Abstract
Material published on the subject of Acquisition, Representation and Reconstruction of printed music by computer is reviewed.
The paper is divided into three sections. 1. Acquisition covers music data entry by automatic pattern recognition, directly-connected keyboard, soundtrack analysis, purpose-built hardware and other, compromise, methods. 2. Representation deals with Music Representational Languages (with particular reference to DARMS, MUSTRAN and ALMA), their background, structure, software support, and associated problems concerning score reconstruction. 3. Reconstruction discusses briefly the hardware available for computerized printing of sheet music.
An Appendix is included which lists a representative selection of the most significant computer systems for printing music. The Bibliography contains nearly 200 references from diverse publications.
Similar content being viewed by others
Bibliography
A-R Editions. A-REditions (publicity material), 1985.
Aikin, J. “Keyboard Report: The Alpha Syntauri”. Keyboard, 9, 6 (1983), 78–90.
Ashton, A. C. “Electronics, Music and Computers”. PhD dissertation, University of Utah, Salt Lake City, 1970.
Bailey, R. W. (ed.) Computing in the Humanities. Papers from the Fifth International Conference on Computing in the Humanities. New York, NY: Elsevier North-Holland, 1982.
Balsach, L. La Ma de Guido (publicity material), 1986.
Battier, M. and J. Arveiller. Documents. Musique et Informatique: Une Bibliographie Indexée. Ivry sur Seine: Elmeratto, 1978.
Bauer-Mengelberg, S. “The Ford-Columbia Input Language”. In Brook, 1970a, pp. 48–52.
Bauer-Mengelberg, S. Letter. “Music: The Photon Printer and DARMS”. Computers and the Humanities, 6 (1972), 110.
Bauer-Mengelberg, S. “Digital Alternate Representation of Musical Scores (DARMS) — Project No. M92”. Computers and the Humanities, 8 (1974a), 255.
Bauer-Mengelberg, S. and M. Ferentz. “Utilization of HighSpeed Digital Computers in the Preparation of Master Plates for Music Printing — Project No. M91”. Computers and the Humanities, 8 (1974b), 255.
BÖker-Heil, N. “Plotting Conventional Music Notation”. Journal of Music Theory, 16, 1&2 (1972), 72–101.
Boody, C. G. “Non-Compositional Applications of the Computer to Music: An Evaluative Study of Materials Published in America Through June 1973”. PhD dissertation, University of Minnesota, 1975.
Bowles, E. (ed.) Computers in Humanistic Research. Englewood Cliffs, NJ: Prentice Hall, 1967.
Bowles, E. “Review: Elektronische Datenverarbeitung in der Musikwissenschaft, H. Heckmann (ed)”.Computers and the Humanities, 4 (1970), 207-19.
Bowles, G. H. “The Computer-Produced Thematic Catalog: An Index to the ‘Pièces de Violes’ of Marin Marais”. PhD dissertation, Stanford University, 1974.
Brook, B. S. and M. Gould. “Notating Music with Ordinary Typewriter Characters: (A Plaine and Easie Code System for Musicae)”. Fontes Artis Musicae, 11, 3 (1964), 142–55.
Brook, B. S. “The Simplified ‘Plaine and Easie Code System” for Notating Music: A Proposal for International Adoption”. Fontes Artis Musicae, 12, 2–3 (1965), 156–60.
Brook, B. S. “Music Printing by Plotter and Cathode-Ray Tube — Project No. M23”. Computers and the Humanities, 1 (1966/67), 227–28.
Brook, B. S. (ed.)Musicology and the Computer. American Musicological Society — Greater New York Chapter — Symposia Proceedings, 1965–66. City University of New York Press, 1970a.
Brook, B. S. “The Plaine and Easie Code”, 1970b. In Brook, 1970a, pp. 53–56.
Buxton, W. Design Issues in the Foundation of a Computer-Based Tool for Music Composition. Technical Report CSRG-97. Toronto: University of Toronto, 1978a.
