https://wiki.ccarh.org/api.php?action=feedcontributions&user=Esfield&feedformat=atomCCARH Wiki - User contributions [en]2024-03-19T10:11:16ZUser contributionsMediaWiki 1.33.0https://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12792Music 253/CS 275a Winter 2024 Syllabus2024-03-12T20:18:51Z<p>Esfield: /* Week 10 */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<div id="week1"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<div id="week2"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<div id="week3"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<div id="week4"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<div id="week5"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<b>SCORE user input code</b><br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<br />
<div id="week6"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 6 || 13 Feb 2024 || <br />
* Heinz Roggenkemper: guest lecture on Newzik, LiveScore, and the role of OMR (optical music recognition) [https://docs.google.com/presentation/d/1A1RyNmybSTwq2ATs-PtrA53b9YdRm-XRKLRuF2QWdfE/edit#slide=id.p slides]<br />
<b>SCORE music editor</b><br />
* * Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06A: [https://esf.ccarh.org/Music253-2024/06A_Extremes%20within%20CMN_2024.pdf Graphical Extremes within Common Western Notation] (CMN)]<br />
<br />
* Lecture 06B: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<div id="week7"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/Music253-2024/07A_TexturesTracks_2024.pdf Score semantics: Textures and Tracks]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/Music253-2024/07B_DataArchives-2024.pdf Data Archives]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<div id="week8"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08A. [https://esf.ccarh.org/Music253-2024/08A_Base-40_2024.pdf Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
<br />
* Lecture 08B. [https://esf.ccarh.org/Music253-2024/08B_EncodingMusicalVariants.pdf Encoding Musical Variants]<br />
<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<div id="week9"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<div id="week10"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/Music253-2024/10A_Basic%20Concepts%20in%20Music%20Copyright_2024.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/Music253-2024/10B_2020_Sound-Notation-copyright-2024.pdf Music as Written, Music as Heard]<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/Music253-2024/10B_Ear-Eye-Brain_PC2024.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
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## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
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## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12791Music 253/CS 275a Winter 2024 Syllabus2024-03-12T20:16:57Z<p>Esfield: /* Week 10 */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<div id="week1"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<div id="week2"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<div id="week3"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<div id="week4"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<div id="week5"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<b>SCORE user input code</b><br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<br />
<div id="week6"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 6 || 13 Feb 2024 || <br />
* Heinz Roggenkemper: guest lecture on Newzik, LiveScore, and the role of OMR (optical music recognition) [https://docs.google.com/presentation/d/1A1RyNmybSTwq2ATs-PtrA53b9YdRm-XRKLRuF2QWdfE/edit#slide=id.p slides]<br />
<b>SCORE music editor</b><br />
* * Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06A: [https://esf.ccarh.org/Music253-2024/06A_Extremes%20within%20CMN_2024.pdf Graphical Extremes within Common Western Notation] (CMN)]<br />
<br />
* Lecture 06B: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<div id="week7"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/Music253-2024/07A_TexturesTracks_2024.pdf Score semantics: Textures and Tracks]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/Music253-2024/07B_DataArchives-2024.pdf Data Archives]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<div id="week8"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08A. [https://esf.ccarh.org/Music253-2024/08A_Base-40_2024.pdf Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
<br />
* Lecture 08B. [https://esf.ccarh.org/Music253-2024/08B_EncodingMusicalVariants.pdf Encoding Musical Variants]<br />
<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<div id="week9"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<div id="week10"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/Music253-2024/10A_Basic%20Concepts%20in%20Music%20Copyright_2024.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/Music253-2024/10B_2020_Sound-Notation-copyright-2024.pdf Music as Written, Music as Heard]<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
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## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=12790MuseData: Antonio Vivaldi2024-03-08T00:39:12Z<p>Esfield: /* Op. 11: Sei concerti */</p>
<hr />
<div>__TOC__<br />
<br />
<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from [https://en.wikipedia.org/wiki/Brescia Brescia] (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, an ambitious set of variations on the <i>folìa</i>. Vivaldi may have been inspired by [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Arcangelo Corelli]'s set of Folìa variations [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Op. 5, No. 12] (1700), but the trio texture changes the dynamics of the realization substantially.<br />
<br />
The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. Only fragments of it survive today in the library of the "Benedetto Marcello" Conservatory in Venice. (Scholars suspect that the music predated Vivaldi's appointment at the Ospedale of the Pietà, it is not mentioned in the title-page of Op. 1.) Vivaldi's collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=0 Critical notes for Vivaldi's Op. 1.]<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. (An asterisk (*) indicates a transcription using the key signature of the original print, while ** indicates a modernized key signature.) The movement structure of these early prints remained variable. Vivaldi was moving in the direction of fewer movements but in coincidence we find greater musical elaboration within longer movement. The composer was now described as a <i>maestro dei concerti</i> (concertmaster) of the [https://en.wikipedia.org/wiki/Ospedale_della_Piet%C3%A0 Ospedale della Pietà]. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh and J. Young (London). [Critical notes for Vivaldi's Op. 2.]<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in <i>c</i>1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frideric Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical effects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work, individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type for an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7. The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 and show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the works had already been performed in selected gatherings. They were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. This edition is based primarily on the prints of Etienne Roger Nos. 50 (containing parts for Nos. 1-6) and 51 (Nos 7-12; 1711) in conjunction with several manuscript sources for specific works. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
The Dawson transcriptions for Nos. 5, 7, 8, and 12 as a group are available [http://scores.ccarh.org/vivaldi/op3dawsonnew/ here].<br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, especially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and <i>concerti grossi</i>, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to them. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuses musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=1955277646 Critical notes for Op. 4.]<br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quattro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Jeanne Roger's print No. 418, were remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. These works appeared with the added information <br />
<i>O vero Parte Seconda del Opera Seconda</i>". During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Venetian Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5, containing a mixed repertory, was an orphan of sorts. It lacked a dedicatee, although an edition by M.C. Le Cène was brought out in <i>c</i>1723. Although few works were copied in manuscript, an exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score (Roger) !! Score (Le Cène)<br />
|-<br />
| Op. 5, No. 1 [Op. 2, No. 13] || RV 18 || Sonata / V, Bc || F Major || Example || Example<br />
|-<br />
| Op. 5, No. 2 [Op. 2, No. 14] || RV 30 || Sonata / V, Bc || A Major || Example || Example<br />
|-<br />
| Op. 5, No. 3 [Op. 2, No. 15] || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example || Example<br />
|-<br />
| Op. 5, No. 4 [Op. 2, No. 16] || RV 35 || Sonata / V, Bc || B Minor || Example || Example<br />
|-<br />
| Op. 5, No. 5 [Op. 2, No. 17] || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example || Example<br />
|-<br />
| Op. 5, No. 6 [Op. 2, No. 18] || RV 72 || Sonata / V1, V2, Bc || G Minor || Example || Example<br />
|}<br />
<br />
<i>Critical comments</i>: Despite its thin trail of copies and imitations, the opus is presented in slightly different ways by Jeanne Roger and M.C. Le Cène, although both employ the print number 418. Roger is generous with bowing marks, which bring a certain grace to the music. Yet the Roger lacks continuo figuration, which Le Cène provides generously. These differences in presentation suggest a difference in intended modes of performance--the Roger assuming the use of violin and string bass only, while the Le Cène aims for a keyboard continuo, probably with string bass reinforcement. Le Cène give movement tempo designations (Largo, Allegro, Presto) but excludes the dynamics indications found in Roger. Roger may have allowed for <i>notes inégales</i> in Op. 5, No. 1, for although the dotted patterns are given equivalently in Le Cène, the double dot in the final bar of the Preludio of Roger is an ordinary dot in Le Cène. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=911443142 <i>Detailed notes on individual works in both prints</i>]<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
<br />
[[File:Op.6n2ii2.png|560px|thumb|left|<small>From Violino principale for second movement of Op. 6, No. 2.</small>]] <br />
<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, four of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène issued one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivaldi's 12 concertos <i>a 5</i> (three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for use in the solo episodes in the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained only three movements. One can see that Vivaldi's idea of the concerto had evolved considerably over a decade. Note, though, that the oboe arrangements of Opp. 7, Nos. 1 and 7, as well as Op. 11, No. 6 (derived from Op. 7, No. 9) are now considered spurious. Three of the other printed works--Op. 7, Nos. 3, 5, and 10--appear in Jeanne Roger's serial prints (Nos. 470, 471, both of 1720) capture variant versions of circulating manuscripts of the time (<i>c</i>1716-1717).<br />
<br />
As scores for Vivaldi's concertos passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his works began to spawn ever-changing identities. (The Amsterdam print of Op. 7 was not a publication authorized by the composer.) Among these morphing presentations, Op. 7, No. 3 was revised by [https://en.wikipedia.org/wiki/Johann_Georg_Pisendel Johann Pisendel] (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden <i>Hofkapelle</i>. No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro" (Withdrawal). No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in [https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Walsh,_John Walsh] & Hare's anthology <i>Select Harmony</i> (London, 1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work includes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143<ref>Works listed in the appendix (<i>Anhang</i>) of Peter Ryom's Vivaldi catalog [RV] are currently considered spurious.</ref> || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements and performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city with rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, and 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Scores and Parts for Op. 8====<br />
The parts for Antonio Vivaldi's Op.8 <i>Concerti</i> accompany the full scores available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
The full scores available linked here are generated from the same encoded data but omit editorial details including alternative readings.<br />
<br />
<center><br />
{{VivaldiOp8PDFTable}}<br />
</center><br />
<br><br />
<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin, also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit as part of a diplomatic delegation to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music decline after the appearance of this collection. He preferre selling individual manuscripts to well-placed collectors. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between <i>c</i>1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player was essential for the execution his works for it. <br />
<br />
Opus 10 appeared as Le Cène print No. 544 in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the works are likely to have been composed years earlier. All three volumes were published in Amsterdam. Although each published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins and histories of individual works were varied. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified basso, and so forth. These are among the kinds of details that have necessitated separate catalog listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin.<br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
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{{VivaldiOpl0PDFTable}}<br />
</center><br />
<br />
The first three works are the best known ones of the collection. Their nicknames gave them easy recognition, but the nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Though elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have best suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended initially as a single publication. Their Amsterdam print numbers from presses of Michel Charles Le Cène (1729) were 545 and 546. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated. Some uncertainty hovers over the question of whether Vivaldi authorized these prints. He explicitly avoided publication of sets after the publication of Op. 12, preferring instead to sell pieces singly to well-heeled fans and amateurs. <br />
<br />
Many solo passages are a challenge to the principal violinist. Vivaldi's full catalog of virtuoso techniques--double, triple, and quadruple stops, bariolage and a host of other difficult manners of passagework lurk within them. Several of the works are well known today. Op. 11, No. 5 was especially popular. Vivaldi's autograph appeared as No. 3 in the set of twelve concertos he presented to the emperor Charles VI during a visit to Trieste (1728). Miscellaneous parts in the Austrian National Library MS 15996 omit the music for first violin. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Org || D Major || <small>The three known manuscript sources are in Turin, Dresden (partly copied by Joh. Georg Pisendel, Dresden's <i>Kapellmeister</i>), and Venice, where the conservatory title is dedicated to one of Vivaldi's most accomplished students, Anna Maria of the Pietà</small>. || [https://pdf.musedata.org/?id=vivaldi-op11-no1 score]<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || <small>Nicknamed "Il Favorito". Appears as No. 11 of <i>La Cetra</i>, the concerto collection Vivaldi dedicated to the emperor Charles VI (1728).</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no2 score]<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Org || A Major || <small>May be from the early 1720s.</small>|| [https://pdf.musedata.org/?id=vivaldi-op11-no3 score]<br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Org || G Major || <small>Another concerto dedicated to Anna Maria of the Pietà.</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no4 score] <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || <small>Material added here is partly in Pisendel's hand.</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no5 score] <br />
<small>[http://digital.slub-dresden.de/id340096659 Manuscript, Dresden SLUB 2389-O-122</small>]<br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Org || C Minor || <small>Preserved in Dresden and Venice (in the latter case with dedication to Anna Maria of the Pietà). May be from the early 1720s. See also Op. 9, No. 3 (RV 334); RV 460 for Ob; V1 V2 Va Vc Org</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no6 score]<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. Like op. 11, op. 12 includes works (e.g. nos. 1, 2, 6) that lack inclusion in any other source, print or manuscript. This allows that the publication as a whole was not authorized by the composer. It also invited questions of attribution. The authorship of two other works (nos. 3 and 5) is confirmed by the presence of analogous pieces in the Giordano manuscript series in Turin. The gem of the collection is no. 4, with its brisk motifs and multiple stops, features not readily present in the other five concertos. Yet the brilliant final movement is unmistakably Vivaldi's. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr; V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr; V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr; V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr; V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. Many wind parts were added to copyists to suit local resources. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos to feature a wind instrument (usually an oboe) in lieu of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy, the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Esfieldhttps://wiki.ccarh.org/index.php?title=Golden_Oldies&diff=12784Golden Oldies2024-02-29T20:23:00Z<p>Esfield: /* Roberta Mandel */</p>
<hr />
<div>Golden Oldies is a collection of studies of musicians who continue to perform in public at and beyond the age of 90 and beyond. Its underlying goal is to identify cognitive and physical factors that contribute to the preservation of musical memory in late life. This resource on noted figures will be complemented by a second one listing musicians described anonymously.<br />
<br />
=Professional musicians (named) performing publicly=<br />
<br />
==Andrew Frierson==<br />
<br />
The <b>bass-baritone</b> Andrew Frierson was was an opera singer of African-American heritage. Born on March 29,1924, in Columbia, South Carolina, he spent his later decades in Oberlin, OH, where he died on December 6, 2018. After giving a debut recital in Carnegie Hall (1948), he sang with the New York City Opera for six seasons, then taught at Southern University (Baton Rouge, LA), the Henry Street Settlement Music School (New York), and the Oberlin Conservatory of Music. <br />
<br />
Frierson took an interest in the piano from the age of three, when he started teaching himself to play. His college studies (Fisk University, Nashville, TN) were interrupted by the Second World War, during which he served in the South Pacific. He took up singing on his return and was accepted at the Juilliard School (New York) a few years later. There he became friends with two other voice students, Leontyne Price and Billie Lynn Daniel, who became his wife (1953). While still a student, Frierson won praise in the New York Times for "a beautiful voice, good technique, musicianship, sympathy, and a fine presence." He continued his studies at the Manhattan School of Music.<br />
<br />
His appearances covered a broad terrain, ranging from his performance at the [https://en.wikipedia.org/wiki/March_on_Washington_for_Jobs_and_Freedom March on Washington for Jobs and Freedom (1963)], where the Rev. Dr. Martin Luther King gave his "I Have a Dream" speech. He appeared with the Harry Belafonte Folk singers. In the New York City Opera he portrayed such figures as [https://en.wikipedia.org/wiki/Porgy_and_Bess Porgy] in Gershwin's noted opera, the King of Egypt in Verdi's [https://en.wikipedia.org/wiki/Aida <i>Aida</i>], and Caronte (Monteverdi's [https://en.wikipedia.org/wiki/L%27Orfeo <i>Orfeo</i>]). He retired from private teaching shortly before his 90th birthday. His grandson, [https://adamgoins.com/2018/01/31/singer/ Adam Frierson Goins], is a conductor, baritone, and producer.<br />
<br />
==Gary Graffman==<br />
<br />
[[File:Graffman1-curtis-gth2006.PNG|120px|thumb|left|<small>Gary Graffman, Curtis Institute of Music, 2006.</small>]]<br />
<br />
Gary Graffman's tenure as director of the [https://en.wikipedia.org/wiki/Curtis_Institute_of_Music Curtis Institute] in Philadelphia (1986-2006) began a half-century after he was accepted (at age 7) as a <b>classical piano</b> student. Born in New York City to Russian emigré parents on 14 October 1928,Graffman received his first musical instruction from his father, a violinist. At Curtis he studied with Isabelle Vengerova (who was in turn a pupil of [https://en.wikipedia.org/wiki/Theodor_Leschetizky Leschetizky]) and later with [https://en.wikipedia.org/wiki/Vladimir_Horowitz Vladimir Horozitz] (1903-1989) and [https://en.wikipedia.org/wiki/Rudolf_Serkin Rudolf Serkin] (1903-1991). <br />
<br />
Graffman made his piano debut in 1936 with the [https://en.wikipedia.org/wiki/Philadelphia_Orchestra Philadelphia Symphony Orchestra]. His international career was established two years later, when he won the Leventritt Award. His performances were captured on countless recordings by CBS and RCA. He appeared with numerous celebrated orchestras and conductors. His flourishing career was modified during the civil rights movement of the 1960s, when Graffman became one of the first professional musicians to boycott segregated concert halls in the southern US. Many colleagues followed his example. <br />
<br />
His career changed direction in 1979, when he developed focal dystonia, a neurological condition associated in musicians with repetitive physical stress. He cut back on his performance schedule and took a teaching position at Curtis. His new specialization in works for the left hand alone prompted the composition of several news works. Notable among them were Ned Rorem's Piano Concerto No. 4 (Philadelphia Academy of Music, 1993) and, with Leon Fleischer, William Bolcom's Concerto for Two Left Hands (1996). Graffman's Curtis students have included [https://en.wikipedia.org/wiki/Lang_Lang Lang Lang] and [https://en.wikipedia.org/wiki/Yuja_Wang Yuja Wang]. In 1986 he was named director of the Institute, a post he held until 2006. He continues to teach at Curtis.<br />
<br />
==Alice Herz-Sommer==<br />
<br />
The saga of Alice Herz-Sommer (1903-2014) from her birth in Prague in (26 November 1903) until her death in London (9 February 2014) is peerless in its length, breadth, and breadth of circumstances in which it took place. At the time of her death, she was the oldesst known Holocaust survivor. She had started her piano studies at the age of five and entered the Prague Conservatory at sixteen. She was soon giving concerts that were widely praised. Her marriage to Leopold Sommer in 1931 produced one son, Stefan (later known as Raphael) in 1937. Most of her family (she was one of five) moved to Palestine in 1939, but she remained in Prague to look after her elderly mother. Her mother was deported in 1942 to Terezin. A year later her husband and son were deported to the same camp. <br />
<br />
She had dedicated her self to studying the music of Chopin at the outset of the Nazi occupation of Czechoslovakia (1939), and after seeing her mother off on the train, she set about learning his twenty-seven Etudes, but a year later she, her husband, and her son was also dispatched to Terezin (Theresienstadt). <br />
<br />
The camp was noted for its orchestra, which was staffed by prisoners. It proved to be her salvation and also, on her account, her son's. (Her husband was sent on to Dachau in 1944, where he died shortly before liberation.) An officer who particularly liked her playing assured her survival. <br />
<br />
Although mother and son returned after the war to Prague, they were disappointed in conditions there and moved to Israel in 1949. She taught for many years at the Rubin (later Jerusalem) Academy of Music (and Dance). Her son, who became a noted cellist, died at 64 in London, where she had moved some years earlier.<br />
<br />
Despite the encroachment of physical limitations, Alice Herz-Sommer continued to play the piano several hours a day at her apartment in London until very shortly before her death. As related in several studies of her abilities, she credited the music of specific composers (among them Beethoven ad Chopin) with enabling her to survive the many losses in her life and to imbue her with a positive outlook even in the worst of times.<br />
<br />
<i>Further information</i>: [https://aliceherzsommer.com/at-110-holocaust-survivor-finds-sustenance-in-music/ Alice Herz Sommer];<br />
<br />
==Dionisio Lind==<br />
<br />
[[File:Lind_bells.PNG|160px|thumb|left|<small>Dionisio Lind, aged 80, at the Riverside Church, New York (2000).</small>]]<br />
<br />
The <b>carillonneur</b> Dionisio Lind (10 February 1931 - 10 October 2018) was captivated by the sound of the bells at St. Martin's Episcopal Church, Harlem (NY), in the 1950s. He took lessons there and began his official career as the church's carillonneur in 1960. He progressed so well that the church sent him to the Royal Carillon School in [https://en.wikipedia.org/wiki/Mechelen Mechelen], Belgium, in 1962. In 2000 he was invited to move to the Riverside Church, overlooking the Hudson River, at 120th St., where he served as principal carillonneur until his death. <br />
<br />
The church, modeled on [https://en.wikipedia.org/wiki/Chartres_Cathedral Chartres Cathedral], boasts a carillon with 74 bells ranging in weight from 10 pounds to 20 tons. (Its Bourdon is the heaviest in the world and uniquely reaches an octave lower than any other instrument of its kind.) To continue playing into his late 80s, Lind had to climb to the top of the 392-foot campanile each time he performed. He explains the bells and plays the carillon in this [https://www.youtube.com/watch?v=0Hnh7I5KgzE 2011 video] interview by Allison Davis, published by the <i>New York Daily News</i>.<br />
<br />
==Roberta Mandel==<br />
<br />
[[File:Mandel1.PNG|125px|thumb|left|<small>Roberta Mandel in an undated photograph.</small>]]<br />
<br />
Roberta Mandel (29 December 1920 - 5 September 2017) performed as a <b>jazz pianist</b> for 75 years. Trained as a classical pianist, she was also an arranger and composer. She had a special gift for transcribing by ear the arrangements she heard on recordings. She credited her extensive knowledge of harmony to her early studies of classical music (in which she earned two academic degrees from the California State University at San Francisco). Her arrangements of big-band numbers for solo piano were especially noted. Mandel was raised in San Francisco. Her first teacher was her mother, a pianist. In her sojourns as the leader of a traveling troupe of musicians that she met her future husband, William Mandel, in Illinois. Mandel had once been a radio Quiz Kid and was destined to became a noted tuberculosis researcher, writer, lecturer, and administrator. The Mandels made San Francisco their permanent home. Her parents' apartment, with its Steinway grand, served as a practice venue for [https://en.wikipedia.org/wiki/Oscar_Peterson Oscar Peterson], [https://en.wikipedia.org/wiki/Art_Tatum Art Tatum], and many other jazz greats when they visited San Francisco. <br />
<br />
[[File:Courtney.jpg|240px|thumb|right|<small>The Junius Courtney Big Band at Freight & Salvage Coffeehouse, Berkeley, CA, in February 2010. Roberta Mandel is at the right.</small>]]<br />
<br />
Mandel's longest engagement (32 years) was with the 18-member [https://www.berkeleyside.com/2011/09/22/the-junius-courtney-big-band-spirited-in-all-the-right-ways Junius Courtney Big Band], which was similarly noted for its arrangements. A frequent venue was the [https://www.thefreight.org/ Freight & Salvage Coffeehouse] in Berkeley. (Freight & Salvage, which offers open nights for jazz improvisation, celebrated its 50th anniversary in 2018.) Among her credits, Mandel was the first female pianist to sit in with the [https://en.wikipedia.org/wiki/Count_Basie Count Basie Orchestra]. Her 1982 transcription of [https://en.wikipedia.org/wiki/Billy_Strayhorn Billy Strayhorn]'s "Blood Count" from the recording by Duke Ellington's Orchestra is preserved in the Smithsonian (National Museum of American History). Her book of compositions in leadsheet format, <i>Jazz Tunes for Friends</i> (1999-2004) is available from [http://www.sandscapepublications.com/sheetmusic/sheethomeholidays.html Sandscape Publications]. This [http://users.rcn.com/jazzinfo/v09n10Mar00/roberta_mandel.html memoir from <i>Jazz Now</i>] appeared in 1990.<br />
<br />
==Aldo Parisot==<br />
<br />
[[File:Parisot.PNG|260px|thumb|left|<small>Aldo Parisot with his Yale cello students at Carnegie Hall in 2009. The occasion was the celebration of his 50th anniversary of his teaching appointment at Yale.</small>]]<br />
<br />
The Brazilian cellist Aldo Parisot (1918-2018) arrived in the US in 1946 to study at Yale University, where he studied chamber music with several teachers and music theory with [https://en.wikipedia.org/wiki/Paul_Hindemith Paul Hindemith]. He joined the Yale music faculty on 1958 and remained in his post until a few months before his death (29 December 2018). In this [https://www.youtube.com/watch?v=m4MDHpeM24M video] he performs Bach's first cello suite on his 100th birthday (30 September). <br />
Parisot gives his own [https://www.youtube.com/watch?v=x2sipAlp2os biographical account] here.<br />
<br />
==Zuzana Ružičková==<br />
<br />
[[File:zuzana-ruzickova_2017.jpg|thumb|210px|<small>Zuzana Ružičková on her 90th birthday (January 2017).</small>]]<br />
<br />
The world-renown <b>harpichordist</b> Zuzana Ružičhková (Pilsen, 14 January 1927 - Prague, 27 September 2017) was a noted interpreter of J.S. Bach. Her musical interest was evident from an early age. She seemed destined for a musical career after winning the ARD International Music Competition in Munich (1936). She declined a place on a Kindertransport (a rescue train for Jewish children) to Britain in 1939, but accompanied her parents (who ran a big toy store in Prague) to Terezin in 1942, where her father died. She and her mother were later moved to Auschwitz, where she was spared from the gas chamber twice--in the second case by the Allied invasion of occupied Poland. Together with her mother, she repaired oil pipelines in Hamburg before being shipped, months before the end of the war, to [https://en.wikipedia.org/wiki/Bergen-Belsen_concentration_camp Bergen-Belsen]. <br />
<br />
She attended the Academy of Performing Arts in Prague from 1947 to 1951 and made more than 100 recordings. Her project to record all of Bach's music for harpsichord occupied her from 1995 to 2005. Although she stopped performing publicly after the death of her husband (the composer [https://en.wikipedia.org/wiki/Viktor_Kalabis Viktor Kalabis]) in 2006, she continued teaching. In a BBC interview in 2016 she reflected on her survival as a musician, saying "It is not enough to be an extraordinary musician....You have to have the feeling that you cannot live without music." This message will be elaborated in the forthcoming film <i>Zuzana: Music is Life</i>, which is being made under the auspices of the [http://kalabismusic.org/2014/04/05/film/ Viktor Kalabis-Zuzana Ružičková Foundation]. Mahan Esfahani's reflection on her teaching is published in [https://www.newyorker.com/culture/culture-desk/devoting-ones-life-to-the-harpsichord-zuzana-ruzickova <i>The New Yorker</i>, October 21, 2017.]<br />
<br />
=Professional musicians in music-centered retirement situations=<br />
<br />
==The Casa Verdi (Milan)==<br />
<br />
In 1896, when he turned 65, Giuseppe Verdi established a home for retired professional musicians in a spacious period home on the Piazza Buonarroti in Milan. By 1899 it was ready to welcome its first cohort of retirees. The Casa Verdi has numerous practice rooms, concert facilities, and musical instruments. Those who live there enjoy the company of other retired musicians and are at liberty to form their own ensembles. In recent years the Casa has also rented rooms to music students, who entertain the residents and sometimes perform with them. <br />
<br />
The Casa Verdi is portrayed in Daniel Schmid's film [https://www.imdb.com/title/tt0086928/ <i>Il bacio di Tosca (Tosca's Kiss)</i>] (1984). Ronald Harwood's play (1999) formed the basis for Dustin Hoffman's award-winning film <i>[http://www.bfi.org.uk/films-tv-people/50c30bc1a5894 Quartet]</i> (2012), with the Casa Verdi transplanted to rural England.<br />
<br />
=Active performers outside Europe and North America=</div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12783Music 253/CS 275a Winter 2024 Syllabus2024-02-29T05:53:42Z<p>Esfield: /* Week 8 */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<div id="week1"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<div id="week2"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<div id="week3"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<div id="week4"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<div id="week5"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<b>SCORE user input code</b><br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<br />
<div id="week6"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 6 || 13 Feb 2024 || <br />
* Heinz Roggenkemper: guest lecture on Newzik, LiveScore, and the role of OMR (optical music recognition) [https://docs.google.com/presentation/d/1A1RyNmybSTwq2ATs-PtrA53b9YdRm-XRKLRuF2QWdfE/edit#slide=id.p slides]<br />
<b>SCORE music editor</b><br />
* * Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06A: [https://esf.ccarh.org/Music253-2024/06A_Extremes%20within%20CMN_2024.pdf Graphical Extremes within Common Western Notation] (CMN)]<br />
<br />
* Lecture 06B: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<div id="week7"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/Music253-2024/07A_TexturesTracks_2024.pdf Score semantics: Textures and Tracks]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/Music253-2024/07B_DataArchives-2024.pdf Data Archives]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<div id="week8"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08A. [https://esf.ccarh.org/Music253-2024/08A_Base-40_2024.pdf Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
<br />
* Lecture 08B. [https://esf.ccarh.org/Music253-2024/08B_EncodingMusicalVariants.pdf Encoding Musical Variants]<br />
<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<div id="week9"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<div id="week10"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12782Music 253/CS 275a Winter 2024 Syllabus2024-02-29T05:51:18Z<p>Esfield: /* Week 8 */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<div id="week1"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<div id="week2"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<div id="week3"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<div id="week4"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<div id="week5"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<b>SCORE user input code</b><br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<br />
<div id="week6"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 6 || 13 Feb 2024 || <br />
* Heinz Roggenkemper: guest lecture on Newzik, LiveScore, and the role of OMR (optical music recognition) [https://docs.google.com/presentation/d/1A1RyNmybSTwq2ATs-PtrA53b9YdRm-XRKLRuF2QWdfE/edit#slide=id.p slides]<br />
<b>SCORE music editor</b><br />
* * Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06A: [https://esf.ccarh.org/Music253-2024/06A_Extremes%20within%20CMN_2024.pdf Graphical Extremes within Common Western Notation] (CMN)]<br />
<br />
* Lecture 06B: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<div id="week7"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/Music253-2024/07A_TexturesTracks_2024.pdf Score semantics: Textures and Tracks]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/Music253-2024/07B_DataArchives-2024.pdf Data Archives]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<div id="week8"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08A. [https://esf.ccarh.org/Music253-2024/08A_Base-40_2024.pdf Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 08B. [https://esf.ccarh.org/Music253-2024/08B_EncodingMusicalVariants.pdf Encoding Musical Variants]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<div id="week9"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<div id="week10"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12781Music 253/CS 275a Winter 2024 Syllabus2024-02-27T00:42:01Z<p>Esfield: /* Week 8 */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<div id="week1"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<div id="week2"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<div id="week3"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<div id="week4"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<div id="week5"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<b>SCORE user input code</b><br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<br />
<div id="week6"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 6 || 13 Feb 2024 || <br />
* Heinz Roggenkemper: guest lecture on Newzik, LiveScore, and the role of OMR (optical music recognition) [https://docs.google.com/presentation/d/1A1RyNmybSTwq2ATs-PtrA53b9YdRm-XRKLRuF2QWdfE/edit#slide=id.p slides]<br />
<b>SCORE music editor</b><br />
* * Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06A: [https://esf.ccarh.org/Music253-2024/06A_Extremes%20within%20CMN_2024.pdf Graphical Extremes within Common Western Notation] (CMN)]<br />
<br />
* Lecture 06B: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<div id="week7"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/Music253-2024/07A_TexturesTracks_2024.pdf Score semantics: Textures and Tracks]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/Music253-2024/07B_DataArchives-2024.pdf Data Archives]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<div id="week8"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08A. [https://esf.ccarh.org/Music253-2024/08A_Base-40_2024.pdf Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<div id="week9"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<div id="week10"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12780Music 253/CS 275a Winter 2024 Syllabus2024-02-27T00:38:47Z<p>Esfield: /* Week 8 */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<div id="week1"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<div id="week2"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<div id="week3"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<div id="week4"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<div id="week5"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<b>SCORE user input code</b><br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<br />
<div id="week6"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 6 || 13 Feb 2024 || <br />
* Heinz Roggenkemper: guest lecture on Newzik, LiveScore, and the role of OMR (optical music recognition) [https://docs.google.com/presentation/d/1A1RyNmybSTwq2ATs-PtrA53b9YdRm-XRKLRuF2QWdfE/edit#slide=id.p slides]<br />
<b>SCORE music editor</b><br />
* * Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06A: [https://esf.ccarh.org/Music253-2024/06A_Extremes%20within%20CMN_2024.pdf Graphical Extremes within Common Western Notation] (CMN)]<br />
<br />
* Lecture 06B: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<div id="week7"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/Music253-2024/07A_TexturesTracks_2024.pdf Score semantics: Textures and Tracks]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/Music253-2024/07B_DataArchives-2024.pdf Data Archives]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<div id="week8"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/Music253-2024/Base-40_2024.pdf Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<div id="week9"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<div id="week10"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12779Music 253/CS 275a Winter 2024 Syllabus2024-02-27T00:36:57Z<p>Esfield: /* Week 8 */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<div id="week1"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<div id="week2"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<div id="week3"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<div id="week4"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<div id="week5"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<b>SCORE user input code</b><br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<br />
<div id="week6"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 6 || 13 Feb 2024 || <br />
* Heinz Roggenkemper: guest lecture on Newzik, LiveScore, and the role of OMR (optical music recognition) [https://docs.google.com/presentation/d/1A1RyNmybSTwq2ATs-PtrA53b9YdRm-XRKLRuF2QWdfE/edit#slide=id.p slides]<br />
<b>SCORE music editor</b><br />
* * Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06A: [https://esf.ccarh.org/Music253-2024/06A_Extremes%20within%20CMN_2024.pdf Graphical Extremes within Common Western Notation] (CMN)]<br />
<br />
* Lecture 06B: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<div id="week7"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/Music253-2024/07A_TexturesTracks_2024.pdf Score semantics: Textures and Tracks]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/Music253-2024/07B_DataArchives-2024.pdf Data Archives]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<div id="week8"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/Music253-2024.pdf Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<div id="week9"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<div id="week10"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=12778MuseData: Antonio Vivaldi2024-02-23T00:45:32Z<p>Esfield: /* Op. 7: Concerti a 5 strumenti: Tre violini, alto viola e basso continuo */</p>
<hr />
<div>__TOC__<br />
<br />
<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from [https://en.wikipedia.org/wiki/Brescia Brescia] (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, an ambitious set of variations on the <i>folìa</i>. Vivaldi may have been inspired by [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Arcangelo Corelli]'s set of Folìa variations [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Op. 5, No. 12] (1700), but the trio texture changes the dynamics of the realization substantially.<br />
<br />
The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. Only fragments of it survive today in the library of the "Benedetto Marcello" Conservatory in Venice. (Scholars suspect that the music predated Vivaldi's appointment at the Ospedale of the Pietà, it is not mentioned in the title-page of Op. 1.) Vivaldi's collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=0 Critical notes for Vivaldi's Op. 1.]<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. (An asterisk (*) indicates a transcription using the key signature of the original print, while ** indicates a modernized key signature.) The movement structure of these early prints remained variable. Vivaldi was moving in the direction of fewer movements but in coincidence we find greater musical elaboration within longer movement. The composer was now described as a <i>maestro dei concerti</i> (concertmaster) of the [https://en.wikipedia.org/wiki/Ospedale_della_Piet%C3%A0 Ospedale della Pietà]. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh and J. Young (London). [Critical notes for Vivaldi's Op. 2.]<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in <i>c</i>1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frideric Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical effects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work, individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type for an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7. The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 and show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the works had already been performed in selected gatherings. They were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. This edition is based primarily on the prints of Etienne Roger Nos. 50 (containing parts for Nos. 1-6) and 51 (Nos 7-12; 1711) in conjunction with several manuscript sources for specific works. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
The Dawson transcriptions for Nos. 5, 7, 8, and 12 as a group are available [http://scores.ccarh.org/vivaldi/op3dawsonnew/ here].<br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, especially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and <i>concerti grossi</i>, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to them. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuses musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=1955277646 Critical notes for Op. 4.]<br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quattro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Jeanne Roger's print No. 418, were remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. These works appeared with the added information <br />
<i>O vero Parte Seconda del Opera Seconda</i>". During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Venetian Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5, containing a mixed repertory, was an orphan of sorts. It lacked a dedicatee, although an edition by M.C. Le Cène was brought out in <i>c</i>1723. Although few works were copied in manuscript, an exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score (Roger) !! Score (Le Cène)<br />
|-<br />
| Op. 5, No. 1 [Op. 2, No. 13] || RV 18 || Sonata / V, Bc || F Major || Example || Example<br />
|-<br />
| Op. 5, No. 2 [Op. 2, No. 14] || RV 30 || Sonata / V, Bc || A Major || Example || Example<br />
|-<br />
| Op. 5, No. 3 [Op. 2, No. 15] || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example || Example<br />
|-<br />
| Op. 5, No. 4 [Op. 2, No. 16] || RV 35 || Sonata / V, Bc || B Minor || Example || Example<br />
|-<br />
| Op. 5, No. 5 [Op. 2, No. 17] || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example || Example<br />
|-<br />
| Op. 5, No. 6 [Op. 2, No. 18] || RV 72 || Sonata / V1, V2, Bc || G Minor || Example || Example<br />
|}<br />
<br />
<i>Critical comments</i>: Despite its thin trail of copies and imitations, the opus is presented in slightly different ways by Jeanne Roger and M.C. Le Cène, although both employ the print number 418. Roger is generous with bowing marks, which bring a certain grace to the music. Yet the Roger lacks continuo figuration, which Le Cène provides generously. These differences in presentation suggest a difference in intended modes of performance--the Roger assuming the use of violin and string bass only, while the Le Cène aims for a keyboard continuo, probably with string bass reinforcement. Le Cène give movement tempo designations (Largo, Allegro, Presto) but excludes the dynamics indications found in Roger. Roger may have allowed for <i>notes inégales</i> in Op. 5, No. 1, for although the dotted patterns are given equivalently in Le Cène, the double dot in the final bar of the Preludio of Roger is an ordinary dot in Le Cène. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=911443142 <i>Detailed notes on individual works in both prints</i>]<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
<br />
