Music Software

Music SoftwareAuthor(s): Robert SkinnerSource: Notes, Second Series, Vol. 46, No. 3 (Mar., 1990), pp. 660-684Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/941442 .

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MUSIC SOFTWARE EDITED BY ROBERT SKINNER

0

MUSIC NOTATION SOFTWARE FOR THE IBM-PC

The Copyist III PC, version 1.51. By Crispin Sion. Dr. T's Music Soft- ware, 1989. $399.00. Requires: IBM, DOS 2.10, 512K RAM, hard disk recommended; monitor: Hercules, CGA; mouse; MIDI: Roland MPU- 401, IBM-PC Music Feature; printer: Epson, Inkjet, HP Laserjet+, HP- GL compatible plotters, HP Laserjet Series II, PostScript.

DynaDuet, version 1.0. Dynaware Corp., 1989. $245.00. Requires: IBM, DOS 2.0, 512K RAM, hard disk recommended; monitor: EGA, VGA with ANSI.SYS; MIDI playback: Roland MPU-401, IBM-PC Music Fea- ture; mouse; printer: IBM Proprinter, Epson FX, LQ, Toshiba P351SX.

MusicPrinter Plus, version 2.0. By Jack M. Jarrett & Gary H. Barber. Temporal Acuity Products, 1988. $395.00. Requires: Yamaha C-l, or IBM, DOS 2.0, 640K RAM, hard disk recommended; monitor: CGA, EGA, Hercules, PS/2; printer: Epson MX-80, LQ-1500, Canon BJ-130, Star SG-10; mouse optional; MIDI playback: Roland MPU-401, IBM- PC Music Feature.

The Note Processor, version 2.0. By Stephen Dydo. Thoughtproces- sors, 1989. $295.00. Requires: IBM, DOS 2.0, 512K RAM, hard disk recommended; monitor: Hercules, CGA; MIDI: Roland MPU-401; printer: Toshiba, Epson LQ, NEC P5/P6/P7, IBM Proprinter, Canon Bubblejet, HP LaserJet, HP DeskJet, TIFF; optional: PostScript; mouse.

Personal Composer System, version 2.0. By Jim Miller. 1989. $495.00. Requires: IBM, DOS 2.0+, 640K RAM, hard disk recommended; monitor: Hercules, EGA; MIDI: Roland MPU-401, IBM-PC Music Feature; printer: IBM Proprinter, Epson FX-80, PostScript; mouse. Peripheral available: Easy Key, by John Clifton (macro system), 1989, $79.00.

SCORE, version 2.10. By Leland Smith. Passport Designs, 1989. $795.00. Requires: IBM, DOS 2.0, 640K RAM, hard disk recommended; monitor: Hercules, CGA, EGA, VGA; MIDI playback: Roland MPU-401, IBM-PC Music Feature; mouse, 2- or 3-button; printer: Epson RX, FX, LX, EX or LQ printer, NEC P6/P7, PostScript. Theme, the Music Editor, version 3.3. By Mark Lambert. THEME Software Co., 1989. $495.00 for 40-stave version. Requires: IBM, DOS 3.0, 640K RAM, hard disk recommended; monitor: Hercules, EGA; MIDI: Roland MPU-401, IBM-PC Music Feature; printer: Epson 9- or 24-pin dot matrix, HP laser printer requires special driver, $200.00.

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Music Software

Music notation produced by computer has been a goal of musicians and musicologists since the early 1960s, when the first computers were used for musical projects. Only since the introduction of the personal computer in the mid-1980s has the possibility of desk-top publishing scores of one's own compositions been realized. Computer- produced notation has also been aided by the development of inexpensive laser printers with resolutions-in excess of 300 dots per inch (dpi)-sufficient to produce high-quality music notation by desk-top publishing methods.

This review provides both general criteria for selecting notation programs and specific information about the seven programs under consideration. Readers interested only in understanding what critera should be applied in selecting a notation program need to concern themselves only with the general information provided under each of the headings. Those interested in one or more of the seven programs should also read the descriptions of the programs. While this review deals only with music notation programs for the IBM-PC and its clones, the criteria presented here for evaluating such programs are suffi- ciently general that they can be applied to similar software for the Macintosh, Atari, and other computers.'

