lilypond-essay: Long literature list
2.2 Long literature list
========================
University of Colorado Engraving music bibliography
---------------------------------------------------
• Willi Apel. *The notation of polyphonic music, 900-1600*.
Cambridge, Mass, 1953. Musical notation.
• Ernest Austin. *The Story of Music Printing*. Lowe and Brydone
Printers, Ltd., London. subject: history of music printing and
engraving.
• Anna Maria Busse Berger. *Mensuration and proportion signs :
origins and evolution*. Clarendon Press, Oxford, England, 1993.
subject: early notation.
• Roger Bowers. *Music & Letters*, volume 73. August 1992. Some
reflection upon notation and proportion in Monteverdi’s mass and
vespers.
• Paul Brainard. *Current Musicology*. Number 50. July-Dec 1992.
Proportional notation in the music of Schutz and his contemporaries
in the 17th Century.
• Carl Brandt and Clinton Roemer. *Standardized Chord Symbol
Notation*. Roerick Music Co., Sherman Oaks, CA. subject: musical
notation.
• Earle Brown. *Musical Quarterly*, volume 72. Spring 1986. The
notation and performance of new music.
• John Cage. *Notations*. Something Else Press, New York, 1969.
Music, Manuscripts, Facsimiles. Facsimiles of holographs from the
Foundation for Contemporary Performance Arts, with text by 269
composers, but rearranged using chance operations.,V).
• J Carter. *New Paths in Book Collecting*. London, 1934. subject:
history of music printing and engraving.
• F. Chrsander. *A Sketch of the HIstory of Music printing, from the
15th to the 16th century*. 18??. subject: history of music
printing and engraving.
• Henry Cowell. *Our Inadequate Notation*. _Modern Music_, 4(3),
1927. subject: 20th century notation.
• Henry Cowell. *New Musical Resources*. Alfred A. Knopf, Inc., New
York, 1930. subject: 20th century notation.
• O.F. Deutsch. *Music Publishers’ Numbers*. London, 1946.
subject: history of music printing and engraving.
• Suzanne Eggleston. 
s*. _New periodicals_, 51(2)657(7), Dec
1994. A list of new music periodicals covering the period
Jun.-Dec. 1994. Includes aims, formats and a description of the
contents of each listed periodical. Includes Music Notation News.
• Hubert Foss. *Music Printing*. Practical Printing and Binding.
Oldhams Press Ltd., Long Acre, London. subject: musical notation.
• Jean Charles Francois. *Writing without representation, and
unreadable notation.*. _Perspectives of New Music_, 30(1):6(15),
Winter 1992. subject: Modern music has outgrown notation. While
the computer is used to write down music with accuracy never before
achieved, the range of modern sounds has surpassed the relevance of
the computer...
• David Fuller. *The Journal of Musicology*, volume 7. Winter 1989.
Notes and inegales unjoined: defending a definition. (written-out
inequalities in music notation).
• Virginia Gaburo. *Notation*. Lingua Press, La Jolla, California,
1977. A Lecture about notation, new ideas about.
• Keith A Hamel. *A design for music editing and printing software
based on notational syntax*. _Perspectives of New Music_,
27(1):70(14), Winter 1989.
• Archibald Jacob. *Musical handwriting : or, How to put music on
paper : A handbook for all musicians, professional and amateur*.
Oxford University Press, London, 1947. subject: Musical notation.
• Harold M Johnson. *How to write music manuscript an
exercise-method handbook for the music student, copyist, arranger,
composer, teacher*. Carl Fischer, Inc., New York, 1946. subject:
Musical notation –Handbooks, manuals.
• David Evan Jones. *Perspectives of New Music*. 1990. Speech
extrapolated. (includes notation).
• H King. *Four Hundred Years of Music Printing*. London, 1964.
subject: history of music printing and engraving.
• A.H King. *The 50th Anniversary of Music Printing*. 1973.
• O Kinkeldey. *Music And Music Printing in Incunabula*. _Papers of
the Bibliographical Society of America_, xxvi:89-118, 1932.
subject: history of music printing and engraving.
• D.W. Krummel. *Graphic Analysis in Application to Early American
Engraved Music*. _Notes_, xvi:213, 9 1958. subject: history of
music printing and engraving.
