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The Humdrum Toolkit is a set of software tools for music research.
This FAQ provides answers to frequently asked questions regarding Humdrum and the Humdrum Toolkit.
This internet file is maintained by David Huron, with input from Tim Racinsky, Kyle Dawkins, and Jasba Simpson. Comments and suggestions are welcome.
File last revised 2001, July 9.
The following questions are addressed in this FAQ:
INDEX:Humdrum is a set of general-purpose software tools intended to assist music researchers in posing and answering research questions. Humdrum allows researchers to encode, manipulate, and output a wide variety of musically-pertinent representations. The emphasis is on posing and answering questions about music.
Humdrum is not (1) a MIDI sequencer, (2) a music printing package, or (3) a computer sound synthesis language; however, Humdrum provides tools that allow limited MIDI, notation, and Csound connectivity.
Humdrum allows users to pose and answer questions such as the following:
"Humdrum" is actually two things: (1) the Humdrum Syntax and (2) the Humdrum Toolkit.
The Humdrum Syntax is a grammar for representing sequential symbolic information using ASCII (text) data. Note that "Humdrum" is not a representation scheme in the conventional sense -- like DARMS. Humdrum is a syntax within which an endless number of representation schemes can be defined. Theoretically, any type of sequential symbolic data may be accommodated -- such as square notation, Schenkerian graphs, piano fingerings, changes of emotional states, MIDI data, acoustic spectra, North Indian tabla bols, ballet steps, concurrent television schedules, or industrial chemical processes.
The Humdrum Toolkit is a set of more than 60 inter-related software tools. These general-purpose tools manipulate ASCII (text) data that conforms to the Humdrum Syntax. If the ASCII data represent music-related information, then we can say that the Humdrum Tools manipulate music-related information. On-line documentation is available describing each of the tools.
Humdrum's capabilities are quite abstract, and so it is difficult to characterize briefly what it can do.
Humdrum can encode information in various forms, such as French lute tablatures, conducting gestures, or structural relationships. It can transform, classify, coordinate, transfer, restructure, contextualize, and otherwise manipulate both pre-defined and user-defined information.
Humdrum can be used to search for a mind-boggling variety of types of patterns. For example, you can look for specific finger-fret combinations (independent of the string, say) in a work for Indian sitar. Or you can look for particular patterns of open and closed vowels in vocal lyrics that are associated with a certain melodic contour, and are also anchored to a specified metrical context.
Humdrum is also able to characterize the similarity between various types of information according to user-defined criteria of similarity.
Humdrum's search and similarity commands are generalized software tools that are independent of any given representation. As a consequence, these tools do not impose any pre-defined notions of what you might want to search for, or what properties you wish to compare.
Several hundred concrete examples of Humdrum's capabilities are described on-line. In addition, several examples are given later in this document.
Humdrum will be of potential benefit to anyone wishing to pursue systematic investigations of musical information. This includes the posing of "factual" questions about music, and the testing of hypotheses about musical organization.
In short, Humdrum may prove valuable to music theorists, music analysts, ethnomusicologists, historical musicologists, psychomusicologists, music librarians, dance scholars, linguists, and people who have a general interest in music.
Humdrum is less well suited to individuals involved in creative (i.e. generative) musical activities -- such as composition, conducting, or performance. However, Humdrum is well suited to studying compositions, conducting, performances ...
Humdrum was designed for the UNIX operating system. It runs on a variety of UNIX systems including Linux, HPUX, NeXTSTEP, etc. It also runs under Windows '95, Windows '98, Windows NT, DOS and OS/2 -- provided basic UNIX commands are available. For example, Humdrum runs on Microsoft systems that have installed either the `MKS Toolkit', or the Consensys Corporation `Portage' utilities. Humdrum has also been installed and used on Apple computer systems (see below).
Since Apple computer systems do not provide basic UNIX utilities, the Humdrum Toolkit cannot be run on native Apple systems. There are three ways to configure Apple hardware to run Humdrum. The least disruptive way to install the Humdrum Toolkit is to purchase a commercial set of UNIX utilities for Apple Systems. Tenon Intersystems distributes a suitable product called MachTEN.
A review of the MachTEN software (including a comparison with A/UX) was published in Advanced Systems Magazine (formerly Sun World Magazine).
Humdrum can also run under APPLE's A/UX system.
Another possibility is to install the Linux MK kernal (MkLinux) for Apple hardware.
