https://wiki.ccarh.org/api.php?action=feedcontributions&user=Marod&feedformat=atomCCARH Wiki - User contributions [en]2024-03-28T18:54:09ZUser contributionsMediaWiki 1.33.0https://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7349Music 253/CS 275a Winter 2017 Syllabus2017-03-16T20:44:07Z<p>Marod: /* Syllabus */</p>
<hr />
<div>== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Music-Representation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture M2: [[Media:XML-Introduction.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]. Install instructions for [[Media:SharpEye.pdf|SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture M3a: [[Media:MIDI-Protocol.pdf|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 />
* Lecture M3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Field trip to CCRMA's Disklavier. Demo, discussion. Come prepared to record your own MIDI file to use for your homework.<br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)] <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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDI_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | Exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:SCORE-Parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
* [[Media:Score-Reference-Manual.pdf|Score Reference]] & [[Media:Score-Users-Guide.pdf|Score Users Guide]] <br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
<b>Applications of MuseData</b><br />
* [[Media:musedataapplications.pdf|MuseData Applications]] by Craig Sapp<br />
|-<br />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<b> Augmented Music Scores (INScore) </b><br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> MEI and Verovio </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* [[Media:MusicXMLAndMei.pdf | Lecture: XML formats for music]] (presented by Craig Sapp)<br />
* [[Music 253 XML homework | XML homework]] (Due March 9)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum-File-Format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum-Tools-I.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due March 16).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources]<br />
* Computer Assisted Generation of Music Scores <br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <br />
|}<br />
</ul></div>Marodhttps://wiki.ccarh.org/index.php?title=Humdrum_Lab_1&diff=7348Humdrum Lab 12017-03-13T05:28:02Z<p>Marod: /* Randomized Pitch */</p>
<hr />
<div><br />
<br />
== Bach Chorales ==<br />
<br />
=== Download ===<br />
<br />
A Humdrum edition of 4-Part Chorales by J.S. Bach is available at http://kern.ccarh.org/browse?l=371chorales<br />
<br />
The data files can be downloaded using the humcat and humsplit commands (first creating a new directory to store all of the downloaded files):<br />
mkdir chorales<br />
cd chorales<br />
humcat -s h://371chorales | humsplit<br />
This should create 371 files in the format chor001.krn, chor002.krn, chor003.krn, etc. For OS X, you can type "<tt>cd ~/Desktop</tt>" (without the quotes) before the above three commands to make the folder called "chorales" visible on the Desktop.<br />
<br />
=== MIDI Rendering ===<br />
<br />
Convert a particular chorale into a MIDI file with this command:<br />
hum2mid chor001.krn -o chor001.mid<br />
<br />
The data file can also be downloaded on demand:<br />
hum2mid h://371chorales/chor001.krn -o chor001.mid<br />
<br />
Once the MIDI file has been created, you can open it by double-clicking in a file browser. On OS X computers, you can type:<br />
open chor001.mid<br />
to do the equivalent of double-clicking. You must have a MIDI player associated with the file. For newer OS X computers, you will have to download Quicktime 7 in order to play the MIDI file (recent versions of Quicktime cannot play MIDI files).<br />
<br />
To pan the voices in the stereo field, try the <tt>--autopan</tt> option:<br />
hum2mid --autopan chor001.krn -o chor001pan.mid<br />
<br />
=== Graphical Music Notation ===<br />
<br />
These examples use [http://muse2ps.ccarh.org muse2ps] to generate graphical notation. Music can also be notated with [http://moinejf.free.fr abcm2ps] via the export to ABC+ notation with [http://extras.humdrum.org/man/hum2abc hum2abc], or to [http://musescore.org MuseScore] and similar notation programs which import MusicXML using [http://extras.humdrum.org/man/hum2xml hum2xml]. To convert from PostScript output from muse2ps into PDF, the ps2pdf script is used (part of the GhostScript package). GhostScript typically comes installed by default on linux computers, OS X computers will need to install with a package management system such as [http://brew.sh Homebrew]. But Preview.app in OS X will view PostScript file without any problems (just slightly slower while it converts them into PDF files).<br />
<br />
Printing in a 4-staff format:<br />
autostem chor001.krn | hum2muse | muse2ps | ps2pdf - - > output.pdf<br />
<br />
Note that the chorale data does not contain stem directions, and that muse2ps require them. The [http://extras.humdrum.org/man/autostem autostem] program add stem directions to the data. Programs such as [http://moinejf.free.fr abcm2ps] will determine the stem directions internally:<br />
hum2abc chor001.krn | abcm2ps - -O - | ps2pdf - - > output.pdf<br />
<br />
Printing in a grand-staff format:<br />
satb2gs chor001.krn | autostem | hum2muse | muse2ps | ps2pdf - - > output.pdf<br />
<br />
Applying formatting [http://wiki.ccarh.org/wiki/Muse2ps#Options options] to the last command for prettier graphical notation:<br />
satb2gs chor001.krn | autostem | hum2muse | muse2ps =z21jI50v120,120 \<br />
| ps2pdf - - > output.pdf<br />
which should produce the following graphical notation:<br />
<br />
[[Image:humdrumlab1-chor001-notation.png|center]]<br />
<br />
Note that the chorale data does not contain stem directions, and that muse2ps require them. The [http://extras.humdrum.org/man/autostem autostem] program add stem directions to the data. Notation programs such as [http://moinejf.free.fr abcm2ps] will determine the stem directions internally:<br />
satb2gs chor001.krn | hum2abc | abcm2ps - -O - | ps2pdf - - > output.pdf<br />
<br />
[[Image:humdrumlab1-chor001-notationabcm2ps.png|center]]<br />
<br />
=== Key ===<br />
<br />
Each chorale is hand-labeled with a musical key. To generate a histogram of key designations in the chorales:<br />
extract -f 1 *.krn | grep '\*.*:' | sort | uniq -c | sort<br />
<br />
The [http://en.wikipedia.org/wiki/Regular_expression regular expression] "<tt>\*.*:</tt"> translates into English as: "find lines which have a subset of characters starting with '*' then any number of characters (<tt>.*</tt>) and then end with ':'.<br />
<br />
Questions:<br />
# What is the most common key?<br />
# What is the most common major key?<br />
# What is the most common minor key?<br />
# What is the least common major key (other than zero counts)?<br />
# What is the least common minor key (other than zero counts)?<br />
# How many chorales are labeled as being in a modal key? Such as *G:mix for G mixolydian.<br />
<br />
<br />
==== Computational Key Identification ====<br />
<br />
Use the [http://extras.humdrum.org/man/keycor keycor] program to have the computer measure the key of the chorales:<br />
<br />
keycor chor001.krn<br />
The computer should reply:<br />
The best is key G major<br />
Compare this to the hand-labeled key:<br />
egrep -i '^\*[A-G][-|#]?:' chor001.krn<br />
<br />
Here is a bash for-loop which can be used to examine the key one chorale at a time:<br />
<br />
for i in *.krn<br />
do<br />
echo $i analysis:<br />
keycor $i<br />
egrep -i '^\*[A-G][-|#]?:' $i<br />
echo =====================<br />
done | less<br />
<br />
Questions:<br />
# Find a chorale where the hand-labeled key does not match the automatically identified key.<br />
# Take that chorale, and run the following commands on it. Do these all give the same key analysis? Which ones give the correct answer:<br />
<br />
keycor chorXXX.krn --aa<br />
keycor chorXXX.krn --bb <br />
keycor chorXXX.krn --kk<br />
keycor chorXXX.krn --kp<br />
keycor chorXXX.krn -s<br />
<br />
==== mkeyscape ====<br />
<br />
The [http://humextra.humdrum.org/man/mkeyscape mkeyscape] program can be used to view a detailed picture of the key throughout a piece of music. The online version of the program is more convenient, plus it has an interactive display of the color-to-key mappings: http://extras.humdrum.org/online?command=mkeyscape%20-ln%20h://370chorales/chor001.krn&run=true<br />
<br />
The above link should produce this plot of the key structure, showing it is strongly in G major, with the next strongest key region being C major for one measure (at bar 14):<br />
<br />
[[Image:humdrumlab1-mkeyscapechor001.png|center]]<br />
<br />
To do this on the command-line with [http://www.imagemagick.org/ Imagemagic] tools installed:<br />
<br />
mkeyscape -ln chor001.krn | convert - output.png<br />
<br />
==== Transposition ====<br />
<br />
The Humdrum Extras program [http://extras.humdrum.org/man/transpose transpose] can be used to transpose chorales to another key with the -k option. For example, tranpose the first chorale into F{{music|sharp}} major:<br />
<br />
transpose -k F# chor001.krn | less<br />
<br />
Printing the transposed chorale (transpose will not change the modality, so either 'F#' or 'f#' will transpose G major into F{{music|sharp}} major):<br />
<br />
transpose -k f# chor001.krn | autostem | hum2muse | muse2ps =z21jI50v120,120 \<br />
| ps2pdf - - > output.pdf<br />
<br />
[[Image:humdrumlab1-chor001-notation-fsharp.png|center]]<br />
<br />
The Humdrum Toolkit program [http://www.musiccog.ohio-state.edu/Humdrum/commands/trans.html trans] calculates transpositions as well, but using a different (2D) algorithm. Using trans, it is possible to change the mode of the music. For example, here is how to convert from a major to a minor key:<br />
<br />
trans -d -2 chor001.krn | trans -d 2 -c 3 -k '*k[b-e-]' | satb2gs | autostem |\<br />
hum2muse | muse2ps =z21jI50v120,120 | ps2pdf - - > output.pdf<br />
<br />
[[Image:humdrumlab1-chor001-notation-gminor.png|center]]<br />
<br />
=== Vocal Range ===<br />
<br />
To count all of the notes by pitch-class for each vocal part, use the prange command. Here is a sample command which extracts the bass part data:<br />
<br />
extract -f 1 *.krn | prange<br />
or alternatively extracting by text pattern (Bass, Tenor, Alto, Soprano):<br />
extractx -g Bass *.krn | prange<br />
<br />
For the bass part, the lowest note is CC (C2) and the highest note is e (E4), with a total vocal range of 28 semitones. The average (base-12) pitch is E- (E{{music|flat}}3), which is both the mean and median.<br />
<br />
Do a similar vocal range analysis on the other three parts.<br />
<br />
Questions:<br />
# Which voice has the widest range?<br />
# What is the highest and lowest note for each vocal part?<br />
<br />
=== Scale Degrees ===<br />
<br />
The deg command can be used to calculate the scale degree of each note if the key has been indicated. Here is a command to count how often each scale degree occurs in the chorales:<br />
serialize *.krn | deg -a | ridx -H | sed 's/[^1-7]//g' | sort | uniq -c <br />
This should produce the result:<br />
1090 <br />
15701 1<br />
11271 2<br />
12507 3<br />
10730 4<br />
16231 5<br />
8934 6<br />
10428 7<br />
<br />
The sortcount program can handle sorting and counting. Here is an example with the -p option showing the relative frequency of each scale degree in the data:<br />
<br />
serialize *.krn | deg -a | ridx -H | sed 's/[^1-7]//g' | grep -v '^$' | sortcount -ph<br />
<br />
**pcent **data<br />
18.92 5<br />
18.3 1<br />
14.58 3<br />
13.14 2<br />
12.51 4<br />
12.15 7<br />
10.41 6<br />
*- *-<br />
<br />
The dominant (5) is the most common, and the submediant (6) is the least common.<br />
<br />
Question:<br />
# Using the following template, what are the scale-degree frequencies in each part? Are there any differences?<br />
extractx -g Bass *krn | deg -a | ridx -H | sed 's/[^1-7]//g' | grep -v '^$' | sortcount -ph<br />
<br />
=== Melodic Intervals ===<br />
<br />
Tritones can be notated as augmented 4ths (such as C-F{{music|sharp}}) or diminished fifths (such as C&ndash;G{{music|flat}}). <br />
<br />
serialize *.krn | mint | ridx -H | grep A4 | wc -l<br />
serialize *.krn | mint | ridx -H | grep d5 | wc -l<br />
<br />
Questions:<br />
# Which of these two spellings of the tritone are more common in the chorales?<br />
# How often do octaves (P8) occur in the chorales?<br />
# For the diminished fifth, what is the most common direction for the melodic interval, up or down? Here are commands to answer this question:<br />
<br />
serialize *.krn | mint | ridx -H | grep +d5 | wc -l<br />
serialize *.krn | mint | ridx -H | grep -- -d5 | wc -l<br />
The double dash after grep in the second command indicates the end of options for grep, so that the string "-d5" is treated as the query rather than as the option -d5.<br />
<br />
<br />
=== Harmony ===<br />
<br />
==== hint ====<br />
<br />
The [http://www.musiccog.ohio-state.edu/Humdrum/commands/hint.html hint] command can be used to study harmonic intervals. Here is an analysis of the number of intervals found in all of the chorales:<br />
<br />
hint -ac *.krn | serialize -c | ridx -H | sortcount -ph<br />
<br />
**pcent **data<br />
15.88 m3<br />
15.43 P5<br />
14.2 M3<br />
13.42 P1<br />
9.51 P4<br />
8.83 M6<br />
8.74 m6<br />
7.04 -<br />
2.23 M2<br />
1.36 m7<br />
1.35 A4<br />
0.97 d5<br />
0.35 m2<br />
0.22 M7<br />
0.16 r<br />
0.15 d7<br />
0.06 A2<br />
0.05 d4<br />
0.04 A5<br />
0 A6<br />
0 d1<br />
*- *-<br />
<br />
The most common interval between voices is a minor 3rd (or minor 3rd plus an octave transposition) at 15.88 of the harmonic intervals. Then 15.43% for perfect 5ths and 14.2 for major thirds. The most common "dissonant" interval is a major second at 2.23% of the intervals.<br />
<br />
==== tntype ====<br />
<br />
The [http://extras.humdrum.org/man/tntype tntype] program can be used to examine harmonic sonorities in the music:<br />
<br />
tntype -a *.krn | tntype -fa | extractx -s '$1-$' | ridx -H | sortcount -ph<br />
<br />
Here are the 13 most common harmonic sonorities that will be listed:<br />
<br />
35.09 3-11B {047}<br />
17.26 3-11A {037}<br />
9.07 4-27B {0368}<br />
4.96 4-26 {0358}<br />
4.36 3-10 {036}<br />
4.26 3-9 {027}<br />
2.8 4-20 {0158}<br />
2.52 4-27A {0258}<br />
1.99 4-22A {0247}<br />
1.95 3-7A {025}<br />
1.73 4-23 {0257}<br />
1.57 4-14A {0237}<br />
1.16 3-8A {026}<br />
<br />
35% of all sonorities in the chorales are major chords, which are called 3-11B ("Forte number") in set theory, with the semitone prototype {047} which would be CEG on C, or GBD on G. Minor triads are half as common at 17.26%. The most common 4-note sonority is 4-27B which would be (C, E{{music|flat}}, F{{music|sharp}}, A) which is a fully-diminished seventh chord in tonal music theory.<br />
<br />
=== Harmony/Melody ===<br />
<br />
The [http://extras.humdrum.org/man/cint cint] program is a hybrid of the mint and hint programs. It examines 4-note counterpoint modules which contain two harmonic and two melodic intervals.<br />
<br />
cint *.krn --raw -to | sortcount -ph | less<br />
<br />
Here are all of the counterpoint modules which occur with a frequency of greater than 1%:<br />
<br />
**pcent **data<br />
2.33 5 -2 1 6<br />
2.23 6 2 1 5<br />
1.91 3 -2 1 4<br />
1.89 4 -2 1 5<br />
1.82 6 -2 -2 6<br />
1.71 5 1 2 6<br />
1.66 3 -2 -2 3<br />
1.65 3 1 2 4<br />
1.62 3 2 2 3<br />
1.6 -6 2 2 -6<br />
1.57 6 -2 2 8<br />
1.47 10 2 -2 8<br />
1.39 5 2 -2 3<br />
1.37 4 2 1 3<br />
1.36 6 1 -2 5<br />
1.36 5 1 -2 4<br />
1.34 -4 2 -2 -6<br />
1.3 -7 -2 1 -6<br />
1.28 4 1 -2 3<br />
1.2 2 -2 1 3<br />
1.2 -6 -2 1 -5<br />
1.16 6 2 2 6<br />
1.08 -3 2 1 -4<br />
1.02 3 1 -2 2<br />
1.02 8 1 -2 7<br />
<br />
The module "5 -2 1 6" means that the two voices start together with a fifth, then move to a sixth, with the bottom voice going down a second while the top note stays on the same pitch.<br />
<br />
Here is an example method to highlight the counterpoint module "5 -2 1 6" in graphical notation:<br />
<br />
cint -to --mark --search "5 -2 1 6" chor001.krn | satb2gs | autostem | \<br />
hum2abc | abcm2ps - -O - | ps2pdf - - > output.pdf<br />
<br />
[[Image:humdrumlab1-module5-216.png|center]]<br />
<br />
=== Searching ===<br />
<br />
Create a search index for the chorales:<br />
tindex *.krn > chorales.index<br />
<br />
Search for the melodic sequence "C D E F G A B C", counting how many chorales it occurs within:<br />
themax -p "cdefgabc" chorales.index | wc -l<br />
<br />
To locate the pattern within the music:<br />
themax -p "cdefgabc" chorales.index --loc | theloc<br />
which should return the result:<br />
chor190.krn::1 58=10B2-65=11B3<br />
chor325.krn::1 17=5B1-24=6B4<br />
<br />
This means that the melodic pattern "cdefgabc" occurs in two chorales (190 and 325). In both cases, the bass part (::1) has the pattern. The pattern occurs from note 58 to 65 in the bass part to chorale 190 which is from measure 10 beat 2 until measure 11 beat 3. Similarly, the pattern occurs in the bass part of chorale 325 in measure 5 to 6.<br />
<br />
The search matches can be marked in the original data:<br />
themax -p "cdefgabc" chorales.index --loc | theloc -m | less<br />
Each matched note will be prefixed with an "@" sign. Search for these marks in measure 10/11 and 5/6 in the two chorales.<br />
<br />
To pull out the measures which contain the matched notes:<br />
themax -p "cdefgabc" chorales.index --loc | theloc -m | myank --marks<br />
<br />
To display matches highlighted in graphical notation for the last chorale in the list:<br />
themax -p "cdefgabc" chorales.index --loc | tail -n 1 | theloc -m \<br />
| autostem | hum2muse | muse2ps | ps2pdf - - > output.pdf<br />
<br />
[[Image:humdrumlab1-searchresultfor-cdefgabc.png|center]]<br />
<br />
<br />
Questions:<br />
# Search for another pattern, and report your findings.<br />
<br />
The [http://extras.humdrum.org/man/themax themax] command can search for other melodic features, such as interval, contour, rhythm, meter.<br />
<br />
=== Randomized Pitch ===<br />
<br />
The [http://extras.humdrum.org/man/pitchmix pitchmix] program can mix the order of notes in a score, while keeping the rhythm fixed. The default use of pitchmix will randomly move all notes in the score, keeping the rhythm in the original order:<br />
<br />
pitchmix chor001.krn > chor001.mixed<br />
<br />
This can then be listened to with MIDI:<br />
<br />
pitchmix chor001.krn | hum2mid -o mixed.mid && open mixed.mid<br />
<br />
For displaying notation, it is best to use the <tt>-n</tt> option which transposes the randomized notes to be within an interval of a fourth from the original note:<br />
<br />
pitchmix chor001.krn -n | autostem | hum2muse | muse2ps | ps2pdf - - > output.pdf<br />
<br />
[[Image:humdrumlab1-pitchmixchorale.png|center]]<br />
<br />
The <tt>-d</tt> option specifies a randomization envelope over the duration of the music. For example, <tt>-d "0 0 1 1 2 0"</tt> is a list of time/weights: (0, 0), (1, 1), (2, 0) which means that the music starts with no randomization; in the middle of the music, there is an increase to 100% randomization, and by the end of the music, the is a gradual shift back to no randomization.<br />
<br />
hum2mid chor001.mixed -o chor001-mixed.mid<br />
<br />
There are several options to control the type of pitch mixing.</div>Marodhttps://wiki.ccarh.org/index.php?title=Humdrum_Lab_1&diff=7347Humdrum Lab 12017-03-13T05:27:41Z<p>Marod: /* MIDI Rendering */</p>
<hr />
<div><br />
<br />
== Bach Chorales ==<br />
<br />
=== Download ===<br />
<br />
A Humdrum edition of 4-Part Chorales by J.S. Bach is available at http://kern.ccarh.org/browse?l=371chorales<br />
<br />
The data files can be downloaded using the humcat and humsplit commands (first creating a new directory to store all of the downloaded files):<br />
mkdir chorales<br />
cd chorales<br />
humcat -s h://371chorales | humsplit<br />
This should create 371 files in the format chor001.krn, chor002.krn, chor003.krn, etc. For OS X, you can type "<tt>cd ~/Desktop</tt>" (without the quotes) before the above three commands to make the folder called "chorales" visible on the Desktop.<br />
<br />
=== MIDI Rendering ===<br />
<br />
Convert a particular chorale into a MIDI file with this command:<br />
hum2mid chor001.krn -o chor001.mid<br />
<br />
The data file can also be downloaded on demand:<br />
hum2mid h://371chorales/chor001.krn -o chor001.mid<br />
<br />
Once the MIDI file has been created, you can open it by double-clicking in a file browser. On OS X computers, you can type:<br />
open chor001.mid<br />
to do the equivalent of double-clicking. You must have a MIDI player associated with the file. For newer OS X computers, you will have to download Quicktime 7 in order to play the MIDI file (recent versions of Quicktime cannot play MIDI files).<br />
<br />
To pan the voices in the stereo field, try the <tt>--autopan</tt> option:<br />
hum2mid --autopan chor001.krn -o chor001pan.mid<br />
<br />
=== Graphical Music Notation ===<br />
<br />
These examples use [http://muse2ps.ccarh.org muse2ps] to generate graphical notation. Music can also be notated with [http://moinejf.free.fr abcm2ps] via the export to ABC+ notation with [http://extras.humdrum.org/man/hum2abc hum2abc], or to [http://musescore.org MuseScore] and similar notation programs which import MusicXML using [http://extras.humdrum.org/man/hum2xml hum2xml]. To convert from PostScript output from muse2ps into PDF, the ps2pdf script is used (part of the GhostScript package). GhostScript typically comes installed by default on linux computers, OS X computers will need to install with a package management system such as [http://brew.sh Homebrew]. But Preview.app in OS X will view PostScript file without any problems (just slightly slower while it converts them into PDF files).<br />
<br />
Printing in a 4-staff format:<br />
autostem chor001.krn | hum2muse | muse2ps | ps2pdf - - > output.pdf<br />
<br />
Note that the chorale data does not contain stem directions, and that muse2ps require them. The [http://extras.humdrum.org/man/autostem autostem] program add stem directions to the data. Programs such as [http://moinejf.free.fr abcm2ps] will determine the stem directions internally:<br />
hum2abc chor001.krn | abcm2ps - -O - | ps2pdf - - > output.pdf<br />
<br />
Printing in a grand-staff format:<br />
satb2gs chor001.krn | autostem | hum2muse | muse2ps | ps2pdf - - > output.pdf<br />
<br />
Applying formatting [http://wiki.ccarh.org/wiki/Muse2ps#Options options] to the last command for prettier graphical notation:<br />
satb2gs chor001.krn | autostem | hum2muse | muse2ps =z21jI50v120,120 \<br />
| ps2pdf - - > output.pdf<br />
which should produce the following graphical notation:<br />
<br />
[[Image:humdrumlab1-chor001-notation.png|center]]<br />
<br />
Note that the chorale data does not contain stem directions, and that muse2ps require them. The [http://extras.humdrum.org/man/autostem autostem] program add stem directions to the data. Notation programs such as [http://moinejf.free.fr abcm2ps] will determine the stem directions internally:<br />
satb2gs chor001.krn | hum2abc | abcm2ps - -O - | ps2pdf - - > output.pdf<br />
<br />
[[Image:humdrumlab1-chor001-notationabcm2ps.png|center]]<br />
<br />
=== Key ===<br />
<br />
Each chorale is hand-labeled with a musical key. To generate a histogram of key designations in the chorales:<br />
extract -f 1 *.krn | grep '\*.*:' | sort | uniq -c | sort<br />
<br />
The [http://en.wikipedia.org/wiki/Regular_expression regular expression] "<tt>\*.*:</tt"> translates into English as: "find lines which have a subset of characters starting with '*' then any number of characters (<tt>.*</tt>) and then end with ':'.<br />
<br />
Questions:<br />
# What is the most common key?<br />
# What is the most common major key?<br />
# What is the most common minor key?<br />
# What is the least common major key (other than zero counts)?<br />
# What is the least common minor key (other than zero counts)?<br />
# How many chorales are labeled as being in a modal key? Such as *G:mix for G mixolydian.<br />
<br />
<br />
==== Computational Key Identification ====<br />
<br />
Use the [http://extras.humdrum.org/man/keycor keycor] program to have the computer measure the key of the chorales:<br />
<br />
keycor chor001.krn<br />
The computer should reply:<br />
The best is key G major<br />
Compare this to the hand-labeled key:<br />
egrep -i '^\*[A-G][-|#]?:' chor001.krn<br />
<br />
Here is a bash for-loop which can be used to examine the key one chorale at a time:<br />
<br />
for i in *.krn<br />
do<br />
echo $i analysis:<br />
keycor $i<br />
egrep -i '^\*[A-G][-|#]?:' $i<br />
echo =====================<br />
done | less<br />
<br />
Questions:<br />
# Find a chorale where the hand-labeled key does not match the automatically identified key.<br />
# Take that chorale, and run the following commands on it. Do these all give the same key analysis? Which ones give the correct answer:<br />
<br />
keycor chorXXX.krn --aa<br />
keycor chorXXX.krn --bb <br />
keycor chorXXX.krn --kk<br />
keycor chorXXX.krn --kp<br />
keycor chorXXX.krn -s<br />
<br />
==== mkeyscape ====<br />
<br />
The [http://humextra.humdrum.org/man/mkeyscape mkeyscape] program can be used to view a detailed picture of the key throughout a piece of music. The online version of the program is more convenient, plus it has an interactive display of the color-to-key mappings: http://extras.humdrum.org/online?command=mkeyscape%20-ln%20h://370chorales/chor001.krn&run=true<br />
<br />
The above link should produce this plot of the key structure, showing it is strongly in G major, with the next strongest key region being C major for one measure (at bar 14):<br />
<br />
[[Image:humdrumlab1-mkeyscapechor001.png|center]]<br />
<br />
To do this on the command-line with [http://www.imagemagick.org/ Imagemagic] tools installed:<br />
<br />
mkeyscape -ln chor001.krn | convert - output.png<br />
<br />
==== Transposition ====<br />
<br />
The Humdrum Extras program [http://extras.humdrum.org/man/transpose transpose] can be used to transpose chorales to another key with the -k option. For example, tranpose the first chorale into F{{music|sharp}} major:<br />
<br />
transpose -k F# chor001.krn | less<br />
<br />
Printing the transposed chorale (transpose will not change the modality, so either 'F#' or 'f#' will transpose G major into F{{music|sharp}} major):<br />
<br />
transpose -k f# chor001.krn | autostem | hum2muse | muse2ps =z21jI50v120,120 \<br />
| ps2pdf - - > output.pdf<br />
<br />
[[Image:humdrumlab1-chor001-notation-fsharp.png|center]]<br />
<br />
The Humdrum Toolkit program [http://www.musiccog.ohio-state.edu/Humdrum/commands/trans.html trans] calculates transpositions as well, but using a different (2D) algorithm. Using trans, it is possible to change the mode of the music. For example, here is how to convert from a major to a minor key:<br />
<br />
trans -d -2 chor001.krn | trans -d 2 -c 3 -k '*k[b-e-]' | satb2gs | autostem |\<br />
hum2muse | muse2ps =z21jI50v120,120 | ps2pdf - - > output.pdf<br />
<br />
[[Image:humdrumlab1-chor001-notation-gminor.png|center]]<br />
<br />
=== Vocal Range ===<br />
<br />
To count all of the notes by pitch-class for each vocal part, use the prange command. Here is a sample command which extracts the bass part data:<br />
<br />
extract -f 1 *.krn | prange<br />
or alternatively extracting by text pattern (Bass, Tenor, Alto, Soprano):<br />
extractx -g Bass *.krn | prange<br />
<br />
For the bass part, the lowest note is CC (C2) and the highest note is e (E4), with a total vocal range of 28 semitones. The average (base-12) pitch is E- (E{{music|flat}}3), which is both the mean and median.<br />
<br />
Do a similar vocal range analysis on the other three parts.<br />
<br />
Questions:<br />
# Which voice has the widest range?<br />
# What is the highest and lowest note for each vocal part?<br />
<br />
=== Scale Degrees ===<br />
<br />
The deg command can be used to calculate the scale degree of each note if the key has been indicated. Here is a command to count how often each scale degree occurs in the chorales:<br />
serialize *.krn | deg -a | ridx -H | sed 's/[^1-7]//g' | sort | uniq -c <br />
This should produce the result:<br />
1090 <br />
15701 1<br />
11271 2<br />
12507 3<br />
10730 4<br />
16231 5<br />
8934 6<br />
10428 7<br />
<br />
The sortcount program can handle sorting and counting. Here is an example with the -p option showing the relative frequency of each scale degree in the data:<br />
<br />
serialize *.krn | deg -a | ridx -H | sed 's/[^1-7]//g' | grep -v '^$' | sortcount -ph<br />
<br />
**pcent **data<br />
18.92 5<br />
18.3 1<br />
14.58 3<br />
13.14 2<br />
12.51 4<br />
12.15 7<br />
10.41 6<br />
*- *-<br />
<br />
The dominant (5) is the most common, and the submediant (6) is the least common.<br />
<br />
Question:<br />
# Using the following template, what are the scale-degree frequencies in each part? Are there any differences?<br />
extractx -g Bass *krn | deg -a | ridx -H | sed 's/[^1-7]//g' | grep -v '^$' | sortcount -ph<br />
<br />
=== Melodic Intervals ===<br />
<br />
Tritones can be notated as augmented 4ths (such as C-F{{music|sharp}}) or diminished fifths (such as C&ndash;G{{music|flat}}). <br />
<br />
serialize *.krn | mint | ridx -H | grep A4 | wc -l<br />
serialize *.krn | mint | ridx -H | grep d5 | wc -l<br />
<br />
Questions:<br />
# Which of these two spellings of the tritone are more common in the chorales?<br />
# How often do octaves (P8) occur in the chorales?<br />
# For the diminished fifth, what is the most common direction for the melodic interval, up or down? Here are commands to answer this question:<br />
<br />
serialize *.krn | mint | ridx -H | grep +d5 | wc -l<br />
serialize *.krn | mint | ridx -H | grep -- -d5 | wc -l<br />
The double dash after grep in the second command indicates the end of options for grep, so that the string "-d5" is treated as the query rather than as the option -d5.<br />
<br />
<br />
=== Harmony ===<br />
<br />
==== hint ====<br />
<br />
The [http://www.musiccog.ohio-state.edu/Humdrum/commands/hint.html hint] command can be used to study harmonic intervals. Here is an analysis of the number of intervals found in all of the chorales:<br />
<br />
hint -ac *.krn | serialize -c | ridx -H | sortcount -ph<br />
<br />
**pcent **data<br />
15.88 m3<br />
15.43 P5<br />
14.2 M3<br />
13.42 P1<br />
9.51 P4<br />
8.83 M6<br />
8.74 m6<br />
7.04 -<br />
2.23 M2<br />
1.36 m7<br />
1.35 A4<br />
0.97 d5<br />
0.35 m2<br />
0.22 M7<br />
0.16 r<br />
0.15 d7<br />
0.06 A2<br />
0.05 d4<br />
0.04 A5<br />
0 A6<br />
0 d1<br />
*- *-<br />
<br />
The most common interval between voices is a minor 3rd (or minor 3rd plus an octave transposition) at 15.88 of the harmonic intervals. Then 15.43% for perfect 5ths and 14.2 for major thirds. The most common "dissonant" interval is a major second at 2.23% of the intervals.<br />
<br />
==== tntype ====<br />
<br />
The [http://extras.humdrum.org/man/tntype tntype] program can be used to examine harmonic sonorities in the music:<br />
<br />
tntype -a *.krn | tntype -fa | extractx -s '$1-$' | ridx -H | sortcount -ph<br />
<br />
Here are the 13 most common harmonic sonorities that will be listed:<br />
<br />
35.09 3-11B {047}<br />
17.26 3-11A {037}<br />
9.07 4-27B {0368}<br />
4.96 4-26 {0358}<br />
4.36 3-10 {036}<br />
4.26 3-9 {027}<br />
2.8 4-20 {0158}<br />
2.52 4-27A {0258}<br />
1.99 4-22A {0247}<br />
1.95 3-7A {025}<br />
1.73 4-23 {0257}<br />
1.57 4-14A {0237}<br />
1.16 3-8A {026}<br />
<br />
35% of all sonorities in the chorales are major chords, which are called 3-11B ("Forte number") in set theory, with the semitone prototype {047} which would be CEG on C, or GBD on G. Minor triads are half as common at 17.26%. The most common 4-note sonority is 4-27B which would be (C, E{{music|flat}}, F{{music|sharp}}, A) which is a fully-diminished seventh chord in tonal music theory.<br />