• D.W Krummel. *Oblong Format in Early Music Books*. _The Library_,
5th ser., xxvi:312, 1971. subject: history of music printing and
engraving.
• Jeffrey Lependorf. *?*. _Perspectives of New Music_,
27(2):232(20), Summer 1989. Contemporary notation for the
shakuhachi: a primer for composers. (Tradition and Renewal in the
Music of Japan).
• G.A Marco. *The Earliest Music Printers of Continental Europe: a
Checklist of Facsimiles Illustrating Their Work*. Charlottesville,
Virginia, 1962. subject: history of music printing and engraving.
• K. Meyer and J O’Meara. *The Printing of Music, 1473-1934*. _The
Dolphin_, ii:171–207, 1935. subject: history of music printing and
engraving.
• Raymond Monelle. *Comparative Literature*, volume 41. Summer
1989. Music notation and the poetic foot.
• A Novello. *Some Account of the Methods of Musick Printing, with
Specimens of the Various Sizes of Moveable Types and of Other
Matters*. London, 1847. subject: history of music printing and
engraving.
• C.B Oldman. *Collecting Musical First Editions*. London, 1934.
subject: history of music printing and engraving.
• Carl Parrish. *The Notation of Medieval Music*. Carl Fischer,
Inc., New York, 1946. subject: early notation.
• Carl Parrish. *The notation of medieval music*. Norton, New York,
1957. Musical notation.
• Harry Patch. *Genesis of a Music*. University of Wisconsin Press,
Madison, 1949. subject: early notation.
• B Pattison. *Notes on Early Music Printing*. _The Library_,
xix:389-421, 1939. subject: history of music printing and
engraving.
• Sandra Pinegar. *Current Musicology*. Number 53. July 1993. The
seeds of notation and music paleography.
• Richard Rastall. *The notation of Western music : an
introduction*. St. Martin’s Press, New York, N.Y., 1982. Musical
notation.
• Richard Rastall. *Music & Letters*, volume 74. November 1993.
Equal Temperament Music Notation: The Ailler-Brennink Chromatic
Notation. Results and Conclusions of the Music Notation Refor by
the Chroma Foundation (book reviews).
• Howard Risatti. *New Music Vocabulary*. University of Illinois
Press, Urbana, Illinois, 1975. A Guide to Notational Signs for
Contemporary Music.
• Donald W. Krummel \& Stanley Sadie. *Music Printing & Publishing*.
Macmillan Press, 1990. subject: musical notation.
• Norman E Smith. *Current Musicology*. Number 45-47. Jan-Dec
1990. The notation of fractio modi.
• W Squire. *Notes on Early Music Printing*. _Bibliographica_,
iii(99), 1897. subject: history of music printing and engraving.
• Robert Steele. *The Earliest English Music Printing*. London,
1903. subject: history of music printing and engraving.
• Willy Tappolet. *La Notation Musicale*. Neuchâtel, Paris, 1947.
subject: general notation.
• Leo Treitler. *The Journal of Musicology*, volume 10. Spring
1992. The unwritten and written transmission, of medieval chant
and the start-up of musical notation. Notational practice
developed in medieval music to address the written tradition for
chant which interacted with the unwritten vocal tradition.
• unknown author. *Pictorial History of Music Printing*. H. and A.
Selmer, Inc., Elhardt, Indiana. subject: history of music printing
and engraving.
• M.L West. *Music & Letters*, volume 75. May 1994. The Babylonian
musical notation and the Hurrian melodic texts. A new way of
deciphering the ancient Babylonian musical notation.
• C.F. Abdy Williams. *The Story of Notation*. Charles Scribner’s
Sons, New York, 1903. subject: general notation.
• Emmanuel Wintermitz. *Musical Autographs from Monteverdi to
Hindemith*. Princeton University Press, Princeton, 1955. subject:
history of music printing and engraving.
Computer notation bibliography
------------------------------
• G. Assayaag and D. Timis. *A Toolbox for music notation*. In
_Proceedings of the 1986 International Computer Music Conference_,
1986.
• M. Balaban. *A Music Workstation Based on Multiple Hierarchical
Views of Music*. San Francisco, In _Proceedings of the 1988
International Computer Music Conference_, 1988.
• Alan Belkin. *Macintosh Notation Software: Present and Future*.
_Computer Music Journal_, 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.
