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• Foundations.- to Music Transcription.- An Introduction to Statistical Signal Processing and Spectrum Estimation.- Sparse Adaptive Representations for Musical Signals.- Rhythm and Timbre Analysis.- Beat Tracking and Musical Metre Analysis.- Unpitched Percussion Transcription.- Automatic Classification of Pitched Musical Instrument Sounds.- Multiple Fundamental Frequency Analysis.- Multiple Fundamental Frequency Estimation Based on Generative Models.- Auditory Model-Based Methods for Multiple Fundamental Frequency Estimation.- Unsupervised Learning Methods for Source Separation in Monaural Music Signals.- Entire Systems, Acoustic and Musicological Modelling.- Auditory Scene Analysis in Music Signals.- Music Scene Description.- Singing Transcription.
• (source: Nielsen Book Data)

This book serves as an ideal starting point for newcomers and an excellent reference source for people already working in the field. Researchers and graduate students in signal processing, computer science, acoustics and music will primarily benefit from this text. It could be used as a textbook for advanced courses in music signal processing. Since it only requires a basic knowledge of signal processing, it is accessible to undergraduate students.
(source: Nielsen Book Data)

• Single-staff parts. Getting started ; Keyboard note entry ("Aura Lee") ; Chords ("Amazing grace") ; Midi entry, chords, and lyrics ("Three blind mice") ; Articulations and metatools ("Trumpet voluntary") ; Hyperscribe : real-time note entry ("America")
• Grand-staff and small-ensemble scores. Piano piece using hyperscribe ("Musette") ; Small arrangements : saxophone quartet ("The entertainer") ; Vocal score with percussion ("Simple gifts") ; The art of the piano part ("Bach Fugue in G minor") ; Jazz notation : leadsheets and guitar tab ("Blues for a hiccup")
• Large-ensemble scores. Big-band scores ("Blues for a hiccup") ; Orchestral excerpt (Petrushka)
• Getting the most out of Finale. Importing and exporting ; Music education applications ; Finale support.

This monograph presents the author's studies in musicrecognition aimed at developing a computer system forautomatic notation of performed music. The performance ofsuch a system is supposed to be similar to that of speechrecognition systems: acoustical data at the input and musicscoreprinting at the output. The approach to pattern recognition employed is thatofartificial perception, based on self-organizing input datain order to segregate patterns before their identificationby artificial intelligencemethods. The special merit of theapproach is that it finds optimal representations of datainstead of directly recognizing patterns.
(source: Nielsen Book Data)

• 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)

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)

• Préface / Sylvaine Leblond Martin
• Notation, transcription, analyse
• Réécriture grammaticale générative-transformationnelle des monodies modales
• Le temps et le ton de l'oralité dans l'écriture musicale d'Ahmed Essyad
• Algorithmique et technologies numériques dans la notation musicale
• De la musique au dessin de sol et vice-versa, Un répertoire kéralais de formes sonores et graphiques
• Notating the Spaces
• A new notation system for Korean traditional rhythm
• Encodage de documents musicaux avec la MEI
• Valoriser des collections scientifiques grâce au numérique : sous quelles formes et pour quels publics ?
• Deux exemples pris dans les fonds de l'ancien Musée National des Arts et Traditions Populaires
• Les fonds sonores du département de l'Audiovisuel de la Bibliothèque nationale de France
• Musique arabe et musique d'orgue espagnole des XVIe et XVIIe siècles
• Influences et mise en commun d'un même langage
• Musiques orales, leur notation musicale et l'encodage numérique MEI
• Music Encoding Initiative - de cette notation.

"Depuis 1960 les ethnomusicologues appellent "world music" ou "musique du monde", les musiques traditionnelles propres à chaque pays, qu'elles soient classiques ou folkloriques. Souvent ces musiques sont dites orales, parce qu'elles ne sont pas notées musicalement à la façon dont sont composées les oeuvres musicales occidentales, c'est-à-dire qu'elles ne sont pas créées à partir d'une notation musicale et ne sont pas davantage reliées à elle. Il n'empêche que certaines cultures ont inventé des notations et partitions musicales originales et que la grande majorité a de tout temps élaboré des écrits théoriques savants qui expliquent et décrivent les fondements et diverses modalités de jeux et d'interprétations musicaux. La notion d'oralité appartient à la musique comme les mythes et les contes sont d'origine orale, dans toutes les cultures. Ainsi les procédés mnémotechniques employés et les différentes manières de réaliser et de conserver les oeuvres "littéraires" et musicales suscitent-elles de nombreuses interrogations dans l'espace numérique. Aussi il s'agit finalement avant tout de rendre justice à ce patrimoine musical immatériel en apprenant à l'interpréter numériquement. Plusieurs musicologues utilisent la notation occidentale pour analyser les compositions musicales orales, ce qui permet de produire un encodage numérique. Ce travail est fait en veillant scrupuleusement à ce que soient respectées la nature et l'essence-même des corpus musicaux traditionnels."--Page 4 of cover.