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<DL>
<DT> <A NAME="CASR"> CASR:</A> </DT>
<DD>
Walter B Hewlett and Eleanor Selfridge-Field.
<STRONG>Directory of Computer Assisted Research in Musicology</STRONG>.
Annual editions since 1985, many containing surveys of music typesetting
technology. SP.
</DD>
<DT> <A NAME="Langston90"> Langston90:</A> </DT>
<DD>
Peter S. Langston.
<STRONG>Unix music tools at bellcore</STRONG>.
<EM>Software --- Practice and Experience</EM>, 20(S1):47--61, 1990.
This paper deals with some command-line tools for music editing and playback.
</DD>
<DT> <A NAME="Ornstein83"> Ornstein83:</A> </DT>
<DD>
Severo M. Ornstein and John Turner Maxwell III.
<STRONG>Mockingbird: A composer's amanuensis</STRONG>.
Technical Report CSL-83-2, Xerox Palo Alto Research Center, 3333 Coyote Hill
Road, Palo Alto, CA, 94304, January 1983.
</DD>
<DT> <A NAME="Ornstein84"> Ornstein84:</A> </DT>
<DD>
Severo M. Ornstein and John Turner Maxwell III.
<STRONG>Mockingbird: A composer's amanuensis</STRONG>.
<EM>Byte</EM>, 9, January 1984.
A discussion of an interactive and graphical computer system for music
composition.
</DD>
<DT> <A NAME="assayaag86"> assayaag86:</A> </DT>
<DD>
G. Assayaag and D. Timis.
<STRONG>A toolbox for music notation</STRONG>.
In <EM>Proceedings of the 1986 International Computer Music Conference</EM>,
1986.
</DD>
<DT> <A NAME="balaban88"> balaban88:</A> </DT>
<DD>
M. Balaban.
<STRONG>A music workstation based on multiple hierarchical views of
music</STRONG>.
In <EM>Proceedings of the 1988 International Computer Music Conference</EM>,
San Francisco, 1988. International Computer Music Association.
</DD>
<DT> <A NAME="belkin94"> belkin94:</A> </DT>
<DD>
Alan Belkin.
<STRONG>Macintosh notation software: Present and future</STRONG>.
<EM>Computer Music Journal</EM>, 18(1), 1994.
Some music notation systems are analysed for ease of use, MIDI handling. The
article ends with a plea for a standard notation format. HWN.
</DD>
<DT> <A NAME="bielawa93"> bielawa93:</A> </DT>
<DD>
Herbert Bielawa.
<STRONG>Review of sibelius 7</STRONG>.
<EM>Computer Music Journal</EM>, 1993?
A raving review/tutorial of Sibelius 7 for Acorn. (And did they seriously
program a RISC chip in ... assembler ?!) HWN.
</DD>
<DT> <A NAME="blostein91"> blostein91:</A> </DT>
<DD>
Dorothea Blostein and Lippold Haken.
<STRONG>Justification of printed music</STRONG>.
<EM>Communications of the ACM</EM>, J34(3):88--99, March 1991.
This paper provides a overview of the algorithm used in LIME for spacing
individual lines. HWN.
</DD>
<DT> <A NAME="blostein94"> blostein94:</A> </DT>
<DD>
Dorothea Blostein and Lippold Haken.
<STRONG>The lime music editor: A diagram editor involving complex
translations</STRONG>.
<EM>Software Practice and Experience</EM>, 24(3):289--306, march 1994.
A description of various conversions, decisions and issues relating to this
interactive editor HWN.
</DD>
<DT> <A NAME="bouzaiene98:_une"> bouzaiene98:_une:</A> </DT>
<DD>
Nabil Bouzaiene, Lo\"ic Le Gall, and Emmanuel Saint-James.
<STRONG>Une biblioth\`eque pour la notation musicale baroque</STRONG>.
In <EM>EP '98</EM>, LNCS, 1998.
Describes ATYS, an extension to Berlioz, that can mimick handwritten baroque
style beams.
</DD>
<DT> <A NAME="byrd74"> byrd74:</A> </DT>
<DD>
Donald Byrd.
<STRONG>A system for music printing by computer</STRONG>.
<EM>Computers and the Humanities</EM>, 8:161--72, 1974.
</DD>
<DT> <A NAME="byrd85"> byrd85:</A> </DT>
<DD>
Donald Byrd.
<STRONG>Music Notation by Computer</STRONG>.
PhD thesis, Indiana University, 1985.
