Verovio: a Library for Engraving Mei Music Notation Into Svg
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Institut Für Musikinformatik Und Musikwissenschaft
Institut für Musikinformatik und Musikwissenschaft Leitung: Prof. Dr. Christoph Seibert Veranstaltungsverzeichnis für das Sommersemester 2021 Stand 9.04.2021 Vorbemerkung: Im Sommersemester 2021 werden Lehrveranstaltungen als Präsenzveranstaltungen, online oder in hybrider Form (Präsenzveranstaltung mit der Möglichkeit auch online teilzunehmen) durchgeführt. Die konkrete Durchführung der Lehrveranstaltung hängt ab von der jeweils aktuellen Corona-Verordnung Studienbetrieb. Darüber hinaus ausschlaggebend sind die Anzahl der Teilnehmerinnen und Teilnehmer, die maximal zulässige Personenzahl im zugewiesenen Raum und inhaltliche Erwägungen. Die vorliegenden Angaben hierzu entsprechen dem aktuellen Planungsstand. Für die weitere Planung ist es notwendig, dass alle, die an einer Lehrveranstaltung teilnehmen möchten, sich bis Mittwoch, 07.04. bei der jeweiligen Dozentin / dem jeweiligen Dozenten per E-Mail anmelden. Geben Sie bitte auch an, wenn Sie aufgrund der Pandemie-Situation nicht an Präsenzveranstaltungen teilnehmen können oder möchten, etwa bei Zugehörigkeit zu einer Risikogruppe. Diese Seite wird in regelmäßigen Abständen aktualisiert, um die Angaben den aktuellen Gegebenheiten anzupassen. Änderungen gegenüber früheren Fassungen werden markiert. Musikinformatik Prof. Dr. Marc Bangert ([email protected]) Prof. Dr. Paulo Ferreira-Lopes ([email protected]) Prof. Dr. Eckhard Kahle ([email protected]) Prof. Dr. Christian Langen ([email protected]) Prof. Dr. Damon T. Lee ([email protected]) Prof. Dr. Marlon Schumacher ([email protected]) Prof. Dr. Christoph Seibert ([email protected]) Prof. Dr. Heiko Wandler ([email protected]) Tobias Bachmann ([email protected]) Patrick Borgeat ([email protected]) Anna Czepiel ([email protected]) Dirk Handreke ([email protected]) Daniel Höpfner ([email protected]) Daniel Fütterer ([email protected]) Rainer Lorenz ([email protected]) Nils Lemke ([email protected]) Alexander Lunt ([email protected]) Luís A. -
MOLA Guidelines for Music Preparation
3 MOLA Guidelines for Music Preparation Foreword These guidelines for the preparation of music scores and parts are the result of many hours of discussion regarding the creation and layout of performance material that has come through our libraries. We realize that each music publisher has its own set of guidelines for music engraving. For new or self-published composers or arrangers, we would like to express our thoughts regarding the preparation of performance materials. Using notation so!ware music publishers and professional composers and arrangers are creating scores and parts that are as functional and beautiful as traditionally engraved music. " .pdf (portable document format) is the suggested final file format as it is independent of application so!ware, hardware, and operating system. "ll ma%or notation so!ware has the option to save a file in this format. "s digital storage and distribution of music data files becomes more common, there is the danger that the librarian will be obliged to assume the role of music publisher, expected to print, duplicate, and bind all of the sheet music. &ot all libraries have the facilities, sta', or time to accommodate these pro%ects, and while librarians can advise on the format and layout of printed music, they should not be expected to act as a surrogate publisher. The ma%ority of printed music is now produced using one of the established music notation so!ware programs. (ome of the guidelines that follow may well be implemented in such programs but the so!ware user, as well as anyone producing material by hand, will still find them beneficial. -
Graphical Design of Physical Models for Real-Time Sound Synthesis
peter vasil GRAPHICALDESIGNOFPHYSICALMODELSFOR REAL-TIMESOUNDSYNTHESIS Masterarbeit Audiokommunikation und -technologie GRAPHICALDESIGNOFPHYSICALMODELS FORREAL-TIMESOUNDSYNTHESIS Implementation of a Graphical User Interface for the Synth-A-Modeler compiler vorgelegt von peter vasil Matr.-Nr.: 328493 Technische Universität Berlin Fakultät 1: Fachgebiet Audiokommunikation Abgabe: 25. Juli 2013 Peter Vasil: Graphical Design of Physical Models for Real-Time Sound Synthesis, Implementation of a Graphical User Interface for the Synth- A-Modeler compiler, © July 2013 supervisors: Prof. Dr. Stefan Weinzierl Dr. Edgar Berdahl ABSTRACT The goal of this Master of Science thesis in Audio Communication and Technology at Technical University Berlin, is to develop a Graph- ical User Interface (GUI) for the Synth-A-Modeler compiler, a text-based tool for converting physical model specification files into DSP exter- nal modules. The GUI should enable composers, artists and students to use physical modeling intuitively, without having to employ com- plex mathematical equations normally necessary for physical model- ing. The GUI that will be developed in the course of this thesis allows the creation of physical models with graphical objects for physical masses, links, resonators, waveguides, terminations, and audioout objects. In addition, this tool will be used to create a model for an Arabic oud to demonstrate its functionality. ZUSAMMENFASSUNG Das Ziel dieser Master Arbeit am Fachgebiet Audiokommunikation der TU Berlin, ist die Entwicklung einer graphischen Umgebung für die textbasierte Software, Synth-A-Modeler compiler, welche es erlaubt, ein speziell dafür entwickeltes Datei Format für physikalische Mod- elle, in externe DSP Module umzuwandeln. Die Software macht es Komponisten, Künstlern und Studenten möglich, physikalische Modellierung intuitiv zu anzuwenden, ohne die komplexen mathe- matischen Formeln, welche normalerweise für physikalische Model- lierung nötig sind, anwenden zu müssen. -