• Herbert Bielawa. *Review of Sibelius 7*. _Computer Music
Journal_, 1993?. A raving review/tutorial of Sibelius 7 for Acorn.
(And did they seriously program a RISC chip in ... assembler ?!)
HWN.
• Dorothea Blostein and Lippold Haken. *Justification of Printed
Music*. _Communications of the ACM_, J34(3):88-99, March 1991.
This paper provides an overview of the algorithm used in LIME for
spacing individual lines. HWN.
• Dorothea Blostein and Lippold Haken. *The Lime Music Editor: A
Diagram Editor Involving Complex Translations*. _Software Practice
and Experience_, 24(3):289–306, march 1994. A description of
various conversions, decisions and issues relating to this
interactive editor HWN.
• Nabil Bouzaiene, Loïc Le Gall, and Emmanuel Saint-James. *Une
bibliothèque pour la notation musicale baroque*. LNCS. In _EP
’98_, 1998. Describes ATYS, an extension to Berlioz, that can
mimick handwritten baroque style beams.
• Donald Byrd. *A System for Music Printing by Computer*.
_Computers and the Humanities_, 8:161-72, 1974.
• Donald Byrd. *Music Notation by Computer*. PhD thesis, Indiana
University, 1985. Describes the SMUT (sic) system for automated
music printout.
• Donald Byrd. *Music Notation Software and Intelligence*.
_Computer Music Journal_, 18(1):17–20, 1994. Byrd (author of
Nightingale) shows four problematic fragments of notation, and
rants about notation programs that try to exhibit intelligent
behaviour. HWN.
• Walter B Hewlett and Eleanor Selfridge-Field. *Directory of
Computer Assisted Research in Musicology*. . Annual editions
since 1985, many containing surveys of music typesetting
technology. SP.
• Alyssa Lamb. *The University of Colorado Music Engraving page*.
1996. Webpages about engraving (designed with finale users in
mind) (sic) HWN.
• Roger B. Dannenberg. *Music Representation: Issues, Techniques,
and Systems*. _Computer Music Journal_, 17(3), 1993. This article
points to some problems and solutions with music representation.
HWN.
• Michael Droettboom. *Study of music Notation Description
Languages*. Technical Report, 2000. GUIDO and lilypond compared.
LilyPond wins on practical issues as usability and availability of
tools, GUIDO wins on implementation simplicity.
• R. F. Ericson. *The DARMS Project: A status report*. _Computing
in the humanities_, 9(6):291–298, 1975. Gourlay [gourlay86]
writes: A discussion of the design and potential uses of the DARMS
music-description language.
• H.S. Field-Richards. *Cadenza: A Music Description Language*.
_Computer Music Journal_, 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.
• Miguel Filgueiras. *Some Music Typesetting Algorithms*. .
• Miguel Filgueiras and José Paulo Leal. *Representation and
manipulation of music documents in SceX*. _Electronic Publishing_,
6(4):507–518, 1993.
• Miguel Filgueiras. *Implementing a Symbolic Music Processing
System*. 1996.
• Eric Foxley. *Music — A language for typesetting music scores*.
_Software — Practice and Experience_, 17(8):485-502, 1987. A paper
on a simple TROFF preprocessor to typeset music.
• Loïc Le Gall. *Création d’une police adaptée à la notation
musicale baroque*. Master’s thesis, École Estienne, 1997.
• Martin Gieseking. *Code-basierte Generierung interaktiver
Notengraphik*. PhD thesis, Universität Osnabrück, 2001.
• David A. Gomberg. *A Computer-Oriented System for Music Printing*.
PhD thesis, Washington University, 1975.
• David A. Gomberg. *A Computer-oriented System for Music Printing*.
_Computing and the Humanities_, 11:63-80, march 1977. Gourlay
[gourlay86] writes: "A discussion of the problems of representing
the conventions of musical notation in computer algorithms.".
• John. S. Gourlay. *A language for music printing*.
_Communications of the ACM_, 29(5):388–401, 1986. This paper
describes the MusiCopy musicsetting system and an input language to
go with it.
• John S. Gourlay, A. Parrish, D. Roush, F. Sola, and Y. Tien.
*Computer Formatting of Music*. 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.
• John S. Gourlay. *Spacing a Line of Music,*. Technical Report
OSU-CISRC-10/87-TR35, Department of Computer and Information
Science, The Ohio State University, 1987.
