Bibliography



Alphonce, B. Music analysis by computer. Computer Music Journal, Vol. 4, No. 2 (1980) pp. 26-35.

Alphonce, B. Computer applications: Analysis and modeling. Music Theory Spectrum, Vol. 11, No. 1 (1989) pp. 49-59.

Baroni, M. & Callegari, L. (eds.) Musical Grammars and Computer Analysis. Firenze: Leo S. Olschki Editore, 1984.

Bauer-Mengelberg, S. The Ford-Columbia input language. In B. Brook (ed.), Musicology and the Computer, New York: City University of New York, 1970; pp. 53-56.

Brinkman, A. Pascal Programming for Music Research. Chicago: University of Chicago Press, 1990.

Bronson, B. Toward the comparative analysis of British-American folk tunes. Journal of American Folklore, Vol. 72, No. 284 (1959) pp. 165-191.

Cope, D. New Music Notation. Dubuque, Iowa: Kendall/Hunt Publishing Co., 1976.

Erickson, R. DARMS; A Reference Manual. Binghamton, NY: typescript, 1976.

Dannenberg, R. Music representation issues, techniques, and systems. Computer Music Journal, Vol. 17, No. 3 (1993) pp. 20-30.

Hall, T. DARMS: The A-R Dialect. In E. Selfridge-Field (ed.), Beyond MIDI: The Handbook of Musical Codes. Cambridge, MA: MIT Press, 1997; pp. 193-214.

Halperin, D. Afterword: Guidelines for new codes. In E. Selfridge-Field (ed.), Beyond MIDI: The Handbook of Musical Codes. Cambridge, MA: MIT Press, 1997; pp. 573-580.

Haus, G. (ed.) Music Processing. Madison, WI: A-R Editions, Inc., and Oxford: Clarendon Press, 1993.

Hewlett, W. B. A base-40 number-line representation of musical pitch notation. Musikometrika, Vol. 4 (1992) pp. 1-14.

Hewlett, W. B. The representation of musical information in machine-readable format. Directory of Computer Assisted Research in Musicology 1987. Menlo Park: Center for Computer Assisted Research in the Humanities, 1987; pp. 1-22.

Hewlett, W. B. & Selfridge-Field, E. (eds.) Directory of Computer Assisted Research in Musicology 1988. Menlo Park: Center for Computer Assisted Research in the Humanities, 1988.

Hewlett, W. B. & Selfridge-Field, E. (eds.) Computing in Musicology; A Directory of Research; Menlo Park: Center for Computer Assisted Research in the Humanities, 1989.

Hewlett, W. B. & Selfridge-Field, E. (eds.) Computing in Musicology; A Directory of Research; Volume 6. Menlo Park: Center for Computer Assisted Research in the Humanities, 1990.

Hewlett, W. B. & Selfridge-Field, E. (eds.) Computing in Musicology; A Directory of Research; Volume 7. Menlo Park: Center for Computer Assisted Research in the Humanities, 1991.

Hewlett, W. B. & Selfridge-Field, E. (eds.) Computing in Musicology; An International Directory of Applications; Volume 8. Menlo Park: Center for Computer Assisted Research in the Humanities, 1992.

Howard, J. Plaine and Easie Code: A Code for Music Bibliography. In E. Selfridge-Field (ed.), Beyond MIDI: The Handbook of Musical Codes. Cambridge, MA: MIT Press, 1997; pp. 343-361.

Huron, D. Error categories, detection, and reduction in a musical database. Computers and the Humanities, Vol. 22, No. 2 (1988) pp. 253-264.

Huron, D. Characterizing musical textures. Proceedings of the 1989 International Computer Music Conference, San Francisco: Computer Music Association, 1989; pp. 131-134.

Huron, D. The avoidance of part-crossing in polyphonic music: Perceptual evidence and musical practice. Music Perception, Vol. 9, No. 1 (1991) pp. 93-104.

Huron, D. Tonal consonance versus tonal fusion in polyphonic sonorities. Music Perception, Vol. 9, No. 2 (1991) pp. 135-154.

Huron, D. Design principles in computer-based music representation. In A. Marsden & A. Pople (eds.), Computer Representations and Models in Music. London: Academic Press, 1992; pp. 5-59.

Huron, D. & Royal, M. What is melodic accent? Converging evidence from musical practice. Music Perception, Vol. 13, No. 4 (1996) pp. 498-516.

Kippen, J. & Bernard, B. Modelling music with grammars: Formal language representation in the Bol processor. In A. Marsden & A. Pople (eds.), Computer Representations and Models in Music. London: Academic Press, 1992; pp. 207-238.