10 Steps to Producing Better Materials
10 STEPS TO PRODUCING BETTER MATERIALS If you are a composer who prepares your own parts, it’s pretty likely you are using computer software to typeset your music. The two most commonly used programs are Sibelius and Finale. I would like to offer some tips on how to prepare materials that are elegant and readable for your performers, so you won’t receive the dreaded call from the orchestra librarian “there are some serious problems with your parts.” 1. Proofread Your Score It may seem self evident, but I seldom receive a score from a composer that has been professionally proofread. Don’t trust the playback features of your software; they are helpful tools, but they can’t substitute for careful visual examination of the music. Be sure to print out the final score and carefully go through it. Proofreading onscreen is like scuba diving for treasure without a light; it’s pretty hit or miss what you will find. Pay particular attention to the extremes of the page and/or system (the end of one system, the start of the next). Be organized, and don’t try to read the music and imagine it in your head. Instead, try to look at the musical details and check everything for accuracy. Check items for continuity. If it says pizz., did you remember to put in arco? If the trumpet is playing with a harmon mute on page 10 and you never say senza sord., it will be that way for the rest of your piece, or the player will raise their hand in rehearsal and waste valuable time asking “do I ever remove this mute”? 2. -
Proposal to Encode Mediæval East-Slavic Musical Notation in Unicode
Proposal to Encode Mediæval East-Slavic Musical Notation in Unicode Aleksandr Andreev Yuri Shardt Nikita Simmons PONOMAR PROJECT Abstract A proposal to encode eleven additional characters in the Musical Symbols block of Unicode required for support of mediæval East-Slavic (Kievan) Music Notation. 1 Introduction East Slavic musical notation, also known as Kievan, Synodal, or “square” music notation is a form of linear musical notation found predominantly in religious chant books of the Russian Orthodox Church and the Carpatho-Russian jurisdictions of Orthodoxy and Eastern-Rite Catholicism. e notation originated in present-day Ukraine in the very late 1500’s (in the monumental Irmologion published by the Supraśl Monastery), and is derived from Renaissance-era musical forms used in Poland. Following the political union of Ukraine and Muscovite Russia in the 1660’s, this notational form became popular in Moscow and eventually replaced Znamenny neumatic notation in the chant books of the Russian Orthodox Church. e first published musical chant books using Kievan notation were issued in 1772, and, though Western musical notation (what is referred to as Common Music Notation [CMN]) was introduced in Russia in the 1700’s, Kievan notation continued to be used. As late as the early 1900’s, the publishing house of the Holy Synod released nearly the entire corpus of chant books in Kievan notation. e Prazdniki and Obihod chant books from this edition were reprinted in Russia in 2004; the compendium Sputnik Psalomschika (e Precentor’s Companion) was reprinted by Holy Trinity Monastery in Jordanville, NY, in 2012. ese books may be found in the choir los of many monasteries and parishes today. -
Efficient Algorithms for Music Engraving, Focusing on Correctness
Efficient Algorithms For Music Engraving, Focusing On Correctness Jeron Lau, Scott Kerlin Mathematics, Statistics and Computer Science Department Augsburg University 2211 Riverside Ave, Minneapolis, MN 55454 [email protected], [email protected] Abstract Designing a software algorithm for music engraving is a difficult problem. For the written score to be readable for instrumentalists and singers, the music must be presented in a way that is easy to follow. Currently existing music notation software often makes a compromise between a correctly engraved score and efficient algorithms. This paper covers better algorithms to use to properly layout notes, and other symbols within a measure. The algorithms do not become slower with larger scores, and all run at an amortized O(n), where n is the number of notes in that section of the score. These algorithms are developed with an open source software library for handling the music layout and animations for music software applications in mind. The techniques explored include using custom data structures that work well for this purpose. 1 Definitions This section of the paper describes music notation terms. 1.1 Stave The stave is made up of a series of horizontal lines, typically five. Notes are placed on the stave. Figure 1: The common 5-line stave (Musical notation samples within this paper are generated by the engraver program developed during this research project) 1.2 Stave Space A stave space is the space between two horizontal lines on the stave [1]. The stave space is a unit used in a similar manner to the em unit used in typography. -
