DOCSLIB.ORG

Basics of Self-Publishing by Ivan A. Trevino

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Basics of Self-Publishing by Ivan A. Trevino Basics of Self-Publishing By Ivan A. Trevino ost percussionists I know dabble in typically represents publishing companies, performances of your compositions, and are composing. Only a few, however, pos- not self-published composers.) In a standard able to negotiate your own fee. sess the basic entrepreneurial skills publishing deal, your publishing company will It is also important to know that as the Mneeded to turn their compositions probably keep 50% of your mechanical royalties; copyright owner of a composition, you have into supplemental income. I am referring to the other 50% will go to you, the composer. As the right to license the first sound recording self-publishing, a growing trend among many a self-published composer, you will keep 100% of your composition to whomever you’d like. If amateur and professional composers. of mechanical royalties. the first sound recording of your composition Many composers can benefit artistically and With that said, there is one main goal you is recorded and released to the public without financially from self-publishing. It allows them should have as a self-published composer: get your consent, you are able to seek legal damages to keep the rights to their compositions and people excited about your music, enough so that against the record label or artist that released to retain all income derived from publishing. they want to purchase the sheet music, perform your composition. After you license off the first Self-publishing also enables composers to mar- the work, and record it. Before I delve into this sound recording of your composition, any artist ket, promote, and sell their music on their own topic, let me first outline a strategy for self-pub- can legally record and publicly release sound terms. These independent composers, who have lishing one of your compositions. recordings of your composition without your the freedom to use non-traditional and more consent, as long as they pay you the statutory personalized marketing methods, may have a WHERE TO START mechanical rate for every copy sold. better chance of attracting today’s musicians. Your first step should be to register a copy- In order to establish yourself as a self-pub- right claim for your composition with the U.S. MARKETING TOOLS lished composer, you must first familiarize Copyright Office. This will protect your legal It’s now time to create a marketing plan for yourself with the basics of music publishing. rights to the composition and will allow you your composition. First, write a catchy pitch to seek damages in the event of copyright in- that describes the musical and emotional THE BASICS fringement. While this may sound complicated, elements of your work. Try to avoid general There are three common ways that your it is actually a simple process thanks to a new adjectives like “unique” or “different.” I like to compositions can make you money: online division of the U.S. Copyright Office: describe my pieces using artists that people Print Royalties: This is money generated the Electronic Copyright Office, or ECO. For may know. For example: “The piece sounds like from the reproduction and sales of printed $35.00, the ECO allows you to file a claim and Thom Yorke on marimba if he studied with sheet music of your composition. In a standard upload your files online, thus avoiding the tra- Gordon Stout.” A short paragraph of three to publishing deal, your publishing company will ditional hassle of mailing in forms, scores, and four strong sentences is all you need. probably keep 90% of the print royalties; 10% sound recordings. Visit www.copyright.gov/eco The next thing you should do is create a will go to you, the composer. As a self-pub- to find tutorials and tips for filing a copyright quality recording of your composition for pro- lished composer, you will keep 100% of print registration online. motional use. This is absolutely essential! One royalties. The next thing you should do is affiliate way to do this is to mail or e-mail scores to col- Performance Royalties: If your composition yourself with a performing rights organiza- lege and high school music programs you know, is performed live by another musician, or played tion such as ASCAP, BMI, or SESAC. Your requesting that your piece be performed. Re- on radio, television, or in a public place, you performing rights organization, or PRO, will li- member your pitch? This is a good time to use earn money. This money is usually collected and cense and monitor public performances of your it. Many colleges and high schools record per- paid to you by a performing rights organization compositions, collect your royalties, and pay you formances, so you won’t have to pay recording such as ASCAP, BMI, or SESAC, depending according to a specific payment system. Here costs. There are also many self-recording devices on which one you are affiliated with. In a stan- is a link to ASCAP’s payment system for more that are reasonably priced, such as mini disk dard publishing deal, your publishing company detailed information: www.ascap.com/about/ players and MP3 recorders. While these devices will probably keep 50% of your performance payment/pdf/paymentSystem/ASCAP_Pay- won’t produce a professional recording, they can royalties; the other 50% will go to you, the mentSystem.pdf definitely suit your needs. You absolutely need a composer. As a self-published composer, you Usually, PROs charge a nominal fee (around well-performed, decently recorded performance will keep 100% of performance royalties. $25.00) for membership, and may request a to use as a promotional tool. Without