<br />
=== Harmony/Melody ===<br />
<br />
The [http://extras.humdrum.org/man/cint cint] program is a hybrid of the mint and hint programs. It examines 4-note counterpoint modules which contain two harmonic and two melodic intervals.<br />
<br />
cint *.krn --raw -to | sortcount -ph | less<br />
<br />
Here are all of the counterpoint modules which occur with a frequency of greater than 1%:<br />
<br />
**pcent **data<br />
2.33 5 -2 1 6<br />
2.23 6 2 1 5<br />
1.91 3 -2 1 4<br />
1.89 4 -2 1 5<br />
1.82 6 -2 -2 6<br />
1.71 5 1 2 6<br />
1.66 3 -2 -2 3<br />
1.65 3 1 2 4<br />
1.62 3 2 2 3<br />
1.6 -6 2 2 -6<br />
1.57 6 -2 2 8<br />
1.47 10 2 -2 8<br />
1.39 5 2 -2 3<br />
1.37 4 2 1 3<br />
1.36 6 1 -2 5<br />
1.36 5 1 -2 4<br />
1.34 -4 2 -2 -6<br />
1.3 -7 -2 1 -6<br />
1.28 4 1 -2 3<br />
1.2 2 -2 1 3<br />
1.2 -6 -2 1 -5<br />
1.16 6 2 2 6<br />
1.08 -3 2 1 -4<br />
1.02 3 1 -2 2<br />
1.02 8 1 -2 7<br />
<br />
The module "5 -2 1 6" means that the two voices start together with a fifth, then move to a sixth, with the bottom voice going down a second while the top note stays on the same pitch.<br />
<br />
Here is an example method to highlight the counterpoint module "5 -2 1 6" in graphical notation:<br />
<br />
cint -to --mark --search "5 -2 1 6" chor001.krn | satb2gs | autostem | \<br />
hum2abc | abcm2ps - -O - | ps2pdf - - > output.pdf<br />
<br />
[[Image:humdrumlab1-module5-216.png|center]]<br />
<br />
=== Searching ===<br />
<br />
Create a search index for the chorales:<br />
tindex *.krn > chorales.index<br />
<br />
Search for the melodic sequence "C D E F G A B C", counting how many chorales it occurs within:<br />
themax -p "cdefgabc" chorales.index | wc -l<br />
<br />
To locate the pattern within the music:<br />
themax -p "cdefgabc" chorales.index --loc | theloc<br />
which should return the result:<br />
chor190.krn::1 58=10B2-65=11B3<br />
chor325.krn::1 17=5B1-24=6B4<br />
<br />
This means that the melodic pattern "cdefgabc" occurs in two chorales (190 and 325). In both cases, the bass part (::1) has the pattern. The pattern occurs from note 58 to 65 in the bass part to chorale 190 which is from measure 10 beat 2 until measure 11 beat 3. Similarly, the pattern occurs in the bass part of chorale 325 in measure 5 to 6.<br />
<br />
The search matches can be marked in the original data:<br />
themax -p "cdefgabc" chorales.index --loc | theloc -m | less<br />
Each matched note will be prefixed with an "@" sign. Search for these marks in measure 10/11 and 5/6 in the two chorales.<br />
<br />
To pull out the measures which contain the matched notes:<br />
themax -p "cdefgabc" chorales.index --loc | theloc -m | myank --marks<br />
<br />
To display matches highlighted in graphical notation for the last chorale in the list:<br />
themax -p "cdefgabc" chorales.index --loc | tail -n 1 | theloc -m \<br />
| autostem | hum2muse | muse2ps | ps2pdf - - > output.pdf<br />
<br />
[[Image:humdrumlab1-searchresultfor-cdefgabc.png|center]]<br />
<br />
<br />
Questions:<br />
# Search for another pattern, and report your findings.<br />
<br />
The [http://extras.humdrum.org/man/themax themax] command can search for other melodic features, such as interval, contour, rhythm, meter.<br />
<br />
=== Randomized Pitch ===<br />
<br />
The [http://extras.humdrum.org/man/pitchmix pitchmix] program can mix the order of notes in a score, while keeping the rhythm fixed. The default use of pitchmix will randomly move all notes in the score, keeping the rhythm in the original order:<br />
<br />
pitchmix chor001.krn > chor001.mixed<br />
<br />
This can then be listened to with MIDI:<br />
<br />
pitchmix chor001.krn | hum2mid -o mixed.mid && open mixed.mid<br />
<br />
For displaying notation, it is best to use the <tt>-n</tt> option which transposes the randomized notes to be within an interval of a fourth from the original note:<br />
<br />
pitchmix chor001.krn -n | autostem | hum2muse | muse2ps | ps2pdf - - > output.pdf<br />
<br />
[[Image:humdrumlab1-pitchmixchorale.png|center]]<br />
<br />
The <tt>-d</tt> option specifies a randomization envelope over the duration of the music. For example, <tt>-d "0 0 1 1 2 0"</tt> is a list of time/weights: (0, 0), (1, 1), (2, 0) which means that the music starts with no randomization; in the middle of the music, there is an increase to 100% randomization, and by the end of the music, the is a gradual shift back to no randomization.<br />
<br />
hum2mid chor001.mixed -o chor001-mixed.mid<br />
<br />
There are several options to control the type of pitch mixing. If you want to see notation, then the</div>Marodhttps://wiki.ccarh.org/index.php?title=Humdrum_Lab_1&diff=7346Humdrum Lab 12017-03-13T05:27:18Z<p>Marod: /* Download */</p>
<hr />
<div><br />
<br />
== Bach Chorales ==<br />
<br />
=== Download ===<br />
<br />
A Humdrum edition of 4-Part Chorales by J.S. Bach is available at http://kern.ccarh.org/browse?l=371chorales<br />
<br />
The data files can be downloaded using the humcat and humsplit commands (first creating a new directory to store all of the downloaded files):<br />
mkdir chorales<br />
cd chorales<br />
humcat -s h://371chorales | humsplit<br />
This should create 371 files in the format chor001.krn, chor002.krn, chor003.krn, etc. For OS X, you can type "<tt>cd ~/Desktop</tt>" (without the quotes) before the above three commands to make the folder called "chorales" visible on the Desktop.<br />
<br />
=== MIDI Rendering ===<br />
<br />
Convert a particular chorale into a MIDI file with this command:<br />
hum2mid chor001.krn -o chor001.mid<br />
<br />
The data file can also be downloaded on demand:<br />
hum2mid h://370chorales/chor001.krn -o chor001.mid<br />
<br />
Once the MIDI file has been created, you can open it by double-clicking in a file browser. On OS X computers, you can type:<br />
open chor001.mid<br />
to do the equivalent of double-clicking. You must have a MIDI player associated with the file. For newer OS X computers, you will have to download Quicktime 7 in order to play the MIDI file (recent versions of Quicktime cannot play MIDI files).<br />
<br />
To pan the voices in the stereo field, try the <tt>--autopan</tt> option:<br />
hum2mid --autopan chor001.krn -o chor001pan.mid<br />
<br />
=== Graphical Music Notation ===<br />
<br />
These examples use [http://muse2ps.ccarh.org muse2ps] to generate graphical notation. Music can also be notated with [http://moinejf.free.fr abcm2ps] via the export to ABC+ notation with [http://extras.humdrum.org/man/hum2abc hum2abc], or to [http://musescore.org MuseScore] and similar notation programs which import MusicXML using [http://extras.humdrum.org/man/hum2xml hum2xml]. To convert from PostScript output from muse2ps into PDF, the ps2pdf script is used (part of the GhostScript package). GhostScript typically comes installed by default on linux computers, OS X computers will need to install with a package management system such as [http://brew.sh Homebrew]. But Preview.app in OS X will view PostScript file without any problems (just slightly slower while it converts them into PDF files).<br />
<br />
Printing in a 4-staff format:<br />
autostem chor001.krn | hum2muse | muse2ps | ps2pdf - - > output.pdf<br />
<br />
Note that the chorale data does not contain stem directions, and that muse2ps require them. The [http://extras.humdrum.org/man/autostem autostem] program add stem directions to the data. Programs such as [http://moinejf.free.fr abcm2ps] will determine the stem directions internally:<br />
hum2abc chor001.krn | abcm2ps - -O - | ps2pdf - - > output.pdf<br />
<br />
Printing in a grand-staff format:<br />
satb2gs chor001.krn | autostem | hum2muse | muse2ps | ps2pdf - - > output.pdf<br />
<br />
Applying formatting [http://wiki.ccarh.org/wiki/Muse2ps#Options options] to the last command for prettier graphical notation:<br />
satb2gs chor001.krn | autostem | hum2muse | muse2ps =z21jI50v120,120 \<br />
| ps2pdf - - > output.pdf<br />
which should produce the following graphical notation:<br />
<br />
[[Image:humdrumlab1-chor001-notation.png|center]]<br />
<br />
Note that the chorale data does not contain stem directions, and that muse2ps require them. The [http://extras.humdrum.org/man/autostem autostem] program add stem directions to the data. Notation programs such as [http://moinejf.free.fr abcm2ps] will determine the stem directions internally:<br />
satb2gs chor001.krn | hum2abc | abcm2ps - -O - | ps2pdf - - > output.pdf<br />
<br />
[[Image:humdrumlab1-chor001-notationabcm2ps.png|center]]<br />
<br />
=== Key ===<br />
<br />
Each chorale is hand-labeled with a musical key. To generate a histogram of key designations in the chorales:<br />
extract -f 1 *.krn | grep '\*.*:' | sort | uniq -c | sort<br />
<br />
The [http://en.wikipedia.org/wiki/Regular_expression regular expression] "<tt>\*.*:</tt"> translates into English as: "find lines which have a subset of characters starting with '*' then any number of characters (<tt>.*</tt>) and then end with ':'.<br />
<br />
Questions:<br />
# What is the most common key?<br />
# What is the most common major key?<br />
# What is the most common minor key?<br />
# What is the least common major key (other than zero counts)?<br />
# What is the least common minor key (other than zero counts)?<br />
# How many chorales are labeled as being in a modal key? Such as *G:mix for G mixolydian.<br />
<br />
<br />
==== Computational Key Identification ====<br />
<br />
Use the [http://extras.humdrum.org/man/keycor keycor] program to have the computer measure the key of the chorales:<br />
<br />
keycor chor001.krn<br />
The computer should reply:<br />
The best is key G major<br />
Compare this to the hand-labeled key:<br />
egrep -i '^\*[A-G][-|#]?:' chor001.krn<br />
<br />
Here is a bash for-loop which can be used to examine the key one chorale at a time:<br />
<br />
for i in *.krn<br />
do<br />
echo $i analysis:<br />
keycor $i<br />
egrep -i '^\*[A-G][-|#]?:' $i<br />
echo =====================<br />
done | less<br />
<br />
Questions:<br />
# Find a chorale where the hand-labeled key does not match the automatically identified key.<br />
# Take that chorale, and run the following commands on it. Do these all give the same key analysis? Which ones give the correct answer:<br />
<br />
keycor chorXXX.krn --aa<br />
keycor chorXXX.krn --bb <br />
keycor chorXXX.krn --kk<br />
keycor chorXXX.krn --kp<br />
keycor chorXXX.krn -s<br />
<br />
==== mkeyscape ====<br />
<br />
The [http://humextra.humdrum.org/man/mkeyscape mkeyscape] program can be used to view a detailed picture of the key throughout a piece of music. The online version of the program is more convenient, plus it has an interactive display of the color-to-key mappings: http://extras.humdrum.org/online?command=mkeyscape%20-ln%20h://370chorales/chor001.krn&run=true<br />
<br />
The above link should produce this plot of the key structure, showing it is strongly in G major, with the next strongest key region being C major for one measure (at bar 14):<br />
<br />
[[Image:humdrumlab1-mkeyscapechor001.png|center]]<br />
<br />
To do this on the command-line with [http://www.imagemagick.org/ Imagemagic] tools installed:<br />
<br />
mkeyscape -ln chor001.krn | convert - output.png<br />
<br />
==== Transposition ====<br />
<br />
The Humdrum Extras program [http://extras.humdrum.org/man/transpose transpose] can be used to transpose chorales to another key with the -k option. For example, tranpose the first chorale into F{{music|sharp}} major:<br />
<br />
transpose -k F# chor001.krn | less<br />
<br />
Printing the transposed chorale (transpose will not change the modality, so either 'F#' or 'f#' will transpose G major into F{{music|sharp}} major):<br />
<br />
transpose -k f# chor001.krn | autostem | hum2muse | muse2ps =z21jI50v120,120 \<br />
| ps2pdf - - > output.pdf<br />
<br />
[[Image:humdrumlab1-chor001-notation-fsharp.png|center]]<br />
<br />
The Humdrum Toolkit program [http://www.musiccog.ohio-state.edu/Humdrum/commands/trans.html trans] calculates transpositions as well, but using a different (2D) algorithm. Using trans, it is possible to change the mode of the music. For example, here is how to convert from a major to a minor key:<br />
<br />
trans -d -2 chor001.krn | trans -d 2 -c 3 -k '*k[b-e-]' | satb2gs | autostem |\<br />
hum2muse | muse2ps =z21jI50v120,120 | ps2pdf - - > output.pdf<br />
<br />
[[Image:humdrumlab1-chor001-notation-gminor.png|center]]<br />
<br />
=== Vocal Range ===<br />
<br />
To count all of the notes by pitch-class for each vocal part, use the prange command. Here is a sample command which extracts the bass part data:<br />
<br />
extract -f 1 *.krn | prange<br />
or alternatively extracting by text pattern (Bass, Tenor, Alto, Soprano):<br />
extractx -g Bass *.krn | prange<br />
<br />
For the bass part, the lowest note is CC (C2) and the highest note is e (E4), with a total vocal range of 28 semitones. The average (base-12) pitch is E- (E{{music|flat}}3), which is both the mean and median.<br />
<br />
Do a similar vocal range analysis on the other three parts.<br />
<br />
Questions:<br />
# Which voice has the widest range?<br />
# What is the highest and lowest note for each vocal part?<br />
<br />
=== Scale Degrees ===<br />
<br />
The deg command can be used to calculate the scale degree of each note if the key has been indicated. Here is a command to count how often each scale degree occurs in the chorales:<br />
serialize *.krn | deg -a | ridx -H | sed 's/[^1-7]//g' | sort | uniq -c <br />
This should produce the result:<br />
1090 <br />
15701 1<br />
11271 2<br />
12507 3<br />
10730 4<br />
16231 5<br />
8934 6<br />
10428 7<br />
<br />
The sortcount program can handle sorting and counting. Here is an example with the -p option showing the relative frequency of each scale degree in the data:<br />
<br />
serialize *.krn | deg -a | ridx -H | sed 's/[^1-7]//g' | grep -v '^$' | sortcount -ph<br />
<br />
**pcent **data<br />
18.92 5<br />
18.3 1<br />
14.58 3<br />
13.14 2<br />
12.51 4<br />
12.15 7<br />
10.41 6<br />
*- *-<br />
<br />
The dominant (5) is the most common, and the submediant (6) is the least common.<br />
<br />
Question:<br />
# Using the following template, what are the scale-degree frequencies in each part? Are there any differences?<br />
extractx -g Bass *krn | deg -a | ridx -H | sed 's/[^1-7]//g' | grep -v '^$' | sortcount -ph<br />
<br />
=== Melodic Intervals ===<br />
<br />
Tritones can be notated as augmented 4ths (such as C-F{{music|sharp}}) or diminished fifths (such as C&ndash;G{{music|flat}}). <br />
<br />
serialize *.krn | mint | ridx -H | grep A4 | wc -l<br />
serialize *.krn | mint | ridx -H | grep d5 | wc -l<br />
<br />
Questions:<br />
# Which of these two spellings of the tritone are more common in the chorales?<br />
# How often do octaves (P8) occur in the chorales?<br />
# For the diminished fifth, what is the most common direction for the melodic interval, up or down? Here are commands to answer this question:<br />
<br />
serialize *.krn | mint | ridx -H | grep +d5 | wc -l<br />
serialize *.krn | mint | ridx -H | grep -- -d5 | wc -l<br />
The double dash after grep in the second command indicates the end of options for grep, so that the string "-d5" is treated as the query rather than as the option -d5.<br />
<br />
<br />
=== Harmony ===<br />
<br />
==== hint ====<br />
<br />
The [http://www.musiccog.ohio-state.edu/Humdrum/commands/hint.html hint] command can be used to study harmonic intervals. Here is an analysis of the number of intervals found in all of the chorales:<br />
<br />
hint -ac *.krn | serialize -c | ridx -H | sortcount -ph<br />
<br />
**pcent **data<br />
15.88 m3<br />
15.43 P5<br />
14.2 M3<br />
13.42 P1<br />
9.51 P4<br />
8.83 M6<br />
8.74 m6<br />
7.04 -<br />
2.23 M2<br />
1.36 m7<br />
1.35 A4<br />
0.97 d5<br />
0.35 m2<br />
0.22 M7<br />
0.16 r<br />
0.15 d7<br />
0.06 A2<br />
0.05 d4<br />
0.04 A5<br />
0 A6<br />
0 d1<br />
*- *-<br />
<br />
The most common interval between voices is a minor 3rd (or minor 3rd plus an octave transposition) at 15.88 of the harmonic intervals. Then 15.43% for perfect 5ths and 14.2 for major thirds. The most common "dissonant" interval is a major second at 2.23% of the intervals.<br />
<br />
==== tntype ====<br />
<br />
The [http://extras.humdrum.org/man/tntype tntype] program can be used to examine harmonic sonorities in the music:<br />
<br />
tntype -a *.krn | tntype -fa | extractx -s '$1-$' | ridx -H | sortcount -ph<br />
<br />
Here are the 13 most common harmonic sonorities that will be listed:<br />
<br />
35.09 3-11B {047}<br />
17.26 3-11A {037}<br />
9.07 4-27B {0368}<br />
4.96 4-26 {0358}<br />
4.36 3-10 {036}<br />
4.26 3-9 {027}<br />
2.8 4-20 {0158}<br />
2.52 4-27A {0258}<br />
1.99 4-22A {0247}<br />
1.95 3-7A {025}<br />
1.73 4-23 {0257}<br />
1.57 4-14A {0237}<br />
1.16 3-8A {026}<br />
<br />
35% of all sonorities in the chorales are major chords, which are called 3-11B ("Forte number") in set theory, with the semitone prototype {047} which would be CEG on C, or GBD on G. Minor triads are half as common at 17.26%. The most common 4-note sonority is 4-27B which would be (C, E{{music|flat}}, F{{music|sharp}}, A) which is a fully-diminished seventh chord in tonal music theory.<br />
<br />
=== Harmony/Melody ===<br />
<br />
The [http://extras.humdrum.org/man/cint cint] program is a hybrid of the mint and hint programs. It examines 4-note counterpoint modules which contain two harmonic and two melodic intervals.<br />
<br />
cint *.krn --raw -to | sortcount -ph | less<br />
<br />
Here are all of the counterpoint modules which occur with a frequency of greater than 1%:<br />
<br />
**pcent **data<br />
2.33 5 -2 1 6<br />
2.23 6 2 1 5<br />
1.91 3 -2 1 4<br />
1.89 4 -2 1 5<br />
1.82 6 -2 -2 6<br />
1.71 5 1 2 6<br />
1.66 3 -2 -2 3<br />
1.65 3 1 2 4<br />
1.62 3 2 2 3<br />
1.6 -6 2 2 -6<br />
1.57 6 -2 2 8<br />
1.47 10 2 -2 8<br />
1.39 5 2 -2 3<br />
1.37 4 2 1 3<br />
1.36 6 1 -2 5<br />
1.36 5 1 -2 4<br />
1.34 -4 2 -2 -6<br />
1.3 -7 -2 1 -6<br />
1.28 4 1 -2 3<br />
1.2 2 -2 1 3<br />
1.2 -6 -2 1 -5<br />
1.16 6 2 2 6<br />
1.08 -3 2 1 -4<br />
1.02 3 1 -2 2<br />
1.02 8 1 -2 7<br />
<br />
The module "5 -2 1 6" means that the two voices start together with a fifth, then move to a sixth, with the bottom voice going down a second while the top note stays on the same pitch.<br />
<br />
Here is an example method to highlight the counterpoint module "5 -2 1 6" in graphical notation:<br />
<br />
cint -to --mark --search "5 -2 1 6" chor001.krn | satb2gs | autostem | \<br />
hum2abc | abcm2ps - -O - | ps2pdf - - > output.pdf<br />
<br />
[[Image:humdrumlab1-module5-216.png|center]]<br />
<br />
=== Searching ===<br />
<br />
Create a search index for the chorales:<br />
tindex *.krn > chorales.index<br />
<br />
Search for the melodic sequence "C D E F G A B C", counting how many chorales it occurs within:<br />
themax -p "cdefgabc" chorales.index | wc -l<br />
<br />
To locate the pattern within the music:<br />
themax -p "cdefgabc" chorales.index --loc | theloc<br />
which should return the result:<br />
chor190.krn::1 58=10B2-65=11B3<br />
chor325.krn::1 17=5B1-24=6B4<br />
<br />
This means that the melodic pattern "cdefgabc" occurs in two chorales (190 and 325). In both cases, the bass part (::1) has the pattern. The pattern occurs from note 58 to 65 in the bass part to chorale 190 which is from measure 10 beat 2 until measure 11 beat 3. Similarly, the pattern occurs in the bass part of chorale 325 in measure 5 to 6.<br />
<br />
The search matches can be marked in the original data:<br />
themax -p "cdefgabc" chorales.index --loc | theloc -m | less<br />
Each matched note will be prefixed with an "@" sign. Search for these marks in measure 10/11 and 5/6 in the two chorales.<br />
<br />
To pull out the measures which contain the matched notes:<br />
themax -p "cdefgabc" chorales.index --loc | theloc -m | myank --marks<br />
<br />
To display matches highlighted in graphical notation for the last chorale in the list:<br />
themax -p "cdefgabc" chorales.index --loc | tail -n 1 | theloc -m \<br />
| autostem | hum2muse | muse2ps | ps2pdf - - > output.pdf<br />
<br />
[[Image:humdrumlab1-searchresultfor-cdefgabc.png|center]]<br />
<br />
<br />
Questions:<br />
# Search for another pattern, and report your findings.<br />
<br />
The [http://extras.humdrum.org/man/themax themax] command can search for other melodic features, such as interval, contour, rhythm, meter.<br />
<br />
=== Randomized Pitch ===<br />
<br />
The [http://extras.humdrum.org/man/pitchmix pitchmix] program can mix the order of notes in a score, while keeping the rhythm fixed. The default use of pitchmix will randomly move all notes in the score, keeping the rhythm in the original order:<br />
<br />
pitchmix chor001.krn > chor001.mixed<br />
<br />
This can then be listened to with MIDI:<br />
<br />
pitchmix chor001.krn | hum2mid -o mixed.mid && open mixed.mid<br />
<br />
For displaying notation, it is best to use the <tt>-n</tt> option which transposes the randomized notes to be within an interval of a fourth from the original note:<br />
<br />
pitchmix chor001.krn -n | autostem | hum2muse | muse2ps | ps2pdf - - > output.pdf<br />
<br />
[[Image:humdrumlab1-pitchmixchorale.png|center]]<br />
<br />
The <tt>-d</tt> option specifies a randomization envelope over the duration of the music. For example, <tt>-d "0 0 1 1 2 0"</tt> is a list of time/weights: (0, 0), (1, 1), (2, 0) which means that the music starts with no randomization; in the middle of the music, there is an increase to 100% randomization, and by the end of the music, the is a gradual shift back to no randomization.<br />
<br />
hum2mid chor001.mixed -o chor001-mixed.mid<br />
<br />
There are several options to control the type of pitch mixing. If you want to see notation, then the</div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7340Music 253/CS 275a Winter 2017 Syllabus2017-03-07T03:42:14Z<p>Marod: /* Syllabus */</p>
<hr />
<div>== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Music-Representation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture M2: [[Media:XML-Introduction.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]. Install instructions for [[Media:SharpEye.pdf|SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture M3a: [[Media:MIDI-Protocol.pdf|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 />
* Lecture M3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Field trip to CCRMA's Disklavier. Demo, discussion. Come prepared to record your own MIDI file to use for your homework.<br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)] <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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDI_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | Exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:SCORE-Parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
* [[Media:Score-Reference-Manual.pdf|Score Reference]] & [[Media:Score-Users-Guide.pdf|Score Users Guide]] <br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
<b>Applications of MuseData</b><br />
* [[Media:musedataapplications.pdf|MuseData Applications]] by Craig Sapp<br />
|-<br />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<b> Augmented Music Scores (INScore) </b><br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> MEI and Verovio </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* [[Media:MusicXMLAndMei.pdf | Lecture: XML formats for music]] (presented by Craig Sapp)<br />
* [[Music 253 XML homework | XML homework]] (Due March 9)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum-File-Format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum-Tools-I.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due March 16).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources]<br />
* Algorithmic Generation of Music Scores <br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <br />
|}<br />
</ul></div>Marodhttps://wiki.ccarh.org/index.php?title=File:Humdrum-Tools-I.pdf&diff=7339File:Humdrum-Tools-I.pdf2017-03-07T03:41:41Z<p>Marod: </p>
<hr />
<div></div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7338Music 253/CS 275a Winter 2017 Syllabus2017-03-07T03:40:34Z<p>Marod: /* Syllabus */</p>
<hr />
<div>== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Music-Representation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture M2: [[Media:XML-Introduction.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]. Install instructions for [[Media:SharpEye.pdf|SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture M3a: [[Media:MIDI-Protocol.pdf|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 />
* Lecture M3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Field trip to CCRMA's Disklavier. Demo, discussion. Come prepared to record your own MIDI file to use for your homework.<br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)] <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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDI_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | Exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:SCORE-Parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
* [[Media:Score-Reference-Manual.pdf|Score Reference]] & [[Media:Score-Users-Guide.pdf|Score Users Guide]] <br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
<b>Applications of MuseData</b><br />
* [[Media:musedataapplications.pdf|MuseData Applications]] by Craig Sapp<br />
|-<br />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<b> Augmented Music Scores (INScore) </b><br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> MEI and Verovio </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* [[Media:MusicXMLAndMei.pdf | Lecture: XML formats for music]] (presented by Craig Sapp)<br />
* [[Music 253 XML homework | XML homework]] (Due March 9)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum-File-Format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due March 16).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources]<br />
* Algorithmic Generation of Music Scores <br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <br />
|}<br />
</ul></div>Marodhttps://wiki.ccarh.org/index.php?title=File:Humdrum-File-Format.pdf&diff=7337File:Humdrum-File-Format.pdf2017-03-07T03:40:00Z<p>Marod: </p>
<hr />
<div></div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7301Music 253/CS 275a Winter 2017 Syllabus2017-02-22T01:16:37Z<p>Marod: /* Syllabus */</p>
<hr />
<div>== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Music-Representation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture M2: [[Media:XML-Introduction.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]. Install instructions for [[Media:SharpEye.pdf|SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture M3a: [[Media:MIDI-Protocol.pdf|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 />
* Lecture M3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Field trip to CCRMA's Disklavier. Demo, discussion. Come prepared to record your own MIDI file to use for your homework.<br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)] <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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDI_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | Exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:SCORE-Parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
* [[Media:Score-Reference-Manual.pdf|Score Reference]] & [[Media:Score-Users-Guide.pdf|Score Users Guide]] <br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
<b>Applications of MuseData</b><br />
* Lecture by Craig Sapp<br />
|-<br />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<b> Augmented Music Scores (INScore) </b><br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> MEI and Verovio </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: MEI and Verovio (presented by Craig Sapp)<br />
* [[Music 253 XML homework | XML homework]] (Due March 9)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due March 16).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources]<br />
* Algorithmic Generation of Music Scores <br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <br />
|}<br />
</ul></div>Marodhttps://wiki.ccarh.org/index.php?title=File:Score-Users-Guide.pdf&diff=7300File:Score-Users-Guide.pdf2017-02-22T01:09:08Z<p>Marod: </p>
<hr />
<div></div>Marodhttps://wiki.ccarh.org/index.php?title=File:Score-Reference-Manual.pdf&diff=7299File:Score-Reference-Manual.pdf2017-02-21T21:46:53Z<p>Marod: </p>
<hr />
<div></div>Marodhttps://wiki.ccarh.org/index.php?title=SCORE_parameter_exercises&diff=7298SCORE parameter exercises2017-02-17T23:34:41Z<p>Marod: /* Example 4 */</p>
<hr />
<div><br />
<br />
Here are some more short musical samples to do as an exercise to become familiar with SCORE's parameters after doing this set of [[SCORE_user_input_2|simpler exercises]]. These exercises focus on editing object parameters after the basic musical structure has been input into the SCORE editor in the user input mode.<br />
<br />
Input and do edit adjustments on the following 10 examples. You should refer to the SCORE Reference Manual and the SCORE parameter table. Also, you can get brief explanations of each parameter for an item when editing it by pressing the {{keypress|F1}} function key in the SCORE program. Brief visual summaries of the parameters are available online for the more complicated item types: notes (P1=1) and slurs (P1=5). A review of the [https://ccrma.stanford.edu/~craig/score/input User Input Manual] may also be helpful.<br />
<br />
While doing each exercise, make a brief list of parameters you needed to alter in order to typeset each exercise that you do. Turn this list in with your completed exercises. For example to horizontally offset notes in exercise #1 below, you should alter P10 of the notes to offset them from the default time position. Another example would be which parameter for line codes needs to be changed to get a dashed line as seen in example #1 and what value indicates a dashed line rather than a solid line?<br />
<br />
Here is a PDF file with the exercises already typeset: [[Media:hardscore.pdf|hardscore.pdf]].<br />
<br />
<br />
==Example 1==<br />
<br />
Buxtehude exercise which is a study on how place multiple voices onto a single staff with the notes spatially offset from each other so that separate stems are visible. When doing this exercise, user input should be done in at least two passes on the top staff. For the third voice, another pass could be done, or you can manually add the notes for the third voice. When adding an incomplete secondary layer of music, you can enter rests where there is no music for the voice, and then erase those place-holder rests later. Alternatively you can insert invisible rests (called "RI" in the pitch-input stage). For the cross-staff notes in the fourth measures, you can enter that in several ways, the most convenient is to use "S-" in the pitch stage to temporarily move one of the top-staff voices to the bottom staff, and then "S0" to move the voice back up to the top staff to continue data entry for the next measure. You can also insert the notes in the extra voices in measure 4 in the bottom staff as multiple layers on the bottom staff, but more convenient in this case (other than the S- method) would be to just copy notes and manually construct these temporary voices.<br />
<br />
[[File:Buxtehude.svg|800px|center]]<br />
<br />
Hints:<br />
<br />
* Note offsets for the multiple voices in this example are altered with P10 of code 1 items (notes). Note that the P3 value of all notes on a staff which are to be played at the same time must be equal. Offsetting a note visually by adjusting the P3 instead of P10 will cause LJ to treat them as a melodic sequence rather than a vertical sonority.<br />