[[File:Op.6n2ii2.png|560px|thumb|left|<small>From Violino principale for second movement of Op. 6, No. 2.</small>]] <br />
<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, four of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène issued one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivaldi's 12 concertos <i>a 5</i> (three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for use in the solo episodes in the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained only three movements. One can see that Vivaldi's idea of the concerto had evolved considerably over a decade. Note, though, that the oboe arrangements of Opp. 7, Nos. 1 and 7, as well as Op. 11, No. 6 (derived from Op. 7, No. 9) are now considered spurious. Three of the other printed works--Op. 7, Nos. 3, 5, and 10--appear in Jeanne Roger's serial prints (Nos. 470, 471, both of 1720) capture variant versions of circulating manuscripts of the time (<i>c</i>1716-1717).<br />
<br />
As scores for Vivaldi's concertos passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his works began to spawn ever-changing identities. (The Amsterdam print of Op. 7 was not a publication authorized by the composer.) Among these morphing presentations, Op. 7, No. 3 was revised by [https://en.wikipedia.org/wiki/Johann_Georg_Pisendel Johann Pisendel] (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden <i>Hofkapelle</i>. No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro" (Withdrawal). No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in [https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Walsh,_John Walsh] & Hare's anthology <i>Select Harmony</i> (London, 1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work includes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143<ref>Works listed in the appendix (<i>Anhang</i>) of Peter Ryom's Vivaldi catalog [RV] are currently considered spurious.</ref> || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements and performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city with rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, and 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Scores and Parts for Op. 8====<br />
The parts for Antonio Vivaldi's Op.8 <i>Concerti</i> accompany the full scores available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
The full scores available linked here are generated from the same encoded data but omit editorial details including alternative readings.<br />
<br />
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{{VivaldiOp8PDFTable}}<br />
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<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin, also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit as part of a diplomatic delegation to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music decline after the appearance of this collection. He preferre selling individual manuscripts to well-placed collectors. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between <i>c</i>1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player was essential for the execution his works for it. <br />
<br />
Opus 10 appeared as Le Cène print No. 544 in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the works are likely to have been composed years earlier. All three volumes were published in Amsterdam. Although each published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins and histories of individual works were varied. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified basso, and so forth. These are among the kinds of details that have necessitated separate catalog listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin.<br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
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{{VivaldiOpl0PDFTable}}<br />
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<br />
The first three works are the best known ones of the collection. Their nicknames gave them easy recognition, but the nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Though elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have best suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended initially as a single publication. Their Amsterdam print numbers from presses of Michel Charles Le Cène (1729) were 545 and 546. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated. Some uncertainty hovers over the question of whether Vivaldi authorized these prints. He explicitly avoided publication of sets after the publication of Op. 12, preferring instead to sell pieces singly to well-heeled fans and amateurs. <br />
<br />
Many solo passages are a challenge to the principal violinist. Vivaldi's full catalog of virtuoso techniques--double, triple, and quadruple stops, bariolage and a host of other difficult manners of passagework lurk within them. Several of the works are well known today. Op. 11, No. 5 was especially popular. Vivaldi's autograph appeared as No. 3 in the set of twelve concertos he presented to the emperor Charles VI during a visit to Trieste (1728). Miscellaneous parts in the Austrian National Library MS 15996 omit the music for first violin. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Org || D Major || <small>The three known manuscript sources are in Turin, Dresden (partly copied by Joh. Georg Pisendel, Dresden's <i>Kapellmeister</i>), and Venice, where the conservatory title is dedicated to one of Vivaldi's most accomplished students, Anna Maria of the Pietà</small>. || [https://pdf.musedata.org/?id=vivaldi-op11-no1 score]<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || <small>Nicknamed "Il Favorito". Appears as No. 11 of <i>La Cetra</i>, the concerto collection Vivaldi dedicated to the emperor (1728).</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no2 score]<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Org || A Major || <small>May be from the early 1720s.</small>|| [https://pdf.musedata.org/?id=vivaldi-op11-no3 score]<br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Org || G Major || <small>Another concerto dedicated to Anna Maria of the Pietà.</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no4 score] <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || <small>Material added here is partly in Pisendel's hand.</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no5 score] <br />
<small>[http://digital.slub-dresden.de/id340096659 Manuscript, Dresden SLUB 2389-O-122</small>]<br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Org || C Minor || <small>Preserved in Dresden and Venice (in the latter case with dedication to Anna Maria of the Pietà). May be from the early 1720s. See also Op. 9, No. 3 (RV 334); RV 460 for Ob; V1 V2 Va Vc Org</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no6 score]<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. Like op. 11, op. 12 includes works (e.g. nos. 1, 2, 6) that lack inclusion in any other source, print or manuscript. This allows that the publication as a whole was not authorized by the composer. It also invited questions of attribution. The authorship of two other works (nos. 3 and 5) is confirmed by the presence of analogous pieces in the Giordano manuscript series in Turin. The gem of the collection is no. 4, with its brisk motifs and multiple stops, features not readily present in the other five concertos. Yet the brilliant final movement is unmistakably Vivaldi's. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr; V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr; V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr; V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr; V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. Many wind parts were added to copyists to suit local resources. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos to feature a wind instrument (usually an oboe) in lieu of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy, the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Esfieldhttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=12777MuseData: Antonio Vivaldi2024-02-23T00:42:10Z<p>Esfield: /* Op. 7: Concerti a 5 strumenti: Tre violini, alto viola e basso continuo */</p>
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<div>__TOC__<br />
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<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from [https://en.wikipedia.org/wiki/Brescia Brescia] (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, an ambitious set of variations on the <i>folìa</i>. Vivaldi may have been inspired by [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Arcangelo Corelli]'s set of Folìa variations [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Op. 5, No. 12] (1700), but the trio texture changes the dynamics of the realization substantially.<br />
<br />
The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. Only fragments of it survive today in the library of the "Benedetto Marcello" Conservatory in Venice. (Scholars suspect that the music predated Vivaldi's appointment at the Ospedale of the Pietà, it is not mentioned in the title-page of Op. 1.) Vivaldi's collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=0 Critical notes for Vivaldi's Op. 1.]<br />
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{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. (An asterisk (*) indicates a transcription using the key signature of the original print, while ** indicates a modernized key signature.) The movement structure of these early prints remained variable. Vivaldi was moving in the direction of fewer movements but in coincidence we find greater musical elaboration within longer movement. The composer was now described as a <i>maestro dei concerti</i> (concertmaster) of the [https://en.wikipedia.org/wiki/Ospedale_della_Piet%C3%A0 Ospedale della Pietà]. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh and J. Young (London). [Critical notes for Vivaldi's Op. 2.]<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in <i>c</i>1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frideric Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical effects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work, individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type for an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7. The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 and show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the works had already been performed in selected gatherings. They were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. This edition is based primarily on the prints of Etienne Roger Nos. 50 (containing parts for Nos. 1-6) and 51 (Nos 7-12; 1711) in conjunction with several manuscript sources for specific works. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
The Dawson transcriptions for Nos. 5, 7, 8, and 12 as a group are available [http://scores.ccarh.org/vivaldi/op3dawsonnew/ here].<br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, especially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and <i>concerti grossi</i>, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to them. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuses musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=1955277646 Critical notes for Op. 4.]<br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quattro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Jeanne Roger's print No. 418, were remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. These works appeared with the added information <br />
<i>O vero Parte Seconda del Opera Seconda</i>". During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Venetian Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5, containing a mixed repertory, was an orphan of sorts. It lacked a dedicatee, although an edition by M.C. Le Cène was brought out in <i>c</i>1723. Although few works were copied in manuscript, an exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score (Roger) !! Score (Le Cène)<br />
|-<br />
| Op. 5, No. 1 [Op. 2, No. 13] || RV 18 || Sonata / V, Bc || F Major || Example || Example<br />
|-<br />
| Op. 5, No. 2 [Op. 2, No. 14] || RV 30 || Sonata / V, Bc || A Major || Example || Example<br />
|-<br />
| Op. 5, No. 3 [Op. 2, No. 15] || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example || Example<br />
|-<br />
| Op. 5, No. 4 [Op. 2, No. 16] || RV 35 || Sonata / V, Bc || B Minor || Example || Example<br />
|-<br />
| Op. 5, No. 5 [Op. 2, No. 17] || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example || Example<br />
|-<br />
| Op. 5, No. 6 [Op. 2, No. 18] || RV 72 || Sonata / V1, V2, Bc || G Minor || Example || Example<br />
|}<br />
<br />
<i>Critical comments</i>: Despite its thin trail of copies and imitations, the opus is presented in slightly different ways by Jeanne Roger and M.C. Le Cène, although both employ the print number 418. Roger is generous with bowing marks, which bring a certain grace to the music. Yet the Roger lacks continuo figuration, which Le Cène provides generously. These differences in presentation suggest a difference in intended modes of performance--the Roger assuming the use of violin and string bass only, while the Le Cène aims for a keyboard continuo, probably with string bass reinforcement. Le Cène give movement tempo designations (Largo, Allegro, Presto) but excludes the dynamics indications found in Roger. Roger may have allowed for <i>notes inégales</i> in Op. 5, No. 1, for although the dotted patterns are given equivalently in Le Cène, the double dot in the final bar of the Preludio of Roger is an ordinary dot in Le Cène. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=911443142 <i>Detailed notes on individual works in both prints</i>]<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
<br />
[[File:Op.6n2ii2.png|560px|thumb|left|<small>From Violino principale for second movement of Op. 6, No. 2.</small>]] <br />
<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, four of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène issued one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivaldi's 12 concertos <i>a 5</i> (three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for use in the solo episodes in the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained only three movements. One can see that Vivaldi's idea of the concerto had evolved considerably over a decade. Note, though, that the oboe arrangements of Opp. 7, Nos. 1 and 7, as well as Op. 11, No. 6 (derived from Op. 7, No. 9) are now considered spurious. Three of the other works--Op. 7, Nos. 3, 5, and 10--appear in Jeanne Roger's serial prints (Nos. 470, 471, both of 1720) in variant versions of circulating manuscripts of the time.<br />
<br />
As scores for Vivaldi's concertos passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his works began to spawn ever-changing identities. (The Amsterdam print of Op. 7 was not a publication authorized by the composer.) Among these morphing presentations, Op. 7, No. 3 was revised by [https://en.wikipedia.org/wiki/Johann_Georg_Pisendel Johann Pisendel] (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden <i>Hofkapelle</i>. No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro" (Withdrawal). No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in [https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Walsh,_John Walsh] & Hare's anthology <i>Select Harmony</i> (London, 1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work includes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143<ref>Works listed in the appendix (<i>Anhang</i>) of Peter Ryom's Vivaldi catalog [RV] are currently considered spurious.</ref> || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements and performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city with rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, and 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Scores and Parts for Op. 8====<br />
The parts for Antonio Vivaldi's Op.8 <i>Concerti</i> accompany the full scores available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
The full scores available linked here are generated from the same encoded data but omit editorial details including alternative readings.<br />
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<center><br />
{{VivaldiOp8PDFTable}}<br />
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===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin, also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit as part of a diplomatic delegation to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music decline after the appearance of this collection. He preferre selling individual manuscripts to well-placed collectors. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between <i>c</i>1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player was essential for the execution his works for it. <br />
<br />
Opus 10 appeared as Le Cène print No. 544 in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the works are likely to have been composed years earlier. All three volumes were published in Amsterdam. Although each published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins and histories of individual works were varied. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified basso, and so forth. These are among the kinds of details that have necessitated separate catalog listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin.<br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
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{{VivaldiOpl0PDFTable}}<br />
</center><br />
<br />
The first three works are the best known ones of the collection. Their nicknames gave them easy recognition, but the nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Though elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have best suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended initially as a single publication. Their Amsterdam print numbers from presses of Michel Charles Le Cène (1729) were 545 and 546. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated. Some uncertainty hovers over the question of whether Vivaldi authorized these prints. He explicitly avoided publication of sets after the publication of Op. 12, preferring instead to sell pieces singly to well-heeled fans and amateurs. <br />
<br />
Many solo passages are a challenge to the principal violinist. Vivaldi's full catalog of virtuoso techniques--double, triple, and quadruple stops, bariolage and a host of other difficult manners of passagework lurk within them. Several of the works are well known today. Op. 11, No. 5 was especially popular. Vivaldi's autograph appeared as No. 3 in the set of twelve concertos he presented to the emperor Charles VI during a visit to Trieste (1728). Miscellaneous parts in the Austrian National Library MS 15996 omit the music for first violin. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Org || D Major || <small>The three known manuscript sources are in Turin, Dresden (partly copied by Joh. Georg Pisendel, Dresden's <i>Kapellmeister</i>), and Venice, where the conservatory title is dedicated to one of Vivaldi's most accomplished students, Anna Maria of the Pietà</small>. || [https://pdf.musedata.org/?id=vivaldi-op11-no1 score]<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || <small>Nicknamed "Il Favorito". Appears as No. 11 of <i>La Cetra</i>, the concerto collection Vivaldi dedicated to the emperor (1728).</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no2 score]<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Org || A Major || <small>May be from the early 1720s.</small>|| [https://pdf.musedata.org/?id=vivaldi-op11-no3 score]<br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Org || G Major || <small>Another concerto dedicated to Anna Maria of the Pietà.</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no4 score] <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || <small>Material added here is partly in Pisendel's hand.</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no5 score] <br />
<small>[http://digital.slub-dresden.de/id340096659 Manuscript, Dresden SLUB 2389-O-122</small>]<br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Org || C Minor || <small>Preserved in Dresden and Venice (in the latter case with dedication to Anna Maria of the Pietà). May be from the early 1720s. See also Op. 9, No. 3 (RV 334); RV 460 for Ob; V1 V2 Va Vc Org</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no6 score]<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. Like op. 11, op. 12 includes works (e.g. nos. 1, 2, 6) that lack inclusion in any other source, print or manuscript. This allows that the publication as a whole was not authorized by the composer. It also invited questions of attribution. The authorship of two other works (nos. 3 and 5) is confirmed by the presence of analogous pieces in the Giordano manuscript series in Turin. The gem of the collection is no. 4, with its brisk motifs and multiple stops, features not readily present in the other five concertos. Yet the brilliant final movement is unmistakably Vivaldi's. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr; V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr; V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr; V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr; V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. Many wind parts were added to copyists to suit local resources. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos to feature a wind instrument (usually an oboe) in lieu of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy, the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Esfieldhttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=12776MuseData: Antonio Vivaldi2024-02-23T00:27:33Z<p>Esfield: /* Op. 7: Concerti a 5 strumenti: Tre violini, alto viola e basso continuo */</p>
<hr />
<div>__TOC__<br />
<br />
<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from [https://en.wikipedia.org/wiki/Brescia Brescia] (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, an ambitious set of variations on the <i>folìa</i>. Vivaldi may have been inspired by [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Arcangelo Corelli]'s set of Folìa variations [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Op. 5, No. 12] (1700), but the trio texture changes the dynamics of the realization substantially.<br />
<br />
The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. Only fragments of it survive today in the library of the "Benedetto Marcello" Conservatory in Venice. (Scholars suspect that the music predated Vivaldi's appointment at the Ospedale of the Pietà, it is not mentioned in the title-page of Op. 1.) Vivaldi's collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=0 Critical notes for Vivaldi's Op. 1.]<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. (An asterisk (*) indicates a transcription using the key signature of the original print, while ** indicates a modernized key signature.) The movement structure of these early prints remained variable. Vivaldi was moving in the direction of fewer movements but in coincidence we find greater musical elaboration within longer movement. The composer was now described as a <i>maestro dei concerti</i> (concertmaster) of the [https://en.wikipedia.org/wiki/Ospedale_della_Piet%C3%A0 Ospedale della Pietà]. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh and J. Young (London). [Critical notes for Vivaldi's Op. 2.]<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in <i>c</i>1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frideric Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical effects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work, individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type for an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7. The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 and show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the works had already been performed in selected gatherings. They were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. This edition is based primarily on the prints of Etienne Roger Nos. 50 (containing parts for Nos. 1-6) and 51 (Nos 7-12; 1711) in conjunction with several manuscript sources for specific works. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
The Dawson transcriptions for Nos. 5, 7, 8, and 12 as a group are available [http://scores.ccarh.org/vivaldi/op3dawsonnew/ here].<br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, especially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and <i>concerti grossi</i>, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to them. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuses musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=1955277646 Critical notes for Op. 4.]<br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quattro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Jeanne Roger's print No. 418, were remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. These works appeared with the added information <br />
<i>O vero Parte Seconda del Opera Seconda</i>". During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Venetian Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5, containing a mixed repertory, was an orphan of sorts. It lacked a dedicatee, although an edition by M.C. Le Cène was brought out in <i>c</i>1723. Although few works were copied in manuscript, an exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score (Roger) !! Score (Le Cène)<br />
|-<br />
| Op. 5, No. 1 [Op. 2, No. 13] || RV 18 || Sonata / V, Bc || F Major || Example || Example<br />
|-<br />
| Op. 5, No. 2 [Op. 2, No. 14] || RV 30 || Sonata / V, Bc || A Major || Example || Example<br />
|-<br />
| Op. 5, No. 3 [Op. 2, No. 15] || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example || Example<br />
|-<br />
| Op. 5, No. 4 [Op. 2, No. 16] || RV 35 || Sonata / V, Bc || B Minor || Example || Example<br />
|-<br />
| Op. 5, No. 5 [Op. 2, No. 17] || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example || Example<br />
|-<br />
| Op. 5, No. 6 [Op. 2, No. 18] || RV 72 || Sonata / V1, V2, Bc || G Minor || Example || Example<br />
|}<br />
<br />
<i>Critical comments</i>: Despite its thin trail of copies and imitations, the opus is presented in slightly different ways by Jeanne Roger and M.C. Le Cène, although both employ the print number 418. Roger is generous with bowing marks, which bring a certain grace to the music. Yet the Roger lacks continuo figuration, which Le Cène provides generously. These differences in presentation suggest a difference in intended modes of performance--the Roger assuming the use of violin and string bass only, while the Le Cène aims for a keyboard continuo, probably with string bass reinforcement. Le Cène give movement tempo designations (Largo, Allegro, Presto) but excludes the dynamics indications found in Roger. Roger may have allowed for <i>notes inégales</i> in Op. 5, No. 1, for although the dotted patterns are given equivalently in Le Cène, the double dot in the final bar of the Preludio of Roger is an ordinary dot in Le Cène. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=911443142 <i>Detailed notes on individual works in both prints</i>]<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
<br />
[[File:Op.6n2ii2.png|560px|thumb|left|<small>From Violino principale for second movement of Op. 6, No. 2.</small>]] <br />
<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, four of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène issued one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivaldi's 12 concertos <i>a 5</i> (three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for use in the solo episodes in the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained only three movements. One can see that Vivaldi's idea of the concerto had evolved considerably over a decade. Note, though, that the oboe arrangements of Opp. 7, Nos. 1 and 7, as well as Op. 11, No. 6 (derived from Op. 7, No. 9) are now considered spurious. Three of the other works--Op. 7, Nos. 3, 5, and 10--appear in Jeanne Roger's serial prints (Nos. 470, 471) in variant versions of circulating manuscripts of the time.<br />
<br />
As scores for Vivaldi's concertos passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his works began to spawn ever-changing identities. (The Amsterdam print of Op. 7 was not a publication authorized by the composer.) Among these morphing presentations, Op. 7, No. 3 was revised by [https://en.wikipedia.org/wiki/Johann_Georg_Pisendel Johann Pisendel] (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden <i>Hofkapelle</i>. No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro" (Withdrawal). No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in [https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Walsh,_John Walsh] & Hare's anthology <i>Select Harmony</i> (London, 1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work includes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143<ref>Works listed in the appendix (<i>Anhang</i>) of Peter Ryom's Vivaldi catalog [RV] are currently considered spurious.</ref> || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements and performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city with rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, and 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Scores and Parts for Op. 8====<br />
The parts for Antonio Vivaldi's Op.8 <i>Concerti</i> accompany the full scores available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
The full scores available linked here are generated from the same encoded data but omit editorial details including alternative readings.<br />
<br />
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{{VivaldiOp8PDFTable}}<br />
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<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin, also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit as part of a diplomatic delegation to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music decline after the appearance of this collection. He preferre selling individual manuscripts to well-placed collectors. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between <i>c</i>1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player was essential for the execution his works for it. <br />
<br />
Opus 10 appeared as Le Cène print No. 544 in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the works are likely to have been composed years earlier. All three volumes were published in Amsterdam. Although each published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins and histories of individual works were varied. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified basso, and so forth. These are among the kinds of details that have necessitated separate catalog listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin.<br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
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{{VivaldiOpl0PDFTable}}<br />
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<br />
The first three works are the best known ones of the collection. Their nicknames gave them easy recognition, but the nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Though elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have best suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended initially as a single publication. Their Amsterdam print numbers from presses of Michel Charles Le Cène (1729) were 545 and 546. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated. Some uncertainty hovers over the question of whether Vivaldi authorized these prints. He explicitly avoided publication of sets after the publication of Op. 12, preferring instead to sell pieces singly to well-heeled fans and amateurs. <br />
<br />
Many solo passages are a challenge to the principal violinist. Vivaldi's full catalog of virtuoso techniques--double, triple, and quadruple stops, bariolage and a host of other difficult manners of passagework lurk within them. Several of the works are well known today. Op. 11, No. 5 was especially popular. Vivaldi's autograph appeared as No. 3 in the set of twelve concertos he presented to the emperor Charles VI during a visit to Trieste (1728). Miscellaneous parts in the Austrian National Library MS 15996 omit the music for first violin. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Org || D Major || <small>The three known manuscript sources are in Turin, Dresden (partly copied by Joh. Georg Pisendel, Dresden's <i>Kapellmeister</i>), and Venice, where the conservatory title is dedicated to one of Vivaldi's most accomplished students, Anna Maria of the Pietà</small>. || [https://pdf.musedata.org/?id=vivaldi-op11-no1 score]<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || <small>Nicknamed "Il Favorito". Appears as No. 11 of <i>La Cetra</i>, the concerto collection Vivaldi dedicated to the emperor (1728).</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no2 score]<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Org || A Major || <small>May be from the early 1720s.</small>|| [https://pdf.musedata.org/?id=vivaldi-op11-no3 score]<br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Org || G Major || <small>Another concerto dedicated to Anna Maria of the Pietà.</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no4 score] <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || <small>Material added here is partly in Pisendel's hand.</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no5 score] <br />
<small>[http://digital.slub-dresden.de/id340096659 Manuscript, Dresden SLUB 2389-O-122</small>]<br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Org || C Minor || <small>Preserved in Dresden and Venice (in the latter case with dedication to Anna Maria of the Pietà). May be from the early 1720s. See also Op. 9, No. 3 (RV 334); RV 460 for Ob; V1 V2 Va Vc Org</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no6 score]<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. Like op. 11, op. 12 includes works (e.g. nos. 1, 2, 6) that lack inclusion in any other source, print or manuscript. This allows that the publication as a whole was not authorized by the composer. It also invited questions of attribution. The authorship of two other works (nos. 3 and 5) is confirmed by the presence of analogous pieces in the Giordano manuscript series in Turin. The gem of the collection is no. 4, with its brisk motifs and multiple stops, features not readily present in the other five concertos. Yet the brilliant final movement is unmistakably Vivaldi's. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr; V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr; V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr; V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr; V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. Many wind parts were added to copyists to suit local resources. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos to feature a wind instrument (usually an oboe) in lieu of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy, the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Esfieldhttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=12775MuseData: Antonio Vivaldi2024-02-23T00:23:50Z<p>Esfield: /* Op. 7: Concerti a 5 strumenti: Tre violini, alto viola e basso continuo */</p>
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<div>__TOC__<br />
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<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from [https://en.wikipedia.org/wiki/Brescia Brescia] (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, an ambitious set of variations on the <i>folìa</i>. Vivaldi may have been inspired by [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Arcangelo Corelli]'s set of Folìa variations [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Op. 5, No. 12] (1700), but the trio texture changes the dynamics of the realization substantially.<br />
<br />
The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. Only fragments of it survive today in the library of the "Benedetto Marcello" Conservatory in Venice. (Scholars suspect that the music predated Vivaldi's appointment at the Ospedale of the Pietà, it is not mentioned in the title-page of Op. 1.) Vivaldi's collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=0 Critical notes for Vivaldi's Op. 1.]<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. (An asterisk (*) indicates a transcription using the key signature of the original print, while ** indicates a modernized key signature.) The movement structure of these early prints remained variable. Vivaldi was moving in the direction of fewer movements but in coincidence we find greater musical elaboration within longer movement. The composer was now described as a <i>maestro dei concerti</i> (concertmaster) of the [https://en.wikipedia.org/wiki/Ospedale_della_Piet%C3%A0 Ospedale della Pietà]. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh and J. Young (London). [Critical notes for Vivaldi's Op. 2.]<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in <i>c</i>1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frideric Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
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Having now completed eight years of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
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Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical effects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
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Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
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====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work, individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
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Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type for an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
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Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7. The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 and show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
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====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
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CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the works had already been performed in selected gatherings. They were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. This edition is based primarily on the prints of Etienne Roger Nos. 50 (containing parts for Nos. 1-6) and 51 (Nos 7-12; 1711) in conjunction with several manuscript sources for specific works. <br />
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For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
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{{VivaldiOp3PDF}}<br />
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The Dawson transcriptions for Nos. 5, 7, 8, and 12 as a group are available [http://scores.ccarh.org/vivaldi/op3dawsonnew/ here].<br />
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===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, especially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and <i>concerti grossi</i>, which were less demanding.) <br />
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Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
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At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to them. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuses musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=1955277646 Critical notes for Op. 4.]<br />
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{{VivaldiOp4PDF}}<br />
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===Op. 5: <i>VI Sonate/quattro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Jeanne Roger's print No. 418, were remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. These works appeared with the added information <br />
<i>O vero Parte Seconda del Opera Seconda</i>". During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Venetian Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5, containing a mixed repertory, was an orphan of sorts. It lacked a dedicatee, although an edition by M.C. Le Cène was brought out in <i>c</i>1723. Although few works were copied in manuscript, an exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
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{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score (Roger) !! Score (Le Cène)<br />
|-<br />
| Op. 5, No. 1 [Op. 2, No. 13] || RV 18 || Sonata / V, Bc || F Major || Example || Example<br />
|-<br />
| Op. 5, No. 2 [Op. 2, No. 14] || RV 30 || Sonata / V, Bc || A Major || Example || Example<br />
|-<br />
| Op. 5, No. 3 [Op. 2, No. 15] || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example || Example<br />
|-<br />
| Op. 5, No. 4 [Op. 2, No. 16] || RV 35 || Sonata / V, Bc || B Minor || Example || Example<br />
|-<br />
| Op. 5, No. 5 [Op. 2, No. 17] || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example || Example<br />
|-<br />
| Op. 5, No. 6 [Op. 2, No. 18] || RV 72 || Sonata / V1, V2, Bc || G Minor || Example || Example<br />
|}<br />
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<i>Critical comments</i>: Despite its thin trail of copies and imitations, the opus is presented in slightly different ways by Jeanne Roger and M.C. Le Cène, although both employ the print number 418. Roger is generous with bowing marks, which bring a certain grace to the music. Yet the Roger lacks continuo figuration, which Le Cène provides generously. These differences in presentation suggest a difference in intended modes of performance--the Roger assuming the use of violin and string bass only, while the Le Cène aims for a keyboard continuo, probably with string bass reinforcement. Le Cène give movement tempo designations (Largo, Allegro, Presto) but excludes the dynamics indications found in Roger. Roger may have allowed for <i>notes inégales</i> in Op. 5, No. 1, for although the dotted patterns are given equivalently in Le Cène, the double dot in the final bar of the Preludio of Roger is an ordinary dot in Le Cène. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=911443142 <i>Detailed notes on individual works in both prints</i>]<br />
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===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
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[[File:Op.6n2ii2.png|560px|thumb|left|<small>From Violino principale for second movement of Op. 6, No. 2.</small>]] <br />
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The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
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Musically, four of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène issued one (undated) reprint.<br />
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{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
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===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
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Vivaldi's 12 concertos <i>a 5</i> (three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for use in the solo episodes in the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained only three movements. One can see that Vivaldi's idea of the concerto had evolved considerably over a decade. Note, though, that the oboe arrangements of Opp. 7, Nos. 1 and 7, as well as Op. 11, No. 6 (derived from Op. 7, No. 9) are now considered spurious. Three of the other works--Op. 7, Nos. <br />
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As scores for Vivaldi's concertos passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his works began to spawn ever-changing identities. (The Amsterdam print of Op. 7 was not a publication authorized by the composer.) Among these morphing presentations, Op. 7, No. 3 was revised by [https://en.wikipedia.org/wiki/Johann_Georg_Pisendel Johann Pisendel] (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden <i>Hofkapelle</i>. No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro" (Withdrawal). No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in [https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Walsh,_John Walsh] & Hare's anthology <i>Select Harmony</i> (London, 1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work includes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations. <br />
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{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143<ref>Works listed in the appendix (<i>Anhang</i>) of Peter Ryom's Vivaldi catalog [RV] are currently considered spurious.</ref> || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
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===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements and performances that extends to the current day. <br />
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Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city with rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
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This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
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In the works as a set, major keys predominate. Nos. 7, 9, and 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
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====CCARH Scores and Parts for Op. 8====<br />
The parts for Antonio Vivaldi's Op.8 <i>Concerti</i> accompany the full scores available from Dover Publications:<br />
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* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
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The full scores available linked here are generated from the same encoded data but omit editorial details including alternative readings.<br />
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===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin, also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit as part of a diplomatic delegation to Trieste. <br />
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The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music decline after the appearance of this collection. He preferre selling individual manuscripts to well-placed collectors. <br />
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{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
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The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
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===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
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As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between <i>c</i>1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player was essential for the execution his works for it. <br />
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Opus 10 appeared as Le Cène print No. 544 in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the works are likely to have been composed years earlier. All three volumes were published in Amsterdam. Although each published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins and histories of individual works were varied. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified basso, and so forth. These are among the kinds of details that have necessitated separate catalog listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin.<br />
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The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
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The first three works are the best known ones of the collection. Their nicknames gave them easy recognition, but the nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
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The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the key is Bb Major rather than G Minor.<br />
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Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Though elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have best suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended initially as a single publication. Their Amsterdam print numbers from presses of Michel Charles Le Cène (1729) were 545 and 546. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated. Some uncertainty hovers over the question of whether Vivaldi authorized these prints. He explicitly avoided publication of sets after the publication of Op. 12, preferring instead to sell pieces singly to well-heeled fans and amateurs. <br />