Describes the SMUT (sic) system for automated music printout.
</DD>
<DT> <A NAME="byrd94"> byrd94:</A> </DT>
<DD>
Donald Byrd.
<STRONG>Music notation software and intelligence</STRONG>.
<EM>Computer Music Journal</EM>, 18(1):17--20, 1994.
Byrd (author of Nightinggale) shows four problematic fragments of notation, and
rants about notation programs that try to exhibit intelligent behaviour. HWN.
</DD>
<DT> <A NAME="colorado-web"> colorado-web:</A> </DT>
<DD>
Alyssa Lamb.
<STRONG>The university of colorado music engraving page.</STRONG>.
1996.
Webpages about engraving (designed with finale users in mind) (sic) HWN.
</DD>
<DT><A NAME="dannenberg93"
HREF="http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.44.6067">
dannenberg93:</A></DT>
<DD>
Roger B. Dannenberg.
<STRONG>Music representation: Issues, techniques, and systems</STRONG>.
<EM>Computer Music Journal</EM>, 17(3), 1993.
This article points to some problems and solutions with music representation.
HWN.
</DD>
<DT><A NAME="droettboom00:_study_notat_descr_languag"
HREF="http://www.music.mcgill.ca/~ich/research/omr/levy/format.pdf">
droettboom00:_study_notat_descr_languag:</A></DT>
<DD>
Michael Droettboom.
<STRONG>Study of music notation description languages</STRONG>.
Technical report, 2000.
GUIDO and lilypond compared. LilyPond wins on practical issues as usability and
availability of tools, GUIDO wins on implementation simplicity.
</DD>
<DT> <A NAME="ericson75"> ericson75:</A> </DT>
<DD>
R. F. Ericson.
<STRONG>The darms project: A status report</STRONG>.
<EM>Computing in the humanities</EM>, 9(6):291--298, 1975.
Gourlay\cite{gourlay86} writes: A discussion of the design and potential uses
of the DARMS music-description language.
</DD>
<DT> <A NAME="field-richards93"> field-richards93:</A> </DT>
<DD>
H.S. Field-Richards.
<STRONG>Cadenza: A music description language</STRONG>.
<EM>Computer Music Journal</EM>, 17(4), 1993.
A description through examples of a music entry language. Apparently it has no
formal semantics. There is also no implementation of notation convertor. HWN.
</DD>
<DT><A NAME="filgueiras93"
HREF="http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.17.1480">
filgueiras93:</A></DT>
<DD>
Miguel Filgueiras and Jos\'e Paulo Leal.
<STRONG>Representation and manipulation of music documents in scex</STRONG>.
<EM>Electronic Publishing</EM>, 6(4):507--518, 1993.
</DD>
<DT> <A NAME="filgueiras96"> filgueiras96:</A> </DT>
<DD>
Miguel Filgueiras.
<STRONG>Implementing a Symbolic Music Processing System</STRONG>.
1996.
</DD>
<DT> <A NAME="filgueiras?"> filgueiras?:</A> </DT>
<DD>
Miguel Filgueiras.
<STRONG>Some Music Typesetting Algorithms</STRONG>.
</DD>
<DT> <A NAME="foxley87"> foxley87:</A> </DT>
<DD>
Eric Foxley.
<STRONG>Music --- a language for typesetting music scores</STRONG>.
<EM>Software --- Practice and Experience</EM>, 17(8):485--502, 1987.
A paper on a simple TROFF preprocessor to typeset music.
</DD>
<DT> <A NAME="gall97:_creat"> gall97:_creat:</A> </DT>
<DD>
Lo\"ic Le Gall.
<STRONG>Cr\'eation d'une police adapt\'ee \`a la notation musicale
baroque</STRONG>.
Master's thesis, \'Ecole Estienne, 1997.
</DD>
<DT> <A NAME="gieseking01:_code_gener_noten">
gieseking01:_code_gener_noten:</A> </DT>
<DD>
Martin Gieseking.
<STRONG>Code-basierte Generierung interaktiver Notengraphik</STRONG>.
PhD thesis, Universit\"at Osnabr\"uck, 2001.
</DD>
<DT> <A NAME="gomber75"> gomber75:</A> </DT>
<DD>
David A. Gomberg.
<STRONG>A Computer-Oriented System for Music Printing</STRONG>.
PhD thesis, Washington University, 1975.
</DD>
<DT> <A NAME="gomberg"> gomberg:</A> </DT>
<DD>
David A. Gomberg.