The appearance of the output is of prime consideration in evaluating notation programs; the principal purpose of such programs ahould be to produce music that can easily be read by musicians. The question, "Does it look right?" should be asked first when evaluating a notation program. Even if the output is not of publication quality, a musician should feel comfortable with the notation. For comparison I have included

an example created from each of the programs (fig. 1). The opening measures of Beethoven's Piano Sonata, op. 1, no. 1, were all produced on the same printer, an Ep- son LQ-1000. Because the LQ-1000 is a 24- pin dot matrix printer, the examples do not show the full capability of some of the programs. Using one printer does, however, provide a constant base for comparing out- puts.

Other important criteria in evaluating notation programs are the ease and flexibility of entering the data necessary to de- scribe the music, the ease of editing music on the computer screen, the extent of the music character set, and the number of ways available for adding to it. A further consideration lies in how the notation programs approach music: like word processing programs, some use a WYSIWYG (what you see is what you get) approach while others provide a screen for data entry and editing, with the music formatted at print time according to the user's specifications. In general, the less expensive programs take the WYSIWYG approach while the more powerful programs format the music at print time.

While all the programs under review provide methods of inputting data directly onto the computer screen, two programs use alpha-numeric input languages intended for entry into a conventional word processing file to be read later into the notation program. The use of an alpha-numeric input language is a continuation of input techniques developed during the 1960s. Note Processor uses DARMS, while SCORE uses Leland Smith's Score language. The advantage of these two systems is that music encoded in them can be ma- nipulated by other programs for analysis

1. For further general information see: Walter Hewlett and Eleanor Selfridge-Field, "Printing Mu- sic by Computer," in Directory of Computer Assisted Research in Musicology, 1986 (Menlo Park, Cal.: Center for Computer Assisted Research in the Humanities, 1986), 7-27; "The Representation of Musical Information in Machine-Readable Form," Directory of Computer Assisted Research in Musicology, 1987, 1- 71; and "Music Printing," Directory of Computer Assisted Research in Musicology, 1988, 46-101; see also "Scoring a Hit in Music Publishing," Music, Computer, and Software 3:5 (Oct. 1988): 51-55, and Carter Scholz, "Notation Software Ahead: Proceed With Caution," Keyboard 15:4 (Apr. 1989): 58-81, 125. For further information about specific programs see: Rick Bassett, "MusicPrinter Plus Offers WY- SIWYG Music Notation, MIDI Playback," PC Magazine 8:5 (28 Mar. 1989): 414; "MS-DOS Music," Music, Computer, and Software 3:6 (Nov. 1988): 62-64; Charles Scholz, "Jim Miller's Personal Composer v. 2.0," Electronic Musician 4:9 (Sept. 1988): 92-97; Jim Aikin, "SCORE Notation Software," Keyboard 14:7 (July 1988): 156-166; Joseph Rothstein, "SCORE Music Printing Program, A User's Report," Computer Music Journal 12:3 (Fall 1988): 84-86; Charles Scholz, "Passport Designs SCORE, An IBM PC Music Notation Program," Electronic Musician 4:9 (Sept. 1988): 76-83; and Laurence Dreyfus, "Theme Prints Music on Laser, Ink Jet Printers," PC Magazine 8:14 (Aug. 1989): 492-93.

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NOTES, March 1990

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Fig. 1. Beethoven, Piano Sonata, op. 1, no. 1, mm. 6-9, produced from each of seven music notation programs, using an Epson LQ-1000 24-pin dot matrix printer. Much better results may be obtained from some of the programs when using a laser printer. See note for further information. (Reproduced about 3/5 actual size, except DynaDuet, which is about 3/4 actual size.)

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663 Music Software

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Reviewer's note: After spending several hours working with each program, I tried to produce each example within one hour. Though all required some touch-up editing, I was able to produce five of the seven examples within the allotted time. The two exceptions, the examples using Note Processor and Theme, took twice as long as the others to produce. With Note Processor I was able to prepare the DARMS portion of the example fairly quickly, but the final editing, including the placing of slurs, took very long because I could not predict the specific effects of the program's various editing functions. Moreover, once I had finished the example, I discovered that the program was set for a ten- inch-wide page. The only way I could find to shorten the length of the printed line would have required reading in the DARMS code and completely reediting the example; I did not do so, because I had already spent more time on the Note Processor example than I had using any of the other programs. The printout using Theme also took very long to produce: because the program affords almost no capability of going back and correcting mistakes, I had to reenter many portions of the example. In the case of SCORE, the only editing required for the example consisted of moving the decrescendo sign up out of the noteheads-a simple process. The other programs operated much as described in the various manuals.



