X-Git-Url: https://git.donarmstrong.com/?a=blobdiff_plain;f=Documentation%2Fbibliography%2Fcomputer-notation.bib;h=a501f0e26aeff9bdc0c6b4d56fd634a0e7955be1;hb=5a3987994fed94899131af60dfa1e89638f7b064;hp=72ce9c38aa97f8b83c70a83cba29ad7e46a2a8ff;hpb=0cf97b5cdceecbba937f43ac827f4065aad5001e;p=lilypond.git diff --git a/Documentation/bibliography/computer-notation.bib b/Documentation/bibliography/computer-notation.bib index 72ce9c38aa..a501f0e26a 100644 --- a/Documentation/bibliography/computer-notation.bib +++ b/Documentation/bibliography/computer-notation.bib @@ -6,22 +6,87 @@ @String{CitH = {Computing and the Humanities}} @String{CMJ = {Computer Music Journal}} -@TechReport{roush88, - note = {Rules on formatting music formulated for use in computers. Mainly distilled from [Ross] HWN}, - year = {1988}, - title = {Music Formatting Guidelines}, - author = {D. Roush}, - number = {OSU-CISRC-3/88-TR10}, - institution = {Department of Computer and Information Science, The Ohio State University}, + + +@Book {smith73, + year = {1973}, + title = {Editing and Printing Music by Computer}, + author = {Leland Smith}, + totalentry = {Journal of Music Theory}, + volume={17}, + pages ={292-309}, + + note = {Gourlay\cite{gourlay86} writes: A discussion of Smith's +music-printing system SCORE} + } +@Article {byrd74, + year = {1974}, + title = {A System for Music Printing by Computer}, + author = {Donald Byrd}, + journal = {Computers and the Humanities}, + volume ={8}, + pages ={161-72}, +} -@InProceedings{assayaag86, - author = {G. Assayaag and D. Timis}, - title = {A Toolbox for music notation}, - booktitle = {Proceedings of the 1986 International Computer Music Conference}, - year = 1986 +@Article{ericson75, + author = {R. F. Ericson}, + title = {The DARMS Project: A status report}, + journal = {Computing in the humanities}, + year = 1975, + volume = 9, + number = 6, + pages = {291--298}, + note = {Gourlay\cite{gourlay86} writes: A discussion of the design + and potential uses of the DARMS music-description language.} +} + +% Gomberg +@PhdThesis {gomber75, + year = {1975}, + title = {A Computer-Oriented System for Music Printing}, + author = {David A. Gomberg}, + school = {Washington University}, +} + +@Book {gomberg, + title = {A Computer-oriented System for Music Printing}, + author = {David A. Gomberg}, + journal = CitH, + volume={11}, + month = {march}, + year = {1977}, + pages = {63-80}, + + note = {Gourlay \cite{gourlay86} writes: "A discussion of the + problems of representing the conventions of musical notation in + computer algorithms."} +} + + +@TechReport{Ornstein83, + author={Ornstein, Severo M. and John Turner Maxwell III}, + title={Mockingbird: A Composer's Amanuensis}, + institution={Xerox Palo Alto Research Center}, + address={3333 Coyote Hill Road, Palo Alto, CA, 94304}, + number={CSL-83-2}, + month={January}, + year={1983} +} + +@Article{Ornstein84, + author={Ornstein, Severo M. and John Turner Maxwell III}, + title={Mockingbird: A Composer's Amanuensis}, + journal= {Byte}, + volume= 9, + month = {January}, + year= { 1984}, + + note={A discussion of an interactive and graphical computer system +for music composition} + } % byrd @@ -30,17 +95,30 @@ title = {Music Notation by Computer}, author = {Donald Byrd}, school = {Indiana University}, + + note = {Describes the SMUT (sic) system for automated music printout.} } -@Article {byrd74, - year = {1974}, - title = {A System for Music Printing by Computer}, - author = {Donald Byrd}, - journal = {Computers and the Humanities}, - volume ={8}, - pages ={161-72}, +@InProceedings{assayaag86, + author = {G. Assayaag and D. Timis}, + title = {A Toolbox for music notation}, + booktitle = {Proceedings of the 1986 International Computer Music Conference}, + year = 1986 } +@TechReport{roush88, + year = {1988}, + title = {Music Formatting Guidelines}, + author = {D. Roush}, + number = {OSU-CISRC-3/88-TR10}, + institution = {Department of Computer and Information Science, The Ohio State