These latter two approaches preclude running standard Apple software on the machine. For this reason, purchasing MachTEN is usually considered the best solution for Apple users.
The current official distribution for Humdrum is Version 1.0.
Humdrum continues to be up-dated by adding options to some tools,
fixing bugs, and augmenting the Toolkit with new commands.
More recent versions exist -- up to Version 2.6,
however, these versions are not official distributions.
In order for a version to be designated "official," we test all
of the tools using extensive test suites on a wide variety
of hardware platforms, running different operating systems,
and using different compilers.
This is a time-consuming process and can be done only
when we have funds to hire a programmer for about a month.
When making modifications to Humdrum, we don't know whether
the modifications we have made are fully portable to other
systems.
Without full-scale testing of the software on a variety of platforms,
it is not a good idea to replace the former distributed version.
Hence the discrepancy between the "official" version and
more current versions.
Users are free to use later versions, but we are not
as confident that these later versions have the
same portability as version 1.0.
It is essential to read the Humdrum Toolkit Installation Guide.
For users who have downloaded Humdrum from the FTP site, the file "install.txt" contains a complete ASCII text of the Installation Guide. If you have access to a postscript printer, it is preferable to print the entire installation guide (16 pages) from the FTP file "install.ps".
For users who have ordered disks by mail, the distribution disks are accompanied by a printed Installation Guide.
Copies of the Humdrum Toolkit may be ordered on 1.4 Mb, 3-1/2 inch DOS disks from the non-profit Center for Computer Assisted Research in the Humanities (CCARH). The cost of the 3 disks, plus Installation Guide and shipping is $10.00. A 552-page Humdrum Reference Manual may be purchased from CCARH for $30.00 (plus shipping). The disks, Installation Guide, and Reference Manual can be purchased for $40.00 (plus shipping). These prices are current as of January 1, 1999. NOTE: The installation disks are available in DOS-format only; the data are compressed and can be uncompressed only via a UNIX "uncompress" program. This means that the Humdrum Toolkit DOS disks cannot be installed on a DOS system unless appropriate UNIX utilities have already been installed.
Center for Computer Assisted Research in the Humanities,Revised pricing information and availability inquiries may be addressed to:
Braun Music Center
Stanford University
Stanford, California 94305-3076
Tel. (650) 725-9240
The Humdrum Toolkit software itself is "free" -- but remains protected by copyright. If you order Humdrum by mail, you will be asked to pay for the cost of the disks, documentation, and mailing. On FTP the software is available without charge.
Any serious user will want to have copies of the printed documentation, including the Humdrum Toolkit Reference Manual and Humdrum Toolkit User Guide. The reference manual is also available as postscript files on FTP, and can be printed on a local postscript printer. The reference manual entails about 550 pages of material. The Humdrum Toolkit User Guide is also available on-line.
The size of Release 1.0 is about 7 megabytes when uncompressed. This includes printable postscript files for the manuals (approximately 3 megabytes). The postscript files may be deleted after installation.
The Humdrum Toolkit includes some 60 software tools, demonstration software, a selection of about 150 musical scores, an Installation Guide, and a Reference Manual.
The Humdrum Toolkit Reference Manual provides technical descriptions of representation formats, file organizations, command invocations, options, and other features for Release 1.0. The documentation includes sections on:
- Humdrum General Introduction (35 pages)
- Humdrum Representation Reference (180 pages)
- Humdrum Command Reference (260 pages)
- Regular Expression Reference (18 pages)
- Software Development Reference (15 pages)
- Bibliography (8 pages)
- Index (25 pages)
Yes.
About 15% of the code is written in C, another 15% in kornshell, and about 2% using the LEX lexical parser and YACC compiler-compiler. The bulk of the code is written in AWK (a fast prototyping language). C is used for tools that have special I/O requirements and to accelerate some computationally intensive tools.
The question is mal-formed. Humdrum doesn't dictate how to represent such things as a quarter-note. Remember, that Humdrum is a syntax within which representations can be defined. Users are free to use whatever string of ASCII characters they want in order represent a quarter-note. The only restriction is that the representation must conform to the Humdrum Syntax.
Actually, there are a large number of pre-defined representations each conforming to the Humdrum Syntax. Users aren't required to use these pre-existing representations, but they are generally more convenient than starting from scratch. Think of these predefined representations as analogous to macro packages.