one it Mechanical Royalties: If your composition résumé and additional materials to support your will be difficult for musicians to get excited is recorded by another artist, released, and sold application. PROs retain the right to restrict about your piece. to the public, you earn money for every audio membership, so make sure your materials are Once you have a solid recording, create a copy sold. The standard government rate for put together in a professional manner. Before website that contains audio samples of your a recording less than five minutes in length is you apply to join a PRO, do some research to composition, your descriptive pitch, your biog- 9.1 cents, known as the statutory mechanical decide which one is best for you. For example, raphy, your contact information, and the price rate. The artist or the artist’s record label pays commercial composers tend to lean towards and availability of your score. There are many these royalties to you. (Publishing companies BMI, while classical composers tend to lean free websites with music players on the Internet are typically represented by mechanical royalty towards ASCAP. that you can utilize, such as Myspace.com. I collection agencies, such as the Harry Fox Note: If you are not affiliated with a per- have a Myspace page devoted specifically to Agency, who collect royalties on behalf of the forming rights organization, you have the right my music, which allows anyone in the world to publishing company. The Harry Fox Agency to issue your own performing license for public hear my compositions and read about what I’m PERCUSSIVE NOTES 16 FEBRUARY 2009 CONCLUSION As a self-published composer, you will be able to Today’s musicians are always searching for new repertoire to perform. Self-publishing gives keep all income derived from selling scores and independent composers a chance to reach these musicians, while at the same time controlling all performance royalties paid to you by your how their compositions are marketed and pro- duced. As a self-published composer, you will performing rights organization. be able to keep all income derived from selling scores and all performance royalties paid to you by your performing rights organization. If doing. While it isn’t the most professional web- use. For example, make sure that all page turns someone is interested in recording and selling a site, it definitely gets the job done, and it’s free. are manageable, the notes are all correct, and sound recording of your composition, it’s icing If you would prefer to have your own personal the expressive markings are clearly indicated. on the cake. website, many companies offer website tem- Once you proof your composition, research your In the end, you may find the process of self- plates at a reasonable price. For instance, check best printing options. Try visiting a copy shop publishing a fun and rewarding experience, or out Dynamod.com, which offers flash website like FedEx Kinkos where you can copy and you may realize why publishing companies exist templates designed specifically for musicians. bind your scores. in the first place. With online marketing and You may be interested in adding an online Duplicating and binding scores will provide promotional tools at your fingertips, I believe payment system to your website, which would a good reference for pricing your piece. For ex- self-publishing is worth trying, more so than enable your customers to enter their credit card ample, if it costs you $5.00 to create a hard copy ever before. information and purchase your piece directly and $2.00 to ship it, you can probably sell the from your site. PayPal offers some of the most piece for $14.00. Creating hard copies of your Ivan Trevino is a percussionist, composer, and commonly used online payment systems. Visit score will cost you money, so make sure you music entrepreneur. He manages and performs www.paypal.com for details on their various only print as many as you need.
Load more

Recommended publications
  • Basics Music Principles E-Book
    Basic Music Principles (e-book edition) Copyright © 2011-2013 by Virtual Sheet Music Inc. All rights reserved. No part of this e-book shall be reproduced or included in a derivative work without written permission from the publisher. It can be shared instead anywhere on the web or on printed media in its entirety. No patent liability is assumed with respect to the use of the information contained herein. Although every precaution has been taken in the preparation of this e-book, the publisher and authors assume no responsibility for errors or omissions. Neither is any liability assumed for damages resulting from the use of the information contained herein. REMEMBER! YOU ARE WELCOME TO SHARE AND DISTRIBUTE THIS BOOK ANYWHERE! Trademarks All terms mentioned in this e-book that are known to be trademarks or service marks have been appropriately capitalized. Publisher cannot attest to the accuracy of this information. Use of a term in this e-book should not be regarded as affecting the validity of any trademark or service mark. Virtual Sheet Music® and Classical Sheet Music Downloads® are registered trademarks in USA and other countries. Warning and Disclaimer Every effort has been made to make this e-book as complete and as accurate as possible, but no warranty is implied. The information provided is on an “as is” basis. The authors and the publisher shall have neither liability nor responsibility to any person or entity with respect to any loss or damages arising from the information contained in this e-book. The E-Book’s Website Find out more, contact the author and discuss this e-book at: http://www.virtualsheetmusic.com/books/basicmusicprinciples/ Published by Virtual Sheet Music Inc.
