Lilypond Essay on Automated Music Engraving
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Lilypond Music Glossary
LilyPond The music typesetter Music Glossary The LilyPond development team ☛ ✟ This glossary provides definitions and translations of musical terms used in the documentation manuals for LilyPond version 2.23.3. ✡ ✠ ☛ ✟ For more information about how this manual fits with the other documentation, or to read this manual in other formats, see Section “Manuals” in General Information. If you are missing any manuals, the complete documentation can be found at http://lilypond.org/. ✡ ✠ Copyright ⃝c 1999–2021 by the authors Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation; with no Invariant Sections. A copy of the license is included in the section entitled “GNU Free Documentation License”. For LilyPond version 2.23.3 1 1 Musical terms A-Z Languages in this order. • UK - British English (where it differs from American English) • ES - Spanish • I - Italian • F - French • D - German • NL - Dutch • DK - Danish • S - Swedish • FI - Finnish 1.1 A • ES: la • I: la • F: la • D: A, a • NL: a • DK: a • S: a • FI: A, a See also Chapter 3 [Pitch names], page 87. 1.2 a due ES: a dos, I: a due, F: `adeux, D: ?, NL: ?, DK: ?, S: ?, FI: kahdelle. Abbreviated a2 or a 2. In orchestral scores, a due indicates that: 1. A single part notated on a single staff that normally carries parts for two players (e.g. first and second oboes) is to be played by both players. -
Sibelius Artwork Guidelines Contents
Sibelius Artwork Guidelines Contents Conditions of use ...........................................................................................................................3 Important information ..................................................................................................................4 Product names and logos.............................................................................................................5 Example copy..................................................................................................................................6 Endorsees ........................................................................................................................................7 Reviews............................................................................................................................................8 Awards...........................................................................................................................................11 House Style ...................................................................................................................................12 Conditions of use Who may use this material Authorized Sibelius distributors and dealers are permitted to reproduce text and graphics on this CD in order to market Sibelius products or PhotoScore, but only if these guidelines are adhered to, and all artwork is used unmodified and cleared by Sibelius Software before production of final proofs. Acknowledge trademarks Please -
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. -
Scanscore 2 Manual
ScanScore 2 Manual Copyright © 2020 by Lugert Verlag. All Rights Reserved. ScanScore 2 Manual Inhaltsverzeichnis Welcome to ScanScore 2 ..................................................................................... 3 Overview ...................................................................................................... 4 Quickstart ..................................................................................................... 4 What ScanScore is not .................................................................................... 6 Scanning and importing scores ............................................................................ 6 Importing files ............................................................................................... 7 Using a scanner ............................................................................................. 7 Using a smartphone ....................................................................................... 7 Open ScanScore project .................................................................................. 8 Multipage import ............................................................................................ 8 Working with ScanScore ..................................................................................... 8 The menu bar ................................................................................................ 8 The File Menu ............................................................................................ 9 The -
Integrating Paper and Digital Music Information Systems Karen Lin and Tim Bell University of Canterbury, Christchurch, New Zealand
Integrating Paper and Digital Music Information Systems Karen Lin and Tim Bell University of Canterbury, Christchurch, New Zealand Abstract Active musicians generally rely on extensive personal paper-based music information retrieval systems containing scores, parts, compositions, and arrangements of published and hand-written music. Many have a bias against using computers to store, edit and retrieve music, and prefer to work in the paper domain rather than using digital documents, despite the flexibility and powerful retrieval opportunities available. In this paper we propose a model of operation that blurs the boundaries between the paper and digital domains, offering musicians the best of both worlds. A survey of musicians identifies the problems and potential of working with digital tools, and we propose a system using colour printing and scanning technology that simplifies the process of moving music documents between the two domains. Keywords : user interfaces, user needs, optical music recognition 1. Introduction Traditionally musicians have stored and retrieved music scores using paper-based systems. Many musicians have built up personal libraries of music books, compositions, arrangements and sheet music. The acquisition or creation of documents is straightforward, but the retrieval or modification of scores is hindered by the inflexibility of the paper medium. A digital music library would have a number of benefits, including convenient retrieval (instead of searching through piles of music), ease of processing (such as part extraction), and communication (sending electronic copies to other performers). However working with digital documents also poses significant barriers for users more familiar with traditional paper documents. In this paper we explore the relationship between the paper and digital domains, and the possibility of allowing easy conversion between the two to allow documents to exist in both domains and be processed in whichever domain is the most convenient. -