* The dashed line is input in command mode as a dashed line (P1=4 for lines). Try the command "DASH 2".<br />
<br />
==Example 2==<br />
<br />
Cross-staff beaming. This exercise looks deceptively easy since there are few notes, but it takes careful consideration to get it right, and to do it efficiently. See the tips below the example.<br />
<br />
[[File:Xstafff.svg|800px|center]]<br />
<br />
<br />
Hints: This is a tricky example to accomplish even though it looks easy.<br />
<br />
* Input all of the musical notes on the bottom staff.<br />
* Use the S+ and S0 (S-zero) in input mode to move the notes temporarily to the upper staff and then back again to the original staff.<br />
* Use the STUD command to align the stems (see manual).<br />
* Put invisible rests in the top staff (one for each measure). The durations of the eighth notes are probably best represented by triplet eighths (TE in rhythm-stage). If so, then the two invisible rests have a duration of 7 quarter notes. <br />
* The repeat brackets above the measures were entered with a blank middle, then some text was manually added to generate the 2X marking.<br />
* The word <i>sempre</i> has to be added as a text item (using font _02 for italic); likewise for "<i>Ped. sempre</i>".<br />
<br />
==Example 3==<br />
<br />
Chopin Mazurka.<br />
<br />
[[File:ChopinMazurka.svg|800px|center]]<br />
<br />
Hints:<br />
<br />
* The small notes are cue-sized notes which can be entered in user input mode with the commands Q+ and Q-.<br />
* The duration of the small notes are quintuplet sixteenth notes, which occur 20 times in a whole note (they are not grace notes).<br />
* <br />
* The duration of graces notes is indicated in the rhythm stage with a "G".<br />
* The numbers near the beams are tuplet numbers. Search for the parameter used to specify a "number over a beam" either in the SCORE reference manual, the parameter matrix, or by pressing {{keypress|F1}} while editing the beam to view the parameter list and help for the beam item. The tuplet numbers on beams can also be added in user input mode. For example the beam-entry text for the sextuplet beam in the third mesasure is "608 13" which means beam notes 8 through 13, placing a "6" on the beam.<br />
<br />
==Example 4==<br />
<br />
Liber usualis. There are several ways to typeset this example in SCORE. A simple method would be to change the notehead shape to the visual display below for each neume. The <tt>JT</tt> command can be used to space the text correctly after notes and text have been entered.<br />
<br />
[[File:Liberusualis.svg|600px|center]]<br />
<br />
Hints:<br />
<br />
* Add a blank 4-line staff, then position the text next, then position the neumes last.<br />
* Neumes can be entered either as code 9 items (symbols) or as code 1 items (notes) with special shapes for the note heads and no stems. Doing the neumes as notes is the best option, replacing the notehead shape with a neume shape. See P6 of notes. Some neumes such as the one over "mi-" and "es," are best done by inserting multiple notes with the same P3, then adjusting the P10 of notes to spread them out horizontally. This will keep the spacings fixed when using LJ.<br />
* The barline in the middle of the staff has non-default start and stop points. See P10 and P11 for barlines in the user manual or with the {{keypress|F1}} help button (when you are editing a beam).<br />
* The JT command will be useful for this example. See documentation about JT in the reference manual (under the Code 16 chapter). Also try typing "?JT" in command mode to see brief documentation about the JT command.<br />
<br />
==Example 5==<br />
<br />
Edvard Grieg<br />
<br />
<br />
[[File:Grieg.svg|800px|center]]<br />
<br />
<br />
Hint: <br />
* In user input mode "S+" is used to position notes one staff above the current staff; "S0" moves notes back to the current staff.<br />
* Occasional secondary voice notes/rests can be added manually, or added as a second pass of data entry on the staff (either using invisible rests which are not recommended, or rests as rhythm placeholders to delete later).<br />
* Grace notes have the duration "G" in the rhythm-stage.<br />
* Use "DIm" in the marks-stage to place the <i>dim.</i> (diminuendo) mark (typically attached to the second staff).<br />
* In measure 3, the rests can be entered in the pitch-stage as RD (rest down). Or these rests can be inserted in command mode "REST 2 100" for adding a quarter rest to the middle of the second staff. Then move the rest near a note it comes under and then type "CN" while editing the rest to center it exactly under the note.<br />
* The staccatos on the stem side of notes can be entered as "<tt>-</tt>S" in the marks-stage of user input. Otherwise they have to be moved manually above the beams using P14 of the note. It is possible to do this visually rather than guessing at the vertical accent offset values.<br />
* Horizontal adjustment of the articulations (staccatos) should be done with P13 of the note. The staccatos should be centered on the stem rather than the notehead when they are on the stem side of the note (contrary to what you see in the example).<br />
<br />
==Example 6==<br />
<br />
Liszt Consolation.<br />
<br />
[[File:Liszt.svg|800px|center]]<br />
<br />
Hints:<br />
<br />
* Note that the notes in the left hand (bottom staff) are triplet eighth notes (not plain eighth notes). "TE" or "12" are the rhythm stage symbols for triplet-eighths. This is important&mdash;if you don't match the duration of the two staves, then the LJ command will not work.<br />
* For the first slur (or tie since SCORE does not differentiate between the two) on the top staff, use the slur-stage numbers "0 1", where 0 means it goes off to the left across the system break.<br />
* For the second slur on the top staff, use the slur-stage numbers "3 99", where 99 means it goes off to the right across the system break.<br />
* Type "ARP 2 150" to place an arpeggio roughly where it should be place in the music. Use {{keypress|F4}} and {{keypress|F5}} with the {{keypress|Up}} and {{keypress|Down}} arrow keys to adjust the height of the arpeggio. The LJ command should be (re)run after the arpeggio mark has been positioned near the notes it applies to.<br />
* The whole-note in measure 3 could be either added in several ways:<br />
*#with a second pass on the bottom staff in user-input mode (using a temporary rest with duration WW which you can delete later)<br />
*# As an invisible rest with duration WW (not recommended).<br />
*# a copy of a nearby eighth-note which the notehead shape changed to a whole note (P6=2), and optionally the duration changes to 4 quarter notes (P7=4).<br />
<br />
==Example 7==<br />
<br />
One of Pachelbel's <i>other</i> works.<br />
<br />
[[File:Pachelbel.svg|800px|center]]<br />
<br />
Hints:<br />
<br />
* Check the usage of P8 for beams to create the tricky beam break in the third measure in the reference manual (or {{keypress|F1}} online help for P8).<br />
<br />
==Example 8==<br />
<br />
Campion tablature.<br />
<br />
[[File:Campion.svg|600px|center]]<br />
<br />
Hints:<br />
<br />
* Similar to example 9. Refer to the SCORE 4.0 manual addition for samples of the symbol library.<br />
* Probably most efficient to insert finger letters as notes, and then change the notehead-shapes.<br />
* The notes above the staff could be entered as code 9 items, or as notes.<br />
* The fancy repeat barline is best done with a code 8 item (#943 adn #945) see the list of graphical objects in the SCORE 3.10 Manual Additions documentation.<br />
* Invisible barlines can be input in input mode with "RI" in the pitch stage. These might be handy to have at the beginning and ending of the staff if you plan to use LJ.<br />
<br />
==Example 9==<br />
<br />
[[File:Schoenberg.svg|600px|center]]<br />
<br />
Hints:<br />
<br />
* The top two lines should be justified independently from the bottom line.<br />
* P7 on the last note of the P-0 tone row on the bottom staff should be given a duration of 2 rather than 1 so that there is an extra spacing gap before the next tone row.<br />
* See the reference manual for how to print an "&auml;" character and {{music|quarter}} (Chapter 16 for Text items).<br />
<br />
== Example 10==<br />
<br />
Richard Strauss.<br />
<br />
[[File:RichardStrauss.svg|600px|center]]<br />
<br />
Hints:<br />
<br />
* The 32nd note markings are for tremolos which are indicated as beam items.</div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7297Music 253/CS 275a Winter 2017 Syllabus2017-02-16T01:39:54Z<p>Marod: /* Syllabus */</p>
<hr />
<div>== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Music-Representation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture M2: [[Media:XML-Introduction.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]. Install instructions for [[Media:SharpEye.pdf|SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture M3a: [[Media:MIDI-Protocol.pdf|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 />
* Lecture M3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Field trip to CCRMA's Disklavier. Demo, discussion. Come prepared to record your own MIDI file to use for your homework.<br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)] <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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDI_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | Exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:SCORE-Parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
<b>Applications of MuseData</b><br />
* Lecture by Craig Sapp<br />
|-<br />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<b> Augmented Music Scores (INScore) </b><br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> MEI and Verovio </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: MEI and Verovio (presented by Craig Sapp)<br />
* [[Music 253 XML homework | XML homework]] (Due March 9)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due March 16).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources]<br />
* Algorithmic Generation of Music Scores <br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <br />
|}<br />
</ul></div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7296Music 253/CS 275a Winter 2017 Syllabus2017-02-16T01:39:00Z<p>Marod: /* Syllabus */</p>
<hr />
<div>== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Music-Representation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture M2: [[Media:XML-Introduction.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]. Install instructions for [[Media:SharpEye.pdf|SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture M3a: [[Media:MIDI-Protocol.pdf|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 />
* Lecture M3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Field trip to CCRMA's Disklavier. Demo, discussion. Come prepared to record your own MIDI file to use for your homework.<br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)] <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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDI_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | Exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:Score-Parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
<b>Applications of MuseData</b><br />
* Lecture by Craig Sapp<br />
|-<br />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<b> Augmented Music Scores (INScore) </b><br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> MEI and Verovio </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: MEI and Verovio (presented by Craig Sapp)<br />
* [[Music 253 XML homework | XML homework]] (Due March 9)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due March 16).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources]<br />
* Algorithmic Generation of Music Scores <br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <br />
|}<br />
</ul></div>Marodhttps://wiki.ccarh.org/index.php?title=File:SCORE-Parameters.pdf&diff=7295File:SCORE-Parameters.pdf2017-02-16T01:38:14Z<p>Marod: </p>
<hr />
<div></div>Marodhttps://wiki.ccarh.org/index.php?title=SCORE_survival_guide&diff=7294SCORE survival guide2017-02-09T18:44:52Z<p>Marod: /* Fixing mistakes in User Input Mode */</p>
<hr />
<div>This page is a detailed step-by-step tutorial for inputing music in the SCORE editor (MS-DOS version). This guide is useful for the first-time user to learn how to do basic navigation in the SCORE editor. This tutorial is useful for practice entering the exercises on the [[SCORE user input]] page.<br />
<br />
== Inputting Music ==<br />
<br />
<table><br />
<br />
<tr><td><br />
Type the <b>INP</b> (or INPUT) command at the SCORE command prompt to start input mode in Score:<br />
</td><td><br />
[[File:score-input-start.png|400px|thumb|center|Type "INP" to start input mode.]]<br />
</td></tr><br />
<br />
<tr><td><br />
This will take you to the Input menu which are lists of parameters at the top of the screen. Use the Arrow keys to move between the parameters. Type numbers to change them. The meter and mode are not really useful to set. Mostly the size of the music, and the starting and stoping point for the staves are useful settings. An important one is the spacing parameter (but only when dealing with more that one voice/layer on a staff). Here is what the screen should look like after pressing "INP{{keypress|enter}}":<br />
</td><td><br />
[[File:score-input-menu.png|400px|thumb|center|After typing "INP" to start input mode.]]<br />
</td></tr><br />
<br />
<tr><td><br />
After the settings in the input menu are as desired, press the space bar to start typing the five-stage user input.<br />
<br />
Here is a demonstration of the 5 stages for one of the basic melodic examples. First typing the pitch stage:<br />
</td><td><br />
[[File:score-input-pitch.png|400px|thumb|center|Typing pitch stage in input mode.]]<br />
</td></tr><br />
<br />
<tr><td><br />
Then after pressing {{keypress|enter}}, you will see pitches on the staff (in the Windows version the notes appear on the staff as you type them). Then you can type the rhythm stage:<br />
</td><td><br />
[[File:score-input-rhythm.png|400px|thumb|center|Typing rhythm stage in input mode.]]<br />
</td></tr><br />
<br />
<tr><td><br />
Note the information at the bottom of the screen. You can click on those boxes to insert rhythms, or press {{keypress|F4}} to insert a quarter note for example. Notice that after you press {{keypress|enter}} after the rhythm stage, the notes area assigned rhythmic values, and there are little (temporary) numbers shown above each note:<br />
</td><td><br />
[[File:score-input-marks.png|400px|thumb|center|Typing marks stage in input mode.]]<br />
</td></tr><br />
<br />
<tr><td><br />
In this case there are no marks, beams or slurs to add to the music. You can type {{keypress|:|enter}} three times, or type {{keypress|g|enter}} to finish inputing the music:<br />
</td><td><br />
[[File:score-input-end.png|400px|thumb|center|Terminating input sequence early.]]<br />
</td></tr><br />
<br />
<tr><td><br />
At this point SCORE asks if you want to save the data. It is asking if you want to save the text you just typed (ultimately not the graphical notation data that SCORE will generate from this text). You should type "Y" as a beginner and then view the data in a text editor to see what it looks like. This data can also be read into SCORE again with the RE command (helpful if you mess up the notation and don't want to enter by hand again):<br />
</td><td><br />
[[File:score-input-save.png|400px|thumb|center|Input mode data save.]]<br />
</td></tr><br />
<br />
<tr><td><br />
The data is text, so it is best to add the extension .txt to the filename. Also note that the filename base can only have 8 characters (this is MS-DOS):<br />
</td><td><br />
[[File:score-input-filename.png|400px|thumb|center|Input mode data save.]]<br />
</td></tr><br />
<br />
<tr><td><br />
SCORE then starts to enter staff two (note that staff one is the bottom staff on the page). Press {{keypress|esc}} to exit input mode and return to command mode.<br />
</td><td><br />
[[File:score-input-staff2.png|400px|thumb|center|Staff 2 input menu]]<br />
</td></tr><br />
<br />
</table><br />
<br />
== Saving Music ==<br />
<br />
<table><br />
<br />
<tr><td><br />
It is wise at this point to save the music (in its graphical form). Type "sa exam1 {{keypress|enter}}" to save the current page to the hard disk. This will create the file "exam1.mus"<br />
</td><td><br />
[[File:score-input-savebinary.png|400px|thumb|center|Save contents to disk]]<br />
</td></tr><br />
<br />
<tr><td><br />
Notice that after you save the file, there is a message in the top right corner saying that the file is saved, and the top left corner lists the name of the file:<br />
</td><td><br />
[[File:score-input-savestatus.png|400px|thumb|center|Save status at top of window]]<br />
</td></tr><br />
<br />
</table><br />
<br />
== Clearing Music ==<br />
<br />
<table width=100%><br />
<br />
<tr><td><br />
Try typing "RS {{keypress|enter}}" to clear the contents of the editor:<br />
</td><td><br />
[[File:score-input-rs.png|400px|thumb|center|Clear contents of editor with RS command]]<br />
</td></tr><br />
<br />
<tr><td><br />
This will put the editor in the initial state:<br />
</td><td><br />
[[File:score-input-staringstate.png|400px|thumb|center|Cleared contents of editor after RS command]]<br />
</td></tr><br />
<br />
</table><br />
<br />
== Load Music ==<br />
<br />
<table><br />
<br />
<tr><td><br />
You can load your music back into the editor with the "G" command (G = get). The default extension is .mus, so you do not have to type that part if you do not want to:<br />
</td><td><br />
[[File:score-input-getfile.png|400px|thumb|center|Get the contents of a binary file.]]<br />
</td></tr><br />
<br />
<tr><td><br />
After getting the file, you should see your music back in the editor:<br />
</td><td><br />
[[File:score-input-reload.png|400px|thumb|center|Reloaded music content.]]<br />
</td></tr><br />
<br />
<tr><td><br />
Alternatively, you can load the TEXT version that you created at the input mode stage. This is a form of SCORE macro which must be read with the RE command. Note the file extension is needed in this case since there is not default extension for macro files:<br />
</td><td><br />
[[File:score-input-macrore.png|400px|thumb|center|Reloaded music content from text file macro.]]<br />
</td></tr><br />
<br />
<tr><td><br />
The read file will look the same as the binary exam1.mus file that was just loaded (because you have not done any further editing of the data after it was input). You can say {{keypress|Y}} to go back to input mode to alter the music, or press no to go back to command mode.<br />
</td><td><br />
[[File:score-input-reloadedtext.png|400px|thumb|center|Reloaded music content from text file macro.]]<br />
</td></tr><br />
<br />
<tr><td><br />
Here is what the contents of the editor look like if typing N:<br />
</td><td><br />
[[File:score-input-backtocommand.png|400px|thumb|center|Back in command mode after reading text file with music.]]<br />
</td></tr><br />
<br />
</table><br />
<br />
== Lineup and Justify ==<br />
<br />
<table><br />
<br />
<tr><td><br />
One of the more important commands is the <b>LJ</b> (Lineup and Justify) command. When you enter music in input mode, the music is spaced linearly: quarter notes take up half the space of half notes, half notes take up half the spaces of whole notes, etc. Music spacing does not display music in this 2:1 ratio. In SCORE the spacing between rhythmic levels is about 1.51:1, such as a whole note takes up 1.51 of the amount of space that two half notes take up instead of 2. To apply this geometric spacing to the music, type <b>LJ</b>, and then type two numbers (the bottom staff and how many staves to align while justifying). In this case "<b>1 1</b>" for a single staff.<br />
</td><td><br />
[[File:score-lj-command.png|400px|thumb|center|LJ command in progress.]]<br />
</td></tr><br />
<br />
<tr><td><br />
Notice that SCORE will box the music that is going to be aligned and justified. Press {{keypress|esc}} or {{keypress|B}} to cancel, or any other key to finish the LJ command.<br />
</td><td><br />
[[File:score-lj2-command.png|400px|thumb|center|LJ command in progress.]]<br />
</td></tr><br />
<br />
<tr><td><br />
After the LJ command runs, the spacing of the music looks better (but not much difference for this example since the notes are almost all quarter notes):<br />
</td><td><br />
[[File:score-lj3-command.png|400px|thumb|center|LJ command finished.]]<br />
</td></tr><br />
<br />
</table><br />
<br />
== Printing ==<br />
<br />
<table><br />
<br />
<tr><td><br />
Press {{keypress|F6}} or type <b>PRINT</b> on the command line to go to the print menu:<br />
</td><td><br />
[[File:score-printmenu.png|400px|thumb|center|PRINT menu.]]<br />
</td></tr><br />
<br />
<tr><td><br />
Type "<b>1 exam1</b> {{keypress|enter}}" to change the output from the laser printer (probably not connected to computer) to a file instead. The default extension is .eps (for Encapsulated PostScript):<br />
</td><td><br />
[[File:score-filenameprint.png|400px|thumb|center|PRINT menu, changing filename to save to.]]<br />
</td></tr><br />
<br />
<tr><td><br />
Then type "<b>G</b>" or press {{keypress|F6}} to start printing the page of music to the file exam1.eps:<br />
</td><td><br />
[[File:score-printg.png|400px|thumb|center|Start printing the music to a file.]]<br />
</td></tr><br />
<br />
</table><br />
<br />
After the music is printed, you will be taken back to the command mode. You can also try changing the margins (menu item 4), the scaling (menu item 2), Mirroring the music of photooffset reproduction (menu item 10). etc. Type "4 .5 6" to change the left margin to 0.5 inches and the bottom margin to 6 inches.<br />
<br />
The generated EPS file can be loaded directly into Micrsoft Word for example. To generate a PDF file from the EPS file, you can do this with GhostScript in linux, OS X terminal or Windows (if Ghost Script is installed on your computer)<br />
<br />
ps2pdf -sPAPERSIZE=letter file.eps file.pdf<br />
<br />
<br />
Here is an example of the EPS file opened in OS X with Preview.app:<br />
<br />
[[File:score-previewapp.png|600px|thumb|center|Final EPS output.]]<br />
<br />
And here is an SVG graphic made from the EPS file displayed directly on the webpage:<br />
<br />
<html><br />
<?xml version="1.0"?><br />
<!DOCTYPE svg PUBLIC "-//W3C//DTD SVG 1.1//EN"<br />
"http://www.w3.org/Graphics/SVG/1.1/DTD/svg11.dtd"><br />
<br />
<svg version="1.1"<br />
xmlns="http://www.w3.org/2000/svg"<br />
xmlns:xlink="http://www.w3.org/1999/xlink"<br />
viewBox="37 0 542 45"<br />
width="700" height="55"><br />
<g transform="translate(0,75) scale(1,-1) scale(.01800) translate(2100,26250)" stroke-linejoin="round" color="black" stroke="currentColor" fill="none" stroke-width="26.7067" fill-rule="evenodd"><br />
<defs><br />
<g id="P00"><br />
<path d="<br />
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<?SCORE version="4"<br />
#SVG_SCALE: 3<br />
<br />
8. 1.0 .000 .00 .00 200.00<br />
3. 1.0 1.500<br />
17. 1.0 9.475 .00 1.00<br />
18. 1.0 13.475 .00 99.00 1.00<br />
1. 1.0 20.975 9.00 20.00 .00 1.5000 .00 10.00<br />
1. 1.0 34.362 8.00 20.00 .00 .5000 .00 1.00<br />
1. 1.0 41.464 7.00 20.00 .00 1.0000<br />
1. 1.0 52.005 5.00 10.00 .00 1.0000<br />
14. 1.0 62.670 1.00<br />
1. 1.0 66.121 4.00 10.00 .00 1.0000<br />
1. 1.0 76.662 6.00 10.00 .00 1.0000<br />
1. 1.0 87.203 5.00 10.00 .00 1.0000<br />
1. 1.0 97.818 7.00 20.00 .00 1.0000<br />
14. 1.0 108.409 1.00<br />
1. 1.0 111.859 6.00 10.00 .00 1.0000<br />
1. 1.0 122.475 8.00 20.00 .00 1.0000<br />
1. 1.0 133.016 7.00 20.00 .00 1.0000<br />
1. 1.0 143.557 9.00 20.00 .00 1.0000<br />
14. 1.0 154.147 1.00<br />
1. 1.0 157.598 2.00 10.00 .00 1.0000<br />
1. 1.0 168.138 4.00 10.00 .00 1.0000<br />
1. 1.0 178.679 5.00 10.00 .00 1.0000<br />
1. 1.0 189.220 5.00 10.00 .00 1.0000<br />
14. 1.0 200.000 1.00 2.00<br />
?><br />
</html><br />
<br />
== MIDI playback ==<br />
<br />
<table><br />
<br />
<tr><td><br />
The music can be played back by typing <b>PLAY</b> in command mode.<br />
</td><td><br />
[[File:score-play.png|400px|thumb|center|Start play mode.]]<br />
</td></tr><br />
<br />
<tr><td><br />
At the top of the play screen, a list of numbers will be shown. For simple cases these values aren't interesting, but for multi-staff systems and multiple systems on a page, this list is used to specify which staves should played together if the program doesn't figure it out correctly. Press the {{keypress|space}} bar to listen to the music.<br />
</td><td><br />
[[File:score-play2.png|400px|thumb|center|In play mode.]]<br />
</td></tr><br />
<br />
</table><br />
<br />
== Boxer.app tips ==<br />
<br />
[http://boxerapp.com Boxer.app] is an MS-DOS emulator for OS X. Here are some tips related to using SCORE in boxer.app:<br />
<br />
<ul><br />
<br />
<li><br />
Type {{keypress|Fn|M}} to toggle the insert/overwrite key, since Apples do not have such a key thanks to [https://en.wikipedia.org/wiki/Jef_Raskin Jeff Raskin].<br />
</li><br />
<br />
<li><br />
To get the mouse out of Boxer, do {{keypress|Command|click}}.<br />
</li><br />
<br />
<li><br />
{{keypress|Command|F}} toggles full-screen view<br />
</li><br />
<br />
</ul><br />
<br />
The the [http://boxerapp.com/guide/shortcuts list of shortcuts] for Boxer.app for more tips (also see the built-in help system for a list of the shortcuts, since these will be more up-to-date).<br />
<br />
== Fixing mistakes in User Input Mode ==<br />
<br />
If you make a mistake in a user input line, but you only notice it at a later stage in the input stages, you can cycle back to a previous stage by pressing {{keypress|esc}} key. Then press the {{keypress|N}} key to <b>not abandon</b> the input. The press {{keypress|enter}} key twice to get back to the pitch stage (the first two lines are the values from the initial Input mode menu). Press enter for each stage that is correct until you get to the one you need to fix. Then you can use the arrow keys to go back to the text that needs to be fixed. If you need to insert text in boxer.app in OS X, you need to switch from overwrite mode to insert mode with {{keypress|Fn|M}}. DosBox users in Windows can press the insert key to go into insert mode, so it should not be as confusing.<br />
<br />
<br />
Another thing to watch out for is that the maximum line lengths for any input stage is 256 characters. You can keep typing and have the line wrap about three times without hitting this limit. Any stage can be placed on multiple lines, and any stage which ends up being longer than 256 characters must be put on multiple lines. You can press enter at any point when inputting a line to go to the next line of the same input stage. Typically you would do this after inserting the item separator {{keypress|/}}.<br />
<br />
== Going back to User Input Mode to fix mistakes ==<br />
<br />
If you notice a mistake after exiting from input mode, then type <b>EDI</b> in command mode. The editor will then ask which staff you want to edit; type the staff number shown to the left of the staff. This takes you back to input mode and correct the error. Note that the EDI command cannot be used if you have more than one layer/voice on the staff (or in the region of the staff that you are editing with EDI). Also note that any graphical edits on music music will be lost if you use EDI, so EDI is not typically used by SCORE experts who would instead fix the errors in command mode (But you don't know how to do that yet if you are reading this page...).<br />
<br />
== Edit mode warning ==<br />
<br />
Be careful as a beginner on using the mouse to click on the graphical notation once you are back in command mode. This will cause you to go into edit mode for a particular item that you clicked on. If you did that by accident, you will have an urge to click somewhere else in the window to deselect the item; however, this will instead move the item to where you clicked. You will then have an urge to press {{keypress|esc}} to cancel the move; however {{keypress|esc}} will save the edit and take you back to command mode, locking in your accidental move. If you end up in edit mode for an item, and and you accidentally move the item, instead press {{keypress|F8}} to <b>abort</b> the change (or click on the ABORT button in the bottom menu in the editor).<br />
<br />
== Undo warning ==<br />
<br />
SCORE does not have any real undo capability&mdash;so don't make any mistakes...<br />
<br />
There is an <b>UND</b> command in command mode. Running this command will undelete the last item that was deleted. This only undeletes the last item, and cannot be used for complex operations such as <b>LJ</b> which alters multiple items. In other words, SCORE beginners should learn to save their work often to avoid having to re-enter the music from scratch. After you do the first <b>SA</b> (see further above), you can type <b>SM</b> in command mode to save the current contents of the editor to the file you are currently working on. Do this before you make any major changes to your music. Then if you make a horrible mistake, you can type <b>RS</b> to clear the editor, and <b>G file</b>.mus to load the previous contents of the file which was saved before you messed it up.</div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7293Music 253/CS 275a Winter 2017 Syllabus2017-02-08T00:06:27Z<p>Marod: /* Syllabus */</p>
<hr />
<div>== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Music-Representation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture M2: [[Media:XML-Introduction.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]. Install instructions for [[Media:SharpEye.pdf|SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture M3a: [[Media:MIDI-Protocol.pdf|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 />
* Lecture M3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Field trip to CCRMA's Disklavier. Demo, discussion. Come prepared to record your own MIDI file to use for your homework.<br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)] <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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDI_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | Exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:Score_parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
<b>Applications of MuseData</b><br />
* Lecture by Craig Sapp<br />
|-<br />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<b> Augmented Music Scores (INScore) </b><br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> MEI and Verovio </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: MEI and Verovio (presented by Craig Sapp)<br />
* [[Music 253 XML homework | XML homework]] (Due March 9)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due March 16).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources]<br />
* Algorithmic Generation of Music Scores <br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <br />
|}<br />
</ul></div>Marodhttps://wiki.ccarh.org/index.php?title=Step-by-step_guide_to_entering_music_into_SCORE_4&diff=7291Step-by-step guide to entering music into SCORE 42017-02-07T02:58:18Z<p>Marod: /* Printing */</p>
<hr />
<div>This guide illustrates the steps necessary to create, save, and print this example music in SCORE 4:<br />
<br />
[[Image:scoreex1.svg|center]]<br />
<br />
== Open Boxer.app ==<br />
<br />
This will depend on your operating system and version of SCORE. For this guide, SCORE 4 is being used in OS X using the MS-DOS emulator [http://www.boxerapp.com Boxer]. If you have SCORE 4 (MS-DOS version of SCORE) installed within Boxer, you would double click on the SCORE 4 icon on the Desktop or in the Dock. Here is an example of what it looks like in the Dock:<br />
<br />
[[Image:score4boxerdock.png|center]]<br />
<br />
Click on the Scor4 icon to run Boxer.app. A DOS window should appear:<br />
<br />
[[Image:score4doswindow.png|center]]<br />
<br />