University}, + + note = {Rules on formatting music formulated for use in + computers. Mainly distilled from [Ross] HWN}, + +} + + @Article{byrd94, author = {Donald Byrd}, title = {Music Notation Software and Intelligence}, @@ -56,20 +134,6 @@ exhibit intelligent behaviour. HWN} } - -@Article{ericson75, - author = {R. F. Ericson}, - title = {The DARMS Project: A status report}, - journal = {Computing in the humanities}, - year = 1975, - volume = 9, - number = 6, - pages = {291--298}, - note = {Gourlay\cite{gourlay86} writes: A discussion of the design - and potential uses of the DARMS music-description language.} -} - - @Article{field-richards93, author = {H.S. Field-Richards}, title = {Cadenza: A Music Description Language}, @@ -81,9 +145,8 @@ exhibit intelligent behaviour. HWN} note = {A description through examples of a music entry language. Apparently it has no formal semantics. There is also no implementation of notation convertor. HWN} -} - +} @Article{bielawa93, author = {Herbert Bielawa}, @@ -107,6 +170,7 @@ they seriously program a RISC chip in ... assembler ?!) HWN} note = {An introduction into HyTime and its score description variant SMDL. With a short example that is quite lengthy in SMDL} + } @Article{wiggins93, @@ -133,9 +197,9 @@ representation is rather vague. HWN} year = 1993, volume = 17, number = 3, + url = {http://citeseer.nj.nec.com/52890.html}, - note = {The title says it all. This article does not make any -statements, it points to some problems and solutions with music + note = {This article points to some problems and solutions with music representation. HWN}, } @@ -146,7 +210,6 @@ representation. HWN}, journal = CMJ, year = {?}, -note = {A no-science-here review of Encore. HWN} } @@ -160,23 +223,12 @@ note = {A no-science-here review of Encore. HWN} volume = 18, number = 1, - note = {Some music notation systems are analysed for ease of use, MIDI - handling. No rocket science here. The article ends with a plea for a - standard notation format. HWN}, + note = {Some music notation systems are analysed for ease of use, + MIDI handling. The article ends with a plea for a standard notation + format. HWN}, } -@Book {smith73, - year = {1973}, - title = {Editing and Printing Music by Computer}, - author = {Leland Smith}, - totalentry = {Journal of Music Theory}, - volume={17}, - pages ={292-309}, - note = {Gourlay\cite{gourlay86} writes: A discussion of Smith's music-printing system} -} - - @InProceedings{montel97, author = {Dominique Montel}, title = {La gravure de la musique, lisibilit\'e esth\'etique, respect de l'oevre}, @@ -187,28 +239,6 @@ note = {A no-science-here review of Encore. HWN} } -% Gomberg -@PhdThesis {gomber75, - year = {1975}, - title = {A Computer-Oriented System for Music Printing}, - author = {David A Gomberg}, - school = {Washington University}, -} - -@Book {gomberg, - title = {A Computer-oriented System for Music Printing}, - author = {David A. Gomberg}, - journal = CitH, - volume={11}, - month = {march}, - year = {1977}, - pages = {63-80}, - note = {Gourlay \cite{gourlay86} writes: "A discussion of the - problems of representing the conventions of musical notation in - computer algorithms."} - -} - @Book {CASR, @@ -219,32 +249,30 @@ note = {A no-science-here review of Encore. HWN} } +@Book{selfridge-field97:_beyon_midi, + title = {Beyond MIDI: the handbook of musical codes}, + editor = {Eleanor Selfridge-Field}, + publisher = {MIT Press}, + year = 1997, -% LIME -@Article {haken93, - note = {A description of Lime internals (which resemble older (before 0.0.68pre) LilyPond data structures) HWN}, - year = {1993}, - title = {The Tilia Music Representation: Extensibility, Abstraction, and Notation Contexts for the Lime Music Editor}, - author = {Lippold Haken and Dorothea Blostein}, - journal = {Computer Music Journal}, - volume= {17}, - number={3}, - pages = {43--58}, + note = {A description of various music interchange formats.