Each representation conforming to the Humdrum Syntax is given a unique name, preceded by two asterisks. For example, "**freq" is a pre-defined representation used to represent frequency; "**pcset" is a pre-defined representation used to represent pitch-class sets; "**cocho" is a pre-defined representation used to represent basilar-membrance coordinates in the cochlea. There are lots of these pre-defined representations.
To answer the previous question: in the "**recip" representation, quarter-notes are represented by the ASCII numeral "4" (the reciprocal of the American duration names). But remember, HUMDRUM, does not require you to represent quarter-notes this way. Only the "**recip" representation requires this. If you prefer "crotchet" to "quarter note", Humdrum obliges.
Still not catching on. There are an infinite number of ways of representing a piece in the Humdrum format -- it depends on what sort of information the user is interested in. Some users will be interested in stem-direction and size of note-heads. Other users will be interested in representing the valve-combinations for the trumpet part.
For example, here is an encoding of a complete sonata-allegro movement that conforms to the Humdrum syntax:
Probably not what you had in mind.
**form Introduction Exposition Development Recapitulation Coda *-
Currently, the most commonly used Humdrum representation is **kern. Kern is a core pitch/duration representation. Below is a **kern representation showing the beginning of "Happy Birthday." In addition, we've represented the lyrics as well:
Note the following: Time moves down the page. Data are arranged in columns (called "spines") beginning with a keyword (e.g. **kern) indicating the type of representation. Data are terminated by a "spine-path terminator" (*-). Each line represents concurrent activities across all spines. Spines are separated by tabs. In the case of **kern, durations are represented by the reciprocal numbers of the American designations (4=quarter, 2=half; 8.=dotted-eighth). Pitches are represented by letter names (a-g and A-G). Lower-case letters indicate pitches above (and including) middle C; upper-case letters indicate pitches below middle C. Letters are repeated (e.g. "cc" or "CC") for each successive octave distance from middle C. Although not shown in the above example, **kern is also able to represent rests, ties, phrases, slurs, keys, key signatures, meter signatures, keys, accidentals, articulation marks, stem directions, beaming, barlines, and ornaments.
**kern
**lyrics
8.g
Hap-
16g
py
4a
birth-
4g
day
4cc
to
2b
you.
8.g
Hap-
16g
py
4a
birth-
4g
day
4dd
to
2cc
you.
*-
*-
The following example shows the first and last two measures for Fugue 20 from the Well-Tempered Clavier Vol. II:
Lines beginning with a double exclamation mark are "global comments" and pertain to all spines. ("Local comments" pertain to single columns or spines.) Following the "exclusive interpretation" (**kern), several "tandem interpretations" specify the key-signature (*k[]), the key (*a:), the meter signature (*M4/4), and the tempo (*MM72). Barlines are indicated by an equals-sign. Rests are indicated by the lower-case letter `r'. Columns of data (spines) are separated by tabs. In this case, each spine represents a different musical part or voice. Parts are ordered from left-to right with the lowest voice in the left-hand spine. In the final chord, double-stops (two pitches) are evident in the lower two voices. When only one voice is active, the other voices encode "null tokens" (.) as place holders. The file is structured like a score turned sideways. Whole-tone trills are designated by the upper-case `T'; tied notes are designed by square brackets; pauses are indicated by the semicolon.
!! J.S. Bach, WTC Book II, Fugue 20; BWV 889b
**kern
**kern
**kern
*k[]
*k[]
*k[]
*a:
*a:
*a:
*M4/4
*M4/4
*M4/4
*MM72
*MM72
*MM72
=1
=1
=1
4r
1r
1r
4e
.
.
4c
.
.
4f
.
.
=2
=2
=2
4G#
1r
1r
4r
.
.
8r
.
.
8d
.
.
8B
.
.
8e
.
.
!! Skipping ahead to measure 27:
=27
=27
=27
8r
8E
8r
8Dn
8r
32r
.
.
32e
.
.
32f#
.
.
32g#
8BB
4r
8.g#T
8E
.
.
.
.
32f#
.
.
32g#
8C
8r
[2a
8AA
32r
.
.
32B
.
.
32c
.
.
32d
.
8EE
8.c#T
.
8GG
.
.
.
32B
.
.
32c#
.
=28
=28
=28
32FF
8d
8a]
32EE
.
.
8DD
.
.
.
8f
8b
32EE
.
.
32FF
.
.
8.EET
8G#
8e
.
8B
8g#
32DD
.
.
32EE
.
.