Buxton, W.et al “The Use of Hierarchy and Instance in a Data Structure for Computer Music”. Computer Music Journal, 2, 4 (1978b), 10–20.
Buxton, W.et al “The Evolution of the SSSP Score Editing Tools”. Computer Music Journal, 3, 4 (1979), 14–25, 60.
Buxton, W. et al. “On the Specification of Scope in Interactive Score Editors”. In Howe, 1980, pp. 86–95.
Buxton, W.et al “Scope in Interactive Score Editors”. Computer Music Journal, 5, 3 (1981), 50–56.
Byrd, D. “Transcription by Plotter”.Random Bits (Indiana University), 5, 9 (1970), 1ff.
Byrd, D. “Creative Work in Humanities Programming”.Random Bits (Indiana University), 6, 1 (1971), 8–12.
Byrd, D. “Musical Graphics — Project No. M79”. Computers and the Humanities, 7 (1972), 126–27.
Byrd, D. “A System for Music Printing by Computer”. Computers and the Humanities, 8 (1974), 161–72.
Byrd, D. “Music Notation by Computer — Project No. M60”. Computers and the Humanities, 10 (1976), 51–52.
Byrd, D. “An Integrated Computer Music Software System”. Computer Music Journal, 1, 2 (1977), 55–60.
Byrd, D. “Human Engineering in a Machine Independent Music Notation System”. In Howe, 1980, pp. 306–23.
Byrd, D. “Music Notation by Computer”. PhD dissertation, Indiana University, 1984.
Cantor, D. “A Computer Program that Accepts Common Musical Notation”.Computers and the Humanities, 6 (1971),103–10.
Card, S. K., T. P. Moran, and A. Newell.The Psychology of Human-Computer Interaction. Hillsdale, NJ: Lawrence Erlbaum Associates, 1983.
Carter, N. “Music Maker”.Your Computer, 4, 1 (1984), 189, 193.
Chafe, C., B. Mont-Reynaud, and L. Rush. “Toward an Intelligent Editor of Digital Audio: Recognition of Musical Constructs”.Computer Music Journal, 6, 1 (1982), 30–41.
Clements, P. J. “Computers and Musical Notation”.Studies in Music from the University of Western Ontario, 5 (1980a), 145–72.
Clements, P. J. “Musical Data Structures in a Multi-Use Environment”, 1980b. In Howe, 1980, pp. 231–44.
Con, Brio. “Products of Interest”.Computer Music Journal, 6, 2 (1982).
Dal Molin, A. “The Music Reprographics System”.Computational Musicology Newsletter, 1, 1 (1973), 8.
Dal Molin, A. “The X-Y Typewriters and Their Application as Music Input Terminals for the Computer”.Proceedings of the Second Annual Music Computation Conference, part 4. Ed. Beauchampe and Melby. University of Illinois, pp. 28–53.
Dal Molin, A. “Second Generation Music Input Terminals: The PCS-300 Music CRT”. Paper presented at the First International Conference on Computer Music, Massachusetts Institute of Technology, October 1976.
Dal Molin, A. “A Terminal for Music Manuscript Input”.Computers and the Humanities, 12 (1978), 287–89.
Dataland Co. “Music Printing: Dataland's Scan-note System”.Computer Music Journal, 3, 1 (1979), 60–61.
Davis, D. S. “Computer Applications in Music: a Bibliography”. In Howe, 1980, 2.
Donato, A.Preparing Music Manuscript. Englewood Cliffs, NJ: Prentice Hall, 1963.
Druesedow, J. E. “Review: A Bibliography of Computer Applications in Music (ed. Kostka, S. M.)”.Computers and the Humanities, 9 (1975),147–48.
Eden, M. “Other Pattern Recognition Problems and Some Generalizations”. InRecognizing Patterns. Ed. M. Eden and P. Kolers. Cambridge MA: Massachusetts Institute of Technology Press, pp. 196–225.
Ellis, D. “The Gentle Art of Transcription (Part 2)”.Electronics & Music Maker, (June 1984).