} } -@InProceedings{haken95, - year = {1995}, - title = {A New Algorithm for Horizontal Spacing of Printed Music}, - author = {Lippold Haken and Dorothea Blostein}, - booktitle = {International Computer Music Conference}, - address={Banff}, - month={Sept}, - pages = {118-119}, - note = {This describes an algorithm which uses springs between adjacent columns. This algorithm is a "subclass" of the LilyPond algorithm. HWN}, + +@InProceedings{hoos98:_guido_music_notat_format, +title={The {GUIDO} Music Notation Format---A Novel Approach +for Adequately Representing Score-level Music}, +author = {H. H. Hoos and K. A. Hamel and K. Renz and J. Kilian}, +booktitle = {Proceedings of International Computer Music Conference}, +year = 1998, +pages = {451--454}, } @Article {blostein91, - note = {This paper provides a shallow overview of the algorithm used in LIME for spacing individual lines. HWN}, + + note = {This paper provides a overview of the algorithm used in LIME + for spacing individual lines. HWN}, + year = {1991}, title = {Justification of Printed Music}, author = {Dorothea Blostein and Lippold Haken}, @@ -256,6 +284,15 @@ note = {A no-science-here review of Encore. HWN} } +@Article {haken93, + year = {1993}, + title = {The Tilia Music Representation: Extensibility, Abstraction, and Notation Contexts for the Lime Music Editor}, + author = {Lippold Haken and Dorothea Blostein}, + journal = {Computer Music Journal}, + volume= {17}, + number={3}, + pages = {43--58}, +} @Article{blostein94, author = {Dorothea Blostein and Lippold Haken}, title = {The Lime Music Editor: A Diagram Editor Involving Complex @@ -266,10 +303,27 @@ note = {A no-science-here review of Encore. HWN} number = {3}, month = {march}, pages = {289--306}, - note = {A description of various conversions, -decisions and issues relating to this interactive editor HWN}, + + note = {A description of various conversions, decisions and issues +relating to this interactive editor HWN}, + } + + +@InProceedings{haken95, + year = {1995}, + title = {A New Algorithm for Horizontal Spacing of Printed Music}, + author = {Lippold Haken and Dorothea Blostein}, + booktitle = {International Computer Music Conference}, + address={Banff}, + month={Sept}, + pages = {118-119}, + + note = {This describes an algorithm which uses springs between +adjacent columns. }, } + + @InProceedings{bouzaiene98:_une, author = {Nabil Bouzaiene and Lo\"ic Le Gall and Emmanuel Saint-James}, title = {Une biblioth\`eque pour la notation musicale baroque}, @@ -283,12 +337,6 @@ decisions and issues relating to this interactive editor HWN}, -@MastersThesis{gall97:_creat, - author = {Lo\"ic Le Gall}, - title = {Cr\'eation d'une police adapt\'ee \`a la notation musicale baroque}, -school = {\'Ecole Estienne}, -year = 1997, -} @InProceedings{balaban88, author = {M. Balaban}, @@ -303,7 +351,7 @@ year = 1997, % MusiCopy % @TechReport {gourlay87-spacing, - 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}, +annote = {Algorithm for generating spacing in one line of (polyphonic) music, tailored for use with MusiCopy. LilyPond uses a variant of it.}, year = {1987}, title = {Spacing a Line of Music,}, author = {John S. Gourlay}, @@ -313,19 +361,20 @@ year = 1997, @TechReport {parish87, - note = {A brief overview of {MusiCopy} HWN}, + annote = {A brief overview of {MusiCopy}}, year = {1987}, title = {{MusiCopy}: An automated Music Formatting System}, author = {Allen Parish and Wael A. Hegazy and John S. Gourlay and Dean K. Roush and F. Javier Sola}, totalentry = {OSU-CISRC-10/87-TR29}, institution ={Department of Computer and Information Science, The Ohio State University}, } - + @TechReport {gourlay87-formatting, -note = {This paper discusses the development of algorithms for the + note = {This paper discusses the development of algorithms for the formatting of musical scores (from abstract). It also appeared at PROTEXT III, Ireland 1986}, + year = {1987}, title = {Computer Formatting of Music}, author = {John S. Gourlay and A. Parrish @@ -339,6 +388,7 @@ The