Template:ADAM Score Archives - Revision history

Esfield: /* Emerging Desktop Notation Systems of the 1980s and 1990s */

2023-07-27T23:45:44Z

Emerging Desktop Notation Systems of the 1980s and 1990s

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	* <b>Personal Composer</b> was a PC-based program integrating notation, printing, and music sequencing. It enabled print controls that were rare for the time.		* <b>Personal Composer</b> was a PC-based program integrating notation, printing, and music sequencing. It enabled print controls that were rare for the time.

	* <b>Philip's Music Scribe</b>, developed by Philip Hazel (Cambridge UK) for the British Acorn Archimedes computer, was distributed throughout the English-speaking world excluding North America. A PostScript-compatible program, its special features included coordinated creation of scores and parts and two-stave reductions from four-voice choral music.		* <b>Philip's Music Scribe</b>, developed by [https://en.wikipedia.org/wiki/Philip_Hazel Philip Hazel] (Cambridge UK) for the British Acorn Archimedes computer, was distributed throughout the English-speaking world excluding North America. A PostScript-compatible program, its special features included coordinated creation of scores and parts and two-stave reductions from four-voice choral music.

	* <b>Rhapsody</b>, a predecessor of <i><b>Encore</b></i>, was announced by Passport Designs (Foster City CA) but has been invisible since the mid-90s.		* <b>Rhapsody</b>, a predecessor of <i><b>Encore</b></i>, was announced by Passport Designs (Foster City CA) but has been invisible since the mid-90s.

	* <b>SCORE</b>, [https://en.wikipedia.org/wiki/Leland_Smith Leland Smith]'s industrial-strength program for the typesetting of musical scores, was developed (1972) at Stanford University's first artifiical intelligence lab on a mainframe computer (PDP 11) with output to a plotter. In existed in a DOS-based conversion from the early 80s until <i>c</i>2020. Over time it transitioned to PCs. Although it always ran most smoothly in FORTRAN, a Windows version was available in the 2000s. SCORE served as a backbone of the collected editions of many composers of the nineteenth and twentieth centuries (Schoenberg, Verdi, Wagner. et al.) in the editions of Bärenreiter and Schott. SCORE was known for the esthetic appeal of its scores, its numerous libraries of special symbols (e.g. for harp and drum notation), and its ability to integrate lyrics in non-Roman characters into its scores. Several companion programs included <i>FinalScore</i> for conversion from <i>Finale</i> and MIDISCOREWRITE were in use in the 90s.		* <b>SCORE</b>, [https://en.wikipedia.org/wiki/Leland_Smith Leland Smith]'s industrial-strength program for the typesetting of musical scores, was developed (1972) at Stanford University's first artifiical intelligence lab on a mainframe computer (PDP 11) with output to a plotter. In existed in a DOS-based conversion from the early 80s until <i>c</i>2020. Over time it transitioned to PCs. Although it always ran most smoothly in FORTRAN, a Windows version was available in the 2000s. SCORE served as a backbone of the collected editions of many composers of the nineteenth and twentieth centuries (Schoenberg, Verdi, Wagner. et al.) in the editions of Bärenreiter and Schott. SCORE was known for the esthetic appeal of its scores, its numerous libraries of special symbols (e.g. for harp and drum notation), and its ability to integrate lyrics in non-Roman characters into its scores. Several companion programs included <i>FinalScore</i> for conversion from <i>Finale</i> and MIDISCOREWRITE were in use in the 90s.

Esfield: /* Emerging Desktop Notation Systems of the 1980s and 1990s */

2023-07-27T23:43:00Z

Emerging Desktop Notation Systems of the 1980s and 1990s

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	* <b>Music Manuscriptor</b> was a commercial software system developed by Erato Software Corp., Salt Lake City UT. It was used for composition, orchestration, and generating film scores from sketches.		* <b>Music Manuscriptor</b> was a commercial software system developed by Erato Software Corp., Salt Lake City UT. It was used for composition, orchestration, and generating film scores from sketches.