Erickson, R. F. “Musical Analysis and the Computer”.Computers and the Humanities, 3 (1968), 84–104.
Erickson, R. F. “A General-Purpose System for Computer-Aided Musical Studies”.Journal of Music Theory, 13 (1969), 276–94.
Erickson, R. F. “Rhythmic Problems and Melodic Structure in ‘Organum Purum’: A Computer-Assisted Study”. PhD dissertation, Yale University, 1970a.
Erickson, R. F. “Music and the Computer in the Sixties”.American Federation for Information Processing Societies, Spring Joint Computer Conference, 1970b, pp. 281–85.
Erickson, R. F. “Review: The Computer and Music (ed. Lincoln, H. B.)”. Journal of the American Musicological Society, 25, 1 (1972a), 102–107.
Erickson, R. F. “The Uses of Computers in Music: A State of the Art Report”.Proceedings of the First USA-Japan Computer Conference, 1972b, pp. 124–29.
Erickson, R. F. “The DARMS Project: A Status Report”.Computers and the Humanities, 9 (1975), 291–98.
Erickson, R. F.DARMS Language Reference Manual, 1976.
Erickson, R. F. “MUSICOMP 76 and the State of DARMS”.College Music Symposium, 17, 1 (1977), 90–101.
Erickson, R. F. and A. Wolff. “The DARMS Project: Implementation of an Artificial Language for the Representation of Music”.Trends in Linguistics (Studies and Monographs, 19). Berlin and New York: Mouton, 1983, pp. 171–219.
Feldman, M. A. “Printing Music on a Plotter from DARMS Input — Project No. M81”.Computers and the Humanities, 7 (1973), 314.
Foster, S., W. A. Schloss, and A. J. Rockmore. “Toward an Intelligent Editor of Digital Audio: Signal Processing Methods”.Computer Music Journal, 6, 1 (1982), 42–51.
Freeman, D. “Man or Mouse?”Personal Computer World (March 1986),152–55.
Freff. “Making Music with the Well-Synthesized PC. (Personal Composer — Jim Miller)”.PC Magazine (December 1983).
Gabura, A. J. “Musical Plotter Knows the Score at University of Toronto”.CalComp Newsletter (May/June 1967a).
Gabura, A. J. and C. C. Gotheb. “A System for Keypunching Music”.Bulletin of the Computer Society of Canada, 8, 1 (1967/68b), 14–22.
Gamble, W.Music Engraving and Printing: Historical and Technical Treatise. New York: DaCapo Press, 1971.
Gilbert, J. V. “The Well-Tempered McLeyvier: Music Marries the New Technology”.Symphony Magazine, (June/July 1982).
Gomberg, D. A. “Automatic Music Printing — Project No. M73”.Computers and the Humanities, 6 (1972), 316.
Gomberg, D. A. “A Computer-Oriented System for Music Printing”. DSc dissertation, Sever Institute of Technology of Washington University, 1975.
Gomberg, D. A. “A Computer-Oriented System for Music Printing”.Computers and the Humanities, 11 (1977), 63–80.
Gould, M. and G. Logemann. “ALMA: Alphameric Language for Music Analysis”, 1970. In Brook, 1970a, pp. 57–90.
Gourlay, J. S. “A Language for Music Printing”.Communications of the Association for Computing Machinery, 29, (1986), 388–401.
Heckmann, H. (ed.)Elektronische Datenverarbeitung in der Musikwissenschaft. Regensburg: Gustav Bosse Verlag, 1967.
Hewlett, W. B. and E. Selfridge-Field.Directory of Computer Assisted Research in Musicology. Menlo Park, CA: Center for Computer Assisted Research in the Humanities, 1985.
Hewlett, W. B. Personal communication, (April/May 1986a).
Hewlett, W. B. and E. Selfridge-Field.Directory of Computer Assisted Research in Musicology. Menlo Park, CA: Center for Computer Assisted Research in the Humanities, 1986b.
