Difference between revisions of "Josquin Project encoding standards"

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(created page from original document sent by Victoria.)
 
(updated and wikified the text)
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Finale input shall proceed as follows:
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<center>__TOC__</center>
  
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1. Name your files according to this convention:
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Conventions for encoding Josquin music in Finale.
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[NJE number][letter to indicate sections, if applicable]-[piece name, words separated by dashes]-[section name, if applicable]
 
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e.g. 4.2a-Missa-Gaudeamus-Kyrie
 
  
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2. Notate mensuration signs as an expression, in CamelCase, linked to the first note/rest after the sign.  Do not hide the time signature.
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== Filenames ==
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e.g. if the piece is in circle, the time signature would be 3/1, and the expression "Circle" would be linked to the first note.
 
  
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3. Notate ficta as an accidental on the staff, but with parentheses.  (#)
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Name files according to this convention: [NJE number][letter to indicate sections, if applicable]-[piece name, words separated by underscores]["-" + section name, if applicable]["-" + encoding variant, if applicable].   
  
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4. Place double bars (not end bars) after major cadences.
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NJE (New Josquin Edition) volume and work numbers should be preceeded by a "0" if the number is less than 10.  No dot between the volume and work number.  For example Missa Gaudeamus, NJE 4.2, first section (Kyrie) is:
  
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5. Indicate terminal longs (i.e. longs that occur just before double bars or end bars) with the articulation < (accent).
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    0402a-Missa_Gaudeamus-Kyrie
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    Indicate terminal breves with the articulation ^ (marcato).
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 +
* If a filename contains a section letter as well as a encoding variant name, then there must be a section name (which could be empty, resulting in two dashes before the variant text).
 +
 
 +
* Figure out what to do with NJE numbers which contain a letter after the work number.  Perhaps use capital letters for any NJE letter after work number, and lower-case letters for sub-work segementations.
 +
 
 +
* For works which do not (yet) have an NJE number, use 99 as the volume number, and an arbitrary work number (from 01 to 99).
 +
 
 +
== Mensural signs ==
 +
 
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* Notate mensuration signs as an <i>expression</i> in Finale, using a CamelCase tag from the list below.  The expression must be attached to the first note/rest after the mensuration sign.
 +
* Do not hide the time signature (Otherwise, it will not be exported in MusicXML data).
 +
* Rhythms are not reduced (see table below for Modern time signatures being used).
 +
 
 +
For example, if the piece is in circle mensuration, then the time signature would be 3/1, and the expression "MenCircle" would be linked to the first note/rest after the location of the mensuration sign in the music. Here is a list of the CamelCase mensuration signs (subject to change):
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<center>
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{| class="wikitable" cellpadding="1" cellspacing="0" border="0" style="background-color:white; width:650px"
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|- {{Style|table header}}
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! scope="col"  align="left" | CamelCase
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! scope="col"  align="left" | Meter
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! scope="col"  align="left" | Meaning
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|-
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| MenCircle    || 3/1 || Perfect tempus, minor prolation
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|-
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| MenCircleDot || 9/2 || Perfect tempus, major prolation
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|-
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| MenC        || 2/1 || Imperfect tempus, minor prolation
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|-
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| MenCDot      || 6/2 || Imperfect tempus, major prolation
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|-
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! scope="row" colspan="3"  align="left"| Cut versions of above (add "Cut" just after "Men")
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|-
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| MenCutCircle    || 3/1 || MenCircle in 2:1 ratio
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|-
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| MenCutCircleDot  || 9/2 || MenCircleDot in 2:1 ratio
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|-
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| MenCutC          || 2/1 || MenC in 2:1 ratio
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|-
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| MenCutCDot      || 6/2 || MenCDot in 2:1 ratio
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|-
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! scope="row" colspan="3" align="left"| Mensural signs where beat is on breve rather than semi-breve
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|-
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| MenCircle2 || 3/0 || perfect minor modus, imperfect tempus
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|-
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| MenCircle3 || 9/1 || perfect minor modus, perfect tempus
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|-
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| MenC2      || 2/0 || imperfect minor modus, imperfect tempus
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|-
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| MenC3      || 6/1 || imperfect minor modus, perfect tempus
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|-
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! scope="row" colspan="3" align="left"| Cut versions of above (add "Cut" just after "Men" in all cases of cut signs)
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|-
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| MenCutCircle2 || 3/0 ||
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|-
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| MenCutCircle3 || 9/1 ||
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|-
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| MenCutC2      || 2/0 ||
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|-
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| MenCutC3      || 6/1 ||
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|-
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! scope="row" colspan="3"  align="left"| Other mensural signs
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|-
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| MenCReverse || 2/0 || 4:3 proportion
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|-
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| Men3 || 3/1 || 3:2 proportion
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|-
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| Men3Over2 || 3/1 || 3:2 proportion, alternate style
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|-
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| Men2 || 2/0 || 2:1 proportion
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|-
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| MenOWithinO || || No TV in Middle Ages.
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|-
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! scope="row" colspan="3" align="left"| Alternate signs (not used in Josqiuin)
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|-
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| MenCircleTwoDot || 3/1 ||  same as MenCircle
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|-
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| MenCircleThreeDot || 9/2 ||  same as MenCircleDot
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|-
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| MenCTwoDot  || 2/1 || same as MenC
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|-
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| MenCThreeDot || 6/2 || same as MenCDot
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|}
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</center>
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 +
== Musica ficta ==
 +
 
