Feature Creating Printed Music Automatically Gary M. Rader ome of today’s music-score editing programs are capable of pro- Mesa State College ducing publication-quality scores. Some, such as Score (San SAndreas Press), Finale (Coda), and Encore (Passport Designs), contain many powerful automation features in addition to notation capa- bilities. However, to produce scores as good as those music engravers and copyists create, the users must understand the positioning of many nota- tional elements. For instance, should a slur appear above or below the affected notes? Should a tuplet appear between the slur and the notes or outside it? Scores produced by users who do not know the rules not only look wrong, they are difficult for musicians to read. Even if performers are not consciously aware that something is wrong, their subconscious reactions, conditioned through a lifetime of practice, will not be the same. In the past, a performer might have recognized and dismissed nonstandard nota- tion as just amateurish. However, modern music features so many new and radically different notational systems that errors could become seri- ous obstacles to the correct interpretation of a composition.1 Most users of notational software have little or no music copyist train- ing, and musicianship does not guarantee notational skills. Even profes- sional composers fail at many notational tasks if they have not had explicit copyist training. The ability to notate music has very little in common with the ability to compose or play it. Unfortunately, we do not have the rules for notating music in a pre- scriptive form, that is, one that a computer can use. Music copyists take years to learn them. For the most part, books present these rules in descrip- tive form using examples.1-3 Individual rules by themselves present little problem to notational software. It is the interaction between the rules that is so difficult to capture. The quality of printed music This article presents a partial solution to this problem: How can users with little or no copyist training create publication-quality printed music? produced by software The solution, a program called MusicEase, applies constraints to nota- tional information the user enters, automatically arranging graphical ele- programs depends on the ments “correctly.” This can also speed up the notation process, since the copyist doesn’t have to make as many decisions or enter as much data. user’s knowledge of copyist MusicEase incorporates a constraint-based technique to calculate the complex interaction of notational elements. Basically, it is a WYSIWYG rules. This constraint-based editor with a menu system for novice users and keyboard shortcuts for advanced users. It contains most of the features of modern word proces- technique automates sors, such as zooming and page preview. It also imports and exports stan- dard Musical Instrument Digital Interface (MIDI) files. I wrote MusicEase uncomplicated, common using muLisp. Al Rich and David Stoutmeyer of the Soft Warehouse in Honolulu created muLisp, an MS-DOS version of Lisp. muLisp incorpo- notational tasks. rates many of the ideas of Common Lisp and other modern Lisp systems, 0018-9162/96/$5.00 © 1996 IEEE June 1996 61 but remains compact enough to run under MS-DOS’s lim- different numbers of measures. The “Music terms” side- ited memory space. bar defines some of the vocabulary for easy reference. A staff consists of five horizontal lines. Each staff begins NOTATION AT THE SYSTEM LEVEL with a clef sign, followed by a key signature that specifies The excerpt from Ludwig van Beethoven’s “Harp” string the context for the pitches of the staff’s notes. Each staff quartet in Figure 1 illustrates some of the interaction generally indicates the part for a different instrument: first between notational elements. The fragment, generated in violin, second violin, viola, and so on. In the case of a key- MusicEase, shows three bracketed systems, or groups of board instrument such as a piano, two separate staffs one or more staves. Each system in this example contains might represent the parts for each hand. four staves. All systems in Figure 1 have the same number A basic musical note consists of pitch and duration. A writ- of measures—three—although different systems can have ten note uses an oval notehead. Its vertical position on the Music terms Accent mark—Indicates to play the note with emphasis. (fox-trot), 6/8 (polka), and 3/4 (waltz). Examples include staccato (brief) and tenuto (long). (See Note—Used to specify the duration and pitch of each sound articulation sign.) in a score. The durational terms “whole note,” “half note,” Accidental sign—Indicates to raise or lower the pitch spec- “quarter note,” and so on, in conjunction with the meter, ified by the note following the sign. indicate how many beats these notes represent. The posi- Articulation sign—Indicates how a performer should tion of each note on the staff indicates the actual pitch to blend successive notes together. (See accent mark.) be produced. This term is also used to describe the sounds Beam—A thick horizontal line that substitutes for individ- produced by an instrument when playing the sounds indi- ual flags in a group of flagged notes. cated by written notes. Casting off—The process of breaking the systems of a Overlay—A nonstandard term I use to describe a genre of piece so that they fit within the left and right margins (anal- symbols that extend over a group of notes, such as the wavy ogous to line-breaking in text). line of a trill or the dashed line of an octave transposition. Chord—Three or more notes played at the same time, indi- Phrase mark—A curved line placed over or under a seg- cated by a number of noteheads on one stem. ment of musical structure that is unified by rhythms, Clef sign—Appears at the beginning of each staff in a score melodies, and harmonies, and that comes to a closure. The and denotes which notes (pitches) the various lines and performer should articulate the notes in the segment spaces of the staff represent. The treble clef (looks roughly smoothly as a unit. like an ampersand or a script “S”) and bass clef (looks like Rest—Indicates that the performer should not play or sing a backwards “C” with two dots) are very common and for the duration of the notational device. appear in the figures of this article. Score—A written piece of music that shows the notes to Dynamics—Symbols to indicate changes in volume, such be played or sung by each instrument or voice. Sometimes as “p” for piano, “cresc.” for crescendo, or a wedge (for the terms “song” and “piece” are used as synonyms for crescendo or decrescendo, depending on the direction in “score.” which it points). Slur—A curved line placed over or under a group of notes Justification—The act of stretching or shrinking a staff or of differing pitches to indicate that the notes should be system horizontally so that it extends from the left margin played without articulating them separately. to the right margin. Some symbols, like noteheads, are not Staff—A set of five equally spaced horizontal lines. Notes physically altered, only the spaces around them. Other sym- written upon these lines and spaces indicate pitch. The bols, like beams and slurs, are actually stretched or shrunk. plural is staves. (Analogous to justification in text.) System—A connected group of two or more staves whose Ledger lines—Short horizontal lines that lie beyond the notes are played simultaneously, as in orchestral, choral, five lines of a staff. These represent an extension of the staff and piano music. and facilitate the reading of notes positioned outside the Tie—A notational convention that extends the duration of normal staff lines. a note by connecting an arcing line from the note to the Lyrics—Syllables or phonemes associated with notes. The following note. The second note must have the same pitch performer sings these at the pitch and for the duration that as the first. The first note is sounded for the combined dura- the notes indicate. tion of both notes, and the second note is ignored. Measure—A segment of a staff that specifies a unit of time Triplet—A common form of tuplet that consists of three comprised of a fixed number of like note durations (all notes played in the time that two notes usually take. whole or half or quarter and so on), depending on the Tuplet—A group of notes played in the time it normally meter, and bracketed by two vertical lines. Each measure takes to play a proper subset of the notes. A 7-tuplet of in meter 4/4, for example, will contain four beats, one for eighth notes would be played in the time normally used for each quarter note. six eighth notes. Meter—The time signature of a score that indicates the Voice—The notes each different instrument should play or number of beats in a measure and the notes that receive each singer should sing. Often, each staff contains the part an accent within each measure. Common meters are 4/4 for one voice. 62 Computer Figure 1. Excerpt from Beethoven’s “Harp” string quartet. staff and an optional accidental sign identify the pitch it rep- note beyond the staff’s range. Depending on its duration, resents. When the pitch represented by a notehead lies out- the notehead can be hollow or solid. It can have a vertical side the staff’s range, it requires extra leger lines. MusicEase stem, perhaps ending with a curved flag.