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xviii, 630 p. : ill. ; 24 cm.
  • Introduction: describing musical information. Sound related codes (1) - MIDI: MIDI extensions for musical notation (1) - noTAMIDI meta-events-- MIDI extensions for musical notation (2) - expressive MIDI-- MIDI extensions for musical notation (3) - MIDIPlus-- MIDI extensions for sound control - augmented MIDI. Sound-related codes (2) - other codes for representation and control: Sound-- music macro language-- the neXT scorefile-- the radio baton conductor score file. Musical notation codes (1) - DARMS: its dialects, and its uses-- the note-processor dialect-- the A-R dialect-- extensions for lute tablatures-- extensions for mensural notation. Musical notation codes (2) - other ASCH representations: common music notation-- MuTEX, musicTEXT, and musiXTEX-- Philip's music scribe-- score. Musical notation codes (3) - graphical-object descriptions: the LIME Tilia representation-- the nightingale notelist--. Musical notation codes (4) - braille: Braille musical notation (1) - an overview-- Braille musical notation (2) - common signs. Codes for data management and analysis (1) - monophonic representations: the Essen associative code - a code for folksong analysis-- plain and easy code - a code for music bibliography. Codes for data management and analysis (2) - polyphonic representations: Humdrum and Kern - selective encoding-- MuseData - multipurpose representation. Representation of musical patterns and processes: encoding of compositional units-- a score--segmentation approach to representation. Interchange codes: HyTime and standard music description language - a document-description approach-- the notation interchange file format - a Windows-compliant approach-- standard music eXpression - interchange of common and Braille notation. Reflections: beyond codes - issues in musical representation-- afterword - guidelines for new codes.
  • (source: Nielsen Book Data)9780262193948 20160528
The establishment of the Musical Instrument Digital Interface (MIDI) in the late 1980s allowed hobbyists and musicians to experiment with sound control in ways that previously had been possible only in research studios. MIDI is the prevalent representation of music, but what it represents is based on hardware control protocols for sound synthesis. Programs that support sound input for graphics output necessarily span a gamut of representational categories. What is most likely to be lost is any sense of the musical work. Thus, for those involved in pedagogy, analysis, simulation, notation, and music theory, the nature of the representation matters a great deal. An understanding of the data requirements of different applications is fundamental to the creation of interchange codes. The contributors to this text present a broad range of schemes, illustrating a wide variety of approaches to music representation. Generall y, each chapter describes the history and intended purposes of the code, a description of the representation of the primary attributes of music (pitch, duration, articulation, ornamentation, dynamics, and timbre), a description of the file organization, some mention of existing data in the format, resources for further information, and at least one encoded example. The book also shows how intended applications influence the kinds of musical information that are encoded.
(source: Nielsen Book Data)9780262193948 20160528
Engineering Library (Terman)
CS-275A-01, MUSIC-253-01