMS Project: A status report},
54 journal = {Computing in the humanities},
62 @Article{field-richards93,
63 author = {H.S. Field-Richards},
64 title = {Cadenza: A Music Description Language},
70 note = {A description through examples of a music entry language.
71 Apparently it has no formal semantics. There is also no
72 implementation of notation convertor. HWN}
79 author = {Herbert Bielawa},
80 title = {Review of Sibelius 7},
84 note = {A raving review/tutorial of Sibelius 7 for Acorn. (And did
85 they seriously program a RISC chip in ... assembler ?!) HWN}
91 author = {Donald Sloan},
92 title = {Aspects of Music Representation in HyTime/SMDL},
98 note = {An introduction into HyTime and its score description variant
99 SMDL. With a short example that is quite lengthy in SMDL}
103 author = {Geraint Wiggins and Eduardo Miranda and Alaaaan Smaill and Mitch Harris},
104 title = {A Framework for the evaluation of music representation systems},
110 note = {A categorisation of music representation systems (languages,
111 OO systems etc) splitted into high level and low level expressiveness.
112 The discussion of Charm and parallel processing for music
113 representation is rather vague. HWN}
119 @Article{dannenberg93,
120 author = {Roger B. Dannenberg},
121 title = {Music Representation: Issues, Techniques, and Systems},
127 note = {The title says it all. This article does not make any
128 statements, it points to some problems and solutions with music
129 representation. HWN},
133 @Article{rothstein93,
134 author = {Joseph Rothstein},
135 title = {Review of Passport Designs' Encore Music Notation Software},
139 note = {A no-science-here review of Encore. HWN}
146 author = {Alan Belkin},
147 title = {Macintosh Notation Software: Present and Future},
153 note = {Some music notation systems are analysed for ease of use, MIDI
154 handling. No rocket science here. The article ends with a plea for a
155 standard notation format. HWN},
161 title = {A System for Music Printing by Computer},
162 author = {Donald Byrd},
163 journal = {Computers and the Humanities},
170 note = {If I remember correctly, this was concerned more with an input language than with the typography. SP},
172 title = {Editing and Printing Music by Computer},
173 author = {Leland Smith},
174 totalentry = {Journal of Music Theory},
183 @InProceedings{montel97,
184 author = {Dominique Montel},
185 title = {La gravure de la musique, lisibilit\'e esth\'etique, respect de l'oevre},
186 booktitle = {Musique \& Notations},
189 editors ={Genevois \& Orlarey}
192 @PhdThesis {gomber75,
194 title = {A Computer-Oriented System for Music Printing},
195 author = {David A Gomberg},
196 school = {Washington University},
201 note = {Annual editions since 1985, many containing surveys of music typesetting technology. SP},
202 title = {Directory of Computer Assisted Research in Musicology},
203 author = {Walter B Hewlett and Eleanor Selfridge-Field},
204 totalentry = {Menlo Park, CA: Center for Computer Assisted Research in the Humanities},
209 title = {A Computer-oriented System for Music Printing},
210 author = {David A. Gomberg},
219 author = {Dorothea Blostein and Lippold Haken},
220 title = {The Lime Music Editor: A Diagram Editor Involving Complex
222 journal = {Software Practice and Experience},
228 note = {A description of various conversions, decisions and issues relating to this interactive editor HWN},
231 @InProceedings{bouzaiene98:_une,
232 author = {Nabil Bouzaiene and Lo\"ic Le Gall and Emmanuel Saint-James},
233 title = {Une biblioth\`eque pour la notation musicale baroque},
234 booktitle = {EP '98},
238 note = {Describes ATYS, an extension to Berlioz, that can mimick
239 handwritten baroque style beams}
244 @MastersThesis{gall97:_creat,
245 author = {Lo\"ic Le Gall},
246 title = {Cr\'eation d'une police adapt\'ee \`a la notation musicale baroque},
247 school = {\'Ecole Estienne},
251 @InProceedings{balaban88,
252 author = {M. Balaban},
253 title = {A Music Workstation Based on Multiple Hierarchical Views of Music},