Hiller, L. A. and R. A. Baker. “Automated Music Printing”.Journal of Music Theory, 9, 1 (1965), 129–52.
Howe, H. S. (Jr.).Proceedings of the 1980 International Computer Music Conference. Queens College of the City University of New York, November 13–15, 1980.
Kassler, M. “Toward Musical Information Retrieval”.Perspectives of New Music, 4, 2 (1966), 59–67.
Kassler, M. “MIR — A Simple Programming Language for Musical Information Retrieval”, PhD dissertation, Princeton University, 1967.
Kassler, M. “An Essay Toward the Specification of a Music-reading Machine”. In Brook, 1970a, pp. 151–75.
Kassler, M. “MIR — A Simple Programming Language for Musical Information Retrieval”, 1970b. In Lincoln, 1970a, pp. 299–327.
Kassler, M. “Optical Character-recognition of Printed Music: a Review of Two Dissertations”.Perspectives of New Music, 11, 2 (1972), 250–54.
Knowlton, P. H. “Interactive Communication and Display of Keyboard Music”. PhD dissertation, University of Utah, 1971.
Knowlton, P. H. “Capture and Display of Keyboard Music”.Datamation (May 1972).
Komfeld, W. “MIT, LISP Machine Music Editor (MUZACS), illustrations”.Computer Music Journal, 4, 2 and 4, 3 (1980).
Kostka, S. M. “Recent Developments in Computer-Assisted Musical Scholarship”.Computers and the Humanities, 6 (1971), 15–21.
Kostka, S. M.A Bibliography of Computer Applications in Music. Music Indexes and Bibliographies, no 7. Hackensack, NJ: Joseph Boonin, 1974.
Laffangraf.Laffangraf — Music Editor (publicity material), 1985.
Lambert, M.THEME (publicity material), 1983.
Lefkoff, G. (ed.)Computer Applications in Music. University of West Virginia, 1966.
Lefkoff, G. (ed.)Papers from the West Virginia University Conference on Computer Applications in Music. Morgantown: University of West Virginia Library, 1967.
Lincoln, H. B. “The Computer Seminar at Binghamton: A Report”.Notes of the Music Library Association, 23, 2 (1966), 236–40.
Lincoln, H. B. (ed.)The Computer and Music. Ithaca: Cornell University Press, 1970a.
Lincoln, H. B. “The Current State of Music Research and the Computer”.Computers and the Humanities, 5 (1970b), 29–36.
Lincoln, H. B. “Toward a Computer Typography for Music Research: a Progress Report”.Information Processing 71: Proceedings of the IMP Congress 1971. Ed. C. V. Freiman. Amsterdam: North-Holland, 1972a, pp. 1427–30.
Lincoln, H. B. “Uses of the Computer in Music Composition and Research”.Advances in Computers. Ed. Rubinoff and Morris. New York: Academic-Press, 1972b, pp. 12, 73–114.
Lincoln, H. B. “Use of the Computer in Music Research: A Short Report on Accomplishments, Limitations, and Future Needs”.Computers and the Humanities, 8 (1974), 285–89.
Maas, K.Amadeus (publicity material), 1985.
Mathews, M. V. and J. J. Chang. “Score Drawing Program”.Journal of the Audio Engineering Society, 15, 3 (1967), 279–81.
Matsushima, T. et al. “Automated Recognition System for Musical Score”.Bulletin of Science and Engineering Research Laboratory Waseda University No. 112, (1985a), 25–52.
Matsushima, T. et al. “Automated High Speed Recognition of Printed Music (WABOT 2 Vision System)”.Proceedings of the International Conference on Advanced Robotics. Tokyo, September 9–10, 1985b, pp. 477–82.
Matsushima, T., S. Ohteru, and K. Kanamori. “Automatic Recognition of Printed Music”.Journal of the Acoustical Society of Japan, 41, 6 (1985c), 412–15. (In Japanese.)
Maxwell, J. T., III,Mockingbird Manual. Palo Alto: Xerox Palo Alto Research Center, 1982.