	* <b>MusicTeX</b> (also <b>MusiTeX</b>, <b>MuTeX</b>) was the backbone of the collaboration known as the Werner Icking Music Archive (see ADAM), which is now absorbed into the IMSLP ([https://imslp.org International Score Music Library Project]). MusicTeX consisted of sets of macros, fonts, and programs for music-typesetting compatible with Donald Knuth's TeX typesetting program.		* <b>MusicTeX</b> (also <b>MusiTeX</b>, <b>MuTeX</b>) was the backbone of the collaboration known as the [https://en.wikipedia.org/wiki/Werner_Icking_Music_Archive Werner Icking Music Archive] (see ADAM), which is now absorbed into the IMSLP ([https://imslp.org International Score Music Library Project]). MusicTeX consisted of sets of macros, fonts, and programs for music-typesetting compatible with Donald Knuth's TeX typesetting program.

	* <b>Nightingale</b>, Don Byrd's notation system for Macs, supported multiple methods of input, display, and playback. Its aim was to give users control over every aspect of musical scores.		* <b>Nightingale</b>, Don Byrd's notation system for Macs, supported multiple methods of input, display, and playback. Its aim was to give users control over every aspect of musical scores.

Esfield: /* Emerging Desktop Notation Systems of the 1980s and 1990s */

2023-07-27T23:27:28Z

Emerging Desktop Notation Systems of the 1980s and 1990s

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	* <b>MUP</b>, a music-printing program by John Ark and William Krauss, was an ASCII-based music-formatting system intended for automatic layout.		* <b>MUP</b>, a music-printing program by John Ark and William Krauss, was an ASCII-based music-formatting system intended for automatic layout.

	* <b>MusE</b>, a proprietary DARMS implementation developed by Tom ~~(Thomas)~~ Hall for [https://www.areditions.com/ A-R Editions], Middleton WI, is a heavy-duty system with numerous extensions for special notations. It has been the backbone of A-Rs substantial contributions to otherwise unavailable repertories. A licensible version, <b><i>Music Engraver</i></b> (HB Music Engraver), was available for many years.		* <b>MusE</b>, a proprietary DARMS implementation developed by [https://en.wikipedia.org/wiki/Tom_Hall Tom Hall] for [https://www.areditions.com/ A-R Editions], Middleton WI, is a heavy-duty system with numerous extensions for special notations. It has been the backbone of A-Rs substantial contributions to otherwise unavailable repertories. A licensible version, <b><i>Music Engraver</i></b> (HB Music Engraver), was available for many years.

	* <b>Music Manuscriptor</b> was a commercial software system developed by Erato Software Corp., Salt Lake City UT. It was used for composition, orchestration, and generating film scores from sketches.		* <b>Music Manuscriptor</b> was a commercial software system developed by Erato Software Corp., Salt Lake City UT. It was used for composition, orchestration, and generating film scores from sketches.

Esfield: /* Emerging Desktop Notation Systems of the 1980s and 1990s */

2023-07-27T23:05:02Z

Emerging Desktop Notation Systems of the 1980s and 1990s

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	* <b>Common Music Notation (CMN)</b>, a LISP-based program by Bill Schottstaedt, was developed at the Center for Computer Research in Music and Acoustics (CCMRA) at Stanford University. Composers using LISP and Heinrich Taube's <i>Common Music</i> were the principal users.		* <b>Common Music Notation (CMN)</b>, a LISP-based program by Bill Schottstaedt, was developed at the Center for Computer Research in Music and Acoustics (CCMRA) at Stanford University. Composers using LISP and Heinrich Taube's <i>Common Music</i> were the principal users.

	* <b>Dai Nippon Music Processor</b> was developed by the Dai Nippon Printing Company LTD om Ichigawa, JP. Alphanumeric input code was output to MIDI instruments, PostScript printers, a Digiset typesetter, and the Standard Music Expression (SMX) file format, which was principally exchanged with a research group at Waseda University. Featured in from 1988 to 1992.		* <b>Dai Nippon Music Processor</b> was developed by the [https://en.wikipedia.org/wiki/Dai_Nippon_Printing Dai Nippon Printing Company LTD] om Ichigawa, JP. Alphanumeric input code was output to MIDI instruments, PostScript printers, a Digiset typesetter, and the Standard Music Expression (SMX) file format, which was principally exchanged with a research group at Waseda University. Featured in from 1988 to 1992.