NOTES, March 1990

and other purposes. DARMS, an acronym for Digital Alternate Representation of Music Symbols, was developed by Stefan Bauer-Mengelberg in 1968. Its notation consists of alpha-numeric text characters reflecting a graphic representation of the staff. One of its primary requirements was that non-musicians could be rapidly trained to use it without understanding the logic of music notation. As a system for completely describing a printed page, it requires the specification of beam groups and other graphic details. The DARMS characters are entered into a file through a word processor. Code segments are represented by several characters separated by a space, much like words in a sentence. Each DARMS segment, or "word," represents a single notational element. Certain notational elements, such as clef and meter, can be represented globally.

The SCORE input language was designed as a shorthand, with the notation program supplying many of the formatting decisions. Notes are specified by letters-C, CS (for C#), CF (for Cb)-and by an octave designation in which middle C is designated C4. Rhythms are entered by letter (E for eighth, S for sixteenth, etc.) or number. The codes for marks, beams, and slurs all depend on the ordered placement of notes; for example, "503,5" designates that the third through the fifth notes are beamed together as a quintuplet. However, automatic beaming can be specified. A large quantity of music has been coded in DARMS, and Note Processor finally provides a program to display and print it. Many DARMS music encoding projects have not captured information about bar lines, beam groups, and the like, which Note Processor requires to print the music fully. For those who have extensive DARMS files that are not fully encoded, I suggest converting the files into a format that can be read into SCORE, whose input language does not require such extensive descriptions of printed music.

SETUP

After using the seven programs included in this review, I can suggest a basic equip- ment setup that would run any of them. They all operate on the IBM-PC using DOS 2.0 or higher. While most will work on a PC, for best results one should have at least

an AT or a 386 computer operating at the highest possible speed. The programs were all tested on an IBM 286 AT clone operating at 20 megaherz, and they performed at a reasonable speed. For any slower computer, I recommend the addition of a math co-processor chip. Four of the programs require 640 kilobytes of memory, meaning usually that they take the full amount of memory and allow no room for TSR (ter- minal and stay resident) programs, lengthy prompts, etc. While none of the programs requires a hard disk, one cannot get any reasonable work done without one; my setup included a 40-megabyte hard disk.

There are several graphic cards available for the IBM-PC. Hercules, the oldest card, displays only in monochrome, at a resolution of 720 by 348. Color graphic cards include CGA at a resolution of 640 by 200, EGA at 640 by 350, and VGA at 640 by 480; each higher-resolution card can support displays designed for cards of lower resolution. All but one of the programs supports Hercules graphics, which I recommend using because its resolution is sig- nificantly better than those provided by the other cards. DynaDuet, the one program that does not support Hercules graphics, does support EGA and VGA; it is the only program to use color, though it does so only to highlight menu choices. Some of the programs support CGA as an alternative to the Hercules card; on my computer, which has a Paradise VGA board and a NEC Multi-Sync monitor capable of supporting Hercules graphics up through extended VGA modes, the CGA monitor screens were almost unusable. Five of the programs can use an EGA card, but the resolution is not as good as it is with a Hercules card.

All the programs support a variety of printers but only one printer, the Epson LQ 1000 (which was used to produce the examples), is supported by all of them, and it is excellent for producing draft copies. For best results, output from the programs must be sent to a laser printer, though the DeskJet Plus also produces very acceptable output at 300 dpi. Four programs can produce files for the PostScript laser printer and three of the programs utilize the HP LaserJet to produce high-quality output; I strongly recommend against any program that cannot send output to one or the other of these printers. While PostScript printers are fairly expensive, there are now some

664



Music Software

programs available that allow an HP LaserJet to accept PostScript files, and there are cartridges that allow an HP DeskJet to accept PostScript or emulate an Epson printer. Finally, while no program requires one, a mouse is necessary for efficient work. It allows rapid movement around the screen, and most of the programs under review support one.