<STRONG>A Computer-oriented System for Music Printing</STRONG>, volume 11.
march 1977.
Gourlay \cite{gourlay86} writes: "A discussion of the problems of representing
the conventions of musical notation in computer algorithms.".
</DD>
<DT> <A NAME="gourlay86"> gourlay86:</A> </DT>
<DD>
John. S. Gourlay.
<STRONG>A language for music printing</STRONG>.
<EM>Communications of the ACM</EM>, 29(5):388--401, 1986.
This paper describes the {MusiCopy} musicsetting system and an input language
to go with it.
</DD>
<DT> <A NAME="gourlay87-formatting"> gourlay87-formatting:</A> </DT>
<DD>
John S. Gourlay, A. Parrish, D. Roush, F. Sola, and Y. Tien.
<STRONG>Computer formatting of music</STRONG>.
Technical Report OSU-CISRC-2/87-TR3, Department of Computer and Information
Science, The Ohio State University, 1987.
This paper discusses the development of algorithms for the formatting of
musical scores (from abstract). It also appeared at PROTEXT III, Ireland
1986.
</DD>
<DT> <A NAME="gourlay87-spacing"> gourlay87-spacing:</A> </DT>
<DD>
John S. Gourlay.
<STRONG>Spacing a line of music,</STRONG>.
Technical Report OSU-CISRC-10/87-TR35, Department of Computer and Information
Science, The Ohio State University, 1987.
</DD>
<DT> <A NAME="grover89-accidentals"> grover89-accidentals:</A> </DT>
<DD>
John Gr\/over.
<STRONG>A computer-oriented description of music notation. part iii: Accidental
positioning</STRONG>.
Technical Report 135, Department of informatics, University of Oslo, 1989.
Placement of accidentals crystallised in an enormous set of rules. Same remarks
as for \cite{grover89-twovoices} applies.
</DD>
<DT> <A NAME="grover89-symbols"> grover89-symbols:</A> </DT>
<DD>
John Gr\/over.
<STRONG>A computer-oriented description of music notation. part i. the symbol
inventory</STRONG>.
Technical Report 133, Department of informatics, University of Oslo, 1989.
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}.
</DD>
<DT> <A NAME="grover89-twovoices"> grover89-twovoices:</A> </DT>
<DD>
John Gr\/over.
<STRONG>A computer-oriented description of music notation. part ii: Two voice
sharing a staff, leger line rules, dot positioning</STRONG>.
Technical Report 134, Department of informatics, University of Oslo, 1989.
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}.
</DD>
<DT> <A NAME="haken93"> haken93:</A> </DT>
<DD>
Lippold Haken and Dorothea Blostein.
<STRONG>The tilia music representation: Extensibility, abstraction, and
notation contexts for the lime music editor</STRONG>.
<EM>Computer Music Journal</EM>, 17(3):43--58, 1993.
</DD>
<DT> <A NAME="haken95"> haken95:</A> </DT>
<DD>
Lippold Haken and Dorothea Blostein.
<STRONG>A new algorithm for horizontal spacing of printed music</STRONG>.
In <EM>International Computer Music Conference</EM>, pages 118--119, Banff,
Sept 1995.
This describes an algorithm which uses springs between adjacent columns.
</DD>
<DT> <A NAME="hegazy87"> hegazy87:</A> </DT>
<DD>
Wael A. Hegazy.
<STRONG>On the implementation of the MusiCopy language processor,</STRONG>.
Technical Report OSU-CISRC-10/87-TR34, Department of Computer and Information
Science, The Ohio State University, 1987.
Describes the "parser" which converts {MusiCopy} MDL to MusiCopy Simultaneities
and columns. MDL is short for Music Description Language\cite{gourlay86}. It
accepts music descriptions that are organised into measures filled 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. MDL uses begin/end markers for attribute
values and spanners. Rightfully the author concludes that MusiCopy must
administrate a "state" variable containing both properties and current
spanning symbols. MusiCopy attaches graphic information to the objects
constructed in the input: the elements of the input are partially complete
graphic objects.
</DD>
<DT> <A NAME="hegazy87-breaking-tr"> hegazy87-breaking-tr:</A> </DT>
<DD>
Wael A. Hegazy and John S. Gourlay.
<STRONG>Optimal line breaking in music</STRONG>.
Technical Report OSU-CISRC-8/87-TR33, Department of Computer and Information
Science, The Ohio State University,, 1987.
