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