GENERAL

The basic design of the seven notation programs varies considerably, although most operate from a main program, calling on various input, edit, printing, or MIDI modules. Data input and cursor control are important considerations in evaluating a notation program: they must be simple and efficient. While entering music into any of the programs is tedious and time consum- ing, it is no more so in the long run than hand copying. It is important to realize that the edit, transposition, and part-extraction possibilities more than make up for the ef- fort of entering data into a computer. To speed up entering scores, the user can create a file, consisting of the appropriate number of blank staves with clefs and key signatures, that can be quickly read into the program and used for data input.

Copyist. This program was originally designed as a stand-alone score editing program. It operates from a main menu in which the "edit" function is used to work on new files and, confusingly, the "re- sume" function is used to return to editing the last score used. The editor, which is at the heart of the program, contains the commands necessary to create a score from scratch and provides the capability of tran- scribing and "fine tuning" a score from a MIDI sequence. Primary input is created by placing the cursor at the desired location and typing a command on the computer keyboard. Three additional data entry modes are supported: text, music keyboard, and 'join."

DynaDuet. The program is organized into four separate sections: "sequencer," used to create and automatically perform music with MIDI, "score," which provides the ability to create and print scores, "set up," which initializes printers and sequencers, and "exit." It relies heavily on the use of a mouse for pointing and for clicking on the

various options. The sequencer section of the program includes "song," "pattern," "MTR" (for song playback and real-time recording), and "track" modes. The score section contains five functions: edit, layout, print, file (to save and retrieve files), and "extra" (to exit from the program). When creating a new score, the user must select the layout mode to choose options such as staff (treble, bass, grand, or piano staff), "connect" (the options are brace, bracket, and bar line), title (for title pages), and measure (measure numbers can appear in the score or not). In addition, instrument part names are entered on the layout screen.

MusicPrinter Plus. Basic orientation is to the staff area (an area bounded by thirteen ledger lines above the staff to twelve below), horizontal columns, and staff/spaces. The cursor moves horizontally by columns (symbols are from one to three characters wide) and vertically by lines and spaces. The cursor is always located within a staff area. The screen functions as a window that moves over the score, automatically scrolling when the cursor reaches a margin. Cursor movement is controlled by the arrow keys on the computer keyboard and by the mouse. When a new file is created for a composition, a system setup screen must be invoked to establish its general charac- teristics for both the display and the printer. The setup routine determines the printed width and length of a score page, the number of staves in a system, and the name to be associated with each staff.

Note Processor. The primary means of entering music notation is by text files using DARMS code, created with a word processor. Entry with MIDI files or screen editing is also supported. The program operates from a main menu. Music entry requires two steps: first a DARMS or MIDI file is read and translated into an intermediate computer code, called I-code; second, the I-code must be processed for screen display or printing. It is the second step, called "casting off" (after the traditional printing process) that defines page layout. Horizon- tal formatting is another function available from the main menu. Vertical position is based upon staff location regardless of clef, with 1 representing the bottom line and 9 the top line; the range extends from -49 to +49. The program provides automatic

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NOTES, March 1990

error checking of DARMS input and transposition.

Personal Composer. The program consists of four major sections: a score editor, MIDI functions, a MIDI-graphics editor for user- defined symbols, and Syntellect, a dialect of the LISP programming language designed for use with the score editor and the MIDI functions. The score editor is used to enter, display, and edit a score in musical notation. A score can be created by entering music from the computer keyboard or the MIDI sequencer.

SCORE. Extensive screen editing functions coupled with very detailed parameters describing almost every characteristic of each musical symbol make it possible to create scores that are more complex than the other programs can handle. SCORE is actually a set of five program modules: Score (the main editing module), Page (for page layout and part extraction), Just (to align and justify scores), Draw (to create and edit user- defined symbols), and Sprint (to print music). Screen display and printing of music result from vector graphics, in which every symbol is drawn by a set of straight lines. The advantages of this system lie in the precision with which symbols may be placed anywhere on the page and the ease with which one can change the size of the notation. Its disadvantage is that it can be slow. The distributor, Passport Designs, recom- mends that users have a math co-processor chip installed in their computer. I don't have one, but using a very fast IBM-AT running at 20 megaherz, screen refresh and symbol creation seem as quick as they do with any of the other programs. SCORE, as a printer's or engraver's tool, is best approached from a printer's or engraver's viewpoint. To notate a new composition in SCORE, the user needs to study the score and mark it up, a process in which the number of measures per system on the page is determined. In order to make efficient use of SCORE's powerful motivic-repetition abil- ities, the score should be scanned for re- peated motives. There are three methods of entering music into the SCORE program: typing input commands in the Score Command Language on the screen, typing into a test file using a conventional word processor, and choosing symbols from the menus of the user interface. Entering no-