<br />
Many solo passages are a challenge to the principal violinist. Vivaldi's full catalog of virtuoso techniques--double, triple, and quadruple stops, bariolage and a host of other difficult manners of passagework lurk within them. Several of the works are well known today. Op. 11, No. 5 was especially popular. Vivaldi's autograph appeared as No. 3 in the set of twelve concertos he presented to the emperor Charles VI during a visit to Trieste (1728). Miscellaneous parts in the Austrian National Library MS 15996 omit the music for first violin. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Org || D Major || <small>The three known manuscript sources are in Turin, Dresden (partly copied by Joh. Georg Pisendel, Dresden's <i>Kapellmeister</i>), and Venice, where the conservatory title is dedicated to one of Vivaldi's most accomplished students, Anna Maria of the Pietà</small>. || [https://pdf.musedata.org/?id=vivaldi-op11-no1 score]<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || <small>Nicknamed "Il Favorito". Appears as No. 11 of <i>La Cetra</i>, the concerto collection Vivaldi dedicated to the emperor (1728).</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no2 score]<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Org || A Major || <small>May be from the early 1720s.</small>|| [https://pdf.musedata.org/?id=vivaldi-op11-no3 score]<br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Org || G Major || <small>Another concerto dedicated to Anna Maria of the Pietà.</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no4 score] <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || <small>Material added here is partly in Pisendel's hand.</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no5 score] <br />
<small>[http://digital.slub-dresden.de/id340096659 Manuscript, Dresden SLUB 2389-O-122</small>]<br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Org || C Minor || <small>Preserved in Dresden and Venice (in the latter case with dedication to Anna Maria of the Pietà). May be from the early 1720s. See also Op. 9, No. 3 (RV 334); RV 460 for Ob; V1 V2 Va Vc Org</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no6 score]<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. Like op. 11, op. 12 includes works (e.g. nos. 1, 2, 6) that lack inclusion in any other source, print or manuscript. This allows that the publication as a whole was not authorized by the composer. It also invited questions of attribution. The authorship of two other works (nos. 3 and 5) is confirmed by the presence of analogous pieces in the Giordano manuscript series in Turin. The gem of the collection is no. 4, with its brisk motifs and multiple stops, features not readily present in the other five concertos. Yet the brilliant final movement is unmistakably Vivaldi's. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr; V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr; V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr; V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr; V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. Many wind parts were added to copyists to suit local resources. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos to feature a wind instrument (usually an oboe) in lieu of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy, the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Esfieldhttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=12774MuseData: Antonio Vivaldi2024-02-23T00:21:25Z<p>Esfield: /* Op. 7: Concerti a 5 strumenti: Tre violini, alto viola e basso continuo */</p>
<hr />
<div>__TOC__<br />
<br />
<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from [https://en.wikipedia.org/wiki/Brescia Brescia] (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, an ambitious set of variations on the <i>folìa</i>. Vivaldi may have been inspired by [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Arcangelo Corelli]'s set of Folìa variations [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Op. 5, No. 12] (1700), but the trio texture changes the dynamics of the realization substantially.<br />
<br />
The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. Only fragments of it survive today in the library of the "Benedetto Marcello" Conservatory in Venice. (Scholars suspect that the music predated Vivaldi's appointment at the Ospedale of the Pietà, it is not mentioned in the title-page of Op. 1.) Vivaldi's collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=0 Critical notes for Vivaldi's Op. 1.]<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. (An asterisk (*) indicates a transcription using the key signature of the original print, while ** indicates a modernized key signature.) The movement structure of these early prints remained variable. Vivaldi was moving in the direction of fewer movements but in coincidence we find greater musical elaboration within longer movement. The composer was now described as a <i>maestro dei concerti</i> (concertmaster) of the [https://en.wikipedia.org/wiki/Ospedale_della_Piet%C3%A0 Ospedale della Pietà]. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh and J. Young (London). [Critical notes for Vivaldi's Op. 2.]<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in <i>c</i>1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frideric Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical effects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work, individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type for an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7. The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 and show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the works had already been performed in selected gatherings. They were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. This edition is based primarily on the prints of Etienne Roger Nos. 50 (containing parts for Nos. 1-6) and 51 (Nos 7-12; 1711) in conjunction with several manuscript sources for specific works. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
The Dawson transcriptions for Nos. 5, 7, 8, and 12 as a group are available [http://scores.ccarh.org/vivaldi/op3dawsonnew/ here].<br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, especially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and <i>concerti grossi</i>, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to them. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuses musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=1955277646 Critical notes for Op. 4.]<br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quattro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Jeanne Roger's print No. 418, were remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. These works appeared with the added information <br />
<i>O vero Parte Seconda del Opera Seconda</i>". During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Venetian Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5, containing a mixed repertory, was an orphan of sorts. It lacked a dedicatee, although an edition by M.C. Le Cène was brought out in <i>c</i>1723. Although few works were copied in manuscript, an exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score (Roger) !! Score (Le Cène)<br />
|-<br />
| Op. 5, No. 1 [Op. 2, No. 13] || RV 18 || Sonata / V, Bc || F Major || Example || Example<br />
|-<br />
| Op. 5, No. 2 [Op. 2, No. 14] || RV 30 || Sonata / V, Bc || A Major || Example || Example<br />
|-<br />
| Op. 5, No. 3 [Op. 2, No. 15] || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example || Example<br />
|-<br />
| Op. 5, No. 4 [Op. 2, No. 16] || RV 35 || Sonata / V, Bc || B Minor || Example || Example<br />
|-<br />
| Op. 5, No. 5 [Op. 2, No. 17] || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example || Example<br />
|-<br />
| Op. 5, No. 6 [Op. 2, No. 18] || RV 72 || Sonata / V1, V2, Bc || G Minor || Example || Example<br />
|}<br />
<br />
<i>Critical comments</i>: Despite its thin trail of copies and imitations, the opus is presented in slightly different ways by Jeanne Roger and M.C. Le Cène, although both employ the print number 418. Roger is generous with bowing marks, which bring a certain grace to the music. Yet the Roger lacks continuo figuration, which Le Cène provides generously. These differences in presentation suggest a difference in intended modes of performance--the Roger assuming the use of violin and string bass only, while the Le Cène aims for a keyboard continuo, probably with string bass reinforcement. Le Cène give movement tempo designations (Largo, Allegro, Presto) but excludes the dynamics indications found in Roger. Roger may have allowed for <i>notes inégales</i> in Op. 5, No. 1, for although the dotted patterns are given equivalently in Le Cène, the double dot in the final bar of the Preludio of Roger is an ordinary dot in Le Cène. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=911443142 <i>Detailed notes on individual works in both prints</i>]<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
<br />
[[File:Op.6n2ii2.png|560px|thumb|left|<small>From Violino principale for second movement of Op. 6, No. 2.</small>]] <br />
<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, four of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène issued one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivaldi's 12 concertos <i>a 5</i> (three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for use in the solo episodes in the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained only three movements. One can see that Vivaldi's idea of the concerto had evolved considerably over a decade. Note, though, that the oboe arrangements of Opp. 7, Nos. 1 and 7, as well as Op. 11, No. 6 (derived from Op. 7, No. 9) are now considered spurious. <br />
<br />
As scores for Vivaldi's concertos passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his works began to spawn ever-changing identities. (The Amsterdam print of Op. 7 was not a publication authorized by the composer.) Among these morphing presentations, Op. 7, No. 3 was revised by [https://en.wikipedia.org/wiki/Johann_Georg_Pisendel Johann Pisendel] (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden <i>Hofkapelle</i>. No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro" (Withdrawal). No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in [https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Walsh,_John Walsh] & Hare's anthology <i>Select Harmony</i> (London, 1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work includes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143<ref>Works listed in the appendix (<i>Anhang</i>) of Peter Ryom's Vivaldi catalog [RV] are currently considered spurious.</ref> || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements and performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city with rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, and 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Scores and Parts for Op. 8====<br />
The parts for Antonio Vivaldi's Op.8 <i>Concerti</i> accompany the full scores available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
The full scores available linked here are generated from the same encoded data but omit editorial details including alternative readings.<br />
<br />
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{{VivaldiOp8PDFTable}}<br />
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<br><br />
<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin, also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit as part of a diplomatic delegation to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music decline after the appearance of this collection. He preferre selling individual manuscripts to well-placed collectors. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between <i>c</i>1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player was essential for the execution his works for it. <br />
<br />
Opus 10 appeared as Le Cène print No. 544 in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the works are likely to have been composed years earlier. All three volumes were published in Amsterdam. Although each published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins and histories of individual works were varied. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified basso, and so forth. These are among the kinds of details that have necessitated separate catalog listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin.<br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
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{{VivaldiOpl0PDFTable}}<br />
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<br />
The first three works are the best known ones of the collection. Their nicknames gave them easy recognition, but the nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Though elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have best suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended initially as a single publication. Their Amsterdam print numbers from presses of Michel Charles Le Cène (1729) were 545 and 546. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated. Some uncertainty hovers over the question of whether Vivaldi authorized these prints. He explicitly avoided publication of sets after the publication of Op. 12, preferring instead to sell pieces singly to well-heeled fans and amateurs. <br />
<br />
Many solo passages are a challenge to the principal violinist. Vivaldi's full catalog of virtuoso techniques--double, triple, and quadruple stops, bariolage and a host of other difficult manners of passagework lurk within them. Several of the works are well known today. Op. 11, No. 5 was especially popular. Vivaldi's autograph appeared as No. 3 in the set of twelve concertos he presented to the emperor Charles VI during a visit to Trieste (1728). Miscellaneous parts in the Austrian National Library MS 15996 omit the music for first violin. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Org || D Major || <small>The three known manuscript sources are in Turin, Dresden (partly copied by Joh. Georg Pisendel, Dresden's <i>Kapellmeister</i>), and Venice, where the conservatory title is dedicated to one of Vivaldi's most accomplished students, Anna Maria of the Pietà</small>. || [https://pdf.musedata.org/?id=vivaldi-op11-no1 score]<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || <small>Nicknamed "Il Favorito". Appears as No. 11 of <i>La Cetra</i>, the concerto collection Vivaldi dedicated to the emperor (1728).</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no2 score]<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Org || A Major || <small>May be from the early 1720s.</small>|| [https://pdf.musedata.org/?id=vivaldi-op11-no3 score]<br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Org || G Major || <small>Another concerto dedicated to Anna Maria of the Pietà.</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no4 score] <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || <small>Material added here is partly in Pisendel's hand.</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no5 score] <br />
<small>[http://digital.slub-dresden.de/id340096659 Manuscript, Dresden SLUB 2389-O-122</small>]<br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Org || C Minor || <small>Preserved in Dresden and Venice (in the latter case with dedication to Anna Maria of the Pietà). May be from the early 1720s. See also Op. 9, No. 3 (RV 334); RV 460 for Ob; V1 V2 Va Vc Org</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no6 score]<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. Like op. 11, op. 12 includes works (e.g. nos. 1, 2, 6) that lack inclusion in any other source, print or manuscript. This allows that the publication as a whole was not authorized by the composer. It also invited questions of attribution. The authorship of two other works (nos. 3 and 5) is confirmed by the presence of analogous pieces in the Giordano manuscript series in Turin. The gem of the collection is no. 4, with its brisk motifs and multiple stops, features not readily present in the other five concertos. Yet the brilliant final movement is unmistakably Vivaldi's. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr; V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr; V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr; V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr; V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. Many wind parts were added to copyists to suit local resources. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos to feature a wind instrument (usually an oboe) in lieu of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy, the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Esfieldhttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=12773MuseData: Antonio Vivaldi2024-02-22T23:49:54Z<p>Esfield: /* Op. 7: Concerti a 5 strumenti: Tre violini, alto viola e basso continuo */</p>
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<div>__TOC__<br />
<br />
<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from [https://en.wikipedia.org/wiki/Brescia Brescia] (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, an ambitious set of variations on the <i>folìa</i>. Vivaldi may have been inspired by [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Arcangelo Corelli]'s set of Folìa variations [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Op. 5, No. 12] (1700), but the trio texture changes the dynamics of the realization substantially.<br />
<br />
The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. Only fragments of it survive today in the library of the "Benedetto Marcello" Conservatory in Venice. (Scholars suspect that the music predated Vivaldi's appointment at the Ospedale of the Pietà, it is not mentioned in the title-page of Op. 1.) Vivaldi's collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=0 Critical notes for Vivaldi's Op. 1.]<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. (An asterisk (*) indicates a transcription using the key signature of the original print, while ** indicates a modernized key signature.) The movement structure of these early prints remained variable. Vivaldi was moving in the direction of fewer movements but in coincidence we find greater musical elaboration within longer movement. The composer was now described as a <i>maestro dei concerti</i> (concertmaster) of the [https://en.wikipedia.org/wiki/Ospedale_della_Piet%C3%A0 Ospedale della Pietà]. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh and J. Young (London). [Critical notes for Vivaldi's Op. 2.]<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in <i>c</i>1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frideric Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
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Having now completed eight years of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
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Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical effects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
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Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
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====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work, individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
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Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type for an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
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Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7. The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 and show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
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====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
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CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the works had already been performed in selected gatherings. They were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. This edition is based primarily on the prints of Etienne Roger Nos. 50 (containing parts for Nos. 1-6) and 51 (Nos 7-12; 1711) in conjunction with several manuscript sources for specific works. <br />
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For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
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{{VivaldiOp3PDF}}<br />
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The Dawson transcriptions for Nos. 5, 7, 8, and 12 as a group are available [http://scores.ccarh.org/vivaldi/op3dawsonnew/ here].<br />
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===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, especially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and <i>concerti grossi</i>, which were less demanding.) <br />
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Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
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At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to them. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuses musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=1955277646 Critical notes for Op. 4.]<br />
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{{VivaldiOp4PDF}}<br />
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===Op. 5: <i>VI Sonate/quattro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Jeanne Roger's print No. 418, were remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. These works appeared with the added information <br />
<i>O vero Parte Seconda del Opera Seconda</i>". During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Venetian Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5, containing a mixed repertory, was an orphan of sorts. It lacked a dedicatee, although an edition by M.C. Le Cène was brought out in <i>c</i>1723. Although few works were copied in manuscript, an exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
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{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score (Roger) !! Score (Le Cène)<br />
|-<br />
| Op. 5, No. 1 [Op. 2, No. 13] || RV 18 || Sonata / V, Bc || F Major || Example || Example<br />
|-<br />
| Op. 5, No. 2 [Op. 2, No. 14] || RV 30 || Sonata / V, Bc || A Major || Example || Example<br />
|-<br />
| Op. 5, No. 3 [Op. 2, No. 15] || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example || Example<br />
|-<br />
| Op. 5, No. 4 [Op. 2, No. 16] || RV 35 || Sonata / V, Bc || B Minor || Example || Example<br />
|-<br />
| Op. 5, No. 5 [Op. 2, No. 17] || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example || Example<br />
|-<br />
| Op. 5, No. 6 [Op. 2, No. 18] || RV 72 || Sonata / V1, V2, Bc || G Minor || Example || Example<br />
|}<br />
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<i>Critical comments</i>: Despite its thin trail of copies and imitations, the opus is presented in slightly different ways by Jeanne Roger and M.C. Le Cène, although both employ the print number 418. Roger is generous with bowing marks, which bring a certain grace to the music. Yet the Roger lacks continuo figuration, which Le Cène provides generously. These differences in presentation suggest a difference in intended modes of performance--the Roger assuming the use of violin and string bass only, while the Le Cène aims for a keyboard continuo, probably with string bass reinforcement. Le Cène give movement tempo designations (Largo, Allegro, Presto) but excludes the dynamics indications found in Roger. Roger may have allowed for <i>notes inégales</i> in Op. 5, No. 1, for although the dotted patterns are given equivalently in Le Cène, the double dot in the final bar of the Preludio of Roger is an ordinary dot in Le Cène. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=911443142 <i>Detailed notes on individual works in both prints</i>]<br />
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===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
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[[File:Op.6n2ii2.png|560px|thumb|left|<small>From Violino principale for second movement of Op. 6, No. 2.</small>]] <br />
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The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
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Musically, four of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène issued one (undated) reprint.<br />
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{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
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===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
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Vivaldi's 12 concertos <i>a 5</i> (three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for use in the solo episodes in the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of the concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
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As scores for Vivaldi's concertos passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his works began to spawn ever-changing identities. (The Amsterdam print of Op. 7 was not a publication authorized by the composer.) Among these morphing presentations, Op. 7, No. 3 was revised by [https://en.wikipedia.org/wiki/Johann_Georg_Pisendel Johann Pisendel] (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden <i>Hofkapelle</i>. No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro" (Withdrawal). No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in [https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Walsh,_John Walsh] & Hare's anthology <i>Select Harmony</i> (London, 1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work includes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations. <br />
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{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143<ref>Works listed in the appendix (<i>Anhang</i>) of Peter Ryom's Vivaldi catalog [RV] are currently considered spurious.</ref> || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
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===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements and performances that extends to the current day. <br />
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Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city with rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
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This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
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In the works as a set, major keys predominate. Nos. 7, 9, and 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
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====CCARH Scores and Parts for Op. 8====<br />
The parts for Antonio Vivaldi's Op.8 <i>Concerti</i> accompany the full scores available from Dover Publications:<br />
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* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
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The full scores available linked here are generated from the same encoded data but omit editorial details including alternative readings.<br />
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===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin, also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit as part of a diplomatic delegation to Trieste. <br />
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The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music decline after the appearance of this collection. He preferre selling individual manuscripts to well-placed collectors. <br />
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{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
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The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
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===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
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As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between <i>c</i>1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player was essential for the execution his works for it. <br />
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Opus 10 appeared as Le Cène print No. 544 in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the works are likely to have been composed years earlier. All three volumes were published in Amsterdam. Although each published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins and histories of individual works were varied. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified basso, and so forth. These are among the kinds of details that have necessitated separate catalog listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin.<br />
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The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
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The first three works are the best known ones of the collection. Their nicknames gave them easy recognition, but the nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
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The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the key is Bb Major rather than G Minor.<br />
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Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Though elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
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The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have best suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended initially as a single publication. Their Amsterdam print numbers from presses of Michel Charles Le Cène (1729) were 545 and 546. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated. Some uncertainty hovers over the question of whether Vivaldi authorized these prints. He explicitly avoided publication of sets after the publication of Op. 12, preferring instead to sell pieces singly to well-heeled fans and amateurs. <br />
<br />
Many solo passages are a challenge to the principal violinist. Vivaldi's full catalog of virtuoso techniques--double, triple, and quadruple stops, bariolage and a host of other difficult manners of passagework lurk within them. Several of the works are well known today. Op. 11, No. 5 was especially popular. Vivaldi's autograph appeared as No. 3 in the set of twelve concertos he presented to the emperor Charles VI during a visit to Trieste (1728). Miscellaneous parts in the Austrian National Library MS 15996 omit the music for first violin. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Org || D Major || <small>The three known manuscript sources are in Turin, Dresden (partly copied by Joh. Georg Pisendel, Dresden's <i>Kapellmeister</i>), and Venice, where the conservatory title is dedicated to one of Vivaldi's most accomplished students, Anna Maria of the Pietà</small>. || [https://pdf.musedata.org/?id=vivaldi-op11-no1 score]<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || <small>Nicknamed "Il Favorito". Appears as No. 11 of <i>La Cetra</i>, the concerto collection Vivaldi dedicated to the emperor (1728).</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no2 score]<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Org || A Major || <small>May be from the early 1720s.</small>|| [https://pdf.musedata.org/?id=vivaldi-op11-no3 score]<br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Org || G Major || <small>Another concerto dedicated to Anna Maria of the Pietà.</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no4 score] <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || <small>Material added here is partly in Pisendel's hand.</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no5 score] <br />
<small>[http://digital.slub-dresden.de/id340096659 Manuscript, Dresden SLUB 2389-O-122</small>]<br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Org || C Minor || <small>Preserved in Dresden and Venice (in the latter case with dedication to Anna Maria of the Pietà). May be from the early 1720s. See also Op. 9, No. 3 (RV 334); RV 460 for Ob; V1 V2 Va Vc Org</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no6 score]<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. Like op. 11, op. 12 includes works (e.g. nos. 1, 2, 6) that lack inclusion in any other source, print or manuscript. This allows that the publication as a whole was not authorized by the composer. It also invited questions of attribution. The authorship of two other works (nos. 3 and 5) is confirmed by the presence of analogous pieces in the Giordano manuscript series in Turin. The gem of the collection is no. 4, with its brisk motifs and multiple stops, features not readily present in the other five concertos. Yet the brilliant final movement is unmistakably Vivaldi's. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr; V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr; V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr; V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr; V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. Many wind parts were added to copyists to suit local resources. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos to feature a wind instrument (usually an oboe) in lieu of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy, the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Esfieldhttps://wiki.ccarh.org/index.php?title=MuseData:_Antonio_Vivaldi&diff=12772MuseData: Antonio Vivaldi2024-02-22T23:43:23Z<p>Esfield: /* Op. 7: Concerti a 5 strumenti: Tre violini, alto viola e basso continuo */</p>
<hr />
<div>__TOC__<br />
<br />
<br />
==Published Sonatas and Concertos==<br />
Antonio Lucio Vivaldi (1678-1741) is best known to modern audiences for his instrumental music. Like most composers of his time, Vivaldi composed in the formal medium of the sonata in his earliest publications (from 1703). His reputation was propelled by his concertos, the earliest of which appeared in 1711. This is still the genre with which he is most widely associated. <br />
<br />
===Op. 1: <i>Suonate da camera a trè, due violini e violone o cembalo</i>===<br />
Vivaldi's twelve sonatas Op. 1 are presumed to have been published prior to his appointment as <i>maestro di violino</i> at the Ospedale della Pietà, Venice, because he is described without reference to the institution as "<i>musico di violino, professore veneto</i>" (a violinist and teacher in the Veneto). The works were dedicated to the count Annibale Gambara, one of five sons in a big family of noblemen from [https://en.wikipedia.org/wiki/Brescia Brescia] (the city in which Vivaldi's father was born), a provincial capital in the western Veneto. The Gambara had a modest palace on the Grand Canal in the Venetian parish of San Barnabà. <br />
<br />
[[File:Op1-12_Folia_V1.png|400px|thumb|center|Excerpt from the Violino primo (first violin) part of the Folìa of Vivaldi's Sonata Op. 1, No. 12 (Venice: Giuseppe Sala, 1705). Image from the partbook in the Conservatorio Benedetto Marcello, Venice. Used by permission.]]<br />
<br />
These trio sonatas contained various numbers of movements (3 to 6), most in binary form. The four outer works (Nos. 1, 2, 11, and 12) were in minor keys, the others in major ones. The best known work is Op. 1, No. 12, an ambitious set of variations on the <i>folìa</i>. Vivaldi may have been inspired by [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Arcangelo Corelli]'s set of Folìa variations [http://scores.ccarh.org/corelli/op5/corelli-op5n12.pdf Op. 5, No. 12] (1700), but the trio texture changes the dynamics of the realization substantially.<br />
<br />
The earliest surviving print of Op. 1 was published in Venice (G. Sala) in 1705. Only fragments of it survive today in the library of the "Benedetto Marcello" Conservatory in Venice. (Scholars suspect that the music predated Vivaldi's appointment at the Ospedale of the Pietà, it is not mentioned in the title-page of Op. 1.) Vivaldi's collection was reprinted in Amsterdam in 1723 (E. Roger, as print No. 363), in Paris in 1759 (Le Clerc), and in Austria in 1759. Many movements are brief and musically simple, so much so that were one to judge from this opus alone, one would not have anticipated the kind of success that Vivaldi later found. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=0 Critical notes for Vivaldi's Op. 1.]<br />
<br />
{{VivaldiOp1PDF}}<br />
<br />
===Op. 2: <i>Sonate a violino e basso per il cembalo</i>===<br />
<br />
[[File:Carlevaris_FredIV_viaGetty-Google.png|575px|thumb|left|Detail of Luca Carlevaris's depiction of the regatta held on the Grand Canal, Venice, for Frederick IV of Denmark (1709). Reproduction of public-domain image from the Getty Museum as shown in the Google Art project.]]<br />
<br />
The trio sonata, over which Vivaldi had exhibited his command in Op. 1, had been the most prevalent instrumental genre of the 1690s, but in the first decade of the eighteenth century interest began to gravitate towards the "solo" sonata--a work in several movements for one ensemble instrument and a basso continuo. In this 1709 collection by the Venetian publisher Antonio Bortoli, Vivaldi pursued a more expressive vein of musical enticement. The opus was dedicated to the visiting young monarch Frederick IV of Denmark. As prince of Schleswig-Holstein, his extended stay drew much artistic attention. No fewer than three operas were dedicated to him. <br />
<br />
Seven of these sonatas were cast in minor keys. (An asterisk (*) indicates a transcription using the key signature of the original print, while ** indicates a modernized key signature.) The movement structure of these early prints remained variable. Vivaldi was moving in the direction of fewer movements but in coincidence we find greater musical elaboration within longer movement. The composer was now described as a <i>maestro dei concerti</i> (concertmaster) of the [https://en.wikipedia.org/wiki/Ospedale_della_Piet%C3%A0 Ospedale della Pietà]. <br />
<br />
{{VivaldiOp2PDF}}<br />
<br />
Like Op. 1, Op. 2 had a long afterlife in both reprints and manuscript copies, mainly abroad. These included the publications of E. Roger (Amsterdam, 1712) and several editions (1721-1730) by I. Walsh and J. Young (London). [Critical notes for Vivaldi's Op. 2.]<br />
<br />
===Op. 3: <i>L'estro armonico: Concerti</i>=== <br />
[[File:Ferdinando_de'_Medici_c1687_Cassana.jpg|300px|thumb|right|Portrait of Ferdinando de' Medici, grand prince of Tuscany, in <i>c</i>1687 by the Venetian painter Niccolò Cassana. Wikimedia Commons.]]<br />
<br />
The first concertos by Vivaldi to reach print were those of Opus 3 (Amsterdam, 1711). With them Vivaldi suddenly became a celebrity, for although he was well known as a virtuoso, his previously published works had found a relatively modest reception. Vivaldi's titles remained as they were in Op. 2. Most composers described the contents of a publication in sufficient detail to indicate instrumentation, but Vivaldi settled for the word "Concerti" in order to allow space for the titles of his patron, the Grand Prince of Tuscany, [http://it.wikipedia.org/wiki/Ferdinando_de%27_Medici#Teatro Ferdinando III (1663-1713)]. The Grand Prince, who led a flamboyant life, enjoyed his visits to Venice, where however he contracted syphilis in 1696. This led to his premature death and changed the course of Tuscan (and imperial) history. Meanwhile, however, his patronage of music benefited many composers of the time including [http://en.wikipedia.org/wiki/Tomaso_Albinoni Tomaso Albinoni (1671-1751)], [http://en.wikipedia.org/wiki/Handel George Frideric Handel (1685-1759)], and [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Alessandro Scarlatti (1660-1725)]. His Bavarian wife, [http://it.wikipedia.org/wiki/Violante_Beatrice_di_Baviera Violante Beatrice (1673-1731)], was in many ways a still more significant supporter of individual singers and instrumentalists. <br />
<br />
Having now completed eight years of teaching at the [[Ospedale of the Pietà]] in Venice, Vivaldi shows himself to have experimented with a variety of approaches to textures and groupings of instruments. These twelve works are arranged cyclically, such that Nos. 1, 4, 7, and 10 are scored for four violins and string orchestra; Nos. 2, 5, 8, and 11 for two violins, violoncello, and string orchestra; and Nos. 3, 6, 9, and 12 for solo violin (Violino Principale) and string orchestra. Within the <i>concertino</i> groups (four violins or, alternatively, two violins and violoncello), there is further separation. The "four violins" model often involves the pairing of the instruments such that one duo imitates another. This kind of experimentation is suggested by the word <i>estro</i>, which refers to gestational properties whereby one musical passage generates the need for the next. In musical terms, the sophistication of the idea represented an enormous step forward for Vivaldi, whose first sonatas were primitive and somewhat generic by comparison. <br />
<br />
Additionally, the music was more cogent than before, the organization manifestly rational. The imaginative scoring, careful markup, and newly pungent musical effects were novelties not found in Opp. 1 or 2. If he had leaned on the familiar models of [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli Arcangelo Corelli (1753-1713)] before, Vivaldi was now producing music that was novel, ambitious, and aesthetically pleasing. Largely in coincidence with this publication, Vivaldi's concerts at the Pietà began to win plaudits from a succession of visiting dignitaries from abroad. <br />
<br />
Within the context of the early concerto, Op. 3 was equally noteworthy. The now elderly Corelli had perfected the <i>concerto grosso</i> [his [http://wiki.ccarh.org/wiki/MuseData:_Arcangelo_Corelli#The_Concerti_grossi_Op._6 Op. 6] would be published only posthumously in 1714]. Vivaldi's concertos for two and four violins had some debts to these works, but his concertos for solo violin and orchestra did not have Corellian models to follow. The trumpet concertos by [http://en.wikipedia.org/wiki/Alessandro_Scarlatti Giuseppe Torelli (1658-1709)] are an oft mentioned alternative model, but Vivaldi's skills at articulation and exhibitionism were unrivaled. The violin was capable of much greater subtlety than the trumpet. <br />
<br />
====Dissemination of Individual Works from Op. 3====<br />
The <i>Concerti</i> Op. 3 were so popular that the entire opus was reprinted in Amsterdam within a year. Other reprints followed in both London and Paris through 1751. Because of the cyclical rotation of different combinations of instruments from work to work, individual pieces in Op. 3 led themselves to diverse uses. The basic organization is shown in the table. Parsed one way, it is a four-fold cycle of three works. The textures vary with the instrumentation.<br />
<br />
Several works from Opus 3 took on lives of their own. Six works (indicated by an asterisk*) were transcribed by J. S. Bach, and there are faint clues that Bach may have transcribed them all. Bach was highly sensitive to the cyclical instrumentation of Vivaldi's collection: Nos 1, 4, 7, and 10 were set for two pairs of solo violins; Nos. 2, 5, 8, and 11 for a trio of soloists (two violins and violoncello); Nos. 3, 6, 9, and 12 for principal violin, in all cases with string orchestra. As the table below shows, Bach chose the second type for an organ adaptation and the third type for concertos for harpsichord and strings, while the first type served as a model for his lone concerto for four harpsichords and strings. The trio sonata, which was at its peak in the years 1700-1710, was a popular reservoir for organ transcriptions in Germany, but the other adaptations had no such currency. Concertos for four harpsichords were unknown. <br />
<br />
Wide circulation of Vivaldi's concertos was further stimulated by John Walsh's edition of Op. 3 in <i>c.</i> 1715. In this print, the order of Nos. 6-9 was altered so that these concertos became Nos. 8, 9, 6, and 7. The clavichord transcriptions of Anne Dawson include many works in Vivaldi's Opp. 3 and 4 and show a further dimension of the music's adaptation. Numerous transcriptions and copies survive in Europe and North America.<br />
<br />
====CCARH Scores and Parts for Opus 3====<br />
[[File:Op3DoverCover.jpg|100px||left]]<br />
<br />
CCARH cooperated with Dover Publications Inc. in producing the scores that appear in <i>L'estro armonico: Twelve Concertos for Violins and String Orchestra, Op. 3</i>. The cover is shown below. The collection entitled <i>L'estro armonico</i> was the first title under Vivaldi's name to draw widespread attention. It is likely that some of the works had already been performed in selected gatherings. They were profusely copied, arranged, and reprinted (with numerous variants) over the next few decades. This edition is based primarily on the prints of Etienne Roger Nos. 50 (containing parts for Nos. 1-6) and 51 (Nos 7-12; 1711) in conjunction with several manuscript sources for specific works. <br />
<br />
For bound paper copies, see Vivaldi, Antonio. <i>"L'Estro armonico", Op. 3 in Full Score: 12 Concertos for Violins and String Orchestra</i>, ed. Eleanor Selfridge-Field (Mineola, New York: Dover Publications; 1999). Available from Amazon [http://www.amazon.com/exec/obidos/tg/detail/-/0486406318/themefinder/002-2800507-6138416 ISBN 0-486-40631-8] and Dover [http://store.doverpublications.com/review.html?pr_page_id=0486406318 ISBN 0-486-40631-8].<br />
</ul><br />
<br />
{{VivaldiOp3PDF}}<br />
<br><br />
The Dawson transcriptions for Nos. 5, 7, 8, and 12 as a group are available [http://scores.ccarh.org/vivaldi/op3dawsonnew/ here].<br />
<br />
===Op. 4: <i>La Stravaganza: Concerti in six parts</i>===<br />
Vivaldi's violin concertos Op. 4 (announced in London on January 1, 1715) achieved a much broader penetration of the European market than any previous publication of his music. The collection, published in Amsterdam as Estienne Roger's prints Nos. 399 and 400, bore the title <i>La Stravaganza</i> (The Extravaganza), a designation popular at the time. In musical contexts it usually referred to chromatic harmonies, but in Vivaldi's case it forewarned prospective players of the challenges posed, especially for the principal violinist. (Up to this time, Roger had principally offered trio sonatas and <i>concerti grossi</i>, which were less demanding.) <br />
<br />
Op. 4 was a compendium of virtuoso techniques that were popularized by Vivaldi, who, as a performer, was known far and wide for his daring. His near-peers in this regard were violinist-composers such as Tomaso Albinoni and Lodovico Madonis, but their most demanding works appeared some years later and were less widely distributed. Op. 4 was dedicated to a Venetian nobleman, Vettor Delfin, whose family were largely engaged in military affairs. With only one exception (Op. 4, No. 7), the concertos were written in three movements. <br />
<br />
At the time Op. 4 appeared, Vivaldi had been filling holes left by the departure of [http://it.wikipedia.org/wiki/Francesco_Gasparini Francesco Gasparini (1661-1727)] at the Pietà. He was now turning his attention to motets and oratorios <i>per force</i> to bridge the gap left by Gasparini. It is therefore likely that most of these pieces were composed before the elder <i>maestro</i>'s departure. Reprints of Op. 4 appeared in 1723, 1728, and 1730, but selected individual works enjoyed independent circulation. Vivaldi had now reached the point where demand for his instrumental music exceeded the amount of time he could afford to devote to them. It may be for this reason that echoes of Op. 4 appear in a few later works by Vivaldi. Op. 7, No. 1, for example, was a first cousin of Op. 4, No. 9; myriad other variants of this set were quoted in later works. The cumulative effect was a splintering of work-identities that still confuses musicians today. Vivaldi himself adapted many of his works to suit new purposes as appropriate occasions arose. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=1955277646 Critical notes for Op. 4.]<br />
<br />
{{VivaldiOp4PDF}}<br />
<br />
===Op. 5: <i>VI Sonate/quattro à violino solo e basso e due a due violini e basso continuo</i>===<br />