Audio Software Developer (F/M/X)
Impulse Audio Lab is an audio company based in the heart of Munich. We are an interdisciplinary team of experts in interactive sound design and audio software development, working on innovative and pioneering projects focused on sound. We are looking for a Software Developer (f/m/x) for innovative audio projects You are passionate about audio and DSP algorithms and want to work on new products and solutions. The combination of audio processing and e-mobility sounds exciting to you. You want to solve complex problems through state-of-the-art software solutions and apply your knowledge and expertise to all aspects of the software development lifecycle. What are you waiting for? These could be your future responsibilities: • Handling complex audio software projects, from conception and architecture to implementation • Working on both client-oriented projects as well as our own growing product portfolio • Development, implementation and optimization of new algorithms for processing and generating audio • Sharing your experiences and knowledge with your colleagues This should be you: • You are educated to degree level or have equivalent experience in relevant fields such as Electrical Engineering, Media Technology or Computer Science • You have multiple years of experience programming audio software in C/C++, using frameworks such as Qt or JUCE and Audio Plug-in APIs • You are a team player and are also comfortable taking responsibility for your own projects • You are able to work collaboratively, from requirements to acceptance and in the corresponding tool landscape (Git, unit testing, build systems, automation, debugging, etc.) This could be a plus: • You have programming experience on embedded architectures (e.g. -
November 2.0 EN.Pages
Over 1000 Symbols More Beautiful than Ever SMuFL Compliant Advanced Support in Finale, Sibelius & LilyPond DocumentationAn Introduction © Robert Piéchaud 2015 v. 2.0.1 published by www.klemm-music.de — November 2.0 Documentation — Summary Foreword .........................................................................................................................3 November 2.0 Character Map .........................................................................................4 Clefs ............................................................................................................................5 Noteheads & Individual Notes ...................................................................................13 Noteflags ...................................................................................................................42 Rests ..........................................................................................................................47 Accidentals (Standard) ...............................................................................................51 Microtonal & Non-Standard Accidentals ....................................................................56 Articulations ..............................................................................................................72 Instrument Techniques ...............................................................................................83 Fermatas & Breath Marks .........................................................................................121 -
Sight Reading Complete for Drummers
!!! Free Preview !!! Sight Reading Complete for Drummers Volume 1 of 3 By Mike Prestwood An exploration of rhythm, notation, technique, and musicianship ISBN # 0-9760928-0-8 Published By Exclusively Distributed By Prestwood Publications Play-Drums.com www.prestwoodpublications.com www.play -drums.com Sight Reading Complete for Drummers © 1984, 2004 Mike Prestwood. All Rights Reserved. First Printing, September 2004 No part of this book may be photocopied or reproduced in any way without permission. Dedication I dedicate this method series to my first drum instructor Joe Santoro. Joe is a brilliant instructor and an exceptional percussionist. With his guidance, I progressed quickly and built a foundation for a lifetime of drumming fueled by his encouragement and enthusiasm. Cover Design: Patrick Ramos Cover Photography: Michelle Walker Music Engraving: Mike Prestwood Special thanks to: James LaRheir and Leslie Prestwood Contents Introduction.................................................................................1 Lesson 1: Technique .................................................................7 Lesson 2: Tempo and Beat Grouping.....................................9 Lesson 3: Whole, Half, Quarter ..............................................11 Lesson 4: Snare and Bass ......................................................13 Lesson 5: 2/4 and 3/4 Time.....................................................15 Lesson 6: 8th Notes .................................................................17 Lesson 7: 16th Notes...............................................................20 -
Cross-Platform 1 Cross-Platform