Kornstädt, A. SCORE-to-Humdrum: A graphical environment for musicological analysis. Computing in Musicology, Vol. 10 (1995-96) pp. 105-122.

Marsden, A. & Pople, A. (eds.) Computer Representations and Models in Music. London: Academic Press, 1992.

Moles, A. Information Theory and Esthetic Perception. Urbana: University of Illinois Press, 1968.

Moore, F. R. Elements of Computer Music. Englewood Cliffs, NJ: Prentice Hall, 1990.

Nettheim, N. On the accuracy of musical data, with examples from Gregorian Chant and German folksong. Computers and the Humanities, Vol. 27, (1993) pp. 111-120.

Newcomb, S. Standard music description language complies with hypermedia standard. IEEE Computer, Vol. 24, No. 7 (1991) pp. 76-79.

Newcomb, S., Kipp, N. & Newcomb, V. The HyTime hypermedia time-based document structuring language. Communications of the ACM, Vol. 34, No. 11 (1991) pp. 67-83.

Orpen, K. & Huron, D. Measurement of similarity in music: A quantitative approach for non-parametric representations. Computers in Music Research, Vol. 4 (1992) pp. 1-44.

ó' Maidin, D. Representation of music scores for analysis. In A. Marsden & A. Pople (eds.), Computer Representations and Models in Music. London: Academic Press, 1992; pp. 67-93.

Overill, R. E. On the combinatorial complexity of fuzzy pattern matching in music analysis. Computers and the Humanities, Vol. 27 (1993) pp. 105-110.

Pope, S. T. Music notations and the representation of musical structure and knowledge. Perspectives of New Music, Vol. 24 (1986) pp. 156-189.

Prather, R. & Elliot, R. SML: A structured musical language. Computers and the Humanities, Vol. 22 (1988) pp. 137-151.

Rahn, J. Basic Atonal Theory. New York: Longman Inc., 1980.

Rastall, R. The Notation of Western Music. London: J. M. Dent & Sons Ltd., 1983.

Roads, C. An overview of music representations. In M. Baroni & L. Callegari (eds.) Musical Grammars and Computer Analysis. Firenze: Leo S. Olschki Editore, 1984, pp. 7-37.

Schaffrath, H. The Essen Folksong Collection [database]. D. Huron (ed.). Stanford, CA: Center for Computer Assisted Research in the Humanities, 1995.

Selfridge-Field, E. (ed.) Beyond MIDI: The Handbook of Musical Codes. Cambridge, MA: MIT Press, 1997.

Simpson, J. & Huron, D. The perception of rhythmic similarity: A test of a modified version of Johnson-Laird's theory. Canadian Acoustics, Vol. 21, No. 3 (1993) pp. 89-90.

Smith, L. SCORE -- A Musician's Approach to Computer Music. Journal of the Audio Engineering Society, Vol. 20 (1972) pp. 7-14.

Straus, J. N. Introduction to Post-Tonal Theory. Englewood Clifs, N.J.: Prentice Hall, 1990.

Taylor, W. M. Humdrum Graphical User Interface. MA Thesis, Queen's University of Belfast, 1996.

Thompson, W. F. & Stainton, M. Using Humdrum to analyze melodic structure: An assessment of Narmour's implication-realization model. Computing in Musicology, Vol. 10 (1995-96) pp. 24-33.

Vercoe, B. Csound: A Manual for the Audio Processing System and Supporting Programs with Tutorials. 2nd rev. ed. Cambridge, MA: Massachusetts Institute of Technology Media Lab, 1993.

Vivaldi, A. "The Four Seasons" and Other Violin Concertos in Full Score. E. Selfridge-Field (ed.). New York: Dover Publications, Inc., 1995.

Vivaldi, A. The Twelve Violin Concertos Opus 8 including "The Four Seasons" [database]. E. Selfridge-Field & D. Huron (eds.). Stanford CA: Center for Computer Assisted Research in the Humanities, 1996.

Vollsnes, A. & Lande, T.S. Music Encoding and Analysis in the MUSIKUS System. Oslo: University of Oslo, Dept. of Informatics, 1988.

Wenker, J. A foundation for computational musicology. In L. Mitchell (ed.) Computer in the Humanities, Edinburgh: University Press, 1974, pp. 267-280.

Wiggens, G., Miranda, E., Smaill, A. & Harris, M. A framework for the evaluation of music representation systems. Computer Music Journal, Vol. 17, No. 3 (1993) pp. 31-42.