Ohio State University}, @TechReport {hegazy87, year = {1987}, title = {On the Implementation of the {MusiCopy} Language Processor,}, + author = {Wael A. Hegazy}, number = {OSU-CISRC-10/87-TR34}, institution={Department of Computer and Information Science, The Ohio State University}, @@ -348,7 +398,7 @@ The Ohio State University}, MDL is short for Music Description Language\cite{gourlay86}. It accepts music descriptions that are organised into measures filled -with voices, those filled notes. The measures can be arranged +with voices, which are filled with notes. The measures can be arranged simultaneously or sequentially. To address the 2-dimensionality, almost all constructs in MDL must be labeled. @@ -360,30 +410,41 @@ MusiCopy attaches graphic information to the objects constructed in the input: the elements of the input are partially complete graphic objects. -Since the design goals of both LilyPond and MusiCopy were roughly the -same, both systems have superficial similarities: the details of the -input format, the notation of "musical state". However, LilyPond -stresses extensibility, modularity and separation between content and -presentation much more, and this shows: LilyPond is more flexible. To -be fair: development of MusiCopy was abandoned in 1987, so it is not -surprising that LilyPond is more mature. }, } -@TechReport {hegazy87-breaking, - note = {This generalizes \TeX's breaking algorithm to music. It also appeared in Document Manipulation and Typography, J.C. van Vliet (ed) 1988. HWN}, +@TechReport {hegazy87-breaking-tr, + +annote = {This generalizes \TeX's breaking algorithm to music. It also +appeared in Document Manipulation and Typography, J.C. van Vliet (ed) +1988}, + year = {1987}, + title = {Optimal line breaking in music}, author = {Wael A. Hegazy and John S. Gourlay}, number = {OSU-CISRC-8/87-TR33}, institution={Department of Computer and Information Science, The Ohio State University,}, } +@InProceedings{hegazy88:_optim, + author = {Wael A. Hegazy and John S. Gourlay}, +booktitle = {Proceedings of the International Conference on +Electronic Publishing, Document Manipulation and Typography. Nice (France)}, +month = {April}, +year =1988, +editor={J. C. van Vliet}, +publisher = {Cambridge University Press}, +ISBN={0-521-36294-6}, + title = {Optimal line breaking in music}, +} + @TechReport {roush87, - note = {User manual of MusiCopy. Includes an impressive example piece. HWN}, + note = {User manual of MusiCopy. }, + year = {1987}, title = {Using {MusiCopy}}, author = {Dean K. Roush}, @@ -393,7 +454,11 @@ surprising that LilyPond is more mature. @TechReport {parrish87-simultaneities, - note = {Placement of balls, stems, dots which occur at the same moment ("Simultaneity") HWN}, + +note = {This note discusses + placement of balls, stems, dots which occur at the same moment + ("Simultaneity")}, + year = {1987}, title = {Computer Formatting of Musical Simultaneities,}, author = {A. Parrish and John S. Gourlay}, @@ -403,7 +468,7 @@ surprising that LilyPond is more mature. @TechReport {sola87, - note = {Overview of a procedure for generating slurs HWN}, + note = {Overview of a procedure for generating slurs}, year = {1987}, title = {Computer Design of Musical Slurs, Ties and Phrase Marks,}, author = {F. Sola}, @@ -412,18 +477,9 @@ surprising that LilyPond is more mature. } -@TechReport {sola87-beams, - institution={Department of Computer and Information Science, The Ohio State University}, - note = {Calculating beam slopes HWN}, - year = {1987}, - title = {Design of Musical Beams,}, - author = {F. Sola and D. Roush}, - number = {OSU-CISRC-10/87-TR30}, -} - - @Article {gourlay86, - note = {This paper describes the {MusiCopy} musicsetting system and an input language to go with it. HWN}, + note = {This paper describes the {MusiCopy} musicsetting system and an input language to go with it.