Cross-platform 1 Cross-platform In computing, cross-platform, or multi-platform, is an attribute conferred to computer software or computing methods and concepts that are implemented and inter-operate on multiple computer platforms.[1] [2] Cross-platform software may be divided into two types; one requires individual building or compilation for each platform that it supports, and the other one can be directly run on any platform without special preparation, e.g., software written in an interpreted language or pre-compiled portable bytecode for which the interpreters or run-time packages are common or standard components of all platforms. For example, a cross-platform application may run on Microsoft Windows on the x86 architecture, Linux on the x86 architecture and Mac OS X on either the PowerPC or x86 based Apple Macintosh systems. A cross-platform application may run on as many as all existing platforms, or on as few as two platforms. Platforms A platform is a combination of hardware and software used to run software applications. A platform can be described simply as an operating system or computer architecture, or it could be the combination of both. Probably the most familiar platform is Microsoft Windows running on the x86 architecture. Other well-known desktop computer platforms include Linux/Unix and Mac OS X (both of which are themselves cross-platform). There are, however, many devices such as cellular telephones that are also effectively computer platforms but less commonly thought about in that way. Application software can be written to depend on the features of a particular platform—either the hardware, operating system, or virtual machine it runs on. -
Grierson, Mick and Fiebrink, Rebecca. 2018. User-Centred Design Actions for Lightweight Evaluation of an Interactive Machine Learning Toolkit
Bernardo, Francisco; Grierson, Mick and Fiebrink, Rebecca. 2018. User-Centred Design Actions for Lightweight Evaluation of an Interactive Machine Learning Toolkit. Journal of Science and Technology of the Arts (CITARJ), 10(2), ISSN 1646-9798 [Article] (In Press) http://research.gold.ac.uk/23667/ The version presented here may differ from the published, performed or presented work. Please go to the persistent GRO record above for more information. If you believe that any material held in the repository infringes copyright law, please contact the Repository Team at Goldsmiths, University of London via the following email address: [email protected]. The item will be removed from the repository while any claim is being investigated. For more information, please contact the GRO team: [email protected] Journal of Science and Technology of the Arts, Volume 10, No. 2 – Special Issue eNTERFACE’17 User-Centred Design Actions for Lightweight Evaluation of an Interactive Machine Learning Toolkit Francisco Bernardo Mick Grierson Rebecca Fiebrink Department of Computing Department of Computing Department of Computing Goldsmiths, University of London Goldsmiths, University of London Goldsmiths, University of London London SE14 6NW London SE14 6NW London SE14 6NW ----- ----- ----- [email protected] [email protected] [email protected] ----- ----- ----- ABSTRACT KEYWORDS Machine learning offers great potential to developers User-centred Design; Action Research; Interactive and end users in the creative industries. For Machine Learning; Application Programming example, it can support new sensor-based Interfaces; Toolkits; Creative Technology. interactions, procedural content generation and end- user product customisation. However, designing ARTICLE INFO machine learning toolkits for adoption by creative Received: 03 April 2018 developers is still a nascent effort. -
Jean-Pierre Coulon
Repository of music-notation mistakes or Essay on the true art of music engraving Jean-Pierre Coulon coulon@ ob s - ni c.fe r April 4, 2011 intended for: users of music-typesetting software packages, • developers of such packages, • traditional music-engravers, • sheet-music collectors, • those keen on problems of semantics, semiology, philology , etc. • NB: These examples are certainly musically worthless: do not read them with your instrument :-) To limit myself to the essential, and lacking sufficient expertise, I do not deal with any of these neighboring, exciting topics: music theory, harmony, composition, etc. • comparative test of various typesetting packages, • how to interpret the quoted symbols according to epochs, • copyright issues, • percussion notation, and plucked-string instrument tablatures, • very-early-music notation, and avant-garde music notation. I• apologize to readers of some countries for having adhered to the U.S. terminology 1 General issues 1.1 When simultaneous notes are present on the same staff, two notations are posssible: chord notation, or multiple-voice, a.k.a. polyphonic notation. ĽĽ ĽĽ G ˇ ˇˇ ˇˇ ˇˇ G ˇ> ˇ ˇˇ ˇ ĽĽ Of course, if parts have distinct rythms, the polyphonic notation is required. 1 from here: This side: incorrect. This side: correct. 1.2 Do your best to place page-turns at places acceptable for the musician, otherwise he will either require a “page-turner”, or labor to arrange chunks of photocopies. Since modern musical scores are smaller than before, this demands more efforts from the music engraver. The actual print size, i.e. omitting margins, of most scores from former epochs, almost matched the usual format of most of modern scores including the margins.