Maxwell, J. T., III, and S. M. Ornstein.Mockingbird: A Composer's Amanuensis. Palo Alto: Xerox Palo Alto Research Center, 1983.
Maxwell, J. T., III, and S. M. Ornstein. “Mockingbird: A Composer's Amanuensis”.BYTE, 9, 1 (1984), 384–401.
McLean, B. “Design of a Portable DARMS Translator”. In Howe, 1980, pp. 246–64.
McLeyvier. “Products of Interest”.Computer Music Journal, 6, 2 (1982).
Mercuri, R. “MANUSCRIPT: Music Notation for the Apple II”.Proceedings of the 1981 Symposium on Small Computers in the Arts. 1981, pp. 8–10.
Miller, J. “Personal Composer”.Computer Music Journal, 9, 4 (1985), 27–37.
Mitchell, J. L. (ed)Computers in the Humanities. Minneapolis: University of Minnesota Press, 1974.
Moody, G. “Professional Composer”.Practical Computing, 8, 8 (1985), 70–72.
Moorer, J. A. “On the Segmentation and Analysis of Continuous Musical Sound by Digital Computer”. PhD dissertation, Stanford University, 1975.
Moorer, J. A. “On the Transcription of Musical Sound by Computer”.Computer Music Journal, 1, 4 (1977).
Morehen., J. and I. Bent. “Computer Applications in Musicology”.The Musical Times, 120, 7 (1979), 563–66.
Morehen, J. “Review: Musique et Informatique: Une Bibliographie Indexée (Battier, M.)”.Computers and the Humanities, 14 (1980), 201.
Musecom. “Input-Output, Troxel's Musecom II”.High Fidelity, 27, 8 (1977), 106–107.
Nelson, G. “Computerized Music Printing — Project No. M87”.Computers and the Humanities, 8 (1973a), 50.
Nelson, G. and T. R. Penney. “Pattern Recognition in Musical Score — Project No. M88”.Computers and the Humanities, 8 (1973b), 50–51.
Nelson G. “MPL: A Program Library for Musical Data Processing”.Creative Computing, 3, 2 (1977), 76–81.
Orsted, K. “New Danish Computer Prints Music Scores”.Billboard 88, (March 20, 1976), 3, 57.
Pascall, R. “Music Analysis by Computer: A Conference Report (University of Nottingham)”.Computers and the Humanities, 14 (1980), 79.
Piszczalski, M. and B. A. Galler. “Automatic Music Transcription”.Computer Music Journal, 1, 4 (1977).
Piszczalski, M. and B. A. Galler. “Computer Analysis and Transcription of Performed Music: A Project Report”.Computers and the Humanities, 13 (1979), 195–206.
Piszczalski, M. and B. A. Galler. “Performed Music: Analysis, Synthesis and Display by Computer”.Journal of the Audio Engineering Society, 29, 1–2 (1981), 38–46.
Prerau, D. S. “Computer Pattern Recognition of Standard Engraved Music Notation”. PhD dissertation, Massachusetts Institute of Technology, 1970.
Prerau, D. S. “Computer Pattern Recognition of Printed Music”.Proceedings of the Fall Joint Computer Conference, American Federation for Information Processing Societies, Conference Proceedings, 39, November 1971, pp. 153–62.
Prerau, D. S. “DO-RE-MI: A Program that Recognizes Music Notation”.Computers and the Humanities, 9 (1975), 25–29.
Price, J. X. “$18,000 Musecom II: A Magical Computer Aids Music Publishing”.Billboard 89 (March 26, 1977). (Also in Educator 9, 4 (1977), 32–33.)
Pruett, J. “The Harpur College Music-Computer Seminar: A Report”.Computers and the Humanities, 1 (1966), 34–38.
Pruslin, D. H. “Automatic Recognition of Sheet Music”. ScD dissertation, Massachusetts Institute of Technology, 1967.
Raskin, J. “A Hardware Independent Computer Drawing System Using List Structured Modeling: The Quick-Draw Graphics System”. Master's dissertation, Pennsylvania State University, 1967.