254 booktitle = {Proceedings of the 1988 International Computer Music Conference},
256 address = {San Francisco},
257 organization = {International Computer Music Association}
260 @TechReport {gourlay87-spacing,
261 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},
263 title = {Spacing a Line of Music,},
264 author = {John S. Gourlay},
265 number = {OSU-CISRC-10/87-TR35},
266 institution ={Department of Computer and Information Science, The Ohio State University},
270 @TechReport {parish87,
271 note = {A brief overview of {MusiCopy} HWN},
273 title = {{MusiCopy}: An automated Music Formatting System},
274 author = {Allen Parish and Wael A. Hegazy and John S. Gourlay and Dean K. Roush and F. Javier Sola},
275 totalentry = {OSU-CISRC-10/87-TR29},
276 institution ={Department of Computer and Information Science, The Ohio State University},
280 @TechReport {gourlay87-formatting,
282 note = {This paper discusses the development of algorithms for the
283 formatting of musical scores (from abstract). It also appeared at
284 PROTEXT III, Ireland 1986},
287 title = {Computer Formatting of Music},
288 author = {John S. Gourlay and A. Parrish
289 and D. Roush and F. Sola and Y. Tien},
290 number = {OSU-CISRC-2/87-TR3},
291 institution ={Department of Computer and Information Science,
292 The Ohio State University},
296 @TechReport {hegazy87,
298 title = {On the Implementation of the {MusiCopy} Language Processor,},
299 author = {Wael A. Hegazy},
300 number = {OSU-CISRC-10/87-TR34},
301 institution={Department of Computer and Information Science, The Ohio State University},
303 note = {Describes the "parser" which converts {MusiCopy} MDL to
304 MusiCopy Simultaneities and columns.
306 MDL is short for Music Description Language\cite{gourlay86}. It
307 accepts music descriptions that are organised into measures filled
308 with voices, those filled notes. The measures can be arranged
309 simultaneously or sequentially. To address the 2-dimensionality,
310 almost all constructs in MDL must be labeled.
312 MDL uses begin/end markers for attribute values and spanners.
313 Rightfully the author concludes that MusiCopy must administrate a
314 "state" variable containing both properties and current spanning symbols.
316 MusiCopy attaches graphic information to the objects constructed in
317 the input: the elements of the input are partially complete graphic
320 Since the design goals of both LilyPond and MusiCopy were roughly the
321 same, both systems have superficial similarities: the details of the
322 input format, the notation of "musical state". However, LilyPond
323 stresses extensibility, modularity and separation between content and
324 presentation much more, and this shows: LilyPond is more flexible. To
325 be fair: development of MusiCopy was abandoned in 1987, so it is not
326 surprising that LilyPond is more mature.
332 @TechReport {hegazy87-breaking,
333 note = {This generalizes \TeX's breaking algorithm to music. It also appeared in Document Manipulation and Typography, J.C. van Vliet (ed) 1988. HWN},
335 title = {Optimal line breaking in music},
336 author = {Wael A. Hegazy and John S. Gourlay},
337 number = {OSU-CISRC-8/87-TR33},
338 institution={Department of Computer and Information Science, The Ohio State University,},
342 @TechReport {roush87,
343 note = {User manual of MusiCopy. Includes an impressive example piece. HWN},
345 title = {Using {MusiCopy}},
346 author = {Dean K. Roush},
347 number = {OSU-CISRC-18/87-TR31},
348 institution={Department of Computer and Information Science, The Ohio State University},
352 @TechReport {parrish87-simultaneities,
353 note = {Placement of balls, stems, dots which occur at the same moment ("Simultaneity") HWN},
355 title = {Computer Formatting of Musical Simultaneities,},
356 author = {A. Parrish and John S. Gourlay},
357 institution={Department of Computer and Information Science, The Ohio State University},
358 number = {OSU-CISRC-10/87-TR28},