tation is a five-step process, each step requiring a pass through the music. The steps generate notes (including rests, bars, key signatures, meters, and clefs), rhythms, marks (dynamics, accents, staccato, etc.), beams, and slurs (including ties). The first staff of music appears at the bottom of the page, with subsequent staves built above. A staff can be placed anywhere on the page, and its location can be reversed with a higher numbered staff. The SCORE set of programs works best when each system is saved to a separate file; when ready for printing, the Page program assembles the systems into pages and makes adjustments for optimal layout.

Theme. When creating a new file, THEME requests basic format information, such as the piece's title, the number of staves (keyboard parts are counted as two), and part names. The format screen establishes the number of parts, the arrangement of staves in the system, the bracket(s) used to join the system together, initial clef signs, key signatures, time signatures, the amount of vertical space between systems, and other graphic details. Two-key codes are used to define the score's initial settings. This is a complex method of specifying a score's format and, because scores may contain changes in format, is difficult to maintain over an entire score. Music input is accomplished in one of four modes: input (for entering music on the staff), window (for scrolling in four directions), point (to mark a point for an editing operation), or change (for entering additional music data or changes). A stemless note head serves as the cursor; once it has been placed in the correct position, a computer-keyboard key is pressed to specify the note's rhythmic value (the stem direction is automatically determined). If an accidental or a dot applies to a note, the appropriate computer-keyboard key is pressed before entering the rhythmic value of the note. Once a note has been placed on the staff, the cursor is automatically advanced. The program keeps track of the rhythmic values input, and prompts the user for correction when in- valid rhythms are entered. Change mode is used to correct or alter existing notation symbols. The backspace key erases the last symbol entered. Exit from change mode is not self-evident. It took a long search through the manual to find the proper se-

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Music Software

quence of keys to exit the system, and then I was unable to save the music I had been working on. Most other systems use the escape key to get you to a point where you can issue commands or provide on-line help.

COPY PROTECTION AND INSTALLATION

Copy protection is a method of encoding a program to make it difficult to copy. While copy protection may make a program's author and publisher feel secure, it usually makes the program more difficult for the purchaser to use. It also means that the user's justifiable need to back up an expensive program cannot be filled, and it may impede the use of a program from a hard disk. Copy-protected programs are usually more difficult to install, and for a user who has just brought the program home, the intimidating language found in the instruction manual and the extreme cautions from the manufacturer make the initial installation a nerve-wracking operation. Sev- eral of the reviewed programs are copy- protected and for that reason are not recommended; there are programs available that are equally good or better and that are not copy-protected.

DynaDuet, Note Processor, Personal Composer, and SCORE all lack copy protection. All have installation procedures that are simple and straightforward. When using DynaDuet, ANSI.SYS must be de- clared in the CONFIG.SYS file. Copyist is minimally copy-protected, using special INSTALL and RECALL programs. It can be copied to and run from a hard disc. The main program of MusicPrinter Plus is copy- protected and requires a special INSTALL program to initialize. Up to two copies may be made without using the UNINSTAL program to reduce the copy counter. Theme is a heavily copy-protected program requiring special INSTALL and UN- INSTAL programs. It can be installed to and run from a hard disc. Up to three copies may be made without using the UN- INSTAL program to reduce the copy counter.

DOCUMENTATION

Good documentation is important to en- sure that the user gets the most out of a program. In evaluating documentation, size

is not the most important consideration. Rather, one should look for positive answers to a series of questions: Is there a good index? Are there entries for most common notation symbols? Is the manual's layout logical? Does the manual answer the user's questions quickly? Does it discuss issues clearly and succinctly? Does it have many examples? Does it tell how to recover from common mistakes?

