• 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. In Proceedings of the 1988 International Computer Music Conference, San Francisco, 1988. International Computer Music Association.

  • Alan Belkin. Macintosh notatino software: Present and future. Computer Music Journal, 18(1), 1994. 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.

  • 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 a shallow 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. In EP '98, LNCS, 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.

  • Donald Byrd. Music notation software and intelligence. Computer Music Journal, 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.

  • Roger B. Dannenberg. Music representation: Issues, techniques, and systems. Computer Music Journal, 17(3), 1993. The title says it all. This article does not make any statements, it points to some problems and solutions with music representation. HWN.

  • R. F. Erickson. The darms project: A status report. Computing in the humanities, 9(6):291-298, 1975.

  • 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 TROFF preprocessor to typeset music. The output shown is not very sophisticated, and contains some typographical atrocities HWN.

  • Loïc Le Gall. Création d'une police adaptée à la notation musicale baroque. Master's thesis, École Estienne, 1997.

  • David A. Gomberg. A Computer-oriented System for Music Printing, volume 11.

  • David A Gomberg. A Computer-Oriented System for Music Printing. PhD thesis, Washington University, 1975.

  • 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. 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. HWN.

  • 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. 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.

  • Cindy Grande. Niff6a notation interchange file format. 1995. Specs for NIFF, a reasonably comprehensive but binary (yuk) format for notation HWN.

  • John Grover. 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 Grover. 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. In stead, the formulated rules should follow from more general rules, similar to [Parrish and Gourlay, 1987].

  • John Grover. 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 [Grover, 1989b] applies.

  • 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. A description of Lime internals (which resemble older (before 0.0.68pre) LilyPond data structures somewhat) HWN.

  • Lippold Haken and Dorothea Blostein. A new algorithm for horizontal spacing of printed music. In International Computer Music Conference, pages 118-119, Banff, Sept 1995. This describes an algorithm which uses springs between adjacent columns. This algorithm is a "subclass" of the LilyPond algorithm. HWN.

  • 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. This generalizes TeX 's breaking algorithm to music. It also appeared in Document Manipulation and Typography, J.C. van Vliet (ed) 1988. HWN.

  • 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 & columns 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.

  • Peter S. Langston. Unix music tools at Bellcore, volume 20. 1990. 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.

  • Dominique Montel. La gravure de la musique, lisibilité esthétique, respect de l'oevre. In Musique & Notations, Lyon, 1997.

  • Giovanni Müller. Interaktive Bearbeitung konventioneller Musiknotation. PhD thesis, Eidgenössischen Technischen 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. The implementation therefore is quite "weak". The introductory chapters on engraving and notation are well structured and clear, though.

  • 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.

  • 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, Department of Computer and Information Science, The Ohio State University, 1987. A brief overview of MusiCopy HWN.

  • 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. Placement of balls, stems, dots which occur at the same moment ("Simultaneity") HWN.

  • 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. HWN.

  • René Roelofs. Een geautomatiseerd systeem voor het afdrukken van muziek. Master's thesis, Erasmus Universiteit Rotterdam, 1991. This dutch thesis describes a simplistic (monophonic) typesetting system, and focuses on the breaking algorithm, which is taken from Hegazy & Gourlay HWN.

  • Joseph Rothstein. Review of passport designs' encore music notation software. Computer Music Journal, ? A no-science-here review of Encore. HWN.

  • 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. Includes an impressive example piece. HWN.

  • 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.

  • 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.

  • Leland Smith. Editing and Printing Music by Computer, volume 17. 1973. If I remember correctly, this was concerned more with an input language than with the typography. SP.

  • 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.

  • 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 HWN.

  • unknown. Smdl, standard musical description language. 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. (PDF)

  • 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) splitted into high level and low level expressiveness. The discussion of Charm and parallel processing for music representation is rather vague. 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.