• John Grøver. *A computer-oriented description of Music Notation.
Part III: Accidental Positioning*. Technical Report 135,
Department of informatics, University of Oslo, 1989. Placement of
accidentals crystallised in an enormous set of rules. Same remarks
as for [grover89-twovoices] applies.
• John Grøver. *A computer-oriented description of Music Notation.
Part I. The Symbol Inventory*. 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.
[wanske].
• John Grøver. *A computer-oriented description of Music Notation.
Part II: Two Voice Sharing a Staff, Leger Line Rules, Dot
Positioning*. 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 [parrish87-simultaneities].
• Lippold Haken and Dorothea Blostein. *The Tilia Music
Representation: Extensibility, Abstraction, and Notation Contexts
for the Lime Music Editor*. _Computer Music Journal_, 17(3):43–58,
1993.
• Lippold Haken and Dorothea Blostein. *A New Algorithm for
Horizontal Spacing of Printed Music*. Banff, In _International
Computer Music Conference_, pages 118-119, Sept 1995. This
describes an algorithm which uses springs between adjacent columns.
• Wael A. Hegazy. *On the Implementation of the MusiCopy Language
Processor,*. 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 [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.
• Wael A. Hegazy and John S. Gourlay. *Optimal line breaking in
music*. Technical Report OSU-CISRC-8/87-TR33, Department of
Computer and Information Science, The Ohio State University,, 1987.
• Wael A. Hegazy and John S. Gourlay. (J. C. van Vliet, editor).
*Optimal line breaking in music*. Cambridge University Press, In
_Proceedings of the International Conference on Electronic
Publishing, Document Manipulation and Typography. Nice (France)_,
April 1988.
• Walter B. Hewlett and Eleanor Selfridge-Field, editors. *The
Virtual Score; representation, retrieval and restoration*.
Computing in Musicology. MIT Press, 2001.
• H. H. Hoos, K. A. Hamel, K. Renz, and J. Kilian. *The GUIDO Music
Notation Format—A Novel Approach for Adequately Representing
Score-level Music*. In _Proceedings of International Computer
Music Conference_, pages 451–454, 1998.
• Peter S. Langston. *Unix music tools at Bellcore*. _Software —
Practice and Experience_, 20(S1):47–61, 1990. This paper deals
with some command-line tools for music editing and playback.
• Dominique Montel. *La gravure de la musique, lisibilité
esthétique, respect de l’oevre*. Lyon, In _Musique \& Notations_,
1997.
• Giovanni Müller. *Interaktive Bearbeitung konventioneller
Musiknotation*. PhD thesis, Eidgenössische Technische Hochschule
Zürich, 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.
• Han Wen Nienhuys and Jan Nieuwenhuizen. *LilyPond, a system for
automated music engraving*. Firenze, In _XIV Colloquium on Musical
Informatics_, pages 167–172, May 2003.
• Cindy Grande. *NIFF6a Notation Interchange File Format*. Grande
Software Inc., 1995. Specs for NIFF, a reasonably comprehensive
but binary format for notation HWN.
• Severo M. Ornstein and John Turner Maxwell III. *Mockingbird: A
Composer’s Amanuensis*. Technical Report CSL-83-2, Xerox Palo Alto
Research Center, 3333 Coyote Hill Road, Palo Alto, CA, 94304,
January 1983.
• Severo M. Ornstein and John Turner Maxwell III. *Mockingbird: A
Composer’s Amanuensis*. _Byte_, 9, January 1984. A discussion of
an interactive and graphical computer system for music composition.
• Stephen Dowland Page. *Computer Tools for Music Information
Retrieval*. 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.
• Allen Parish, Wael A. Hegazy, John S. Gourlay, Dean K. Roush, and
F. Javier Sola. *MusiCopy: An automated Music Formatting System*.
Technical Report, 1987.
• A. Parrish and John S. Gourlay. *Computer Formatting of Musical
Simultaneities,*. 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").
• Steven Powell. *Music engraving today*. Brichtmark, 2002. A "How
Steven uses Finale" manual.
• Gary M. Rader. *Creating Printed Music Automatically*.
_Computer_, 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.
• Kai Renz. *Algorithms and data structures for a music notation
system based on GUIDO music notation*. PhD thesis, Universität
Darmstadt, 2002.