== Start SCORE ==<br />
<br />
In the DOS terminal, type:<br />
<br />
scor4<br />
<br />
To start the SCORE 4 editor program. <br />
<br />
[[Image:score4doswindowstart.png|center]]<br />
<br />
The first page is a splash screen:<br />
<br />
[[Image:score4doswindowsplash.png|center]]<br />
<br />
The splash screen will display for a couple of seconds. If you want to skip the spash screen faster, press the space bar. You should end up in the main editor for SCORE:<br />
<br />
[[Image:score4mainwindow.png|center]]<br />
<br />
== Inputting a line of music ==<br />
<br />
To start entering a line of music, type "INP" on the SCORE command line:<br />
<br />
[[Image:score4inp.png|center]]<br />
<br />
Press the {{keypress|enter}} key and you will see a menu which controls the parameters for a line of music in Input Mode:<br />
<br />
[[Image:score4inputmode.png|center]]<br />
<br />
You can use the{{keypress|up|down}} keys to scroll through the 10 starting parameters. For now, all of the defaults can be used. The first one called "Staff #" is set to 1 which is the bottom staff on the page. You would set this to two for the second staff and so on (typically up to 12 staves on a page). <br />
<br />
== Starting the 5-stage entry process ==<br />
<br />
=== Pitch Stage === <br />
<br />
Press the {{keypress|space}} key to start entering the 5-stage user input code for the music on the line. After pressing {{keypress|space}}, here is what the text on the first line should look like for the example music:<br />
<br />
[[Image:score4pitchstage.png|center]]<br />
<br />
The pitch-stage text is shown above. When finished with text, type a semicolon and then {{keypress|enter}}. You can press enter in the middle of the pitch data to break long lines into shorter (there is an overflow bug when a line exceeds 256 characters).<br />
<br />
=== Rhythm Stage ===<br />
<br />
After pressing {{keypress|return}} at the end of the pitch stage, rhythms are specified. Here is what the text for the rhythm stage is:<br />
<br />
[[Image:score4rhythmstage.png|center]]<br />
<br />
Notice that the pitches from the pitch stage are visible, but they are temporarily displayed as quarter notes. The Rhythm stage is finished by typing a semi-colon (;) and then {{keypress|return}}.<br />
<br />
=== Marks Stage ===<br />
<br />
After the rhythms have been entered, the music will have the correct rhythm. Numbers will also be temporarily placed above the music. These numbers are used to input data from the next three stages. In this case there is no additional data to enter, so type {{keypress|g|enter}} to end the 5-stage entry process.<br />
<br />
[[Image:score4endinput.png|center]]<br />
<br />
<br />
== Saving input data ==<br />
<br />
After finishing a 5-stage input process for a line of music, SCORE will ask if you want to save the data to a file. The data it wants to save is the actual text that you typed. This data is typically not saved in normal use of SCORE, but is useful if you need to re-enter lots of music with a similar pattern. So in general it is safe not to save at this point, but useful when learning score (so you can recover the music if you mess up editing it).<br />
<br />
[[Image:score4saveinput.png|center]]<br />
<br />
After saving the file, you will see the new file in the File Browser (depending on where the Boxer files are being saved):<br />
<br />
[[Image:score4saveinput2.png|center]]<br />
<br />
[[Image:score4saveinputinbrowser.png|center]]<br />
<br />
Press {{keypress|esc}} to finish inputting music and return to command mode.<br />
<br />
Here is the contents of EXAMPLE1.TXT if you save the input data:<br />
<br />
IN1 0 0 1.0000 200<br />
0 200<br />
TR/K1S/COM/D5/C/B4/G/M/F/A/G/B/M/A/C5/B4/D5/M/D4/F/G/G/MH; <br />
Q./E/QX14;<br />
G<br />
<br />
== Lineup & Justify ==<br />
<br />
After entering music in SCORE, it is usually in a linear rhythmic proportion (half-notes take 1/2 the space of a quarter note). Musical spacing is typically logarathmic (exponential) with each larger duration taking about 1.5 times the space of half its duration (instead of a factor of 2 in linear spacing). Therefore it is useful to run the LJ command by typing the following in command mode:<br />
<br />
LJ<br />
1 1<br />
<br />
The first line "LJ" runs the lineup-and-justify function on the music. The second line are the parameters to LJ, with the first number being the starting staff #, and the second number is the number of staves to consider when lining up. Press {{keypress|enter}} after each of the above lines. SCORE will ask if you really want to do this, so you will also have to press {{keypress|enter}} or any other key other than {{keypress|B}} to run the command:<br />
<br />
[[Image:score4beforelj.png|center]]<br />
<br />
<br />
Final result:<br />
<br />
[[Image:score4afterlj.png|center]]<br />
<br />
In this case most of the notes are quarter notes, but you should be able to notice that the distance between the eighth note and the next note was increased slightly.<br />
<br />
== Saving files ==<br />
<br />
To save the contents of the editor type:<br />
<br />
SA EXAMPLE1<br />
<br />
This will save to the filename "EXAMPLE1.MUS". You can also include the .MUS on the above line, or you can change the default extension. Typically .PAG is also used to indicate the file contains music for an entire page. The data is in a binary format, so don't use the .TXT extension since that will be confusing.<br />
<br />
[[Image:score4afterlj.png|center]]<br />
<br />
After you have saved the music, the name of the file being edited will show up in the top left corner of the editor. Also note the "(SAVED)" status text in the top right meaning that the contents of the editor currently matches to the content of the saved file. When the editor content changes, and you want to update the file type:<br />
<br />
SM<br />
<br />
This will save the current editor contents to the file listed in the top left corner of the main editor window.<br />
<br />
At this point you can type <br />
<br />
EXIT<br />
<br />
to leave the SCORE editor and go back to the MS-DOS terminal.<br />
<br />
== Loading a binary file ==<br />
<br />
To load a .MUS file into the SCORE editor, type "G" and then the filename, such as:<br />
<br />
G EXAMPLE1.MUS<br />
<br />
If you do not give an extension, .MUS will be used as the default.<br />
<br />
== Loading a text file ==<br />
<br />
To reload the user-input data, use the "RE" command:<br />
<br />
RE EXAMPLE1.TXT<br />
<br />
This will load the input data before LJ was applied. Do not mix up the two type of file loading. Remember that "G" (Get) is for binary files, and "RE" is for ASCII files.<br />
<br />
== PMX files ==<br />
<br />
The binary files such as EXAMPLE1.MUS can also be saved in an ASCII equivalent by typing the PMX command, and then a filename at the prompt. For example, try PMX on the data in the editor. Typically the extension given to such files is .PMX, but .TXT also works (and allows easier opening in the file browser as a text file.<br />
<br />
== Printing ==<br />
<br />
Type PRINT in command mode to go to the print menu:<br />
<br />
<br />
[[Image:score4beforelj.png|center]]<br />
<br />
<br />
Type<br />
<br />
1 EXAMPLE1<br />
<br />
To save to the Encapsulated PostScript filename EXAMPLE1.EPS (.EPS is added by default, or you can type into name yourself).<br />
<br />
Set the left and bottom margins by typing a 4 followed by the margins in inches (in this case):<br />
<br />
4 .5 5.5<br />
<br />
In the above example menu item #4 (margins) is set to 0.5 inches on the left, and 5.5 from the bottom of the page.<br />
<br />
Type {{keypress|G|enter}} to start printing. A filed called EXAMPLE1.EPS will be visible in the same location as your EXAMPLE1.MUS file.<br />
<br />
== EPS to PDF ==<br />
<br />
On the command-line, you can convert the EPS file to PDF with GhostScript (if installed):<br />
<br />
ps2pdf -sPAPERSIZE=letter EXAMPLE1.EPS example1.pdf<br />
<br />
Or you can just double-click on the EPS file to view in Preview.app. The EPS file will have bounding box display only, while the PDF will be full page:<br />
<br />
EPS view:<br />
<br />
[[Image:score4eps.png|center]]<br />
<br />
<br />
PDF view:<br />
<br />
[[Image:score4pdf.png|center]]</div>Marodhttps://wiki.ccarh.org/index.php?title=Step-by-step_guide_to_entering_music_into_SCORE_4&diff=7290Step-by-step guide to entering music into SCORE 42017-02-07T02:50:32Z<p>Marod: /* Saving input data */</p>
<hr />
<div>This guide illustrates the steps necessary to create, save, and print this example music in SCORE 4:<br />
<br />
[[Image:scoreex1.svg|center]]<br />
<br />
== Open Boxer.app ==<br />
<br />
This will depend on your operating system and version of SCORE. For this guide, SCORE 4 is being used in OS X using the MS-DOS emulator [http://www.boxerapp.com Boxer]. If you have SCORE 4 (MS-DOS version of SCORE) installed within Boxer, you would double click on the SCORE 4 icon on the Desktop or in the Dock. Here is an example of what it looks like in the Dock:<br />
<br />
[[Image:score4boxerdock.png|center]]<br />
<br />
Click on the Scor4 icon to run Boxer.app. A DOS window should appear:<br />
<br />
[[Image:score4doswindow.png|center]]<br />
<br />
== Start SCORE ==<br />
<br />
In the DOS terminal, type:<br />
<br />
scor4<br />
<br />
To start the SCORE 4 editor program. <br />
<br />
[[Image:score4doswindowstart.png|center]]<br />
<br />
The first page is a splash screen:<br />
<br />
[[Image:score4doswindowsplash.png|center]]<br />
<br />
The splash screen will display for a couple of seconds. If you want to skip the spash screen faster, press the space bar. You should end up in the main editor for SCORE:<br />
<br />
[[Image:score4mainwindow.png|center]]<br />
<br />
== Inputting a line of music ==<br />
<br />
To start entering a line of music, type "INP" on the SCORE command line:<br />
<br />
[[Image:score4inp.png|center]]<br />
<br />
Press the {{keypress|enter}} key and you will see a menu which controls the parameters for a line of music in Input Mode:<br />
<br />
[[Image:score4inputmode.png|center]]<br />
<br />
You can use the{{keypress|up|down}} keys to scroll through the 10 starting parameters. For now, all of the defaults can be used. The first one called "Staff #" is set to 1 which is the bottom staff on the page. You would set this to two for the second staff and so on (typically up to 12 staves on a page). <br />
<br />
== Starting the 5-stage entry process ==<br />
<br />
=== Pitch Stage === <br />
<br />
Press the {{keypress|space}} key to start entering the 5-stage user input code for the music on the line. After pressing {{keypress|space}}, here is what the text on the first line should look like for the example music:<br />
<br />
[[Image:score4pitchstage.png|center]]<br />
<br />
The pitch-stage text is shown above. When finished with text, type a semicolon and then {{keypress|enter}}. You can press enter in the middle of the pitch data to break long lines into shorter (there is an overflow bug when a line exceeds 256 characters).<br />
<br />
=== Rhythm Stage ===<br />
<br />
After pressing {{keypress|return}} at the end of the pitch stage, rhythms are specified. Here is what the text for the rhythm stage is:<br />
<br />
[[Image:score4rhythmstage.png|center]]<br />
<br />
Notice that the pitches from the pitch stage are visible, but they are temporarily displayed as quarter notes. The Rhythm stage is finished by typing a semi-colon (;) and then {{keypress|return}}.<br />
<br />
=== Marks Stage ===<br />
<br />
After the rhythms have been entered, the music will have the correct rhythm. Numbers will also be temporarily placed above the music. These numbers are used to input data from the next three stages. In this case there is no additional data to enter, so type {{keypress|g|enter}} to end the 5-stage entry process.<br />
<br />
[[Image:score4endinput.png|center]]<br />
<br />
<br />
== Saving input data ==<br />
<br />
After finishing a 5-stage input process for a line of music, SCORE will ask if you want to save the data to a file. The data it wants to save is the actual text that you typed. This data is typically not saved in normal use of SCORE, but is useful if you need to re-enter lots of music with a similar pattern. So in general it is safe not to save at this point, but useful when learning score (so you can recover the music if you mess up editing it).<br />
<br />
[[Image:score4saveinput.png|center]]<br />
<br />
After saving the file, you will see the new file in the File Browser (depending on where the Boxer files are being saved):<br />
<br />
[[Image:score4saveinput2.png|center]]<br />
<br />
[[Image:score4saveinputinbrowser.png|center]]<br />
<br />
Press {{keypress|esc}} to finish inputting music and return to command mode.<br />
<br />
Here is the contents of EXAMPLE1.TXT if you save the input data:<br />
<br />
IN1 0 0 1.0000 200<br />
0 200<br />
TR/K1S/COM/D5/C/B4/G/M/F/A/G/B/M/A/C5/B4/D5/M/D4/F/G/G/MH; <br />
Q./E/QX14;<br />
G<br />
<br />
== Lineup & Justify ==<br />
<br />
After entering music in SCORE, it is usually in a linear rhythmic proportion (half-notes take 1/2 the space of a quarter note). Musical spacing is typically logarathmic (exponential) with each larger duration taking about 1.5 times the space of half its duration (instead of a factor of 2 in linear spacing). Therefore it is useful to run the LJ command by typing the following in command mode:<br />
<br />
LJ<br />
1 1<br />
<br />
The first line "LJ" runs the lineup-and-justify function on the music. The second line are the parameters to LJ, with the first number being the starting staff #, and the second number is the number of staves to consider when lining up. Press {{keypress|enter}} after each of the above lines. SCORE will ask if you really want to do this, so you will also have to press {{keypress|enter}} or any other key other than {{keypress|B}} to run the command:<br />
<br />
[[Image:score4beforelj.png|center]]<br />
<br />
<br />
Final result:<br />
<br />
[[Image:score4afterlj.png|center]]<br />
<br />
In this case most of the notes are quarter notes, but you should be able to notice that the distance between the eighth note and the next note was increased slightly.<br />
<br />
== Saving files ==<br />
<br />
To save the contents of the editor type:<br />
<br />
SA EXAMPLE1<br />
<br />
This will save to the filename "EXAMPLE1.MUS". You can also include the .MUS on the above line, or you can change the default extension. Typically .PAG is also used to indicate the file contains music for an entire page. The data is in a binary format, so don't use the .TXT extension since that will be confusing.<br />
<br />
[[Image:score4afterlj.png|center]]<br />
<br />
After you have saved the music, the name of the file being edited will show up in the top left corner of the editor. Also note the "(SAVED)" status text in the top right meaning that the contents of the editor currently matches to the content of the saved file. When the editor content changes, and you want to update the file type:<br />
<br />
SM<br />
<br />
This will save the current editor contents to the file listed in the top left corner of the main editor window.<br />
<br />
At this point you can type <br />
<br />
EXIT<br />
<br />
to leave the SCORE editor and go back to the MS-DOS terminal.<br />
<br />
== Loading a binary file ==<br />
<br />
To load a .MUS file into the SCORE editor, type "G" and then the filename, such as:<br />
<br />
G EXAMPLE1.MUS<br />
<br />
If you do not give an extension, .MUS will be used as the default.<br />
<br />
== Loading a text file ==<br />
<br />
To reload the user-input data, use the "RE" command:<br />
<br />
RE EXAMPLE1.TXT<br />
<br />
This will load the input data before LJ was applied. Do not mix up the two type of file loading. Remember that "G" (Get) is for binary files, and "RE" is for ASCII files.<br />
<br />
== PMX files ==<br />
<br />
The binary files such as EXAMPLE1.MUS can also be saved in an ASCII equivalent by typing the PMX command, and then a filename at the prompt. For example, try PMX on the data in the editor. Typically the extension given to such files is .PMX, but .TXT also works (and allows easier opening in the file browser as a text file.<br />
<br />
== Printing ==<br />
<br />
Type PRINT in command mode to go to the print menu:<br />
<br />
<br />
[[Image:score4beforelj.png|center]]<br />
<br />
<br />
Type<br />
<br />
1 EXAMPLE1<br />
<br />
To save to the Encapsulated PostScript filename EXAMPLE1.EPS (.EPS is added by default, or you can type into name yourself).<br />
<br />
Set the left and bottom margins by typing a 4 followed by the margins in inches (in this case):<br />
<br />
4 .5 5.5<br />
<br />
In the above example menu item #4 (margins) is set to 0.5 inches on the left, and 5.5 from the bottom of the page.<br />
<br />
Type {{keypress|G|enter} to start printing. A filed called EXAMPLE1.EPS will be visible in the same location as your EXAMPLE1.MUS file.<br />
<br />
== EPS to PDF ==<br />
<br />
On the command-line, you can convert the EPS file to PDF with GhostScript (if installed):<br />
<br />
ps2pdf -sPAPERSIZE=letter EXAMPLE1.EPS example1.pdf<br />
<br />
Or you can just double-click on the EPS file to view in Preview.app. The EPS file will have bounding box display only, while the PDF will be full page:<br />
<br />
EPS view:<br />
<br />
[[Image:score4eps.png|center]]<br />
<br />
<br />
PDF view:<br />
<br />
[[Image:score4pdf.png|center]]</div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7289Music 253/CS 275a Winter 2017 Syllabus2017-02-07T02:38:51Z<p>Marod: </p>
<hr />
<div>== Syllabus ==<br />
<br />
See also [[Music_254/CS_275b_Syllabus|Music 254/CS 275b Syllabus]] <br />
<br />
Go to week: [[#week1|1]] | [[#week2|2]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Music-Representation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture M2: [[Media:XML-Introduction.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]. Install instructions for [[Media:SharpEye.pdf|SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture M3a: [[Media:MIDI-Protocol.pdf|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 />
* Lecture M3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Field trip to CCRMA's Disklavier. Demo, discussion. Come prepared to record your own MIDI file to use for your homework.<br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)] <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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDI_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | Exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:Score_parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<b> Augmented Music Scores (INScore) </b><br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> MusicXML, MEI and Verovio </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: MusicXML, MEI and Verovio (presented by Craig Sapp)<br />
* [[Music 253 XML homework | XML homework]] (Due March 9)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due March 16).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources]<br />
* Algorithmic Generation of Music Scores <br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <br />
|}<br />
</ul></div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7285Music 253/CS 275a Winter 2017 Syllabus2017-01-26T06:35:17Z<p>Marod: /* Syllabus */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2017).</b></font><br />
<br />
This music-information course surveys symbolic frameworks and methods for a wide range<br />
of musical 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]] (Using Musical Information: Music Query, Analysis, and Style Simulation), which focuses on projects requiring a working knowledge of notation and 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>Location:</b></td><br />
<td></td><br />
<td> Braun Music Center, Rooms 131 (lecture), 128 (lab entry from Room 129)</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>Mauricio Rodriguez (marod<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>3:05&ndash;4:05 Tuesdays 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 attendance: 25%; weekly assignments: 50%; take-home final: 25%. <br> Three-credit/no final: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final: 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]: [[Music 253|Overview]] of individual topics presented in Music 253, 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 [http://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 />
</table><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]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Music-Representation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture M2: [[Media:XML-Introduction.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]. Install instructions for [[Media:SharpEye.pdf|SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture M3a: [[Media:MIDI-Protocol.pdf|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 />
* Lecture M3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Field trip to CCRMA's Disklavier. Demo, discussion. Come prepared to record your own MIDI file to use for your homework.<br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)] <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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDI_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:Score_parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> MusicXML and MEI </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: [[Media:MusicXML_and_musical_parameters.pdf|MusicXML and musical parameters]]<br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<b> Augmented Music Scores (INScore) </b><br />
* [[Music 253 XML homework | XML homework]] (Due March 9)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due March 16).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources]<br />
* Algorithmic Generation of Music Scores <br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <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. The OAE is located at 563 Salvatierra Walk (phone 723-1066), URL [http://oae.stanford.edu http://oae.stanford.edu].</div>Marodhttps://wiki.ccarh.org/index.php?title=File:MIDI-Protocol.pdf&diff=7284File:MIDI-Protocol.pdf2017-01-26T06:34:28Z<p>Marod: </p>
<hr />
<div></div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7283Music 253/CS 275a Winter 2017 Syllabus2017-01-24T22:53:10Z<p>Marod: /* Syllabus */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2017).</b></font><br />
<br />
This music-information course surveys symbolic frameworks and methods for a wide range<br />
of musical 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]] (Using Musical Information: Music Query, Analysis, and Style Simulation), which focuses on projects requiring a working knowledge of notation and 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>Location:</b></td><br />
<td></td><br />
<td> Braun Music Center, Rooms 131 (lecture), 128 (lab entry from Room 129)</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>Mauricio Rodriguez (marod<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>3:05&ndash;4:05 Tuesdays 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 attendance: 25%; weekly assignments: 50%; take-home final: 25%. <br> Three-credit/no final: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final: 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]: [[Music 253|Overview]] of individual topics presented in Music 253, 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 [http://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 />
</table><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]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Music-Representation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture M2: [[Media:XML-Introduction.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]. Install instructions for [[Media:SharpEye.pdf|SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture M3a: [[Media:Midi-Protocol.pdf|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 />
* Lecture M3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Field trip to CCRMA's Disklavier. Demo, discussion. Come prepared to record your own MIDI file to use for your homework.<br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)] <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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDI_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:Score_parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> MusicXML and MEI </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: [[Media:MusicXML_and_musical_parameters.pdf|MusicXML and musical parameters]]<br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<b> Augmented Music Scores (INScore) </b><br />
* [[Music 253 XML homework | XML homework]] (Due March 9)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due March 16).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources]<br />
* Algorithmic Generation of Music Scores <br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <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. The OAE is located at 563 Salvatierra Walk (phone 723-1066), URL [http://oae.stanford.edu http://oae.stanford.edu].</div>Marodhttps://wiki.ccarh.org/index.php?title=File:SharpEye.pdf&diff=7282File:SharpEye.pdf2017-01-24T22:49:51Z<p>Marod: </p>
<hr />
<div></div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7281Music 253/CS 275a Winter 2017 Syllabus2017-01-23T20:41:15Z<p>Marod: /* Syllabus */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2017).</b></font><br />
<br />
This music-information course surveys symbolic frameworks and methods for a wide range<br />
of musical 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]] (Using Musical Information: Music Query, Analysis, and Style Simulation), which focuses on projects requiring a working knowledge of notation and 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>Location:</b></td><br />
<td></td><br />
<td> Braun Music Center, Rooms 131 (lecture), 128 (lab entry from Room 129)</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>Mauricio Rodriguez (marod<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>3:05&ndash;4:05 Tuesdays 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 attendance: 25%; weekly assignments: 50%; take-home final: 25%. <br> Three-credit/no final: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final: 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]: [[Music 253|Overview]] of individual topics presented in Music 253, 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 [http://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 />
</table><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]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Music-Representation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture M2: [[Media:XML-Introduction.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture M3a: [[Media:Midi-Protocol.pdf|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 />
* Lecture M3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Field trip to CCRMA's Disklavier. Demo, discussion. Come prepared to record your own MIDI file to use for your homework.<br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)] <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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDI_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:Score_parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> MusicXML and MEI </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: [[Media:MusicXML_and_musical_parameters.pdf|MusicXML and musical parameters]]<br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<b> Augmented Music Scores (INScore) </b><br />
* [[Music 253 XML homework | XML homework]] (Due March 9)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due March 16).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources]<br />
* Algorithmic Generation of Music Scores <br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <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. The OAE is located at 563 Salvatierra Walk (phone 723-1066), URL [http://oae.stanford.edu http://oae.stanford.edu].</div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7280Music 253/CS 275a Winter 2017 Syllabus2017-01-23T20:36:44Z<p>Marod: /* Syllabus */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2017).</b></font><br />
<br />
This music-information course surveys symbolic frameworks and methods for a wide range<br />
of musical 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]] (Using Musical Information: Music Query, Analysis, and Style Simulation), which focuses on projects requiring a working knowledge of notation and 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>Location:</b></td><br />
<td></td><br />
<td> Braun Music Center, Rooms 131 (lecture), 128 (lab entry from Room 129)</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>Mauricio Rodriguez (marod<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>3:05&ndash;4:05 Tuesdays 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 attendance: 25%; weekly assignments: 50%; take-home final: 25%. <br> Three-credit/no final: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final: 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]: [[Music 253|Overview]] of individual topics presented in Music 253, 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 [http://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 />
</table><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]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Music-Representation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture M2: [[Media:XML-Introduction.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture M3a: [[Media:MIDI-Protocol.pdf|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 />
* Lecture M3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Field trip to CCRMA's Disklavier. Demo, discussion. Come prepared to record your own MIDI file to use for your homework.<br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)] <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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDI_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:Score_parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> MusicXML and MEI </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: [[Media:MusicXML_and_musical_parameters.pdf|MusicXML and musical parameters]]<br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<b> Augmented Music Scores (INScore) </b><br />
* [[Music 253 XML homework | XML homework]] (Due March 9)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due March 16).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources]<br />
* Algorithmic Generation of Music Scores <br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <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. The OAE is located at 563 Salvatierra Walk (phone 723-1066), URL [http://oae.stanford.edu http://oae.stanford.edu].</div>Marodhttps://wiki.ccarh.org/index.php?title=File:Midi-Protocol.pdf&diff=7279File:Midi-Protocol.pdf2017-01-23T20:35:45Z<p>Marod: </p>
<hr />
<div></div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7278Music 253/CS 275a Winter 2017 Syllabus2017-01-23T19:24:14Z<p>Marod: /* Syllabus */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2017).</b></font><br />
<br />
This music-information course surveys symbolic frameworks and methods for a wide range<br />
of musical 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]] (Using Musical Information: Music Query, Analysis, and Style Simulation), which focuses on projects requiring a working knowledge of notation and 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>Location:</b></td><br />
<td></td><br />