Four of the six sonatas of Op. 5, published in Amsterdam (1716) as Jeanne Roger's print No. 418, were remainders of Vivaldi's Op. 2, an opus consisting of a dozen solo violin sonatas. These works appeared with the added information <br />
<i>O vero Parte Seconda del Opera Seconda</i>". During the visit of the young Danish king Frederick Christian IV to Venice in the winter of 1709, a great many banquets and balls were planned. Easily half of them were canceled either by hosts or guests because many people (including the doge and one of the Venetian Republic's official hosts) died. No autograph material for this opus survives. Op. 2 had been dedicated to Frederick Christian, but Op. 5, containing a mixed repertory, was an orphan of sorts. It lacked a dedicatee, although an edition by M.C. Le Cène was brought out in <i>c</i>1723. Although few works were copied in manuscript, an exception was the first movement of Op. 5, No. 6, which was included in J. B. Cartier's <i>L'Art du Violon</i> (Paris, 1798). <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score (Roger) !! Score (Le Cène)<br />
|-<br />
| Op. 5, No. 1 [Op. 2, No. 13] || RV 18 || Sonata / V, Bc || F Major || Example || Example<br />
|-<br />
| Op. 5, No. 2 [Op. 2, No. 14] || RV 30 || Sonata / V, Bc || A Major || Example || Example<br />
|-<br />
| Op. 5, No. 3 [Op. 2, No. 15] || RV 33 || Sonata / V, Bc || B{{music|flat}} Major || Example || Example<br />
|-<br />
| Op. 5, No. 4 [Op. 2, No. 16] || RV 35 || Sonata / V, Bc || B Minor || Example || Example<br />
|-<br />
| Op. 5, No. 5 [Op. 2, No. 17] || RV 76 || Sonata / V1, V2, Bc || B{{music|flat}} Major || Example || Example<br />
|-<br />
| Op. 5, No. 6 [Op. 2, No. 18] || RV 72 || Sonata / V1, V2, Bc || G Minor || Example || Example<br />
|}<br />
<br />
<i>Critical comments</i>: Despite its thin trail of copies and imitations, the opus is presented in slightly different ways by Jeanne Roger and M.C. Le Cène, although both employ the print number 418. Roger is generous with bowing marks, which bring a certain grace to the music. Yet the Roger lacks continuo figuration, which Le Cène provides generously. These differences in presentation suggest a difference in intended modes of performance--the Roger assuming the use of violin and string bass only, while the Le Cène aims for a keyboard continuo, probably with string bass reinforcement. Le Cène give movement tempo designations (Largo, Allegro, Presto) but excludes the dynamics indications found in Roger. Roger may have allowed for <i>notes inégales</i> in Op. 5, No. 1, for although the dotted patterns are given equivalently in Le Cène, the double dot in the final bar of the Preludio of Roger is an ordinary dot in Le Cène. [https://docs.google.com/spreadsheets/d/1ESCaqRIJReiXkotziSUcIMfeihKXZWQb2_w-xs_GhFU/edit#gid=911443142 <i>Detailed notes on individual works in both prints</i>]<br />
<br />
===Op. 6: <i>VI Concerti à cinque strumenti: 3 violini, alto viola, e basso continuo</i>===<br />
<br />
[[File:Op.6n2ii2.png|560px|thumb|left|<small>From Violino principale for second movement of Op. 6, No. 2.</small>]] <br />
<br />
The six concertos for violin and strings of Op. 6, published in Amsterdam in 1716-1717 by Jeanne Roger (as her firm's print No. 452) represent both a continuation and a departure. The instrumental requirements are identical to those of Op. 4: they require a principal violin and a small string orchestra. This short collection could have served as a supplement to Op. 4, given the pattern set by Opp. 2 and 5 (another short set). The absence of a dedicatee and sundry details of the music suggest that Vivaldi did not actively seek this publication and that the print was therefore unauthorized. Mme. Roger heralded Vivaldi's titles as <i>maestro di violino</i> and <i>maestro di concerti</i> at the Pietà. <br />
<br />
Musically, four of the six works are in minor keys. Again forming a parallel with Op. 5, it was not followed by myriad other editions, although Le Cène issued one (undated) reprint.<br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 6, No. 1 || RV 324 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 2 || RV 259 || Converto / VPr; V1 V2 Va Vc Org || C Minor || Example<br />
|-<br />
| Op. 6, No. 3 || RV 318 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || Example<br />
|-<br />
| Op. 6, No. 4 || RV 216 || Concerto / VPr; V1 V2 Va Vc Org || D Major || Example<br />
|-<br />
| Op. 6, No. 5 || RV 280 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || Example<br />
|-<br />
| Op. 6, No. 6 || RV 239 || Concerto / VPr; V1 V2 Va Vc Org || D Minor || Example<br />
|}<br />
<br />
===Op. 7: <i>Concerti a 5 strumenti: Tre violini, alto viola e basso continuo</i>===<br />
<br />
Vivaldi's 12 concertos <i>a 5</i> (three violins, viola, and basso continuo) were, like the works of Op. 6, planned with a <i>violino principale</i> for use in the solo episodes in the outer movements and the middle movement of three-movement works. These two opuses (6 and 7) were the first ones in which <i>all</i> the works contained three movements. One can see that Vivaldi's idea of the concerto had evolved considerably over a decade. The oboe arrangements of Nos. 1 and No. 7, as well as No. 9 (reset for oboe in a later opus) are now considered spurious. <br />
<br />
As scores for Vivaldi's concertos passed through more hands and as Vivaldi himself branched out into new modes of musical expression, his works began to spawn ever-changing identities. (The Amsterdam print of Op. 7 was not a publication authorized by the composer.) Among these morphing presentations, Op. 7, No. 3 was revised by [https://en.wikipedia.org/wiki/Johann_Georg_Pisendel Johann Pisendel] (cf. RV 370), who played a significant role in performing and preserving Vivaldi's music in the Dresden Hofkapelle. No. 9 found a new life in a version for oboe and strings (RV 460), published as Op. 11, No. 6. No. 10 was nicknamed "Il Ritiro." No. 11 ("Il Grosso Mogul") was published with a different middle movement (RV 208a) in Walsh & Hare's anthology <i>Select Harmony</i> (London, 1730). Many of the works may have been composed considerably earlier than their print dates suggest, and in the case of this pair RV 208 is conjecturally from before 1710, its alternative arrangement from not later than 1720. One manuscript copy of the earlier work includes a written cadenza. It was also transcribed by J. S. Bach for organ as BWV 594. Parts and/or scores for five of the works are preserved in early copies in the Sächsische Landesbibliothek, Dresden, while other early versions are found in manuscripts in Manchester (UK) and Trondheim (Norway), among other locations. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 7, No. 1 || RV 465 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 143<ref>Works listed in the appendix (<i>Anhang</i>) of Peter Ryom's Vivaldi catalog [RV] are currently considered spurious.</ref> || Example<br />
|-<br />
| Op. 7, No. 2 || RV 188 || Concerto / VPr; V1 V2 Va Vc Org || C Major || || Example<br />
|-<br />
| Op. 7, No. 3 || RV 326 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || RV 370 || Example<br />
|-<br />
| Op. 7, No. 4 || RV 354 || Concerto / VPr; V1 V2 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 7, No. 5 || RV 285a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 285 || Example<br />
|-<br />
| Op. 7, No. 6 || RV 374 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 7, No. 7 || RV 464 || Concerto / Ob (VPr); V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 142 || Example<br />
|-<br />
| Op. 7, No. 8 || RV 299 || Concerto / VPr; V1 V2 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 7, No. 9 || RV 373 || Concerto / VPr; V1 V2 Va Vc Org || B{{music|flat}} Major || Anh. 153 || Example<br />
|-<br />
| Op. 7, No. 10 || RV 294a || Concerto / VPr; V1 V2 Va Vc Org || F Major || RV 294 || Example<br />
|-<br />
| Op. 7, No. 11 || RV 208a || Concerto / VPr; V1 V2 Va Vc Org || D Major || BWV 594 (organ) || Example<br />
|-<br />
| Op. 7, No. 12 || RV 214 || Concerto / VPr; V1 V2 Va Vc Org || D Major || || Example<br />
|}<br />
<br />
===Op. 8: <i>Il cimento dell'armonia e dell'invenzione: Concerti a quattro e cinque</i>===<br />
Vivaldi's most famous opus was published in Amsterdam by Michel Charles Le Cène in 1725. It is clear, though, that various portions of sundry works had been written earlier. What was perhaps new was the formalization of the scheme, complete with the texts of the sonnets with which they were coordinated, of the first four concertos--The Four Seasons. These works, and their cyclical organization, captured the imagination of many and led to a "Four Seasons" industry of arrangements and performances that extends to the current day. <br />
<br />
Unlike other opuses that postdated Vivaldi's move to Mantua, this one resumed the practice of dedicating the collection to a nobleman, in this case Venceslas, count of Morzin (also Morcin, spelled Marzin in the print itself). Two concertos known only in manuscript, RV 449 and 496, were also dedicated to the count. <br />
He was Bohemian with townhouses in Prague and Vienna. He was an occasional patron of Venetian opera. Prague, the capital of Bohemia, was a thriving city with rapidly developing enterprises focused on opera and on the development of string music. One can see how poetic justice prevailed in this dedication: Bohemians not only loved music but were happy to master its component parts. <br />
<br />
This opus was more popular in France than anywhere else. Parisian reprints issued from the presses of Madame Boivin (c. 1739, 1743, 1748). Manuscripts were widely circulated. Rearrangements of portions of the opus were also proliferated. In Dresden, the orchestration of some works was enriched by Johann Pisendel, who also elaborated some of the articulation. <br />
<br />
In the works as a set, major keys predominate. Nos. 7, 9, and 11 are known in alternative versions. The final of movement of Op. 8, No. 11 presents a particularly complex web of revisions to the alternation of tutti and solo. <br />
<br />
====CCARH Scores and Parts for Op. 8====<br />
The parts for Antonio Vivaldi's Op.8 <i>Concerti</i> accompany the full scores available from Dover Publications:<br />
<br />
* Vivaldi, Antonio. "The Four Seasons" and Other Violin Concertos in Full Score; Opus 8, Complete. Ed. by Eleanor Selfridge-Field. Mineola, New York: Dover Publications; 1995. ISBN 0-486-28638-X.<br />
<br />
The full scores available linked here are generated from the same encoded data but omit editorial details including alternative readings.<br />
<br />
<center><br />
{{VivaldiOp8PDFTable}}<br />
</center><br />
<br><br />
<br />
===Op. 9: <i>La cetra. Concerti</i>===<br />
Vivaldi's Concertos Op. 9, published in Amsterdam by Michel Charles Le Cène in Vols. 533 and 534 (datable from 1727), have the distinction of having been dedicated to the emperor Charles VI. The two met two years later in Trieste, where the emperor was more enraptured by Vivaldi's music and the intelligence with which he discussed it than with the diplomatic matters at hand. Op. 9 is easily confused with a contemporary set of twelve unpublished concertos for violin, also called "La Cetra," that Vivaldi presented to the Emperor during his 1729 visit as part of a diplomatic delegation to Trieste. <br />
<br />
The works of Op. 9 were not so widely circulated as those of other recent volumes of Vivaldi's music, and a few were not new. (Three of the works were known in alternative versions.) The popularity of the "Four Seasons" concertos (Op. 8, Nos. 1-4) blinded the public to Vivaldi's future prints, while Vivaldi's own interest in publishing instrumental music decline after the appearance of this collection. He preferre selling individual manuscripts to well-placed collectors. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom No. !! Genre / Instrumentation !! Key !! Related works !! Score<br />
|-<br />
| Op. 9, No. 1 || RV 181a || [VPr]; V1 V2 V3 Va Vc Org || C Major || RV 180 || Example<br />
|-<br />
| Op. 9, No. 2 || RV 375 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 3 || RV 334 || [VPr]; V1 V2 V3 Va Vc Org || G Minor || || Example<br />
|-<br />
| Op. 9, No. 4 || RV 263a || [VPr]; V1 V2 V3 Va Vc Org || E Major || RV 263 || Example<br />
|-<br />
| Op. 9, No. 5 || RV 358 || [VPr]; V1 V2 V3 Va Vc Org || A Minor || || Example<br />
|-<br />
| Op. 9, No. 6 || RV 348 || [VPr]; V1 V2 V3 Va Vc Org || A Major || || Example<br />
|-<br />
| Op. 9, No. 7 || RV 359 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 8 || RV 238 || [VPr]; V1 V2 V3 Va Vc Org || D Minor || || Example<br />
|-<br />
| Op. 9, No. 9 || RV 530 || [VPr]; V1 V2 V3 Va Vc Org || B{{music|flat}} Major || || Example<br />
|-<br />
| Op. 9, No. 10 || RV 300 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|-<br />
| Op. 9, No. 11 || RV 198a || [VPr]; V1 V2 V3 Va Vc Org || C Minor || RV 198 || Example<br />
|-<br />
| Op. 9, No. 12 || RV 391 || [VPr]; V1 V2 V3 Va Vc Org || G Major || || Example<br />
|}<br />
<br />
The part for <i>Violino Principale</i> is lost, although a manuscript part-book for it survives for a few works.<br />
<br />
===Op. 10: <i>VI Concerti a flauto traverso</i>===<br />
Six Concertos for Flute and String Orchestra, Op. 10; Related Variants<br />
<br />
As published, Vivaldi's Opus 10 is a straightforward collection of concertos for flute and string orchestra. <br />
Most works which originally called for obbligato flutes seem to have originated during the early 1720s, perhaps reflecting opportunities that Vivaldi encountered in Rome, where he stayed intermittently between <i>c</i>1719 and 1724. Although the transverse flute was then little known in Italy, the availability of an excellent player was essential for the execution his works for it. <br />
<br />
Opus 10 appeared as Le Cène print No. 544 in 1729, in rough coincidence with Vivaldi's violin concertos Opp. 11 and 12, but most of the works are likely to have been composed years earlier. All three volumes were published in Amsterdam. Although each published set was designed for a market oriented towards a standardized, relatively neutral instrumentation, the origins and histories of individual works were varied. The indications suggested by the related concertos listed on the lower half of the chart do not include subtle differences of instrumental alternatives and/or pairings--for example, an independent oboe part vs. an oboe part duplicating a second violin, a separate cello part vs. an unspecified basso, and so forth. These are among the kinds of details that have necessitated separate catalog listings for works that are musically similar. One manuscript source for No. 3 is scored for recorder rather than violin.<br />
<br />
The transverse flute and the recorder were both associated with a certain freedom of timbral choice. The so-called chamber concertos (RV 570, 90, and 101) for flute (or recorder), oboe, bassoon, violin, and bass can be understood to signify this sense of free play, rather than to represent a sub-genre cast in concrete. Although Vivaldi's chamber concertos had few analogues during Vivaldi's lifetime, they paved the way to a rich chamber repertory in the later eighteenth century.<br />
<br />
<center><br />
{{VivaldiOpl0PDFTable}}<br />
</center><br />
<br />
The first three works are the best known ones of the collection. Their nicknames gave them easy recognition, but the nicknames accrued over time. Their programmatic allusions are largely confirmed in associated manuscripts. Storms at sea and phantoms of the night (the images cultivated by the first two pieces) were staples of opera staging at Venice's Teatro Sant'Angelo, the Venetian theater with which Vivaldi and his father were most consistently associated. Both played a prominent role in Venetian scene paintings contemporary with Vivaldi. <br />
<br />
The representation of sleep in the fourth movement of Op 10, No. 2, is illustrative of a fascination with dreams and the supernatural that was probed cautiously on the stage because of the pervasive scrutiny of religious censors. However, the dramatization of darkness fed Sant'Angelo's penchant for grottoes and grotesque scenes. It is darkness that the bassoon invokes in the manuscript RV 501 (the loose analogue of No. 2), where the key is Bb Major rather than G Minor.<br />
<br />
Vivaldi's depictions of bird-calls (in Op. 10, No. 3 a bullfinch) were prevalent not only in his concertos but also in his operas, and in dozens of works by other composers of the time. Though elsewhere they often suggested the formal gardens that were so much promoted by the aristocracy, in Vivaldi's case they are more often a natural depiction of bucolic habitats consistent with the imagery of Arcadian shepherds than of programmed landscapes abroad. <br />
<br />
The <i>sopranino</i> recorder concerto RV 444 is a unique work among Vivaldi's <i>oeuvre</i>, although it could easily have been adapted to a different soloist. It would have best suited a virtuoso of considerable renown.<br />
<br />
The parts provided here correspond to the Dover Publication entitled <i>Six Concertos for Flute and String Orchestra, Op. 10, and Related Variants</i>.<br />
<br />
===Op. 11: <i>Sei concerti</i>===<br />
In Opp. 11 and 12 Vivaldi returned to the practice of publishing six works at a time. His earlier 12-work prints are usually presented as two books of six, but there were practical benefits to grouping the works into two sets. Opp. 11 and 12 appear to be cut from the same cloth and may have been intended initially as a single publication. Their Amsterdam print numbers from presses of Michel Charles Le Cène (1729) were 545 and 546. In comparison to all of Vivaldi's music printed since 1711 they were poorly circulated. Some uncertainty hovers over the question of whether Vivaldi authorized these prints. He explicitly avoided publication of sets after the publication of Op. 12, preferring instead to sell pieces singly to well-heeled fans and amateurs. <br />
<br />
Many solo passages are a challenge to the principal violinist. Vivaldi's full catalog of virtuoso techniques--double, triple, and quadruple stops, bariolage and a host of other difficult manners of passagework lurk within them. Several of the works are well known today. Op. 11, No. 5 was especially popular. Vivaldi's autograph appeared as No. 3 in the set of twelve concertos he presented to the emperor Charles VI during a visit to Trieste (1728). Miscellaneous parts in the Austrian National Library MS 15996 omit the music for first violin. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Related works !! Score <br />
|-<br />
| Op. 11, No. 1 || RV 207 || Concerto / VPr; V1 V2 Va Vc Org || D Major || <small>The three known manuscript sources are in Turin, Dresden (partly copied by Joh. Georg Pisendel, Dresden's <i>Kapellmeister</i>), and Venice, where the conservatory title is dedicated to one of Vivaldi's most accomplished students, Anna Maria of the Pietà</small>. || [https://pdf.musedata.org/?id=vivaldi-op11-no1 score]<br />
|-<br />
| Op. 11, No. 2 || RV 277 || Concerto / VPr; V1 V2 Va Vc Org || E Minor || <small>Nicknamed "Il Favorito". Appears as No. 11 of <i>La Cetra</i>, the concerto collection Vivaldi dedicated to the emperor (1728).</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no2 score]<br />
|-<br />
| Op. 11, No. 3 || RV 336 || Concerto / VPr; V1 V2 Va Vc Org || A Major || <small>May be from the early 1720s.</small>|| [https://pdf.musedata.org/?id=vivaldi-op11-no3 score]<br />
|-<br />
| Op. 11, No. 4 || RV 308 || Concerto / VPr; V1 V2 Va Vc Org || G Major || <small>Another concerto dedicated to Anna Maria of the Pietà.</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no4 score] <br />
|-<br />
| Op. 11, No. 5 || RV 202 || Concerto / VPr; V1 V2 Va Vc Org || G Minor || <small>Material added here is partly in Pisendel's hand.</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no5 score] <br />
<small>[http://digital.slub-dresden.de/id340096659 Manuscript, Dresden SLUB 2389-O-122</small>]<br />
|-<br />
| Op. 11, No. 6 || RV 260 || Concerto / VPr; V1 V2 Va Vc Org || C Minor || <small>Preserved in Dresden and Venice (in the latter case with dedication to Anna Maria of the Pietà). May be from the early 1720s. See also Op. 9, No. 3 (RV 334); RV 460 for Ob; V1 V2 Va Vc Org</small> || [https://pdf.musedata.org/?id=vivaldi-op11-no6 score]<br />
|}<br />
<br />
===Op. 12: <i>Sei concerti</i>===<br />
Vivaldi's six concertos Op. 12 (1729) represent the final printed publication of his music. Like op. 11, op. 12 includes works (e.g. nos. 1, 2, 6) that lack inclusion in any other source, print or manuscript. This allows that the publication as a whole was not authorized by the composer. It also invited questions of attribution. The authorship of two other works (nos. 3 and 5) is confirmed by the presence of analogous pieces in the Giordano manuscript series in Turin. The gem of the collection is no. 4, with its brisk motifs and multiple stops, features not readily present in the other five concertos. Yet the brilliant final movement is unmistakably Vivaldi's. <br />
<br />
{| class="wikitable sortable"<br />
|-<br />
! Opus, Work No. !! Ryom number !! Genre / Instrumentation !! Key !! Score<br />
|-<br />
| Op. 12, No. 1 || RV 317 || Concerto / VPr; V1 V2 Va Vc Bc || G Minor || Example<br />
|-<br />
| Op. 12, No. 2 || RV 244 || Concerto / VPr; V1 V2 Va Vc Bc || D Minor || Example<br />
|-<br />
| Op. 12, No. 3 || RV 124 || Concerto / VPr; V1 V2 Va Vc Bc || D Major || Example<br />
|-<br />
| Op. 12, No. 4 || RV 173 || Concerto / VPr; V1 V2 Va Vc Bc || C Major || Example<br />
|-<br />
| Op. 12, No. 5 || RV 379 || Concerto / VPr; V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|-<br />
| Op. 12, No. 6 || RV 361 || Concerto / VPr; V1 V2 Va Vc Bc || B{{music|flat}} Major || Example<br />
|}<br />
<br />
==Unpublished instrumental works==<br />
<br />
The number of Vivaldi's unpublished instrumental pieces greatly exceeds those that were printed in the composer's lifetime. They generally follow the same lines and populate the same genres of sonata and concerto. The two most conspicuous differences between the published and unpublished works are that dates of composition are more difficult to pin down for the manuscript works and nearly all of the works with obbligato wind parts were never published. <br />
<br />
Why were works with obbligato winds not published in Vivaldi's time? The demand for works with wind parts was much lower, while learning to play the violin was a popular activity among noblemen. Numerous accounts of special occasions note the addition of local amateur players to orchestras for serenatas and sinfonias. Learning to play a bowed instrument conferred a certain prestige on the fledgling performer. Many wind parts were added to copyists to suit local resources. <br />
<br />
In Italy wind instruments, which were not readily available, were required in music for particular kinds of ceremonies or scenes in operas. Nasal reeds, such as the oboe, were used in funeral music or to signify impending doom. Recorders and cross-flutes were associated with peasants and with dancing. Bassoons could signify the underworld. Among brasses, trumpets had been used discreetly to represent military advances and triumphs since before Vivaldi was born, but their appearances were few. <br />
<br />
Vivaldi's interactions with musicians from north of the Alps provided him with incentives to score parts for oboes, bassoons, recorders, cross-flutes, and other novel instruments. He also adapted some of his concertos to feature a wind instrument (usually an oboe) in lieu of a principal violin. Op. 10 is the only print that shows off his wind interests here, but the menu of works related to that set of six (grouped here with Op. 10) shows the latitude (or lack thereof) in adaptations. <br />
<br />
Yet in Italy, the idea of using these different timbres together with strings was one that remained somewhat foreign at the end of Vivaldi's life. In his operas, winds were usually deployed in pairs. Quite often their use was limited to opening performances, when entrance fees were higher. Because their players were paid one night at a time, the wind parts did not always survive. Modern editions represent optimal versions of the work at hand, but the fact that many wind parts have only one or two solo episodes in an entire work and otherwise double string parts allows for some latitude in interpretation and some accommodation of strained circumstances.<br />
<br />
=Oratorios=<br />
== [http://wiki.ccarh.org/wiki/Juditha_triumphans <i>Juditha triumphans</i>] ==<br />
<br />
Click title to see separate webpage.<br />
<br />
= References =</div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12770Music 253/CS 275a Winter 2024 Syllabus2024-02-22T05:51:27Z<p>Esfield: /* Week 7 */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<div id="week1"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<div id="week2"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<div id="week3"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<div id="week4"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<div id="week5"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<b>SCORE user input code</b><br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<br />
<div id="week6"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 6 || 13 Feb 2024 || <br />
* Heinz Roggenkemper: guest lecture on Newzik, LiveScore, and the role of OMR (optical music recognition) [https://docs.google.com/presentation/d/1A1RyNmybSTwq2ATs-PtrA53b9YdRm-XRKLRuF2QWdfE/edit#slide=id.p slides]<br />
<b>SCORE music editor</b><br />
* * Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06A: [https://esf.ccarh.org/Music253-2024/06A_Extremes%20within%20CMN_2024.pdf Graphical Extremes within Common Western Notation] (CMN)]<br />
<br />
* Lecture 06B: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<div id="week7"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/Music253-2024/07A_TexturesTracks_2024.pdf Score semantics: Textures and Tracks]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/Music253-2024/07B_DataArchives-2024.pdf Data Archives]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<div id="week8"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<div id="week9"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<div id="week10"></div><br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| 10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12757Music 253/CS 275a Winter 2024 Syllabus2024-02-20T20:05:58Z<p>Esfield: /* Week 7 */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<b>SCORE user input code</b><br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
* Heinz Roggenkemper: guest lecture on Newzik, LiveScore, and the role of OMR (optical music recognition) [https://docs.google.com/presentation/d/1A1RyNmybSTwq2ATs-PtrA53b9YdRm-XRKLRuF2QWdfE/edit#slide=id.p slides]<br />
<b>SCORE music editor</b><br />
* * Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06A: [https://esf.ccarh.org/Music253-2024/06A_Extremes%20within%20CMN_2024.pdf Graphical Extremes within Common Western Notation] (CMN)]<br />
<br />
* Lecture 06B: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/Music253-2024/07A_TexturesTracks_2024.pdf Score semantics: Textures and Tracks]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
* Lecture 07B-alt. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12756Music 253/CS 275a Winter 2024 Syllabus2024-02-20T19:56:35Z<p>Esfield: /* Week 7 */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<b>SCORE user input code</b><br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
* Heinz Roggenkemper: guest lecture on Newzik, LiveScore, and the role of OMR (optical music recognition) [https://docs.google.com/presentation/d/1A1RyNmybSTwq2ATs-PtrA53b9YdRm-XRKLRuF2QWdfE/edit#slide=id.p slides]<br />
<b>SCORE music editor</b><br />
* * Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06A: [https://esf.ccarh.org/Music253-2024/06A_Extremes%20within%20CMN_2024.pdf Graphical Extremes within Common Western Notation] (CMN)]<br />
<br />
* Lecture 06B: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/Music253-2024/07A_TexturesTracks_2024.pdf Textures and Tracks]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
* Lecture 07B-alt. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12755Music 253/CS 275a Winter 2024 Syllabus2024-02-20T06:00:04Z<p>Esfield: /* Week 7 */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<b>SCORE user input code</b><br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
* Heinz Roggenkemper: guest lecture on Newzik, LiveScore, and the role of OMR (optical music recognition) [https://docs.google.com/presentation/d/1A1RyNmybSTwq2ATs-PtrA53b9YdRm-XRKLRuF2QWdfE/edit#slide=id.p slides]<br />
<b>SCORE music editor</b><br />
* * Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06A: [https://esf.ccarh.org/Music253-2024/06A_Extremes%20within%20CMN_2024.pdf Graphical Extremes within Common Western Notation] (CMN)]<br />
<br />
* Lecture 06B: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. Textures and Tracks<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
* Lecture 07B-alt. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12754Music 253/CS 275a Winter 2024 Syllabus2024-02-20T05:59:19Z<p>Esfield: /* Week 7 */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<b>SCORE user input code</b><br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
* Heinz Roggenkemper: guest lecture on Newzik, LiveScore, and the role of OMR (optical music recognition) [https://docs.google.com/presentation/d/1A1RyNmybSTwq2ATs-PtrA53b9YdRm-XRKLRuF2QWdfE/edit#slide=id.p slides]<br />
<b>SCORE music editor</b><br />
* * Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06A: [https://esf.ccarh.org/Music253-2024/06A_Extremes%20within%20CMN_2024.pdf Graphical Extremes within Common Western Notation] (CMN)]<br />
<br />
* Lecture 06B: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. <br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
* Lecture 07B-alt. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12750Music 253/CS 275a Winter 2024 Syllabus2024-02-14T23:43:51Z<p>Esfield: /* Week 6 */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<b>SCORE user input code</b><br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
* Heinz Roggenkemper: guest lecture on Newzik, LiveScore, and the role of OMR (optical music recognition) [https://docs.google.com/presentation/d/1A1RyNmybSTwq2ATs-PtrA53b9YdRm-XRKLRuF2QWdfE/edit#slide=id.p slides]<br />
<b>SCORE music editor</b><br />
* * Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06A: [https://esf.ccarh.org/Music253-2024/06A_Extremes%20within%20CMN_2024.pdf Graphical Extremes within Common Western Notation] (CMN)]<br />
<br />
* Lecture 06B: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12749Music 253/CS 275a Winter 2024 Syllabus2024-02-14T23:42:57Z<p>Esfield: /* Week 6 */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<b>SCORE user input code</b><br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
* Heinz Roggenkemper: guest lecture on Newzik, LiveScore, and the role of OMR (optical music recognition) [https://docs.google.com/presentation/d/1A1RyNmybSTwq2ATs-PtrA53b9YdRm-XRKLRuF2QWdfE/edit#slide=id.p slides]<br />
<b>SCORE music editor</b><br />
* * Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06A: [https://esf.ccarh.org/Music253-2024/06A_Extremes%20within%20CMN_2024.pdf GraphicaL Extrmes within Common Western Notation] (CMN)]<br />
<br />
* Lecture 06B: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12748Music 253/CS 275a Winter 2024 Syllabus2024-02-14T23:41:54Z<p>Esfield: /* Week 6 */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<b>SCORE user input code</b><br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
* Heinz Roggenkemper: guest lecture on Newzik, LiveScore, and the role of OMR (optical music recognition) [https://docs.google.com/presentation/d/1A1RyNmybSTwq2ATs-PtrA53b9YdRm-XRKLRuF2QWdfE/edit#slide=id.p slides]<br />
<b>SCORE music editor</b><br />
* * Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06A: [https://esf.ccarh.org/Music253-2024/06A_Extremes%20within%20CMN_2024.pdf GraphicaL ExtRemes WITHin Common Western Notation]<br />
<br />
* Lecture 06B: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12747Music 253/CS 275a Winter 2024 Syllabus2024-02-14T23:19:55Z<p>Esfield: /* Week 6 */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<b>SCORE user input code</b><br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
* Heinz Roggenkemper: guest lecture on Newzik, LiveScore, and the role of OMR (optical music recognition) [https://docs.google.com/presentation/d/1A1RyNmybSTwq2ATs-PtrA53b9YdRm-XRKLRuF2QWdfE/edit#slide=id.p slides]<br />
<b>SCORE music editor</b><br />
* * Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06B: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
* Lecture 06B: <br />
<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12703Music 253/CS 275a Winter 2024 Syllabus2024-02-13T21:01:35Z<p>Esfield: /* Week 6 */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<b>SCORE user input code</b><br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
* Heinz Roggenkemper: guest lecture on Newzik, LiveScore, and the role of OMR (optical music recognition)<br />
<b>SCORE music editor</b><br />
* Lecture 06A: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06B. [https://esf.ccarh.org/CS275A-Mus253/06B_NewDirections-in-MN_2023.pdf Current initiatives for printed and digital notation]<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12617Music 253/CS 275a Winter 2024 Syllabus2024-02-06T05:47:13Z<p>Esfield: /* Week 5 */</p>
<hr />
<div>i<font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<b>SCORE user input code</b><br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
<b>SCORE music editor</b><br />
* Lecture 06A: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06B. [https://esf.ccarh.org/CS275A-Mus253/06B_NewDirections-in-MN_2023.pdf Current initiatives for printed and digital notation]<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12616Music 253/CS 275a Winter 2024 Syllabus2024-02-05T23:47:55Z<p>Esfield: /* Week 5 */</p>
<hr />
<div>i<font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<br><br />
<B>Applied MIDI</b><br />
* 5A.[https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions-2023.pdf MIDI Extensions]<br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
<b>SCORE user input code</b><br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_SCORE-Introduction_2024.pdf Introduction to SCORE]<br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
<b>SCORE music editor</b><br />
* Lecture 06A: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06B. [https://esf.ccarh.org/CS275A-Mus253/06B_NewDirections-in-MN_2023.pdf Current initiatives for printed and digital notation]<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12613Music 253/CS 275a Winter 2024 Syllabus2024-02-01T05:10:28Z<p>Esfield: /* Week 4 */</p>
<hr />
<div>i<font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04A_MIDI-SpecialFeatures_2024.pdf MIDI Timing and Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<B>Applied MIDI</b><br />
* 5A.[https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions-2023.pdf MIDI Extensions]<br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
<b>SCORE user input code</b><br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_MidiTemperamentExpression_2023.pdf From Music V to SCORE]<br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
<b>SCORE music editor</b><br />
* Lecture 06A: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06B. [https://esf.ccarh.org/CS275A-Mus253/06B_NewDirections-in-MN_2023.pdf Current initiatives for printed and digital notation]<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12612Music 253/CS 275a Winter 2024 Syllabus2024-02-01T05:07:55Z<p>Esfield: /* Week 4 */</p>
<hr />
<div>i<font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]]/Sibelius/Finale/Dorico/etc. Via MusicXML (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDI-SpecialFeatures_2024.pdf MIDI Special Features]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04B: [https://esf.ccarh.org/CS275A-Mus253/04B_MIDI-and-Temperament-2024.pdf MIDI and Temperament] <br />
MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<B>Applied MIDI</b><br />
* 5A.[https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions-2023.pdf MIDI Extensions]<br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
<b>SCORE user input code</b><br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_MidiTemperamentExpression_2023.pdf From Music V to SCORE]<br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
<b>SCORE music editor</b><br />
* Lecture 06A: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06B. [https://esf.ccarh.org/CS275A-Mus253/06B_NewDirections-in-MN_2023.pdf Current initiatives for printed and digital notation]<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12599Music 253/CS 275a Winter 2024 Syllabus2024-01-16T04:40:13Z<p>Esfield: /* Week 2 */</p>
<hr />
<div>i<font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]] (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDI_Extensions1-2_2022.ppt MIDI Extensions] or [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDi_Extensions_2019.pdf PDF version]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04: [https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions1-2_2022.ppt MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<B>Applied MIDI</b><br />
* 5A.[https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions-2023.pdf MIDI Extensions]<br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
<b>SCORE user input code</b><br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_MidiTemperamentExpression_2023.pdf From Music V to SCORE]<br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
<b>SCORE music editor</b><br />
* Lecture 06A: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06B. [https://esf.ccarh.org/CS275A-Mus253/06B_NewDirections-in-MN_2023.pdf Current initiatives for printed and digital notation]<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12598Music 253/CS 275a Winter 2024 Syllabus2024-01-15T20:56:20Z<p>Esfield: /* Week 2 */</p>
<hr />
<div>i<font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Music253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/Music253-2024/02A_Input_2023.pdf Input Methods for Music]<br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]] (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDI_Extensions1-2_2022.ppt MIDI Extensions] or [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDi_Extensions_2019.pdf PDF version]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04: [https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions1-2_2022.ppt MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<B>Applied MIDI</b><br />
* 5A.[https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions-2023.pdf MIDI Extensions]<br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
<b>SCORE user input code</b><br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_MidiTemperamentExpression_2023.pdf From Music V to SCORE]<br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
<b>SCORE music editor</b><br />
* Lecture 06A: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06B. [https://esf.ccarh.org/CS275A-Mus253/06B_NewDirections-in-MN_2023.pdf Current initiatives for printed and digital notation]<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12595Music 253/CS 275a Winter 2024 Syllabus2024-01-09T19:49:50Z<p>Esfield: /* Week 1 */</p>
<hr />
<div>i<font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Musoc253-2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]] (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDI_Extensions1-2_2022.ppt MIDI Extensions] or [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDi_Extensions_2019.pdf PDF version]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04: [https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions1-2_2022.ppt MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<B>Applied MIDI</b><br />
* 5A.[https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions-2023.pdf MIDI Extensions]<br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
<b>SCORE user input code</b><br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_MidiTemperamentExpression_2023.pdf From Music V to SCORE]<br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
<b>SCORE music editor</b><br />
* Lecture 06A: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06B. [https://esf.ccarh.org/CS275A-Mus253/06B_NewDirections-in-MN_2023.pdf Current initiatives for printed and digital notation]<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12594Music 253/CS 275a Winter 2024 Syllabus2024-01-09T19:48:35Z<p>Esfield: /* Week 1 */</p>
<hr />
<div>i<font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/Musoc253_2024/01B_ApplyingMusicalInformation_2024.ppt Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]] (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDI_Extensions1-2_2022.ppt MIDI Extensions] or [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDi_Extensions_2019.pdf PDF version]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04: [https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions1-2_2022.ppt MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<B>Applied MIDI</b><br />
* 5A.[https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions-2023.pdf MIDI Extensions]<br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
<b>SCORE user input code</b><br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_MidiTemperamentExpression_2023.pdf From Music V to SCORE]<br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
<b>SCORE music editor</b><br />
* Lecture 06A: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06B. [https://esf.ccarh.org/CS275A-Mus253/06B_NewDirections-in-MN_2023.pdf Current initiatives for printed and digital notation]<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12593Music 253/CS 275a Winter 2024 Syllabus2024-01-09T19:47:17Z<p>Esfield: /* Week 1 */</p>
<hr />
<div>i<font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2023-v1b.pdf Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]] (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDI_Extensions1-2_2022.ppt MIDI Extensions] or [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDi_Extensions_2019.pdf PDF version]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04: [https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions1-2_2022.ppt MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<B>Applied MIDI</b><br />
* 5A.[https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions-2023.pdf MIDI Extensions]<br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
<b>SCORE user input code</b><br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_MidiTemperamentExpression_2023.pdf From Music V to SCORE]<br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
<b>SCORE music editor</b><br />
* Lecture 06A: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06B. [https://esf.ccarh.org/CS275A-Mus253/06B_NewDirections-in-MN_2023.pdf Current initiatives for printed and digital notation]<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12592Music 253/CS 275a Winter 2024 Syllabus2024-01-09T19:46:51Z<p>Esfield: /* Week 1 */</p>
<hr />
<div>i<font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information]<br />
or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2023-v1b.pdf Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]] (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDI_Extensions1-2_2022.ppt MIDI Extensions] or [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDi_Extensions_2019.pdf PDF version]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04: [https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions1-2_2022.ppt MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<B>Applied MIDI</b><br />
* 5A.[https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions-2023.pdf MIDI Extensions]<br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
<b>SCORE user input code</b><br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_MidiTemperamentExpression_2023.pdf From Music V to SCORE]<br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
<b>SCORE music editor</b><br />
* Lecture 06A: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06B. [https://esf.ccarh.org/CS275A-Mus253/06B_NewDirections-in-MN_2023.pdf Current initiatives for printed and digital notation]<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12591Music 253/CS 275a Winter 2024 Syllabus2024-01-09T19:45:00Z<p>Esfield: /* Week 1 */</p>
<hr />
<div>i<font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_MusicalInformation_2024.ppt Musical Information]<br />
* Lecture 01A: [https://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2023.pdf Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2023-v1b.pdf Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]] (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDI_Extensions1-2_2022.ppt MIDI Extensions] or [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDi_Extensions_2019.pdf PDF version]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04: [https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions1-2_2022.ppt MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<B>Applied MIDI</b><br />
* 5A.[https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions-2023.pdf MIDI Extensions]<br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
<b>SCORE user input code</b><br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_MidiTemperamentExpression_2023.pdf From Music V to SCORE]<br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
<b>SCORE music editor</b><br />
* Lecture 06A: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06B. [https://esf.ccarh.org/CS275A-Mus253/06B_NewDirections-in-MN_2023.pdf Current initiatives for printed and digital notation]<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12590Music 253/CS 275a Winter 2024 Syllabus2024-01-09T18:37:06Z<p>Esfield: /* Week 1 */</p>
<hr />
<div>i<font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf.ccarh.org/Music253-2024/01A_Musical_Information_2024.ppt Musical Information]<br />
* Lecture 01A: [https://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2023.pdf Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2023-v1b.pdf Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]] (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDI_Extensions1-2_2022.ppt MIDI Extensions] or [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDi_Extensions_2019.pdf PDF version]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04: [https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions1-2_2022.ppt MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<B>Applied MIDI</b><br />
* 5A.[https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions-2023.pdf MIDI Extensions]<br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
<b>SCORE user input code</b><br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_MidiTemperamentExpression_2023.pdf From Music V to SCORE]<br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
<b>SCORE music editor</b><br />
* Lecture 06A: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06B. [https://esf.ccarh.org/CS275A-Mus253/06B_NewDirections-in-MN_2023.pdf Current initiatives for printed and digital notation]<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12589Music 253/CS 275a Winter 2024 Syllabus2024-01-09T05:37:48Z<p>Esfield: /* Week 1 */</p>
<hr />
<div>i<font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf/ccarh.org/Music253-2024/01A_Musical_Information_2024.ppt Musical Information]<br />
* Lecture 01A: [https://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2023.pdf Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2023-v1b.pdf Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]] (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDI_Extensions1-2_2022.ppt MIDI Extensions] or [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDi_Extensions_2019.pdf PDF version]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04: [https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions1-2_2022.ppt MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<B>Applied MIDI</b><br />
* 5A.[https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions-2023.pdf MIDI Extensions]<br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
