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Input of musical notation

Input of musical notation. Music 253/CS 275A Stanford University. Input methods. 1. Symbolic data entry 2. Graphics assembly 3. Sound capture 4. Optical recognition 5. Combination systems. How can this be processed?. Sonogram (Carl Seashore et al., since c . 1930). Input methods.

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Input of musical notation

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  1. Input of musical notation Music 253/CS 275A Stanford University

  2. Input methods 1. Symbolic data entry 2. Graphics assembly 3. Sound capture 4. Optical recognition 5. Combination systems How can this be processed? Sonogram (Carl Seashore et al., since c. 1930) 2013 Eleanor Selfridge-Field

  3. Input methods 1. Symbolic data entry 2. Graphics assembly 3. Sound capture 4. Optical recognition Lisa 1 (1984) How can this be processed? 2013 Eleanor Selfridge-Field

  4. Input methods 1. Symbolic data entry 2. Graphics assembly 3. Sound capture 4. Optical recognition CHM reconstruction (2008) What can these maghines process? Babbage analytical engine (1849) 2013 Eleanor Selfridge-Field

  5. Symbolic codes for music • 1965-1985: hand encoding (type keyboard) • DARMS (Digital Alternate Rep. of Music Scores) • MUSTRAN, IML-MIR et al. (“great society” encoding scheme) • Designed for mainframes, card-readers • Few printing possibilities • Important for • the thinking that went into the task • documentation • Implementation (school music, esoteric repertories) 2013 Eleanor Selfridge-Field

  6. DARMS Pioneers Stefan Bauer-Mengelberg(1927-1996) • IBM mathematician; developer • Assistant conductor (to Leonard Bernstein) • Implemented system for making a computer transcribe a composition (by Stefan Volpe) • Edited papers of Gödel (Escher, Bach) • IP lawyer JefRaskin (1942-2005) • Apple #4 • co-dev(with Brian Howard, Apple #32) of Apple G&S (forerunner of QuickTime) • Developed original Mac interface • Composer • First person to implement DARMS (1966) Encoding music Adding beams Raskin system, 1967 2013 Eleanor Selfridge-Field

  7. Other ancestors of computer typesetting of music Leuning, Ussachefsky et al. Columbia-Princeton tape music collaboration (from 1954) Leland Smith (SCORE, 1974-2013) Prof. of composition Stanford AI lab J. McCarthy L. Smith 2013 Eleanor Selfridge-Field

  8. Cheerleaders for hand encoding Raymond Erickson (DARMS) Queens Univ., NY Tom Hall (DARMS) A-R Editions, WI Michael Kassler (IML/MIR) Princeton, 1970s DDonByrd (2000s-Nightingale) Princeton, 1980s Indiana U., 1990s-present Don Byrd’ music, Doug Hofstadter’s text (1979) Ray Erickson 2013 Eleanor Selfridge-Field

  9. 2. MIDI-assisted era (1985-2005) Machine and hand input • point and click palettes (graphic assembly with mouse) • Many problems with MIDI timing resolution • Cross-hatched systems (part MIDI, part hand) Printing options kept changing • 1970s: plotters (SCORE) • 1980s: dot-matrix printers (MuseData) • 1990s: laser printers, PostScript • 1985-2005: high-end phototypesetting shops 2013 Eleanor Selfridge-Field

  10. Finale: input Three methods of data entry Simple entry note palette rest palette Speedy Entry HyperScribe 2013 Eleanor Selfridge-Field

  11. Finale: special notations • Guitar tablature • Lute tablature (with XML support) • Jazz script 2013 Eleanor Selfridge-Field

  12. Finale: Refinements • Adjustment details • Stem issues • Notehead issues • Beam issues • Dots • Ties 2013 Eleanor Selfridge-Field

  13. Sibelius: Input • “Create” menu • Setup parameters • Key signature • Clef • Time signature • Changes to • No. of staves • Braces • Key 2013 Eleanor Selfridge-Field

  14. Sibelius: editing • Set up dialogue boxes • Location • Text • Lines • Bars • Staves • “Keyboard” editor • Rhythmic value • Pitch inflection • Rest 2013 Eleanor Selfridge-Field

  15. Sibelius: parts and scores • Part/Score relations • Size relationships • Part groupings • Preview vs. save • Markup 2013 Eleanor Selfridge-Field

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