    [Show full text]
  • Dynamic Generation of Musical Notation from Musicxml Input on an Android Tablet
    Dynamic Generation of Musical Notation from MusicXML Input on an Android Tablet THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Science in the Graduate School of The Ohio State University By Laura Lynn Housley Graduate Program in Computer Science and Engineering The Ohio State University 2012 Master's Examination Committee: Rajiv Ramnath, Advisor Jayashree Ramanathan Copyright by Laura Lynn Housley 2012 Abstract For the purpose of increasing accessibility and customizability of sheet music, an application on an Android tablet was designed that generates and displays sheet music from a MusicXML input file. Generating sheet music on a tablet device from a MusicXML file poses many interesting challenges. When a user is allowed to set the size and colors of an image, the image must be redrawn with every change. Instead of zooming in and out on an already existing image, the positions of the various musical symbols must be recalculated to fit the new dimensions. These changes must preserve the relationships between the various musical symbols. Other topics include the laying out and measuring of notes, accidentals, beams, slurs, and staffs. In addition to drawing a large bitmap, an application that effectively presents sheet music must provide a way to scroll this music across a small tablet screen at a specified tempo. A method for using animation on Android is discussed that accomplishes this scrolling requirement. Also a generalized method for writing text-based documents to describe notations similar to musical notation is discussed. This method is based off of the knowledge gained from using MusicXML.
    [Show full text]
  • How to Read Choral Music.Pages
    ! How to Read Choral Music ! Compiled by Tim Korthuis Sheet music is a road map to help you create beautiful music. Please note that is only there as a guide. Follow the director for cues on dynamics (volume) and phrasing (cues and cuts). !DO NOT RELY ENTIRELY ON YOUR MUSIC!!! Only glance at it for words and notes. This ‘manual’ is a very condensed version, and is here as a reference. It does not include everything to do with reading music, only the basics to help you on your way. There may be !many markings that you wonder about. If you have questions, don’t be afraid to ask. 1. Where is YOUR part? • You need to determine whether you are Soprano or Alto (high or low ladies), or Tenor (hi men/low ladies) or Bass (low men) • Soprano is the highest note, followed by Alto, Tenor, (Baritone) & Bass Soprano NOTE: ! Alto If there is another staff ! Tenor ! ! Bass above the choir bracket, it is Bracket usually for a solo or ! ! ‘descant’ (high soprano). ! Brace !Piano ! ! ! • ! The Treble Clef usually indicates Soprano and Alto parts o If there are three notes in the Treble Clef, ask the director which section will be ‘split’ (eg. 1st and 2nd Soprano). o Music written solely for women will usually have two Treble Clefs. • ! The Bass Clef indicates Tenor, Baritone and Bass parts o If there are three parts in the Bass Clef, the usual configuration is: Top - Tenor, Middle - Baritone, Bottom – Bass, though this too may be ‘split’ (eg. 1st and 2nd Tenor) o Music written solely for men will often have two Bass Clefs, though Treble Clef is used for men as well (written 1 octave higher).
    [Show full text]
  • Sheet Music Unbound
    http://researchcommons.waikato.ac.nz/ Research Commons at the University of Waikato Copyright Statement: The digital copy of this thesis is protected by the Copyright Act 1994 (New Zealand). The thesis may be consulted by you, provided you comply with the provisions of the Act and the following conditions of use: Any use you make of these documents or images must be for research or private study purposes only, and you may not make them available to any other person. Authors control the copyright of their thesis. You will recognise the author’s right to be identified as the author of the thesis, and due acknowledgement will be made to the author where appropriate. You will obtain the author’s permission before publishing any material from the thesis. Sheet Music Unbound A fluid approach to sheet music display and annotation on a multi-touch screen Beverley Alice Laundry This thesis is submitted in partial fulfillment of the requirements for the Degree of Master of Science at the University of Waikato. July 2011 © 2011 Beverley Laundry Abstract In this thesis we present the design and prototype implementation of a Digital Music Stand that focuses on fluid music layout management and free-form digital ink annotation. An analysis of user constraints and available technology lead us to select a 21.5‖ multi-touch monitor as the preferred input and display device. This comfortably displays two A4 pages of music side by side with space for a control panel. The analysis also identified single handed input as a viable choice for musicians. Finger input was chosen to avoid the need for any additional input equipment.