<b>SCORE user input code</b><br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_MidiTemperamentExpression_2023.pdf From Music V to SCORE]<br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
<b>SCORE music editor</b><br />
* Lecture 06A: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06B. [https://esf.ccarh.org/CS275A-Mus253/06B_NewDirections-in-MN_2023.pdf Current initiatives for printed and digital notation]<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2024_Syllabus&diff=12588Music 253/CS 275a Winter 2024 Syllabus2024-01-09T05:35:05Z<p>Esfield: /* Week 1 */</p>
<hr />
<div>i<font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2024).</b></font><br />
<br />
This music-information introduction surveys <i>symbolic</i> frameworks and methods for a wide range<br />
of applications. Areas covered include advanced notation systems, optical music recognition, data<br />
conversion and synchronization, and the internal structure of data files. The course is<br />
preparatory for [[Music 254|Music 254/CS 275B]] (Computational Musical Analysis), which focuses on projects requiring a working knowledge of notation and familiarity with sound software.<br />
<br />
<br />
<table style="background:white;" cellpadding=0 cellspacing=0 border=0><br />
<tr><br />
<td align=right><b>Meeting&nbsp;times:</b><br />
<td width=15></td><br />
<td>Tuesday & Thursdays 1:30&ndash;2:50</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Slack channel:</b></td><br />
<td></td><br />
<td>https://music253cs275.slack.com</td><br />
</tr><br />
<br />
<tr><br />
<td align=right><b>Customary Location:</b></td><br />
<td></td><br />
<td> Braun Music Building, Room 131</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Instructors:</b></td><br />
<td></td><br />
<td> Eleanor Selfridge-Field (esfield<small>&#64;</small>stanford.edu)<br>Craig Stuart Sapp (craig<small>&#64;</small>ccrma.stanford.edu)<br />
<br />
<tr valign=baseline><br />
<td align=right><b>Office Hours:</b></td><br />
<td></td><br />
<td>After class meetings and by appointment.</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Credits:</b></td><br />
<td></td><br />
<td>2&ndash;4</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Grading:</b></td><br />
<td></td><br />
<td><br />
Four-credits: class participation: 25%; weekly assignments: 50%; take-home final essay: 25%. <br> Three-credit/no final essay: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final essay: choices negotiable (homework assignments selected in consultation with instructors).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Website:</b></td><br />
<td></td><br />
<td>[http://music253.stanford.edu music253.stanford.edu]/[http://music253.stanford.edu music275a.stanford.edu]: [[Music 253|Overview]] of individual topics presented in Music 253/CS 275a, and [[Music 253/CS 275a Syllabus|syllabus]].<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Prerequisites:</b></td><br />
<td></td><br />
<td> Ability to read standard music notation. Knowledge of central concepts of tonal music theory (see [https://esf.ccarh.org/MusicTheory_Tutorials/MusicTheory_ComputerApps.htm Tutorial]).<br />
</td><br />
</tr><br />
<br />
<tr valign=baseline><br />
<td align=right><b>Textbook:</b></td><br />
<td></td><br />
<td> E. Selfridge-Field, ed., <i>Beyond MIDI: The Handbook of Musical Codes</i> (MIT Press, 1997). [http://beyondmidi.ccarh.org/beyondmidi-600dpi.pdf Available online] by permission of the publisher.<br />
</td><br />
</tr><br />
<br />
<br />
<tr valign_baseline><br />
<td align=right><b>Covid information (Winter 2024):</b></td><br />
<td></td><br />
<td>Masking remains in place. Please respect the Stanford rules. In case of quarantine or illness, please notify us at your earliest convenience. We are well equipped with videos of last year's classes and can schedule 1:1 appointments for labs. <br />
</td><br />
</tr><br />
<br />
</table><br />
<br />
<!-- * [https://piazza.com/class/jcf6012h40e6y9 Piazza] --><br />
<br />
* [http://www.ccarh.org/courses/253/lab Course resources]<br />
* [http://www.ccarh.org/courses/253/handout/ Handouts]<br />
* [http://www.ccarh.org/courses/253/link/ Links]<br />
<br />
== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <br />
<font color="gray" size="-1">MIDI</font> [[#week3|3]] | <br />
[[#week4|4]] | <br />
<font color="gray" size="-1">SCORE</font> [[#week5|5]] | <br />
[[#week6|6]] | <br />
<font color="gray" size="-1">XML</font> [[#week7|7]] | <br />
<font color="gray" size="-1">MuseData</font> [[#week8|8]] | <br />
<font color="gray" size="-1">Humdrum</font> [[#week9|9]] | <br />
[[#week10|10]]<br />
<br />
=== Week 1 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week1"></div>1 || 9 Jan 2024 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [https://esf/ccarh.org/Music253-2024/01A_Musical Information_2024.ppt Musical Information]<br />
* Lecture 01A: [https://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2023.pdf Musical Information] or [http://www.screencast.com/t/H6W4piHb old Video version]<br />
* Lecture C1a: [https://docs.google.com/presentation/d/1yDfZT5GBGTlr551ojYQ8h1RTdNeYfAyn5LHHxnHdu8E/edit?usp=sharing Music representation]<br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due in one week)<br />
* [https://docs.google.com/forms/d/e/1FAIpQLScgtHpUx4GzFoV1Uu2zAEbuUhK3eBXG1XzBFOQXtZ_AyryeKw/viewform Course Participation Survey]<br />
|-<br />
| 1 || 11 Jan 2024 || <br />
* Lecture 01B: [https://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2023-v1b.pdf Using Musical Information]<br />
* Lecture C1b: [https://docs.google.com/presentation/d/1S5f4zoV1heXEAwtYY4knpg7HfhykDXxNu6q6auAA4a4/edit?usp=sharing Rosetta stone of digital music representations] (see also companion [[Rosetta Stone of Musical Data Codes | wikipage]])<br />
* Assignment #2: Do either the [[Guido Music Notation]] or the [[Humdrum encoding homework]] (or do both for extra credit). If doing both, then also discuss the differences and similarities between the two systems and interfaces. (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 2 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week2"></div>2 || 16 Jan 2024 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [https://esf.ccarh.org/CS275A-Mus253/02A_Input_2023.pdf Input Methods for Music]. <br />
* Lab #2a: [[MuseScore | Computer keyboard Input methods in MuseScore]]<br />
* [https://wiki.ccarh.org/wiki/Musescore_Supplement Scores and Data Export in MuseScore]<br />
|-<br />
| 2 || 18 Jan 2024 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [https://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2023.pdf Sound-MIDI Introduction]<br />
<br />
* Lab #2b: [[MuseScore MIDI Input | MIDI keyboard Input methods in MuseScore]]<br />
* Assignment #3: Finish Lab 2 exercises<br />
|}<br />
</ul><br />
<br />
=== Week 3 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week3"></div>3 || 23 Jan 2024 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [https://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2023.pdf Optical Music Recognition]<br />
* Lecture C2: [https://docs.google.com/presentation/d/181UHdcwlMq9-e9SSYLtFAT2zrt55mw2WZfRo2lSMWNg/edit#slide=id.g4b082c8a65_2_75 Introduction to XML] <br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[MuseScore]]/[[Noteflight]]/[[Verovio Humdrum Viewer]] (Due in one week)<br />
|-<br />
| 3 || 25 Jan 2024 || <br />
<b>MIDI Protocol</b><br />
* Lecture 03B: [https://esf.ccarh.org/CS275A-Mus253/03B-4A_MIDI_Continuation_2023.pdf From Sound to MIDI Input and Output]<br />
* Lecture C3a: [https://docs.google.com/presentation/d/1zwTqFNv_6gvhXKjhYcXu7TOKS-dLaWJ7M-PoTYDKiNA/edit?usp=sharing MIDI protocol] (extra: [[Media:Hexadecimal_numbers.pdf|Hexadecimal numbers]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/bytetable/bytelist.pdf MIDI roadmap of the byte]<br />
* Topic: MIDI bytes/messages ([[cinmidi]])<br />
* Topic: [http://www.ccarh.org/courses/253/handout/midiprotocol/ MIDI messages]<br />
|}<br />
</ul><br />
<br />
=== Week 4 ===<br />
<br />
<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week4"></div>4 || 30 Jan 2024 || <br />
<b>General MIDI/Standard MIDI Files</b><br />
* Lecture C3b: [https://docs.google.com/presentation/d/13hs6Q0j56aSTcti6zGHmONgHIKj1oJa88eAy9T8prE4/edit?usp=sharing Standard Midi Files]<br />
* Topic: [http://www.ccarh.org/courses/253/handout/smf/ Outline of the Standard MIDI File structure]<br />
* Topic: [[Variable length values]]<br />
* Lecture 04A: [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDI_Extensions1-2_2022.ppt MIDI Extensions] or [https://esf.ccarh.org/CS275A-Mus253/04AA_MIDi_Extensions_2019.pdf PDF version]<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due in one week)<br />
|-<br />
| 4 || 1 Feb 2024 || <br />
<b>MIDI Extensions</b><br />
* Lecture 04: [https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions1-2_2022.ppt MIDI Extensions (Pitch, Expression)]<br />
* Lecture: [https://docs.google.com/presentation/d/1_6oxivRKMQ0hrsvIV2oFxWCMZ2jHpIu2aSJs6-GiGQ8/edit?usp=sharing Creating MIDI files by hand from text files]<br />
* [https://github.com/craigsapp/binasc binasc] tool for creating MIDI files in a text editor<br />
* Topic: [http://www.ccarh.org/courses/253/handout/gminstruments/ General MIDI instruments] (plus percussion key numbers on channel 10)<br />
* Topic: [http://www.ccarh.org/courses/253/handout/controllers/ General MIDI continuous controllers]<br />
* Assignment #5b: [[MIDI file creation]] (due in one week)<br />
|}<br />
</ul><br />
<br />
=== Week 5 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week5"></div>5 || 6 Feb 2024 || <br />
Lesley Robertson: Performing with digital music stands.<br />
<B>Applied MIDI</b><br />
* 5A.[https://esf.ccarh.org/CS275A-Mus253/04BB_MIDI-Extensions-2023.pdf MIDI Extensions]<br />
* [https://docs.google.com/presentation/d/1xPWh69UPNmSt0Oqa_SmZqb0gMYO_LcIY94FoZXOFH4c/edit?usp=sharing MIDI notes] (MIDI Plus and C++ parser & Guitar TAB to MIDI conversion)<br />
<b>Piano rolls as musical data</b><br />
* [https://docs.google.com/presentation/d/1kJGBZ4_muAyUuZ_yIcONZSCPo3ooaJrcuivsl8tln3U/edit?usp=sharing SUPRA: Digitizing Stanford University's Piano Roll Archive]<br />
|-<br />
| 5 || 8 Feb 2024 || <br />
<b>SCORE user input code</b><br />
* Lecture 05B: [https://esf.ccarh.org/CS275A-Mus253/05A_MidiTemperamentExpression_2023.pdf From Music V to SCORE]<br />
<br />
* Lab: [[SCORE user input]] ([https://docs.google.com/presentation/d/1huO1MX1aGTZKFksIVb4EJqGNa5L5tNTffKWWPkX7728/edit?usp=sharing slides])<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
|}<br />
</ul><br />
<br />
=== Week 6 ===<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week6"></div>6 || 13 Feb 2024 || <br />
<b>SCORE music editor</b><br />
* Lecture 06A: [https://esf.ccarh.org/CS275A-Mus253/06A_Non-common-western_notation_2023.pdf Non-staff and other non-common notations for music]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| 6 || 15 Feb 2024 || <br />
<b>Using Score and Other Notation Software</b><br />
* Lecture 06B. [https://esf.ccarh.org/CS275A-Mus253/06B_NewDirections-in-MN_2023.pdf Current initiatives for printed and digital notation]<br />
<b>SCORE simple examples</b><br />
* Lab: Input [[five SCORE user input examples |slightly harder SCORE examples]]<br />
* [https://docs.google.com/document/d/1G0H_0jTgxSsWWnEet0GIG2WKheDshLmP-sZkiBKzKpM/edit?usp=sharing List of useful SCORE commands]<br />
* Homework #6: [[Five SCORE user input exercises]], due in one week (but best to do it before the next class)<br />
|}<br />
</ul><br />
<br />
=== Week 7 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div a="week7"></div>7 || 20 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07A. [https://esf.ccarh.org/CS275A-Mus253/07B_ArchivalData-2023.pdf Archival Data]<br />
<br />
<b>SCORE parameters 2</b><br />
<b>SCORE parameters</b><br />
* Lecture: [https://docs.google.com/presentation/d/1YLXSje3Snxm6nkx0JQZaUs3FyGia3plYl4gveu0eXEg/edit?usp=sharing SCORE parameters]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]] ([[Media:codes1and2.pdf|note and slur parameter sheets]])<br />
* Homework 7: [[SCORE_parameter_exercises|Hard SCORE exercises]]: do 3 out of the 10 examples (due next Thursday): Or a page of music of your choice with Craig's approval (so he can make sure it is not too easy or too hard)<br />
|-<br />
| 7 || 22 Feb 2024 || <br />
<b>Archiving musical data</b><br />
* Lecture 07B. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2023.pdf Markup Languages for Music]<br />
<b> MusicXML: Data markup and interchange </b><br />
* Lecture: [https://docs.google.com/presentation/d/1N1zLKy6DgGyW6S0JAtJDZSk3K94I2-r1uj_yjdXun_0/edit?usp=sharing MusicXML and musical parameters]<br />
</ul><br />
|}<br />
</ul><br />
<br />
=== Week 8 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week8"></div>8 || 27 Feb 2024 || <br />
<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08B. [https://esf.ccarh.org/CS275A-Mus253/08B_Base-40_2023.pdf Tools for Notation: Base-40 Arithmetic for Music Apps]<br />
<b> MEI: Source markup and publishing </b><br />
* Lecture 08A. [https://esf.ccarh.org/CS275A-Mus253/08A_MusicXMLMEI-2021.ppt Markup Languages: MusicXML and MEI]<br />
* Lecture: [https://docs.google.com/presentation/d/1Bb8e6j7u_56aTp8buZjhbbMIpKR8UK0uSTxu2Vnw9GM/edit?usp=sharing Introduction to MEI]<br />
<!--<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
--><br />
* [[MusicXML and MEI homework | XML homework]] #8 (due next Tuesday)<br />
<br />
|-<br />
| 8 || 29 Feb 2024 ||<br />
<br />
<b>MuseData</b><br />
* Walter Hewlett: [[Media:Walter-MuseData-20210304.pdf | MuseData]]<br />
<br />
* Lecture 07C. [https://docs.google.com/presentation/d/1yvyXG3357Q4-At5poYRY8N16r9EUq0mlzxer_jIlSDg/edit?usp=sharing Musedata online resources]<br />
* [[Beethoven String Quartets]]<br />
* [http://github.com/musedata/beethoven-quartets MuseData files for the quartets]<br />
* [http://github.com/musedata/muse2ps muse2ps for printing the MuseData files] <br />
|}<br />
</ul><br />
<br />
=== Week 9 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week9"></div>9 || 5 Mar 2024 || <br />
<b> Humdrum </b><br />
* Lecture 09A. [https://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2023.pdf Introduction to Humdrum] <br />
* Lecture: [https://docs.google.com/presentation/d/16WEM_s2WetlCgC9OMA_HpEELko7_udyIEG46hCEwSak/edit?usp=sharing Humdrum file format]<br />
* [http://doc.verovio.humdrum.org/humdrum/getting_started/ Introduction to **kern music encoding]<br />
* [http://verovio.humdrum.org Verovio Humdrum Viewer] ([https://docs.google.com/presentation/d/1cAHLBn4zQwcwWqJj0cMhS6zN-U551fX0MvZzD_xPjdY/edit?usp=sharing 2019 IAML (Kraków, Poland) workshop slides for VHV])<br />
* Homework: [[Media:KernEncoding.pdf|Encode examples in Humdrum using VHV editor]] (due this Thursday).<br />
|-<br />
| 9 || 7 Mar 2024 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [https://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2023.pdf Uses of Humdrum]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
* [[Humdrum homework]] (due next Thursday)<br />
<br />
<br />
|}<br />
</ul><br />
<br />
=== Week 10 ===<br />
<br />
<ul><br />
{| class="wikitable" cellpadding="5" cellspacing="0" border="1" <br />
|- {{Style|table header}}<br />
! scope="col" width="20px" | Week<br />
! scope="col" width="75px" | Dates<br />
! scope="col" | Topics<br />
|-<br />
| <div id="week10"></div>10 || 12 Mar 2024 || <br />
<b> Music as Intellectual Property</b><br />
<br />
* Lecture 10A. [https://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2023.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10B. [https://esf.ccarh.org/CS275A-Mus253/10B_2020_Suing-rev2023.pdf Music as Written, Music as Heard]<br />
<br />
<b> Humdrum Analysis 2</b><br />
* [https://docs.google.com/presentation/d/1fIYMTj4TRjFyKc8yf-eODUXk_MUkFb1CzhLoW91xVaE/edit?usp=sharing Musical Dice Game]<br />
* [https://dice.humdrum.org Online implementation], command-line variant (different piece): [[Musical dice game]]<br />
<br />
<!--<br />
* Instead for this week: [https://docs.google.com/presentation/d/1gQX2AVXSxIgfsgeW5wzeJqx2ihCUlHqfJDR6VMMv2FE/edit?usp=sharing Harmony in Humdrum ]<br />
--><br />
|-<br />
| 10 || 14 Mar 2024 || <br />
<br />
*Lecture 10C. [https://esf.ccarh.org/CS275A-Mus253/10c_Ear-Eye-Brain_PC2023.pdf Ear, Mind, or Brain? Reflections on Musical Similarity] <br />
<br />
<b> Preview: Musical Similarity</b><br />
<br />
<b> Non-standard music representations in Humdrum </b><br />
* [https://docs.google.com/presentation/d/1uOZqvZdzcXhL5Gx2tKMvmY--dbqGF8r4Xgtaw2GMdBM/edit?usp=sharing Koto notation]<br />
|}<br />
</ul><br />
<br />
== General Policies and University Rules ==<br />
<br />
General policies and university rules:<br />
<br />
# <i>Delivery times</i>:<br />
##Assignments: by the start of the class for which they are due.<br />
## <i>Final exam</i>: by 11 p.m. of the assigned date.<br />
# <i>Honor code</i>: We will act and expect you to act according to the [http://studentaffairs.stanford.edu/judicialaffairs/policy/honor-code Stanford Honor Code].<br />
# <i>Students with disabilities</i>: Students who may need an academic accommodation based on the impact of a disability must initiate the request with the Student Disability Resource Center (SDRC) located within the Office of Accessible Education (OAE). SDRC staff will evaluate the request with required documentation, recommend reasonable accommodations, and prepare an Accommodation Letter for faculty dated in the current quarter in which the request is being made. Students should contact the SDRC as soon as possible since timely notice is needed to coordinate accommodations. OAE phone <b>(650) 723-1066</b> [http://oae.stanford.edu OAE website].<br />
# <i>Students in distress</i>: Stanford offers an abundance of resources for students dealing with problems of a personal nature. <br />
## <i>Urgent support</i>: <b>(650) 723-3785</b> [https://vaden.stanford.edu/caps CAPS website]<br />
## <i>Medical Services</i>: <b>(650) 498-2336</b> [https://vaden.stanford.edu/medical-services Vaden Health Services]<br />
## <i>Crisis hotline</i>: <b>(650) 725-9955</b><br />
## <i>Title IX questions</i>: <b>(650) 497-4955</b></div>Esfieldhttps://wiki.ccarh.org/index.php?title=Eleanor_Selfridge-Field:_Articles&diff=12586Eleanor Selfridge-Field: Articles2023-12-14T23:08:04Z<p>Esfield: /* European Culture, Music, and History */</p>
<hr />
<div>Articles through 2022 <small>(or later if open access is lacking)</small><br />
<br />
==<b>European Culture, Music, and History</b>==<br />
<br />
"The Vivaldis of Brescia," <i>Recercare</i>, XXXV (2023), 69-101.<br />
<br />
"The Keyboard Transcriptions of J. S. Bach and J. G. Walther," <i>Bach and Mozart: Connections, Patterns, and Pathways</i>, ed. Paul Corneilson (Bach Perspectives, 14), Champaign, IL: University of Illinois Press (2022), pp. 1-22. <br />
<br />
"The Teatro Sant'Angelo: Cradle of fledgling opera troupes," <i>Musicologica Brunensia</i> (2018), 157-170. DOI:10.5817/MB2018-S-11 Corpus ID: 194638187 <br />
<br />
"Venetian Instrumental Music in the Sixteenth Century" in the <i>Companion to Music in Sixteenth-Century Venice</i>, ed. Katelijne Schiltz (Turnhout: Brill, 2017), pp. 415-439.<br />
<br />
"Echoes of Gabrieli" [review], <i>Early Music</i> 45/4 (2017). doi:10.1093/em/cax126. <br />
<br />
"Schulenburg, Corfù, and the dating of <i>Juditha triumphans</i>" in <i>Fulgeat sul frontis decorae: Studi in onore di Michael Talbot</i>, ed. A. Borin and J.M. Cameron, Venice: Fondazione Giorgio Cini, 2016), 207-221.<br />
<br />
[http://www.cini.it/wp-content/uploads/2016/07/Parte-1.pdf. "La famiglia materna di Antonio Vivaldi" ["Vivaldi's Maternal Lineage"] ], with Margherita Gianola, in <i>Studi vivaldiani</i> No. 15 (Florence: Editore SPES, 2015), 13-53. English summary pp. 49-54. <br />
<br />
"From Vivaldi to Gluck: On the road with Anna Girò" in <i>Gluck and the map of eighteenth-century music</i>, ed. Brian Locke and Bruce Brown. Forthcoming.<br />
<br />
Federico Maria Sardelli, <i>Catalogo delle concordanze musicali vivaldiane</i> [review], Florence: Leo S. Olschki, 2012 (Studi di Musica veneta. Quaderni vivaldiani, 16), vol. cxlvii, in <i>Il Saggitore musicale</i>, XXI (2014), 313-318.<br />
<br />
[[Media:Selfridge-Field_MarcelloOrientalism2013.pdf|"Marcello's Orientalism"]] in <i>Psalmen: Kirchenmusik zwischen Tradition, Dramatik und Experiment</i>, ed. Helen Geyer and Birgit Johanna Wertenson (Cologne: Böhlau, 2013), 205-222. <br />
<br />
Ryom, Peter, <i>Antonio Vivaldi: Thematisch-Systematisches Verzeichnis zeiner Werke (RV)</i>, Breitkopf & Härtel, 2007 [review] in <i>Notes</i> 65/2 (Dec. 2008). <br />
<br />
“Musical Commerce and the Fiera della Sensa, 1720-1760,” <i>Venezia mercato delle arti</i>, Ducal Palace, Venice, 11 October 2008 (<i>Venezia mercato delle arti</i>, org. Barbara Marx). Proceedings unpublished. <br />
<br />
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” <i>L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international</i>, ed. D. Colas, A. Di Profio, G. Gétreau, and P. Petrobelli (Tours: CNRS 2008), pp. 15-27.<br />
<br />
“Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies” in <i>Antonio Vivaldi: Passato e futuro</i>, ed. F. Fanna and M. Talbot (Venice, 2008). Download [http://old.cini.it/uploads/assets/ATTI_VIVALDI_marzo_2010/29-Selfridge%20Field.pdf here]. <br />
<br />
Vio, Gastone, “Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare</i>, 2007 [posthumous completion, with Loris Stella]. <br />
<br />
“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” <i>Passages: Congress of the International Musicological Society</i>, Zurich, 10-15 July 2007.<br />
<br />
“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.<br />
<br />
“The Invention of the Fortepiano as Intellectual History,” <i>Early Music</i> 29 (2005), 81-94.<br />
<br />
"The Pieta Museum, Venice," <i>Early Music</i>, 33/1 (Feb. 2005), p 154. <br />
<br />
“Dramaturgical Hours: How Lunar and Solar Cycles influenced the Length and Character of Venetian Operas,” Twelfth Biannual Baroque Studies Conference, Manchester (UK), July 14-18, 2004.<br />
<br />
“Francesco Maria Piccioli-Carlo Pallavicino, <i>Messalina</i>," facs. edn. (<i>Drammaturgia musicale veneta</i>, viii), Milan: Ricordi, 2003; introductory essay, pp. ix-lxxiv.<br />
<br />
“La Guerra dei Comici: Mantuan Comedy and Venetian Opera in c. 1700,” <i>Recercare</i>, X (1998, In memoriam Nino Pirrotta), 209-248.<br />
<br />
“His, Hers, Theirs: Wedding Pageants, Wedding Operas, and the Musical Politics of Match-Making,” American Musicological Society, UCLA, 28 April 2001.<br />
<br />
“Rites of Autumn, Winter, and Spring: Decoding the Calendar of Venetian Opera,” Ninth Biennial Conference on Baroque Music, Trinity College Dublin, 13 July 2000. <br />
<br />
“Horse Ballets in Baroque Italy,” Berkeley Early Music Festival, 7 June 2000. <br />
<br />
“Celebrations of Power: The Performing Arts in Baroque Venice.” National Gallery of Art, Washington, DC (1995) and other venues.<br />
<br />
“Expanding Violin Technique in Vivaldi's Time,” lecture-demo with Stanley Ritchie (Baroque violin), Boston Handel and Haydn Society, 2000.<br />
<br />
“La guerra de' comici: Mantuan Comedy and Venetian Opera in c.1700,” Recercare X (1998), 209-248.<br />
<br />
“Rovetta's Music for Holy Week,” La Basilica di San Marco nell'età moderna, ed. Francesco Passadore e Franco Rossi (talk, 1994; book, Venice: Fondazione Levi, 1998), pp. 401-441. Draft version of article. Score for the mass. <br />
<br />
“Venetian Opera, French Criticism, and English Travels: The Case of Le Mercure de France and Joseph Addison,” Revue de musicologie, 83/2 (1997), pp. 185-201. Draft. <br />
<br />
“Venice: Musical Expression in an Era of Political Decline” in Music and Man (gen. ed. Stanley Sadie), 4: The Late Baroque Era from the 1680s to 1740, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93.<br />
<br />
“Genre and Instrumentation in Italian Music, 1600-1670,” Early Music, XIX/1 (1991), pp. 61-7. <br />
<br />
“The Baroque Era: Introduction” in Performance Practice (The New Grove Handbooks in Music), II: Music after 1600, ed. Howard Mayer Brown and Stanley Sadie, 2 vols. (London: The Macmillan Press and New York: W.W. Norton & Co., Ltd., 1989), II, pp. 3-19.<br />
<br />
“Is Implicit Information Retrievable in Music Queries?”, Invited talk, Dagstuhl (DE) Seminar No. 04021. 8 January 2004.<br />
<br />
“The Temperament, Scale, and Mode of Koto Music” [with Sachiko Deguchi and Katsuhiko Shirai] in Music and Globalization [in Japanese] (Tokyo, 2004), 434-48.<br />
<br />
“Base-40 Arithmetic: Implications for Notation-Based Applications,” Invited talk, WEDEL 2003/Interactive Music Network. Leeds University (UK). 11-14 September 2003.<br />
<br />
“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), <i>Virtual Music: Computer Synthesis of Musical Style</i> (Cambridge: The MIT Press, 2001), pp. 187-220. Now available at https://direct.mit.edu.<br />
<br />
“The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], <i>The Virtual Score</i> (Computing in Musicology, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/<br />
<br />
“Data Models for Virtual Distribution of Musical Scores” (with Walter B. Hewlett and Craig Stuart Sapp), <i>First International Congress on Web Delivery of Music</i> (Florence, 2001), (Los Alamos, NM: IEEE Computer Society), 62-70.<br />
<br />
“Domain Relationships in Man-Machine Interactions in Music” in Machines and History: Proceedings of the Ninth International Congress of the German Association for Semiotic Studies (Dresden, 3-6 October 1999).<br />
<br />
“Conceptual and Representational Issues in Melodic Comparison” in <i>Melodic Similarity</i>, (Computing in Musicology, 11, 1998), 3-64.<br />
<br />
“Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” <i>The Musical Quarterly</i> 81/2 (1997), 291-310.<br />
<br />
==<b>European Culture, Music, and History</b>==<br />
<br />
"From Vivaldi to Gluck: One the road with Anna Girò" in <i>Gluck and the map of eighteenth-century music</i>, ed. Brian Locke and Bruce Brown. Forthcoming.<br />
<br />
"Schulenburg, Corfù, and the dating of <i>Juditha triumphans</i>" in <i>Fulgeat sul frontis decorae: Studi in onore di Michael Talbot</i>, ed. A. Borin and J.M. Cameron («Studi vivaldiani» 1), Venice: Fondazione Giorgio Cini, 2016), 207-221.<br />
<br />
[http://www.cini.it/wp-content/uploads/2016/07/Parte-1.pdf. "La famiglia materna di Antonio Vivaldi" ["Vivaldi's Maternal Lineage"] ], with Margherita Gianola, in <i>Studi vivaldiani</i> No. 15 (Florence: Editore SPES, 2015), 13-53. A long summary in English starts at p. 49. <br />
<br />
Review of Federico Maria Sardelli's <i>Catalogo delle concordanze musicali vivaldiane</i>, Florence: Leo S. Olschki, 2012 («Studi di Musica veneta. Quaderni vivaldiani», 16), vol. cxlvii, in <i>Il Saggiotre musicale</i> XXI (2014), 313-318.<br />
<br />
Review of Peter Ryom's <i>Antonio Vivaldi: Thematisch-Systematisches Verzeichnis zeiner Werke (RV)</i>, Breitkopf & Härtel, 2007, in <i>Notes</i> 65/2 (Dec. 2008). Text.<br />
<br />
“Musical Commerce and the Fiera della Sensa, 1720-1760,” <i>Venezia mercato delle arti</i>, Ducal Palace, Venice, 11 October 2008 (<i>Venezia mercato delle arti</i>, org. Barbara Marx). Proceedings unpublished. <br />
<br />
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” <i>L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international</i>, ed. D. Colas, A. Di Profio, G. Gétreau, and P. Petrobelli (Tours: CNRS 2008), pp. 15-27.<br />
<br />
“Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare</i>, 2007 [posthumous completion, with Loris Stella, of work of Gastone Vio].<br />
<br />
“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” <i>Passages</i>: Congress of the International Musicological Society, Zurich, 10-15 July 2007.<br />
<br />
“Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies” in <i>Antonio Vivaldi: Passato e futuro</i>, ed. F. Fanna and M. Talbot (Venice, 2008). Download [http://old.cini.it/uploads/assets/ATTI_VIVALDI_marzo_2010/29-Selfridge%20Field.pdf here]. <br />
<br />
“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.<br />
<br />
“The Invention of the Fortepiano as Intellectual History,” <i>Early Music</i> 33/1 (Feb. 2005), 81-94.<br />
<br />
“Dramaturgical Hours: How Lunar and Solar Cycles influenced the Length and Character of Venetian Operas,” Twelfth Biannual Baroque Studies Conference, Manchester (UK), July 14-18, 2004.<br />
<br />
“Francesco Maria Piccioli-Carlo Pallavicino, <i>Messalina</i>," facs. edn. (<i>Drammaturgia musicale veneta</i>, viii), Milan: Ricordi, 2003; introductory essay, pp. ix-lxxiv.<br />
<br />
“La Guerra dei Comici: Mantuan Comedy and Venetian Opera in c. 1700,” <i>Recercare</i>, X (1998, In memoriam Nino Pirrotta), 209-248.<br />
<br />
“His, Hers, Theirs: Wedding Pageants, Wedding Operas, and the Musical Politics of Match-Making,” American Musicological Society, UCLA, 28 April 2001.<br />
<br />
“Rites of Autumn, Winter, and Spring: Decoding the Calendar of Venetian Opera,” Ninth Biennial Conference on Baroque Music, Trinity College Dublin, 13 July 2000. <br />
<br />
“Horse Ballets in Baroque Italy,” Berkeley Early Music Festival, 7 June 2000. <br />
<br />
“Celebrations of Power: The Performing Arts in Baroque Venice.” National Gallery of Art, Washington, DC (1995) and other venues.<br />
<br />
“Expanding Violin Technique in Vivaldi's Time,” lecture-demo with Stanley Ritchie (Baroque violin), Boston Handel and Haydn Society, 2000.<br />
<br />
“La guerra de' comici: Mantuan Comedy and Venetian Opera in c.1700,” Recercare X (1998), 209-248.<br />
<br />
“Rovetta's Music for Holy Week,” La Basilica di San Marco nell'età moderna, ed. Francesco Passadore e Franco Rossi (talk, 1994; book, Venice: Fondazione Levi, 1998), pp. 401-441. Draft version of article. Score for mass. <br />
<br />
“Venetian Opera, French Criticism, and English Travels: The Case of Le Mercure de France and Joseph Addison,” Revue de musicologie, 83/2 (1997), pp. 185-201. Draft. <br />
<br />
“Venice: Musical Expression in an Era of Political Decline” in Music and Man (gen. ed. Stanley Sadie), 4: The Late Baroque Era from the 1680s to 1740, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93.<br />
<br />
“Genre and Instrumentation in Italian Music, 1600-1670,” Early Music, XIX/1 (1991), pp. 61-7. <br />
<br />
“The Baroque Era: Introduction” in Performance Practice (The New Grove Handbooks in Music), II: Music after 1600, ed. Howard Mayer Brown and Stanley Sadie, 2 vols. (London: The Macmillan Press and New York: W.W. Norton & Co., Ltd., 1989), II, pp. 3-19.<br />
<br />
“Is Implicit Information Retrievable in Music Queries?”, Invited talk, Dagstuhl (DE) Seminar No. 04021. 8 January 2004.<br />
<br />
“The Temperament, Scale, and Mode of Koto Music” [with Sachiko Deguchi and Katsuhiko Shirai] in Music and Globalization [in Japanese] (Tokyo, 2004), 434-48.<br />
<br />
“Base-40 Arithmetic: Implications for Notation-Based Applications,” Invited talk, WEDEL 2003/Interactive Music Network. Leeds University (UK). 11-14 September 2003.<br />
<br />
“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), Virtual Music: Computer Synthesis of Musical Style (Cambridge: The MIT Press, 2001), pp. 187-220.<br />
<br />
“The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], The Virtual Score (Computing in Musicology, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/<br />
<br />
“Data Models for Virtual Distribution of Musical Scores” (with Walter B. Hewlett and Craig Stuart Sapp), First International Congress on Web Delivery of Music ( Florence , 2001), (Los Alamos, NM: IEEE Computer Society), 62-70.<br />
<br />
“Domain Relationships in Man-Machine Interactions in Music” in Machines and History: Proceedings of the Ninth International Congress of the German Association for Semiotic Studies (Dresden, 3-6 October 1999).<br />
<br />
“Conceptual and Representational Issues in Melodic Comparison” in Melodic Similarity, (Computing in Musicology, 11, 1998), 3-64.<br />
<br />
“Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” <i>The Musical Quarterly</i> 81/2 (1997), 291-310.<br />
<br />
"Marcello and Greek Mythology" in L’invenzione del gusto. Corelli e Vivaldi: mutazioni culturali, a Roma e Venezia, nel periodo post-barocco, ed. Giovanni Morelli, 1982.<br />
<br />
==<b>Music Theory, Cognition, and Technology</b>==<br />
<br />
Co-chair, Symposium on “Knowledge Representation for Intelligent Music Processing,” Leibniz Center for Informatics, Schloss Dagstuhl (near Wadern, DE), 25-30 January 2009. See [http://drops.dagstuhl.de/opus/volltexte/2009/1971/ The Dagstuhl Core]. Coverage in the <i>Frankfurter Allgemeine Zeitung</i> (1 March 2009). <br />
<br />
“Symbolic Musical Data: Tutorial (with Craig Stuart Sapp). <i>Proceedings of the Ninth International Symposium on Music Information Retrieval</i>, Philadelphia, 2008. Talk. Handout.<br />
<br />
“Digital Philology, Performing Medium, and Graphical Idiom,” <i>Digitale Edition zwischen Experiment und Standardisierung" Musik Codierung</i>, ed. P. Stadler and J. Veit (Behefte zu Editio, 31) De Gruyter, 2009.<br />
<br />
“Algorithms for Music Information Retrieval: The Hausdorff Metric and Geometric Hashing” [lead author: Christian André Romming], ISMIR 2007. Available [http://ismir2007.ismir.net/proceedings/ISMIR2007_p457_romming.pdf here].<br />
<br />
“Social Dimensions of Melodic Identity, Cognition, and Association,” <i>Musicae Scientiae: European Journal for the Sciences of Music</i> (2007), 77-97.<br />
<br />
“Social Cognition and Melodic Persistence: Where Metadata and Content Diverge,” <i>ISMIR2006 (Victoria , BC) Proceedings</i>, ed. R. Dannenberg and K. Lemstrom. Available [http://ismir2006.ismir.net/PAPERS/ISMIR0625_Paper.pdf here].<br />
<br />
“Towards a Measure of Cognitive Distance in Melodic Similarity,” Music Query: Methods, Models, and User Studies (<i>Computing in Musicology</i>, 13 [2004]), 93-112.<br />
<br />
“Search Effectiveness Measures for Symbolic Music Queries in Very Large Databases,” [with Craig Stuart Sapp and Yi-Wen Liu], <i>ISMIR2004: Proceedings of the Fifth International Symposium on Music Information Retrieval</i> Available [http://ismir2004.ismir.net/proceedings/p051-page-266-paper135.pdf here].<br />
<br />
==<b>Music Copyright</b>==<br />
<br />
"Substantial Musical Similarity," European Panel in <i>Global Perspectives on Music Copyright</i>, org. Robert Brauneis, Charles Cronin, and Daryl Lim (U. Illinois Chicago and Geo. Washington University Law Schools), 18 March 2022. <br />
<br />
"Substantial Musical Similarity in Sound and Notation: Perspectives from Digital Musicology," <i>Colorado Technology Law Journal</i>, 16/2 (Autumn 2018), pp. 249-283. 16 COLO. TECH. L.J._(2017). See [http://ctlj.colorado.edu/?page_id=796 CTLJ] and [http://heinonline.org Hein Online].<br />
<br />
"Substantial Musical Similarity in Sound and Notation: A View from Digital Musicology",<br />
as part of the Symposium <i>[http://emptydoors.com/conferences/2017/03/01/colorado-lawsilicon-flatirons-3rd-annual-content-conference/ "Blurred v. Bright: The Changing Analysis of Copyright Infringement in Music"]</i>, Colorado Law/Silicon Flatirons 3rd Annual Content Conference, University of Colorado Law School, March 23, 2017.<br />
<br />
"[http://wiki.ccarh.org/wiki/CCDL Copyright in a Changing Digital Landscape]", <b>chair</b>, Symposium of the International Association of Music Libraries, Archives, and Documentation Centres IIAML) and the International Musicological Society (IMS), New York: The Juilliard School, 25 June 2015. With Derek Miller, Eric Harbeson, Nicholas Tsui, Robert Clarida, Richard Chesser, and Federica Riva.<br />
<br />
“Copyright Issues in Scholarly Editions of Music,” American Musicological Society, Washington, DC, 26-29 October 2005.<br />
<br />
Organizer and Chair, “Musical Data as Intellectual Property” [panel], ISMIR2004, Barcelona (ES). Participants: Charles Cronin, Enric Enrich, Masataka Goto. October 13, 2004.<br />
<br />
“Fixed Form, Fluid Content: Musical Data as Intellectual Property,” Invited talk, Conference on Virtual Scores, Kernochan Center for Law and the Arts, Law School, Columbia University, 5 May 2003.<br />
<br />
“Music Copyright, Music Technology, and Music Archiving: Issues and Interpretations,” Fourth Conference on Digital Resources in the Humanities. King’s College, London, September 14, 1999.<br />
<br />
“Copyright and Fair Use in Electronic Scholarship,” Joint Annual Meeting, Society for Music Theory and the American Musicological Society, New York , NY, November 1, 1995.<br />
<br />
==<b>Reviews</b>==<br />
"Antonio Vivaldi: <i>Thematisch-systematisches Verzeichnis seiner Werke (RV)</i>", <i>Notes</i> (MLA), 65/2 (December 2008), 294-298.<br />
<br />
"Venetian orphans," <i>Early Music</i>, 34/4 (November 2006), 681-682.<br />
<br />
"<i>Tonal Space in the Music of Antonio Vivaldi"</i>, <i>Notes</i>, 66/3 (March 2010), 542-544.<br />
<br />
"<i>La Commedia dell'Arte in Naples: A Bilingual Edition of the 176 Casamarciano Scenarios/La commedia dell'arte a Napoli: edizione bilingue dei 176 scenari Casamarciano"</i>, <i>Music & Letters</i>, 85/3 (August 2004), 436-437.<br />
<br />
"<i>Italian Opera and European Theatre, 1680-1720: Plots, Performers, Dramaturgies"</i>, ed. Melania Bucciarelli, <i>Music and Letters</i>, 85/6 (August 2004), 438-439.<br />
<br />
"Copyright and Cultural Institutions: Guidelines for Digitization for U.S. Libraries, Archives, and Museums," <i>Notes</i>, 67/3 (March 2011), 557-559.<br />
<br />
"<i>Antonio Vivaldi und seine Zeit</i>", <i>Notes</i>, 68/2 (December 2011), 348-351.<br />
<br />
"Hybrid Critical Editions of Opera: Motives, Milestones, and Quandaries," <i>Notes</i>, 72/1 (September 2015), 9-22.</div>Esfieldhttps://wiki.ccarh.org/index.php?title=Eleanor_Selfridge-Field:_Articles&diff=12585Eleanor Selfridge-Field: Articles2023-12-14T23:05:45Z<p>Esfield: /* European Culture, Music, and History */</p>
<hr />
<div>Articles through 2022 <small>(or later if open access is lacking)</small><br />
<br />
==<b>European Culture, Music, and History</b>==<br />
<br />
"The Vivaldis of Brescia," <i>Recercare</i>, XXXV (2023), 69-101.<br />
<br />
"The Keyboard Transcriptions of J. S. Bach and J. G. Walther," <i>Bach and Mozart: Connections, Patterns, and Pathways</i>, ed. Paul Corneilson (Bach Perspectives, 14), Champaign, IL: University of Illinois Press (2022), pp. 1-22. <br />
<br />
"The Teatro Sant'Angelo: Cradle of fledgling opera troupes," <i>Musicologica Brunensia</i> (2018), 157-170. DOI:10.5817/MB2018-S-11 Corpus ID: 194638187 <br />
<br />
"Venetian Instrumental Music in the Sixteenth Century" in the <i>Companion to Music in Sixteenth-Century Venice</i>, ed. Katelijne Schiltz (Turnhout: Brill, 2017), pp. 415-439.<br />
<br />
"Echoes of Gabrieli" [review], <i>Early Music</i> 45/4 (2017). doi:10.1093/em/cax126. <br />
<br />
"Schulenburg, Corfù, and the dating of <i>Juditha triumphans</i>" in <i>Fulgeat sul frontis decorae: Studi in onore di Michael Talbot</i>, ed. A. Borin and J.M. Cameron, Venice: Fondazione Giorgio Cini, 2016), 207-221.<br />
<br />
[http://www.cini.it/wp-content/uploads/2016/07/Parte-1.pdf. "La famiglia materna di Antonio Vivaldi" ["Vivaldi's Maternal Lineage"] ], with Margherita Gianola, in <i>Studi vivaldiani</i> No. 15 (Florence: Editore SPES, 2015), 13-53. English summary pp. 49-54. <br />
<br />
"From Vivaldi to Gluck: On the road with Anna Girò" in <i>Gluck and the map of eighteenth-century music</i>, ed. Brian Locke and Bruce Brown. Forthcoming.<br />
<br />
Federico Maria Sardelli, <i>Catalogo delle concordanze musicali vivaldiane</i> [review], Florence: Leo S. Olschki, 2012 (Studi di Musica veneta. Quaderni vivaldiani, 16), vol. cxlvii, in <i>Il Saggitore musicale</i>, XXI (2014), 313-318.<br />
<br />
[[Media:Selfridge-Field_MarcelloOrientalism2013.pdf|"Marcello's Orientalism"]] in <i>Psalmen: Kirchenmusik zwischen Tradition, Dramatik und Experiment</i>, ed. Helen Geyer and Birgit Johanna Wertenson (Cologne: Böhlau, 2013), 205-222. <br />
<br />
Ryom, Peter, <i>Antonio Vivaldi: Thematisch-Systematisches Verzeichnis zeiner Werke (RV)</i>, Breitkopf & Härtel, 2007 [review] in <i>Notes</i> 65/2 (Dec. 2008). <br />
<br />
“Musical Commerce and the Fiera della Sensa, 1720-1760,” <i>Venezia mercato delle arti</i>, Ducal Palace, Venice, 11 October 2008 (<i>Venezia mercato delle arti</i>, org. Barbara Marx). Proceedings unpublished. <br />
<br />
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” <i>L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international</i>, ed. D. Colas, A. Di Profio, G. Gétreau, and P. Petrobelli (Tours: CNRS 2008), pp. 15-27.<br />
<br />
“Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies” in <i>Antonio Vivaldi: Passato e futuro</i>, ed. F. Fanna and M. Talbot (Venice, 2008). Download [http://old.cini.it/uploads/assets/ATTI_VIVALDI_marzo_2010/29-Selfridge%20Field.pdf here]. <br />
<br />
Vio, Gastone, “Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare</i>, 2007 [posthumous completion, with Loris Stella]. <br />
<br />
“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” <i>Passages: Congress of the International Musicological Society</i>, Zurich, 10-15 July 2007.<br />
<br />
“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.<br />
<br />
“The Invention of the Fortepiano as Intellectual History,” <i>Early Music</i> 29 (2005), 81-94.<br />
<br />
"The Pieta Museum, Venice," <i>Early Music</i>, 33/1 (Feb. 2005), p 154. <br />
<br />
“Dramaturgical Hours: How Lunar and Solar Cycles influenced the Length and Character of Venetian Operas,” Twelfth Biannual Baroque Studies Conference, Manchester (UK), July 14-18, 2004.<br />
<br />
“Francesco Maria Piccioli-Carlo Pallavicino, <i>Messalina</i>," facs. edn. (<i>Drammaturgia musicale veneta</i>, viii), Milan: Ricordi, 2003; introductory essay, pp. ix-lxxiv.<br />
<br />
“La Guerra dei Comici: Mantuan Comedy and Venetian Opera in c. 1700,” <i>Recercare</i>, X (1998, In memoriam Nino Pirrotta), 209-248.<br />
<br />
“His, Hers, Theirs: Wedding Pageants, Wedding Operas, and the Musical Politics of Match-Making,” American Musicological Society, UCLA, 28 April 2001.<br />
<br />
“Rites of Autumn, Winter, and Spring: Decoding the Calendar of Venetian Opera,” Ninth Biennial Conference on Baroque Music, Trinity College Dublin, 13 July 2000. <br />
<br />
“Horse Ballets in Baroque Italy,” Berkeley Early Music Festival, 7 June 2000. <br />
<br />
“Celebrations of Power: The Performing Arts in Baroque Venice.” National Gallery of Art, Washington, DC (1995) and other venues.<br />
<br />
“Expanding Violin Technique in Vivaldi's Time,” lecture-demo with Stanley Ritchie (Baroque violin), Boston Handel and Haydn Society, 2000.<br />
<br />
“La guerra de' comici: Mantuan Comedy and Venetian Opera in c.1700,” Recercare X (1998), 209-248.<br />
<br />
“Rovetta's Music for Holy Week,” La Basilica di San Marco nell'età moderna, ed. Francesco Passadore e Franco Rossi (talk, 1994; book, Venice: Fondazione Levi, 1998), pp. 401-441. Draft version of article. Score for the mass. <br />
<br />
“Venetian Opera, French Criticism, and English Travels: The Case of Le Mercure de France and Joseph Addison,” Revue de musicologie, 83/2 (1997), pp. 185-201. Draft. <br />
<br />
“Venice: Musical Expression in an Era of Political Decline” in Music and Man (gen. ed. Stanley Sadie), 4: The Late Baroque Era from the 1680s to 1740, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93.<br />
<br />
“Genre and Instrumentation in Italian Music, 1600-1670,” Early Music, XIX/1 (1991), pp. 61-7. <br />
<br />
“The Baroque Era: Introduction” in Performance Practice (The New Grove Handbooks in Music), II: Music after 1600, ed. Howard Mayer Brown and Stanley Sadie, 2 vols. (London: The Macmillan Press and New York: W.W. Norton & Co., Ltd., 1989), II, pp. 3-19.<br />
<br />
“Is Implicit Information Retrievable in Music Queries?”, Invited talk, Dagstuhl (DE) Seminar No. 04021. 8 January 2004.<br />
<br />
“The Temperament, Scale, and Mode of Koto Music” [with Sachiko Deguchi and Katsuhiko Shirai] in Music and Globalization [in Japanese] (Tokyo, 2004), 434-48.<br />
<br />
“Base-40 Arithmetic: Implications for Notation-Based Applications,” Invited talk, WEDEL 2003/Interactive Music Network. Leeds University (UK). 11-14 September 2003.<br />
<br />
“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), <i>Virtual Music: Computer Synthesis of Musical Style</i> (Cambridge: The MIT Press, 2001), pp. 187-220. Now available at https://direct.mit.edu.<br />
<br />
“The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], <i>The Virtual Score</i> (Computing in Musicology, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/<br />
<br />
“Data Models for Virtual Distribution of Musical Scores” (with Walter B. Hewlett and Craig Stuart Sapp), <i>First International Congress on Web Delivery of Music</i> (Florence, 2001), (Los Alamos, NM: IEEE Computer Society), 62-70.<br />
<br />
“Domain Relationships in Man-Machine Interactions in Music” in Machines and History: Proceedings of the Ninth International Congress of the German Association for Semiotic Studies (Dresden, 3-6 October 1999).<br />
<br />
“Conceptual and Representational Issues in Melodic Comparison” in <i>Melodic Similarity</i>, (Computing in Musicology, 11, 1998), 3-64.<br />
<br />
“Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” <i>The Musical Quarterly</i> 81/2 (1997), 291-310.<br />
<br />
==<b>European Culture, Music, and History</b>==<br />
<br />
"From Vivaldi to Gluck: One the road with Anna Girò" in <i>Gluck and the map of eighteenth-century music</i>, ed. Brian Locke and Bruce Brown. Forthcoming.<br />
<br />
"Schulenburg, Corfù, and the dating of <i>Juditha triumphans</i>" in <i>Fulgeat sul frontis decorae: Studi in onore di Michael Talbot</i>, ed. A. Borin and J.M. Cameron («Studi vivaldiani» 1), Venice: Fondazione Giorgio Cini, 2016), 207-221.<br />
<br />
[http://www.cini.it/wp-content/uploads/2016/07/Parte-1.pdf. "La famiglia materna di Antonio Vivaldi" ["Vivaldi's Maternal Lineage"] ], with Margherita Gianola, in <i>Studi vivaldiani</i> No. 15 (Florence: Editore SPES, 2015), 13-53. A long summary in English starts at p. 49. <br />
<br />
Review of Federico Maria Sardelli's <i>Catalogo delle concordanze musicali vivaldiane</i>, Florence: Leo S. Olschki, 2012 («Studi di Musica veneta. Quaderni vivaldiani», 16), vol. cxlvii, in <i>Il Saggiotre musicale</i> XXI (2014), 313-318.<br />
<br />
Review of Peter Ryom's <i>Antonio Vivaldi: Thematisch-Systematisches Verzeichnis zeiner Werke (RV)</i>, Breitkopf & Härtel, 2007, in <i>Notes</i> 65/2 (Dec. 2008). Text.<br />
<br />
“Musical Commerce and the Fiera della Sensa, 1720-1760,” <i>Venezia mercato delle arti</i>, Ducal Palace, Venice, 11 October 2008 (<i>Venezia mercato delle arti</i>, org. Barbara Marx). Proceedings unpublished. <br />
<br />
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” <i>L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international</i>, ed. D. Colas, A. Di Profio, G. Gétreau, and P. Petrobelli (Tours: CNRS 2008), pp. 15-27.<br />
<br />
“Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare</i>, 2007 [posthumous completion, with Loris Stella, of work of Gastone Vio].<br />
<br />
“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” <i>Passages</i>: Congress of the International Musicological Society, Zurich, 10-15 July 2007.<br />
<br />
“Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies” in <i>Antonio Vivaldi: Passato e futuro, ed. F. Fanna and M. Talbot (Venice, 2008). Download [http://old.cini.it/uploads/assets/ATTI_VIVALDI_marzo_2010/29-Selfridge%20Field.pdf here]. <br />
<br />
“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.<br />
<br />
“The Invention of the Fortepiano as Intellectual History,” <i>Early Music</i> 33/1 (Feb. 2005), 81-94.<br />
<br />
“Dramaturgical Hours: How Lunar and Solar Cycles influenced the Length and Character of Venetian Operas,” Twelfth Biannual Baroque Studies Conference, Manchester (UK), July 14-18, 2004.<br />
<br />
“Francesco Maria Piccioli-Carlo Pallavicino, <i>Messalina</i>," facs. edn. (<i>Drammaturgia musicale veneta</i>, viii), Milan: Ricordi, 2003; introductory essay, pp. ix-lxxiv.<br />
<br />
“La Guerra dei Comici: Mantuan Comedy and Venetian Opera in c. 1700,” <i>Recercare</i>, X (1998, In memoriam Nino Pirrotta), 209-248.<br />
<br />
“His, Hers, Theirs: Wedding Pageants, Wedding Operas, and the Musical Politics of Match-Making,” American Musicological Society, UCLA, 28 April 2001.<br />
<br />