363 note = {Overview of a procedure for generating slurs HWN},
365 title = {Computer Design of Musical Slurs, Ties and Phrase Marks,},
367 institution={Department of Computer and Information Science, The Ohio State University},
368 number = {OSU-CISRC-10/87-TR32},
372 @TechReport {sola87-beams,
373 institution={Department of Computer and Information Science, The Ohio State University},
374 note = {Calculating beam slopes HWN},
376 title = {Design of Musical Beams,},
377 author = {F. Sola and D. Roush},
378 number = {OSU-CISRC-10/87-TR30},
383 note = {This paper describes the {MusiCopy} musicsetting system and an input language to go with it. HWN},
385 title = {A language for music printing},
386 author = {John. S. Gourlay},
387 journal = {Communications of the ACM},
394 note = {A description of Lime internals (which resemble older (before 0.0.68pre) LilyPond data structures somewhat) HWN},
396 title = {The Tilia Music Representation: Extensibility, Abstraction, and Notation Contexts for the Lime Music Editor},
397 author = {Lippold Haken and Dorothea Blostein},
398 journal = {Computer Music Journal},
404 @InProceedings{haken95,
406 title = {A New Algorithm for Horizontal Spacing of Printed Music},
407 author = {Lippold Haken and Dorothea Blostein},
408 booktitle = {International Computer Music Conference},
412 note = {This describes an algorithm which uses springs between adjacent columns. This algorithm is a "subclass" of the LilyPond algorithm. HWN},
415 @Article {blostein91,
416 note = {This paper provides a shallow overview of the algorithm used in LIME for spacing individual lines. HWN},
418 title = {Justification of Printed Music},
419 author = {Dorothea Blostein and Lippold Haken},
420 journal = {Communications of the ACM},
429 note = {Describes a system called MusicEase, and explains that it uses "constraints" (which go unexplained) to automatically position various elements. HWN},
431 title = {Creating Printed Music Automatically},
432 author = {Gary M. Rader},
433 journal = {Computer},
444 note = {Don't ask Stephen for a copy. Write to the Bodleian Library, Oxford, or to the British Library, instead. SP},
446 title = {Computer Tools for Music Information Retrieval},
447 author = {Stephen Dowland Page},
448 school ={Dissertation University of Oxford},
451 @MastersThesis{roelofs91,
452 note = {This dutch thesis describes a simplistic (monophonic) typesetting system, and focuses on the breaking algorithm, which is taken from Hegazy & Gourlay HWN},
454 title = {Een Geautomatiseerd Systeem voor het Afdrukken van Muziek},
455 author = {Ren\'e Roelofs},
456 school={Erasmus Universiteit Rotterdam},
458 translation = {``An automated system for printing music'' Master's Thesis Managerial Computer Science.},
462 @Article {filgueiras93,
464 title = {Representation and manipulation of music documents in SceX},
465 author = {Miguel Filgueiras and Jos\'e Paulo Leal},
466 journal= {Electronic Publishing},
468 number={4}, pages = {507--518},
474 note = {A paper on a TROFF preprocessor to typeset music. The output shown is not very sophisticated, and contains some typographical atrocities HWN},
476 title = {Music --- A language for typesetting music scores},
477 author = {Eric Foxley},
478 journal = {Software --- Practice and Experience},
487 title = {Implementing a Symbolic Music Processing System},
488 author = {Miguel Filgueiras},
489 totalentry = {LIACC, Universidade do Porto, 1996; submitted},
493 title = {Some Music Typesetting Algorithms},
494 author = {Miguel Filgueiras},
495 totalentry = {Miguel Filgueiras. ``Some Music Typesetting Algorithms''. LIACC, Universidade do Porto, forthcoming},
499 @Article {colorado-web,
500 author ={Alyssa Lamb},
501 note = {Webpages about engraving (designed with finale users in mind) (sic) HWN},
502 institution = {The University of Colorado},
503 title ={The University of Colorado Music Engraving page.},
504 HTML={http://obenamots.cc.colorado.edu/Musicpress/engraving.html},
511 @Article {Langston90,