    [Show full text]
  • Automatic Music Transcription Using Sequence to Sequence Learning
    Automatic music transcription using sequence to sequence learning Master’s thesis of B.Sc. Maximilian Awiszus At the faculty of Computer Science Institute for Anthropomatics and Robotics Reviewer: Prof. Dr. Alexander Waibel Second reviewer: Prof. Dr. Advisor: M.Sc. Thai-Son Nguyen Duration: 25. Mai 2019 – 25. November 2019 KIT – University of the State of Baden-Wuerttemberg and National Laboratory of the Helmholtz Association www.kit.edu Interactive Systems Labs Institute for Anthropomatics and Robotics Karlsruhe Institute of Technology Title: Automatic music transcription using sequence to sequence learning Author: B.Sc. Maximilian Awiszus Maximilian Awiszus Kronenstraße 12 76133 Karlsruhe [email protected] ii Statement of Authorship I hereby declare that this thesis is my own original work which I created without illegitimate help by others, that I have not used any other sources or resources than the ones indicated and that due acknowledgement is given where reference is made to the work of others. Karlsruhe, 15. M¨arz 2017 ............................................ (B.Sc. Maximilian Awiszus) Contents 1 Introduction 3 1.1 Acoustic music . .4 1.2 Musical note and sheet music . .5 1.3 Musical Instrument Digital Interface . .6 1.4 Instruments and inference . .7 1.5 Fourier analysis . .8 1.6 Sequence to sequence learning . 10 1.6.1 LSTM based S2S learning . 11 2 Related work 13 2.1 Music transcription . 13 2.1.1 Non-negative matrix factorization . 13 2.1.2 Neural networks . 14 2.2 Datasets . 18 2.2.1 MusicNet . 18 2.2.2 MAPS . 18 2.3 Natural Language Processing . 19 2.4 Music modelling .
    [Show full text]
  • Concert Orchestra
    Concert Orchestra Lesson: April 7, 2020 Learning Target: “I can identify and count basic rhythms” Warm-Up . Goal Warm-Up Review Consider your goal from yesterday. If necessary, change or modify your goal to best meet your needs. Answer the following writing prompts: 1. My goal is important because….. 2. The benefit of achieving this goal is…... Lesson . Downbeat Meter Pulse Rhythm words Time Tempo Signature Do you know the difference? Beat Metronome . Rhythm Words ● Time Signature (4/4, 2/4, ¾, 6/8, 9/8, etc.) ○ How many beats are in a measure, AND ○ What kind of note gets the beat. ● Pulse (“Feeling the beat”) ● Downbeat (The first beat of every measure) ● Tempo (“How fast”) ● Meter (“Strong” and “Weak” beats) . Time Signatures What do they mean? . Time Signatures Top Number = “How many” Beats in a measure Bottom Number = “What Kind” of note gets the beat . Time Signatures = 6 beats = Quarter Note gets the beat . Did you know music is like Math? Time for some word problems 1. If you are in the time signature 4/4, what kind of note gets the beat? 2. If you are in the time signature 5/8 , how many 8th notes are in a measure? 3. If you are in the time signature 3/4 , how many 8th notes are in a measure? . ANSWER KEY 1. If you are in the time signature 4/4, what kind of note gets the beat? The QUARTER NOTE gets the beat. The bottom number 4 means quarter note, an 8 would mean 8th note, 2 would mean half note, etc.
    [Show full text]
  • The Following Is a Glossary of Terms, Some of Which You Won't Readily Find
    Communicating with the Band in Their Vocabulary The following is a glossary of terms, some of which you won’t readily find in music textbooks. These are practical, on-the-job, day-to-day terms you will want to know in the real world of performing and singing on stage. These will aid you greatly in communicating with the band in their language. A Capella – Singing alone or unaccompanied, literally in a chapel style, i.e., vocal music without instrumental accompaniment. This can be another good style in the singer’s palette of colors. Accelerando - Means to speed up the music at this point little by little. Ad Lib - Also means rubato and colla voce. This is music that is played out of tempo or out of time where the musicians follow the singer word for word. This also means that in rubato sections of your "Do-it-yourself' charts, you MUST write all the lyrics so that your musicians can follow your words. Otherwise, they haven't the slightest idea where you are at any given point in an ad-lib section. (All music is either in some tempo or it is not.) Agent - One who actually finds you work and books your act. Arrangement - A completely original musical interpretation of a song arranged for one or more pieces of a band. A & R Man - Stands for Artists and Repertoire. This is the person at a record company who listens to your original demos or cassettes for possible consideration of a record deal. Back Beat - Traditionally, beats two and four of a 4/4 repeating pattern.