</DD>
<DT> <A NAME="hegazy88:_optim"> hegazy88:_optim:</A> </DT>
<DD>
Wael A. Hegazy and John S. Gourlay.
<STRONG>Optimal line breaking in music</STRONG>.
In J.~C. van Vliet, editor, <EM>Proceedings of the International Conference on
Electronic Publishing, Document Manipulation and Typography. Nice
(France)</EM>. Cambridge University Press, April 1988.
</DD>
<DT> <A NAME="hewlett01:_virtual_score"> hewlett01:_virtual_score:</A> </DT>
<DD>
Walter~B. Hewlett and Eleanor Selfridge-Field, editors.
<STRONG>The Virtual Score; representation, retrieval and restoration</STRONG>.
Computing in Musicology. MIT Press, 2001.
</DD>
<DT> <A NAME="hoos98:_guido_music_notat_format">
hoos98:_guido_music_notat_format:</A> </DT>
<DD>
H. H. Hoos, K. A. Hamel, K. Renz, and J. Kilian.
<STRONG>The GUIDO music notation format---a novel approach for adequately
representing score-level music</STRONG>.
In <EM>Proceedings of International Computer Music Conference</EM>, pages
451--454, 1998.
</DD>
<DT> <A NAME="montel97"> montel97:</A> </DT>
<DD>
Dominique Montel.
<STRONG>La gravure de la musique, lisibilit\'e esth\'etique, respect de
l'oevre</STRONG>.
In <EM>Musique \& Notations</EM>, Lyon, 1997.
</DD>
<DT> <A NAME="mueller90:_inter_bearb_musik"> mueller90:_inter_bearb_musik:</A>
</DT>
<DD>
Giovanni M\"uller.
<STRONG>Interaktive Bearbeitung konventioneller Musiknotation</STRONG>.
PhD thesis, Eidgen\"ossischen Technischen Hochschule Z\"urich, 1990.
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.
</DD>
<DT> <A NAME="nienhuys03:_lilyp"> nienhuys03:_lilyp:</A> </DT>
<DD>
Han-Wen Nienhuys and Jan Nieuwenhuizen.
<STRONG>Lilypond, a system for automated music engraving</STRONG>.
In <EM>XIV Colloquium on Musical Informatics</EM>, pages 167--172, Firenze, May
2003.
</DD>
<DT> <A NAME="niff-web"> niff-web:</A> </DT>
<DD>
Cindy Grande.
<STRONG>Niff6a notation interchange file format</STRONG>.
1995.
Specs for NIFF, a reasonably comprehensive but binary format for notation HWN.
</DD>
<DT> <A NAME="page88"> page88:</A> </DT>
<DD>
Stephen Dowland Page.
<STRONG>Computer Tools for Music Information Retrieval</STRONG>.
PhD thesis, Dissertation University of Oxford, 1988.
Don't ask Stephen for a copy. Write to the Bodleian Library, Oxford, or to the
British Library, instead. SP.
</DD>
<DT> <A NAME="parish87"> parish87:</A> </DT>
<DD>
Allen Parish, Wael A. Hegazy, John S. Gourlay, Dean K. Roush, and F. Javier
Sola.
<STRONG>MusiCopy: An automated music formatting system</STRONG>.
Technical report, Department of Computer and Information Science, The Ohio
State University, 1987.
</DD>
<DT> <A NAME="parrish87-simultaneities"> parrish87-simultaneities:</A> </DT>
<DD>
A. Parrish and John S. Gourlay.
<STRONG>Computer formatting of musical simultaneities,</STRONG>.
Technical Report OSU-CISRC-10/87-TR28, Department of Computer and Information
Science, The Ohio State University, 1987.
This note discusses placement of balls, stems, dots which occur at the same
moment ("Simultaneity").
</DD>
<DT> <A NAME="powell02:_music"> powell02:_music:</A> </DT>
<DD>
Steven Powell.
<STRONG>Music engraving today</STRONG>.
Brichtmark, 2002.
A "How Steven uses Finale" manual.
</DD>
<DT> <A NAME="rader96"> rader96:</A> </DT>
<DD>
Gary M. Rader.
<STRONG>Creating printed music automatically</STRONG>.
<EM>Computer</EM>, 29(6):61--69, June 1996.
Describes a system called MusicEase, and explains that it uses "constraints"
(which go unexplained) to automatically position various elements.
</DD>
<DT> <A NAME="renz02:_algor_guido"> renz02:_algor_guido:</A> </DT>
<DD>
Kai Renz.