• René Roelofs. *Een Geautomatiseerd Systeem voor het Afdrukken van
Muziek*. Number 45327. 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.
• Joseph Rothstein. *Review of Passport Designs’ Encore Music
Notation Software*. _Computer Music Journal_, ?.
• Dean K. Roush. *Using MusiCopy*. Technical Report
OSU-CISRC-18/87-TR31, Department of Computer and Information
Science, The Ohio State University, 1987. User manual of MusiCopy.
• D. Roush. *Music Formatting Guidelines*. 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.
• Eleanor Selfridge-Field, editor. *Beyond MIDI: the handbook of
musical codes*. MIT Press, 1997. A description of various music
interchange formats.
• Donald Sloan. *Aspects of Music Representation in HyTime/SMDL*.
_Computer Music Journal_, 17(4), 1993. An introduction into HyTime
and its score description variant SMDL. With a short example that
is quite lengthy in SMDL.
• International Organization for Standardization~(ISO). *Information
Technology - Document Description and Processing Languages -
Standard Music Description Language (SMDL)*. Number ISO/IEC DIS
10743. 1992.
• Leland Smith. *Editing and Printing Music by Computer*, volume 17.
1973. Gourlay [gourlay86] writes: A discussion of Smith’s
music-printing system SCORE.
• F. Sola. *Computer Design of Musical Slurs, Ties and Phrase
Marks,*. 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.
• F. Sola and D. Roush. *Design of Musical Beams,*. Technical
Report OSU-CISRC-10/87-TR30, Department of Computer and Information
Science, The Ohio State University, 1987. Calculating beam slopes
HWN.
• Howard Wright. *how to read and write tab: a guide to tab
notation*. . FAQ (with answers) about TAB, the ASCII variant of
Tablature. HWN.
• Geraint Wiggins, Eduardo Miranda, Alaaaan Smaill, and Mitch Harris.
*A Framework for the evaluation of music representation systems*.
_Computer Music Journal_, 17(3), 1993. A categorisation of music
representation systems (languages, OO systems etc) split into high
level and low level expressiveness. The discussion of Charm and
parallel processing for music representation is rather vague. HWN.
Engraving bibliography
----------------------
• Harald Banter. *Akkord Lexikon*. Schott’s Söhne, Mainz, Germany,
1987. Comprehensive overview of commonly used chords. Suggests
(and uses) a unification for all different kinds of chord names.
• A Barksdale. *The Printed Note: 500 Years of Music Printing and
Engraving*. The Toledo Museum of Art, Toledo, Ohio, January 1957.
‘The exhibition "The Printed Note" attempts to show the various
processes used since the second of the 15th century for reproducing
music mechanically ... ’. The illustration mostly feature ancient
music.
• Laszlo Boehm. *Modern Music Notation*. G. Schirmer, Inc., New
York, 1961. Heussenstamm writes: A handy compact reference book in
basic notation.
• H. Elliot Button. *System in Musical Notation*. Novello and co.,
London, 1920.
• Herbert Chlapik. *Die Praxis des Notengraphikers*. Doblinger,
1987. An clearly written book for the casually interested reader.
It shows some of the conventions and difficulties in printing music
HWN.
• Anthony Donato. *Preparing Music Manuscript*. Prentice-Hall,
Englewood Cliffs, NJ, 1963.
• Donemus. *Uitgeven van muziek*. Donemus Amsterdam, 1982. Manual
on copying for composers and copyists at the Dutch publishing house
Donemus. Besides general comments on copying, it also contains a
lot of hands-on advice for making performance material for modern
pieces.
• William Gamble. *Music Engraving and printing. Historical and
Technical Treatise*. Sir Isaac Pitman & Sons, ltd., 1923. This
patriotic book was an attempt to promote and help British music
engravers. It is somewhat similar to Hader’s book [hader48] in
scope and style, but Gamble focuses more on technical details
(Which French punch cutters are worth buying from, etc.), and does
not treat typographical details, such as optical illusions. It is
available as reprint from Da Capo Press, New York (1971).
• Tom Gerou and Linda Lusk. *Essential Dictionary of Music
Notation*. Alfred Publishing, Van Nuys CA, 1996. A cheap,
concise, alphabetically ordered list of typesetting and music
(notation) issues with a rather simplistic attitude but in most
cases "good-enough" answers JCN.