}, + year = {1986}, title = {A language for music printing}, author = {John. S. Gourlay}, @@ -434,20 +490,17 @@ surprising that LilyPond is more mature. } +@TechReport {sola87-beams, -@Article {rader96, - note = {Describes a system called MusicEase, and explains that it uses "constraints" (which go unexplained) to automatically position various elements. HWN}, - year = {1996}, - title = {Creating Printed Music Automatically}, - author = {Gary M. Rader}, - journal = {Computer}, - volume={29}, - number={6}, - month={June}, - pages = {61--69}, -} - +institution={Department of Computer and Information Science, The Ohio +State University}, + note = {Calculating beam slopes HWN}, + year = {1987}, + title = {Design of Musical Beams,}, + author = {F. Sola and D. Roush}, + number = {OSU-CISRC-10/87-TR30}, +} @PhdThesis {page88, @@ -458,8 +511,76 @@ surprising that LilyPond is more mature. school ={Dissertation University of Oxford}, } + +% +% three part study by John Gr/over +@TechReport{grover89-symbols, + author = {John Gr\/over}, + title = {A computer-oriented description of Music Notation. Part I. The Symbol Inventory}, + institution = {Department of informatics, University of Oslo}, + year = 1989, + number = 133, + +note = {The goal of this series of reports is a full description of +music formatting. As these largely depend on parameters of fonts, it +starts with a verbose description of music symbols. + + The subject is treated backwards: from general rules of typesetting +the author tries to extract dimensions for characters, whereas the +rules of typesetting (in a particular font) follow from the dimensions +of the symbols. His symbols do not match (the stringent) constraints +formulated by eg. \cite{wanske}} } + +@TechReport{grover89-twovoices, + author = {John Gr\/over}, + title = {A computer-oriented description of Music Notation. Part II: Two Voice Sharing a Staff, Leger Line Rules, Dot Positioning}, + + institution = {Department of informatics, University of Oslo}, + year = 1989, + number = 134, + + note = {A lot rules for what is in the title are formulated. The +descriptions are long and verbose. The verbosity shows that +formulating specific rules is not the proper way to approach the +problem. Instead, the formulated rules should follow from more +general rules, similar to\cite{parrish87-simultaneities}}, +} + +@TechReport{grover89-accidentals, + author = {John Gr\/over}, + title = {A computer-oriented description of Music Notation. Part III: Accidental Positioning}, + institution = {Department of informatics, University of Oslo}, + year = 1989, + number = 135, + +note = {Placement of accidentals crystallised in an enormous set of +rules. Same remarks as for \cite{grover89-twovoices} applies} } + + +@PhdThesis{mueller90:_inter_bearb_musik, + author = {Giovanni M\"uller}, + title = {Interaktive Bearbeitung konventioneller Musiknotation}, + school = {Eidgen\"ossischen Technischen Hochschule Z\"urich}, + year = 1990, + +note = {This is about engraver-quality typesetting with computers. It +accepts the axiom that notation is too difficult to generate +automatically. The result is that a notation program should be a +WYSIWYG editor that allows one to tweak everything. +} + +} + + + + + @MastersThesis{roelofs91, - note = {This dutch thesis describes a simplistic (monophonic) typesetting system, and focuses on the breaking algorithm, which is taken from Hegazy & Gourlay HWN}, + +note = {This dutch thesis describes a monophonic typesetting system, + and focuses on the breaking algorithm, which is taken from Hegazy & + Gourlay }, + year = {1991}, title = {Een Geautomatiseerd Systeem voor het Afdrukken van Muziek}, author = {Ren\'e Roelofs}, @@ -476,12 +597,14 @@ surprising that LilyPond is more mature. journal= {Electronic Publishing}, volume={6}, number={4}, pages = {507--518}, - + url={http://citeseer.nj.nec.com/512957.html}, } @Article {foxley87, - note = {A paper on a TROFF preprocessor to typeset music. The output shown is not very sophisticated, and contains some typographical atrocities HWN}, + +note = {A paper on a simple