512 note = {This paper deals with some command-line
513 tools for music editing and playback. It doesn't mention notation
514 issues, but does come with the grand idea (not) of using music to
515 monitor complex systems. Imagine your nuclear plant supervisor to
516 use AC/DC for checking the reactor HWN},
519 title = {Unix music tools at Bellcore},
520 author = {Peter S. Langston},
521 journal={Software --- Practice and Experience},
529 @Article {tablature-web,
530 note = {FAQ (with answers) about TAB, the ASCII variant of Tablature. HWN},
531 title = {how to read and write tab: a guide to tab notation},
532 author = {Howard Wright},
533 email={Howard.Wright@ed.ac.uk},
534 HTML={http://wabakimi.carleton.ca/~phacket2/guitar/tabfaq.html},
539 note = {Specs for NIFF, a reasonably comprehensive but binary (yuk) format for notation HWN},
542 title = {NIFF6a Notation Interchange File Format},
543 author = {Cindy Grande},
544 publisher={Grande Software Inc.},
545 HTML= {http://www.jtauber.com/music/encoding/niff/},
546 ftp = {ftp://blackbox.cartah.washington.edu}
552 title = {SMDL, Standard Musical Description Language},
553 pdf= {ftp://ftp.ornl.gov/pub/sgml/wg8/smdl/10743.pdf},
554 note={ISO/IEC DIS 10743
556 SGML instance for describing music. Very comprehensive in music
557 definition, but no support for notation / performance whatsoever (They
558 basically say: "You can embed a NIFF or MIDI file") HWN}
563 @TechReport{Ornstein83,
564 author={Ornstein, Severo M. and John Turner Maxwell III},
565 title={Mockingbird: A Composer's Amanuensis},
566 institution={Xerox Palo Alto Research Center},
567 address={3333 Coyote Hill Road, Palo Alto, CA, 94304},
573 @PhdThesis{mueller90:_inter_bearb_musik,
574 author = {Giovanni M\"uller},
575 title = {Interaktive Bearbeitung konventioneller Musiknotation},
576 school = {Eidgen\"ossischen Technischen Hochschule Z\"urich},
579 note = {This is about engraver-quality typesetting with computers. It
580 accepts the axiom that notation is too difficult to generate
581 automatically. The result is that a notation program should be a
582 WYSIWYG editor that allows one to tweak everything.
584 The implementation therefore is quite "weak". The introductory
585 chapters on engraving and notation are well structured and clear,
589 @TechReport{grover89-symbols,
590 author = {John Gr\/over},
591 title = {A computer-oriented description of Music Notation. Part I. The Symbol Inventory},
592 institution = {Department of informatics, University of Oslo},
596 note = {The goal of this series of reports is a full description of
597 music formatting. As these largely depend on parameters of fonts, it
598 starts with a verbose description of music symbols.
600 The subject is treated backwards: from general rules of typesetting
601 the author tries to extract dimensions for characters, whereas the
602 rules of typesetting (in a particular font) follow from the dimensions
603 of the symbols. His symbols do not match (the stringent) constraints
604 formulated by eg. \cite{wanske}} }
606 @TechReport{grover89-twovoices,
607 author = {John Gr\/over},
608 title = {A computer-oriented description of Music Notation. Part II: Two Voice Sharing a Staff, Leger Line Rules, Dot Positioning},
610 institution = {Department of informatics, University of Oslo},
614 note = {A lot rules for what is in the title are formulated. The
615 descriptions are long and verbose. The verbosity shows that
616 formulating specific rules is not the proper way to approach the
617 problem. Instead, the formulated rules should follow from more
618 general rules, similar to\cite{parrish87-simultaneities}},
621 @TechReport{grover89-accidentals,
622 author = {John Gr\/over},
623 title = {A computer-oriented description of Music Notation. Part III: Accidental Positioning},
624 institution = {Department of informatics, University of Oslo},
628 note = {Placement of accidentals crystallised in an enormous set of
629 rules. Same remarks as for \cite{grover89-twovoices} applies} }