<td> Braun Music Center, Rooms 131 (lecture), 128 (lab entry from Room 129)</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>Mauricio Rodriguez (marod<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>3:05&ndash;4:05 Tuesdays 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 attendance: 25%; weekly assignments: 50%; take-home final: 25%. <br> Three-credit/no final: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final: 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]: [[Music 253|Overview]] of individual topics presented in Music 253, 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 [http://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 />
</table><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]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Music-Representation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture M2: [[Media:XML-Introduction.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture M3a: [[Media:MIDI_protocol.pdf|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 />
* Lecture M3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Field trip to CCRMA's Disklavier. Demo, discussion. Come prepared to record your own MIDI file to use for your homework.<br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)] <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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDI_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:Score_parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> MusicXML and MEI </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: [[Media:MusicXML_and_musical_parameters.pdf|MusicXML and musical parameters]]<br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<b> Augmented Music Scores (INScore) </b><br />
* [[Music 253 XML homework | XML homework]] (Due March 9)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due March 16).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources]<br />
* Algorithmic Generation of Music Scores <br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <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. The OAE is located at 563 Salvatierra Walk (phone 723-1066), URL [http://oae.stanford.edu http://oae.stanford.edu].</div>Marodhttps://wiki.ccarh.org/index.php?title=File:XML-Introduction.pdf&diff=7277File:XML-Introduction.pdf2017-01-23T19:23:28Z<p>Marod: </p>
<hr />
<div></div>Marodhttps://wiki.ccarh.org/index.php?title=SharpEye&diff=7276SharpEye2017-01-23T18:52:41Z<p>Marod: /* Editing Tips */</p>
<hr />
<div>__TOC__<br />
<br />
== SharpEye Music Scanning Program ==<br />
<br />
SharpEye is an optical music recognition program which has an interactive graphical environment for editing the symbolic music notation extracted from scanned music.<br />
<br />
Start SharpEye in the Lab by clicking on the taskbar icon which looks like a cyan/black wholenote with a sharp in front of it ([[File:Sharpeyeicon.png]]) in windows, or type "<tt>sharpeye</tt>" in the terminal in OS X. Music can be scanned directly from SharpEye using the "Aquire" option in the File menu, or you can scan with a separate program and choose "Open Image" option in the File menu to load the graphic music. When processing several pages of music, it is more efficient to first scan with the [[Epson GT-15000 Scanner]] in the lab, and then process the scanned images in batch mode within SharpEye.<br />
<br />
== Exercises ==<br />
<br />
=== Single Page ===<br />
<br />
[[File:Nova079.tif|200px|thumb|right|Example input for SharpEye. [[Media:Nova079.tif|Right-click here to save.]] ]]<br />
Become familiar with the basic SharpEye scanning process by following these instructions:<br />
<br />
* Download (or use Scanner) the TIFF image of an example page of music by clicking on the thumbnail image to the right, or print out the [[Media:Nova079.pdf|PDF version]] of the music and scan directly in SharpEye by going to the File&rarr;Acquire menu option (or use a stand-alone scanning program to scan and load the file from File&rarr;Load Image). The scanned image will be placed in the bottom window in SharpEye program as shown in the following screenshot:<br />
<br />
[[File:Sharpeye-mainwindows.png|600px|thumb|center|SharpEye windows with an example scan and conversion to symbolic data.]]<br />
<br />
* After you have loaded the scanned image into the bottom window of SharpEye, press on the music recognition button which is the icon with a right-pointing arrow on it. In a few seconds, music should be displayed in the top window which can be played or edited. There are lots of editing features, but for the simple example there will not be much to fix, so don't worry about these features yet.<br />
<br />
* Save the recognized symbolic music data to the MusicXML format by going to the menu "File&rarr;MusicXML&rarr;Save As..."<br />
<br />
* Import the MusicXML data into Finale, either by going to to the menu option "File&rarr;MusicXML&rarr;Import..." in recent versions of Finale, or under the Plugins menu in Finale 2004.<br />
<br />
* <b>Exercise 1</b>: Make any additional edits you want to the music in Finale and print the final result. (email the orignal MusicXML file and the Finale PDF or (paper print) for sending to Mauricio and cc Eleanor).<br />
<br />
* <b>Exercise 2</b>: Compare the original PDF file and the version of the music printed by Finale. What aspects of the music were preserved? Which were lost? What did you need to add/correct (if you changed after loading into Finale)?<br />
<br />
* <b>Exercise 3</b>: Save the musical data for the same score in SharpEye as MIDI data instead of MusicXML data. Load the MIDI file into Finale, and compare the results with the MusicXML method of data transfer. What is different (email or give a print of the MIDI loading result to Mauricio).<br />
<br />
=== Multiple pages ===<br />
<br />
First scan several pages of music in an external program (such as the [[Epson | Epson scanning softare]] in the lab). Then in SharpEye, go to the menu option "Read&rarr;Batch process..." and you will open up a window which looks like this:<br />
[[File:Sharpeye-batchprocess.png|||center]]<br />
<br />
* Click on the "Add files..." button and select the pages that you want to include in the recognition process. (Shift click for a range of pages).<br />
* Choose the output folder. In the example image it is set to "<tt>D:\Craig</tt>".<br />
* I would recommend that you check the option "<i>Join files after conversion</i>" and specify a filename to save all of the converted pages' data into a single file (called newpiece.mro in the above example). The batch process will create a separate .mro file for each page that it processes. After all pages have been processed, it will then combine these separate pages into a single file if that option is checked. (I keep only the joined .mro file and delete the individual .mro pages).<br />
* After the batch process is finished, go to the menu option "File&rarr;Open Music..." to load the combined data file (newpiece.mro in this case). If you do not join the files after conversion, you can edit the separate page .mro files, and optionally join them one page at a time at a later point.<br />
* A <font color=red><b>handy tip</b></font>: Select the menu option "View&rarr;Display Image" to view the original scanned image after loading a music file created with batch mode (otherwise, you will only see the symbolic music window and not the scanned image window).<br />
<br />
Here is a two-page song which can be used to try out the batch mode in SharpEye:<br />
<br />
<center><br />
<table cellpadding=0 cellspacing=0 border=0 style="background-color:white"><br />
<tr><td><br />
[[File:Gebet001.tif|300px|thumb||[[Media:Gebet001.tif|Right-click here to save page 1.]] ]]<br />
</td><td><br />
[[File:Gebet002.tif|300px|thumb||[[Media:Gebet002.tif|Right-click here to save page 2.]] ]]<br />
</td></tr><br />
</table><br />
</center><br />
<br />
Example of the resulting recognition for the song in SharpEye:<br />
<br />
[[File:Sharpeye-gebet.png|600px|thumbnail|center| [[Media:Gebet.mro|Right-click here to download .mro file]], or [[Media:Gebet.xml|Right-click here to download .xml file]] saved as output from SharpEye after corrections made to symbolic data. ]]<br />
<br />
Here is what the musical data looks like in Finale 2009 after importing the MusicXML data created by SharpEye (after a little bit of editing and page layout adjustment):<br />
<br />
[[File:Finale2009-gebet.png|600px|thumbnail|center| [[Media:Finale2009-gebet.mus|Right-click here to download Finale 2009 .mus file]]. ]]<br />
<br />
Final [[Media:Finale2009-gebet.pdf|PDF]] from Finale 2009 (with some more clean-up required for a finished product):<br />
<br />
<center><br />
<table cellpadding=0 cellspacing=0 border=0 style="background-color:white"><br />
<tr><td><br />
[[File:Finale2009-gebet_Page_1.tif|300px]]<br />
</td><td><br />
[[File:Finale2009-gebet_Page_2.tif|300px]]<br />
</td></tr><br />
</table><br />
</center><br />
<br />
<br />
<br />
* <b>Exercise 4</b> Select at least two pages of music of your own choice to process in SharpEye. Do at least minimal correction of pitch and rhythm (don't bother with articulations, slurs, etc. unless you want to). Then do a similar process to exercises 1-3: export the MusicXML file into at least two of the programs MuseScore, Noteflight, Finale, Sibelius. Print a PDF in those programs and compare to differences in the original scan input to SharpEye. What is different between the original input and the final PDFs? Also, export a MIDI file from SharpEye and import the MIDI file into Finale or MuseScore and observe the difference between the resulting PDF and the one created with the MusicXML data.<br />
* <b>Extra credit</b>: Look at the MusicXML output from SharpEye in a text editor. Find a difference in the final PDF and the original, and look for that point in the MusicXML file. Is the difference related to (1) the data feature was not exported by SharpEye (such as missing tempo markings), (2) the data feature seems to be correctly output, but receiving program had difficulty representing the item (for example a tuplet marking may be indicated in the data, but not which side of the notes it should be displayed, and the receiving program chose a different default location).<br />
<br />
== Editing Tips == <br />
<br />
Read the manual pages in the program and online listed in the link section below for full understanding of the editing options in SharpEye. SharpEye uses the mouse right-click for inserting objected from the green-colored menu which will take some time to get used to. Some handy tips dealing with editing:<br />
<br />
* Press {{keypress|Shft}} and then click-drag to select multiple notes at one time.<br />
* Press {{keypress|Ctrl}} and then click on notes to add them to the selection.<br />
* If the red-colored menu is being displayed, right click with the mouse to bring up the green-colored menu. While the green-colored menu is displayed, there will be a red cross-hair in the scanned music showing the parallel location to the mouse pointer in the symbolic music (useful for checking for errors).<br />
* Gray colored slurs are not attached correctly to notes, so they must be fixed by moving one end or the other to attach to notes on both sides.<br />
* Gray notes represent a rhythmic error in the measure which you will have to fix in some way. There is an option for rhythmic parsing which is important to understand if you want to use SharpEye a lot (read the manual).<br />
* Keyboard shortcuts for several menu selections are defined: F1 = help, F2 = flip stem direction on note(s), F3 = beam/unbeam notes, F4 = cycle through augmentation dots, F5 = make note(s) 32nds, F6 = 16ths, F7 = 8ths, F8 = quarter note(s), F9 = half note(s), F10 = whole note(s).<br />
* There is an option to recognize lyrics or not, and if so, what language to use for the recognition.<br />
<br />
== Links ==<br />
<br />
* http://www.visiv.co.uk Homepage for SharpEye.<br />
* http://www.visiv.co.uk/about.htm A brief description of SharpEye.<br />
* http://visiv.co.uk/dload.htm Download free 30-day trial version of SharpEye.<br />
* http://www.visiv.co.uk/manualv2.pdf SharpEye Manual (in PDF format).<br />
* http://www.visiv.co.uk/L2SDKdoc.htm Documentation for the Liszt music-OCR engine which runs behind the scene in the SharpEye graphical user interface.<br />
* http://www.visiv.co.uk/tech-mro.htm Internal data format used in SharpEye. <br />
* http://www.recordare.com/xml.html Description of MusicXML.<br />
* http://gamera.sourceforge.net Gamera: A software framework for the creation of domain-specific recognition applications. Music OCR being one application.</div>Marodhttps://wiki.ccarh.org/index.php?title=SharpEye&diff=7275SharpEye2017-01-23T18:46:40Z<p>Marod: /* Single Page */</p>
<hr />
<div>__TOC__<br />
<br />
== SharpEye Music Scanning Program ==<br />
<br />
SharpEye is an optical music recognition program which has an interactive graphical environment for editing the symbolic music notation extracted from scanned music.<br />
<br />
Start SharpEye in the Lab by clicking on the taskbar icon which looks like a cyan/black wholenote with a sharp in front of it ([[File:Sharpeyeicon.png]]) in windows, or type "<tt>sharpeye</tt>" in the terminal in OS X. Music can be scanned directly from SharpEye using the "Aquire" option in the File menu, or you can scan with a separate program and choose "Open Image" option in the File menu to load the graphic music. When processing several pages of music, it is more efficient to first scan with the [[Epson GT-15000 Scanner]] in the lab, and then process the scanned images in batch mode within SharpEye.<br />
<br />
== Exercises ==<br />
<br />
=== Single Page ===<br />
<br />
[[File:Nova079.tif|200px|thumb|right|Example input for SharpEye. [[Media:Nova079.tif|Right-click here to save.]] ]]<br />
Become familiar with the basic SharpEye scanning process by following these instructions:<br />
<br />
* Download (or use Scanner) the TIFF image of an example page of music by clicking on the thumbnail image to the right, or print out the [[Media:Nova079.pdf|PDF version]] of the music and scan directly in SharpEye by going to the File&rarr;Acquire menu option (or use a stand-alone scanning program to scan and load the file from File&rarr;Load Image). The scanned image will be placed in the bottom window in SharpEye program as shown in the following screenshot:<br />
<br />
[[File:Sharpeye-mainwindows.png|600px|thumb|center|SharpEye windows with an example scan and conversion to symbolic data.]]<br />
<br />
* After you have loaded the scanned image into the bottom window of SharpEye, press on the music recognition button which is the icon with a right-pointing arrow on it. In a few seconds, music should be displayed in the top window which can be played or edited. There are lots of editing features, but for the simple example there will not be much to fix, so don't worry about these features yet.<br />
<br />
* Save the recognized symbolic music data to the MusicXML format by going to the menu "File&rarr;MusicXML&rarr;Save As..."<br />
<br />
* Import the MusicXML data into Finale, either by going to to the menu option "File&rarr;MusicXML&rarr;Import..." in recent versions of Finale, or under the Plugins menu in Finale 2004.<br />
<br />
* <b>Exercise 1</b>: Make any additional edits you want to the music in Finale and print the final result. (email the orignal MusicXML file and the Finale PDF or (paper print) for sending to Mauricio and cc Eleanor).<br />
<br />
* <b>Exercise 2</b>: Compare the original PDF file and the version of the music printed by Finale. What aspects of the music were preserved? Which were lost? What did you need to add/correct (if you changed after loading into Finale)?<br />
<br />
* <b>Exercise 3</b>: Save the musical data for the same score in SharpEye as MIDI data instead of MusicXML data. Load the MIDI file into Finale, and compare the results with the MusicXML method of data transfer. What is different (email or give a print of the MIDI loading result to Mauricio).<br />
<br />
=== Multiple pages ===<br />
<br />
First scan several pages of music in an external program (such as the [[Epson | Epson scanning softare]] in the lab). Then in SharpEye, go to the menu option "Read&rarr;Batch process..." and you will open up a window which looks like this:<br />
[[File:Sharpeye-batchprocess.png|||center]]<br />
<br />
* Click on the "Add files..." button and select the pages that you want to include in the recognition process. (Shift click for a range of pages).<br />
* Choose the output folder. In the example image it is set to "<tt>D:\Craig</tt>".<br />
* I would recommend that you check the option "<i>Join files after conversion</i>" and specify a filename to save all of the converted pages' data into a single file (called newpiece.mro in the above example). The batch process will create a separate .mro file for each page that it processes. After all pages have been processed, it will then combine these separate pages into a single file if that option is checked. (I keep only the joined .mro file and delete the individual .mro pages).<br />
* After the batch process is finished, go to the menu option "File&rarr;Open Music..." to load the combined data file (newpiece.mro in this case). If you do not join the files after conversion, you can edit the separate page .mro files, and optionally join them one page at a time at a later point.<br />
* A <font color=red><b>handy tip</b></font>: Select the menu option "View&rarr;Display Image" to view the original scanned image after loading a music file created with batch mode (otherwise, you will only see the symbolic music window and not the scanned image window).<br />
<br />
Here is a two-page song which can be used to try out the batch mode in SharpEye:<br />
<br />
<center><br />
<table cellpadding=0 cellspacing=0 border=0 style="background-color:white"><br />
<tr><td><br />
[[File:Gebet001.tif|300px|thumb||[[Media:Gebet001.tif|Right-click here to save page 1.]] ]]<br />
</td><td><br />
[[File:Gebet002.tif|300px|thumb||[[Media:Gebet002.tif|Right-click here to save page 2.]] ]]<br />
</td></tr><br />
</table><br />
</center><br />
<br />
Example of the resulting recognition for the song in SharpEye:<br />
<br />
[[File:Sharpeye-gebet.png|600px|thumbnail|center| [[Media:Gebet.mro|Right-click here to download .mro file]], or [[Media:Gebet.xml|Right-click here to download .xml file]] saved as output from SharpEye after corrections made to symbolic data. ]]<br />
<br />
Here is what the musical data looks like in Finale 2009 after importing the MusicXML data created by SharpEye (after a little bit of editing and page layout adjustment):<br />
<br />
[[File:Finale2009-gebet.png|600px|thumbnail|center| [[Media:Finale2009-gebet.mus|Right-click here to download Finale 2009 .mus file]]. ]]<br />
<br />
Final [[Media:Finale2009-gebet.pdf|PDF]] from Finale 2009 (with some more clean-up required for a finished product):<br />
<br />
<center><br />
<table cellpadding=0 cellspacing=0 border=0 style="background-color:white"><br />
<tr><td><br />
[[File:Finale2009-gebet_Page_1.tif|300px]]<br />
</td><td><br />
[[File:Finale2009-gebet_Page_2.tif|300px]]<br />
</td></tr><br />
</table><br />
</center><br />
<br />
<br />
<br />
* <b>Exercise 4</b> Select at least two pages of music of your own choice to process in SharpEye. Do at least minimal correction of pitch and rhythm (don't bother with articulations, slurs, etc. unless you want to). Then do a similar process to exercises 1-3: export the MusicXML file into at least two of the programs MuseScore, Noteflight, Finale, Sibelius. Print a PDF in those programs and compare to differences in the original scan input to SharpEye. What is different between the original input and the final PDFs? Also, export a MIDI file from SharpEye and import the MIDI file into Finale or MuseScore and observe the difference between the resulting PDF and the one created with the MusicXML data.<br />
* <b>Extra credit</b>: Look at the MusicXML output from SharpEye in a text editor. Find a difference in the final PDF and the original, and look for that point in the MusicXML file. Is the difference related to (1) the data feature was not exported by SharpEye (such as missing tempo markings), (2) the data feature seems to be correctly output, but receiving program had difficulty representing the item (for example a tuplet marking may be indicated in the data, but not which side of the notes it should be displayed, and the receiving program chose a different default location).<br />
<br />
== Editing Tips == <br />
<br />
Read the manual pages in the program and online listed in the link section below for full understanding of the editing options in SharpEye. SharpEye uses the mouse right-click for inserting objected from the green-colored menu which will take some time to get used to. Some handy tips dealing with editing:<br />
<br />
* Press {{keypress|Shft}} and then click-drag to select multiple notes at one time.<br />
* Press {{keypress|Ctrl}} and then click on notes to add them to the selection.<br />
* If the red-colored menu is being displayed, right click with the mouse to bring up the green-colored menu. While the green-colored menu is displayed, there will be a red cross-hair in the scanned music showing the parallel location to the mouse pointer in the symbolic music (useful for checking for errors).<br />
* Gray colored slurs are not attached correctly to notes, so they must be fixed by moving one end or the other to attach to notes on both sides.<br />
* Gray notes represent a rhythmic error in the measure which you will have to fix in some way. There is an option for rhythmic parsing which is important to understand if you want to use SharpEye a lot (read the manual).<br />
* Keyboard shortcuts for several menu selections are defined (see the yellow printout taped to the computer keyboard): F1 = help, F2 = flip stem direction on note(s), F3 = beam/unbeam notes, F4 = cycle through augmentation dots, F5 = make note(s) 32nds, F6 = 16ths, F7 = 8ths, F8 = quarter note(s), F9 = half note(s), F10 = whole note(s).<br />
* There is an option to recognize lyrics or not, and if so, what language to use for the recognition.<br />
<br />
== Links ==<br />
<br />
* http://www.visiv.co.uk Homepage for SharpEye.<br />
* http://www.visiv.co.uk/about.htm A brief description of SharpEye.<br />
* http://visiv.co.uk/dload.htm Download free 30-day trial version of SharpEye.<br />
* http://www.visiv.co.uk/manualv2.pdf SharpEye Manual (in PDF format).<br />
* http://www.visiv.co.uk/L2SDKdoc.htm Documentation for the Liszt music-OCR engine which runs behind the scene in the SharpEye graphical user interface.<br />
* http://www.visiv.co.uk/tech-mro.htm Internal data format used in SharpEye. <br />
* http://www.recordare.com/xml.html Description of MusicXML.<br />
* http://gamera.sourceforge.net Gamera: A software framework for the creation of domain-specific recognition applications. Music OCR being one application.</div>Marodhttps://wiki.ccarh.org/index.php?title=Finale_Midi_Entry&diff=7274Finale Midi Entry2017-01-17T23:03:00Z<p>Marod: /* Exercises */</p>
<hr />
<div><center>__TOC__</center><br />
<br />
In addition to [[Finale Simple Note Entry| Simple Note Entry]] using the computer keyboard only for data entry, three alternate input methods utilize a MIDI keyboard in Finale:<br />
<br />
# <b>Simple Note Entry</b>: rhythm is selected (stickily) on computer keyboard, and MIDI keyboard inputs pitches with given computer-keyboard set rhythm.<br />
# <b>Speedy Note Entry</b>: notes are input by pressing a key (or keys) on a MIDI keyboard, and then selecting the duration of the note/chord by pressing a number on the numeric keypad.<br />
# <b>Hyperscribe Note Entry</b>: notes are input by performing the music in real-time on an attached MIDI keyboard. Durations are calculated based on performance timing.<br />
<br />
Speedy Note Entry has an advantage over textual input in [[Finale Simple Note Entry | Simple Note Entry]] when chords are involved. HyperScribe Note Entry has an advantage when you are a keyboardist, are good at sight reading or improvising, and the music does not contain a wide range of rhythms. Speedy Note Entry will tend to work better when there are large differences between rhythms; fast notes will need to be entered slower than HyperScribe, but long rhythms can be entered faster than real-time.<br />
<br />
Simple Note Entry has an advantage when there are numerous accidental with difficult to calculate accidental states. In those cases, it is easier to explicitly type the correct pitches rather than have Finale guess what the pitch spellings should be. In Speedy entry, accidentals can be altered after a chord/note has been entered by pressing {{keypress|keypad-9}}.<br />
<br />
== Getting started ==<br />
<br />
Initially hooking up MIDI to your computer can be challenging. Once you have the hardware plugged into the computer properly and the correct drivers installed, etc -- the location to select MIDI input and output is found in the <b>MIDI/Audio</b> menu &rarr; <b>Device Setup</b> &rarr; <b>MIDI/Internal Speaker Setup...</b>.<br />
<br />
<center>[[File:Finale2014-midisetup.png]]</center><br />
<br />
In this case, a USB MIDI device is automatically detected and used to receive MIDI from a MIDI keyboard. "SmartMusic SoftSynth 1" is used for MIDI output from Finale (for playback of the notation and feedback for what pitches are being entered). If no audio is played, then try changing the Playback device to "QuickTime Playback", or "MIDI System" to play on an external synthesizer. When playing with the "SmartMusic SoftSynth 1" device, you may also have to set the <b>MIDI/Audio</b> &rarr; <b>Play Finale through Audio Units</b> option. <br />
<br />
To start playing a score, you need the <b>Playback controls</b> visible on the screen. Go to the menu <b>Window</b> and select <b>Playback Controls</b> if they are not visible:<br />
<br />
<center>[[File:Finale2014-playbackcontrols.png]]</center><br />
<br />
== Simple Note Entry with MIDI ==<br />
<br />
[[File:simpleentry.png|right|thumb|<small>Simple Entry Tool selected</small>]]<br />
<br />
In [[Finale Simple Note Entry|Simple Note Entry]], notes can be added by (1) mouse click, which is very slow and tedious, (2) [[Finale_Simple_Note_Entry|computer keyboard]], which is necessary when you do not have a MIDI keyboard, and (3) using the computer keyboard for note rhythm selection, and a MIDI keyboard for MIDI.<br />
<br />
MIDI keyboard entry is accomplished by clicking in the score at the point where notes will be added. Next, the desired rhythm is chosen from the numpad (or top-row numbers with the laptop mode set). Then pitches on the MIDI keyboard are pressed to generate notes. Pressing multiple pitches at the same time will generate chords. Holding down notes and adding additional notes to a chord does not work (use Speedy Note Entry for this). Entered notes will maintain the same rhythmic value until you decide to change the rhythm by pressing a key on the computer keyboard (or click with the mouse...).<br />
<br />
A disadvantage of MIDI entry for pitches is that pitch spellings are not always deduced correctly by the program. Since MIDI keyboards cannot distinguish between enharmonic equivalents, such as C{{music|sharp}} versus D{{music|flat}}, you will sometimes have to correct the automatic spelling. This is done by typing the backslash character after entering a note in order to change its spelling. For example, if you press the C{{music|sharp}}/D{{music|flat}} key, a D{{music|flat}} will be printed in the music (if the key/key signature is set to C major). To change the D{{music|flat}} to a C{{music|sharp}}, just press the {{keypress|\}} key. For chords, pressing the {{keypress|\}} key will cycle between multiple possibilities. If you press the notes E-G{{music|sharp}}-B, the notes E-A{{music|flat}}-B will be printed in the score. Pressing backslash once will change the E to an F{{music|flat}}. Pressing backslash again will change the F{{music|flat}} back to E and the A{{music|flat}} into a G{{music|sharp}}.<br />
<br />
== Speedy Note Entry ==<br />
<br />
[[File:speedynoteentry.png|right|thumb|<small>Speedy Note Entry Tool selected</small>]]<br />
<br />
Speedy Note Entry involves typing on two keyboards: (1) first choose a pitch by pressing on a key of MIDI keyboard attached to the computer, (2) then select the rhythm for the note according to the keypad keys on the computer keyboard. This method is often the fastest way to enter music manually into Finale, particularly when you are moderately familiar with the piano keyboard layout and the rhythms in the music are fairly complex.<br />
<br />
To start Speedy Note Entry in Finale, click on the button that looks like a moving eighth-note in the main toolbar (not the plain eighth-note icon which is for Simple Note Entry).<br />
<br />
Next, click with the mouse on a measure in which you will start entering data. This will place a speedy entry box around the selected measure, such as the first measure in this sample:<br />
<br />
[[File:speedydemo.png| 700px| |center|Speedy Note Entry in measure]]<br />
<br />
Press the pitch of the note to enter on the attached MIDI keyboard. Then, select a musical rhythm to apply to notes, by pressing a number on the keypad (5=quarter note) longer notes are higher (6=half note), and shorter notes are lower (4=eighth note). Full keyboard commands in Speedy Note Entry are given below:<br />
<br />
[[File:Numpad.gif|700px ||center|Speedy Note computer keyboard commands]]<br />
<br />
Each time you press a rhythm on the keypad, a note will be entered and it will be displayed on the screen in the current measure. When the current measure is full, the next measure will be highlighted automatically (by default) so you can enter music into that measure.<br />
<br />
== Real-Time (HyperScribe) Entry ==<br />
<br />
[[File:hyperscribe.png|right|thumb|<small>HyperScribeTool selected</small>]]<br />
<br />
To start HyperScribe note entry in Finale, click on the button that looks like a piano keyboard as shown to the right.<br />
<br />
First check to see that the Click and Countoff options are correct. Select the menu item <b>Hyperscribe</b> &rarr; <b>Beat Source</b> &rarr; <b>Playback and/or Click</b> &rarr; then click on the <b>Click and Countoff...</b> button. By default, the computer will count off 2 measures of beats before it starts recording in Hyperscribe as shown below.<br />
<br />
[[File:Countoff2014.png||thumb|center|Click and Countoff options for HyperScribe in Finale 2014]]<br />
<br />
<br />
<br />
=== Hyperscribe input method 1: Human provides a click track ===<br />
<br />
[[File:Tapsource2014.png||thumb|center|Tap source options for HyperScribe in Finale 2014]]<br />
<br />
Go to the menu <b>Hyperscribe</b> &rarr; <b>Beat Source...</b> and make sure that <b>Tap...</b> is selected. If you click on the option, then you will get a configuration window: If you press the Listen button, then you can press a MIDI key which you want to use as the tap source, or you can tap with the sustain pedal. In the above configuration window, the C key two octaves below middle C is being used as the tap source and a tap represents one eighth note.<br />
<br />
Now click on a measure and start tapping and playing the melody at the same time. After you finish each measure, you should see the music being you just entered begin to be displayed.<br />
<br />
=== Hyperscribe input method 2: Human follows a click track ===<br />
<br />
[[File:Playback2014.png||thumb|center|Tap duration selection for HyperScribe]]<br />
<br />
Go to the menu <b>Hyperscribe</b> &rarr; <b>Beat Source...</b> and make sure that <b>Playback and/or Click...</b> is selected. If you click on the option, you will get a configuration window as shown on the right. Choose the tempo and duration value of the click track as you see fit. The above configuration will play a click for every quarter note at a tempo of 96 beats per minute.<br />
<br />
Next, set the record mode by going to the menu <b>HyperScribe</b> &rarr; <b>Record Mode</b> and choose <b>Record into One Staff</b>.<br />
<br />