Raskin, J. “Using the Computer as a Musician's Amanuensis. Part 1: Fundamental Problems”.BYTE, 5, 4 (1980a), 18–28.
Raskin, J. “Using the Computer as a Musician's Amanuensis. Part 2: Going from Keyboard to Printed Score”,BYTE, 5, 5 (1980b), 120–28.
Rastall, R.The Notation of Western Music. St Martin's Press, 1982.
Read, G.Music Notation: Manual of Modern Practice. 1974.
Read, G.Modern Rhythmic Notation. Indiana, 1978.
Reeves, W. et al. “Ludwig: an Example of Interactive Computer Graphics in a Score Editor”, 1978. In Roads, 1979, 2, pp. 392–409.
Regener, E. “A Multiple Pass Transcription System for Music Analysis by Computer”. In Heckmann, 1967, pp. 103–35.
Render, C. “The Development of a Computer Program to Arrange and Print Traditional Music Notation”. EdD dissertation, University of Illinois, 1981.
Roads, C. (ed./comp.).Proceedings of the 1978 International Computer Music Conference. Evanston, IL: Northwestern University Press, 1979.
Roads, C. “A Note on Music Printing by Computer”.Computer Music Journal, 5, 3 (1981), 57–59.
Rösing, H. and J. Schlichte. “Addition to Die Serie A/11 des Internationalen Quellenlexikons der Musik”.Fontes Artis Musicae, 32, 2 (1985), 117–18.
Ross, T.The Art of Music Engraving and Processing. Miami: Hansen Books, 1970.
Rothgeb, J. “Review: The Computer and Music (ed. Lincoln, H. B.). Musical Research by Computer: Some Current Limitations”.Computers and the Humanities, 5 (1971a), 178–82.
Rothgeb, J. “Review: Musicology and the Computer (ed. Brook, B. S.)”.Computers and the Humanities, 6 (1971b), 56–58.
Sargeant, W. “Music Notes (re: Dal Molin);”.New Yorker, (18 December 1971).
Scaletti, C. “The CERL Music Project at the University of Illinois”.Computer Music Journal, 9, 1 (1985), 45–58.
Schmid, V. and L. Haken.The Interactive Music System User's Manual. Urbana: University of Illinois Computer-based Education Research Laboratory, 1984.
Selfridge-Field, E. “Printing Music by Computer: Additions and Corrections”. October 1986a. (Supplement to Hewlett 1986b).
Selfridge-Field, E. Personal communication, November 1986b.
Seybold, J. et al. “Digital Typesetter Comparisons”.The Seybold Report on Publishing Systems, 12, 9 (1983).
Slawson, A. W. “Review of Computer Applications in Music (ed. Lefkoff, G.)”.Journal of Music Theory, 12, 1 (1968), 105–11.
Smith, L. “Editing and Printing Music by Computer”.Journal of Music Theory, 17, 2 (1973), 292–309.
Smith, L.Handbook of Harmonic Analysis. Palo Alto: San Andreas Press, 1979.
Soundchaser. “Products of Interest”.Computer Music Journal, 6, 2 (1982).
Soundchaser.Soundchaser Polywriter (publicity material), 1984.
Spiegel, L. Letter to the Editor.Computer Music Journal, 7, 2 (1983).
Stewart, D. N. “Circuit: a Report”.Perspectives of New Music, 11, 2 (1973), 265–68.
Stone, K.Music Notation in the Twentieth Century. Norton, 1980.
Strapac, S. “Report: Musicomp 1976”.Computers and the Humanities, 10 (1976), 343–45.
Styles, B. C. “Describing Music to a Computer”.International Journal of Man-Machine Studies, 6, 1 (1974), 125–34.
Summers, I. “Computer-Assisted Music Typography”.Professional Printer, 19 (1974), 22.
Synclavier. Synclavier (publicity material), 1983.