    [Show full text]
  • Sheet Music Reader Sevy Harris, Prateek Verma Department of Electrical Engineering Stanford University Stanford, CA [email protected], [email protected]
    1 Sheet Music Reader Sevy Harris, Prateek Verma Department of Electrical Engineering Stanford University Stanford, CA [email protected], [email protected] Abstract—The goal of this project was to design an image processing algorithm that scans in sheet music and plays the music described on the page. Our algorithm takes a digital image of sheet music and segments it by line. For each line, it detects the note types and locations, and computes the frequency and duration. These frequency and duration pairs are stored in a matrix and fed into the audio synthesizer, which plays back the music. For simple and non-noisy input images, the audio output for this algorithm was recognizable and played the pitches accurately, excluding the presence of accidentals. F 1INTRODUCTION preprocessing functions to enhance the quality Much like the problem of optical character of the image and make it easier to analyze. recognition, there are many useful applications Then, the key objects are detected using mor- for automating the process of reading sheet phological operations. In the final stage, the music. An optical sheet music reader allows detected notes and other objects are combined a musician to manipulate scores with ease. and analyzed to produce frequency and dura- An algorithm that converts an image to note tion pairs that are sent to the synthesizer as a frequencies can easily be transposed to other matrix. keys and octaves. Transposing music is a very tedious process when done by hand. A sheet 2.1 Segmentation and Preprocessing music reader also has the potential to quickly translate handwritten music into a much more First the image is binarized using Otsu’s readable digital copy.
    [Show full text]
  • Kasap Havasi” (Tracks 12 and 13)
    Carnegie Hall presents Citi global enCounters The Weill Music Institute at Carnegie Hall ROMANI MusiC The Weill Music Institute at Carnegie Hall of TURKeY a Program of the Weill Music institute at Carnegie Hall The Weill Music Institute at Carnegie HallActivity 4c: Music Project The Weill Music Institute at Carnegie Hall The Weill Music Institute at Carnegie Hall Citi Global Encounters ROMANI MusIC Of TuRKEY Citi Global Encounters ROMANI MusIC Of TuRKEY Citi Global Encounters ROMANI MusIC Of TuRKEY Citi Global Encounters ROMANI MusIC Of TuRKEY Citi Global Encounters ROMANI MusIC Of TuRKEY ACknoWledgMenTs Contributing Writer / editor Daniel Levy Consulting Writer Sonia Seeman Lead sponsor of Citi Global Encounters The Weill Music Institute at Carnegie Hall The Weill Music Institute at Carnegie Hall The Weill Music Institute at Carnegie Hall 881 Seventh Avenue New York, NY 10019 212-903-9670The Weill Music Institute 212-903-0925at Carnegie Hall weillmusicinstitute.org © 2009 The Carnegie Hall Corporation. All rights reserved. The Weill Music Institute at Carnegie Hall Citi Global Encounters ROMANI MusIC Of TuRKEY Citi Global Encounters ROMANI MusIC Of TuRKEY Citi Global Encounters ROMANI MusIC Of TuRKEY Citi Global Encounters ROMANI MusIC Of TuRKEY Citi Global Encounters ROMANI MusIC Of TuRKEY The Weill Music Institute at Carnegie Hall ACTIVITY 4: FREEDOM AND STRUCTURE PROJECT AIM: What are our ideas regarding freedom and structure in global studies, English, and music? SUMMARY: Students work individually, in small groups, or with the entire class to create a research project. MATERIALS: Citi Global Encounters CD, Project Support Materials TIME REQUIRED: At least two class periods (possibly more depending upon the depth of your class’s project) NYC AND STATE STANDARDS: NYS Social Studies: 2.3; Blueprint: Making Connections We encourage teachers and students to create Freedom and Structure Projects using the knowledge and experience that they have gained from studying Selim Sesler and Romani music.
