@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
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},
}
-
-@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},
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},
note = {An introduction into HyTime and its score description variant
SMDL. With a short example that is quite lengthy in SMDL}
+
}
@Article{wiggins93,
year = 1993,
volume = 17,
number = 3,
+ url = {http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.44.6067},
- 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},
}
journal = CMJ,
year = {?},
-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},
}
-% 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,
}
+@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},
}
+@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
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},
-@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},
% 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},
@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
@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},
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.
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},
@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},
@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},
}
-@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},
}
+@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,
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},
journal= {Electronic Publishing},
volume={6},
number={4}, pages = {507--518},
-
+ url={http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.17.1480},
}
@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},
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},
@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},
}
@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},
}
@Article {smdl-web,
- author={unknown},
- title = {SMDL, Standard Musical Description Language},
+ author = {International Organization for Standardization (ISO)},
+ title = {Information Technology - Document Description and Processing Languages - Standard Music Description Language (SMDL)},
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://www.music.mcgill.ca/~ich/research/omr/levy/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} }
-
-@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},
-annote ={Author compares GUIDO and lilypond. LilyPond wins on practical issues as usability and availability of tools, GUIDO wins on implementation simplicity.}
+@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}
}
projects / lilypond.git / blobdiff