Copyist. This program supplies, at 92 pages, the thinnest of the manuals. In keeping with the manual's small size, the index is only two pages long but it does provide entries for most actions and notation symbols. The manual is logically arranged-I was usually able to find what I needed to know rapidly. The chapter "Getting Started" provides a very brief introduction to the program. The chapter on troubleshooting covers most of the problems one would commonly encounter with this program. The manual is good for its length, but I found it too brief and often wanted more information and examples.

DynaDuet. This manual is paged by section, and contains 178 pages in a "Reference Guide" and another approximately 100 pages of introduction. The six-page, two column index includes entries for most of the program's commands and for only some of the notation symbols. To make up for the lack of reference to all the notation symbols, the program comes with a spiral- bound six-page chart of the computer keyboard's key definitions. The manual is well organized. The opening chapter on install- ing the program is followed by an overview that describes how the program's various modules function. The "Reference Guide" is properly organized by operating mode. Throughout there are well-illustrated and detailed explanations of the various commands. Sections in which potential problems are discussed are highlighted by "sad face" icons. This manual, coupled with the chart of keyboard definitions and excellent on-line help, provides a good guide to the program.

MusicPrinter Plus. This 255-page manual is attractively printed and includes sufficient examples to clarify most of the program's operations. It consists of introductory information (including the installation process), sections on creating and editing score

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NOTES, March 1990

and MIDI performance, and a tutor on musical notation. The index refers to most of the program's commands and to common notation symbols. A section on troubleshooting looks useful. This manual works.

Note Processor. There are two manuals sup- plied with this program, a 120-page "User's Guide" and a 37-page "Tutorial." The tutorial contains detailed, clear descriptions of recording MIDI, DARMS input, making parts and scores, and screen editing and printing. In essence, it leads the novice through all of the program's functions in a logical manner. The user's guide is logically divided into three sections-"Using the Note Processor," "Using DARMS," and "Using MIDI,"-and three appendixes. There is no index, but the table of contents is detailed enough to lead the user, even- tually, to the desired topic. There are many examples, and those for DARMS generally show the notation resulting from specific DARMS coding. However, I often could not find the answers to my questions, and some functions, such as the install options, are inadequately described.

Personal Composer. The 607-page manual is very impressive and daunting when one first opens the program package. However, it turns out to be logically laid out, with 16 chapters and 12 appendices. Chapters 3-5 cover the score editor and the user-defined character editor in 115 pages, chapters 6- 11 (110 pages) are concerned with MIDI operations, chapter 12 covers PostScript, chapters 13-14 cover problems and ini- tialization, and chapters 15-16 (120 pages) are concerned with Syntellect. Appendix J, "Quick Command Reference," is especially valuable, as is Appendix K, which contains a list of possible notation symbols with their commands. The index is a bit confusing because notation symbols and commands for the entire manual are interfiled and the typographic index conventions appear only on page 25. The discussion of the program's operations is very good. I found the manual useful.

SCORE. This program is coupled with the most extensive set of manuals of any of the seven programs, and for good reason. SCORE is a very complex program because of its ability to reproduce almost any notational situation, so the manuals are important guides to the program's opera-

tions. There are four manuals: "User's Guide," "Reference Manual," "DRAW Manual," and "Quick Reference." Much of the quick-reference guide is contained in the excellent on-line help facility. The "User's Guide," which includes an extensive tutorial, is essential reading before one starts using the program. The "Reference Guide" is thorough in its description (including detailed examples) of SCORE's input language and its description of the basic data structure underlying the program. The ability to alter any of the parameters describing a notational symbol provides the power for SCORE's ability to place almost any symbol anywhere in the score. In some cases, discussions of operations are too detailed. The four manuals with their indexes work very well.

Theme. This manual, consisting of 191 pages plus another 8 pages on the new "Them- idi" program, includes a good index of commands and musical notation. The overall layout is logical, consisting of start- up instructions, sections on the main menu, the formidable format menu, music input, escape commands, and printing, a supple- ment on laser printing, and four appendixes. I constantly found myself searching for answers in both the music input and escape commands sections; these could have been combined. The manual, with its ma- nexamples, is relatively easy to use.