	* <b>DARMS-based systems</b>. DARMS, a print-oriented representation system, stimulated many project ideas (see in ADAM). The longest surviving implementations we know of were <i>Lute Code</i> and the <i>Note Processor</i>, the first one related to the second. <i>The Note Processor</i>, a PC-based program by Stephen Dydo, was in active use from the late 1980s to the mid-90s. Frans Wiering's <i>Lute Code</i> <i>c</i>1990 facilitated the printing of lute tablature from Italy and France with <i>The Note Processor</i>, listed below. See also <i>MusE</i>.		* <b>DARMS-based systems</b>. DARMS, a print-oriented representation system, stimulated many project ideas (see in ADAM). The longest surviving implementations we know of were <i>Lute Code</i> and the <i>Note Processor</i>, the first one related to the second. <i>The Note Processor</i>, a PC-based program by Stephen Dydo, was in active use from the late 1980s to the mid-90s. Frans Wiering's <i>Lute Code</i> <i>c</i>1990 facilitated the printing of lute tablature from Italy and France with <i>The Note Processor</i>, listed below. See also <i>MusE</i>.

Esfield: /* Emerging Desktop Notation Systems of the 1980s and 1990s */

2023-07-27T23:02:29Z

Emerging Desktop Notation Systems of the 1980s and 1990s

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	* <b>Noteability</b>, a sibling of <i><b>NoteWriter</b></i>, emphasized graphical flexibility (a rarity for the time). It operated on PCs and Next (NextStep) machines (v. 3.3 or higher).		* <b>Noteability</b>, a sibling of <i><b>NoteWriter</b></i>, emphasized graphical flexibility (a rarity for the time). It operated on PCs and Next (NextStep) machines (v. 3.3 or higher).

	* <b>NoteWriter</b> was a PostScript-compatible Mac-based program and successor to <i><b>MusScribe</b></i> with a strong focus on twentieth-century notation and analytical examples for scholarly journals. Keith Hamel (Vancouver) was its developer.		* <b>NoteWriter</b> was a PostScript-compatible Mac-based program and successor to <i><b>MusScribe</b></i> with a strong focus on twentieth-century notation and analytical examples for scholarly journals. [https://en.wikipedia.org/wiki/Keith_Hamel Keith Hamel] (Vancouver) was its developer.

	* <b>Personal Composer</b> was a PC-based program integrating notation, printing, and music sequencing. It enabled print controls that were rare for the time.		* <b>Personal Composer</b> was a PC-based program integrating notation, printing, and music sequencing. It enabled print controls that were rare for the time.

Esfield: /* Emerging Desktop Notation Systems of the 1980s and 1990s */

2023-07-27T22:59:50Z

Emerging Desktop Notation Systems of the 1980s and 1990s

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	* <b>Dai Nippon Music Processor</b> was developed by the Dai Nippon Printing Company LTD om Ichigawa, JP. Alphanumeric input code was output to MIDI instruments, PostScript printers, a Digiset typesetter, and the Standard Music Expression (SMX) file format, which was principally exchanged with a research group at Waseda University. Featured in from 1988 to 1992.		* <b>Dai Nippon Music Processor</b> was developed by the Dai Nippon Printing Company LTD om Ichigawa, JP. Alphanumeric input code was output to MIDI instruments, PostScript printers, a Digiset typesetter, and the Standard Music Expression (SMX) file format, which was principally exchanged with a research group at Waseda University. Featured in from 1988 to 1992.