TROFF preprocessor to typeset music. }, + year = {1987}, title = {Music --- A language for typesetting music scores}, author = {Eric Foxley}, @@ -491,6 +614,20 @@ surprising that LilyPond is more mature. pages = {485-502}, } +@Article {Langston90, + + note = {This paper deals with some command-line + tools for music editing and playback. }, + + year = {1990}, + title = {Unix music tools at Bellcore}, + author = {Peter S. Langston}, + journal={Software --- Practice and Experience}, + volume={20}, + number={S1}, + pages={47--61}, +} + @Book {filgueiras96, year = {1996}, @@ -508,45 +645,28 @@ surprising that LilyPond is more mature. @Article {colorado-web, author ={Alyssa Lamb}, - note = {Webpages about engraving (designed with finale users in mind) (sic) HWN}, + + note = {Webpages about engraving (designed with finale +users in mind) (sic) HWN}, + institution = {The University of Colorado}, title ={The University of Colorado Music Engraving page.}, HTML={http://www.cc.colorado.edu/Dept/MU/Musicpress/}, year={1996} } - - - -@Article {Langston90, - note = {This paper deals with some command-line - tools for music editing and playback. It doesn't mention notation - issues, but does come with the grand idea (not) of using music to - monitor complex systems. Imagine your nuclear plant supervisor to - use AC/DC for checking the reactor HWN}, - - year = {1990}, - title = {Unix music tools at Bellcore}, - author = {Peter S. Langston}, - journal={Software --- Practice and Experience}, - volume={20}, - number={S1}, - pages={47--61}, -} - - - @Article {tablature-web, note = {FAQ (with answers) about TAB, the ASCII variant of Tablature. HWN}, title = {how to read and write tab: a guide to tab notation}, author = {Howard Wright}, email={Howard.Wright@ed.ac.uk}, - HTML={http://wabakimi.carleton.ca/~phacket2/guitar/tabfaq.html}, + url={http://www.guitartabs.cc/tabfaq.shtml}, } - @Article {niff-web, - note = {Specs for NIFF, a reasonably comprehensive but binary (yuk) format for notation HWN}, + + note = {Specs for NIFF, a reasonably comprehensive but binary + format for notation HWN}, year = {1995}, title = {NIFF6a Notation Interchange File Format}, @@ -556,101 +676,95 @@ surprising that LilyPond is more mature. ftp = {ftp://blackbox.cartah.washington.edu} } - @Article {smdl-web, - author={unknown}, title = {SMDL, Standard Musical Description Language}, pdf= {ftp://ftp.ornl.gov/pub/sgml/wg8/smdl/10743.pdf}, - note={ISO/IEC DIS 10743 - -SGML instance for describing music. Very comprehensive in music + number={ISO/IEC DIS 10743}, + year = {1992}, + annote = {SGML instance for describing music. Very comprehensive in music definition, but no support for notation / performance whatsoever (They -basically say: "You can embed a NIFF or MIDI file") HWN} - -}, +basically say: "You can embed a NIFF or MIDI file")} } -@TechReport{Ornstein83, - author={Ornstein, Severo M. and John Turner Maxwell III}, - title={Mockingbird: A Composer's Amanuensis}, - institution={Xerox Palo Alto Research Center}, - address={3333 Coyote Hill Road, Palo Alto, CA, 94304}, - number={CSL-83-2}, - month={January}, - year={1983} -} +@Article {rader96, + note = {Describes a system called MusicEase, and explains that it + uses "constraints" (which go unexplained) to automatically position + various elements. }, + html={http://mesastate.edu/~grader/ieeeme.pdf}, + year = {1996}, + title = {Creating Printed Music Automatically}, + author = {Gary M. Rader}, + journal = {Computer}, + volume={29}, + number={6}, + month={June}, + pages = {61--69}, +} -@Article{Ornstein84, - author={Ornstein, Severo M. and John Turner Maxwell III}, - title={Mockingbird: A Composer's Amanuensis}, - journal= {Byte}, - volume= 9, - month = {January}, - year= { 1984}, - note={A discussion of an interactive and graphical computer system for -music composition} +@MastersThesis{gall97:_creat, + author = {Lo\"ic Le Gall}, + title = {Cr\'eation d'une police adapt\'ee \`a la notation musicale baroque}, + school = {\'Ecole Estienne}, + year = 1997, } -@PhdThesis{mueller90:_inter_bearb_musik, - author = {Giovanni M\"uller}, - title = {Interaktive Bearbeitung konventioneller Musiknotation}, - school = {Eidgen\"ossischen Technischen Hochschule Z\"urich}, - year = 1990, +@TechReport{droettboom00:_study_notat_descr_languag, + author = {Michael Droettboom}, + title = {Study of music Notation Description Languages}, + year = 2000, + url= {http://gigue.peabody.jhu.edu/~mdboom/format.pdf}, -note = {This is about engraver-quality typesetting with computers. It -accepts the axiom that notation is too difficult to generate -automatically. The result is that a notation program should be a -WYSIWYG editor that allows one to tweak everything. + note ={GUIDO and lilypond compared. LilyPond wins on practical +issues as usability and availability of tools, GUIDO wins on +implementation simplicity.} } -The implementation therefore is quite "weak". The introductory -chapters on engraving and notation are well structured and clear, -though.} -} +@PhdThesis{gieseking01:_code_gener_noten, + author = {Martin Gieseking}, + title = {Code-basierte Generierung interaktiver Notengraphik +}, + school = {Universit\"at Osnabr\"uck}, + year = 2001, + isbn = {ISBN 3-923486-30-8} +} -% -% three part study by John Gr/over -@TechReport{grover89-symbols, - author = {John Gr\/over}, - title = {A computer-oriented description of Music Notation. Part I. The Symbol Inventory}, - institution = {Department of informatics, University of Oslo}, - year = 1989, - number = 133, +@Book{hewlett01:_virtual_score, + editor = {Walter B. Hewlett and Eleanor Selfridge-Field}, + title = {The Virtual Score; representation, retrieval and restoration}, + publisher = {MIT Press}, +series = {Computing in Musicology}, + year = 2001 +} -note = {The goal of this series of reports is a full description of -music formatting. As these largely depend on parameters of fonts, it -starts with a verbose description of music symbols. - The subject is treated backwards: from general rules of typesetting -the author tries to extract dimensions for characters, whereas the -rules of typesetting (in a particular font) follow from the dimensions -of the symbols. His symbols do not match (the stringent) constraints -formulated by eg. \cite{wanske}} } -@TechReport{grover89-twovoices, - author = {John Gr\/over}, - title = {A computer-oriented description of Music Notation. Part II: Two Voice Sharing a Staff, Leger Line Rules, Dot Positioning}, +@PhdThesis{renz02:_algor_guido, + author = {Kai Renz}, + title = {Algorithms and data structures for a music notation system based on GUIDO music notation}, + school = {Universit\"at Darmstadt}, + year = 2002 +} - institution = {Department of informatics, University of Oslo}, - year = 1989, - number = 134, +@InBook{powell02:_music, + author = {Steven Powell}, + title = {Music engraving today}, + publisher = {Brichtmark}, + year = 2002, - note = {A lot rules for what is in the title are formulated. The -descriptions are long and verbose. The verbosity shows that -formulating specific rules is not the proper way to approach the -problem. Instead, the formulated rules should follow from more -general rules, similar to\cite{parrish87-simultaneities}}, + note = {A "How Steven uses Finale" manual.} } -@TechReport{grover89-accidentals, - author = {John Gr\/over}, - title = {A computer-oriented description of Music Notation. Part III: Accidental Positioning}, - institution = {Department of informatics, University of Oslo}, - year = 1989, - number = 135, -note = {Placement of accidentals crystallised in an enormous set of -rules. Same remarks as for \cite{grover89-twovoices} applies} } +@InProceedings{nienhuys03:_lilyp, + author = {Han-Wen Nienhuys and Jan Nieuwenhuizen}, + title = {LilyPond, a system for automated music engraving}, + booktitle = {XIV Colloquium on Musical Informatics}, + year = 2003, + pages = {167--172}, + address = {Firenze}, + month = {May} +} +