<STRONG>Algorithms and data structures for a music notation system based on
GUIDO music notation</STRONG>.
PhD thesis, Universit\"at Darmstadt, 2002.
</DD>
<DT> <A NAME="roelofs91"> roelofs91:</A> </DT>
<DD>
Ren\'e Roelofs.
<STRONG>Een geautomatiseerd systeem voor het afdrukken van muziek</STRONG>.
Master's thesis, Erasmus Universiteit Rotterdam, 1991.
This dutch thesis describes a monophonic typesetting system, and focuses on the
breaking algorithm, which is taken from Hegazy & Gourlay.
</DD>
<DT> <A NAME="rothstein93"> rothstein93:</A> </DT>
<DD>
Joseph Rothstein.
<STRONG>Review of passport designs' encore music notation software</STRONG>.
<EM>Computer Music Journal</EM>, ?
</DD>
<DT> <A NAME="roush87"> roush87:</A> </DT>
<DD>
Dean K. Roush.
<STRONG>Using MusiCopy</STRONG>.
Technical Report OSU-CISRC-18/87-TR31, Department of Computer and Information
Science, The Ohio State University, 1987.
User manual of MusiCopy.
</DD>
<DT> <A NAME="roush88"> roush88:</A> </DT>
<DD>
D. Roush.
<STRONG>Music formatting guidelines</STRONG>.
Technical Report OSU-CISRC-3/88-TR10, Department of Computer and Information
Science, The Ohio State University, 1988.
Rules on formatting music formulated for use in computers. Mainly distilled
from [Ross] HWN.
</DD>
<DT> <A NAME="selfridge-field97:_beyon_midi">
selfridge-field97:_beyon_midi:</A> </DT>
<DD>
Eleanor Selfridge-Field, editor.
<STRONG>Beyond MIDI: the handbook of musical codes</STRONG>.
MIT Press, 1997.
A description of various music interchange formats.
</DD>
<DT> <A NAME="sloan93"> sloan93:</A> </DT>
<DD>
Donald Sloan.
<STRONG>Aspects of music representation in hytime/smdl</STRONG>.
<EM>Computer Music Journal</EM>, 17(4), 1993.
An introduction into HyTime and its score description variant SMDL. With a
short example that is quite lengthy in SMDL.
</DD>
<DT> <A NAME="smdl-web"> smdl-web:</A> </DT>
<DD>
International Organization for Standardization (ISO).
<STRONG>Information technology - document description and processing languages
- standard music description language (smdl)</STRONG>.
(ISO/IEC DIS 10743), 1992.
</DD>
<DT> <A NAME="smith73"> smith73:</A> </DT>
<DD>
Leland Smith.
<STRONG>Editing and Printing Music by Computer</STRONG>, volume 17.
1973.
Gourlay\cite{gourlay86} writes: A discussion of Smith's music-printing system
SCORE.
</DD>
<DT> <A NAME="sola87"> sola87:</A> </DT>
<DD>
F. Sola.
<STRONG>Computer design of musical slurs, ties and phrase marks,</STRONG>.
Technical Report OSU-CISRC-10/87-TR32, Department of Computer and Information
Science, The Ohio State University, 1987.
Overview of a procedure for generating slurs.
</DD>
<DT> <A NAME="sola87-beams"> sola87-beams:</A> </DT>
<DD>
F. Sola and D. Roush.
<STRONG>Design of musical beams,</STRONG>.
Technical Report OSU-CISRC-10/87-TR30, Department of Computer and Information
Science, The Ohio State University, 1987.
Calculating beam slopes HWN.
</DD>
<DT><A NAME="tablature-web" HREF="http://www.guitartabs.cc/tabfaq.shtml">
tablature-web:</A></DT>
<DD>
Howard Wright.
<STRONG>how to read and write tab: a guide to tab notation</STRONG>.
FAQ (with answers) about TAB, the ASCII variant of Tablature. HWN.
</DD>
<DT> <A NAME="wiggins93"> wiggins93:</A> </DT>
<DD>
Geraint Wiggins, Eduardo Miranda, Alaaaan Smaill, and Mitch Harris.
<STRONG>A framework for the evaluation of music representation
systems</STRONG>.
<EM>Computer Music Journal</EM>, 17(3), 1993.
A categorisation of music representation systems (languages, OO systems etc)
splitted into high level and low level expressiveness. The discussion of
Charm and parallel processing for music representation is rather vague. HWN.
</DD>
</DL>
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