2AAA; 2AA;
2c; 2e;
2a;
==
==
==
*-
*-
*-
Remember, we have highlighted only the **kern representation. This is only one of a (potentially infinite) number of representations consistent with the Humdrum Syntax. Do not mistake **kern for Humdrum.
There are currently independent pre-defined representations for such data as: pitch, frequency, MIDI, cents, semitones, pitch-class, German Tonhoene, French solfege, chroma, absolute and relative scale degree, fretted-instrument tablatures, figured bass, functional harmony, embellishment tones, melodic accent, harmonic and melodic intervals, sensory dissonance, dates, elapsed duration, time-spans, metric position, sequential event ordering, canonical note durations, metric syncopation, beat-position, time, rhythmic prototypes, parametric and non-parametric similarity, sound pressure level, relative amplitude, spectral content, spectral centroid, dynamics, pitch-class set, normal form, interval vectors, textual underlay, plus many others.
Remember that users are free to concoct their own task-specific representations -- such as a scheme to represent Telugu notation or Dagomba dance. Humdrum representations may be very highly crafted, or they may be invented in a matter of seconds. It is common to generate "throw-away" representations that are used only for a single research task.
There are currently roughly 10,000 encoded works consistent with the Humdrum syntax -- most in the **kern representation.
Gregorian chant, Cantigas de Santa Maria, School of Notre Dame polyphony, vocal works by Machaut, Morley, Dunstable, Power, Schubert, Brahms, Weber, Foster. Traditional British folk ballads, Kentucky folk organum, Barbershop quartets, hymns; instrumental works by JC Bach, JS Bach, WF Bach, Beethoven, Brahms, Buono, Buxtehude, Corelli, Chopin, Clementi, David, Debussy, Dowland, Dvorak, Fischer, Franck, Frescobaldi, Froberger, Gabrieli, Granados, Grieg, Handel, Haydn, Josquin, Liszt, Mattheson, Mendelssohn, Merulo, Mozart, Nielsen, Pachelbel, Reger, Scheidt, Schoenberg, Schubert, Schumann, Sibelius, Soriano, Sweelinck, Telemann, Webern, Weckmann.
Non-western music from Bali, Burma, Cameroon, Caucacus, China, Columbia, Japan, Korean, Tahiti, Thailand, and from Pondo, Venda, Xhosa, and Zulu cultures. Refer to the following repertoire list.
No. Some of the encoded data are proprietary or restricted by copyright and so not likely to be released in the near future. About 6,500 encoded works are available.
The Center for Computer Assisted Research in the Humanities (CCARH) has encoded large databases of musical score information. The databases are high quality electronic editions suitable for scholarship. These "MuseData" (TM) databases represent a major resource for music research. CCARH has begun making portions of their databases available to music scholars. Currently, the following repertoires are available:
Further releases of data are expected. For further information contact:
- J.S. Bach, Chorale Harmonizations
- J.S. Bach, Brandenburg Concertos (Bach Gesellschaft edition)
- Archangelo Corelli, Trio Sonatas
- Antonio Vivaldi, Violin Concertos (including The Four Seasons)
- Essen Folk melody collection (more than 6,000 European folksongs)
Center for Computer Assisted Research in the Humanities,(MuseData Ordering information, telephone: 1-800-JSB-MUSE)
Braun Music Center
Stanford University
Stanford, California 94305-3076
Currently, there are a handful of software tools that translate from various formats to Humdrum. Music encoded in Leland Smith's SCORE format can be translated to Humdrum using a program written by Andreas Kornstaedt of the University of Hamburg. Music encoded in Helmut Schaffrath's ESAC representation (Essen Associative Code) can also be translated to Humdrum. Another program can translate Barry Brook's Plaine and Easie Code (used by RILM) to Humdrum.
These translation tools are not currently distributed as part of the Humdrum Toolkit. They are available by special request.
Nearly all Humdrum commands accept some Humdrum-format input(s) and produce some corresponding Humdrum-format output. This means that information can be processed through a series of successive Humdrum commands.
Here are some examples of simple Humdrum pipelines.