Tojo, A., and H. Aoyama. “Automatic Recognition of Music Score”.Proceedings of the Sixth International Conference on Pattern Recognition. 1982, p. 1223.
Toppan.Toppan Scan Note (publicity material), 1984.
Vendome, R. Personal communication, April/May 1986.
Vercoe, B. “Joint Review of The Computer and Music (ed. Lincoln, H. B.) and Musicology and the Computer (ed. Brook, B. S.)”.Perspectives of New Music, 9, 2 and 10, 1 (1971), 323–30.
Walraff, D. “Nedit — A Graphical Editor for Musical Scores”, 1978. In Roads, 1979, 2, pp. 410–50.
Watkins, W.MUSIGRAPH (publicity material), 1984.
Weber, M. “The Future for Non-impact Printers”.Computer Systems (February 1986a), 33–35.
Weber, M. “Choosing a Non-impact Printer”.Computer Systems (March 19866), p. 55–57.
Wenker, J. MUSTRAN — Project No. M45.Computers and the Humanities, 4 (1969), 138.
Wenker, J. “A Computer Oriented Music Notation Including Ethnomusicological Symbols”, 1970. In Brook, 1970a, pp. 91–129.
Wenker, J. “A Music Compiler for Musicologists and Ethnomusicologists — Project No. M32”.Computers and the Humanities, 7 (1972a), 124.
Wenker, J. “MUSTRAN II — An Extended MUSic TRANslator — Project No. M76”.Computers and the Humanities, 7 (1972b), 125.
Wenker, J. “MUSTRAN II: A Foundation for Computational Musicology”. In Mitchell, 1974, Edinburgh, pp. 267–80.
Wenker, J. “An Analytical Study of Anglo-Canadian Folksong”. PhD dissertation, Indiana University, 1977.
Wittlich, G. E., H. J. Martin, and C. R. Ellis. “Project SCORE — Project No. M82”.Computers and the Humanities, 7 (1973a), 314.
Wittlich, G. E. “Project SCORE”.Computational Musicology Newsletter, 1, 1 (1973b), 6.
Wittlich, G. E. “Non-Physics Measurements on the PEPR System: Seismograms and Music Scores”.Report to the Oxford Conference on Computer Scanning. Oxford: Nuclear Physics Laboratory, 1974, pp. 487–89.
Wittlich, G. E. “Direct Encoding of Music Scores by Organ Keyboard and Sonic Pen — Project No. M100”.Computers and the Humanities, 11 (1977), 41.
Wittlich, G. E., D. Byrd, and R. Nerheim. “A System for Interactive Encoding of Music Scores Under Computer Control”.Computers and the Humanities, 12 (1978a), 309–19.
Wittlich, G. E. “New Computer Tools for Music Research”.Indiana Theory Review, 1, 2 (1978b), 8–27.
Wolff, A. B. and S. Bauer-Mengelberg. “Development of a DARMS-to-Canonical DARMS Translator — Project No. M74”.Computers and the Humanities, 6 (1972), 316.
Wolff, A. B. “Problems of Representation in Musical Computing”.Computers and the Humanities, 11 (1977), 3–12.
Yamaha. “Yamaha-MP1 Miniprinter. New Products”.Computers and Electronics, January 1983, 11.
Yavelow, C. “Music Software for the Apple Macintosh”.Computer Music Journal, 9, 3 (1985), 52–67.
Yavelow, C. “Personal Computers and Music”.Journal of the Audio Engineering Society, 35, 3 (1987), 160–93.
Author information
Authors and Affiliations
Additional information
N. P. Carter and T. Messenger are in the Music Department, and R. A. Bacon in the Physics Department, all at the University of Surrey, Guildford, England.
Rights and permissions
About this article
Cite this article
Carter, N.P., Bacon, R.A. & Messenger, T. The acquisition, representation and reconstruction of printed music by computer: A review. Comput Hum 22, 117–136 (1988). https://doi.org/10.1007/BF00057651
Issue Date:
DOI: https://doi.org/10.1007/BF00057651