%
% TITLE=The music notation with computer bibliography
% AUTHOR=Han-Wen Nienhuys
%

@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},
}



@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
}

@PhdThesis {byrd85,
  year =  {1985},
  title = {Music Notation by Computer},
  author = {Donald Byrd},
  school = {Indiana University},
}

@Article{byrd94,
  author = 	 {Donald Byrd},
  title = 	 {Music Notation Software and Intelligence},
  journal = 	 {Computer Music Journal},
year = 1994,
pages = {17--20},
  volume =	 18,
  number =	 1,

  note = {Byrd (author of Nightinggale) shows four problematic
fragments of notation, and rants about notation programs that try to
exhibit intelligent behaviour. HWN}

}



@Article{erickson75,
  author = 	 {R. F. Erickson},
  title = 	 {The DARMS Project: A status report},
  journal = 	 {Computing in the humanities},
  year = 	 1975,
  volume =	 9,
  number =	 6,
  pages =	 {291--298}
}

c
@Article{field-richards93,
  author = 	 {H.S. Field-Richards},
  title = 	 {Cadenza: A Music Description Language},
  journal = 	 CMJ,
  year = 	 1993,
  volume =	 17,
  number =	 4,

  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},
  title = 	 {Review of Sibelius 7},
  journal = 	 CMJ,
  year = 	 {1993?},

  note = {A raving review/tutorial of Sibelius 7 for Acorn.  (And did
they seriously program a RISC chip in ... assembler ?!) HWN}


}

@Article{sloan93,
  author = 	 {Donald Sloan},
  title = 	 {Aspects of Music Representation in HyTime/SMDL},
  journal = 	 CMJ,
  year = 	 1993,
  volume =	 17,
  number =	 4,

note = {An introduction into HyTime and its score description variant
SMDL.  With a short  example that is quite  lengthy in SMDL}
}

@Article{wiggins93,
  author = 	 {Geraint Wiggins and Eduardo Miranda and Alaaaan Smaill and Mitch Harris},
  title = 	 {A Framework for the evaluation of music representation systems},
  journal = 	 CMJ,
  year = 	 1993,
  volume =	 17,
  number =	 3,

  note = {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}

}



@Article{dannenberg93,
  author = 	 {Roger B. Dannenberg},
  title = 	 {Music Representation: Issues, Techniques, and Systems},
  journal = 	 CMJ,
  year = 	 1993,
  volume =	 17,
  number =	 3,

  note = {The title says it all.  This article does not make any
statements, it points to some problems and solutions with music
representation. HWN},

}

@Article{rothstein93,
  author = 	 {Joseph Rothstein},
  title = 	 {Review of Passport Designs' Encore Music Notation Software},
  journal = 	 CMJ,
  year = 	 {?},

note = {A no-science-here review of Encore. HWN}

}



@Article{belkin94,
  author = 	 {Alan Belkin},
  title = 	 {Macintosh Notation Software: Present and Future},
  journal = 	 CMJ,
  year = 	 1994,
  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},

}

@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},
}


@Book {smith73,
  note = {If I remember correctly, this was concerned more with an input language than with the typography. SP},
  year =  {1973},
  title = {Editing and Printing Music by Computer},
  author = {Leland Smith},
  totalentry = {Journal of Music Theory},
  volume={17},
  pages ={292-309},
}





@InProceedings{montel97,
  author = 	 {Dominique Montel},
  title = 	 {La gravure de la musique, lisibilit\'e esth\'etique, respect de l'oevre},
  booktitle = 	 {Musique \& Notations},
  year = 	 1997,
  address={Lyon},
  editors ={Genevois \& Orlarey}
}

@PhdThesis {gomber75,
  year =  {1975},
  title = {A Computer-Oriented System for Music Printing},
  author = {David A Gomberg},
  school = {Washington University},
}


@Book {CASR,
  note = {Annual editions since 1985, many containing surveys of music typesetting technology. SP},
  title = {Directory of Computer Assisted Research in Musicology},
  author = {Walter B Hewlett and Eleanor Selfridge-Field},
  totalentry = {Menlo Park, CA: Center for Computer Assisted Research in the Humanities},
}


@Book {gomberg,
  title = {A Computer-oriented System for Music Printing},
  author = {David A.  Gomberg},
  journal  = CitH,
  volume={11},
  pages = {63-80},
}



@Article{blostein94,
  author = 	 {Dorothea Blostein and Lippold Haken},
  title = 	 {The Lime Music Editor: A Diagram Editor Involving Complex
  Translations},
  journal = 	 {Software Practice and Experience},
  year = 	 {1994},
  volume = 	 {24},
  number = 	 {3},
  month = 	 {march},
  pages = 	 {289--306},
  note = {A description of various conversions, decisions and issues relating to this interactive editor HWN},
}

@InProceedings{bouzaiene98:_une,
  author = 	 {Nabil Bouzaiene and Lo\"ic Le Gall and Emmanuel Saint-James},
  title = 	 {Une biblioth\`eque pour la notation  musicale baroque},
  booktitle = 	 {EP '98},
  year = 	 1998,
  series =	 {LNCS},

  note = {Describes ATYS, an extension to Berlioz, that can mimick
  handwritten baroque style beams}
}