Soundboard No. 22
SOUNDBOARD A Magazine for Church Musicians Number 22 !!! November 2010 Looking to the future The Committee seeks to identify and busy seasons of Advent and Two events since the end of summer respond to the needs and demands Christmas approach, we wish you all have given the Church Music of church music here in Dublin and the best with your music ministry, Committee good cause to celebrate. Glendalough, and the nature of these and look forward to a prosperous Firstly, we were delighted to will necessarily change over time. and musically fulfilling 2011 for us welcome six new students to the Just as we keep our training all! ! Archbishop's Certificate Course in schemes under review, so too are we Church Music, bringing the total aware of the need to continue to offer number of current students across relevant resources, support and the three years to fourteen. Their events. To that end, two days after arrival was marked on 9 September welcoming the students, the with Choral Evensong and a Committee met for a 'brainstorming WHAT’S IN THIS ISSUE reception at Christ Church breakfast' — the second of our Cathedral during which our 'events' — followed by a morning of The Role of Music in Liturgy chairperson, Archdeacon Ricky lively discussion (admirably led by Edgar Swann’s Living Worship talk Rountree, wished them well in their Ruth Handy). This left us in a much The Wesley Family studies and thanked them for their clearer position about the shape that David McConnell writes dedication and the hours of hard our work should take in the future. -
Musical Notation Codes Index
Music Notation - www.music-notation.info - Copyright 1997-2019, Gerd Castan Musical notation codes Index xml ascii binary 1. MidiXML 1. PDF used as music notation 1. General information format 2. Apple GarageBand Format 2. MIDI (.band) 2. DARMS 3. QuickScore Elite file format 3. SMDL 3. GUIDO Music Notation (.qsd) Language 4. MPEG4-SMR 4. WAV audio file format (.wav) 4. abc 5. MNML - The Musical Notation 5. MP3 audio file format (.mp3) Markup Language 5. MusiXTeX, MusicTeX, MuTeX... 6. WMA audio file format (.wma) 6. MusicML 6. **kern (.krn) 7. MusicWrite file format (.mwk) 7. MHTML 7. **Hildegard 8. Overture file format (.ove) 8. MML: Music Markup Language 8. **koto 9. ScoreWriter file format (.scw) 9. Theta: Tonal Harmony 9. **bol Exploration and Tutorial Assistent 10. Copyist file format (.CP6 and 10. Musedata format (.md) .CP4) 10. ScoreML 11. LilyPond 11. Rich MIDI Tablature format - 11. JScoreML RMTF 12. Philip's Music Writer (PMW) 12. eXtensible Score Language 12. Creative Music File Format (XScore) 13. TexTab 13. Sibelius Plugin Interface 13. MusiXML: My own format 14. Mup music publication program 14. Finale Plugin Interface 14. MusicXML (.mxl, .xml) 15. NoteEdit 15. Internal format of Finale (.mus) 15. MusiqueXML 16. Liszt: The SharpEye OMR 16. XMF - eXtensible Music 16. GUIDO XML engine output file format Format 17. WEDELMUSIC 17. Drum Tab 17. NIFF 18. ChordML 18. Enigma Transportable Format 18. Internal format of Capella (ETF) (.cap) 19. ChordQL 19. CMN: Common Music 19. SASL: Simple Audio Score 20. NeumesXML Notation Language 21. MEI 20. OMNL: Open Music Notation 20. -
Downloads." the Open Information Security Foundation
Performance Testing Suricata The Effect of Configuration Variables On Offline Suricata Performance A Project Completed for CS 6266 Under Jonathon T. Giffin, Assistant Professor, Georgia Institute of Technology by Winston H Messer Project Advisor: Matt Jonkman, President, Open Information Security Foundation December 2011 Messer ii Abstract The Suricata IDS/IPS engine, a viable alternative to Snort, has a multitude of potential configurations. A simplified automated testing system was devised for the purpose of performance testing Suricata in an offline environment. Of the available configuration variables, seventeen were analyzed independently by testing in fifty-six configurations. Of these, three variables were found to have a statistically significant effect on performance: Detect Engine Profile, Multi Pattern Algorithm, and CPU affinity. Acknowledgements In writing the final report on this endeavor, I would like to start by thanking four people who made this project possible: Matt Jonkman, President, Open Information Security Foundation: For allowing me the opportunity to carry out this project under his supervision. Victor Julien, Lead Programmer, Open Information Security Foundation and Anne-Fleur Koolstra, Documentation Specialist, Open Information Security Foundation: For their willingness to share their wisdom and experience of Suricata via email for the past four months. John M. Weathersby, Jr., Executive Director, Open Source Software Institute: For allowing me the use of Institute equipment for the creation of a suitable testing -
GNU Wget 1.10 the Non-Interactive Download Utility Updated for Wget 1.10, Apr 2005