“Rites of Autumn, Winter, and Spring: Decoding the Calendar of Venetian Opera,” Ninth Biennial Conference on Baroque Music, Trinity College Dublin, 13 July 2000. <br />
<br />
“Horse Ballets in Baroque Italy,” Berkeley Early Music Festival, 7 June 2000. <br />
<br />
“Celebrations of Power: The Performing Arts in Baroque Venice.” National Gallery of Art, Washington, DC (1995) and other venues.<br />
<br />
“Expanding Violin Technique in Vivaldi's Time,” lecture-demo with Stanley Ritchie (Baroque violin), Boston Handel and Haydn Society, 2000.<br />
<br />
“La guerra de' comici: Mantuan Comedy and Venetian Opera in c.1700,” Recercare X (1998), 209-248.<br />
<br />
“Rovetta's Music for Holy Week,” La Basilica di San Marco nell'età moderna, ed. Francesco Passadore e Franco Rossi (talk, 1994; book, Venice: Fondazione Levi, 1998), pp. 401-441. Draft version of article. Score for mass. <br />
<br />
“Venetian Opera, French Criticism, and English Travels: The Case of Le Mercure de France and Joseph Addison,” Revue de musicologie, 83/2 (1997), pp. 185-201. Draft. <br />
<br />
“Venice: Musical Expression in an Era of Political Decline” in Music and Man (gen. ed. Stanley Sadie), 4: The Late Baroque Era from the 1680s to 1740, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93.<br />
<br />
“Genre and Instrumentation in Italian Music, 1600-1670,” Early Music, XIX/1 (1991), pp. 61-7. <br />
<br />
“The Baroque Era: Introduction” in Performance Practice (The New Grove Handbooks in Music), II: Music after 1600, ed. Howard Mayer Brown and Stanley Sadie, 2 vols. (London: The Macmillan Press and New York: W.W. Norton & Co., Ltd., 1989), II, pp. 3-19.<br />
<br />
“Is Implicit Information Retrievable in Music Queries?”, Invited talk, Dagstuhl (DE) Seminar No. 04021. 8 January 2004.<br />
<br />
“The Temperament, Scale, and Mode of Koto Music” [with Sachiko Deguchi and Katsuhiko Shirai] in Music and Globalization [in Japanese] (Tokyo, 2004), 434-48.<br />
<br />
“Base-40 Arithmetic: Implications for Notation-Based Applications,” Invited talk, WEDEL 2003/Interactive Music Network. Leeds University (UK). 11-14 September 2003.<br />
<br />
“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), Virtual Music: Computer Synthesis of Musical Style (Cambridge: The MIT Press, 2001), pp. 187-220.<br />
<br />
“The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], The Virtual Score (Computing in Musicology, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/<br />
<br />
“Data Models for Virtual Distribution of Musical Scores” (with Walter B. Hewlett and Craig Stuart Sapp), First International Congress on Web Delivery of Music ( Florence , 2001), (Los Alamos, NM: IEEE Computer Society), 62-70.<br />
<br />
“Domain Relationships in Man-Machine Interactions in Music” in Machines and History: Proceedings of the Ninth International Congress of the German Association for Semiotic Studies (Dresden, 3-6 October 1999).<br />
<br />
“Conceptual and Representational Issues in Melodic Comparison” in Melodic Similarity, (Computing in Musicology, 11, 1998), 3-64.<br />
<br />
“Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” <i>The Musical Quarterly</i> 81/2 (1997), 291-310.<br />
<br />
"Marcello and Greek Mythology" in L’invenzione del gusto. Corelli e Vivaldi: mutazioni culturali, a Roma e Venezia, nel periodo post-barocco, ed. Giovanni Morelli, 1982.<br />
<br />
==<b>Music Theory, Cognition, and Technology</b>==<br />
<br />
Co-chair, Symposium on “Knowledge Representation for Intelligent Music Processing,” Leibniz Center for Informatics, Schloss Dagstuhl (near Wadern, DE), 25-30 January 2009. See [http://drops.dagstuhl.de/opus/volltexte/2009/1971/ The Dagstuhl Core]. Coverage in the <i>Frankfurter Allgemeine Zeitung</i> (1 March 2009). <br />
<br />
“Symbolic Musical Data: Tutorial (with Craig Stuart Sapp). <i>Proceedings of the Ninth International Symposium on Music Information Retrieval</i>, Philadelphia, 2008. Talk. Handout.<br />
<br />
“Digital Philology, Performing Medium, and Graphical Idiom,” <i>Digitale Edition zwischen Experiment und Standardisierung" Musik Codierung</i>, ed. P. Stadler and J. Veit (Behefte zu Editio, 31) De Gruyter, 2009.<br />
<br />
“Algorithms for Music Information Retrieval: The Hausdorff Metric and Geometric Hashing” [lead author: Christian André Romming], ISMIR 2007. Available [http://ismir2007.ismir.net/proceedings/ISMIR2007_p457_romming.pdf here].<br />
<br />
“Social Dimensions of Melodic Identity, Cognition, and Association,” <i>Musicae Scientiae: European Journal for the Sciences of Music</i> (2007), 77-97.<br />
<br />
“Social Cognition and Melodic Persistence: Where Metadata and Content Diverge,” <i>ISMIR2006 (Victoria , BC) Proceedings</i>, ed. R. Dannenberg and K. Lemstrom. Available [http://ismir2006.ismir.net/PAPERS/ISMIR0625_Paper.pdf here].<br />
<br />
“Towards a Measure of Cognitive Distance in Melodic Similarity,” Music Query: Methods, Models, and User Studies (<i>Computing in Musicology</i>, 13 [2004]), 93-112.<br />
<br />
“Search Effectiveness Measures for Symbolic Music Queries in Very Large Databases,” [with Craig Stuart Sapp and Yi-Wen Liu], <i>ISMIR2004: Proceedings of the Fifth International Symposium on Music Information Retrieval</i> Available [http://ismir2004.ismir.net/proceedings/p051-page-266-paper135.pdf here].<br />
<br />
==<b>Music Copyright</b>==<br />
<br />
"Substantial Musical Similarity," European Panel in <i>Global Perspectives on Music Copyright</i>, org. Robert Brauneis, Charles Cronin, and Daryl Lim (U. Illinois Chicago and Geo. Washington University Law Schools), 18 March 2022. <br />
<br />
"Substantial Musical Similarity in Sound and Notation: Perspectives from Digital Musicology," <i>Colorado Technology Law Journal</i>, 16/2 (Autumn 2018), pp. 249-283. 16 COLO. TECH. L.J._(2017). See [http://ctlj.colorado.edu/?page_id=796 CTLJ] and [http://heinonline.org Hein Online].<br />
<br />
"Substantial Musical Similarity in Sound and Notation: A View from Digital Musicology",<br />
as part of the Symposium <i>[http://emptydoors.com/conferences/2017/03/01/colorado-lawsilicon-flatirons-3rd-annual-content-conference/ "Blurred v. Bright: The Changing Analysis of Copyright Infringement in Music"]</i>, Colorado Law/Silicon Flatirons 3rd Annual Content Conference, University of Colorado Law School, March 23, 2017.<br />
<br />
"[http://wiki.ccarh.org/wiki/CCDL Copyright in a Changing Digital Landscape]", <b>chair</b>, Symposium of the International Association of Music Libraries, Archives, and Documentation Centres IIAML) and the International Musicological Society (IMS), New York: The Juilliard School, 25 June 2015. With Derek Miller, Eric Harbeson, Nicholas Tsui, Robert Clarida, Richard Chesser, and Federica Riva.<br />
<br />
“Copyright Issues in Scholarly Editions of Music,” American Musicological Society, Washington, DC, 26-29 October 2005.<br />
<br />
Organizer and Chair, “Musical Data as Intellectual Property” [panel], ISMIR2004, Barcelona (ES). Participants: Charles Cronin, Enric Enrich, Masataka Goto. October 13, 2004.<br />
<br />
“Fixed Form, Fluid Content: Musical Data as Intellectual Property,” Invited talk, Conference on Virtual Scores, Kernochan Center for Law and the Arts, Law School, Columbia University, 5 May 2003.<br />
<br />
“Music Copyright, Music Technology, and Music Archiving: Issues and Interpretations,” Fourth Conference on Digital Resources in the Humanities. King’s College, London, September 14, 1999.<br />
<br />
“Copyright and Fair Use in Electronic Scholarship,” Joint Annual Meeting, Society for Music Theory and the American Musicological Society, New York , NY, November 1, 1995.<br />
<br />
==<b>Reviews</b>==<br />
"Antonio Vivaldi: <i>Thematisch-systematisches Verzeichnis seiner Werke (RV)</i>", <i>Notes</i> (MLA), 65/2 (December 2008), 294-298.<br />
<br />
"Venetian orphans," <i>Early Music</i>, 34/4 (November 2006), 681-682.<br />
<br />
"<i>Tonal Space in the Music of Antonio Vivaldi"</i>, <i>Notes</i>, 66/3 (March 2010), 542-544.<br />
<br />
"<i>La Commedia dell'Arte in Naples: A Bilingual Edition of the 176 Casamarciano Scenarios/La commedia dell'arte a Napoli: edizione bilingue dei 176 scenari Casamarciano"</i>, <i>Music & Letters</i>, 85/3 (August 2004), 436-437.<br />
<br />
"<i>Italian Opera and European Theatre, 1680-1720: Plots, Performers, Dramaturgies"</i>, ed. Melania Bucciarelli, <i>Music and Letters</i>, 85/6 (August 2004), 438-439.<br />
<br />
"Copyright and Cultural Institutions: Guidelines for Digitization for U.S. Libraries, Archives, and Museums," <i>Notes</i>, 67/3 (March 2011), 557-559.<br />
<br />
"<i>Antonio Vivaldi und seine Zeit</i>", <i>Notes</i>, 68/2 (December 2011), 348-351.<br />
<br />
"Hybrid Critical Editions of Opera: Motives, Milestones, and Quandaries," <i>Notes</i>, 72/1 (September 2015), 9-22.</div>Esfieldhttps://wiki.ccarh.org/index.php?title=Eleanor_Selfridge-Field:_Articles&diff=12584Eleanor Selfridge-Field: Articles2023-12-14T23:04:26Z<p>Esfield: /* European Culture, Music, and History */</p>
<hr />
<div>Articles through 2022 <small>(or later if open access is lacking)</small><br />
<br />
==<b>European Culture, Music, and History</b>==<br />
<br />
"The Vivaldis of Brescia," <i>Recercare</i>, XXXV (2023), 69-101.<br />
<br />
"The Keyboard Transcriptions of J. S. Bach and J. G. Walther," <i>Bach and Mozart: Connections, Patterns, and Pathways</i>, ed. Paul Corneilson (Bach Perspectives, 14), Champaign, IL: University of Illinois Press (2022), pp. 1-22. <br />
<br />
"The Teatro Sant'Angelo: Cradle of fledgling opera troupes," <i>Musicologica Brunensia</i> (2018), 157-170. DOI:10.5817/MB2018-S-11 Corpus ID: 194638187 <br />
<br />
"Venetian Instrumental Music in the Sixteenth Century" in the <i>Companion to Music in Sixteenth-Century Venice</i>, ed. Katelijne Schiltz (Turnhout: Brill, 2017), pp. 415-439.<br />
<br />
"Echoes of Gabrieli" [review], <i>Early Music</i> 45/4 (2017). doi:10.1093/em/cax126. <br />
<br />
"Schulenburg, Corfù, and the dating of <i>Juditha triumphans</i>" in <i>Fulgeat sul frontis decorae: Studi in onore di Michael Talbot</i>, ed. A. Borin and J.M. Cameron, Venice: Fondazione Giorgio Cini, 2016), 207-221.<br />
<br />
[http://www.cini.it/wp-content/uploads/2016/07/Parte-1.pdf. "La famiglia materna di Antonio Vivaldi" ["Vivaldi's Maternal Lineage"] ], with Margherita Gianola, in <i>Studi vivaldiani</i> No. 15 (Florence: Editore SPES, 2015), 13-53. English summary pp. 49-54. <br />
<br />
"From Vivaldi to Gluck: On the road with Anna Girò" in <i>Gluck and the map of eighteenth-century music</i>, ed. Brian Locke and Bruce Brown. Forthcoming.<br />
<br />
Federico Maria Sardelli, <i>Catalogo delle concordanze musicali vivaldiane</i> [review], Florence: Leo S. Olschki, 2012 (Studi di Musica veneta. Quaderni vivaldiani, 16), vol. cxlvii, in <i>Il Saggitore musicale</i>, XXI (2014), 313-318.<br />
<br />
[[Media:Selfridge-Field_MarcelloOrientalism2013.pdf|"Marcello's Orientalism"]] in <i>Psalmen: Kirchenmusik zwischen Tradition, Dramatik und Experiment</i>, ed. Helen Geyer and Birgit Johanna Wertenson (Cologne: Böhlau, 2013), 205-222. <br />
<br />
Ryom, Peter, <i>Antonio Vivaldi: Thematisch-Systematisches Verzeichnis zeiner Werke (RV)</i>, Breitkopf & Härtel, 2007 [review] in <i>Notes</i> 65/2 (Dec. 2008). <br />
<br />
“Musical Commerce and the Fiera della Sensa, 1720-1760,” <i>Venezia mercato delle arti</i>, Ducal Palace, Venice, 11 October 2008 (<i>Venezia mercato delle arti</i>, org. Barbara Marx). Proceedings unpublished. <br />
<br />
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” <i>L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international</i>, ed. D. Colas, A. Di Profio, G. Gétreau, and P. Petrobelli (Tours: CNRS 2008), pp. 15-27.<br />
<br />
“Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies” in <i>Antonio Vivaldi: Passato e futuro</i>, ed. F. Fanna and M. Talbot (Venice, 2008). Download [http://old.cini.it/uploads/assets/ATTI_VIVALDI_marzo_2010/29-Selfridge%20Field.pdf here]. <br />
<br />
Vio, Gastone, “Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare</i>, 2007 [posthumous completion, with Loris Stella]. <br />
<br />
“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” <i>Passages: Congress of the International Musicological Society</i>, Zurich, 10-15 July 2007.<br />
<br />
“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.<br />
<br />
“The Invention of the Fortepiano as Intellectual History,” <i>Early Music</i> 29 (2005), 81-94.<br />
<br />
"The Pieta Museum, Venice," <i>Early Music</i>, 33/1 (Feb. 2005), p 154. <br />
<br />
“Dramaturgical Hours: How Lunar and Solar Cycles influenced the Length and Character of Venetian Operas,” Twelfth Biannual Baroque Studies Conference, Manchester (UK), July 14-18, 2004.<br />
<br />
“Francesco Maria Piccioli-Carlo Pallavicino, <i>Messalina</i>," facs. edn. (<i>Drammaturgia musicale veneta</i>, viii), Milan: Ricordi, 2003; introductory essay, pp. ix-lxxiv.<br />
<br />
“La Guerra dei Comici: Mantuan Comedy and Venetian Opera in c. 1700,” <i>Recercare</i>, X (1998, In memoriam Nino Pirrotta), 209-248.<br />
<br />
“His, Hers, Theirs: Wedding Pageants, Wedding Operas, and the Musical Politics of Match-Making,” American Musicological Society, UCLA, 28 April 2001.<br />
<br />
“Rites of Autumn, Winter, and Spring: Decoding the Calendar of Venetian Opera,” Ninth Biennial Conference on Baroque Music, Trinity College Dublin, 13 July 2000. <br />
<br />
“Horse Ballets in Baroque Italy,” Berkeley Early Music Festival, 7 June 2000. <br />
<br />
“Celebrations of Power: The Performing Arts in Baroque Venice.” National Gallery of Art, Washington, DC (1995) and other venues.<br />
<br />
“Expanding Violin Technique in Vivaldi's Time,” lecture-demo with Stanley Ritchie (Baroque violin), Boston Handel and Haydn Society, 2000.<br />
<br />
“La guerra de' comici: Mantuan Comedy and Venetian Opera in c.1700,” Recercare X (1998), 209-248.<br />
<br />
“Rovetta's Music for Holy Week,” La Basilica di San Marco nell'età moderna, ed. Francesco Passadore e Franco Rossi (talk, 1994; book, Venice: Fondazione Levi, 1998), pp. 401-441. Draft version of article. Score for the mass. <br />
<br />
“Venetian Opera, French Criticism, and English Travels: The Case of Le Mercure de France and Joseph Addison,” Revue de musicologie, 83/2 (1997), pp. 185-201. Draft. <br />
<br />
“Venice: Musical Expression in an Era of Political Decline” in Music and Man (gen. ed. Stanley Sadie), 4: The Late Baroque Era from the 1680s to 1740, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93.<br />
<br />
“Genre and Instrumentation in Italian Music, 1600-1670,” Early Music, XIX/1 (1991), pp. 61-7. <br />
<br />
“The Baroque Era: Introduction” in Performance Practice (The New Grove Handbooks in Music), II: Music after 1600, ed. Howard Mayer Brown and Stanley Sadie, 2 vols. (London: The Macmillan Press and New York: W.W. Norton & Co., Ltd., 1989), II, pp. 3-19.<br />
<br />
“Is Implicit Information Retrievable in Music Queries?”, Invited talk, Dagstuhl (DE) Seminar No. 04021. 8 January 2004.<br />
<br />
“The Temperament, Scale, and Mode of Koto Music” [with Sachiko Deguchi and Katsuhiko Shirai] in Music and Globalization [in Japanese] (Tokyo, 2004), 434-48.<br />
<br />
“Base-40 Arithmetic: Implications for Notation-Based Applications,” Invited talk, WEDEL 2003/Interactive Music Network. Leeds University (UK). 11-14 September 2003.<br />
<br />
“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), <i>Virtual Music: Computer Synthesis of Musical Style</i> (Cambridge: The MIT Press, 2001), pp. 187-220. Now available at https://direct.mit.edu.<br />
<br />
“The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], <i>The Virtual Score</i> (Computing in Musicology, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/<br />
<br />
“Data Models for Virtual Distribution of Musical Scores” (with Walter B. Hewlett and Craig Stuart Sapp), <i>First International Congress on Web Delivery of Music</i> (Florence, 2001), (Los Alamos, NM: IEEE Computer Society), 62-70.<br />
<br />
“Domain Relationships in Man-Machine Interactions in Music” in Machines and History: Proceedings of the Ninth International Congress of the German Association for Semiotic Studies (Dresden, 3-6 October 1999).<br />
<br />
“Conceptual and Representational Issues in Melodic Comparison” in <i>Melodic Similarity</i>, (Computing in Musicology, 11, 1998), 3-64.<br />
<br />
“Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” <i>The Musical Quarterly</i> 81/2 (1997), 291-310.<br />
<br />
==<b>European Culture, Music, and History</b>==<br />
<br />
"From Vivaldi to Gluck: One the road with Anna Girò" in <i>Gluck and the map of eighteenth-century music</i>, ed. Brian Locke and Bruce Brown. Forthcoming.<br />
<br />
"Schulenburg, Corfù, and the dating of <i>Juditha triumphans</i>" in <i>Fulgeat sul frontis decorae: Studi in onore di Michael Talbot</i>, ed. A. Borin and J.M. Cameron («Studi vivaldiani» 1), Venice: Fondazione Giorgio Cini, 2016), 207-221.<br />
<br />
[http://www.cini.it/wp-content/uploads/2016/07/Parte-1.pdf. "La famiglia materna di Antonio Vivaldi" ["Vivaldi's Maternal Lineage"] ], with Margherita Gianola, in <i>Studi vivaldiani</i> No. 15 (Florence: Editore SPES, 2015), 13-53. A long summary in English starts at p. 49. <br />
<br />
Review of Federico Maria Sardelli's <i>Catalogo delle concordanze musicali vivaldiane</i>, Florence: Leo S. Olschki, 2012 («Studi di Musica veneta. Quaderni vivaldiani», 16), vol. cxlvii, in <i>Il Saggiotre musicale</i> XXI (2014), 313-318.<br />
<br />
Review of Peter Ryom's <i>Antonio Vivaldi: Thematisch-Systematisches Verzeichnis zeiner Werke (RV)</i>, Breitkopf & Härtel, 2007, in <i>Notes</i> 65/2 (Dec. 2008). Text.<br />
<br />
“Musical Commerce and the Fiera della Sensa, 1720-1760,” <i>Venezia mercato delle arti</i>, Ducal Palace, Venice, 11 October 2008 (<i>Venezia mercato delle arti</i>, org. Barbara Marx). Proceedings unpublished. <br />
<br />
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” <i>L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international</i>, ed. D. Colas, A. Di Profio, G. Gétreau, and P. Petrobelli (Tours: CNRS 2008), pp. 15-27.<br />
<br />
“Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare<i>, 2007 [posthumous completion, with Loris Stella, of work of Gastone Vio].<br />
<br />
“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” <i>Passages</i>: Congress of the International Musicological Society, Zurich, 10-15 July 2007.<br />
<br />
“Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies” in <i>Antonio Vivaldi: Passato e futuro, ed. F. Fanna and M. Talbot (Venice, 2008). Download [http://old.cini.it/uploads/assets/ATTI_VIVALDI_marzo_2010/29-Selfridge%20Field.pdf here]. <br />
<br />
“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.<br />
<br />
“The Invention of the Fortepiano as Intellectual History,” <i>Early Music</i> 33/1 (Feb. 2005), 81-94.<br />
<br />
“Dramaturgical Hours: How Lunar and Solar Cycles influenced the Length and Character of Venetian Operas,” Twelfth Biannual Baroque Studies Conference, Manchester (UK), July 14-18, 2004.<br />
<br />
“Francesco Maria Piccioli-Carlo Pallavicino, <i>Messalina</i>," facs. edn. (<i>Drammaturgia musicale veneta</i>, viii), Milan: Ricordi, 2003; introductory essay, pp. ix-lxxiv.<br />
<br />
“La Guerra dei Comici: Mantuan Comedy and Venetian Opera in c. 1700,” <i>Recercare</i>, X (1998, In memoriam Nino Pirrotta), 209-248.<br />
<br />
“His, Hers, Theirs: Wedding Pageants, Wedding Operas, and the Musical Politics of Match-Making,” American Musicological Society, UCLA, 28 April 2001.<br />
<br />
“Rites of Autumn, Winter, and Spring: Decoding the Calendar of Venetian Opera,” Ninth Biennial Conference on Baroque Music, Trinity College Dublin, 13 July 2000. <br />
<br />
“Horse Ballets in Baroque Italy,” Berkeley Early Music Festival, 7 June 2000. <br />
<br />
“Celebrations of Power: The Performing Arts in Baroque Venice.” National Gallery of Art, Washington, DC (1995) and other venues.<br />
<br />
“Expanding Violin Technique in Vivaldi's Time,” lecture-demo with Stanley Ritchie (Baroque violin), Boston Handel and Haydn Society, 2000.<br />
<br />
“La guerra de' comici: Mantuan Comedy and Venetian Opera in c.1700,” Recercare X (1998), 209-248.<br />
<br />
“Rovetta's Music for Holy Week,” La Basilica di San Marco nell'età moderna, ed. Francesco Passadore e Franco Rossi (talk, 1994; book, Venice: Fondazione Levi, 1998), pp. 401-441. Draft version of article. Score for mass. <br />
<br />
“Venetian Opera, French Criticism, and English Travels: The Case of Le Mercure de France and Joseph Addison,” Revue de musicologie, 83/2 (1997), pp. 185-201. Draft. <br />
<br />
“Venice: Musical Expression in an Era of Political Decline” in Music and Man (gen. ed. Stanley Sadie), 4: The Late Baroque Era from the 1680s to 1740, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93.<br />
<br />
“Genre and Instrumentation in Italian Music, 1600-1670,” Early Music, XIX/1 (1991), pp. 61-7. <br />
<br />
“The Baroque Era: Introduction” in Performance Practice (The New Grove Handbooks in Music), II: Music after 1600, ed. Howard Mayer Brown and Stanley Sadie, 2 vols. (London: The Macmillan Press and New York: W.W. Norton & Co., Ltd., 1989), II, pp. 3-19.<br />
<br />
“Is Implicit Information Retrievable in Music Queries?”, Invited talk, Dagstuhl (DE) Seminar No. 04021. 8 January 2004.<br />
<br />
“The Temperament, Scale, and Mode of Koto Music” [with Sachiko Deguchi and Katsuhiko Shirai] in Music and Globalization [in Japanese] (Tokyo, 2004), 434-48.<br />
<br />
“Base-40 Arithmetic: Implications for Notation-Based Applications,” Invited talk, WEDEL 2003/Interactive Music Network. Leeds University (UK). 11-14 September 2003.<br />
<br />
“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), Virtual Music: Computer Synthesis of Musical Style (Cambridge: The MIT Press, 2001), pp. 187-220.<br />
<br />
“The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], The Virtual Score (Computing in Musicology, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/<br />
<br />
“Data Models for Virtual Distribution of Musical Scores” (with Walter B. Hewlett and Craig Stuart Sapp), First International Congress on Web Delivery of Music ( Florence , 2001), (Los Alamos, NM: IEEE Computer Society), 62-70.<br />
<br />
“Domain Relationships in Man-Machine Interactions in Music” in Machines and History: Proceedings of the Ninth International Congress of the German Association for Semiotic Studies (Dresden, 3-6 October 1999).<br />
<br />
“Conceptual and Representational Issues in Melodic Comparison” in Melodic Similarity, (Computing in Musicology, 11, 1998), 3-64.<br />
<br />
“Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” <i>The Musical Quarterly</i> 81/2 (1997), 291-310.<br />
<br />
"Marcello and Greek Mythology" in L’invenzione del gusto. Corelli e Vivaldi: mutazioni culturali, a Roma e Venezia, nel periodo post-barocco, ed. Giovanni Morelli, 1982.<br />
<br />
==<b>Music Theory, Cognition, and Technology</b>==<br />
<br />
Co-chair, Symposium on “Knowledge Representation for Intelligent Music Processing,” Leibniz Center for Informatics, Schloss Dagstuhl (near Wadern, DE), 25-30 January 2009. See [http://drops.dagstuhl.de/opus/volltexte/2009/1971/ The Dagstuhl Core]. Coverage in the <i>Frankfurter Allgemeine Zeitung</i> (1 March 2009). <br />
<br />
“Symbolic Musical Data: Tutorial (with Craig Stuart Sapp). <i>Proceedings of the Ninth International Symposium on Music Information Retrieval</i>, Philadelphia, 2008. Talk. Handout.<br />
<br />
“Digital Philology, Performing Medium, and Graphical Idiom,” <i>Digitale Edition zwischen Experiment und Standardisierung" Musik Codierung</i>, ed. P. Stadler and J. Veit (Behefte zu Editio, 31) De Gruyter, 2009.<br />
<br />
“Algorithms for Music Information Retrieval: The Hausdorff Metric and Geometric Hashing” [lead author: Christian André Romming], ISMIR 2007. Available [http://ismir2007.ismir.net/proceedings/ISMIR2007_p457_romming.pdf here].<br />
<br />
“Social Dimensions of Melodic Identity, Cognition, and Association,” <i>Musicae Scientiae: European Journal for the Sciences of Music</i> (2007), 77-97.<br />
<br />
“Social Cognition and Melodic Persistence: Where Metadata and Content Diverge,” <i>ISMIR2006 (Victoria , BC) Proceedings</i>, ed. R. Dannenberg and K. Lemstrom. Available [http://ismir2006.ismir.net/PAPERS/ISMIR0625_Paper.pdf here].<br />
<br />
“Towards a Measure of Cognitive Distance in Melodic Similarity,” Music Query: Methods, Models, and User Studies (<i>Computing in Musicology</i>, 13 [2004]), 93-112.<br />
<br />
“Search Effectiveness Measures for Symbolic Music Queries in Very Large Databases,” [with Craig Stuart Sapp and Yi-Wen Liu], <i>ISMIR2004: Proceedings of the Fifth International Symposium on Music Information Retrieval</i> Available [http://ismir2004.ismir.net/proceedings/p051-page-266-paper135.pdf here].<br />
<br />
==<b>Music Copyright</b>==<br />
<br />
"Substantial Musical Similarity," European Panel in <i>Global Perspectives on Music Copyright</i>, org. Robert Brauneis, Charles Cronin, and Daryl Lim (U. Illinois Chicago and Geo. Washington University Law Schools), 18 March 2022. <br />
<br />
"Substantial Musical Similarity in Sound and Notation: Perspectives from Digital Musicology," <i>Colorado Technology Law Journal</i>, 16/2 (Autumn 2018), pp. 249-283. 16 COLO. TECH. L.J._(2017). See [http://ctlj.colorado.edu/?page_id=796 CTLJ] and [http://heinonline.org Hein Online].<br />
<br />
"Substantial Musical Similarity in Sound and Notation: A View from Digital Musicology",<br />
as part of the Symposium <i>[http://emptydoors.com/conferences/2017/03/01/colorado-lawsilicon-flatirons-3rd-annual-content-conference/ "Blurred v. Bright: The Changing Analysis of Copyright Infringement in Music"]</i>, Colorado Law/Silicon Flatirons 3rd Annual Content Conference, University of Colorado Law School, March 23, 2017.<br />
<br />
"[http://wiki.ccarh.org/wiki/CCDL Copyright in a Changing Digital Landscape]", <b>chair</b>, Symposium of the International Association of Music Libraries, Archives, and Documentation Centres IIAML) and the International Musicological Society (IMS), New York: The Juilliard School, 25 June 2015. With Derek Miller, Eric Harbeson, Nicholas Tsui, Robert Clarida, Richard Chesser, and Federica Riva.<br />
<br />
“Copyright Issues in Scholarly Editions of Music,” American Musicological Society, Washington, DC, 26-29 October 2005.<br />
<br />
Organizer and Chair, “Musical Data as Intellectual Property” [panel], ISMIR2004, Barcelona (ES). Participants: Charles Cronin, Enric Enrich, Masataka Goto. October 13, 2004.<br />
<br />
“Fixed Form, Fluid Content: Musical Data as Intellectual Property,” Invited talk, Conference on Virtual Scores, Kernochan Center for Law and the Arts, Law School, Columbia University, 5 May 2003.<br />
<br />
“Music Copyright, Music Technology, and Music Archiving: Issues and Interpretations,” Fourth Conference on Digital Resources in the Humanities. King’s College, London, September 14, 1999.<br />
<br />
“Copyright and Fair Use in Electronic Scholarship,” Joint Annual Meeting, Society for Music Theory and the American Musicological Society, New York , NY, November 1, 1995.<br />
<br />
==<b>Reviews</b>==<br />
"Antonio Vivaldi: <i>Thematisch-systematisches Verzeichnis seiner Werke (RV)</i>", <i>Notes</i> (MLA), 65/2 (December 2008), 294-298.<br />
<br />
"Venetian orphans," <i>Early Music</i>, 34/4 (November 2006), 681-682.<br />
<br />
"<i>Tonal Space in the Music of Antonio Vivaldi"</i>, <i>Notes</i>, 66/3 (March 2010), 542-544.<br />
<br />
"<i>La Commedia dell'Arte in Naples: A Bilingual Edition of the 176 Casamarciano Scenarios/La commedia dell'arte a Napoli: edizione bilingue dei 176 scenari Casamarciano"</i>, <i>Music & Letters</i>, 85/3 (August 2004), 436-437.<br />
<br />
"<i>Italian Opera and European Theatre, 1680-1720: Plots, Performers, Dramaturgies"</i>, ed. Melania Bucciarelli, <i>Music and Letters</i>, 85/6 (August 2004), 438-439.<br />
<br />
"Copyright and Cultural Institutions: Guidelines for Digitization for U.S. Libraries, Archives, and Museums," <i>Notes</i>, 67/3 (March 2011), 557-559.<br />
<br />
"<i>Antonio Vivaldi und seine Zeit</i>", <i>Notes</i>, 68/2 (December 2011), 348-351.<br />
<br />
"Hybrid Critical Editions of Opera: Motives, Milestones, and Quandaries," <i>Notes</i>, 72/1 (September 2015), 9-22.</div>Esfieldhttps://wiki.ccarh.org/index.php?title=Eleanor_Selfridge-Field:_Articles&diff=12577Eleanor Selfridge-Field: Articles2023-11-16T05:33:25Z<p>Esfield: /* European Culture, Music, and History */</p>
<hr />
<div>Articles through 2022 <small>(or later if open access is lacking)</small><br />
<br />
==<b>European Culture, Music, and History</b>==<br />
<br />
"The Vivaldis of Brescia," <i>Recercare</i>, XXXV (2023), 69-101.<br />
<br />
"The Keyboard Transcriptions of J. S. Bach and J. G. Walther," <i>Bach and Mozart: Connections, Patterns, and Pathways</i>, ed. Paul Corneilson (Bach Perspectives, 14), Champaign, IL: University of Illinois Press (2022), pp. 1-22. <br />
<br />
"The Teatro Sant'Angelo: Cradle of fledgling opera troupes," <i>Musicologica Brunensia</i> (2018), 157-170. DOI:10.5817/MB2018-S-11 Corpus ID: 194638187 <br />
<br />
"Venetian Instrumental Music in the Sixteenth Century" in the <i>Companion to Music in Sixteenth-Century Venice</i>, ed. Katelijne Schiltz (Turnhout: Brill, 2017), pp. 415-439.<br />
<br />
"Echoes of Gabrieli" [review], <i>Early Music</i> 45/4 (2017). doi:10.1093/em/cax126. <br />
<br />
"Schulenburg, Corfù, and the dating of <i>Juditha triumphans</i>" in <i>Fulgeat sul frontis decorae: Studi in onore di Michael Talbot</i>, ed. A. Borin and J.M. Cameron, Venice: Fondazione Giorgio Cini, 2016), 207-221.<br />
<br />
[http://www.cini.it/wp-content/uploads/2016/07/Parte-1.pdf. "La famiglia materna di Antonio Vivaldi" ["Vivaldi's Maternal Lineage"] ], with Margherita Gianola, in <i>Studi vivaldiani</i> No. 15 (Florence: Editore SPES, 2015), 13-53. English summary pp. 49-54. <br />
<br />
"From Vivaldi to Gluck: On the road with Anna Girò" in <i>Gluck and the map of eighteenth-century music</i>, ed. Brian Locke and Bruce Brown. Forthcoming.<br />
<br />
Federico Maria Sardelli, <i>Catalogo delle concordanze musicali vivaldiane</i> [review], Florence: Leo S. Olschki, 2012 (Studi di Musica veneta. Quaderni vivaldiani, 16), vol. cxlvii, in <i>Il Saggitore musicale</i>, XXI (2014), 313-318.<br />
<br />
[[Media:Selfridge-Field_MarcelloOrientalism2013.pdf|"Marcello's Orientalism"]] in <i>Psalmen: Kirchenmusik zwischen Tradition, Dramatik und Experiment</i>, ed. Helen Geyer and Birgit Johanna Wertenson (Cologne: Böhlau, 2013), 205-222. <br />
<br />
Ryom, Peter, <i>Antonio Vivaldi: Thematisch-Systematisches Verzeichnis zeiner Werke (RV)</i>, Breitkopf & Härtel, 2007 [review] in <i>Notes</i> 65/2 (Dec. 2008). <br />
<br />
“Musical Commerce and the Fiera della Sensa, 1720-1760,” <i>Venezia mercato delle arti</i>, Ducal Palace, Venice, 11 October 2008 (<i>Venezia mercato delle arti</i>, org. Barbara Marx). Proceedings unpublished. <br />
<br />
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” <i>L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international</i>, ed. D. Colas, A. Di Profio, G. Gétreau, and P. Petrobelli (Tours: CNRS 2008), pp. 15-27.<br />
<br />
“Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies” in <i>Antonio Vivaldi: Passato e futuro</i>, ed. F. Fanna and M. Talbot (Venice, 2008). Download [http://old.cini.it/uploads/assets/ATTI_VIVALDI_marzo_2010/29-Selfridge%20Field.pdf here]. <br />
<br />
Vio, Gastone, “Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare</i>, 2007 [posthumous completion, with Loris Stella]. <br />
<br />
“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” <i>Passages: Congress of the International Musicological Society</i>, Zurich, 10-15 July 2007.<br />
<br />
“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.<br />
<br />
“The Invention of the Fortepiano as Intellectual History,” <i>Early Music</i> 29 (2005), 81-94.<br />
<br />
"The Pieta Museum, Venice," <i>Early Music</i>, 33/1 (Feb. 2005), p 154. <br />
<br />
“Dramaturgical Hours: How Lunar and Solar Cycles influenced the Length and Character of Venetian Operas,” Twelfth Biannual Baroque Studies Conference, Manchester (UK), July 14-18, 2004.<br />
<br />
“Francesco Maria Piccioli-Carlo Pallavicino, <i>Messalina</i>," facs. edn. (<i>Drammaturgia musicale veneta</i>, viii), Milan: Ricordi, 2003; introductory essay, pp. ix-lxxiv.<br />
<br />
“La Guerra dei Comici: Mantuan Comedy and Venetian Opera in c. 1700,” <i>Recercare</i>, X (1998, In memoriam Nino Pirrotta), 209-248.<br />
<br />
“His, Hers, Theirs: Wedding Pageants, Wedding Operas, and the Musical Politics of Match-Making,” American Musicological Society, UCLA, 28 April 2001.<br />
<br />
“Rites of Autumn, Winter, and Spring: Decoding the Calendar of Venetian Opera,” Ninth Biennial Conference on Baroque Music, Trinity College Dublin, 13 July 2000. <br />
<br />
“Horse Ballets in Baroque Italy,” Berkeley Early Music Festival, 7 June 2000. <br />
<br />
“Celebrations of Power: The Performing Arts in Baroque Venice.” National Gallery of Art, Washington, DC (1995) and other venues.<br />
<br />
“Expanding Violin Technique in Vivaldi's Time,” lecture-demo with Stanley Ritchie (Baroque violin), Boston Handel and Haydn Society, 2000.<br />
<br />
“La guerra de' comici: Mantuan Comedy and Venetian Opera in c.1700,” Recercare X (1998), 209-248.<br />
<br />
“Rovetta's Music for Holy Week,” La Basilica di San Marco nell'età moderna, ed. Francesco Passadore e Franco Rossi (talk, 1994; book, Venice: Fondazione Levi, 1998), pp. 401-441. Draft version of article. Score for the mass. <br />
<br />
“Venetian Opera, French Criticism, and English Travels: The Case of Le Mercure de France and Joseph Addison,” Revue de musicologie, 83/2 (1997), pp. 185-201. Draft. <br />
<br />
“Venice: Musical Expression in an Era of Political Decline” in Music and Man (gen. ed. Stanley Sadie), 4: The Late Baroque Era from the 1680s to 1740, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93.<br />
<br />
“Genre and Instrumentation in Italian Music, 1600-1670,” Early Music, XIX/1 (1991), pp. 61-7. <br />
<br />
“The Baroque Era: Introduction” in Performance Practice (The New Grove Handbooks in Music), II: Music after 1600, ed. Howard Mayer Brown and Stanley Sadie, 2 vols. (London: The Macmillan Press and New York: W.W. Norton & Co., Ltd., 1989), II, pp. 3-19.<br />
<br />
“Is Implicit Information Retrievable in Music Queries?”, Invited talk, Dagstuhl (DE) Seminar No. 04021. 8 January 2004.<br />
<br />
“The Temperament, Scale, and Mode of Koto Music” [with Sachiko Deguchi and Katsuhiko Shirai] in Music and Globalization [in Japanese] (Tokyo, 2004), 434-48.<br />
<br />
“Base-40 Arithmetic: Implications for Notation-Based Applications,” Invited talk, WEDEL 2003/Interactive Music Network. Leeds University (UK). 11-14 September 2003.<br />
<br />
“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), <i>Virtual Music: Computer Synthesis of Musical Style</i> (Cambridge: The MIT Press, 2001), pp. 187-220. Now available at https://direct.mit.edu.<br />
<br />
“The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], <i>The Virtual Score</i> (Computing in Musicology, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/<br />
<br />
“Data Models for Virtual Distribution of Musical Scores” (with Walter B. Hewlett and Craig Stuart Sapp), <i>First International Congress on Web Delivery of Music</i> (Florence, 2001), (Los Alamos, NM: IEEE Computer Society), 62-70.<br />
<br />
“Domain Relationships in Man-Machine Interactions in Music” in Machines and History: Proceedings of the Ninth International Congress of the German Association for Semiotic Studies (Dresden, 3-6 October 1999).<br />
<br />
“Conceptual and Representational Issues in Melodic Comparison” in <i>Melodic Similarity>/i>, (Computing in Musicology, 11, 1998), 3-64.<br />
<br />
“Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” <i>The Musical Quarterly</i> 81/2 (1997), 291-310.<br />
<br />
==<b>European Culture, Music, and History</b>==<br />
<br />
"From Vivaldi to Gluck: One the road with Anna Girò" in <i>Gluck and the map of eighteenth-century music</i>, ed. Brian Locke and Bruce Brown. Forthcoming.<br />
<br />
"Schulenburg, Corfù, and the dating of <i>Juditha triumphans</i>" in <i>Fulgeat sul frontis decorae: Studi in onore di Michael Talbot</i>, ed. A. Borin and J.M. Cameron («Studi vivaldiani» 1), Venice: Fondazione Giorgio Cini, 2016), 207-221.<br />
<br />
[http://www.cini.it/wp-content/uploads/2016/07/Parte-1.pdf. "La famiglia materna di Antonio Vivaldi" ["Vivaldi's Maternal Lineage"] ], with Margherita Gianola, in <i>Studi vivaldiani</i> No. 15 (Florence: Editore SPES, 2015), 13-53. A long summary in English starts at p. 49. <br />
<br />
Review of Federico Maria Sardelli's <i>Catalogo delle concordanze musicali vivaldiane</i>, Florence: Leo S. Olschki, 2012 («Studi di Musica veneta. Quaderni vivaldiani», 16), vol. cxlvii, in <i>Il Saggiotre musicale</i> XXI (2014), 313-318.<br />
<br />
Review of Peter Ryom's <i>Antonio Vivaldi: Thematisch-Systematisches Verzeichnis zeiner Werke (RV)</i>, Breitkopf & Härtel, 2007, in <i>Notes</i> 65/2 (Dec. 2008). Text.<br />
<br />
“Musical Commerce and the Fiera della Sensa, 1720-1760,” <i>Venezia mercato delle arti</i>, Ducal Palace, Venice, 11 October 2008 (<i>Venezia mercato delle arti</i>, org. Barbara Marx). Proceedings unpublished. <br />
<br />
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” <i>L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international</i>, ed. D. Colas, A. Di Profio, G. Gétreau, and P. Petrobelli (Tours: CNRS 2008), pp. 15-27.<br />
<br />
“Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare<i>, 2007 [posthumous completion, with Loris Stella, of work of Gastone Vio].<br />
<br />
“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” <i>Passages</i>: Congress of the International Musicological Society, Zurich, 10-15 July 2007.<br />
<br />
“Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies” in <i>Antonio Vivaldi: Passato e futuro, ed. F. Fanna and M. Talbot (Venice, 2008). Download [http://old.cini.it/uploads/assets/ATTI_VIVALDI_marzo_2010/29-Selfridge%20Field.pdf here]. <br />
<br />
“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.<br />
<br />
“The Invention of the Fortepiano as Intellectual History,” <i>Early Music</i> 33/1 (Feb. 2005), 81-94.<br />
<br />
“Dramaturgical Hours: How Lunar and Solar Cycles influenced the Length and Character of Venetian Operas,” Twelfth Biannual Baroque Studies Conference, Manchester (UK), July 14-18, 2004.<br />
<br />
“Francesco Maria Piccioli-Carlo Pallavicino, <i>Messalina</i>," facs. edn. (<i>Drammaturgia musicale veneta</i>, viii), Milan: Ricordi, 2003; introductory essay, pp. ix-lxxiv.<br />
<br />
“La Guerra dei Comici: Mantuan Comedy and Venetian Opera in c. 1700,” <i>Recercare</i>, X (1998, In memoriam Nino Pirrotta), 209-248.<br />
<br />
“His, Hers, Theirs: Wedding Pageants, Wedding Operas, and the Musical Politics of Match-Making,” American Musicological Society, UCLA, 28 April 2001.<br />
<br />
“Rites of Autumn, Winter, and Spring: Decoding the Calendar of Venetian Opera,” Ninth Biennial Conference on Baroque Music, Trinity College Dublin, 13 July 2000. <br />
<br />
“Horse Ballets in Baroque Italy,” Berkeley Early Music Festival, 7 June 2000. <br />
<br />
“Celebrations of Power: The Performing Arts in Baroque Venice.” National Gallery of Art, Washington, DC (1995) and other venues.<br />
<br />
“Expanding Violin Technique in Vivaldi's Time,” lecture-demo with Stanley Ritchie (Baroque violin), Boston Handel and Haydn Society, 2000.<br />
<br />
“La guerra de' comici: Mantuan Comedy and Venetian Opera in c.1700,” Recercare X (1998), 209-248.<br />
<br />
“Rovetta's Music for Holy Week,” La Basilica di San Marco nell'età moderna, ed. Francesco Passadore e Franco Rossi (talk, 1994; book, Venice: Fondazione Levi, 1998), pp. 401-441. Draft version of article. Score for mass. <br />
<br />
“Venetian Opera, French Criticism, and English Travels: The Case of Le Mercure de France and Joseph Addison,” Revue de musicologie, 83/2 (1997), pp. 185-201. Draft. <br />
<br />
“Venice: Musical Expression in an Era of Political Decline” in Music and Man (gen. ed. Stanley Sadie), 4: The Late Baroque Era from the 1680s to 1740, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93.<br />
<br />
“Genre and Instrumentation in Italian Music, 1600-1670,” Early Music, XIX/1 (1991), pp. 61-7. <br />
<br />
“The Baroque Era: Introduction” in Performance Practice (The New Grove Handbooks in Music), II: Music after 1600, ed. Howard Mayer Brown and Stanley Sadie, 2 vols. (London: The Macmillan Press and New York: W.W. Norton & Co., Ltd., 1989), II, pp. 3-19.<br />
<br />
“Is Implicit Information Retrievable in Music Queries?”, Invited talk, Dagstuhl (DE) Seminar No. 04021. 8 January 2004.<br />
<br />
“The Temperament, Scale, and Mode of Koto Music” [with Sachiko Deguchi and Katsuhiko Shirai] in Music and Globalization [in Japanese] (Tokyo, 2004), 434-48.<br />
<br />
“Base-40 Arithmetic: Implications for Notation-Based Applications,” Invited talk, WEDEL 2003/Interactive Music Network. Leeds University (UK). 11-14 September 2003.<br />
<br />
“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), Virtual Music: Computer Synthesis of Musical Style (Cambridge: The MIT Press, 2001), pp. 187-220.<br />
<br />
“The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], The Virtual Score (Computing in Musicology, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/<br />
<br />
“Data Models for Virtual Distribution of Musical Scores” (with Walter B. Hewlett and Craig Stuart Sapp), First International Congress on Web Delivery of Music ( Florence , 2001), (Los Alamos, NM: IEEE Computer Society), 62-70.<br />
<br />
“Domain Relationships in Man-Machine Interactions in Music” in Machines and History: Proceedings of the Ninth International Congress of the German Association for Semiotic Studies (Dresden, 3-6 October 1999).<br />
<br />
“Conceptual and Representational Issues in Melodic Comparison” in Melodic Similarity, (Computing in Musicology, 11, 1998), 3-64.<br />
<br />
“Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” <i>The Musical Quarterly</i> 81/2 (1997), 291-310.<br />
<br />
"Marcello and Greek Mythology" in L’invenzione del gusto. Corelli e Vivaldi: mutazioni culturali, a Roma e Venezia, nel periodo post-barocco, ed. Giovanni Morelli, 1982.<br />
<br />
==<b>Music Theory, Cognition, and Technology</b>==<br />
<br />
Co-chair, Symposium on “Knowledge Representation for Intelligent Music Processing,” Leibniz Center for Informatics, Schloss Dagstuhl (near Wadern, DE), 25-30 January 2009. See [http://drops.dagstuhl.de/opus/volltexte/2009/1971/ The Dagstuhl Core]. Coverage in the <i>Frankfurter Allgemeine Zeitung</i> (1 March 2009). <br />
<br />
“Symbolic Musical Data: Tutorial (with Craig Stuart Sapp). <i>Proceedings of the Ninth International Symposium on Music Information Retrieval</i>, Philadelphia, 2008. Talk. Handout.<br />
<br />
“Digital Philology, Performing Medium, and Graphical Idiom,” <i>Digitale Edition zwischen Experiment und Standardisierung" Musik Codierung</i>, ed. P. Stadler and J. Veit (Behefte zu Editio, 31) De Gruyter, 2009.<br />
<br />
“Algorithms for Music Information Retrieval: The Hausdorff Metric and Geometric Hashing” [lead author: Christian André Romming], ISMIR 2007. Available [http://ismir2007.ismir.net/proceedings/ISMIR2007_p457_romming.pdf here].<br />
<br />
“Social Dimensions of Melodic Identity, Cognition, and Association,” <i>Musicae Scientiae: European Journal for the Sciences of Music</i> (2007), 77-97.<br />
<br />
“Social Cognition and Melodic Persistence: Where Metadata and Content Diverge,” <i>ISMIR2006 (Victoria , BC) Proceedings</i>, ed. R. Dannenberg and K. Lemstrom. Available [http://ismir2006.ismir.net/PAPERS/ISMIR0625_Paper.pdf here].<br />
<br />
“Towards a Measure of Cognitive Distance in Melodic Similarity,” Music Query: Methods, Models, and User Studies (<i>Computing in Musicology</i>, 13 [2004]), 93-112.<br />
<br />
“Search Effectiveness Measures for Symbolic Music Queries in Very Large Databases,” [with Craig Stuart Sapp and Yi-Wen Liu], <i>ISMIR2004: Proceedings of the Fifth International Symposium on Music Information Retrieval</i> Available [http://ismir2004.ismir.net/proceedings/p051-page-266-paper135.pdf here].<br />
<br />
==<b>Music Copyright</b>==<br />
<br />
"Substantial Musical Similarity," European Panel in <i>Global Perspectives on Music Copyright</i>, org. Robert Brauneis, Charles Cronin, and Daryl Lim (U. Illinois Chicago and Geo. Washington University Law Schools), 18 March 2022. <br />
<br />
"Substantial Musical Similarity in Sound and Notation: Perspectives from Digital Musicology," <i>Colorado Technology Law Journal</i>, 16/2 (Autumn 2018), pp. 249-283. 16 COLO. TECH. L.J._(2017). See [http://ctlj.colorado.edu/?page_id=796 CTLJ] and [http://heinonline.org Hein Online].<br />
<br />
"Substantial Musical Similarity in Sound and Notation: A View from Digital Musicology",<br />
as part of the Symposium <i>[http://emptydoors.com/conferences/2017/03/01/colorado-lawsilicon-flatirons-3rd-annual-content-conference/ "Blurred v. Bright: The Changing Analysis of Copyright Infringement in Music"]</i>, Colorado Law/Silicon Flatirons 3rd Annual Content Conference, University of Colorado Law School, March 23, 2017.<br />
<br />
"[http://wiki.ccarh.org/wiki/CCDL Copyright in a Changing Digital Landscape]", <b>chair</b>, Symposium of the International Association of Music Libraries, Archives, and Documentation Centres IIAML) and the International Musicological Society (IMS), New York: The Juilliard School, 25 June 2015. With Derek Miller, Eric Harbeson, Nicholas Tsui, Robert Clarida, Richard Chesser, and Federica Riva.<br />
<br />
“Copyright Issues in Scholarly Editions of Music,” American Musicological Society, Washington, DC, 26-29 October 2005.<br />
<br />
Organizer and Chair, “Musical Data as Intellectual Property” [panel], ISMIR2004, Barcelona (ES). Participants: Charles Cronin, Enric Enrich, Masataka Goto. October 13, 2004.<br />
<br />
“Fixed Form, Fluid Content: Musical Data as Intellectual Property,” Invited talk, Conference on Virtual Scores, Kernochan Center for Law and the Arts, Law School, Columbia University, 5 May 2003.<br />
<br />
“Music Copyright, Music Technology, and Music Archiving: Issues and Interpretations,” Fourth Conference on Digital Resources in the Humanities. King’s College, London, September 14, 1999.<br />
<br />
“Copyright and Fair Use in Electronic Scholarship,” Joint Annual Meeting, Society for Music Theory and the American Musicological Society, New York , NY, November 1, 1995.<br />
<br />
==<b>Reviews</b>==<br />
"Antonio Vivaldi: <i>Thematisch-systematisches Verzeichnis seiner Werke (RV)</i>", <i>Notes</i> (MLA), 65/2 (December 2008), 294-298.<br />
<br />
"Venetian orphans," <i>Early Music</i>, 34/4 (November 2006), 681-682.<br />
<br />
"<i>Tonal Space in the Music of Antonio Vivaldi"</i>, <i>Notes</i>, 66/3 (March 2010), 542-544.<br />
<br />
"<i>La Commedia dell'Arte in Naples: A Bilingual Edition of the 176 Casamarciano Scenarios/La commedia dell'arte a Napoli: edizione bilingue dei 176 scenari Casamarciano"</i>, <i>Music & Letters</i>, 85/3 (August 2004), 436-437.<br />
<br />
"<i>Italian Opera and European Theatre, 1680-1720: Plots, Performers, Dramaturgies"</i>, ed. Melania Bucciarelli, <i>Music and Letters</i>, 85/6 (August 2004), 438-439.<br />
<br />
"Copyright and Cultural Institutions: Guidelines for Digitization for U.S. Libraries, Archives, and Museums," <i>Notes</i>, 67/3 (March 2011), 557-559.<br />
<br />
"<i>Antonio Vivaldi und seine Zeit</i>", <i>Notes</i>, 68/2 (December 2011), 348-351.<br />
<br />
"Hybrid Critical Editions of Opera: Motives, Milestones, and Quandaries," <i>Notes</i>, 72/1 (September 2015), 9-22.</div>Esfieldhttps://wiki.ccarh.org/index.php?title=Eleanor_Selfridge-Field:_Articles&diff=12576Eleanor Selfridge-Field: Articles2023-11-16T05:13:53Z<p>Esfield: /* European Culture, Music, and History */</p>
<hr />
<div>Articles through 2022 <small>(or later if open access is lacking)</small><br />
<br />
==<b>European Culture, Music, and History</b>==<br />
<br />
"The Vivaldis of Brescia," <i>Recercare</i>, XXXV (2023), 69-101.<br />
<br />
"The Keyboard Transcriptions of J. S. Bach and J. G. Walther," <i>Bach and Mozart: Connections, Patterns, and Pathways</i>, ed. Paul Corneilson (Bach Perspectives, 14), Champaign, IL: University of Illinois Press (2022), pp. 1-22. <br />
<br />
"The Teatro Sant'Angelo: Cradle of fledgling opera troupes," <i>Musicologica Brunensia</i> (2018), 157-170. DOI:10.5817/MB2018-S-11 Corpus ID: 194638187 <br />