The following command extracts all woodwind parts from the file "ives":
extract -i '*ICww' ives
The following command identifies the frequency of light-related
words such as "lumen" or "lumine" in the different monastic offices
for Thomas of Canterbury:
extract -i '*Latin' office* | egrep -ic 'lum.+n[e]*$'
The following command outputs the location of all sonorities in
the file "machaut" where the leading-tone has been doubled:
deg -x machaut | grep -n '7.*7'
The following commands identify all phrase-endings in the file
"wagner" that are approached by a descending semitone:
semits -xt wagner | fill > temp
assemble wagner temp | grep -n '}.*-1[^0-9]'
The following commands identify German, French, and Italian sixth chords.
solfa -x input | fill -s = | grep '.*6-.*4+' | grep '3-' [German]
solfa -x input | fill -s = | grep '.*6-.*4+' | grep '2' [French]
solfa -x input | fill -s = | grep '.*6-.*4+' | grep '[^23]' [Italian]
A common musicological task is searching for various patterns.
The `patt' and `pattern' commands accept a user-specified
template file such as the following:
P5
P5
Given the above two-line file ("template"), the following command will
identify all instances of parallel fifths between the bass and alto
parts for the file "caccini":
extract -i '*bass,*alto' caccini | hint -c | pattern -s = -f template
Given the following three-line "template" file:
=... the following command outputs the measure numbers where suspensions are found in the file "bwv552":
.* +
sus
extract -i '**embel' bwv552 | patt -e -f template | grep '='
The following command produces an inventory of all pitch-class
sets evident for successive vertical sonorities in the file "opus24".
In this case, only Z-related sets are requested in the inventory:
pc opus24 | fill -s = | pcset | grep 'Z' | sort | uniq
The following script command finds all instances of 12-tone rows in
Webern's Opus 24:
matrix -n 12 prime
rowfind opus24
The following command outputs the final two measures for all works
in the current directory; the output is played as a MIDI output.
yank -o ^= '$-1-$' * | midi | perform
The above examples are mostly simple one-line invocations, and do not
begin to exhaust Humdrum's capabilities.
Further sample problems
using Humdrum are available on the web.
Yes. There are innumerable ways of defining a "theme" or "motif." Typically, motives are thought of as pitch/duration patterns. However, motivic instances typically appear at different pitch heights, in transpositions, different modes, in augmentation, and so on. Hence, a motif might be better defined as an interval/duration pattern, or as an interval/relative-duration pattern, or as a diatonic interval pattern, a pitch-contour pattern, a metric pattern, etc. Searching for any such patterns is trivial using Humdrum. Most such searches can be accomplished by executing a one-line shell-level command.
Humdrum also allows the user to constrain pattern searches by looking for combinations of information. For example, the user might seek only those pitch patterns that exhibit certain sequences of articulation marks, are anchored in some specified way to a phrase boundary, and/or are accompanied by certain harmonies.
Pattern searches need not be melodically oriented (horizontal search). Searches can also be vertical, or even diagonal (e.g. a Klangfarbenmelodie -- a melody that traverses between several instruments). Patterns may also be combinations of horizontal, vertical, and diagonal. For example, find all instances of a lowered seventh based a subdominant root approaching a V chord, when the oboe and bassoon are playing, but not at the beginning of a phrase.
In addition to exact pattern matches, Humdrum provides tools that allow matches with passages that are similar but not identical to the sought pattern. Patterns can be sought in which embellishments have been added to specified structural elements. Patterns of patterns, and patterns of patterns of patterns can be studied.
Yes. Humdrum can important MIDI data via the `record' and `encode' commands. `Record' allows the recording of raw MIDI data in the Humdrum format. `Encode' permits the user to map real-time MIDI activity to any user-defined Humdrum representation.
Humdrum can export MIDI data via the `smf' and `perform' commands. `smf' is used to generate Standard Midi Files which can be imported to other applications software -- such as MIDI sequencers or notation packages. The `perform' command plays Humdrum-format MIDI information in real-time.
In order to use the Humdrum MIDI capabilities, you must have access to an MPU-401 compatible MIDI card. Currently, the Humdrum MIDI tools only work under DOS, Windows 95/98/NT, and Linux..
See the commands hum2fin and fin2hum.
Not currently. A program to do automatic functional analysis is being developed by Craig Sapp.
Humdrum has only limited abilities to print musical scores. The Humdrum ms tool generates output suitable for the commercial "Mup" notation package. Humdrum users wishing to have postscript notational output must purchase "Mup" (cost $29) from Arkkra Enterprises.
Although Humdrum might be used in high-level aspects of composition, Humdrum is not well suited to very low-level acoustical (sound-function) manipulations common in electroacoustic music.