GNU Wget 1.10 The non-interactive download utility Updated for Wget 1.10, Apr 2005 by Hrvoje Nikˇsi´cand the developers Copyright c 1996–2005, Free Software Foundation, Inc. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation; with the Invariant Sections being “GNU General Public License” and “GNU Free Documentation License”, with no Front-Cover Texts, and with no Back-Cover Texts. A copy of the license is included in the section entitled “GNU Free Documentation License”. Chapter 1: Overview 1 1 Overview GNU Wget is a free utility for non-interactive download of files from the Web. It supports http, https, and ftp protocols, as well as retrieval through http proxies. This chapter is a partial overview of Wget’s features. • Wget is non-interactive, meaning that it can work in the background, while the user is not logged on. This allows you to start a retrieval and disconnect from the system, letting Wget finish the work. By contrast, most of the Web browsers require constant user’s presence, which can be a great hindrance when transferring a lot of data. • Wget can follow links in html and xhtml pages and create local versions of remote web sites, fully recreating the directory structure of the original site. This is sometimes referred to as “recursive downloading.” While doing that, Wget respects the Robot Exclusion Standard (‘/robots.txt’). Wget can be instructed to convert the links in downloaded html files to the local files for offline viewing. -
Name Synopsis Description Options
GPGTAR(1) GNU Privacy Guard 2.2 GPGTAR(1) NAME gpgtar −Encrypt or sign files into an archive SYNOPSIS gpgtar [options] filename1 [ filename2, ... ] directory1 [ directory2, ... ] DESCRIPTION gpgtar encrypts or signs files into an archive.Itisangpg-ized tar using the same format as used by PGP’s PGP Zip. OPTIONS gpgtar understands these options: --create Put givenfiles and directories into a vanilla ‘‘ustar’’archive. --extract Extract all files from a vanilla ‘‘ustar’’archive. --encrypt -e Encrypt givenfiles and directories into an archive.This option may be combined with option --symmetric for an archive that may be decrypted via a secret key orapassphrase. --decrypt -d Extract all files from an encrypted archive. --sign -s Makeasigned archive from the givenfiles and directories. This can be combined with option --encrypt to create a signed and then encrypted archive. --list-archive -t List the contents of the specified archive. --symmetric -c Encrypt with a symmetric cipher using a passphrase. The default symmetric cipher used is AES-128, but may be chosen with the --cipher-algo option to gpg. --recipient user -r user Encrypt for user id user.For details see gpg. --local-user user -u user Use user as the key tosign with. Fordetails see gpg. --output file -o file Write the archive tothe specified file file. --verbose -v Enable extra informational output. GnuPG 2.2.12 2018-12-11 1 GPGTAR(1) GNU Privacy Guard 2.2 GPGTAR(1) --quiet -q Trytobeasquiet as possible. --skip-crypto Skip all crypto operations and create or extract vanilla ‘‘ustar’’archives. --dry-run Do not actually output the extracted files. -
With Yocto/Openembedded
PORTING NEW CODE TO RISC-V WITH YOCTO/OPENEMBEDDED Martin Maas ([email protected]) 1st RISC-V Workshop, January 15, 2015 Monterey, CA WHY WE NEED A LINUX DISTRIBUTION • To build an application for RISC-V, you need to: – Download and build the RISC-V toolchain + Linux – Download, patch and build application + dependencies – Create an image and run it in QEMU or on hardware • Problems with this approach: – Error-prone: Easy to corrupt FS or get a step wrong – Reproducibility: Others can’t easily reuse your work – Rigidity: If a dependency changes, need to do it all over • We need a Linux distribution! – Automatic build process with dependency tracking – Ability to distribute binary packages and SDKs 2 RISCV-POKY: A PORT OF THE YOCTO PROJECT • We ported the Yocto Project – Official Linux Foundation Workgroup, supported by a large number of industry partners – Part I: Collection of hundreds of recipes (scripts that describe how to build packages for different platforms), shared with OpenEmbedded project – Part II: Bitbake, a parallel build system that takes recipes and fetches, patches, cross-compiles and produces packages (RPM/DEB), images, SDKs, etc. • Focus on build process and customizability 3 GETTING STARTED WITH RISCV-POKY • Let’s build a full Linux system including the GCC toolchain, Linux, QEMU + a large set of packages (including bash, ssh, python, perl, apt, wget,…) • Step I: Clone riscv-poky: git clone [email protected]:ucb-bar/riscv-poky.git • Step II: Set up the build system: source oe-init-build-env • Step III: Build an image (may -
Power Tab Editor ❍ Appendix B - FAQ - a Collection of Frequently Asked Questions About the Power Tab Editor
Help Topics ● Introduction - Program overview and requirements ● What's New? - Program Version history; what was fixed and/or added in each version of the program ● Quick Steps To Creating A New Score - A simple guide to creating a Power Tab Score ● Getting Started ❍ Toolbars - Information on showing/hiding toolbars ❍ Creating A New Power Tab File - Information on how to create a new file ❍ The Score Layout - Describes how each Power Tab Score is laid out ❍ Navigating In Power Tab - Lists the different ways that you can traverse through a Power Tab score. ❍ The Status Bar - Description of what each pane signifies in the status bar. ● Sections and Staves ❍ What Is A Section? - Information on the core component used to construct Power Tab songs ❍ Adding A New Section - Information on how to add a new section to the score ❍ Attaching A Staff To A Section - Describes how attach a staff to a section so multiple guitar parts can be transcribed at the same time ❍ Changing The Number Of Tablature Lines On A Staff - Describes how to change the number of tablature staff lines on an existing staff ❍ Inserting A New Section - Describes how to insert a section within the score (as opposed to adding a section to the end of a score) ❍ Removing A Section Or Staff - Describes how to remove a section or staff from the score ❍ Position Width and Line Height - Describes how to change the width between positions and the distance between lines on the tablature staves ❍ Fills - Not implemented yet ● Song Properties ❍ File Information - How to edit the score