@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},
  title = 	 {A Music Workstation Based on Multiple Hierarchical Views of Music},
  booktitle = 	 {Proceedings of the 1988 International Computer Music Conference},
  year =	 1988,
  address =	 {San Francisco},
  organization = {International Computer Music Association}
}

@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},
  year =  {1987},
  title = {Spacing a Line of Music,},
  author = {John S. Gourlay},
  number = {OSU-CISRC-10/87-TR35},
  institution ={Department of Computer and Information Science, The Ohio State University},
}


@TechReport {parish87,
  note = {A brief overview of MusiCopy HWN},
  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
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
and D. Roush and F. Sola and Y. Tien},
  number = {OSU-CISRC-2/87-TR3},
  institution ={Department of Computer and Information Science,
The Ohio State University},
}


@TechReport {hegazy87,
  note = {Describes the "parser" which converts MusiCopy MDL  to MusiCopy Simultaneities & columns HWN},
  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},
}


@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},
  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,},
}


@TechReport {roush87,
  note = {User manual of MusiCopy. Includes an impressive example piece.  HWN},
  year =  {1987},
  title = {Using MusiCopy},
  author = {Dean K. Roush},
  number = {OSU-CISRC-18/87-TR31},
  institution={Department of Computer and Information Science, The Ohio State University},
}


@TechReport {parrish87-simultaneities,
  note = {Placement of balls, stems, dots which occur at the same moment ("Simultaneity") HWN},
  year =  {1987},
  title = {Computer Formatting of Musical Simultaneities,},
  author = {A. Parrish and John S. Gourlay},
  institution={Department of Computer and Information Science, The Ohio State University},
  number = {OSU-CISRC-10/87-TR28},
}


@TechReport {sola87,
  note = {Overview of a procedure for generating slurs HWN},
  year =  {1987},
  title = {Computer Design of Musical Slurs, Ties and Phrase Marks,},
  author = {F. Sola},
  institution={Department of Computer and Information Science, The Ohio State University},
  number = {OSU-CISRC-10/87-TR32},
}


@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},
  year =  {1986},
  title = {A language for music printing},
  author = {John. S. Gourlay},
  journal = {Communications of the ACM},
   volume= {29},
  number ={5},
  pages = {388--401},
}

@Article {haken93,
  note = {A description of Lime internals (which resemble older (before 0.0.68pre) LilyPond data structures somewhat) 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},
}

@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},
}

@Article {blostein91,
  note = {This paper provides a shallow 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},
  journal   = {Communications of the ACM},
  volume= {J34},
  number= {3},
  month= {March},
  pages = {88-99},
}


@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},
}




@PhdThesis {page88,
  note = {Don't ask Stephen for a copy. Write to the Bodleian Library, Oxford, or to the British Library, instead. SP},
  year =  {1988},
  title = {Computer Tools for Music Information Retrieval},
  author = {Stephen Dowland Page},
  school ={Dissertation University of Oxford},
}

@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},
  year =  {1991},
  title = {Een Geautomatiseerd Systeem voor het Afdrukken van Muziek},
  author = {Ren\'e Roelofs},
  school={Erasmus Universiteit Rotterdam},
  number={45327},
  translation = {``An automated system for printing music'' Master's Thesis Managerial Computer Science.},
}


@Article {filgueiras93,
  year =  {1993},
  title = {Representation and manipulation of music documents in SceX},
  author = {Miguel Filgueiras and Jos\'e Paulo Leal},
  journal= {Electronic Publishing},
  volume={6},
  number={4}, pages = {507--518},

}


@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},
  year =  {1987},
  title = {Music --- A language for typesetting music scores},
  author = {Eric Foxley},
  journal = {Software --- Practice and Experience},
  volume = {17},
  number = {8},
  pages = {485-502},
}


@Book {filgueiras96,
  year = {1996},
  title = {Implementing a Symbolic Music Processing System},
  author = {Miguel Filgueiras},
  totalentry = {LIACC, Universidade do Porto, 1996; submitted},
}

@Book {filgueiras?,
  title = {Some Music Typesetting Algorithms},
  author = {Miguel Filgueiras},
  totalentry = {Miguel Filgueiras. ``Some Music Typesetting Algorithms''. LIACC, Universidade do Porto, forthcoming},
}


@Article {colorado-web,
  author ={Alyssa Lamb},
  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://obenamots.cc.colorado.edu/Musicpress/engraving.html},
  year={1996}
}




@Book {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},
}


@Article {niff-web,
  note = {Specs for NIFF, a reasonably comprehensive but binary (yuk) format for notation HWN},

  year =  {1995},
  title = {NIFF6a Notation Interchange File Format},
  author = {Cindy Grande},
  publisher={Grande Software Inc.},
  HTML= {http://www.jtauber.com/music/encoding/niff/},
  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
definition, but no support for notation / performance whatsoever (They
basically say: "You can embed a NIFF or MIDI file") HWN}

},
}

@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}
}

@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.



The implementation therefore is quite "weak".  The introductory
chapters on engraving and notation are well structured and clear,
though.}
}

@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.  In stead, 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}
}