Finally click on a measure to start recording (or click on a measure and press a MIDI key to start recording depending on the countoff settings).<br />
<br />
Also you might want to change the settings in <b>HyperScribe</b> &rarr; <b>HyperScribe Options</b> &rarr; <b>Quant Settings...</b> to suit your entry sample. In this case eighth notes/no tuplets will give the best results by limiting the note values to a minimum of eighth-notes and preventing tuplets.<br />
<br />
== Exercises ==<br />
<br />
# Input the following music into Finale using the three input methods described above (simple with MIDI keyboard, Speedy Note Entry, and HyperScribe). [[File:N32.svg|700px| |center|]]<br />
# Speculate on how the speed of entry is related to experience with each input method. In other words, if it takes 1 minute to enter a line of music for someone who first uses a particular input system, then how long would you expect someone who has learned that system for one week, one month, and one year?<br />
# Input a line or two of simple music of your choice into Finale using all three input methods described above. Which one works best? Which one would work best if you were equally familiar with all input methods? How might the style of the music influence the most efficient input method?<br />
<br />
Email the answers to the above exercises to Mauricio and CC Eleanor.</div>Marodhttps://wiki.ccarh.org/index.php?title=Finale_Simple_Note_Entry&diff=7273Finale Simple Note Entry2017-01-17T18:31:18Z<p>Marod: /* Exercises */</p>
<hr />
<div>__TOC__<br />
<br />
Finale's Simple Note Entry method can be used to enter notes onto a staff using computer keyboard letters for pitch names and the numeric keypad numbers for selecting rhythmic values (4=eighth note, 5=quarter note, 6=half note, <i>etc.</i>).<br />
<br />
== Sample music ==<br />
<br />
Here are several musical samples to get you started entering music into the Finale music editor, using the Simple Note Entry method:<br />
<br />
# [[Finale:_Mary_Had_A_Little_Lamb | Mary Had A Little Lamb]] <small><nowiki>[</nowiki>[[Media:Finale1.pdf |PDF]]<nowiki>]</nowiki></small> which introduces pitch and duration entry in the Simple Note Entry mode of Finale.<br />
# [[Finale:_Bach_Prelude_in_F_minor | Bach prelude in F minor]] <small><nowiki>[</nowiki>[[Media:Finale2.pdf |PDF]]<nowiki>]</nowiki></small> (BWV 881, Well-Tempered Clavier, Book II) which introduces chord note entry and other essential notational components.<br />
# [[Finale: Chorale | A chorale]] <small><nowiki>[</nowiki>[[Media:Finale3.pdf |PDF]]<nowiki>]</nowiki></small> (<i>Dir, dir, Jehovah, will ich singen</i>) which introduces the concept of layers in Finale for multiple voices on a staff.<br />
<br />
== Simple Entry Keyboard Commands ==<br />
<br />
Click on the ''show'' text in the table below to see the full table contents.<br />
<br />
<center><br />
{| class="collapsible wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|-<br />
! scope="col" width="220" | <b>Action</b> <br />
! scope="col" width="150" |<b>Key(s)</b> <br />
! scope="col" width="150" | <b>Laptop alternate</b><br />
|-<br />
|Chroma step up/down:||equal/dash<br />
|-<br />
|Accidental natural:||n<br />
|-<br />
|Accidental parenthsize:||p<br />
|-<br />
|Accidental courtesy:||pp<br />
|-<br />
|Accidental show/hide courtesy:||shift-control-minus<br />
|-<br />
|Sticky flats/sharps toggle:||alt-minus/equal<br />
|-<br />
|Add interval 2nd to 9th above:|| 2 to 8 ||F2 to F8<br />
|-<br />
|Add interval 2nd to 9th below:|| shift-2 to shift-8 || shift-F2 to shift-F8<br />
|-<br />
|Add nearest pitch to cursor:||shift-A through shift-G<br />
|-<br />
| Add articulation:||alt-a or backquote<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; accent:||a<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; breath:||b<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; cesura:||c<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; down bow:||d<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tenuto:||e<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; fermata:||f<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; marcato-staccato:||g<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; square harmonic:||h<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; mute/plus:||i<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; turn:||j<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; inverted mordent:||k<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; ped. end (*):||l<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; mordent:||m<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; gracenote:||n<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; harmonic:||o<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; ped.:||p<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tenuto accent:||q<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; grace rest:||r<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; staccato:||s<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; trill:||t<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; up bow:||u<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; marcato:||v<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; staccato-accent:||w<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; staccatissimo:||x<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tilde:||y<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; staccato-accent:||z<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; fingering:||1-5<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tremolo (1 beam):||6<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tremolo (2 beams):||7<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tremolo (3 beams):||8<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; parenthesis start:||9<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; parenthesis end:||0<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; other keys:||open Articulation Selection window<br />
|-<br />
|Sticky articulation toggle:||control-backquote<br />
|-<br />
|Change clef:||alt-c<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; treble clef||1<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; alto clef||2<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tenor clef||3<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; bass clef||4<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; percussion clef||5<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tenor treble clef||6<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; octave bass clef||7<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; baritone bass clef||8<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; French violin clef||9<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; baritone clef||a<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; mezzo-soprano clef||b<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; soprano clef||c<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; percussion clef 2||d<br />
|-<br />
| octave treble clef || e<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; upper octave bass clef||f<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; blank clef||g<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tab clef||h<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tab clef 2||i<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; other keys||open Change Clef window<br />
|-<br />
|Add expression under note:||x<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; ffff||1<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; fff||2<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; ff||3<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; f||4<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; mf||5<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; mp||6<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; p||7<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; pp||8<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; ppp||9<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; pppp ||0<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; fp||f<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; fz||g<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; sf||h<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; sfz||s<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; sffz||z<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; Adagio||y<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; Moderato||u<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; Allegro||i<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 8va||q<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 8vb||w<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; loco||l<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; accel.||e<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; rit.||r<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; a tempo||t<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; arco||o<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; pizz.||p<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; A to D||a to d<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; other keys||open Expression Selection window<br />
|-<br />
|Add key signature:||alt-k<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 1 to 7 sharps||1 to 7<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 1 to 7 flats||q, w, e, r, t, y, u<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 1-7 sharps with cancel||a, s, d, f, g, h, j<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 1-7 flats with cancel||z, x, c, v, b, n, m<br />
|-<br />
|Add time signature:||alt-t<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 1/4 to 9/4||1 to 9<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 1/8 to 7/8||q, w, e, r, t, y, u<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 9/8||o<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 12/8||p<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 1/2 to 4/2||a, s, d, f<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; cut time||x<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; common time||c<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 3/4||v<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; other keys||open Time Signature window<br />
|-<br />
|Move pitch octave up/down:||alt-shift-up/down<br />
|-<br />
|Move pitch diatonic up/down:||alt-up/down<br />
|-<br />
|Change note/chord duration:||alt-0 to alt-8<br />
|-<br />
|Add augmentation dot:||.<br />
|-<br />
|Sticky aug. dot toggle:||shift-dot<br />
|-<br />
|Tuplet, (triplet) toggle:||9<br />
|-<br />
|Tuplet, user defined:||alt-9<br />
|-<br />
|Enter note:||A to G<br />
|-<br />
|Enter note at cursor position:||enter<br />
|-<br />
|Enter rest:||0 or tab or alt-enter or shift-enter<br />
|-<br />
|Break beam to previous note:||/<br />
|-<br />
|Flatten beam toggle:||alt-/<br />
|-<br />
|Default beam angle:||shift-/<br />
|-<br />
|Enharmonic spelling:||\ or alt-e<br />
|-<br />
|Delete:||delete or shift-backspace<br />
|-<br />
|Select eraser:||alt-backspace or alt-delete<br />
|-<br />
|Flip tie (on right):||control-f<br />
|-<br />
|Grace note:||alt-g<br />
|-<br />
|Show/Hide:||h<br />
|-<br />
|Flip stem:||l (lowercase L)<br />
|-<br />
|Default stem direction:||shift-L<br />
|-<br />
|Tie to next note:||t<br />
|-<br />
|Tie to previous note:||shift-T<br />
|-<br />
|Toggle note/rest:||r<br />
|-<br />
|Cursor/selection clear:||backspace<br />
|-<br />
|Cursor octave up/down:||shift-up/down<br />
|-<br />
|Cursor step up/down:||up/down<br />
|-<br />
|Move one entry left/right:||left/right<br />
|-<br />
|Move one meausre left/right:||control-left/right<br />
|-<br />
|Select duration 128th to breve:||0 to 7 or control-alt-shift-0/7<br />
|-<br />
|Change duration of note:||alt-0 to alt-7<br />
|}<br />
</center><br />
<br />
<br />
<br />
<br />
<br />
=== Laptop configuration for Simple Note Entry ===<br />
<br />
[[File:Laptop-finale-simple-note-entry.png|300px|thumb|right|Laptop Shortcut Table setting in Finale 2009]]<br />
For laptops without numeric keypads, after clicking on the <br />
"Simple Entry Tool", go to the Simple menu --> Simple Entry Options...<br />
--> click on "Edit Keyboard Shortcuts..." --> click "Name" drop-down menu and <br />
select "Laptop Shortcut Table". <br />
<br />
Using the Laptop Shortcut Table, the laptop key commands shift the chord intervals keys from the alphanumeric digits to the function keys, and move the rhythm commands from the numpad to the aphanumeric numbers.<br />
<br />
<br />
== Exercises ==<br />
<br />
1. Enter the 3 sample pieces of music above.<br />
<br />
2. When finished, save each example as a MusicXML file. To do this in Finale 2012, go to File->Export->MusicXML... and save as a "MusicXML 3.0" file.<br />
<br />
3. Open the Mary Had a Little Lamb music from its MusicXML file in a text edtor (vi, TextEdit, WordPad, MS Word, etc.). Find the word "snow" and extract the <note> which contains it. For example here is a MusicXML <note> (not the same one):<br />
<br />
<note default-x="83"><br />
<pitch><br />
<step>G</step><br />
<octave>4</octave><br />
</pitch><br />
<duration>2</duration><br />
<voice>1</voice><br />
<type>quarter</type><br />
<stem default-y="5.5">up</stem><br />
</note><br />
<br />
Look at the graphical music for the note for the word "snow". What does each of the note parameters such as <pitch>, <step>, <duration>, etc mean? How many parameters are there (including the parameter which holds the word "snow")?. What is the name of the parameter which contains the word "snow"?<br />
<br />
4. Extra Credit. Alter the contents of the MusicXML file in the word processing program. For example change the word "snow" to something else, add another verse change the pitch of the note, add an accidental or articulation such as a staccato or fermata. Save a PDF or screenshot of the graphical music after you load the file back into Finale. Also try breaking the file such as removing an angle bracket on the <note> tag for the note connected to the word "snow". What happens when you load the file back into Finale? If you use another music editor or processor which imports MusicXML, load your altered file into that program and see what happens.<br />
<br />
5. In a paragraph or so, comment about the experience of typing in the musical examples on a computer keyboard. Have you done that in Finale or another music editor before? How does this compare to entering music in the [[Guido]] lab? If you use a graphical music editor, how do you usually enter music. Which way is more efficient? With practice and equal expertise in both methods, which would be more efficient?<br />
<br />
Email Mauricio and CC Eleanor the responses to these exercises (the three MusicXML files and the questions in the above exercises).</div>Marodhttps://wiki.ccarh.org/index.php?title=Finale_Simple_Note_Entry&diff=7272Finale Simple Note Entry2017-01-16T02:18:08Z<p>Marod: /* Exercises */</p>
<hr />
<div>__TOC__<br />
<br />
Finale's Simple Note Entry method can be used to enter notes onto a staff using computer keyboard letters for pitch names and the numeric keypad numbers for selecting rhythmic values (4=eighth note, 5=quarter note, 6=half note, <i>etc.</i>).<br />
<br />
== Sample music ==<br />
<br />
Here are several musical samples to get you started entering music into the Finale music editor, using the Simple Note Entry method:<br />
<br />
# [[Finale:_Mary_Had_A_Little_Lamb | Mary Had A Little Lamb]] <small><nowiki>[</nowiki>[[Media:Finale1.pdf |PDF]]<nowiki>]</nowiki></small> which introduces pitch and duration entry in the Simple Note Entry mode of Finale.<br />
# [[Finale:_Bach_Prelude_in_F_minor | Bach prelude in F minor]] <small><nowiki>[</nowiki>[[Media:Finale2.pdf |PDF]]<nowiki>]</nowiki></small> (BWV 881, Well-Tempered Clavier, Book II) which introduces chord note entry and other essential notational components.<br />
# [[Finale: Chorale | A chorale]] <small><nowiki>[</nowiki>[[Media:Finale3.pdf |PDF]]<nowiki>]</nowiki></small> (<i>Dir, dir, Jehovah, will ich singen</i>) which introduces the concept of layers in Finale for multiple voices on a staff.<br />
<br />
== Simple Entry Keyboard Commands ==<br />
<br />
Click on the ''show'' text in the table below to see the full table contents.<br />
<br />
<center><br />
{| class="collapsible wikitable" cellpadding="0" cellspacing="0" border="0"<br />
|-<br />
! scope="col" width="220" | <b>Action</b> <br />
! scope="col" width="150" |<b>Key(s)</b> <br />
! scope="col" width="150" | <b>Laptop alternate</b><br />
|-<br />
|Chroma step up/down:||equal/dash<br />
|-<br />
|Accidental natural:||n<br />
|-<br />
|Accidental parenthsize:||p<br />
|-<br />
|Accidental courtesy:||pp<br />
|-<br />
|Accidental show/hide courtesy:||shift-control-minus<br />
|-<br />
|Sticky flats/sharps toggle:||alt-minus/equal<br />
|-<br />
|Add interval 2nd to 9th above:|| 2 to 8 ||F2 to F8<br />
|-<br />
|Add interval 2nd to 9th below:|| shift-2 to shift-8 || shift-F2 to shift-F8<br />
|-<br />
|Add nearest pitch to cursor:||shift-A through shift-G<br />
|-<br />
| Add articulation:||alt-a or backquote<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; accent:||a<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; breath:||b<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; cesura:||c<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; down bow:||d<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tenuto:||e<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; fermata:||f<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; marcato-staccato:||g<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; square harmonic:||h<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; mute/plus:||i<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; turn:||j<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; inverted mordent:||k<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; ped. end (*):||l<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; mordent:||m<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; gracenote:||n<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; harmonic:||o<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; ped.:||p<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tenuto accent:||q<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; grace rest:||r<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; staccato:||s<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; trill:||t<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; up bow:||u<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; marcato:||v<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; staccato-accent:||w<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; staccatissimo:||x<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tilde:||y<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; staccato-accent:||z<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; fingering:||1-5<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tremolo (1 beam):||6<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tremolo (2 beams):||7<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tremolo (3 beams):||8<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; parenthesis start:||9<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; parenthesis end:||0<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; other keys:||open Articulation Selection window<br />
|-<br />
|Sticky articulation toggle:||control-backquote<br />
|-<br />
|Change clef:||alt-c<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; treble clef||1<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; alto clef||2<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tenor clef||3<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; bass clef||4<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; percussion clef||5<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tenor treble clef||6<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; octave bass clef||7<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; baritone bass clef||8<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; French violin clef||9<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; baritone clef||a<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; mezzo-soprano clef||b<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; soprano clef||c<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; percussion clef 2||d<br />
|-<br />
| octave treble clef || e<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; upper octave bass clef||f<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; blank clef||g<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tab clef||h<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; tab clef 2||i<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; other keys||open Change Clef window<br />
|-<br />
|Add expression under note:||x<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; ffff||1<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; fff||2<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; ff||3<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; f||4<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; mf||5<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; mp||6<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; p||7<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; pp||8<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; ppp||9<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; pppp ||0<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; fp||f<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; fz||g<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; sf||h<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; sfz||s<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; sffz||z<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; Adagio||y<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; Moderato||u<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; Allegro||i<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 8va||q<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 8vb||w<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; loco||l<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; accel.||e<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; rit.||r<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; a tempo||t<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; arco||o<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; pizz.||p<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; A to D||a to d<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; other keys||open Expression Selection window<br />
|-<br />
|Add key signature:||alt-k<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 1 to 7 sharps||1 to 7<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 1 to 7 flats||q, w, e, r, t, y, u<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 1-7 sharps with cancel||a, s, d, f, g, h, j<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 1-7 flats with cancel||z, x, c, v, b, n, m<br />
|-<br />
|Add time signature:||alt-t<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 1/4 to 9/4||1 to 9<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 1/8 to 7/8||q, w, e, r, t, y, u<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 9/8||o<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 12/8||p<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 1/2 to 4/2||a, s, d, f<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; cut time||x<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; common time||c<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; 3/4||v<br />
|-<br />
|&nbsp;&nbsp;&nbsp;&nbsp; other keys||open Time Signature window<br />
|-<br />
|Move pitch octave up/down:||alt-shift-up/down<br />
|-<br />
|Move pitch diatonic up/down:||alt-up/down<br />
|-<br />
|Change note/chord duration:||alt-0 to alt-8<br />
|-<br />
|Add augmentation dot:||.<br />
|-<br />
|Sticky aug. dot toggle:||shift-dot<br />
|-<br />
|Tuplet, (triplet) toggle:||9<br />
|-<br />
|Tuplet, user defined:||alt-9<br />
|-<br />
|Enter note:||A to G<br />
|-<br />
|Enter note at cursor position:||enter<br />
|-<br />
|Enter rest:||0 or tab or alt-enter or shift-enter<br />
|-<br />
|Break beam to previous note:||/<br />
|-<br />
|Flatten beam toggle:||alt-/<br />
|-<br />
|Default beam angle:||shift-/<br />
|-<br />
|Enharmonic spelling:||\ or alt-e<br />
|-<br />
|Delete:||delete or shift-backspace<br />
|-<br />
|Select eraser:||alt-backspace or alt-delete<br />
|-<br />
|Flip tie (on right):||control-f<br />
|-<br />
|Grace note:||alt-g<br />
|-<br />
|Show/Hide:||h<br />
|-<br />
|Flip stem:||l (lowercase L)<br />
|-<br />
|Default stem direction:||shift-L<br />
|-<br />
|Tie to next note:||t<br />
|-<br />
|Tie to previous note:||shift-T<br />
|-<br />
|Toggle note/rest:||r<br />
|-<br />
|Cursor/selection clear:||backspace<br />
|-<br />
|Cursor octave up/down:||shift-up/down<br />
|-<br />
|Cursor step up/down:||up/down<br />
|-<br />
|Move one entry left/right:||left/right<br />
|-<br />
|Move one meausre left/right:||control-left/right<br />
|-<br />
|Select duration 128th to breve:||0 to 7 or control-alt-shift-0/7<br />
|-<br />
|Change duration of note:||alt-0 to alt-7<br />
|}<br />
</center><br />
<br />
<br />
<br />
<br />
<br />
=== Laptop configuration for Simple Note Entry ===<br />
<br />
[[File:Laptop-finale-simple-note-entry.png|300px|thumb|right|Laptop Shortcut Table setting in Finale 2009]]<br />
For laptops without numeric keypads, after clicking on the <br />
"Simple Entry Tool", go to the Simple menu --> Simple Entry Options...<br />
--> click on "Edit Keyboard Shortcuts..." --> click "Name" drop-down menu and <br />
select "Laptop Shortcut Table". <br />
<br />
Using the Laptop Shortcut Table, the laptop key commands shift the chord intervals keys from the alphanumeric digits to the function keys, and move the rhythm commands from the numpad to the aphanumeric numbers.<br />
<br />
<br />
== Exercises ==<br />
<br />
1. Enter the 3 sample pieces of music above.<br />
<br />
2. When finished, save each example as a MusicXML file. To do this in Finale 2012, go to File->Export->MusicXML... and save as a "MusicXML 3.0" file.<br />
<br />
3. Open the Mary Had a Little Lamb music from its MusicXML file in a text edtor (vi, TextEdit, WordPad, MS Word, etc.). Find the word "snow" and extract the <note> which contains it. For example here is a MusicXML <note> (not the same one):<br />
<br />
<note default-x="83"><br />
<pitch><br />
<step>G</step><br />
<octave>4</octave><br />
</pitch><br />
<duration>2</duration><br />
<voice>1</voice><br />
<type>quarter</type><br />
<stem default-y="5.5">up</stem><br />
</note><br />
<br />
Look at the graphical music for the note for the word "snow". What does each of the note parameters such as <pitch>, <step>, <duration>, etc mean? How many parameters are there (including the parameter which holds the word "snow")?. What is the name of the parameter which contains the word "snow"?<br />
<br />
4. Extra Credit. Alter the contents of the MusicXML file in the word processing program. For example change the word "snow" to something else, add another verse change the pitch of the note, add an accidental or articulation such as a staccato or fermata. Save a PDF or screenshot of the graphical music after you load the file back into Finale. Also try breaking the file such as removing an angle bracket on the <note> tag for the note connected to the word "snow". What happens when you load the file back into Finale? If you use another music editor or processor which imports MusicXML, load your altered file into that program and see what happens.<br />
<br />
5. In a paragraph or so, comment about the experience of typing in the musical examples on a computer keyboard. Have you done that in Finale or another music editor before? How does this compare to entering music in the [[Guido]] lab? If you use a graphical music editor, how do you usually enter music. Which way is more efficient? With practice and equal expertise in both methods, which would be more efficient?<br />
<br />
Email Craig and CC Eleanor the responses to these exercises (the three MusicXML files and the questions in the above exercises).</div>Marodhttps://wiki.ccarh.org/index.php?title=Guido_Music_Notation&diff=7271Guido Music Notation2017-01-12T01:08:05Z<p>Marod: </p>
<hr />
<div>__TOC__<br />
<br />
Guido Music Notation (GMN) is an ASCII-text based representation for music that can be converted into graphical music notation using various programs and processing architectures. The website [http://www.noteserver.org/noteserver.html noteserver.org] provides an easy online method of generating graphical music from GMN. The [http://guidolib.sourceforge.net Guido Engine Library] is an extremely useful API for the graphical rendering of Guido musical scores. This lab introduces the basic notational components present in GMN. More information on the GMN data format can be found on [http://guidolib.sourceforge.net/doc/GUIDO-Music%20Notation%20Format.html The GUIDO Music Notation Format] documentation page. Also see the [http://en.wikipedia.org/wiki/GUIDO_music_notation wikipedia page for Guido].<br />
<br />
Guido Muisc Notation is named after [http://en.wikipedia.org/wiki/Guido_of_Arezzo Guido d'Arezzo] who, among other things, developed a memorization technique for singing called the [http://en.wikipedia.org/wiki/Guidonian_hand Guidonian hand] ([http://www.youtube.com/watch?v=RlleweQuq14 Performed here by Bill Mahrt], Stanford University). Guido (and/or his students/colleagues) also developed the ut-re-mi-fa-sol-la [http://www.medieval.org/emfaq/harmony/hex1.html hexachord pitch system] which later developed into [http://en.wikipedia.org/wiki/Solf%C3%A8ge solf&egrave;ge], based on the [http://en.wikipedia.org/wiki/Ut_queant_laxis ''Ut queant laxis'' Hymn] ([https://www.youtube.com/watch?v=7-WtmOniiRw Recording by canto gregorioano]).<br />
<br />
== Simple Example ==<br />
<br />
Below is a simple musical example in GMN. The text on the left is the musical data in GMN format which is converted to graphical music notation, using [http://noteserver.org/noteserver.html Noteserver], on the right.<br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[c d e f]</code> <br />
| align="right" | [[File:Guido-cdef.gif]]<br />
|}<br />
<br />
== Octave ==<br />
<br />
The octave of a note is indicated by a number following the pitch name. Octave 1 is the octave starting at middle C (C4), and going up through the note B4. One octave higher than middle C is octave 2, and octave 0 is one octave lower than middle C. The octave below 0 is -1, which is indicated like this: <tt>c-1</tt>. <br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[b0 c1 b1 c2 b2 c3 b3]</code><br />
| align="right" | [[Image:Guido-octave.gif]]<br />
|}<br />
<br />
Note that the octave is ''sticky''. If you do not specify an octave value for the following note, then the preceeding octave value will be applied to the next note. See what happens when you generate the graphical information for the following GMN data:<br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[c1 c c2 c c3 c]</code><br />
| align="right" | <!-- [[Image:Guido-octave2.gif]] --><br />
|}<br />
<br />
== Accidentals ==<br />
<br />
Chromatic alterations are indicated by a sign after the diatonic note name and before any octave indication. Sharps are indicated by a pound sign (<tt>#</tt>) and flats are indicated by an ampersand (<tt>&</tt>). Double sharps/flats are indicated by the doubling the accidental sign as shown in the following example. <br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[c# d& e f## g&&]</code><br />
| align="right" | [[Image:Guido-accidental.gif]]<br />
|}<br />
<br />
Notice in the above example that the note E does not have an accidental attached to it. Unlike octave indications, accidentals are not ''sticky''. Accidentals only affect the note to which they are attached.<br />