Remember that Humdrum's emphasis is on posing and answering research questions rather than displaying or formatting information. Suitable questions might be theoretical, analytic, historical, ethnographic, stylistic, perceptual, cognitive, or whatever.
A general graphic user interface for Humdrum has been developed by Michael Taylor of Queen's University, Belfast. The Taylor interface features pull-down help menus and on-line assistance in constructing and launching analytic tasks. The Taylor interface runs under MS Windows. Distribution and pricing arrangements have not yet been announced. Mr. Taylor may be reached at: wmt@bfs.Unibol.com
Humdrum is rooted in the UNIX "software tools" design philosophy. That is, each tool in the toolkit carries out a simple operation. However, by interconnecting the tools, the capacity for music processing is legion. In essence, assembling Humdrum command lines amounts to a form of computer programming. Learning Humdrum is comparable in complexity to learning a programming language such as pascal or C.
Users who understand the concept of a UNIX pipeline, will readily grasp how Humdrum works. Users who are familiar only with menu-driven software will find Humdrum takes some time to learn. An on-line course is available to learn Humdrum.
The graphic user interface developed by Michael Taylor considerably simplifies the use of Humdrum -- especially for inexperienced users. Graphical approaches clearly hold much promise, especially if the generality of Humdrum remains accessible.
Another graphical approach has been pioneered by Andreas Kornstaedt. Kornstaedt has suggested that the Humdrum be used as the analytic engine for task-specific applications that are designed for use by ordinary musicologists. For example, Kornstaedt has developed a graphical environment ("Ring") for doing Leitmovic analysis of Wagner operas. The user interacts only with a graphical environment tailored to particular kinds of tasks. Although this approach does not allow access to Humdrum's full capabilities, it may be of greater appeal to music scholars with little programming experience.
The principal reasons for using computers in music scholarship are the following:
Not every musicologist will benefit from using Humdrum. It depends on the types of tasks in which the user is interested.
- the computer increases your scholarly productivity,
- the computer lets you address problems that are otherwise impossible to pursue.
Understanding UNIX is an essential pre-requisite to the lucid use of Humdrum. If you do not have access to a UNIX system, you can purchase a set of commercial UNIX utilities that will operate on your PC. The recommended utilities are available in the "MKS Toolkit" -- which you can purchase in most university computer stores. (In the case of Windows NT, Humdrum should also work under Consensys Corporation's "Portage".)
The essential foundation for using Humdrum includes:
- knowledge of how to use a text editor -- such as "vi" or "emacs"
- knowledge of how to define and manipulate "regular expressions" (a standard UNIX syntax for defining patterns)
- knowledge of how to read and interpret manual pages ("man")
- familiarity with UNIX "pipelines"
Wordprocessors can be used in lieu of an editor, provided ASCII text is handled properly. Many wordprocessors treat carriage returns and tabs in irregular ways -- although most wordprocessors allow the user to override these defaults. For example, Microsoft Word can be used provided you invoke the "save as text file" option.
Note that Microsoft "edit" (comes with DOS) is unsuitable for Humdrum since it insists on replacing ASCII tabs by spaces.
A 50-minute VHS videotape is available that demonstrates many of the types of manipulations that can be carried out using the Humdrum Toolkit. The videotape is available in the North American NTSC format only, and can be ordered for minimal cost.
Humdrum seminars have been offered at several universities. A two-day Humdrum seminar will be given at Stanford University from April 15th and 16th, 1999.
For further information contact:
Center for Computer Assisted Research in the Humanities,
Braun Music Center
Stanford University
Stanford, California 94305-3076
In addition, an on-line course is available to help users learn Humdrum.
Humdrum was designed and originally programmed by David Huron. The Humdrum Toolkit was extensively revised and augmented with the assistance of Tim Racinsky and Kyle Dawkins.
"Humdrum News" is an electronic newsletter for Humdrum users and those contemplating using the Humdrum Toolkit. The newsletter contains regular announcements, brief articles, and tutorials describing various ways of using the toolkit. Subscriptions are free.
Both snail-mail and e-mail mailing lists are maintained. You can receive direct information concerning Humdrum by sending your name, address, and e-mail address to hüron.1@osü.edü (please ignore the umlauts: they are present to foil web crawlers).
If you are reading this document in printed form and have no access to electronic mail, you can send the above information to:
David Huron,
School of Music
1866 College Road
Ohio State University
Columbus, Ohio 43210
U.S.A.