    [Show full text]
  • Attention As a Perspective for Learning Tempo-Invariant Audio Queries
    Attention as a Perspective for Learning Tempo-invariant Audio Queries Matthias Dorfer 1 Jan Hajicˇ jr. 2 Gerhard Widmer 1 Abstract Current models for audio–sheet music retrieval via multimodal embedding space learning use con- volutional neural networks with a fixed-size win- dow for the input audio. Depending on the tempo of a query performance, this window captures more or less musical content, while notehead den- sity in the score is largely tempo-independent. In this work we address this disparity with a soft attention mechanism, which allows the model to encode only those parts of an audio excerpt that are most relevant with respect to efficient query Figure 1. Audio–sheet music embedding space learning with soft- codes. Empirical results on classical piano music input-attention on the input audio. indicate that attention is beneficial for retrieval performance, and exhibits intuitively appealing behavior. changes: both to lower and to higher densities of musical events. Our experiments show that attention is indeed a promising way to obtain tempo-invariant embeddings for 1. Introduction cross-modal retrieval. Cross-modal embedding models have demonstrated the abil- ity to retrieve sheet music using an audio query, and vice 2. Audio–Sheet Music Embedding Space versa, based on just the raw audio and visual signal (Dorfer Learning with Attention et al., 2017). A limitation of the system was that the field of view into both modalities had a fixed size. This is most We approach the cross-modal audio-sheet music retrieval pronounced for audio: a human listener can easily recog- problem by learning a low-dimensional multimodal embed- nize the same piece of music played in very different tempi, ding space (32 dimensions) for both snippets of sheet music but when the audio is segmented into spectrogram excerpts and excerpts of music audio.
    [Show full text]
  • All About Music Publishers
    ALL ABOUT MUSIC PUBLISHING In the real music business, songwriters write songs - words and music. The songwriters present their song to a music publisher, who then seeks out a record label, one of whose acts might record the songs. If they do, the label pays the publisher a percentage. The publisher pays the writer a percentage. And the writer is happy. The publisher places the song with a record label or performer. They record it and the money starts coming in. Money from record sales goes directly to the publisher, who pays this on to the songwriter. Money from radio and television plays are collected by the royalty organisations who pay the songwriter directly. What do publishers do? Publishers are your promotional vehicle for songs and instrumental themes if you are not retaining and exploiting your own copyrights. In some instances they will nurture and develop singer-songwriter-artistes to help them gain a record deal. They promote and exploit songs and instrumental themes which are signed to them under an assignment of rights publishing contract. Publishers also register the copyrights as assigned to their catalogues with the relevant royalty collection organisations in the countries in which they operate. Music publishers take a percentage of the money/royalties that may be earned and these percentages are set out in the terms and conditions of the publishing contract entered into with the songwriter/composer. Publishers also print sheet music. Publishers collect and distribute money by way of royalties on behalf of and to the writer as received from the various organisations within the music industry, such as the Performing Right Society (PRS) and the Mechanical Copyright Protection Society (MCPS), which are the UK organisations.
    [Show full text]
  • Understanding Optical Music Recognition
    1 Understanding Optical Music Recognition Jorge Calvo-Zaragoza*, University of Alicante Jan Hajicˇ Jr.*, Charles University Alexander Pacha*, TU Wien Abstract For over 50 years, researchers have been trying to teach computers to read music notation, referred to as Optical Music Recognition (OMR). However, this field is still difficult to access for new researchers, especially those without a significant musical background: few introductory materials are available, and furthermore the field has struggled with defining itself and building a shared terminology. In this tutorial, we address these shortcomings by (1) providing a robust definition of OMR and its relationship to related fields, (2) analyzing how OMR inverts the music encoding process to recover the musical notation and the musical semantics from documents, (3) proposing a taxonomy of OMR, with most notably a novel taxonomy of applications. Additionally, we discuss how deep learning affects modern OMR research, as opposed to the traditional pipeline. Based on this work, the reader should be able to attain a basic understanding of OMR: its objectives, its inherent structure, its relationship to other fields, the state of the art, and the research opportunities it affords. Index Terms Optical Music Recognition, Music Notation, Music Scores I. INTRODUCTION Music notation refers to a group of writing systems with which a wide range of music can be visually encoded so that musicians can later perform it. In this way, it is an essential tool for preserving a musical composition, facilitating permanence of the otherwise ephemeral phenomenon of music. In a broad, intuitive sense, it works in the same way that written text may serve as a precursor for speech.
    [Show full text]