<br />
== Duration ==<br />
<br />
So far, all graphical notes have had the duration of a quarter note, which is the default duration when none is specified. To indicate a different rhythm, indicate it after any octave indicator by writing a slash (<tt>/</tt>) followed by the duration of the note in terms of divisions per whole note: <br />
<br />
<table style="background-color:white;" cellpadding=0><tr valign=center><td width=300><br />
<br />
{| class="wikitable" cellpadding="1" cellspacing="0" border="0" style="width=300px; background-color:white;"<br />
|- {{Style|table header}}<br />
! scope="col" align="left"| rhythm<br />
! scope="col" | code<br />
|-<br />
| whole note<br />
| align="right" | 1<br />
|-<br />
| half note<br />
| align="right" | 2<br />
|-<br />
| quarter note<br />
| align="right" | 4<br />
|-<br />
| eighth note<br />
| align="right" | 8<br />
|-<br />
| sixteenth note<br />
| align="right" | 16<br />
|-<br />
| thiry-second&nbsp;note<br />
| align="right" |32<br />
|}<br />
<br />
</td><td width=10></td><td width=340><br />
<br />
<table> <br />
<tr><td><br />
<tt>[c/1 c d/2 d e/4 e f/8 f g/16 g a/32 a]</tt><br />
</td></tr><br />
<tr><td> [[Image:Guido-duration.gif]] </td></tr><br />
</table><br />
</td></tr></table><br />
<br />
Notice that the duration information is ''sticky'' just like the octave information. If a duration is not specified, then the duration of the previous note is carried over to the next note. <br />
<br />
=== Augmentation dots ===<br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ c c. c c.. c]</code><br />
| align="right" | [[Image:Guido-augdots.gif]]<br />
|}<br />
<br />
Try the following example and notice how the dots and the rhythms interact, ''i.e.'', what are the rhythms of the following six notes? How do the dots affect the rhythm in the graphical notation? What is the rule for dot stickiness? <br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ c/4 c c. c c. c/4 ]</code><br />
| align="right" | <br />
|}<br />
<br />
== Rests ==<br />
<br />
Rests are indicated by replacing the pitch name with an underscore (_). <br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ _/1 _/2 _/4 _/8 _/16 ]</code><br />
| align="right" | [[Image:Guido-rest.gif]]<br />
|}<br />
<br />
== Clefs ==<br />
<br />
The default clef for GMN is the treble clef. Clefs can be specified explicitly as in the following example: <br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ \clef&lt;"g2"&gt; c d e f <br>&nbsp;&nbsp;&nbsp;&nbsp;\clef&lt;"f4"&gt; c d e f ]</code><br />
| align="right" | [[Image:Guido-clef.gif]]<br />
|}<br />
<br />
Note that the clef parameter is case-sensitive, so "f4" is not the same as "F4". Try changing "f4" to "F4" in the above example.<br />
<br />
== Time Signature ==<br />
<br />
Here is an example which generates a 4/4 time signature: <br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ \meter&lt;"4/4"&gt; c d e f/8 g ]</code><br />
| align="right" | [[Image:Guido-meter.gif]]<br />
|}<br />
<br />
== Key Signature ==<br />
<br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ \meter&lt;"4/4"&gt; \key&lt;-2&gt; <br> c d e& f/8 g ]<br />
</code><br />
| align="right" | [[Image:Guido-key.gif]]<br />
|}<br />
<br />
Notice that the note e{{music|flat}} needs a flat marking even though the flat is included in the key signature. Also notice that the graphical music reverses the order of the time signature and key signature as given in the GMN data (putting it into the traditional order automatically). Try the following example:<br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ \key<-2> \meter<"4/4"> <br>&nbsp;&nbsp;&nbsp;c d e& f/8 g ]<br />
</code><br />
|}<br />
<br />
== Barlines ==<br />
<br />
Music in a specified meter will automatically be segmented into separate measures:<br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ \meter<"2/4"> c/2 d e f g a ]</code><br />
|-<br />
| align="center" | [[Image:Guido-barlineauto.gif]]<br />
|}<br />
<br />
If a meter is not specified, you can indicate a barline like this: <br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ c/2 \bar d \bar e \bar f \bar g \bar a ]</code><br />
|-<br />
| align="center" | [[Image:Guido-barlineexp.gif]]<br />
|}<br />
<br />
<tt>\bar</tt> accepts a parameter which indicates the barline, such as <tt>\bar&lt;19&gt;</tt> for bar number 19. The pipe character is a shorthand for <tt>\bar</tt>.<br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ c/2 | d e | f g | a ]<br />
</code><br />
|-<br />
| align="center" | [[Image:Guido-barlineabbr.gif]]<br />
|}<br />
<br />
<br />
<br />
You can also specify the barlines when there is a meter present to help keep track of the position of the music.<br />
<br />
== Slurs ==<br />
<br />
Here is an example of a slur marking: <br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ c \slur( d e f ) g a ]</code><br />
| align="right" | [[Image:Guido-slur.gif]]<br />
|}<br />
<br />
== Ties ==<br />
<br />
Ties look similar to slurs in musical notation, but they serve a different function. Slurs usually indicate that notes are to be played legato, overlapping slightly in time, and more than one note can be enclosed by a slur. Ties can only connect two adjacent notes with the same pitch. The second pitch's duration is added to the first's duration, and the second note is not attacked (played). The following two examples are equivalent, but the second is useful if the tie overlaps with a slur marking. <br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ c d \tie( d d d ) d e f g a ]</code><br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ c d \tieBegin d d d \tieEnd d e f g a ]<br />
</code><br />
|-<br />
| align="center" | [[Image:Guido-tie.gif]]<br />
|}<br />
<br />
Listen to the MIDI output from the above example at [http://NoteServer.org NoteServer] and compare to an example which uses slurs. Notice how successive tied notes are graphically represented.<br />
<br />
== Chords ==<br />
<br />
Chords are indicated by enclosing notes which occur at the same time inside of braces (<tt>{, }</tt>) with each note in the chord separated by a comma. Note that octaves are sticky according to the linear progression of notes in the data, so the last <tt>g</tt> in the example is in octave 2 rather than octave 1 because it follows the note <tt>c2</tt> in the data. <br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ {c,e,g} {e,g,c2} {g,c2,e2} ]</code><br />
| align="right" | [[Image:Guido-chord.gif]]<br />
|}<br />
<br />
== Beaming ==<br />
<br />
Note that beaming is done automatically in GMN by default. <br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ c/8 d e f g a b c2 ]</code><br />
| align="right" | [[Image:Guido-autobeam.gif]]<br />
|}<br />
<br />
You can turn off beaming by using the command <tt>\beamsOff</tt>. <br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ \beamsOff c/8 d e f g a b c2 ]</code><br />
| align="right" | [[Image:Guido-beamless.gif]]<br />
|}<br />
<br />
Beaming can be specified manually with the <tt>\beam()</tt> directive. <br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[\beamsOff c/8 \beam( d e f ) g a b c2]</code><br />
| align="right" | [[Image:Guido-irrbeam.gif]]<br />
|}<br />
<br />
== Articulations ==<br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ \stacc(c) d \stacc(e f g) ]</code><br />
| align="right" | [[Image:Guido-staccato.gif]]<br />
|}<br />
<br />
== Systems ==<br />
<br />
Multiple staves can be grouped together with braces (<tt>{, }</tt>) separated by a comma as in the following example. Each line of music is placed in square brackets and they are listed serially starting with the top line of music in the system (group of staves). <br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;"> { [ c d e f g],<br> [ \clef&lt;"f4"&gt; g0 f e d c ] }</code><br />
| align="right" | [[Image:Guido-system.gif]]<br />
|}<br />
<br />
== Expressions ==<br />
<br />
Dynamics are indicated by using <tt>\intens&lt;&gt;</tt> or the shorthand \i&lt;&gt; which comes before the note under which the dynamic will be placed.<br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ \intens&lt;"mf"&gt; c2/2 \i&lt;"pp"&gt; d1/2 ]</code><br />
| align="right" | [[Image:Guido-dynamic.gif]]<br />
|}<br />
<br />
Crescendos/Decresendos can be indicated with two methods: (1) as a single marker using <tt>\cresc()</tt> or <tt>\dim()</tt>, or (2) as a two symbol set for more complicated groupings of notes using <tt>\crescBegin</tt>, <tt>\crescEnd</tt> and <tt>\dimBegin</tt>, <tt>\dimEnd</tt>. <br />
<br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[\cresc(a/8 g f e) \dimBegin c e g c2 \dimEnd]</code><br />
| align="right" | [[Image:Guido-cresdim.gif]]<br />
|}<br />
<br />
== GMN Specification and Links ==<br />
<br />
* [http://guidolib.sourceforge.net/doc/GUIDO-Music%20Notation%20Format.html Specification, part 1]<br />
* [http://www.cs.ubc.ca/~hoos/GUIDO/advanced.htm Advanced specification]<br />
* [http://www.noteserver.org/salieri/nview/gmn/Features0.8/bach_lyrics.html Lyrics example]<br />
* [http://guidolib.sourceforge.net/ Guido Engine Library], [http://guido.grame.fr/overview.html GRAME website]<br />
<br />
== Exercises ==<br />
<br />
E-mail the answers to the following questions/exercises to Mauricio (cc: Eleanor) to prove that you have done the lab.<br />
<br />
# Enter the above examples at [http://noteserver.org/noteserver.html NoteServer.org] (or another program which processes GMN data) and try modifying them. <br/><br/><br />
# Write down the GMN representation which can create the following graphical music: <center>[[Image:lily.svg|650px]]</center><br/><br/><br />
# Convert your GMN data into graphical music. Compare your graphic representation with the above version. What are the similarities and differences between the two versions? What formatting options might or do make it look similar (particularly size, linebreaks).<br/><br/><br />
# Create a title to a musical example in Guido Music Notation, such as the following example: <center>[[Image:Guido-example.gif]]</center><br />
# Input a melody of your choice in Guido Music Notation and convert it to graphical notation. <br /><br /><br />
# What advantages/disadvantages might GMN have for inputting music manually. What about for parsing/processing with a computer? <br /><br /><br />
# <i>Extra Credit</i>: All of the musical examples on this page end with a double final bar which is the default style for the Guido NoteServer. Figure out how to specify no final bar, such as in this example: <center>[[Image:Guido-example2.gif]]</center><br />
# ''Extra Credit'': Write a program which automatically generates a melody and outputs into the Guido Music Notation format. See the webpage [http://henon.sapp.org henon.sapp.org] for an example.</div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7270Music 253/CS 275a Winter 2017 Syllabus2017-01-10T21:17:33Z<p>Marod: /* Syllabus */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2017).</b></font><br />
<br />
This music-information course surveys symbolic frameworks and methods for a wide range<br />
of musical 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]] (Using Musical Information: Music Query, Analysis, and Style Simulation), which focuses on projects requiring a working knowledge of notation and 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>Location:</b></td><br />
<td></td><br />
<td> Braun Music Center, Rooms 131 (lecture), 128 (lab entry from Room 129)</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>Mauricio Rodriguez (marod<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>3:05&ndash;4:05 Tuesdays 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 attendance: 25%; weekly assignments: 50%; take-home final: 25%. <br> Three-credit/no final: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final: 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]: [[Music 253|Overview]] of individual topics presented in Music 253, 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 [http://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 />
</table><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]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Music-Representation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture M2: [[Media:Introduction_to_XML.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture M3a: [[Media:MIDI_protocol.pdf|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 />
* Lecture M3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Field trip to CCRMA's Disklavier. Demo, discussion. Come prepared to record your own MIDI file to use for your homework.<br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)] <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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDI_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:Score_parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> MusicXML and MEI </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: [[Media:MusicXML_and_musical_parameters.pdf|MusicXML and musical parameters]]<br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<b> Augmented Music Scores (INScore) </b><br />
* [[Music 253 XML homework | XML homework]] (Due March 9)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due March 16).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources]<br />
* Algorithmic Generation of Music Scores <br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <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. The OAE is located at 563 Salvatierra Walk (phone 723-1066), URL [http://oae.stanford.edu http://oae.stanford.edu].</div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7269Music 253/CS 275a Winter 2017 Syllabus2017-01-10T21:07:13Z<p>Marod: /* Syllabus */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2017).</b></font><br />
<br />
This music-information course surveys symbolic frameworks and methods for a wide range<br />
of musical 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]] (Using Musical Information: Music Query, Analysis, and Style Simulation), which focuses on projects requiring a working knowledge of notation and 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>Location:</b></td><br />
<td></td><br />
<td> Braun Music Center, Rooms 131 (lecture), 128 (lab entry from Room 129)</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>Mauricio Rodriguez (marod<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>3:05&ndash;4:05 Tuesdays 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 attendance: 25%; weekly assignments: 50%; take-home final: 25%. <br> Three-credit/no final: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final: 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]: [[Music 253|Overview]] of individual topics presented in Music 253, 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 [http://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 />
</table><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]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Music-Representation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture M2: [[Media:Introduction_to_XML.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture M3a: [[Media:MIDI_protocol.pdf|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 />
* Lecture M3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Field trip to CCRMA's Disklavier. Demo, discussion. Come prepared to record your own MIDI file to use for your homework.<br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)] <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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDI_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:Score_parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> MusicXML </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: [[Media:MusicXML_and_musical_parameters.pdf|MusicXML and musical parameters]]<br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<br />
<b> MEI </b><br />
* Lecture: [[Media:MEI-presentation-20120228.pdf|MEI overview]]<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
* [[Music 253 XML homework | XML homework]] (Due March 9)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due March 16).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources] <br />
<b> Augmented Music Scores (INScore) </b><br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <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. The OAE is located at 563 Salvatierra Walk (phone 723-1066), URL [http://oae.stanford.edu http://oae.stanford.edu].</div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7268Music 253/CS 275a Winter 2017 Syllabus2017-01-10T21:00:58Z<p>Marod: </p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2017).</b></font><br />
<br />
This music-information course surveys symbolic frameworks and methods for a wide range<br />
of musical 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]] (Using Musical Information: Music Query, Analysis, and Style Simulation), which focuses on projects requiring a working knowledge of notation and 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>Location:</b></td><br />
<td></td><br />
<td> Braun Music Center, Rooms 131 (lecture), 128 (lab entry from Room 129)</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>Mauricio Rodriguez (marod<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>3:05&ndash;4:05 Tuesdays 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 attendance: 25%; weekly assignments: 50%; take-home final: 25%. <br> Three-credit/no final: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final: 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]: [[Music 253|Overview]] of individual topics presented in Music 253, 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 [http://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 />
</table><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]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Music-Representation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture M2: [[Media:Introduction_to_XML.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture M3a: [[Media:MIDI_protocol.pdf|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 />
* Lecture M3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Field trip to CCRMA's Disklavier. Demo, discussion. Come prepared to record your own MIDI file to use for your homework.<br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)] <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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDI_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:Score_parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> MusicXML </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: [[Media:MusicXML_and_musical_parameters.pdf|MusicXML and musical parameters]]<br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<br />
<b> MEI </b><br />
* Lecture: [[Media:MEI-presentation-20120228.pdf|MEI overview]]<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
* [[Music 253 XML homework | XML homework]] (Due March 9)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due March 16).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Musical Dice: http://www.ccarh.org/courses/253/lab/kerndice<br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources] <br />
<b> Non-standard music representations in Humdrum </b><br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <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. The OAE is located at 563 Salvatierra Walk (phone 723-1066), URL [http://oae.stanford.edu http://oae.stanford.edu].</div>Marodhttps://wiki.ccarh.org/index.php?title=File:Music-Representation-2017.pdf&diff=7267File:Music-Representation-2017.pdf2017-01-10T05:07:46Z<p>Marod: Marod uploaded a new version of File:Music-Representation-2017.pdf</p>
<hr />
<div></div>Marodhttps://wiki.ccarh.org/index.php?title=Guido_Music_Notation&diff=7266Guido Music Notation2017-01-08T06:44:55Z<p>Marod: </p>
<hr />
<div>__TOC__<br />
<br />
Guido Music Notation (GMN) is an ASCII-text based representation for music that can be converted into graphical music notation using various programs and processing architectures. The website [http://www.noteserver.org/noteserver.html noteserver.org] provides an easy online method of generating graphical music from GMN. This lab introduces the basic notational components present in GMN. More information on the GMN data format can be found on [http://guidolib.sourceforge.net/doc/GUIDO-Music%20Notation%20Format.html The GUIDO Music Notation Format] documentation page. Also see the [http://en.wikipedia.org/wiki/GUIDO_music_notation wikipedia page for Guido].<br />
<br />
Guido Muisc Notation is named after [http://en.wikipedia.org/wiki/Guido_of_Arezzo Guido d'Arezzo] who, among other things, developed a memorization technique for singing called the [http://en.wikipedia.org/wiki/Guidonian_hand Guidonian hand] ([http://www.youtube.com/watch?v=RlleweQuq14 Performed here by Bill Mahrt], Stanford University). Guido (and/or his students/colleagues) also developed the ut-re-mi-fa-sol-la [http://www.medieval.org/emfaq/harmony/hex1.html hexachord pitch system] which later developed into [http://en.wikipedia.org/wiki/Solf%C3%A8ge solf&egrave;ge], based on the [http://en.wikipedia.org/wiki/Ut_queant_laxis ''Ut queant laxis'' Hymn] ([https://www.youtube.com/watch?v=7-WtmOniiRw Recording by canto gregorioano]).<br />
<br />
== Simple Example ==<br />
<br />
Below is a simple musical example in GMN. The text on the left is the musical data in GMN format which is converted to graphical music notation, using [http://noteserver.org/noteserver.html Noteserver], on the right.<br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[c d e f]</code> <br />
| align="right" | [[File:Guido-cdef.gif]]<br />
|}<br />
<br />
== Octave ==<br />
<br />
The octave of a note is indicated by a number following the pitch name. Octave 1 is the octave starting at middle C (C4), and going up through the note B4. One octave higher than middle C is octave 2, and octave 0 is one octave lower than middle C. The octave below 0 is -1, which is indicated like this: <tt>c-1</tt>. <br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[b0 c1 b1 c2 b2 c3 b3]</code><br />
| align="right" | [[Image:Guido-octave.gif]]<br />
|}<br />
<br />
Note that the octave is ''sticky''. If you do not specify an octave value for the following note, then the preceeding octave value will be applied to the next note. See what happens when you generate the graphical information for the following GMN data:<br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[c1 c c2 c c3 c]</code><br />
| align="right" | <!-- [[Image:Guido-octave2.gif]] --><br />
|}<br />
<br />
== Accidentals ==<br />
<br />
Chromatic alterations are indicated by a sign after the diatonic note name and before any octave indication. Sharps are indicated by a pound sign (<tt>#</tt>) and flats are indicated by an ampersand (<tt>&</tt>). Double sharps/flats are indicated by the doubling the accidental sign as shown in the following example. <br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[c# d& e f## g&&]</code><br />
| align="right" | [[Image:Guido-accidental.gif]]<br />
|}<br />
<br />
Notice in the above example that the note E does not have an accidental attached to it. Unlike octave indications, accidentals are not ''sticky''. Accidentals only affect the note to which they are attached.<br />
<br />
== Duration ==<br />
<br />
So far, all graphical notes have had the duration of a quarter note, which is the default duration when none is specified. To indicate a different rhythm, indicate it after any octave indicator by writing a slash (<tt>/</tt>) followed by the duration of the note in terms of divisions per whole note: <br />
<br />
<table style="background-color:white;" cellpadding=0><tr valign=center><td width=300><br />
<br />
{| class="wikitable" cellpadding="1" cellspacing="0" border="0" style="width=300px; background-color:white;"<br />
|- {{Style|table header}}<br />
! scope="col" align="left"| rhythm<br />
! scope="col" | code<br />
|-<br />
| whole note<br />
| align="right" | 1<br />
|-<br />
| half note<br />
| align="right" | 2<br />
|-<br />
| quarter note<br />
| align="right" | 4<br />
|-<br />
| eighth note<br />
| align="right" | 8<br />
|-<br />
| sixteenth note<br />
| align="right" | 16<br />
|-<br />
| thiry-second&nbsp;note<br />
| align="right" |32<br />
|}<br />
<br />
</td><td width=10></td><td width=340><br />
<br />
<table> <br />
<tr><td><br />
<tt>[c/1 c d/2 d e/4 e f/8 f g/16 g a/32 a]</tt><br />
</td></tr><br />
<tr><td> [[Image:Guido-duration.gif]] </td></tr><br />
</table><br />
</td></tr></table><br />
<br />
Notice that the duration information is ''sticky'' just like the octave information. If a duration is not specified, then the duration of the previous note is carried over to the next note. <br />
<br />
=== Augmentation dots ===<br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ c c. c c.. c]</code><br />
| align="right" | [[Image:Guido-augdots.gif]]<br />
|}<br />
<br />
Try the following example and notice how the dots and the rhythms interact, ''i.e.'', what are the rhythms of the following six notes? How do the dots affect the rhythm in the graphical notation? What is the rule for dot stickiness? <br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ c/4 c c. c c. c/4 ]</code><br />
| align="right" | <br />
|}<br />
<br />
== Rests ==<br />
<br />
Rests are indicated by replacing the pitch name with an underscore (_). <br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ _/1 _/2 _/4 _/8 _/16 ]</code><br />
| align="right" | [[Image:Guido-rest.gif]]<br />
|}<br />
<br />
== Clefs ==<br />
<br />
The default clef for GMN is the treble clef. Clefs can be specified explicitly as in the following example: <br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ \clef&lt;"g2"&gt; c d e f <br>&nbsp;&nbsp;&nbsp;&nbsp;\clef&lt;"f4"&gt; c d e f ]</code><br />
| align="right" | [[Image:Guido-clef.gif]]<br />
|}<br />
<br />
Note that the clef parameter is case-sensitive, so "f4" is not the same as "F4". Try changing "f4" to "F4" in the above example.<br />
<br />
== Time Signature ==<br />
<br />
Here is an example which generates a 4/4 time signature: <br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ \meter&lt;"4/4"&gt; c d e f/8 g ]</code><br />
| align="right" | [[Image:Guido-meter.gif]]<br />
|}<br />
<br />
== Key Signature ==<br />
<br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ \meter&lt;"4/4"&gt; \key&lt;-2&gt; <br> c d e& f/8 g ]<br />
</code><br />
| align="right" | [[Image:Guido-key.gif]]<br />
|}<br />
<br />
Notice that the note e{{music|flat}} needs a flat marking even though the flat is included in the key signature. Also notice that the graphical music reverses the order of the time signature and key signature as given in the GMN data (putting it into the traditional order automatically). Try the following example:<br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ \key<-2> \meter<"4/4"> <br>&nbsp;&nbsp;&nbsp;c d e& f/8 g ]<br />
</code><br />
|}<br />
<br />
== Barlines ==<br />
<br />
Music in a specified meter will automatically be segmented into separate measures:<br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ \meter<"2/4"> c/2 d e f g a ]</code><br />
|-<br />
| align="center" | [[Image:Guido-barlineauto.gif]]<br />
|}<br />
<br />
If a meter is not specified, you can indicate a barline like this: <br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ c/2 \bar d \bar e \bar f \bar g \bar a ]</code><br />
|-<br />
| align="center" | [[Image:Guido-barlineexp.gif]]<br />
|}<br />
<br />
<tt>\bar</tt> accepts a parameter which indicates the barline, such as <tt>\bar&lt;19&gt;</tt> for bar number 19. The pipe character is a shorthand for <tt>\bar</tt>.<br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ c/2 | d e | f g | a ]<br />
</code><br />
|-<br />
| align="center" | [[Image:Guido-barlineabbr.gif]]<br />
|}<br />
<br />
<br />
<br />
You can also specify the barlines when there is a meter present to help keep track of the position of the music.<br />
<br />
== Slurs ==<br />
<br />
Here is an example of a slur marking: <br />
<br />
{| width="100%"<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ c \slur( d e f ) g a ]</code><br />
| align="right" | [[Image:Guido-slur.gif]]<br />
|}<br />
<br />
== Ties ==<br />
<br />
Ties look similar to slurs in musical notation, but they serve a different function. Slurs usually indicate that notes are to be played legato, overlapping slightly in time, and more than one note can be enclosed by a slur. Ties can only connect two adjacent notes with the same pitch. The second pitch's duration is added to the first's duration, and the second note is not attacked (played). The following two examples are equivalent, but the second is useful if the tie overlaps with a slur marking. <br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ c d \tie( d d d ) d e f g a ]</code><br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ c d \tieBegin d d d \tieEnd d e f g a ]<br />
</code><br />
|-<br />
| align="center" | [[Image:Guido-tie.gif]]<br />
|}<br />
<br />
Listen to the MIDI output from the above example at [http://NoteServer.org NoteServer] and compare to an example which uses slurs. Notice how successive tied notes are graphically represented.<br />
<br />
== Chords ==<br />
<br />
Chords are indicated by enclosing notes which occur at the same time inside of braces (<tt>{, }</tt>) with each note in the chord separated by a comma. Note that octaves are sticky according to the linear progression of notes in the data, so the last <tt>g</tt> in the example is in octave 2 rather than octave 1 because it follows the note <tt>c2</tt> in the data. <br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ {c,e,g} {e,g,c2} {g,c2,e2} ]</code><br />
| align="right" | [[Image:Guido-chord.gif]]<br />
|}<br />
<br />
== Beaming ==<br />
<br />
Note that beaming is done automatically in GMN by default. <br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ c/8 d e f g a b c2 ]</code><br />
| align="right" | [[Image:Guido-autobeam.gif]]<br />
|}<br />
<br />
You can turn off beaming by using the command <tt>\beamsOff</tt>. <br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ \beamsOff c/8 d e f g a b c2 ]</code><br />
| align="right" | [[Image:Guido-beamless.gif]]<br />
|}<br />
<br />
Beaming can be specified manually with the <tt>\beam()</tt> directive. <br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[\beamsOff c/8 \beam( d e f ) g a b c2]</code><br />
| align="right" | [[Image:Guido-irrbeam.gif]]<br />
|}<br />
<br />
== Articulations ==<br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ \stacc(c) d \stacc(e f g) ]</code><br />
| align="right" | [[Image:Guido-staccato.gif]]<br />
|}<br />
<br />
== Systems ==<br />
<br />
Multiple staves can be grouped together with braces (<tt>{, }</tt>) separated by a comma as in the following example. Each line of music is placed in square brackets and they are listed serially starting with the top line of music in the system (group of staves). <br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;"> { [ c d e f g],<br> [ \clef&lt;"f4"&gt; g0 f e d c ] }</code><br />
| align="right" | [[Image:Guido-system.gif]]<br />
|}<br />
<br />
== Expressions ==<br />
<br />
Dynamics are indicated by using <tt>\intens&lt;&gt;</tt> or the shorthand \i&lt;&gt; which comes before the note under which the dynamic will be placed.<br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[ \intens&lt;"mf"&gt; c2/2 \i&lt;"pp"&gt; d1/2 ]</code><br />
| align="right" | [[Image:Guido-dynamic.gif]]<br />
|}<br />
<br />
Crescendos/Decresendos can be indicated with two methods: (1) as a single marker using <tt>\cresc()</tt> or <tt>\dim()</tt>, or (2) as a two symbol set for more complicated groupings of notes using <tt>\crescBegin</tt>, <tt>\crescEnd</tt> and <tt>\dimBegin</tt>, <tt>\dimEnd</tt>. <br />
<br />
<br />