	* <b>DARMS-based systems</b>. DARMS, a print-oriented representation system, stimulated many project ideas (see in ADAM). The longest surviving implementations we know of were <i>Lute Code</i> and the <i>Note Processor</i>, the first one related to the second. ~~<b>~~<i>The Note Processor</i~~></b~~>, a PC-based ~~progeram~~ by Stephen Dydo, was in active use from the late 1980s to the mid-90s. Frans Wiering's <i>Lute Code</i> <i>c</i>1990 facilitated the printing of lute tablature from Italy and France with <i>The Note Processor</i>, listed below. See also <i>MusE</i>.		* <b>DARMS-based systems</b>. DARMS, a print-oriented representation system, stimulated many project ideas (see in ADAM). The longest surviving implementations we know of were <i>Lute Code</i> and the <i>Note Processor</i>, the first one related to the second. <i>The Note Processor</i>, a PC-based program by Stephen Dydo, was in active use from the late 1980s to the mid-90s. Frans Wiering's <i>Lute Code</i> <i>c</i>1990 facilitated the printing of lute tablature from Italy and France with <i>The Note Processor</i>, listed below. See also <i>MusE</i>.

	* <b>Graphire Music Press</b> of Wilder, VT, was a high-end system by Alan Talbot, who also developed the Synclavier Music Engraving System. Graphire MP supported line-art graphics, provided a page-layout program, and employed a notation expert system. It offered special provisions for shape-note and handbell notation and well as the ability to combine different kinds of notation in one score. Its primary uses were commercial.		* <b>Graphire Music Press</b> of Wilder, VT, was a high-end system by Alan Talbot, who also developed the Synclavier Music Engraving System. Graphire MP supported line-art graphics, provided a page-layout program, and employed a notation expert system. It offered special provisions for shape-note and handbell notation and well as the ability to combine different kinds of notation in one score. Its primary uses were commercial.

Esfield: /* Emerging Desktop Notation Systems of the 1980s and 1990s */

2023-07-27T22:58:52Z

Emerging Desktop Notation Systems of the 1980s and 1990s

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	* <b>Dai Nippon Music Processor</b> was developed by the Dai Nippon Printing Company LTD om Ichigawa, JP. Alphanumeric input code was output to MIDI instruments, PostScript printers, a Digiset typesetter, and the Standard Music Expression (SMX) file format, which was principally exchanged with a research group at Waseda University. Featured in from 1988 to 1992.		* <b>Dai Nippon Music Processor</b> was developed by the Dai Nippon Printing Company LTD om Ichigawa, JP. Alphanumeric input code was output to MIDI instruments, PostScript printers, a Digiset typesetter, and the Standard Music Expression (SMX) file format, which was principally exchanged with a research group at Waseda University. Featured in from 1988 to 1992.

	* <b>DARMS-based systems</b>. DARMS, a print-oriented representation system, stimulated many project ideas (see in ADAM). The longest surviving implementations we know of were <i><b>~~Lute Code~~ and the Note Processor~~</b>~~</i>, the first one related to the second. <b><i>The Note Processor</i></b>, a PC-based progeram by Stephen Dydo, was in active use from the late 1980s to the mid-90s. Frans Wiering's <i>Lute Code</i> <i>c</i>1990 facilitated the printing of lute tablature from Italy and France with <i>The Note Processor</i>, listed below. See also <i>MusE</i>.		* <b>DARMS-based systems</b>. DARMS, a print-oriented representation system, stimulated many project ideas (see in ADAM). The longest surviving implementations we know of were <i>Lute Code</i> and the <i>Note Processor</i>, the first one related to the second. <b><i>The Note Processor</i></b>, a PC-based progeram by Stephen Dydo, was in active use from the late 1980s to the mid-90s. Frans Wiering's <i>Lute Code</i> <i>c</i>1990 facilitated the printing of lute tablature from Italy and France with <i>The Note Processor</i>, listed below. See also <i>MusE</i>.

	* <b>Graphire Music Press</b> of Wilder, VT, was a high-end system by Alan Talbot, who also developed the Synclavier Music Engraving System. Graphire MP supported line-art graphics, provided a page-layout program, and employed a notation expert system. It offered special provisions for shape-note and handbell notation and well as the ability to combine different kinds of notation in one score. Its primary uses were commercial.		* <b>Graphire Music Press</b> of Wilder, VT, was a high-end system by Alan Talbot, who also developed the Synclavier Music Engraving System. Graphire MP supported line-art graphics, provided a page-layout program, and employed a notation expert system. It offered special provisions for shape-note and handbell notation and well as the ability to combine different kinds of notation in one score. Its primary uses were commercial.