<br />
"Venetian Instrumental Music in the Sixteenth Century" in the <i>Companion to Music in Sixteenth-Century Venice</i>, ed. Katelijne Schiltz (Turnhout: Brill, 2017), pp. 415-439.<br />
<br />
"Echoes of Gabrieli" [review], <i>Early Music</i> 45/4 (2017). doi:10.1093/em/cax126. <br />
<br />
"Schulenburg, Corfù, and the dating of <i>Juditha triumphans</i>" in <i>Fulgeat sul frontis decorae: Studi in onore di Michael Talbot</i>, ed. A. Borin and J.M. Cameron, Venice: Fondazione Giorgio Cini, 2016), 207-221.<br />
<br />
[http://www.cini.it/wp-content/uploads/2016/07/Parte-1.pdf. "La famiglia materna di Antonio Vivaldi" ["Vivaldi's Maternal Lineage"] ], with Margherita Gianola, in <i>Studi vivaldiani</i> No. 15 (Florence: Editore SPES, 2015), 13-53. English summary pp. 49-54. <br />
<br />
"From Vivaldi to Gluck: On the road with Anna Girò" in <i>Gluck and the map of eighteenth-century music</i>, ed. Brian Locke and Bruce Brown. Forthcoming.<br />
<br />
Federico Maria Sardelli, <i>Catalogo delle concordanze musicali vivaldiane</i> [review], Florence: Leo S. Olschki, 2012 (Studi di Musica veneta. Quaderni vivaldiani, 16), vol. cxlvii, in <i>Il Saggitore musicale</i>, XXI (2014), 313-318.<br />
<br />
[[Media:Selfridge-Field_MarcelloOrientalism2013.pdf|"Marcello's Orientalism"]] in <i>Psalmen: Kirchenmusik zwischen Tradition, Dramatik und Experiment</i>, ed. Helen Geyer and Birgit Johanna Wertenson (Cologne: Böhlau, 2013), 205-222. <br />
<br />
Ryom, Peter, <i>Antonio Vivaldi: Thematisch-Systematisches Verzeichnis zeiner Werke (RV)</i>, Breitkopf & Härtel, 2007 [review] in <i>Notes</i> 65/2 (Dec. 2008). <br />
<br />
“Musical Commerce and the Fiera della Sensa, 1720-1760,” <i>Venezia mercato delle arti</i>, Ducal Palace, Venice, 11 October 2008 (<i>Venezia mercato delle arti</i>, org. Barbara Marx). Proceedings unpublished. <br />
<br />
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” <i>L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international</i>, ed. D. Colas, A. Di Profio, G. Gétreau, and P. Petrobelli (Tours: CNRS 2008), pp. 15-27.<br />
<br />
“Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies” in <i>Antonio Vivaldi: Passato e futuro</i>, ed. F. Fanna and M. Talbot (Venice, 2008). Download [http://old.cini.it/uploads/assets/ATTI_VIVALDI_marzo_2010/29-Selfridge%20Field.pdf here]. <br />
<br />
“Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare</i>, 2007 [posthumous completion, with Loris Stella, of work of Gastone Vio]. <br />
<br />
“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” <i>Passages: Congress of the International Musicological Society</i>, Zurich, 10-15 July 2007.<br />
<br />
“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.<br />
<br />
“The Invention of the Fortepiano as Intellectual History,” <i>Early Music</i> 29 (2005), 81-94.<br />
<br />
"The Pieta Museum, Venice," <i>Early Music</i>, 33/1 (Feb. 2005), p 154. <br />
<br />
“Dramaturgical Hours: How Lunar and Solar Cycles influenced the Length and Character of Venetian Operas,” Twelfth Biannual Baroque Studies Conference, Manchester (UK), July 14-18, 2004.<br />
<br />
“Francesco Maria Piccioli-Carlo Pallavicino, <i>Messalina</i>," facs. edn. (<i>Drammaturgia musicale veneta</i>, viii), Milan: Ricordi, 2003; introductory essay, pp. ix-lxxiv.<br />
<br />
“La Guerra dei Comici: Mantuan Comedy and Venetian Opera in c. 1700,” <i>Recercare</i>, X (1998, In memoriam Nino Pirrotta), 209-248.<br />
<br />
“His, Hers, Theirs: Wedding Pageants, Wedding Operas, and the Musical Politics of Match-Making,” American Musicological Society, UCLA, 28 April 2001.<br />
<br />
“Rites of Autumn, Winter, and Spring: Decoding the Calendar of Venetian Opera,” Ninth Biennial Conference on Baroque Music, Trinity College Dublin, 13 July 2000. <br />
<br />
“Horse Ballets in Baroque Italy,” Berkeley Early Music Festival, 7 June 2000. <br />
<br />
“Celebrations of Power: The Performing Arts in Baroque Venice.” National Gallery of Art, Washington, DC (1995) and other venues.<br />
<br />
“Expanding Violin Technique in Vivaldi's Time,” lecture-demo with Stanley Ritchie (Baroque violin), Boston Handel and Haydn Society, 2000.<br />
<br />
“La guerra de' comici: Mantuan Comedy and Venetian Opera in c.1700,” Recercare X (1998), 209-248.<br />
<br />
“Rovetta's Music for Holy Week,” La Basilica di San Marco nell'età moderna, ed. Francesco Passadore e Franco Rossi (talk, 1994; book, Venice: Fondazione Levi, 1998), pp. 401-441. Draft version of article. Score for the mass. <br />
<br />
“Venetian Opera, French Criticism, and English Travels: The Case of Le Mercure de France and Joseph Addison,” Revue de musicologie, 83/2 (1997), pp. 185-201. Draft. <br />
<br />
“Venice: Musical Expression in an Era of Political Decline” in Music and Man (gen. ed. Stanley Sadie), 4: The Late Baroque Era from the 1680s to 1740, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93.<br />
<br />
“Genre and Instrumentation in Italian Music, 1600-1670,” Early Music, XIX/1 (1991), pp. 61-7. <br />
<br />
“The Baroque Era: Introduction” in Performance Practice (The New Grove Handbooks in Music), II: Music after 1600, ed. Howard Mayer Brown and Stanley Sadie, 2 vols. (London: The Macmillan Press and New York: W.W. Norton & Co., Ltd., 1989), II, pp. 3-19.<br />
<br />
“Is Implicit Information Retrievable in Music Queries?”, Invited talk, Dagstuhl (DE) Seminar No. 04021. 8 January 2004.<br />
<br />
“The Temperament, Scale, and Mode of Koto Music” [with Sachiko Deguchi and Katsuhiko Shirai] in Music and Globalization [in Japanese] (Tokyo, 2004), 434-48.<br />
<br />
“Base-40 Arithmetic: Implications for Notation-Based Applications,” Invited talk, WEDEL 2003/Interactive Music Network. Leeds University (UK). 11-14 September 2003.<br />
<br />
“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), <i>Virtual Music: Computer Synthesis of Musical Style</i> (Cambridge: The MIT Press, 2001), pp. 187-220. Now available at https://direct.mit.edu.<br />
<br />
“The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], <i>The Virtual Score</i> (Computing in Musicology, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/<br />
<br />
“Data Models for Virtual Distribution of Musical Scores” (with Walter B. Hewlett and Craig Stuart Sapp), <i>First International Congress on Web Delivery of Music</i> (Florence, 2001), (Los Alamos, NM: IEEE Computer Society), 62-70.<br />
<br />
“Domain Relationships in Man-Machine Interactions in Music” in Machines and History: Proceedings of the Ninth International Congress of the German Association for Semiotic Studies (Dresden, 3-6 October 1999).<br />
<br />
“Conceptual and Representational Issues in Melodic Comparison” in <i>Melodic Similarity>/i>, (Computing in Musicology, 11, 1998), 3-64.<br />
<br />
“Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” <i>The Musical Quarterly</i> 81/2 (1997), 291-310.<br />
<br />
==<b>European Culture, Music, and History</b>==<br />
<br />
"From Vivaldi to Gluck: One the road with Anna Girò" in <i>Gluck and the map of eighteenth-century music</i>, ed. Brian Locke and Bruce Brown. Forthcoming.<br />
<br />
"Schulenburg, Corfù, and the dating of <i>Juditha triumphans</i>" in <i>Fulgeat sul frontis decorae: Studi in onore di Michael Talbot</i>, ed. A. Borin and J.M. Cameron («Studi vivaldiani» 1), Venice: Fondazione Giorgio Cini, 2016), 207-221.<br />
<br />
[http://www.cini.it/wp-content/uploads/2016/07/Parte-1.pdf. "La famiglia materna di Antonio Vivaldi" ["Vivaldi's Maternal Lineage"] ], with Margherita Gianola, in <i>Studi vivaldiani</i> No. 15 (Florence: Editore SPES, 2015), 13-53. A long summary in English starts at p. 49. <br />
<br />
Review of Federico Maria Sardelli's <i>Catalogo delle concordanze musicali vivaldiane</i>, Florence: Leo S. Olschki, 2012 («Studi di Musica veneta. Quaderni vivaldiani», 16), vol. cxlvii, in <i>Il Saggiotre musicale</i> XXI (2014), 313-318.<br />
<br />
Review of Peter Ryom's <i>Antonio Vivaldi: Thematisch-Systematisches Verzeichnis zeiner Werke (RV)</i>, Breitkopf & Härtel, 2007, in <i>Notes</i> 65/2 (Dec. 2008). Text.<br />
<br />
“Musical Commerce and the Fiera della Sensa, 1720-1760,” <i>Venezia mercato delle arti</i>, Ducal Palace, Venice, 11 October 2008 (<i>Venezia mercato delle arti</i>, org. Barbara Marx). Proceedings unpublished. <br />
<br />
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” <i>L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international</i>, ed. D. Colas, A. Di Profio, G. Gétreau, and P. Petrobelli (Tours: CNRS 2008), pp. 15-27.<br />
<br />
“Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare<i>, 2007 [posthumous completion, with Loris Stella, of work of Gastone Vio].<br />
<br />
“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” <i>Passages</i>: Congress of the International Musicological Society, Zurich, 10-15 July 2007.<br />
<br />
“Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies” in <i>Antonio Vivaldi: Passato e futuro, ed. F. Fanna and M. Talbot (Venice, 2008). Download [http://old.cini.it/uploads/assets/ATTI_VIVALDI_marzo_2010/29-Selfridge%20Field.pdf here]. <br />
<br />
“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.<br />
<br />
“The Invention of the Fortepiano as Intellectual History,” <i>Early Music</i> 33/1 (Feb. 2005), 81-94.<br />
<br />
“Dramaturgical Hours: How Lunar and Solar Cycles influenced the Length and Character of Venetian Operas,” Twelfth Biannual Baroque Studies Conference, Manchester (UK), July 14-18, 2004.<br />
<br />
“Francesco Maria Piccioli-Carlo Pallavicino, <i>Messalina</i>," facs. edn. (<i>Drammaturgia musicale veneta</i>, viii), Milan: Ricordi, 2003; introductory essay, pp. ix-lxxiv.<br />
<br />
“La Guerra dei Comici: Mantuan Comedy and Venetian Opera in c. 1700,” <i>Recercare</i>, X (1998, In memoriam Nino Pirrotta), 209-248.<br />
<br />
“His, Hers, Theirs: Wedding Pageants, Wedding Operas, and the Musical Politics of Match-Making,” American Musicological Society, UCLA, 28 April 2001.<br />
<br />
“Rites of Autumn, Winter, and Spring: Decoding the Calendar of Venetian Opera,” Ninth Biennial Conference on Baroque Music, Trinity College Dublin, 13 July 2000. <br />
<br />
“Horse Ballets in Baroque Italy,” Berkeley Early Music Festival, 7 June 2000. <br />
<br />
“Celebrations of Power: The Performing Arts in Baroque Venice.” National Gallery of Art, Washington, DC (1995) and other venues.<br />
<br />
“Expanding Violin Technique in Vivaldi's Time,” lecture-demo with Stanley Ritchie (Baroque violin), Boston Handel and Haydn Society, 2000.<br />
<br />
“La guerra de' comici: Mantuan Comedy and Venetian Opera in c.1700,” Recercare X (1998), 209-248.<br />
<br />
“Rovetta's Music for Holy Week,” La Basilica di San Marco nell'età moderna, ed. Francesco Passadore e Franco Rossi (talk, 1994; book, Venice: Fondazione Levi, 1998), pp. 401-441. Draft version of article. Score for mass. <br />
<br />
“Venetian Opera, French Criticism, and English Travels: The Case of Le Mercure de France and Joseph Addison,” Revue de musicologie, 83/2 (1997), pp. 185-201. Draft. <br />
<br />
“Venice: Musical Expression in an Era of Political Decline” in Music and Man (gen. ed. Stanley Sadie), 4: The Late Baroque Era from the 1680s to 1740, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93.<br />
<br />
“Genre and Instrumentation in Italian Music, 1600-1670,” Early Music, XIX/1 (1991), pp. 61-7. <br />
<br />
“The Baroque Era: Introduction” in Performance Practice (The New Grove Handbooks in Music), II: Music after 1600, ed. Howard Mayer Brown and Stanley Sadie, 2 vols. (London: The Macmillan Press and New York: W.W. Norton & Co., Ltd., 1989), II, pp. 3-19.<br />
<br />
“Is Implicit Information Retrievable in Music Queries?”, Invited talk, Dagstuhl (DE) Seminar No. 04021. 8 January 2004.<br />
<br />
“The Temperament, Scale, and Mode of Koto Music” [with Sachiko Deguchi and Katsuhiko Shirai] in Music and Globalization [in Japanese] (Tokyo, 2004), 434-48.<br />
<br />
“Base-40 Arithmetic: Implications for Notation-Based Applications,” Invited talk, WEDEL 2003/Interactive Music Network. Leeds University (UK). 11-14 September 2003.<br />
<br />
“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), Virtual Music: Computer Synthesis of Musical Style (Cambridge: The MIT Press, 2001), pp. 187-220.<br />
<br />
“The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], The Virtual Score (Computing in Musicology, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/<br />
<br />
“Data Models for Virtual Distribution of Musical Scores” (with Walter B. Hewlett and Craig Stuart Sapp), First International Congress on Web Delivery of Music ( Florence , 2001), (Los Alamos, NM: IEEE Computer Society), 62-70.<br />
<br />
“Domain Relationships in Man-Machine Interactions in Music” in Machines and History: Proceedings of the Ninth International Congress of the German Association for Semiotic Studies (Dresden, 3-6 October 1999).<br />
<br />
“Conceptual and Representational Issues in Melodic Comparison” in Melodic Similarity, (Computing in Musicology, 11, 1998), 3-64.<br />
<br />
“Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” <i>The Musical Quarterly</i> 81/2 (1997), 291-310.<br />
<br />
"Marcello and Greek Mythology" in L’invenzione del gusto. Corelli e Vivaldi: mutazioni culturali, a Roma e Venezia, nel periodo post-barocco, ed. Giovanni Morelli, 1982.<br />
<br />
==<b>Music Theory, Cognition, and Technology</b>==<br />
<br />
Co-chair, Symposium on “Knowledge Representation for Intelligent Music Processing,” Leibniz Center for Informatics, Schloss Dagstuhl (near Wadern, DE), 25-30 January 2009. See [http://drops.dagstuhl.de/opus/volltexte/2009/1971/ The Dagstuhl Core]. Coverage in the <i>Frankfurter Allgemeine Zeitung</i> (1 March 2009). <br />
<br />
“Symbolic Musical Data: Tutorial (with Craig Stuart Sapp). <i>Proceedings of the Ninth International Symposium on Music Information Retrieval</i>, Philadelphia, 2008. Talk. Handout.<br />
<br />
“Digital Philology, Performing Medium, and Graphical Idiom,” <i>Digitale Edition zwischen Experiment und Standardisierung" Musik Codierung</i>, ed. P. Stadler and J. Veit (Behefte zu Editio, 31) De Gruyter, 2009.<br />
<br />
“Algorithms for Music Information Retrieval: The Hausdorff Metric and Geometric Hashing” [lead author: Christian André Romming], ISMIR 2007. Available [http://ismir2007.ismir.net/proceedings/ISMIR2007_p457_romming.pdf here].<br />
<br />
“Social Dimensions of Melodic Identity, Cognition, and Association,” <i>Musicae Scientiae: European Journal for the Sciences of Music</i> (2007), 77-97.<br />
<br />
“Social Cognition and Melodic Persistence: Where Metadata and Content Diverge,” <i>ISMIR2006 (Victoria , BC) Proceedings</i>, ed. R. Dannenberg and K. Lemstrom. Available [http://ismir2006.ismir.net/PAPERS/ISMIR0625_Paper.pdf here].<br />
<br />
“Towards a Measure of Cognitive Distance in Melodic Similarity,” Music Query: Methods, Models, and User Studies (<i>Computing in Musicology</i>, 13 [2004]), 93-112.<br />
<br />
“Search Effectiveness Measures for Symbolic Music Queries in Very Large Databases,” [with Craig Stuart Sapp and Yi-Wen Liu], <i>ISMIR2004: Proceedings of the Fifth International Symposium on Music Information Retrieval</i> Available [http://ismir2004.ismir.net/proceedings/p051-page-266-paper135.pdf here].<br />
<br />
==<b>Music Copyright</b>==<br />
<br />
"Substantial Musical Similarity," European Panel in <i>Global Perspectives on Music Copyright</i>, org. Robert Brauneis, Charles Cronin, and Daryl Lim (U. Illinois Chicago and Geo. Washington University Law Schools), 18 March 2022. <br />
<br />
"Substantial Musical Similarity in Sound and Notation: Perspectives from Digital Musicology," <i>Colorado Technology Law Journal</i>, 16/2 (Autumn 2018), pp. 249-283. 16 COLO. TECH. L.J._(2017). See [http://ctlj.colorado.edu/?page_id=796 CTLJ] and [http://heinonline.org Hein Online].<br />
<br />
"Substantial Musical Similarity in Sound and Notation: A View from Digital Musicology",<br />
as part of the Symposium <i>[http://emptydoors.com/conferences/2017/03/01/colorado-lawsilicon-flatirons-3rd-annual-content-conference/ "Blurred v. Bright: The Changing Analysis of Copyright Infringement in Music"]</i>, Colorado Law/Silicon Flatirons 3rd Annual Content Conference, University of Colorado Law School, March 23, 2017.<br />
<br />
"[http://wiki.ccarh.org/wiki/CCDL Copyright in a Changing Digital Landscape]", <b>chair</b>, Symposium of the International Association of Music Libraries, Archives, and Documentation Centres IIAML) and the International Musicological Society (IMS), New York: The Juilliard School, 25 June 2015. With Derek Miller, Eric Harbeson, Nicholas Tsui, Robert Clarida, Richard Chesser, and Federica Riva.<br />
<br />
“Copyright Issues in Scholarly Editions of Music,” American Musicological Society, Washington, DC, 26-29 October 2005.<br />
<br />
Organizer and Chair, “Musical Data as Intellectual Property” [panel], ISMIR2004, Barcelona (ES). Participants: Charles Cronin, Enric Enrich, Masataka Goto. October 13, 2004.<br />
<br />
“Fixed Form, Fluid Content: Musical Data as Intellectual Property,” Invited talk, Conference on Virtual Scores, Kernochan Center for Law and the Arts, Law School, Columbia University, 5 May 2003.<br />
<br />
“Music Copyright, Music Technology, and Music Archiving: Issues and Interpretations,” Fourth Conference on Digital Resources in the Humanities. King’s College, London, September 14, 1999.<br />
<br />
“Copyright and Fair Use in Electronic Scholarship,” Joint Annual Meeting, Society for Music Theory and the American Musicological Society, New York , NY, November 1, 1995.<br />
<br />
==<b>Reviews</b>==<br />
"Antonio Vivaldi: <i>Thematisch-systematisches Verzeichnis seiner Werke (RV)</i>", <i>Notes</i> (MLA), 65/2 (December 2008), 294-298.<br />
<br />
"Venetian orphans," <i>Early Music</i>, 34/4 (November 2006), 681-682.<br />
<br />
"<i>Tonal Space in the Music of Antonio Vivaldi"</i>, <i>Notes</i>, 66/3 (March 2010), 542-544.<br />
<br />
"<i>La Commedia dell'Arte in Naples: A Bilingual Edition of the 176 Casamarciano Scenarios/La commedia dell'arte a Napoli: edizione bilingue dei 176 scenari Casamarciano"</i>, <i>Music & Letters</i>, 85/3 (August 2004), 436-437.<br />
<br />
"<i>Italian Opera and European Theatre, 1680-1720: Plots, Performers, Dramaturgies"</i>, ed. Melania Bucciarelli, <i>Music and Letters</i>, 85/6 (August 2004), 438-439.<br />
<br />
"Copyright and Cultural Institutions: Guidelines for Digitization for U.S. Libraries, Archives, and Museums," <i>Notes</i>, 67/3 (March 2011), 557-559.<br />
<br />
"<i>Antonio Vivaldi und seine Zeit</i>", <i>Notes</i>, 68/2 (December 2011), 348-351.<br />
<br />
"Hybrid Critical Editions of Opera: Motives, Milestones, and Quandaries," <i>Notes</i>, 72/1 (September 2015), 9-22.</div>Esfieldhttps://wiki.ccarh.org/index.php?title=Eleanor_Selfridge-Field:_Articles&diff=12575Eleanor Selfridge-Field: Articles2023-11-16T05:11:38Z<p>Esfield: /* European Culture, Music, and History */</p>
<hr />
<div>Articles through 2022 <small>(or later if open access is lacking)</small><br />
<br />
==<b>European Culture, Music, and History</b>==<br />
<br />
"The Vivaldis of Brescia," <i>Recercare</i>, XXXV (2023), 69-101.<br />
<br />
"The Keyboard Transcriptions of J. S. Bach and J. G. Walther," <i>Bach and Mozart: Connections, Patterns, and Pathways</i>, ed. Paul Corneilson (Bach Perspectives, 14), Champaign, IL: University of Illinois Press (2022), pp. 1-22. <br />
<br />
"The Teatro Sant'Angelo: Cradle of fledgling opera troupes," <i>Musicologica Brunensia</i> (2018), 157-170. DOI:10.5817/MB2018-S-11 Corpus ID: 194638187 <br />
<br />
"Venetian Instrumental Music in the Sixteenth Century" in the <i>Companion to Music in Sixteenth-Century Venice</i>, ed. Katelijne Schiltz (Turnhout: Brill, 2017), pp. 415-439.<br />
<br />
"Echoes of Gabrieli" [review], <i>Early Music</i> 45/4 (2017). doi:10.1093/em/cax126. <br />
<br />
"Schulenburg, Corfù, and the dating of <i>Juditha triumphans</i>" in <i>Fulgeat sul frontis decorae: Studi in onore di Michael Talbot</i>, ed. A. Borin and J.M. Cameron, Venice: Fondazione Giorgio Cini, 2016), 207-221.<br />
<br />
[http://www.cini.it/wp-content/uploads/2016/07/Parte-1.pdf. "La famiglia materna di Antonio Vivaldi" ["Vivaldi's Maternal Lineage"] ], with Margherita Gianola, in <i>Studi vivaldiani</i> No. 15 (Florence: Editore SPES, 2015), 13-53. English summary pp. 49-54. <br />
<br />
"From Vivaldi to Gluck: On the road with Anna Girò" in <i>Gluck and the map of eighteenth-century music</i>, ed. Brian Locke and Bruce Brown. Forthcoming.<br />
<br />
Federico Maria Sardelli, <i>Catalogo delle concordanze musicali vivaldiane</i> [review], Florence: Leo S. Olschki, 2012 (Studi di Musica veneta. Quaderni vivaldiani, 16), vol. cxlvii, in <i>Il Saggitore musicale</i>, XXI (2014), 313-318.<br />
<br />
[[Media:Selfridge-Field_MarcelloOrientalism2013.pdf|"Marcello's Orientalism"]] in <i>Psalmen: Kirchenmusik zwischen Tradition, Dramatik und Experiment</i>, ed. Helen Geyer and Birgit Johanna Wertenson (Cologne: Böhlau, 2013), 205-222. <br />
<br />
Review of Peter Ryom's <i>Antonio Vivaldi: Thematisch-Systematisches Verzeichnis zeiner Werke (RV)</i>, Breitkopf & Härtel, 2007, in <i>Notes</i> 65/2 (Dec. 2008). <br />
<br />
“Musical Commerce and the Fiera della Sensa, 1720-1760,” <i>Venezia mercato delle arti</i>, Ducal Palace, Venice, 11 October 2008 (<i>Venezia mercato delle arti</i>, org. Barbara Marx). Proceedings unpublished. <br />
<br />
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” <i>L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international</i>, ed. D. Colas, A. Di Profio, G. Gétreau, and P. Petrobelli (Tours: CNRS 2008), pp. 15-27.<br />
<br />
“Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies” in <i>Antonio Vivaldi: Passato e futuro</i>, ed. F. Fanna and M. Talbot (Venice, 2008). Download [http://old.cini.it/uploads/assets/ATTI_VIVALDI_marzo_2010/29-Selfridge%20Field.pdf here]. <br />
<br />
“Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare</i>, 2007 [posthumous completion, with Loris Stella, of work of Gastone Vio]. <br />
<br />
“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” <i>Passages: Congress of the International Musicological Society</i>, Zurich, 10-15 July 2007.<br />
<br />
“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.<br />
<br />
“The Invention of the Fortepiano as Intellectual History,” <i>Early Music</i> 29 (2005), 81-94.<br />
<br />
"The Pieta Museum, Venice," <i>Early Music</i>, 33/1 (Feb. 2005), p 154. <br />
<br />
“Dramaturgical Hours: How Lunar and Solar Cycles influenced the Length and Character of Venetian Operas,” Twelfth Biannual Baroque Studies Conference, Manchester (UK), July 14-18, 2004.<br />
<br />
“Francesco Maria Piccioli-Carlo Pallavicino, <i>Messalina</i>," facs. edn. (<i>Drammaturgia musicale veneta</i>, viii), Milan: Ricordi, 2003; introductory essay, pp. ix-lxxiv.<br />
<br />
“La Guerra dei Comici: Mantuan Comedy and Venetian Opera in c. 1700,” <i>Recercare</i>, X (1998, In memoriam Nino Pirrotta), 209-248.<br />
<br />
“His, Hers, Theirs: Wedding Pageants, Wedding Operas, and the Musical Politics of Match-Making,” American Musicological Society, UCLA, 28 April 2001.<br />
<br />
“Rites of Autumn, Winter, and Spring: Decoding the Calendar of Venetian Opera,” Ninth Biennial Conference on Baroque Music, Trinity College Dublin, 13 July 2000. <br />
<br />
“Horse Ballets in Baroque Italy,” Berkeley Early Music Festival, 7 June 2000. <br />
<br />
“Celebrations of Power: The Performing Arts in Baroque Venice.” National Gallery of Art, Washington, DC (1995) and other venues.<br />
<br />
“Expanding Violin Technique in Vivaldi's Time,” lecture-demo with Stanley Ritchie (Baroque violin), Boston Handel and Haydn Society, 2000.<br />
<br />
“La guerra de' comici: Mantuan Comedy and Venetian Opera in c.1700,” Recercare X (1998), 209-248.<br />
<br />
“Rovetta's Music for Holy Week,” La Basilica di San Marco nell'età moderna, ed. Francesco Passadore e Franco Rossi (talk, 1994; book, Venice: Fondazione Levi, 1998), pp. 401-441. Draft version of article. Score for the mass. <br />
<br />
“Venetian Opera, French Criticism, and English Travels: The Case of Le Mercure de France and Joseph Addison,” Revue de musicologie, 83/2 (1997), pp. 185-201. Draft. <br />
<br />
“Venice: Musical Expression in an Era of Political Decline” in Music and Man (gen. ed. Stanley Sadie), 4: The Late Baroque Era from the 1680s to 1740, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93.<br />
<br />
“Genre and Instrumentation in Italian Music, 1600-1670,” Early Music, XIX/1 (1991), pp. 61-7. <br />
<br />
“The Baroque Era: Introduction” in Performance Practice (The New Grove Handbooks in Music), II: Music after 1600, ed. Howard Mayer Brown and Stanley Sadie, 2 vols. (London: The Macmillan Press and New York: W.W. Norton & Co., Ltd., 1989), II, pp. 3-19.<br />
<br />
“Is Implicit Information Retrievable in Music Queries?”, Invited talk, Dagstuhl (DE) Seminar No. 04021. 8 January 2004.<br />
<br />
“The Temperament, Scale, and Mode of Koto Music” [with Sachiko Deguchi and Katsuhiko Shirai] in Music and Globalization [in Japanese] (Tokyo, 2004), 434-48.<br />
<br />
“Base-40 Arithmetic: Implications for Notation-Based Applications,” Invited talk, WEDEL 2003/Interactive Music Network. Leeds University (UK). 11-14 September 2003.<br />
<br />
“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), <i>Virtual Music: Computer Synthesis of Musical Style</i> (Cambridge: The MIT Press, 2001), pp. 187-220. Now available at https://direct.mit.edu.<br />
<br />
“The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], <i>The Virtual Score</i> (Computing in Musicology, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/<br />
<br />
“Data Models for Virtual Distribution of Musical Scores” (with Walter B. Hewlett and Craig Stuart Sapp), <i>First International Congress on Web Delivery of Music</i> (Florence, 2001), (Los Alamos, NM: IEEE Computer Society), 62-70.<br />
<br />
“Domain Relationships in Man-Machine Interactions in Music” in Machines and History: Proceedings of the Ninth International Congress of the German Association for Semiotic Studies (Dresden, 3-6 October 1999).<br />
<br />
“Conceptual and Representational Issues in Melodic Comparison” in <i>Melodic Similarity>/i>, (Computing in Musicology, 11, 1998), 3-64.<br />
<br />
“Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” <i>The Musical Quarterly</i> 81/2 (1997), 291-310.<br />
<br />
==<b>European Culture, Music, and History</b>==<br />
<br />
"From Vivaldi to Gluck: One the road with Anna Girò" in <i>Gluck and the map of eighteenth-century music</i>, ed. Brian Locke and Bruce Brown. Forthcoming.<br />
<br />
"Schulenburg, Corfù, and the dating of <i>Juditha triumphans</i>" in <i>Fulgeat sul frontis decorae: Studi in onore di Michael Talbot</i>, ed. A. Borin and J.M. Cameron («Studi vivaldiani» 1), Venice: Fondazione Giorgio Cini, 2016), 207-221.<br />
<br />
[http://www.cini.it/wp-content/uploads/2016/07/Parte-1.pdf. "La famiglia materna di Antonio Vivaldi" ["Vivaldi's Maternal Lineage"] ], with Margherita Gianola, in <i>Studi vivaldiani</i> No. 15 (Florence: Editore SPES, 2015), 13-53. A long summary in English starts at p. 49. <br />
<br />
Review of Federico Maria Sardelli's <i>Catalogo delle concordanze musicali vivaldiane</i>, Florence: Leo S. Olschki, 2012 («Studi di Musica veneta. Quaderni vivaldiani», 16), vol. cxlvii, in <i>Il Saggiotre musicale</i> XXI (2014), 313-318.<br />
<br />
Review of Peter Ryom's <i>Antonio Vivaldi: Thematisch-Systematisches Verzeichnis zeiner Werke (RV)</i>, Breitkopf & Härtel, 2007, in <i>Notes</i> 65/2 (Dec. 2008). Text.<br />
<br />
“Musical Commerce and the Fiera della Sensa, 1720-1760,” <i>Venezia mercato delle arti</i>, Ducal Palace, Venice, 11 October 2008 (<i>Venezia mercato delle arti</i>, org. Barbara Marx). Proceedings unpublished. <br />
<br />
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” <i>L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international</i>, ed. D. Colas, A. Di Profio, G. Gétreau, and P. Petrobelli (Tours: CNRS 2008), pp. 15-27.<br />
<br />
“Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare<i>, 2007 [posthumous completion, with Loris Stella, of work of Gastone Vio].<br />
<br />
“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” <i>Passages</i>: Congress of the International Musicological Society, Zurich, 10-15 July 2007.<br />
<br />
“Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies” in <i>Antonio Vivaldi: Passato e futuro, ed. F. Fanna and M. Talbot (Venice, 2008). Download [http://old.cini.it/uploads/assets/ATTI_VIVALDI_marzo_2010/29-Selfridge%20Field.pdf here]. <br />
<br />
“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.<br />
<br />
“The Invention of the Fortepiano as Intellectual History,” <i>Early Music</i> 33/1 (Feb. 2005), 81-94.<br />
<br />
“Dramaturgical Hours: How Lunar and Solar Cycles influenced the Length and Character of Venetian Operas,” Twelfth Biannual Baroque Studies Conference, Manchester (UK), July 14-18, 2004.<br />
<br />
“Francesco Maria Piccioli-Carlo Pallavicino, <i>Messalina</i>," facs. edn. (<i>Drammaturgia musicale veneta</i>, viii), Milan: Ricordi, 2003; introductory essay, pp. ix-lxxiv.<br />
<br />
“La Guerra dei Comici: Mantuan Comedy and Venetian Opera in c. 1700,” <i>Recercare</i>, X (1998, In memoriam Nino Pirrotta), 209-248.<br />
<br />
“His, Hers, Theirs: Wedding Pageants, Wedding Operas, and the Musical Politics of Match-Making,” American Musicological Society, UCLA, 28 April 2001.<br />
<br />
“Rites of Autumn, Winter, and Spring: Decoding the Calendar of Venetian Opera,” Ninth Biennial Conference on Baroque Music, Trinity College Dublin, 13 July 2000. <br />
<br />
“Horse Ballets in Baroque Italy,” Berkeley Early Music Festival, 7 June 2000. <br />
<br />
“Celebrations of Power: The Performing Arts in Baroque Venice.” National Gallery of Art, Washington, DC (1995) and other venues.<br />
<br />
“Expanding Violin Technique in Vivaldi's Time,” lecture-demo with Stanley Ritchie (Baroque violin), Boston Handel and Haydn Society, 2000.<br />
<br />
“La guerra de' comici: Mantuan Comedy and Venetian Opera in c.1700,” Recercare X (1998), 209-248.<br />
<br />
“Rovetta's Music for Holy Week,” La Basilica di San Marco nell'età moderna, ed. Francesco Passadore e Franco Rossi (talk, 1994; book, Venice: Fondazione Levi, 1998), pp. 401-441. Draft version of article. Score for mass. <br />
<br />
“Venetian Opera, French Criticism, and English Travels: The Case of Le Mercure de France and Joseph Addison,” Revue de musicologie, 83/2 (1997), pp. 185-201. Draft. <br />
<br />
“Venice: Musical Expression in an Era of Political Decline” in Music and Man (gen. ed. Stanley Sadie), 4: The Late Baroque Era from the 1680s to 1740, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93.<br />
<br />
“Genre and Instrumentation in Italian Music, 1600-1670,” Early Music, XIX/1 (1991), pp. 61-7. <br />
<br />
“The Baroque Era: Introduction” in Performance Practice (The New Grove Handbooks in Music), II: Music after 1600, ed. Howard Mayer Brown and Stanley Sadie, 2 vols. (London: The Macmillan Press and New York: W.W. Norton & Co., Ltd., 1989), II, pp. 3-19.<br />
<br />
“Is Implicit Information Retrievable in Music Queries?”, Invited talk, Dagstuhl (DE) Seminar No. 04021. 8 January 2004.<br />
<br />
“The Temperament, Scale, and Mode of Koto Music” [with Sachiko Deguchi and Katsuhiko Shirai] in Music and Globalization [in Japanese] (Tokyo, 2004), 434-48.<br />
<br />
“Base-40 Arithmetic: Implications for Notation-Based Applications,” Invited talk, WEDEL 2003/Interactive Music Network. Leeds University (UK). 11-14 September 2003.<br />
<br />
“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), Virtual Music: Computer Synthesis of Musical Style (Cambridge: The MIT Press, 2001), pp. 187-220.<br />
<br />
“The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], The Virtual Score (Computing in Musicology, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/<br />
<br />
“Data Models for Virtual Distribution of Musical Scores” (with Walter B. Hewlett and Craig Stuart Sapp), First International Congress on Web Delivery of Music ( Florence , 2001), (Los Alamos, NM: IEEE Computer Society), 62-70.<br />
<br />
“Domain Relationships in Man-Machine Interactions in Music” in Machines and History: Proceedings of the Ninth International Congress of the German Association for Semiotic Studies (Dresden, 3-6 October 1999).<br />
<br />
“Conceptual and Representational Issues in Melodic Comparison” in Melodic Similarity, (Computing in Musicology, 11, 1998), 3-64.<br />
<br />
“Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” <i>The Musical Quarterly</i> 81/2 (1997), 291-310.<br />
<br />
"Marcello and Greek Mythology" in L’invenzione del gusto. Corelli e Vivaldi: mutazioni culturali, a Roma e Venezia, nel periodo post-barocco, ed. Giovanni Morelli, 1982.<br />
<br />
==<b>Music Theory, Cognition, and Technology</b>==<br />
<br />
Co-chair, Symposium on “Knowledge Representation for Intelligent Music Processing,” Leibniz Center for Informatics, Schloss Dagstuhl (near Wadern, DE), 25-30 January 2009. See [http://drops.dagstuhl.de/opus/volltexte/2009/1971/ The Dagstuhl Core]. Coverage in the <i>Frankfurter Allgemeine Zeitung</i> (1 March 2009). <br />
<br />
“Symbolic Musical Data: Tutorial (with Craig Stuart Sapp). <i>Proceedings of the Ninth International Symposium on Music Information Retrieval</i>, Philadelphia, 2008. Talk. Handout.<br />
<br />
“Digital Philology, Performing Medium, and Graphical Idiom,” <i>Digitale Edition zwischen Experiment und Standardisierung" Musik Codierung</i>, ed. P. Stadler and J. Veit (Behefte zu Editio, 31) De Gruyter, 2009.<br />
<br />
“Algorithms for Music Information Retrieval: The Hausdorff Metric and Geometric Hashing” [lead author: Christian André Romming], ISMIR 2007. Available [http://ismir2007.ismir.net/proceedings/ISMIR2007_p457_romming.pdf here].<br />
<br />
“Social Dimensions of Melodic Identity, Cognition, and Association,” <i>Musicae Scientiae: European Journal for the Sciences of Music</i> (2007), 77-97.<br />
<br />
“Social Cognition and Melodic Persistence: Where Metadata and Content Diverge,” <i>ISMIR2006 (Victoria , BC) Proceedings</i>, ed. R. Dannenberg and K. Lemstrom. Available [http://ismir2006.ismir.net/PAPERS/ISMIR0625_Paper.pdf here].<br />
<br />
“Towards a Measure of Cognitive Distance in Melodic Similarity,” Music Query: Methods, Models, and User Studies (<i>Computing in Musicology</i>, 13 [2004]), 93-112.<br />
<br />
“Search Effectiveness Measures for Symbolic Music Queries in Very Large Databases,” [with Craig Stuart Sapp and Yi-Wen Liu], <i>ISMIR2004: Proceedings of the Fifth International Symposium on Music Information Retrieval</i> Available [http://ismir2004.ismir.net/proceedings/p051-page-266-paper135.pdf here].<br />
<br />
==<b>Music Copyright</b>==<br />
<br />
"Substantial Musical Similarity," European Panel in <i>Global Perspectives on Music Copyright</i>, org. Robert Brauneis, Charles Cronin, and Daryl Lim (U. Illinois Chicago and Geo. Washington University Law Schools), 18 March 2022. <br />
<br />
"Substantial Musical Similarity in Sound and Notation: Perspectives from Digital Musicology," <i>Colorado Technology Law Journal</i>, 16/2 (Autumn 2018), pp. 249-283. 16 COLO. TECH. L.J._(2017). See [http://ctlj.colorado.edu/?page_id=796 CTLJ] and [http://heinonline.org Hein Online].<br />
<br />
"Substantial Musical Similarity in Sound and Notation: A View from Digital Musicology",<br />
as part of the Symposium <i>[http://emptydoors.com/conferences/2017/03/01/colorado-lawsilicon-flatirons-3rd-annual-content-conference/ "Blurred v. Bright: The Changing Analysis of Copyright Infringement in Music"]</i>, Colorado Law/Silicon Flatirons 3rd Annual Content Conference, University of Colorado Law School, March 23, 2017.<br />
<br />
"[http://wiki.ccarh.org/wiki/CCDL Copyright in a Changing Digital Landscape]", <b>chair</b>, Symposium of the International Association of Music Libraries, Archives, and Documentation Centres IIAML) and the International Musicological Society (IMS), New York: The Juilliard School, 25 June 2015. With Derek Miller, Eric Harbeson, Nicholas Tsui, Robert Clarida, Richard Chesser, and Federica Riva.<br />
<br />
“Copyright Issues in Scholarly Editions of Music,” American Musicological Society, Washington, DC, 26-29 October 2005.<br />
<br />
Organizer and Chair, “Musical Data as Intellectual Property” [panel], ISMIR2004, Barcelona (ES). Participants: Charles Cronin, Enric Enrich, Masataka Goto. October 13, 2004.<br />
<br />
“Fixed Form, Fluid Content: Musical Data as Intellectual Property,” Invited talk, Conference on Virtual Scores, Kernochan Center for Law and the Arts, Law School, Columbia University, 5 May 2003.<br />
<br />
“Music Copyright, Music Technology, and Music Archiving: Issues and Interpretations,” Fourth Conference on Digital Resources in the Humanities. King’s College, London, September 14, 1999.<br />
<br />
“Copyright and Fair Use in Electronic Scholarship,” Joint Annual Meeting, Society for Music Theory and the American Musicological Society, New York , NY, November 1, 1995.<br />
<br />
==<b>Reviews</b>==<br />
"Antonio Vivaldi: <i>Thematisch-systematisches Verzeichnis seiner Werke (RV)</i>", <i>Notes</i> (MLA), 65/2 (December 2008), 294-298.<br />
<br />
"Venetian orphans," <i>Early Music</i>, 34/4 (November 2006), 681-682.<br />
<br />
"<i>Tonal Space in the Music of Antonio Vivaldi"</i>, <i>Notes</i>, 66/3 (March 2010), 542-544.<br />
<br />
"<i>La Commedia dell'Arte in Naples: A Bilingual Edition of the 176 Casamarciano Scenarios/La commedia dell'arte a Napoli: edizione bilingue dei 176 scenari Casamarciano"</i>, <i>Music & Letters</i>, 85/3 (August 2004), 436-437.<br />
<br />
"<i>Italian Opera and European Theatre, 1680-1720: Plots, Performers, Dramaturgies"</i>, ed. Melania Bucciarelli, <i>Music and Letters</i>, 85/6 (August 2004), 438-439.<br />
<br />
"Copyright and Cultural Institutions: Guidelines for Digitization for U.S. Libraries, Archives, and Museums," <i>Notes</i>, 67/3 (March 2011), 557-559.<br />
<br />
"<i>Antonio Vivaldi und seine Zeit</i>", <i>Notes</i>, 68/2 (December 2011), 348-351.<br />
<br />
"Hybrid Critical Editions of Opera: Motives, Milestones, and Quandaries," <i>Notes</i>, 72/1 (September 2015), 9-22.</div>Esfieldhttps://wiki.ccarh.org/index.php?title=Eleanor_Selfridge-Field:_Articles&diff=12574Eleanor Selfridge-Field: Articles2023-11-16T05:10:25Z<p>Esfield: /* European Culture, Music, and History [forthcoming] */</p>
<hr />
<div>Articles through 2022 <small>(or later if open access is lacking)</small><br />
<br />
==<b>European Culture, Music, and History</b>==<br />
<br />
"The Vivaldis of Brescia," <i>Recercare</i>, XXXV (2023), 69-101.<br />
<br />
"The Keyboard Transcriptions of J. S. Bach and J. G. Walther," <i>Bach and Mozart: Connections, Patterns, and Pathways</i>, ed. Paul Corneilson (Bach Perspectives, 14), Champaign, IL: University of Illinois Press (2022), pp. 1-22. <br />
<br />
"The Teatro Sant'Angelo: Cradle of fledgling opera troupes," <i>Musicologica Brunensia</i> (2018), 157-170. DOI:10.5817/MB2018-S-11 Corpus ID: 194638187 <br />
<br />
"Venetian Instrumental Music in the Sixteenth Century" in the <i>Companion to Music in Sixteenth-Century Venice</i>, ed. Katelijne Schiltz (Turnhout: Brill, 2017), pp. 415-439.<br />
<br />
"Echoes of Gabrieli" [review], <i>Early Music</i> 45/4 (2017). doi:10.1093/em/cax126. <br />
<br />
"Schulenburg, Corfù, and the dating of <i>Juditha triumphans</i>" in <i>Fulgeat sul frontis decorae: Studi in onore di Michael Talbot</i>, ed. A. Borin and J.M. Cameron, Venice: Fondazione Giorgio Cini, 2016), 207-221.<br />
<br />
[http://www.cini.it/wp-content/uploads/2016/07/Parte-1.pdf. "La famiglia materna di Antonio Vivaldi" ["Vivaldi's Maternal Lineage"] ], with Margherita Gianola, in <i>Studi vivaldiani</i> No. 15 (Florence: Editore SPES, 2015), 13-53. English summary pp. 49-54. <br />
<br />
"From Vivaldi to Gluck: On the road with Anna Girò" in <i>Gluck and the map of eighteenth-century music</i>, ed. Brian Locke and Bruce Brown. Forthcoming.<br />
<br />
Federico Maria Sardelli, <i>Catalogo delle concordanze musicali vivaldiane</i> [review], Florence: Leo S. Olschki, 2012 (Studi di Musica veneta. Quaderni vivaldiani, 16), vol. cxlvii, in <i>Il Saggitore musicale</i>, XXI (2014), 313-318.<br />
<br />
[[Media:Selfridge-Field_MarcelloOrientalism2013.pdf|"Marcello's Orientalism"]] in <i>Psalmen: Kirchenmusik zwischen Tradition, Dramatik und Experiment</i>, ed. Helen Geyer and Birgit Johanna Wertenson (Cologne: Böhlau, 2013), 205-222. <br />
<br />
Review of Peter Ryom's <i>Antonio Vivaldi: Thematisch-Systematisches Verzeichnis zeiner Werke (RV)</i>, Breitkopf & Härtel, 2007, in <i>Notes</i> 65/2 (Dec. 2008). <br />
<br />
“Musical Commerce and the Fiera della Sensa, 1720-1760,” <i>Venezia mercato delle arti</i>, Ducal Palace, Venice, 11 October 2008 (<i>Venezia mercato delle arti</i>, org. Barbara Marx). Proceedings unpublished. <br />
<br />
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” <i>L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international</i>, ed. D. Colas, A. Di Profio, G. Gétreau, and P. Petrobelli (Tours: CNRS 2008), pp. 15-27.<br />
<br />
“Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies” in <i>Antonio Vivaldi: Passato e futuro</i>, ed. F. Fanna and M. Talbot (Venice, 2008). Download [http://old.cini.it/uploads/assets/ATTI_VIVALDI_marzo_2010/29-Selfridge%20Field.pdf here]. <br />
<br />
“Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare</i>, 2007 [posthumous completion, with Loris Stella, of work of Gastone Vio]. <br />
<br />
“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” <i>Passages: Congress of the International Musicological Society</i>, Zurich, 10-15 July 2007.<br />
<br />
“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.<br />
<br />
“The Invention of the Fortepiano as Intellectual History,” <i>Early Music</i> 29 (2005), 81-94.<br />
<br />
"The Pieta Museum, Venice," <i>Early Music</i>, 33/1 (Feb. 2005), p 154. <br />
<br />
“Dramaturgical Hours: How Lunar and Solar Cycles influenced the Length and Character of Venetian Operas,” Twelfth Biannual Baroque Studies Conference, Manchester (UK), July 14-18, 2004.<br />
<br />
“Francesco Maria Piccioli-Carlo Pallavicino, <i>Messalina</i>," facs. edn. (<i>Drammaturgia musicale veneta</i>, viii), Milan: Ricordi, 2003; introductory essay, pp. ix-lxxiv.<br />
<br />
“La Guerra dei Comici: Mantuan Comedy and Venetian Opera in c. 1700,” <i>Recercare</i>, X (1998, In memoriam Nino Pirrotta), 209-248.<br />
<br />
“His, Hers, Theirs: Wedding Pageants, Wedding Operas, and the Musical Politics of Match-Making,” American Musicological Society, UCLA, 28 April 2001.<br />
<br />
“Rites of Autumn, Winter, and Spring: Decoding the Calendar of Venetian Opera,” Ninth Biennial Conference on Baroque Music, Trinity College Dublin, 13 July 2000. <br />
<br />
“Horse Ballets in Baroque Italy,” Berkeley Early Music Festival, 7 June 2000. <br />
<br />
“Celebrations of Power: The Performing Arts in Baroque Venice.” National Gallery of Art, Washington, DC (1995) and other venues.<br />
<br />
“Expanding Violin Technique in Vivaldi's Time,” lecture-demo with Stanley Ritchie (Baroque violin), Boston Handel and Haydn Society, 2000.<br />
<br />
“La guerra de' comici: Mantuan Comedy and Venetian Opera in c.1700,” Recercare X (1998), 209-248.<br />
<br />
“Rovetta's Music for Holy Week,” La Basilica di San Marco nell'età moderna, ed. Francesco Passadore e Franco Rossi (talk, 1994; book, Venice: Fondazione Levi, 1998), pp. 401-441. Draft version of article. Score for the mass. <br />
<br />
“Venetian Opera, French Criticism, and English Travels: The Case of Le Mercure de France and Joseph Addison,” Revue de musicologie, 83/2 (1997), pp. 185-201. Draft. <br />
<br />
“Venice: Musical Expression in an Era of Political Decline” in Music and Man (gen. ed. Stanley Sadie), 4: The Late Baroque Era from the 1680s to 1740, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93.<br />
<br />
“Genre and Instrumentation in Italian Music, 1600-1670,” Early Music, XIX/1 (1991), pp. 61-7. <br />
<br />
“The Baroque Era: Introduction” in Performance Practice (The New Grove Handbooks in Music), II: Music after 1600, ed. Howard Mayer Brown and Stanley Sadie, 2 vols. (London: The Macmillan Press and New York: W.W. Norton & Co., Ltd., 1989), II, pp. 3-19.<br />
<br />
“Is Implicit Information Retrievable in Music Queries?”, Invited talk, Dagstuhl (DE) Seminar No. 04021. 8 January 2004.<br />
<br />
“The Temperament, Scale, and Mode of Koto Music” [with Sachiko Deguchi and Katsuhiko Shirai] in Music and Globalization [in Japanese] (Tokyo, 2004), 434-48.<br />
<br />
“Base-40 Arithmetic: Implications for Notation-Based Applications,” Invited talk, WEDEL 2003/Interactive Music Network. Leeds University (UK). 11-14 September 2003.<br />
<br />
“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), <i>Virtual Music: Computer Synthesis of Musical Style</i> (Cambridge: The MIT Press, 2001), pp. 187-220. Now available at https://direct.mit.edu.<br />
<br />
“The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], <i>The Virtual Score</i> (Computing in Musicology, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/<br />
<br />
“Data Models for Virtual Distribution of Musical Scores” (with Walter B. Hewlett and Craig Stuart Sapp), <i>First International Congress on Web Delivery of Music</i> (Florence, 2001), (Los Alamos, NM: IEEE Computer Society), 62-70.<br />
<br />
“Domain Relationships in Man-Machine Interactions in Music” in Machines and History: Proceedings of the Ninth International Congress of the German Association for Semiotic Studies (Dresden, 3-6 October 1999).<br />
<br />
“Conceptual and Representational Issues in Melodic Comparison” in <i>Melodic Similarity>/i>, (Computing in Musicology, 11, 1998), 3-64.<br />
<br />
“Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” <i>The Musical Quarterly</i> 81/2 (1997), 291-310.<br />
<br />
==<b>European Culture, Music, and History</b>==<br />
<br />
"The Teatro Sant'Angelo: Cradle of fledgling opera troupes," <i>Musicologica Brunensia</i>, 157-170. doi:10.5817/mb2018-s-11. <br />
<br />
"Venetian Instrumental Music in the Sixteenth Century" in <i>Companion to Music in Sixteenth-Century Venice</i>, ed. Katelijne Schiltz (Turnhout: Brill, 2017), pp. 415-439.<br />
<br />
"Echoes of Gabrieli," <i>Early Music</i> 45/4 (2017). doi:10.1093/em/cax126. <br />
<br />
"From Vivaldi to Gluck: One the road with Anna Girò" in <i>Gluck and the map of eighteenth-century music</i>, ed. Brian Locke and Bruce Brown. Forthcoming.<br />
<br />
"Schulenburg, Corfù, and the dating of <i>Juditha triumphans</i>" in <i>Fulgeat sul frontis decorae: Studi in onore di Michael Talbot</i>, ed. A. Borin and J.M. Cameron («Studi vivaldiani» 1), Venice: Fondazione Giorgio Cini, 2016), 207-221.<br />
<br />
[http://www.cini.it/wp-content/uploads/2016/07/Parte-1.pdf. "La famiglia materna di Antonio Vivaldi" ["Vivaldi's Maternal Lineage"] ], with Margherita Gianola, in <i>Studi vivaldiani</i> No. 15 (Florence: Editore SPES, 2015), 13-53. A long summary in English starts at p. 49. <br />
<br />
Review of Federico Maria Sardelli's <i>Catalogo delle concordanze musicali vivaldiane</i>, Florence: Leo S. Olschki, 2012 («Studi di Musica veneta. Quaderni vivaldiani», 16), vol. cxlvii, in <i>Il Saggiotre musicale</i> XXI (2014), 313-318.<br />
<br />
Review of Peter Ryom's <i>Antonio Vivaldi: Thematisch-Systematisches Verzeichnis zeiner Werke (RV)</i>, Breitkopf & Härtel, 2007, in <i>Notes</i> 65/2 (Dec. 2008). Text.<br />
<br />
“Musical Commerce and the Fiera della Sensa, 1720-1760,” <i>Venezia mercato delle arti</i>, Ducal Palace, Venice, 11 October 2008 (<i>Venezia mercato delle arti</i>, org. Barbara Marx). Proceedings unpublished. <br />
<br />
“Ritual, Liturgy, and the Venetian Theatrical Calendar,” <i>L’Opéra italien en Europe à l’époque de Haendel: Transmission, circulation et reception d’un genre international</i>, ed. D. Colas, A. Di Profio, G. Gétreau, and P. Petrobelli (Tours: CNRS 2008), pp. 15-27.<br />
<br />
“Scuole della musica a Venezia da 1500 al 1797,” <i>Recercare<i>, 2007 [posthumous completion, with Loris Stella, of work of Gastone Vio].<br />
<br />
“From Carnival Opera to Lenten Opera: The Politics of Theatrical Time,” <i>Passages</i>: Congress of the International Musicological Society, Zurich, 10-15 July 2007.<br />
<br />