{| width="100%"<br />
|-<br />
| align="center" width="100%"| <code style="background-color:transparent;">[\cresc(a/8 g f e) \dimBegin c e g c2 \dimEnd]</code><br />
| align="right" | [[Image:Guido-cresdim.gif]]<br />
|}<br />
<br />
== GMN Specification and Links ==<br />
<br />
* [http://guidolib.sourceforge.net/doc/GUIDO-Music%20Notation%20Format.html Specification, part 1]<br />
* [http://www.cs.ubc.ca/~hoos/GUIDO/advanced.htm Advanced specification]<br />
* [http://www.noteserver.org/salieri/nview/gmn/Features0.8/bach_lyrics.html Lyrics example]<br />
* [http://guidolib.sourceforge.net/ Guido Engine Library], [http://guido.grame.fr/overview.html GRAME website]<br />
<br />
== Exercises ==<br />
<br />
E-mail the answers to the following questions/exercises to Mauricio (cc: Eleanor) to prove that you have done the lab.<br />
<br />
# Enter the above examples at [http://noteserver.org/noteserver.html NoteServer.org] (or another program which processes GMN data) and try modifying them. <br/><br/><br />
# Write down the GMN representation which can create the following graphical music: <center>[[Image:lily.svg|650px]]</center><br/><br/><br />
# Convert your GMN data into graphical music. Compare your graphic representation with the above version. What are the similarities and differences between the two versions? What formatting options might or do make it look similar (particularly size, linebreaks).<br/><br/><br />
# Create a title to a musical example in Guido Music Notation, such as the following example: <center>[[Image:Guido-example.gif]]</center><br />
# Input a melody of your choice in Guido Music Notation and convert it to graphical notation. <br /><br /><br />
# What advantages/disadvantages might GMN have for inputting music manually. What about for parsing/processing with a computer? <br /><br /><br />
# <i>Extra Credit</i>: All of the musical examples on this page end with a double final bar which is the default style for the Guido NoteServer. Figure out how to specify no final bar, such as in this example: <center>[[Image:Guido-example2.gif]]</center><br />
# ''Extra Credit'': Write a program which automatically generates a melody and outputs into the Guido Music Notation format. See the webpage [http://henon.sapp.org henon.sapp.org] for an example.</div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7265Music 253/CS 275a Winter 2017 Syllabus2017-01-08T06:02:06Z<p>Marod: /* Syllabus */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2017).</b></font><br />
<br />
This music-information course surveys symbolic frameworks and methods for a wide range<br />
of musical 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]] (Using Musical Information: Music Query, Analysis, and Style Simulation), which focuses on projects requiring a working knowledge of notation and 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>Location:</b></td><br />
<td></td><br />
<td> Braun Music Center, Rooms 131 (lecture), 128 (lab entry from Room 129)</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>Mauricio Rodriguez (marod<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>3:05&ndash;4:05 Tuesdays & Thursdays 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 attendance: 25%; weekly assignments: 50%; take-home final: 25%. <br> Three-credit/no final: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final: 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]: [[Music 253|Overview]] of individual topics presented in Music 253, 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 [http://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 />
</table><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]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Music-Representation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture M2: [[Media:Introduction_to_XML.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture M3a: [[Media:MIDI_protocol.pdf|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 />
* Lecture M3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Field trip to CCRMA's Disklavier. Demo, discussion. Come prepared to record your own MIDI file to use for your homework.<br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)] <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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDI_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:Score_parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> MusicXML </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: [[Media:MusicXML_and_musical_parameters.pdf|MusicXML and musical parameters]]<br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<br />
<b> MEI </b><br />
* Lecture: [[Media:MEI-presentation-20120228.pdf|MEI overview]]<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
* [[Music 253 XML homework | XML homework]] (Due March 9)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due March 16).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Musical Dice: http://www.ccarh.org/courses/253/lab/kerndice<br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources] <br />
<b> Non-standard music representations in Humdrum </b><br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <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. The OAE is located at 563 Salvatierra Walk (phone 723-1066), URL [http://oae.stanford.edu http://oae.stanford.edu].</div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7262Music 253/CS 275a Winter 2017 Syllabus2017-01-07T06:04:47Z<p>Marod: /* Syllabus */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2017).</b></font><br />
<br />
This music-information course surveys symbolic frameworks and methods for a wide range<br />
of musical 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]] (Using Musical Information: Music Query, Analysis, and Style Simulation), which focuses on projects requiring a working knowledge of notation and 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>Location:</b></td><br />
<td></td><br />
<td> Braun Music Center, Rooms 131 (lecture), 128 (lab entry from Room 129)</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>Mauricio Rodriguez (marod<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>3:05&ndash;4:05 Tuesdays & Thursdays 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 attendance: 25%; weekly assignments: 50%; take-home final: 25%. <br> Three-credit/no final: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final: 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]: [[Music 253|Overview]] of individual topics presented in Music 253, 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 [http://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 />
</table><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]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Music-Representation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture C2: [[Media:Introduction_to_XML.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture C3a: [[Media:MIDI_protocol.pdf|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 />
* Lecture C3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)]<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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
* Assignment #5b: [[media:Assignment5b-music253-2016.pdf|MIDI file creation]] (optional: extra credit)<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDi_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:Score_parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> MusicXML </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: [[Media:MusicXML_and_musical_parameters.pdf|MusicXML and musical parameters]]<br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<br />
<b> MEI </b><br />
* Lecture: [[Media:MEI-presentation-20120228.pdf|MEI overview]]<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
* [[Music 253 XML homework | XML homework]] (Due next Thursday)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due next Thursday).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Musical Dice: http://www.ccarh.org/courses/253/lab/kerndice<br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources] <br />
<b> Non-standard music representations in Humdrum </b><br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <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. The OAE is located at 563 Salvatierra Walk (phone 723-1066), URL [http://oae.stanford.edu http://oae.stanford.edu].</div>Marodhttps://wiki.ccarh.org/index.php?title=File:Music-Representation-2017.pdf&diff=7261File:Music-Representation-2017.pdf2017-01-07T06:00:42Z<p>Marod: </p>
<hr />
<div></div>Marodhttps://wiki.ccarh.org/index.php?title=Design_your_own_music_representation_system&diff=7233Design your own music representation system2017-01-06T19:48:25Z<p>Marod: /* What to Turn in */</p>
<hr />
<div>Design your own music representation system. The representation can be intended for performance, analysis, a digital encoding, static, dynamic, etc.<br />
<br />
==Design Guidelines==<br />
<br />
* Can be a practical system or an unpractical system. <br />
* Can be a graphical notation system for performers to read, or can be a digital representation of standard music notation, or a digital/graphical representation of a specialized repertory of music, (like the Japanese musical scores shown in class).<br />
* Take about three hours to do this assignment.<br />
<br />
<br />
==What to Turn in==<br />
<br />
# Submit a one-page written description of the musical notation system, with an example.<br />
# Describe the scope and purpose that a full-scale implementation of your system would have. In other words, what types of music would it be useful for, and what types of music would your system be impractical.<br />
# Give an example encoding of music in your system. If the system encodes standard western musical notation, then use this example melody:<br />
<br />
[[File:rosetta-example.png|680px||center]]<br />
<br />
<br />
Demonstrate your system to the class (approximately 5 minutes) on the day that the assignment is due.<br />
<br />
==Ideas for the Creatively Challenged==<br />
<br />
* Design a graphical notation system for music which does not need to use accidentals (such as sharps and flats).<br />
* Design a system which can be used to type in music data quickly on a computer keyboard.<br />
* Design a system which would be easy to perform by reading the digital data directly.<br />
* Design a graphical system which uses color.</div>Marodhttps://wiki.ccarh.org/index.php?title=Design_your_own_music_representation_system&diff=7232Design your own music representation system2017-01-06T19:45:00Z<p>Marod: /* What to Turn in */</p>
<hr />
<div>Design your own music representation system. The representation can be intended for performance, analysis, a digital encoding, static, dynamic, etc.<br />
<br />
==Design Guidelines==<br />
<br />
* Can be a practical system or an unpractical system. <br />
* Can be a graphical notation system for performers to read, or can be a digital representation of standard music notation, or a digital/graphical representation of a specialized repertory of music, (like the Japanese musical scores shown in class).<br />
* Take about three hours to do this assignment.<br />
<br />
<br />
==What to Turn in==<br />
<br />
# Submit a one-page written description of the musical notation system, with an example.<br />
# Describe the scope and purpose that a full-scale implementation of your system would have. In other words, what types of music would it be useful for, and what types of music would your system be impractical.<br />
# Give an example encoding of music in your system. If the system encodes standard western musical notation, then use this example melody:<br />
<br />
[[File:rosetta-example.png|680px||center]]<br />
<br />
<br />
Demonstrate your system to the class (ca. 5 minutes) on the day that the assignment is due.<br />
<br />
==Ideas for the Creatively Challenged==<br />
<br />
* Design a graphical notation system for music which does not need to use accidentals (such as sharps and flats).<br />
* Design a system which can be used to type in music data quickly on a computer keyboard.<br />
* Design a system which would be easy to perform by reading the digital data directly.<br />
* Design a graphical system which uses color.</div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7231Music 253/CS 275a Winter 2017 Syllabus2017-01-06T08:10:38Z<p>Marod: /* Syllabus */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2017).</b></font><br />
<br />
This music-information course surveys symbolic frameworks and methods for a wide range<br />
of musical 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]] (Using Musical Information: Music Query, Analysis, and Style Simulation), which focuses on projects requiring a working knowledge of notation and 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>Location:</b></td><br />
<td></td><br />
<td> Braun Music Center, Rooms 131 (lecture), 128 (lab entry from Room 129)</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>Mauricio Rodriguez (marod<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>3:05&ndash;4:05 Tuesdays & Thursdays 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 attendance: 25%; weekly assignments: 50%; take-home final: 25%. <br> Three-credit/no final: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final: 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]: [[Music 253|Overview]] of individual topics presented in Music 253, 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 [http://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 />
</table><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]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Musicnotationandrepresentation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:Rosetta-Stone-2017.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture C2: [[Media:Introduction_to_XML.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture C3a: [[Media:MIDI_protocol.pdf|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 />
* Lecture C3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)]<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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
* Assignment #5b: [[media:Assignment5b-music253-2016.pdf|MIDI file creation]] (optional: extra credit)<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDi_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:Score_parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> MusicXML </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: [[Media:MusicXML_and_musical_parameters.pdf|MusicXML and musical parameters]]<br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<br />
<b> MEI </b><br />
* Lecture: [[Media:MEI-presentation-20120228.pdf|MEI overview]]<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
* [[Music 253 XML homework | XML homework]] (Due next Thursday)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due next Thursday).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Musical Dice: http://www.ccarh.org/courses/253/lab/kerndice<br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources] <br />
<b> Non-standard music representations in Humdrum </b><br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <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. The OAE is located at 563 Salvatierra Walk (phone 723-1066), URL [http://oae.stanford.edu http://oae.stanford.edu].</div>Marodhttps://wiki.ccarh.org/index.php?title=File:Rosetta-Stone-2017.pdf&diff=7230File:Rosetta-Stone-2017.pdf2017-01-06T08:09:55Z<p>Marod: </p>
<hr />
<div></div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7229Music 253/CS 275a Winter 2017 Syllabus2017-01-06T08:09:21Z<p>Marod: /* Syllabus */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2017).</b></font><br />
<br />
This music-information course surveys symbolic frameworks and methods for a wide range<br />
of musical 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]] (Using Musical Information: Music Query, Analysis, and Style Simulation), which focuses on projects requiring a working knowledge of notation and 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>Location:</b></td><br />
<td></td><br />
<td> Braun Music Center, Rooms 131 (lecture), 128 (lab entry from Room 129)</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>Mauricio Rodriguez (marod<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>3:05&ndash;4:05 Tuesdays & Thursdays 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 attendance: 25%; weekly assignments: 50%; take-home final: 25%. <br> Three-credit/no final: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final: 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]: [[Music 253|Overview]] of individual topics presented in Music 253, 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 [http://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 />
</table><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]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture M1a: [[media:Musicnotationandrepresentation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture M1b: [[media:rosetta_stone.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture C2: [[Media:Introduction_to_XML.pdf|Introduction to XML/MusicXML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture C3a: [[Media:MIDI_protocol.pdf|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 />
* Lecture C3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)]<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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
* Assignment #5b: [[media:Assignment5b-music253-2016.pdf|MIDI file creation]] (optional: extra credit)<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDi_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:Score_parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> MusicXML </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: [[Media:MusicXML_and_musical_parameters.pdf|MusicXML and musical parameters]]<br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<br />
<b> MEI </b><br />
* Lecture: [[Media:MEI-presentation-20120228.pdf|MEI overview]]<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
* [[Music 253 XML homework | XML homework]] (Due next Thursday)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due next Thursday).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Musical Dice: http://www.ccarh.org/courses/253/lab/kerndice<br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources] <br />
<b> Non-standard music representations in Humdrum </b><br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <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. The OAE is located at 563 Salvatierra Walk (phone 723-1066), URL [http://oae.stanford.edu http://oae.stanford.edu].</div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7227Music 253/CS 275a Winter 2017 Syllabus2017-01-05T21:19:30Z<p>Marod: /* Syllabus */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2017).</b></font><br />
<br />
This music-information course surveys symbolic frameworks and methods for a wide range<br />
of musical 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]] (Using Musical Information: Music Query, Analysis, and Style Simulation), which focuses on projects requiring a working knowledge of notation and 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>Location:</b></td><br />
<td></td><br />
<td> Braun Music Center, Rooms 131 (lecture), 128 (lab entry from Room 129)</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>Mauricio Rodriguez (marod<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>3:05&ndash;4:05 Tuesdays & Thursdays 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 attendance: 25%; weekly assignments: 50%; take-home final: 25%. <br> Three-credit/no final: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final: 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]: [[Music 253|Overview]] of individual topics presented in Music 253, 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 [http://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 />
</table><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]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture C1: [[media:Musicnotationandrepresentation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (Due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture C1b: [[media:rosetta_stone.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (Due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (Due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture C2: [[Media:Introduction_to_XML.pdf|Introduction to XML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture C3a: [[Media:MIDI_protocol.pdf|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 />
* Lecture C3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)]<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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
* Assignment #5b: [[media:Assignment5b-music253-2016.pdf|MIDI file creation]] (optional: extra credit)<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDi_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], Due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:Score_parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], Due 2 March 2017<br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> MusicXML </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: [[Media:MusicXML_and_musical_parameters.pdf|MusicXML and musical parameters]]<br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<br />
<b> MEI </b><br />
* Lecture: [[Media:MEI-presentation-20120228.pdf|MEI overview]]<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
* [[Music 253 XML homework | XML homework]] (Due next Thursday)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (Due next Thursday).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Musical Dice: http://www.ccarh.org/courses/253/lab/kerndice<br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources] <br />
<b> Non-standard music representations in Humdrum </b><br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) Due by 10 p.m.</b> <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. The OAE is located at 563 Salvatierra Walk (phone 723-1066), URL [http://oae.stanford.edu http://oae.stanford.edu].</div>Marodhttps://wiki.ccarh.org/index.php?title=Music_253/CS_275a_Winter_2017_Syllabus&diff=7226Music 253/CS 275a Winter 2017 Syllabus2017-01-05T21:17:28Z<p>Marod: /* Syllabus */</p>
<hr />
<div><font size=+1><b>Music 253/CS 275a "Symbolic Musical Information" <br> Stanford University (Winter 2017).</b></font><br />
<br />
This music-information course surveys symbolic frameworks and methods for a wide range<br />
of musical 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]] (Using Musical Information: Music Query, Analysis, and Style Simulation), which focuses on projects requiring a working knowledge of notation and 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>Location:</b></td><br />
<td></td><br />
<td> Braun Music Center, Rooms 131 (lecture), 128 (lab entry from Room 129)</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>Mauricio Rodriguez (marod<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>3:05&ndash;4:05 Tuesdays & Thursdays 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 attendance: 25%; weekly assignments: 50%; take-home final: 25%. <br> Three-credit/no final: class attendance: 33%; weekly assignments: 67%. <br> Two-credit/no final: 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]: [[Music 253|Overview]] of individual topics presented in Music 253, 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 [http://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 />
</table><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]] | <font color="gray" size="-1">MIDI</font> [[#week3|3]] | [[#week4|4]] | <font color="gray" size="-1">SCORE</font> [[#week5|5]] | [[#week6|6]] | <font color="gray" size="-1">MuseData</font> [[#week7|7]] | <font color="gray" size="-1">XML</font> [[#week8|8]] | <font color="gray" size="-1">Humdrum</font> [[#week9|9]] | [[#week10|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="week1"></div>1 || 10 Jan 2017 || <br />
<b>Overview of music representation and course resources</b> <br />
* Lecture 01A: [http://esf.ccarh.org/CS275A-Mus253/01A_MusicalInformation_2016.pdf Musical Information][http://www.screencast.com/t/H6W4piHb Video version]<br />
* Lecture C1: [[media:Musicnotationandrepresentation-2017.pdf|Music Notation and Representation]] <br />
* Demo: [http://www.musanim.com/ Malinowski's Music Animation Machine]<br />
* Assignment #1: [[Design your own music representation system]] (due 17 Jan 2017)<br />
|-<br />
| 1 || 12 Jan 2017 || <br />
* Lecture 01B: [http://esf.ccarh.org/CS275A-Mus253/01B_ApplyingMusicalInformation_2016.pdf Applying Musical Information]<br />
* Lecture C1b: [[media:rosetta_stone.pdf|Rosetta Stone of Musical Encodings]] (see also [[Rosetta Stone of Musical Data Codes]] wikipage)<br />
* Lab #1: [[Guido Music Notation]]<br />
* Assignment #2: Finish [[Guido]] lab exercises at home (due 19 Jan 2017)<br />
|-<br />
| <div id="week2"></div>2 || 17 Jan 2017 || <br />
<b> Input methods: textual input</b><br />
* Lecture 02A: [http://esf.ccarh.org/CS275A-Mus253/02A_Input_2016.pdf Input Methods for Musical Notation]<br />
* Lab #2a: [[Finale Simple Note Entry | Computer keyboard Input methods in Finale]]<br />
|-<br />
| 2 || 19 Jan 2017 || <br />
<b> Input methods: MIDI keyboard input</b><br />
* Lecture 2B: [http://esf.ccarh.org/CS275A-Mus253/02B_Sound-MIDI_Introduction_2016.pdf Sound-MIDI Introduction 2017]<br />
* Lab #2b: [[Finale Midi Entry | MIDI keyboard Input methods in Finale]]<br />
* Assignment #3: Finish Lab 2b exercises (due 24 Jan 2017)<br />
|-<br />
| <div id="week3"></div>3 || 24 Jan 2017 || <br />
<b> Input methods: OMR and Data Interchange </b><br />
* Lecture 03A: [http://esf.ccarh.org/CS275A-Mus253/03A_Optical%20Music%20Recognition_2016.pdf Optical Music Recognition 2016.pdf]<br />
* Lecture C2: [[Media:Introduction_to_XML.pdf|Introduction to XML]]<br />
* Lab #3: Optical music recognition with [[SharpEye]]<br />
* Assignment #4: [[SharpEye]] to [[Finale]]/[[MuseScore]]/[[Noteflight]] (Due 31 Jan 2017)<br />
|-<br />
| 3 || 26 Jan 2017 || <br />
<b>MIDI Protocol/Standard MIDI Files</b><br />
* Lecture 03B: [http://esf.ccarh.org/CS275A-Mus253/03B_MIDI_Continuation_2015.pdf MIDI Continuation 2017]<br />
* Lecture C3a: [[Media:MIDI_protocol.pdf|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 />
* Lecture C3b: [[Media:Standard_MIDI_Files.pdf| 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 />
|-<br />
| <div id="week4"></div>4 || 31 Jan 2017 || <br />
<b>General MIDI</b><br />
* Lecture 04A: [http://esf.ccarh.org/CS275A-Mus253/04A_Standard%20MIDI%20Files_2016.pdf Timbre and Quantization (MIDI)]<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 />
* [http://code.google.com/p/binasc/wiki/mainpage binasc] tool for creating MIDI files in a text editor<br />
* Assignment #5a: [[MIDI file parsing homework]] (Due 7 Feb 2017)<br />
* Assignment #5b: [[media:Assignment5b-music253-2016.pdf|MIDI file creation]] (optional: extra credit)<br />
|-<br />
| 4 || 2 Feb 2017 || <br />
<b>MIDI Extensions/Wrap-up</b><br />
* Lecture 04B: [http://esf.ccarh.org/CS275A-Mus253/04B_MIDi_Extensions_2016.pdf MIDI extensions and alternatives]<br />
* [http://library.stanford.edu/ars Tour of the Archive of Recorded Sound] and the [http://library.stanford.edu/blogs/stanford-libraries-blog/2014/09/introducing-denis-condon-collection-reproducing-pianos-and Dennis Condon Collection of Reproducing Pianos and Rolls].<br />
|-<br />
| <div id="week5"></div>5 || 7 Feb 2017 || <br />
<b>SCORE user input code</b><br />
* Lecture 05A: [http://esf.ccarh.org/CS275A-Mus253/05A_SCORE%20Introduction_2016.pdf Introduction to SCORE]<br />
* Lab: [[SCORE user input]]<br />
* [http://www.ccarh.org/courses/253/handout/scoreinput SCORE 5-Stage Input Reference]<br />
|-<br />
| 5 || 9 Feb 2017 || <br />
<b>SCORE music editor</b><br />
* Lecture 05B. [http://esf.ccarh.org/CS275A-Mus253/05B_Special-Needs%20Repertories_2016.pdf Repertories with Special Needs]<br />
* Lab: Input [[SCORE user input | exercises done on paper in previous session]]<br />
* [[SCORE survival guide]]<br />
|-<br />
| <div id="week6"></div>6 || 14 Feb 2017 || <br />
<b>SCORE simple examples</b><br />
* Lecture 06A. [http://esf.ccarh.org/CS275A-Mus253/06A_Extremes%20within%20CMN_2015.pdf Extremes within CMN] <br />
* Lab: Input [[SCORE user input 2 |slightly harder SCORE examples]]<br />
* Homework #6: Finish [[SCORE user input 2]], due 21 February 2017<br />
|-<br />
| 6 || 16 Feb 2017 || <br />
<b>SCORE parameters</b><br />
* Lecture 06B. [http://esf.ccarh.org/CS275A-Mus253/06B_TexturesTracks_2015.pdf Score textures and tracks]<br />
* Lecture: [[Media:Score_parameters.pdf|SCORE parameters]]<br />
* Score parameter examples: [[SCORE_note_parameters|notes]], [[SCORE_slur_parameters|slurs/ties]]<br />
|-<br />
| <div a="week7"></div>7 || 21 Feb 2017 || <br />
* Lecture 07A. [http://esf.ccarh.org/CS275A-Mus253/07_EsAC-PE-2016.pdf Codes for Archiving and Repurposing: The Essen Associative Code (EsAC) and Plaine & Easie (used in RISM)] <br />
<br />
<b>SCORE parameters 2</b><br />
* Lab/Homework: [[SCORE_parameter_exercises|Hard SCORE exercises]], due 2 March 2017<br />
|-<br />
| 7 || 23 Feb 2017 || <br />
<b> MuseData</b><br />
* Lecture 07B. [http://esf.ccarh.org/CS275A-Mus253/07B_Codes%20for%20data%20%20archiving,%20interchange_WBH.pdf Codes for Archiving and Repurposing: MuseData (presented by Walter B. Hewlett)]<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 />
| <div id="week8"></div>8 || 28 Feb 2017 || <br />
<b> MusicXML </b><br />
* Lecture 08A. [http://esf.ccarh.org/CS275A-Mus253/08A_MusicXML_MEI_2016.pdf Markup Languages for Music: MusicXML and MEI]<br />
* Lecture: [[Media:MusicXML_and_musical_parameters.pdf|MusicXML and musical parameters]]<br />
|-<br />
| 8 || 2 Mar 2017 ||<br />
<b> Transposition via Base-40 </b><br />
* Lecture 08b. [http://esf.ccarh.org/CS275A-Mus253/08b_Base-40-2016.pdf Base-40 Arithmetic for Music Apps]<br />
<br />
<b> MEI </b><br />
* Lecture: [[Media:MEI-presentation-20120228.pdf|MEI overview]]<br />
* [[Media:30_short_mei_encoding_examples.pdf|30 Short MEI encoding examples]]<br />
* [[Music 253 XML homework | XML homework]] (due next Thursday)<br />
|-<br />
| <div id="week9"></div>9 || 7 Mar 2017 || <br />
<b> Humdrum file format</b><br />
* Lecture 09A. [http://esf.ccarh.org/CS275A-Mus253/09A_Humdrum-Intro_2015.pdf Introduction to Humdrum]<br />
* Lecture: [[Media:Humdrum_file_format.pdf|Humdrum file format]]<br />
|-<br />
| 9 || 9 Mar 2017 || <br />
<b> Humdrum Analysis 1</b><br />
* Lecture 09B. [http://esf.ccarh.org/CS275A-Mus253/09B_Uses%20of%20Humdrum_2015.pdf Uses of Humdrum]<br />
* Lab: [[Media:Humdrum_Tools_1.pdf|Humdrum Tools I]]<br />
* [[Music_253_Humdrum_homework|Humdrum homework]] (due next Thursday).<br />
|-<br />
| <div id="week10"></div>10 || 14 Mar 2017 || <br />
<b> Music as Intellectual Property</b><br />
* Lecture 10A. [http://esf.ccarh.org/CS275A-Mus253/10A_Basic%20Concepts%20in%20Music%20Copyright_2015b.pdf Basic Concepts in Music Copyright]<br />
* Lecture 10A (2017): Music Copyright<br />
<b> Humdrum Analysis 2</b><br />
* Musical Dice: http://www.ccarh.org/courses/253/lab/kerndice<br />
* Lecture/Demo: [[Media:Humdrum_Tools_2.pdf|Humdrum Tools II]]<br />
* Lab: [[Humdrum Lab 1 | Humdrum Lab]]<br />
|-<br />
| 10 || 16 Mar 2017 || <br />
* Lecture 10B. [http://esf.ccarh.org/CS275A-Mus253/10b_From%20IP%20to%20Data%20resources_2015.pdf From IP to Data Resources] <br />
<b> Non-standard music representations in Humdrum </b><br />
|-<br />
| <div id="week11"></div>FE || 23 Mar 2017 ||<br />
<b> Take-home final (4-credit students) due by 10 p.m.</b> <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. The OAE is located at 563 Salvatierra Walk (phone 723-1066), URL [http://oae.stanford.edu http://oae.stanford.edu].</div>Marod