 +
* Notate musica ficta as an accidental on the staff, but with parentheses, such as ({{music|sharp}}).  This can be done in Speedy Note Entry (or Simple Note Entry) by typing {{keypress|p}} while the cursor is on the note (or the note is highlighted).
 +
 
 +
== Major cadences ==
 +
 
 +
* Place double bars (not final bars) after major cadences.
 +
 
 +
== Terminal notes ==
 +
 
 +
* Longs (and occasionally Breves) which are not notated with their proper rhythmic duration (such as terminal Longs which are often truncated for visual reasons, including the non-existence of long notes in Finale) are marked with two possible articulations:
 +
 
 +
# {{keypress|>}} (accent) means that the original rhythmic level of the note is a long.
 +
# {{keypress|^}} (marcato, or martellato) means that the original rhythmic level of the note is a breve.
 +
 
 +
== Further questions to resolve ==
  
 
We still need to decide on the following questions:
 
We still need to decide on the following questions:
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- Do we bother to distinguish between coloration triplets and a "3" sign?
+
 
−
- If there are voice changes within a section or piece, do we make a new file for each change, or have voices with long stretches of rests?
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# Do we bother to distinguish between coloration triplets and a "3" sign?
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- What will the standard CamelCase mensuration expressions be?
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# If there are voice changes within a section or piece, do we make a new file for each change, or have voices with long stretches of rests?

Revision as of 18:59, 8 November 2010

Conventions for encoding Josquin music in Finale.

Filenames

Name files according to this convention: [NJE number][letter to indicate sections, if applicable]-[piece name, words separated by underscores]["-" + section name, if applicable]["-" + encoding variant, if applicable].

NJE (New Josquin Edition) volume and work numbers should be preceeded by a "0" if the number is less than 10. No dot between the volume and work number. For example Missa Gaudeamus, NJE 4.2, first section (Kyrie) is: 

   0402a-Missa_Gaudeamus-Kyrie
  • If a filename contains a section letter as well as a encoding variant name, then there must be a section name (which could be empty, resulting in two dashes before the variant text).
  • Figure out what to do with NJE numbers which contain a letter after the work number. Perhaps use capital letters for any NJE letter after work number, and lower-case letters for sub-work segementations.
  • For works which do not (yet) have an NJE number, use 99 as the volume number, and an arbitrary work number (from 01 to 99).

Mensural signs

  • Notate mensuration signs as an expression in Finale, using a CamelCase tag from the list below. The expression must be attached to the first note/rest after the mensuration sign.
  • Do not hide the time signature (Otherwise, it will not be exported in MusicXML data).
  • Rhythms are not reduced (see table below for Modern time signatures being used).

For example, if the piece is in circle mensuration, then the time signature would be 3/1, and the expression "MenCircle" would be linked to the first note/rest after the location of the mensuration sign in the music. Here is a list of the CamelCase mensuration signs (subject to change):

CamelCase Meter Meaning
MenCircle 3/1 Perfect tempus, minor prolation
MenCircleDot 9/2 Perfect tempus, major prolation
MenC 2/1 Imperfect tempus, minor prolation
MenCDot 6/2 Imperfect tempus, major prolation
Cut versions of above (add "Cut" just after "Men")
MenCutCircle 3/1 MenCircle in 2:1 ratio
MenCutCircleDot 9/2 MenCircleDot in 2:1 ratio
MenCutC 2/1 MenC in 2:1 ratio
MenCutCDot 6/2 MenCDot in 2:1 ratio
Mensural signs where beat is on breve rather than semi-breve
MenCircle2 3/0 perfect minor modus, imperfect tempus
MenCircle3 9/1 perfect minor modus, perfect tempus
MenC2 2/0 imperfect minor modus, imperfect tempus
MenC3 6/1 imperfect minor modus, perfect tempus
Cut versions of above (add "Cut" just after "Men" in all cases of cut signs)
MenCutCircle2 3/0
MenCutCircle3 9/1
MenCutC2 2/0
MenCutC3 6/1
Other mensural signs
MenCReverse 2/0 4:3 proportion
Men3 3/1 3:2 proportion
Men3Over2 3/1 3:2 proportion, alternate style
Men2 2/0 2:1 proportion
MenOWithinO No TV in Middle Ages.
Alternate signs (not used in Josqiuin)
MenCircleTwoDot 3/1 same as MenCircle
MenCircleThreeDot 9/2 same as MenCircleDot
MenCTwoDot 2/1 same as MenC
MenCThreeDot 6/2 same as MenCDot

Musica ficta

  • Notate musica ficta as an accidental on the staff, but with parentheses, such as (♯). This can be done in Speedy Note Entry (or Simple Note Entry) by typing p while the cursor is on the note (or the note is highlighted).

Major cadences

  • Place double bars (not final bars) after major cadences.

Terminal notes

  • Longs (and occasionally Breves) which are not notated with their proper rhythmic duration (such as terminal Longs which are often truncated for visual reasons, including the non-existence of long notes in Finale) are marked with two possible articulations:
  1. > (accent) means that the original rhythmic level of the note is a long.
  2. ^ (marcato, or martellato) means that the original rhythmic level of the note is a breve.

Further questions to resolve

We still need to decide on the following questions:

  1. Do we bother to distinguish between coloration triplets and a "3" sign?
  2. If there are voice changes within a section or piece, do we make a new file for each change, or have voices with long stretches of rests?
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