• Karl Hader. *Aus der Werkstatt eines Notenstechers*.
Waldheim–Eberle Verlag, Vienna, 1948. Hader was a chief-engraver
in a Viennese engraving workshop. This beautiful booklet was
intended as an introduction for laymen on the art of engraving. It
contains a step by step, in-depth explanation of how to cut and
stamp music into zinc plates. It also contains a few compactly
formulated rules on musical orthography. Out of print.
• George Heussenstamm. *The Norton Manual of Music Notation*.
Norton, New York, 1987. Hands-on instruction book for copying (ie.
handwriting) music. Fairly complete. HWN.
• Klaus Ignatzek. *Die Jazzmethode für Klavier 1*. Schott, 1995.
This book contains a system for denoting chords that is used in
LilyPond.
• Andreas Jaschinski, editor. *Notation*. Number BVK1625.
Bärenreiter Verlag, 2000.
• Harold Johnson. *How to write music manuscript*. Carl Fischer,
Inc., New York, 1946.
• Erdhard Karkoshka. *Notation in New Music; a critical guide to
interpretation and realisation*. Praeger Publishers, New York,
1972. (Out of print).
• Mark Mc Grain. *Music notation*. Hal Leonard Publishing
Corporation, 1991. HWN writes: ‘Book’ edition of lecture notes
from XXX school of music. The book looks like it is xeroxed from
bad printouts. The content has nothing you won’t find in other
books like [read] or [heussenstamm].
• mpa. *Standard music notation specifications for computer
programming.*. MPA, December 1996. Pamphlet explaining a few fine
points in music font design HWN.
• Richard Rastall. *The Notation of Western Music: an Introduction*.
J. M. Dent \& Sons London, 1983. Interesting account of the
evolution and origin of common notation starting from neumes, and
ending with modern innovations HWN.
• Gardner Read. *Modern Rhythmic Notation*. Indiana University
Press, 1978. Sound (boring) review of the various hairy rhythmic
notations used by avant-garde composers HWN.
• Gardner Read. *Music Notation: a Manual of Modern Practice*.
Taplinger Publishing, New York, 1979. This is as close to the
“standard” reference work for music notation issues as one is
likely to get.
• Clinton Roemer. *The Art of Music Copying*. Roerick music co.,
Sherman Oaks (CA), 2nd edition, 1984. Out of print. Heussenstamm
writes: an instructional manual which specializes in methods used
in the commercial field.
• Glen Rosecrans. *Music Notation Primer*. Passantino, New York,
1979. Heussenstamm writes: Limited in scope, similar to
[Roemer84].
• Carl A Rosenthal. *A Practical Guide to Music Notation*. MCA
Music, New York, 1967. Heussenstamm writes: Informative in terms
of traditional notation. Does not concern score preparation.
• Ted Ross. *Teach yourself the art of music engraving and
processing*. Hansen House, Miami, Florida, 1987.
• Schirmer. *The G. Schirmer Manual of Style and Usage*. The G.
Schirmer Publications Department, New York, 2001. This is the
style guide for Schirmer publications. This manual specifically
focuses on preparing print for publication by Schirmer. It
discusses many details that are not in other, normal notation
books. It also gives a good idea of what is necessary to bring
printouts to publication quality. It can be ordered from the
rental department.
• Kurt Stone. *Music Notation in the Twentieth Century*. Norton,
New York, 1980. Heussenstamm writes: The most important book on
notation in recent years.
• Börje Tyboni. *Noter Handbok I Traditionell Notering*. Gehrmans
Musikförlag, Stockholm, 1994. Swedish book on music notation.
• Albert C. Vinci. *Fundamentals of Traditional Music Notation*.
Kent State University Press, 1989.
• Helene Wanske. *Musiknotation — Von der Syntax des Notenstichs zum
EDV-gesteuerten Notensatz*. Schott-Verlag, Mainz, 1988.
• Maxwell Weaner and Walter Boelke. *Standard Music Notation
Practice*. Music Publisher’s Association of the United States Inc,
New York, 1993.
• Johannes Wolf. *Handbuch der Notationskunde*. Breitkopf & Hartel,
Leipzig, 1919. Very thorough treatment (in two volumes) of the
history of music notation.
Info Catalog
lilypond-essay: Short literature list
lilypond-essay: Literature list