Esfield: /* Emerging Desktop Notation Systems of the 1980s and 1990s */

2023-07-27T22:57:52Z

Emerging Desktop Notation Systems of the 1980s and 1990s

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	* <b>Dai Nippon Music Processor</b> was developed by the Dai Nippon Printing Company LTD om Ichigawa, JP. Alphanumeric input code was output to MIDI instruments, PostScript printers, a Digiset typesetter, and the Standard Music Expression (SMX) file format, which was principally exchanged with a research group at Waseda University. Featured in from 1988 to 1992.		* <b>Dai Nippon Music Processor</b> was developed by the Dai Nippon Printing Company LTD om Ichigawa, JP. Alphanumeric input code was output to MIDI instruments, PostScript printers, a Digiset typesetter, and the Standard Music Expression (SMX) file format, which was principally exchanged with a research group at Waseda University. Featured in from 1988 to 1992.

	* <b>DARMS-based systems</b>. DARMS, a print-oriented representation system, stimulated many project ideas (see in ADAM). The longest surviving implementations we know of were <i><b>Lute Code and the Note Processor</b></i>, the first one related to the second. <b><i>The Note Processor</i></b>, a PC-based progeram by ~~Stephne~~ Dydo, was in active use from the late 1980s to the mid-90s. Frans Wiering's ~~<b>~~<i>Lute Code</i~~></b~~> <i>c</i>1990 facilitated the printing of lute tablature from Italy and France with <i>The Note Processor</i>, listed below. See also <i>MusE</i>.		* <b>DARMS-based systems</b>. DARMS, a print-oriented representation system, stimulated many project ideas (see in ADAM). The longest surviving implementations we know of were <i><b>Lute Code and the Note Processor</b></i>, the first one related to the second. <b><i>The Note Processor</i></b>, a PC-based progeram by Stephen Dydo, was in active use from the late 1980s to the mid-90s. Frans Wiering's <i>Lute Code</i> <i>c</i>1990 facilitated the printing of lute tablature from Italy and France with <i>The Note Processor</i>, listed below. See also <i>MusE</i>.

	* <b>Graphire Music Press</b> of Wilder, VT, was a high-end system by Alan Talbot, who also developed the Synclavier Music Engraving System. Graphire MP supported line-art graphics, provided a page-layout program, and employed a notation expert system. It offered special provisions for shape-note and handbell notation and well as the ability to combine different kinds of notation in one score. Its primary uses were commercial.		* <b>Graphire Music Press</b> of Wilder, VT, was a high-end system by Alan Talbot, who also developed the Synclavier Music Engraving System. Graphire MP supported line-art graphics, provided a page-layout program, and employed a notation expert system. It offered special provisions for shape-note and handbell notation and well as the ability to combine different kinds of notation in one score. Its primary uses were commercial.

Esfield: /* Emerging Desktop Notation Systems of the 1980s and 1990s */

2023-07-27T22:56:55Z

Emerging Desktop Notation Systems of the 1980s and 1990s

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	* <b>Dai Nippon Music Processor</b> was developed by the Dai Nippon Printing Company LTD om Ichigawa, JP. Alphanumeric input code was output to MIDI instruments, PostScript printers, a Digiset typesetter, and the Standard Music Expression (SMX) file format, which was principally exchanged with a research group at Waseda University. Featured in from 1988 to 1992.		* <b>Dai Nippon Music Processor</b> was developed by the Dai Nippon Printing Company LTD om Ichigawa, JP. Alphanumeric input code was output to MIDI instruments, PostScript printers, a Digiset typesetter, and the Standard Music Expression (SMX) file format, which was principally exchanged with a research group at Waseda University. Featured in from 1988 to 1992.