“Dating Venetian Operas: Implications and Quandaries for Vivaldi Studies” in <i>Antonio Vivaldi: Passato e futuro, ed. F. Fanna and M. Talbot (Venice, 2008). Download [http://old.cini.it/uploads/assets/ATTI_VIVALDI_marzo_2010/29-Selfridge%20Field.pdf here]. <br />
<br />
“Night and Theatrical Time in Early Modern Venice,” Renaissance Society of America, Miami, 22-25 March 2007.<br />
<br />
“The Invention of the Fortepiano as Intellectual History,” <i>Early Music</i> 33/1 (Feb. 2005), 81-94.<br />
<br />
“Dramaturgical Hours: How Lunar and Solar Cycles influenced the Length and Character of Venetian Operas,” Twelfth Biannual Baroque Studies Conference, Manchester (UK), July 14-18, 2004.<br />
<br />
“Francesco Maria Piccioli-Carlo Pallavicino, <i>Messalina</i>," facs. edn. (<i>Drammaturgia musicale veneta</i>, viii), Milan: Ricordi, 2003; introductory essay, pp. ix-lxxiv.<br />
<br />
“La Guerra dei Comici: Mantuan Comedy and Venetian Opera in c. 1700,” <i>Recercare</i>, X (1998, In memoriam Nino Pirrotta), 209-248.<br />
<br />
“His, Hers, Theirs: Wedding Pageants, Wedding Operas, and the Musical Politics of Match-Making,” American Musicological Society, UCLA, 28 April 2001.<br />
<br />
“Rites of Autumn, Winter, and Spring: Decoding the Calendar of Venetian Opera,” Ninth Biennial Conference on Baroque Music, Trinity College Dublin, 13 July 2000. <br />
<br />
“Horse Ballets in Baroque Italy,” Berkeley Early Music Festival, 7 June 2000. <br />
<br />
“Celebrations of Power: The Performing Arts in Baroque Venice.” National Gallery of Art, Washington, DC (1995) and other venues.<br />
<br />
“Expanding Violin Technique in Vivaldi's Time,” lecture-demo with Stanley Ritchie (Baroque violin), Boston Handel and Haydn Society, 2000.<br />
<br />
“La guerra de' comici: Mantuan Comedy and Venetian Opera in c.1700,” Recercare X (1998), 209-248.<br />
<br />
“Rovetta's Music for Holy Week,” La Basilica di San Marco nell'età moderna, ed. Francesco Passadore e Franco Rossi (talk, 1994; book, Venice: Fondazione Levi, 1998), pp. 401-441. Draft version of article. Score for mass. <br />
<br />
“Venetian Opera, French Criticism, and English Travels: The Case of Le Mercure de France and Joseph Addison,” Revue de musicologie, 83/2 (1997), pp. 185-201. Draft. <br />
<br />
“Venice: Musical Expression in an Era of Political Decline” in Music and Man (gen. ed. Stanley Sadie), 4: The Late Baroque Era from the 1680s to 1740, ed. George J. Buelow (London: Macmillan, 1993), pp. 66-93.<br />
<br />
“Genre and Instrumentation in Italian Music, 1600-1670,” Early Music, XIX/1 (1991), pp. 61-7. <br />
<br />
“The Baroque Era: Introduction” in Performance Practice (The New Grove Handbooks in Music), II: Music after 1600, ed. Howard Mayer Brown and Stanley Sadie, 2 vols. (London: The Macmillan Press and New York: W.W. Norton & Co., Ltd., 1989), II, pp. 3-19.<br />
<br />
“Is Implicit Information Retrievable in Music Queries?”, Invited talk, Dagstuhl (DE) Seminar No. 04021. 8 January 2004.<br />
<br />
“The Temperament, Scale, and Mode of Koto Music” [with Sachiko Deguchi and Katsuhiko Shirai] in Music and Globalization [in Japanese] (Tokyo, 2004), 434-48.<br />
<br />
“Base-40 Arithmetic: Implications for Notation-Based Applications,” Invited talk, WEDEL 2003/Interactive Music Network. Leeds University (UK). 11-14 September 2003.<br />
<br />
“Composition, Combinatorics, and Simulation: A Historical and Philosophical Enquiry” in David Cope (ed.), Virtual Music: Computer Synthesis of Musical Style (Cambridge: The MIT Press, 2001), pp. 187-220.<br />
<br />
“The Electronic Dissemination of Notated Music: An Overview” [with Don Anthony and Charles Cronin], The Virtual Score (Computing in Musicology, 12, 2001), 135-166. See http://www.ccarh.org/publications/books/cm/vol/12/10/<br />
<br />
“Data Models for Virtual Distribution of Musical Scores” (with Walter B. Hewlett and Craig Stuart Sapp), First International Congress on Web Delivery of Music ( Florence , 2001), (Los Alamos, NM: IEEE Computer Society), 62-70.<br />
<br />
“Domain Relationships in Man-Machine Interactions in Music” in Machines and History: Proceedings of the Ninth International Congress of the German Association for Semiotic Studies (Dresden, 3-6 October 1999).<br />
<br />
“Conceptual and Representational Issues in Melodic Comparison” in Melodic Similarity, (Computing in Musicology, 11, 1998), 3-64.<br />
<br />
“Experiments with Melody and Meter, or The Effects of Music: The Edison-Bingham Music Research,” <i>The Musical Quarterly</i> 81/2 (1997), 291-310.<br />
<br />
"Marcello and Greek Mythology" in L’invenzione del gusto. Corelli e Vivaldi: mutazioni culturali, a Roma e Venezia, nel periodo post-barocco, ed. Giovanni Morelli, 1982.<br />
<br />
==<b>Music Theory, Cognition, and Technology</b>==<br />
<br />
Co-chair, Symposium on “Knowledge Representation for Intelligent Music Processing,” Leibniz Center for Informatics, Schloss Dagstuhl (near Wadern, DE), 25-30 January 2009. See [http://drops.dagstuhl.de/opus/volltexte/2009/1971/ The Dagstuhl Core]. Coverage in the <i>Frankfurter Allgemeine Zeitung</i> (1 March 2009). <br />
<br />
“Symbolic Musical Data: Tutorial (with Craig Stuart Sapp). <i>Proceedings of the Ninth International Symposium on Music Information Retrieval</i>, Philadelphia, 2008. Talk. Handout.<br />
<br />
“Digital Philology, Performing Medium, and Graphical Idiom,” <i>Digitale Edition zwischen Experiment und Standardisierung" Musik Codierung</i>, ed. P. Stadler and J. Veit (Behefte zu Editio, 31) De Gruyter, 2009.<br />
<br />
“Algorithms for Music Information Retrieval: The Hausdorff Metric and Geometric Hashing” [lead author: Christian André Romming], ISMIR 2007. Available [http://ismir2007.ismir.net/proceedings/ISMIR2007_p457_romming.pdf here].<br />
<br />
“Social Dimensions of Melodic Identity, Cognition, and Association,” <i>Musicae Scientiae: European Journal for the Sciences of Music</i> (2007), 77-97.<br />
<br />
“Social Cognition and Melodic Persistence: Where Metadata and Content Diverge,” <i>ISMIR2006 (Victoria , BC) Proceedings</i>, ed. R. Dannenberg and K. Lemstrom. Available [http://ismir2006.ismir.net/PAPERS/ISMIR0625_Paper.pdf here].<br />
<br />
“Towards a Measure of Cognitive Distance in Melodic Similarity,” Music Query: Methods, Models, and User Studies (<i>Computing in Musicology</i>, 13 [2004]), 93-112.<br />
<br />
“Search Effectiveness Measures for Symbolic Music Queries in Very Large Databases,” [with Craig Stuart Sapp and Yi-Wen Liu], <i>ISMIR2004: Proceedings of the Fifth International Symposium on Music Information Retrieval</i> Available [http://ismir2004.ismir.net/proceedings/p051-page-266-paper135.pdf here].<br />
<br />
==<b>Music Copyright</b>==<br />
<br />
"Substantial Musical Similarity," European Panel in <i>Global Perspectives on Music Copyright</i>, org. Robert Brauneis, Charles Cronin, and Daryl Lim (U. Illinois Chicago and Geo. Washington University Law Schools), 18 March 2022. <br />
<br />
"Substantial Musical Similarity in Sound and Notation: Perspectives from Digital Musicology," <i>Colorado Technology Law Journal</i>, 16/2 (Autumn 2018), pp. 249-283. 16 COLO. TECH. L.J._(2017). See [http://ctlj.colorado.edu/?page_id=796 CTLJ] and [http://heinonline.org Hein Online].<br />
<br />
"Substantial Musical Similarity in Sound and Notation: A View from Digital Musicology",<br />
as part of the Symposium <i>[http://emptydoors.com/conferences/2017/03/01/colorado-lawsilicon-flatirons-3rd-annual-content-conference/ "Blurred v. Bright: The Changing Analysis of Copyright Infringement in Music"]</i>, Colorado Law/Silicon Flatirons 3rd Annual Content Conference, University of Colorado Law School, March 23, 2017.<br />
<br />
"[http://wiki.ccarh.org/wiki/CCDL Copyright in a Changing Digital Landscape]", <b>chair</b>, Symposium of the International Association of Music Libraries, Archives, and Documentation Centres IIAML) and the International Musicological Society (IMS), New York: The Juilliard School, 25 June 2015. With Derek Miller, Eric Harbeson, Nicholas Tsui, Robert Clarida, Richard Chesser, and Federica Riva.<br />
<br />
“Copyright Issues in Scholarly Editions of Music,” American Musicological Society, Washington, DC, 26-29 October 2005.<br />
<br />
Organizer and Chair, “Musical Data as Intellectual Property” [panel], ISMIR2004, Barcelona (ES). Participants: Charles Cronin, Enric Enrich, Masataka Goto. October 13, 2004.<br />
<br />
“Fixed Form, Fluid Content: Musical Data as Intellectual Property,” Invited talk, Conference on Virtual Scores, Kernochan Center for Law and the Arts, Law School, Columbia University, 5 May 2003.<br />
<br />
“Music Copyright, Music Technology, and Music Archiving: Issues and Interpretations,” Fourth Conference on Digital Resources in the Humanities. King’s College, London, September 14, 1999.<br />
<br />
“Copyright and Fair Use in Electronic Scholarship,” Joint Annual Meeting, Society for Music Theory and the American Musicological Society, New York , NY, November 1, 1995.<br />
<br />
==<b>Reviews</b>==<br />
"Antonio Vivaldi: <i>Thematisch-systematisches Verzeichnis seiner Werke (RV)</i>", <i>Notes</i> (MLA), 65/2 (December 2008), 294-298.<br />
<br />
"Venetian orphans," <i>Early Music</i>, 34/4 (November 2006), 681-682.<br />
<br />
"<i>Tonal Space in the Music of Antonio Vivaldi"</i>, <i>Notes</i>, 66/3 (March 2010), 542-544.<br />
<br />
"<i>La Commedia dell'Arte in Naples: A Bilingual Edition of the 176 Casamarciano Scenarios/La commedia dell'arte a Napoli: edizione bilingue dei 176 scenari Casamarciano"</i>, <i>Music & Letters</i>, 85/3 (August 2004), 436-437.<br />
<br />
"<i>Italian Opera and European Theatre, 1680-1720: Plots, Performers, Dramaturgies"</i>, ed. Melania Bucciarelli, <i>Music and Letters</i>, 85/6 (August 2004), 438-439.<br />
<br />
"Copyright and Cultural Institutions: Guidelines for Digitization for U.S. Libraries, Archives, and Museums," <i>Notes</i>, 67/3 (March 2011), 557-559.<br />
<br />
"<i>Antonio Vivaldi und seine Zeit</i>", <i>Notes</i>, 68/2 (December 2011), 348-351.<br />
<br />
"Hybrid Critical Editions of Opera: Motives, Milestones, and Quandaries," <i>Notes</i>, 72/1 (September 2015), 9-22.</div>Esfieldhttps://wiki.ccarh.org/index.php?title=Template:DRM_portals&diff=12573Template:DRM portals2023-11-07T20:43:42Z<p>Esfield: /* Themefinder: Music-Incipit Search */</p>
<hr />
<div>How does one search for musical content that cannot be located by metadata? These websites, each of which employs a different approach, will show you how.<br />
<br />
<br />
=== Cantorales de la Biblioteca Nacional de Espana === <br />
<br />
Website: http://www2.bne.es/CANT_web/irBuscadorPentagrama.do?lang=es_ES<br />
<br />
This search site for individual chants found in Canorales (choir books) of Spanish libraries can be searched by text or musical incipit. (Click on the musical staff and enter at least two notes to see how the music search works.) The [http://www2.bne.es/CANT_web/irBuscadorAvanzado.do advanced search] (Busqueda avanzada) provides a dozen fields, including feast days.<br />
<br />
<br />
<br />
=== Cantus Index === <br />
<br />
Website: http://cantusindex.org<br />
<br />
The Cantus Index, managed at the University of Waterloo (CA), is a network of 11 international projects (as of 2016) that have adopted the data format and identifier system of the Cantus Manuscript Database. These projects are devoted the creation and distribution of electronic inventories of medieval chant manuscripts. With the Cantus Index as the “hub,” the Index provides a central catalogue of chant texts and melodies for the Office and Mass. Searches in Cantus Index of both texts and melodies return results in all partner databases. The projects currently searched include these separately listed repositories:<br />
<br />
* [http://gregorianik.uni-regensburg.de/ Antiphonale Synopticum] (Harald Buchinger, Universität Regensburg, DE)<br />
* [http://cantusdatabase.org/ Cantus Manuscript Database] (Debra Lacoste, University of Waterloo, CA)<br />
* [http://cantus.edu.pl/ Cantus Planus in Polonia] (Bartosz Izbicki, Warszawa, Poland) <br />
* [https://cantus.simssa.ca/ Cantus Ultimus] (Ichiro Fujinaga, McGill University, Montréal, CA)<br />
* [http://comparatio.irht.cnrs.fr/ Comparatio] (Claire Maître, CNRS, Paris, FR)<br />
* [http://cantusbohemiae.cz/ Fontes Cantus Bohemiae] (Jan Koláček and David Eben, Prague, CZ)<br />
* [http://gregorien.info/ Gregorien.info] (Inga Behrendt, Masaryk University, CZ)<br />
* [http://hunchant.eu/ Hungarian Chant Database] (Gàbor Kiss, Budapest, HU)<br />
* [http://musicahispanica.eu/ Musica Hispanica] (Carmen Julia Guttiérez, Universidad Complutense, Madrid, ES)<br />
* [http://pemdatabase.eu/ Portuguese Early Music Database] (Manuel Pedro Ferreira, Lisbon, PT) <br />
* [http://cantus.sk/ Slovakian Early Music Database] (Eva Veselovskà, Bratislava, SK)<br />
<br />
User contributions are welcomed.<br />
<br />
<br />
<br />
=== Dutch Song Database and Search Engine (Nederlandse Liederenbank) === <br />
<br />
Website: http://www.liederenbank.nl/searchmusic/piano.php<br />
<br />
The Dutch Song database (Nederlandse Liederenbank) lists 150,000 songs in Dutch and Flemish from the middle ages through the 20th century. It includes love songs, satirical songs, Beggar songs, psalms and other religious songs, folksongs, children's songs, holiday songs, and much else. Among the other searches supported, its [http://www.liederenbank.nl/searchmusic/piano.php?&lan=en melodic search engine] is particularly effective. <br />
<br />
Sources include sources for all these songs are songbooks, songsheets (broadsides), song manuscripts and fieldwork recordings. The Meertens Institute (Amsterdam) compiled the database, which is now maintained by the Centre for Documentation and Research on Dutch Song. The impetus for starting the project came from the Utrecht ensemble Camerata Trajectina, which has now donated its recordings to the website. In 2014 the project was awarded the Dutch Data Prize in Humanities and Social Sciences.<br />
<br />
<br />
<br />
=== <i>E-manuscripta</i> === <br />
<br />
Website: http://www.e-manuscripta.ch<br />
<br />
[[File:Recorder-intro_648896.jpg|200px|thumb|right|<small>Leaf from an anonymous manuscript introduction to the recorder preserved in the Basel University Library and available through [http://www.e-manuscripta.ch/doi/10.7891/e-manuscripta-2686 e-manuscripta.ch] in source F_X-3.]</small>.]]<br />
<br />
This comprehensive portal for materials in Swiss libraries serves scores, photographs, letters, pedagogical materials, and much else. The five-leaf recorder tutor (from a sixteenth-century manuscript) shown at the side represents its heterogeneity, which also extends to sixteenth-century part-books, [http://www.e-manuscripta.ch/bau/content/titleinfo/648333 organ tablatures], correspondence by [http://www.e-manuscripta.ch/bau/content/titleinfo/931619 Martin Luther], photographs of [http://www.e-manuscripta.ch/zuz/content/titleinfo/100743 Ferruccio Busoni], and a thousand [http://www.e-manuscripta.ch/maps/nav/classification/642361 maps]. It also supports user-generated transcriptions.<br />
<br />
<br />
<br />
=== <i>Europeana</i>: Search Engine for European (Music) Sources === <br />
<br />
Website: http://www.europeana.eu<br />
<br />
This umbrella site for European digitization projects covers a great deal besides music. To start, limit the search by an obvious word for music (<i>musique</i>, <i>musica</i>, <i>Musik</i>, etc.). This will give you an idea of how to further limit the search. Europeana is updated often. Among the items that should be visible are music prints, manuscripts, newspapers dedicated to music, sheet-music, audio files, etc. Since Europeana is an aggregation, it provides links back to the sponsoring libraries that hold the original sources. The site can be searched in many languages.<br />
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=== European History Primary Sources === <br />
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Website: http://primary-sources.eui.eu/portal/virtuelle-fachbibliothek-osteuropa<br />
<br />
The focus of his comprehensive site is the "history, language, literature, politics and culture of East, Central East and South East European countries and regions." It offers access both directly and indirectly through search engines. EHPS can also search across resources, a capability that other forms of access do not usually offer. It provides links to country-based websites. The music "topic" search produces random results among which are some that may not be familiar from other umbrella resources. The alternative [https://www.osmikon.de/servicemenue/ueber-uns/vifaost-nachfolger-osmikon/ Osmikon] interface is in German.<br />
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=== Gallica === <br />
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Website: http://gallica.bnf.fr<br />
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<i>Gallica</i> provides access to an enormous array of digitized materials from all periods of French history and many aspects of French musical life in addition to great quantities of non-musical material. Among its highlights are illuminated manuscripts containing the poetry (much of it set to music by Guillaume Machaut), manuscripts of the operas Francesco Cavalli composed for the wedding of Louis XIV (1660-62), a very large amount of music printed in France in the eighteenth and nineteenth centuries, and important documentation for theatrical history. Although the quantity of material is enormous, the search tools allow for precise articulation with distinctions between scores, manuscripts, recordings, press reports, and commentary. Gallica is, in addition, a national resourcce with links to materials in all French provinces.<br />
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=== Global Chant === <br />
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Website: http://globalchant.org/about.php<br />
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Have you ever tried to identify a chant melody or to find all the settings of one text incipit? Global Chant will reduce the frustration. At the [http://globalchant.org/search.php Search] link you can enter the pitches on the virtual staff. Under [http://globalchant.org/search.php Links] you can pursue data at related sites. (Some not otherwise represented here are AISCGRE, Cantus Augusta, CURSUS, LIMVP, and Melodiarium Hymnolodicum Bohamiae.) At the [http://globalchant.org/forum.php Forum] you can exchange information with other researchers. Jan Kolacek has developed this site in course of his graduate studies at Charles University, Prague.<br />
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=== Index to Opera and Ballet Sources Online === <br />
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Website: http://atom.lib.byu.edu/obps<br />
<br />
The Index to Opera and Ballet Sources Online is a combined database and meta-search engine with a growing list of detailed fields, many of which are sortable. It links titles to scores, libretti, and other artifacts. It can be searched <br />
with filters for language, theater, and many other parameters of musical works that were stages. The title index relied originally on aggregators (the Braidense Raccolta Drammatica, ViFaMusik, the Internet Culturale, et al.) for most of its contents but now includes the Internet Archive. The advance search tool at [http://atom.lib.byu.edu/obps/advanced atom.lib.byu.edu/opbs/advanced] allows one to search within individual aggregations.<br />
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=== The Internet Culturale === <br />
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Website: http://www.internetculturale.it/opencms/opencms/it/main/esplora/index.html?tipo=collezione<br />
<br />
An umbrella site for digitized materials in Italian libraries. The riches of Italy's collective Internet Culturale (cultural internet) are difficult to overstate. A vast span of different kinds of graphically reproduced material will be found here. All of it is accompanied by generous supplies of metadata from cataloguing records. While one may be able to find a specific item such as an opera, one may also discover on a different spoke a list of all the works in which the singer of an aria appeared. Users can create accounts to collect previous discoveries in one place.<br />
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=== OSMIKON === <br />
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Website: https://www.osmikon.de/metaopac/refineSearch.do?id=author_facet&methodToCall=filterSearch&subval=CenterForWorldMusic<br />
<br />
This search engine (in German) for literature on world music concentrates on music from South, Central, and Eastern Europe but covers myriad other places (Bolivia, Bulgaria, Vietnam, Bollywood dance) and theoretical perspectives on a broad range of topics. It forms part of the [https://www.osmikon.de/servicemenue/ueber-uns/vifaost-nachfolger-osmikon/ Virtuelle Fachbibliothek Osteuropa (Virtual Library of Eastern Europe)]. Searches for the word "Musik" serve as an orientation.<br />
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=== Machaut (Mirador) Viewer === <br />
<br />
Website: http://machautsociety.org/static_pages/mirador.html<br />
<br />
The [http://machautsociety.org/static_pages/resources.html International Machaut Society] takes good advantage of the open-source Mirador Viewer to enable users to compare [http://iiif.io/ IIIF-compliant digitized images] of the music and poetry of the fourteenth-century French composer Guillaume Machaut. The tool (used in many projects outside the field of music) facilitates leafing through multiple sources on a single screen. A comprehensive [http://machautsociety.org/static_pages/manuscripts.html (flat) listing], searchable via numerous drop-down menus, integrates additional digitized sources. The [http://machautsociety.org/static_pages/resources.html Society website] contains links to further materials and projects pertinent to the composer.<br />
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=== Munich Digital Manuscript Collection === <br />
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Website: http://www.digitale-sammlungen.de/index.html?c=sammlungen&kategorie_sammlung=1&l=de<br />
<br />
The collection of digital materials grows so rapidly that any listing of individual collections within it is doomed to be incomplete. Several projects are cooperative. The historical foundation rests on the Middle Ages and Renaissance, with much emphasis is given to religious figures and documents (e.g. at [http://daten.digitale-sammlungen.de/~db/ausgaben/uni_ausgabe.html?projekt=1263566068&ordnung=sig&recherche=ja Europeana Regia]). A combined search engine (http://www.digital.collections.de) for all the digitized materials in the Bavarian State Library is currently under development.<br />
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=== MusicBrainz === <br />
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Website: http://www.musicbrainz.org<br />
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The MusicBrainz Database is an open-source reference for recordings providing relational searches for artists, releases, recordings, works, labels, and connections between them. Users can annotate, tag, and rate individual items. This open-source database is downloadable. The host MetaBrainz Foundation offers a sliding scale of memberships progressing from academic to commercial.<br />
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=== Musiconn Score Search === <br />
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Website: https://https://scoresearch.musiconn.de/ScoreSearch<br />
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The Musiconn Score Search is the latest in a series of note-search engines. It attempts to search manuscript and printed sources included in the ViFaMusik website. It is a very ambitious project, but the search mechanisms are works in progress. It currently (9/22) lacks enharmonic discrimination and does not anchor searches to any bar or voice. Some of the notation displayed is confused by ledger lines. When it works correctly, it may link the user to an exact location in an old print, which, because it is out-of-copyright, may be downloaded.<br />
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=== Musiekschatten (Music Treasures) === <br />
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Website: https://www.muziekschatten.nl<br />
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This archive of Netherlands Radio sheet music (Hilversum NL) contains nearly 450,000 scores of classical, light, and popular music (including manuscripts) played on Dutch radio and television since the 1920's. All of the 65,000 digitised titles can be viewed online. The WWII and Salon music-collections can be downloaded in PDF-format, while other parts of the digitised collection can be downloaded only by members (at € 20 p.a.). (Most holdings are under copyright.) The website is based on [https://en.wikipedia.org/wiki/Linked_data#Linked_open_data Linked Open Data] (https://data.muziekschatten.nl/som/) and is in Dutch. Good starting points are the general search page (https://www.muziekschatten.nl/search) and the genres page.<br />
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=== Open Music Library === <br />
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Website: http://www.openmusiclibrary.org <br />
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(Closed 26 May 2020) Alexander Street's Open Music Music interleaved open-access and licensed-access materials (digitized scores, recordings, and basic descriptive materials) into a very large aggregation of third-party repositories. Even with restricted access to many recordings, the sheer size of the collection was impressive.<br />
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=== <i>Peachnote</i> Music n-Gram Viewer === <br />
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Website: http://www.peachnote.com/#!nt=singleNoteAffine&npq=62+0+1+2+0+-2+-1+-2<br />
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This MIDI-based search system developed by Vladimir Vero plumbs a number of score aggregations, such as [http://imslp.org/ IMSLP] to produce a general overview of short melodic phrases.<br />
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=== RISM: Répertoire International des Sources Musicales === <br />
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RISM, founded in 1952, seeks to provide access to musical sources, both manuscript and in print. It increasingly includes writings on music theory and printed libretti. Now in its eighth decade, a major overhaul in 2022 offers a new working paradigm. Recent efforts have also focused on linking textual and musical content in searches. Additional details can be found in a dedicated issue of [https://rism.info/new_publications/2022/11/10/fontes-special-issue-in-celebration-of-risms-seventieth-anniversary.html <i>Fontes Artis Musicae</i>]. Search interfaces are offered in English, French, and German. <br />
<br />
<h4> RISM user resources </h4><br />
<br />
RISM has these search tools:<br />
<br />
* [https://rism.info RISM Info] gives news announcements and a central portal to pursue organizational information. Many important announcements of source discoveries have appeared here in recent years. <br />
* [https://opac.rism.info RISM OPAC] is the online catalogue for musical incipits from printed and manuscript sources. It now offers a combined catalogue based on dozens of separate national projects. In July 2023 it included citations to almost 1,500,000 musical sources. Several [https://opac.rism.info/main-menu-/kachelmenu/help help guides] are available.<br />
* [https://rism.online/about RISM Online] enables word searches across all RISM properties including musical-incipit searches. Searches can be confined to holdings of one country. Word searches are useful for finding individual contributions to pastiches and other hand-to-classify works. RISM Online also reports<br />
<br />
<h4> RISM Operations </h4><br />
<br />
RISM now has multiple administrative structures. <br />
<br />
* RISM Info has branches for [https://rism.info/community/muscat.html MUSCAT], the course-based catalogue, and [https://rism.info/working-groups.html working groups]. MUSCAT is responsible for coordinating information of different kinds and from different national collections. Substantial contributions from France, Germany, Switzerland, and the United Kingdom formed the original core of the database. Roughly half of sources anticipated in the complete inventory are currently available for online access. Working groups, currently operating in 35 countries, identify and catalogue sources. Those interested in contributing to RISM's efforts may contact a local representative by looking [http://www.rism.info/en/international/working-group-overview.html here]. Some working-group catalogues can still be found online. <br />
* The [https://rism.info/editorial-center.html RISM Editorial Center], or Zentralredaktion, in Frankfurt supports editorial groups and provides help with enabling software.<br />
* The [https://rism.digital/ RISM Digital Center], established in 2021 in Bern, manages the development of MUSCAT and interfaces with servers in Berlin and Munich. The digital center, which is supported by the Swiss National Science Foundation, also develops and maintains Verovio, an open-source MEI score renderer as well as interfaces to other digital musical score formats such as [https://verovio.humdrum.org Humdrum]<br />
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<h4> RISM Musical Incipit Search and Online Digital Score Links </h4><br />
<br />
Website: [https://opac.rism.info/metaopac/start.do?View=rism&SearchType=2&Language=en RISM Advanced Incipit Search]<br />
<br />
Two of the most often used features of the RISM catalogue are its musical-incipit search tool (at the Advanced link shown above) and its link to manuscript scores digitized by holding libraries. Most of the online-source links come from sources in such places as Dresden and Berlin, with many more locations awaiting catalogue links. When it comes to finding sources of uncertain authorship, the incipit search has proved its worth many times over. <br />
<br />
The incipit search tool, with its sliders for fuzzy searches, was modeled on the [https://www.themefinder.org Themefinder] search developed at [https://wiki.ccarh.org CCARH] in 1996–1999 by David Huron, Craig Sapp, and Andreas Kornstaedt. Laurent Pugin instituted to slider interface, and the graphical keyboard was introduced by the Munich RISM office. The integrated whole was implemented in MUSCAT in 2010, then subject to numerous tests, comparisons, and revisions.<br />
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=== Schoenberg Database of Manuscripts === <br />
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[[File:ArtInstChicago_Book_of_Hours_1440-45.jpg|220px|thumb|left|<small>Representation of the Virgin from a Book of the Hours by the Master of Privileges, Ghent and Flanders, 1440-45 (Art Institute of Chicago)</small>.]]<br />
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Website: http://dla.library.upenn.edu/dla/schoenberg/index.html<br />
<br />
This project of the Schoenberg Institute of Manuscript Studies at the University of Pennsylvania is for medieval studies what RISM is for music studies: It provides a comprehensive inventory of manuscripts up to the year 1600. Listings can currently be focused on any of 26 categories of description including date, place, language, library, provenance, liturgical use, vendor, artist, and many physical descriptors. Within each category searches can be narrowed by the same and similar terms. Although many of the items of musical relevance listed here may appear in [https://www.diamm.ac.uk/about/ DIAMM] and other inventories, much of the information appears to be complementary. Although no links to digitized sources are given, the database has the inherent value of providing a rapid impression of the prevalence and/or spread of certain kinds of materials. As one example, almost 15,000 [https://en.wikipedia.org/wiki/Book_of_hours Books of Hours] are listed. The advanced search feature is elegantly articulated to support with myriad text and numeric search combinations. The beta version has been online since August 2016. Periodic uploads are planned.<br />
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=== SIMSSA === <br />
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Website: https://simssa.ca<br />
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The Single Interface for Music Score Searching and Analysis project (SIMSSA), based at McGill University, is teaching computers to recognize the musical symbols in digital images of musical scores. Scans of music prints and manuscripts are processed, and their contents (both text and music) are entered into a searchable format that can be studied, analyzed, and performed. Projects include:<br />
<br />
[[File:Liber.PNG|280px|thumb|right|<small>Start of search results listing for the pitch sequence C-D-E-F-E in the searchable <i>Liber Usualis</i>.</small>]]<br />
<br />
* [http://cantus.simssa.ca <i>Cantus Ultimus</i>] shares with other McGill music projects a reliance on optical recognition of both text and music. Otherwise it builds on the digital infrastructure of the existing [http://cantus.uwaterloo.ca/ CANTUS database} one of the oldest and most important scholarly music databases in the world. It is also part of Cantus Index network (see under Databases). The title Cantus Ultimus signifies the amalgamation of tools and data a research environment in which manuscript music and text are fully searchable. At present the manuscript browsing interface enables searches by neume names, pitch names, and text within select prototype manuscripts.<br />
* The searchable [http://liber.simssa.ca/ <i>Liber Usualis</i>], based on optical recognition of both text and music, is an invaluable reference in defining the chants appropriate to the specific feasts that define the liturgical year. Many of these chants were used pervasively in polyphonic compositions of the Renaissance, but identifying chants can be difficult. <br />
* ELVIS: Electronic Locator of Vertical Interval Successions grows out of contrapuntal theories of the Renaissance, in which vertical sonorities (Vertical Interval Successions, or VIZ) between adjacent voices were emphasized. The VIZ component is a Python package that uses the music21 and pandas libraries to build a flexible and system for writing music-analysis programs. It operates on a [http://database.elvisproject.ca database] of pieces that extend well beyond the Renaissance. The search-form [http://counterpoint.elvisproject.ca/ prototype] allows users to check off features of the intended analysis.<br />
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=== Song Helix (repertory search) === <br />
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Website: https://www.songhelix.com<br />
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<i>Song Helix</i> is a comprehensive art song database site for researching for vocal repertory (a) for a specific voice and (b) in as many manifestations as can be found online. These include scores, lyrics, digitized images, poetic themes, and audio renditions, accompanied by various metadata fields such as vocal range, original key, original language, and the contributing entity. <i>Caveat lector</i>: citations may lead to public-domain or commercial sources. Developed and maintained by the University of Utah.<br />
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=== <i>Themefinder</i>: Musical-incipit search === <br />
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Website: http://www.themefinder.org<br />
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[[File:TF-png.PNG|300px|thumb|right|<small>Music-search categories in [http://www.themefinder.org Themefinder]</small>.]]<br />
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The <i>Themefinder</i> search engine was prototyped at CCARH in 1996 by David Huron, Andreas Kornstädt, and Walter B. Hewlett. A large number of Stanford University students including Unjung Kim and Leigh VanHandel plus visiting students including Bret Aarden participated in its early development. The search engine was originally developed to study user behavior. Over the intervening years it has been used for a large statistical study of search-efficiency. The current search engine was built and is maintained by Craig Stuart Sapp. <br />
<br />
<i>Themefinder</i> contains several repertories, most of which are publicly viewable and searchable. The principal repertories are Folk, Classical, and Renaissance. Although more than 100,000 incipits and associated metadata are present in the database, users may select just one. "Hits" satisfying search-criteria can be collected on the <i>Themefinder</i> Clipboard and can be exported. <br />
<br />
Incipits can be searched at five points on a continuing from the most specific to the fuzziest. Filter for meter, mode, and key may be used. MIDI files are available for each entry. Help menus are available at the website. Those interested in contributing an encoded repertory to <i>Themefinder</i> should describe the existing repertory and format in a query letter.<br />
<br />
Related literature: [https://ccrma.stanford.edu/~craig/papers/04/ismir2004slf.pdf "Search-Effectiveness Measures for Symbolic Music Queries in Very Large Databases"] (Craig Stuart Sapp, Yi-Wen Liu, and Eleanor Selfridge-Field, ISMIR Proceedings 2004)<br />
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=== Vocal Music Instrumentation Index (VMII) === <br />
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Website: https://www.vmii.org<br />
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Performers often wish they could easily locate selections featuring their chosen instrument.The information is elusive. Multimovement works usually have summary descriptions. Although the content here is textual only, performers can quickly locate appropriate repertory at the single-movement level. Currently more than 12,500 listings are included, with headings for specific instruments, composers, etc. Teachers and historians will also find this index to be very helpful. The European Early Music Network awarded this site its New Technology Prize.<br />
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<br />
=== World Digital Library === <br />
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[[File:Orestes408_edited-1.png|160px|thumb|left|<small>A fragment from a chorus in Euripedes' <i>Orestes</i> in the [https://www.wdl.org/en/item/4309/#q=musical+scores Austrian National Library</small>].]]<br />
<br />
Website: http://www.wdl.org<br />
<br />
This UNESCO-sponsored listing of digitized sources includes a number of significant musical works in single-item digitizations. The first chorus of Euripedes' <i>Orestes</i> (408 BCE, from the Austrian National Library) represents the oldest contribution found here. Although the source is necessarily deteriorated, vocal and instrumental symbols can be seen within it. <br />
<br />
[[File:Paradiso.PNG|320px|thumb|right|<small>The start of the third part (<i>Paradise</i>) of Dante Alighieri's [https://www.wdl.org/en/item/10650/view/1/255/ <i>Divina Commedia</i> (Divine Comedy)] as copied by Giovanni Boccaccio (after 1348) in the Biblioteca Riccardiana (Riccardiana Library), Florence</small>].]]<br />
<br />
Other WDL holdings include numerous sacred vocal works from the Ars Nova and Renaissance, German operettas, and twentieth-century sheet music. More than 2,700 historical maps from all parts of the world, a handful of treatises on music and music theory (including later colored drawings of St. Jerome's "Instruments of Hieronymous" (before 420 CE), and a seventeenth-century manual on the Chinese zither (<i>quin</i>) are found among a lengthy list of other holdings useful to music scholars.</div>Esfieldhttps://wiki.ccarh.org/index.php?title=Mus254-CS275B_Selected-Projects&diff=12572Mus254-CS275B Selected-Projects2023-11-02T23:42:09Z<p>Esfield: Created page with "==Selected Projects: Mus-253/CS-275B== * * *"</p>
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<div>==Selected Projects: Mus-253/CS-275B==<br />
<br />
* <br />
* <br />
*</div>Esfieldhttps://wiki.ccarh.org/index.php?title=Template:ADAM_Encoding_Systems&diff=12571Template:ADAM Encoding Systems2023-10-10T23:28:07Z<p>Esfield: /* TILIA (LIME) */</p>
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<div>===Digital Alternative Representation of Musical Scores (DARMS)===<br />
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Website: [http://wiki.ccarh.org/wiki/DARMS Digital Alternative Representation of Musical Scores (DARMS)&mdash;Historical Documentation]<br />
<br />
DARMS, the Digital Alternative Representation of Musical Scores, was the result of a pronounced effort to develop a straightforward, inexpensive way to encode musical scores. It's chief protagonists were Stefan Bauer-Mengelberg (code) and Raymond Erickson (documentation and experimentation). Through its summer seminars it stimulated much important thought as to how computers could be used to produce more scores at less cost than ever before. A number of analytical projects, conducted mainly at Yale, explored its uses in investigation music from the Ars Nova to the twentieth century.<br />
<br />
Although no new projects are adopting DARMS, one long-in-progress inventory--[http://www.printed-sacred-music.org/ Printed Sacred Music], which covers a large number of prints from the sixteenth and seventeenth centuries (particularly from Venetian presses), offers access to more than 25,000 titles and 20,000 musical incipits encoded in DARMS.<br />
<br />
===Fastcode===<br />
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Website: [http://wiki.ccarh.org/wiki/Fastcode Fastcode]<br />
<br />
Fastcode was developed at Princeton University in the mid-1970s by Tom Hall. It was designed particularly with mensural notation in mind. Hall's versatility in developing programs during the mainframe era to meet a wide range of special needs stands as a monument to ingenuity in an era of means we now view as limiting.<br />
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===Intermediate Musical Language - Music Information Retrieval (IML-MIR)===<br />
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Website: [http://wiki.ccarh.org/wiki/IML-MIR Intermediate Musical Language - Music Information Retrieval (IML-MIR)]<br />
<br />
Princeton's Intermediate Musical Language - Music Information Retrieval system, developed between the late 1960s and <i>c</i>. 1975, was intended to facilitate the transcription and analysis such repertories as Renaissance polyphony and Lutheran choral music. (The Bach scholar Arthur Mendel was involved in some of the earliest efforts to analyze Bach's choral harmonizations by computer.) A number of later noted musicologists (and software experts) were extensively involved as graduate students at Princeton University with this work.<br />
<br />
===LIME: See /TILIA===<br />
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===Mustran===<br />
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Website: [http://wiki.ccarh.org/wiki/Mustran Mustran]<br />
<br />
Jerome Wenker's Mustran (Music Translator) system was created in conjunction with his doctoral dissertation in computer science (1978) at Indiana University. Like other systems of its time its focus was on producing musical script from a typewriter-model keyboard using only low-order ASCII characters. Initially experimentation was limited to monophonic music, but more sophisticated efforts evolved rapidly at Indiana University, where much other music-related experimentation thrived in the 1970s and 1980s. The most succinct surviving documentation is found in a short undated [http://quod.lib.umich.edu/cgi/p/pod/dod-idx/current-applications-of-a-music-representation.pdf?c=icmc;idno=bbp2372.1978.041 overview] by Rosalee Nerheim.<br />
<br />
===SMUT===<br />
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Website: [http://wiki.ccarh.org/wiki/SMUT SMUT]<br />
<br />
Don Byrd's doctoral thesis [http://homes.soic.indiana.edu/donbyrd/Papers/DonDissScanned.pdf Music Notation by Computer] (Indiana University, 1984) enjoys Biblical status as a compendium of early music transcription systems. it provides great insight into the relations between different systems. Byrd's own System for Music Transcription (SMUT) was a robust one in the 1980s and spawned the desktop notation program Nightingale a decade later.<br />
<br />
===Teletau===<br />
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Website: [http://wiki.ccarh.org/wiki/Teletau Teletau]<br />
<br />
The Teletau system was conceived within a multifaceted research project in telematics at the Centro Nucleare Universitario di Calcolo Elettronico (CNUCE) in Pisa, Italy. The center was founded in 1965 and operated under the auspices of the Italian Research Council (CNR in Italy). Pietro Grossi, a cellist and scientist, started the musical informatics program in the same year. The TAU-TAUMUS system was a [http://www.edueda.net/index.php?title=Reparto_di_informatica_musicale_CNR_di_Pisa_-_Divisione_musicologica_CNUCE_-_EN_-_ASC collection of hardware] that facilitated the storage, playback, and manipulation of musical scores. The [http://esf.ccarh.org/ccarh-wiki/22_Teletau.pdf Teletau manual 1.0 (1986)] by Pietro Grossi has kindly been made available by [http://www.electrocd.com/en/bio/camilleri_le/ Lelio Camilleri], who joined the project as a student. Camilleri has been professor of composition at the G. B. Martini Conservatory of Music in Bologna, where he heads a program in digital music, since 1999.<br />
<br />
===TILIA (LIME)===<br />
<br />
The nucleus of the Tilia music representation system was developed at the University of Illinois in the late 1980s and early 1990s. The associated music-notation program LIME (Lippold's Music Editor) reflected the central role of Lippold Haken (CERL Sound Group) in the design and implementation. Dorothea Blostein (Computing and Information specialist, Queen's University, Kingston Ontario) was co-developer. Because the system was sturdy and extensible, LIME and Tilia have had long continuations in multiple domains of digital activity related to music.<br />
<br />
Tilia (in common with MuseData, which originated in the same time-frame) took into account the differing needs of printed materials according to various musical contexts. Any given note or passage could pertain to one of more output configurations such as full scores for symphonies, instrumental parts for teaching and rehearsal, piano reductions, parts, reductions, and so forth. <br />
<br />
The impetus for the development of both tools was the PLATO learning system, a comprehensive set of applications intended to serve the needs of diverse communities within the university.<br />
<br />
===ZIPI===<br />
<br />
Website: [http://wiki.ccarh.org/wiki/ZIPI ZIPI]<br />
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The ZIPI Music Parameter Description Language (MPDL), v. 1.0, developed by Zeta Music systems (until 2011 a supplier of electric violins, cellos, and bass guitars in Oakland, CA) and personnel of [http://cnmat.berkeley.edu/ CNMAT] (UC Berkeley) in the 1990s, was a proposed successor to MIDI, which proved to be a crippled tool in many electronic-music situations. [http://www.keithmcmillen.com/ Keith McMillen], David Wessel, and [https://ccrma.stanford.edu/people/matthew-james-wright Matthew Wright] were its developers. It addressed such issues as brightness, articulation, and the inability of MIDI to treat series of notes as a group. MPDL was the first tier of an conjectured system in which other capabilities could be added. Like MIDI, ZIPI was a message-based system, as it was intended to work exclusively in interactive contexts. Unlike MIDI (an 8-bit system), it was a 16-bit system. Thus it could accommodate a much larger palette of virtual instruments and timbres. It could also provide support for more finite semitones than MIDI's equal-tempered half step. MIDI note numbers were embedded in a ZIPI byte. ZIPI also supported input from string (bowed or plucked) and wind instruments, so that those wishing to "record" their works were not limited to an electronic keyboard. Its network protocols would have enabled more than 200 devices (connected peer-to-peer) to collaborate. An early version of its manual is available [http://esf.ccarh.org/ccarh-wiki/ZIPI.pdf ZIPI here].</div>Esfield