	* <b>DARMS-based systems</b>. DARMS, a print-oriented representation system, stimulated many project ideas (see in ADAM). The longest surviving implementations we know of were <i><~~bLute~~ Code and the Note Processor, the first one related to the second. <b><i>The Note Processor</i></b>, a PC-based progeram by Stephne Dydo, was in active use from the late 1980s to the mid-90s. Frans Wiering's <b><i>Lute Code</i></b> <i>c</i>1990 facilitated the printing of lute tablature from Italy and France with <i>The Note Processor</i>, listed below. See also <i>MusE</i>.		* <b>DARMS-based systems</b>. DARMS, a print-oriented representation system, stimulated many project ideas (see in ADAM). The longest surviving implementations we know of were <i><b>Lute Code and the Note Processor</b></i>, the first one related to the second. <b><i>The Note Processor</i></b>, a PC-based progeram by Stephne Dydo, was in active use from the late 1980s to the mid-90s. Frans Wiering's <b><i>Lute Code</i></b> <i>c</i>1990 facilitated the printing of lute tablature from Italy and France with <i>The Note Processor</i>, listed below. See also <i>MusE</i>.

	* <b>Graphire Music Press</b> of Wilder, VT, was a high-end system by Alan Talbot, who also developed the Synclavier Music Engraving System. Graphire MP supported line-art graphics, provided a page-layout program, and employed a notation expert system. It offered special provisions for shape-note and handbell notation and well as the ability to combine different kinds of notation in one score. Its primary uses were commercial.		* <b>Graphire Music Press</b> of Wilder, VT, was a high-end system by Alan Talbot, who also developed the Synclavier Music Engraving System. Graphire MP supported line-art graphics, provided a page-layout program, and employed a notation expert system. It offered special provisions for shape-note and handbell notation and well as the ability to combine different kinds of notation in one score. Its primary uses were commercial.

Esfield: /* Emerging Desktop Notation Systems of the 1980s and 1990s */

2023-07-27T22:56:05Z

Emerging Desktop Notation Systems of the 1980s and 1990s

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	* <b>Rhapsody</b>, a predecessor of <i><b>Encore</b></i>, was announced by Passport Designs (Foster City CA) but has been invisible since the mid-90s.		* <b>Rhapsody</b>, a predecessor of <i><b>Encore</b></i>, was announced by Passport Designs (Foster City CA) but has been invisible since the mid-90s.

	* <b>SCORE</b>, Leland Smith's industrial-strength program for the typesetting of musical scores, was developed (1972) at Stanford University's first artifiical intelligence lab on a mainframe computer (PDP 11) with output to a plotter. In existed in a DOS-based conversion from the early 80s until <i>c</i>2020. Over time it transitioned to PCs. Although it always ran most smoothly in FORTRAN, a Windows version was available in the 2000s. SCORE served as a backbone of the collected editions of many composers of the nineteenth and twentieth centuries (Schoenberg, Verdi, Wagner. et al.) in the editions of Bärenreiter and Schott. SCORE was known for the esthetic appeal of its scores, its numerous libraries of special symbols (e.g. for harp and drum notation), and its ability to integrate lyrics in non-Roman characters into its scores. Several companion programs included <i>FinalScore</i> for conversion from <i>Finale</i> and MIDISCOREWRITE were in use in the 90s.		* <b>SCORE</b>, [https://en.wikipedia.org/wiki/Leland_Smith Leland Smith]'s industrial-strength program for the typesetting of musical scores, was developed (1972) at Stanford University's first artifiical intelligence lab on a mainframe computer (PDP 11) with output to a plotter. In existed in a DOS-based conversion from the early 80s until <i>c</i>2020. Over time it transitioned to PCs. Although it always ran most smoothly in FORTRAN, a Windows version was available in the 2000s. SCORE served as a backbone of the collected editions of many composers of the nineteenth and twentieth centuries (Schoenberg, Verdi, Wagner. et al.) in the editions of Bärenreiter and Schott. SCORE was known for the esthetic appeal of its scores, its numerous libraries of special symbols (e.g. for harp and drum notation), and its ability to integrate lyrics in non-Roman characters into its scores. Several companion programs included <i>FinalScore</i> for conversion from <i>Finale</i> and MIDISCOREWRITE were in use in the 90s.