HELP

On-line help is an important asset in using a notation program; it can help remind the user how to use commands (such as how to exit a program) without struggling through the manual. On-line help can consist of prompts that appear on the screen, or it can appear as pop-up screens when requested. Most of the programs have some form of on-line help, but its quality varies considerably and there is no one command common to all the programs that invokes on-line help screens.

Copyist. Each screen includes a series of prompts across the bottom or top with a cursor that can be moved with the arrow keys. On-line help is also available by pressing the h key while holding down the alt key. It consists of a series of screens ex- plaining the available commands.

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Music Software

DynaDuet. The only help available is in menus at the bottom of the screens.

MusicPrinter Plus. An excellent series of help screens can be called up by pressing the F1 function key. The information is specific to the function from which the help screen is accessed.

Note Processor. On-line help is not available.

Personal Composer. The bottom line of the input screen prompts the user for subsequent command letters when the first letter of a command is typed. Typing "??" gives a list of all commands in the system, while "a?" will give a list of all commands starting with the letter a.

SCORE. A line at the bottom of the input screen prompts the user for the various functions available from the current screen, including help. The extensive on-line help system includes detailed descriptions of symbols and their parameters.

Theme. Limited on-line help consisting mostly of brief prompts is available for selected functions. This program has a series of commands that are invoked by the computer-keyboard function keys with no help available to assist the user in selecting the correct one to use. I continually had trou- ble remembering that the F7 key provides the menu to exit from the program.

MIDI

Musical Instrument Digital Interface (MIDI) is an international standard interface system that allows electronic musical instruments to communicate with each other and with a computer via a special circuit board that plugs into the computer. MIDI can control up to 16 independent voices at the same time. The data that MIDI trans- mits are notes (represented by pitch or key numbers), dynamics (represented by "ve- locity" numbers reflecting the speed with which a key is depressed), meter (represented in conventional fashion), key signature (indicated by the number of sharps and flats), barlines (markers indicating the metronome tick that occurs on the down- beat of a measure), tempo (noted at the beginning of a file and whenever it changes), and timbre (represented as channel settings). MIDI cannot represent slurs or other

phrasings, text, beams, and articulations. Rhythm is inferred from the sequence times of notes in the MIDI stream.

All the programs included in this review utilize a MIDI interface for various purposes. MIDI can be used as an input de- vice; however, the ideal of a composer im- provising at a synthesizer keyboard and having a computer produce a finished score is far from reality today. The MIDI standard cannot at present provide sufficient information (such as slurs or articulation) to produce a completed score. The major drawbacks to the creation of improvised transcription, however, are the inability of most programs to interpret more than one MIDI channel at a time and their inability to interpret imprecise rhythmic data input by imprecise human performers. Conse- quently, entering a score through a synthesizer keyboard requires playing one voice or channel at a time, at a very slow tempo.

Most of the programs provide the capability of playing a finished score through MIDI as a form of proofreading. All seven programs support the Roland MPU-401 and the IBM Music Feature interfaces. This review does not evaluate the sound quality of music transcribed using a MIDI interface, nor the ease of using the feature.

Copyist. Scores up to twenty-four tracks can be transcribed from and converted to Mag- netic Music's Texture program, Passport's Master Tracks, or Voyetra's Sequencer Plus.

DynaDuet. The "Sequencer" section can create and automatically perform music with MIDI. The "Score" section allows as input single-track data read in from the sequencer. Scores created on the screen cannot be played back through the MIDI sequencer. MusicPrinter Plus. Music can be entered into the program through the use of MIDI "change" or "patch" keys that control the cursor on the screen, but not by playing the synthesizer's keyboard. The program does support MIDI performance. Note Processor. MIDI input can be transcribed through a single-track recorder or standard multi-track MIDI files, although only one track can be read in at a time. Sin- gle-track MIDI files may be created. How- ever, playing the finished score can be done only one voice at a time, through the PC's own speaker, not through the MIDI interface.

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Personal Composer. The program includes six MIDI functions, and a score can be created by converting MIDI tracks into notation. The program can also play a score.

Score. MIDI input is possible through the use of a separately available program. Four- track playback through either a MIDI interface or through the PC speaker is available.

Theme. A new program, called THEMIDI, was included with the reviewed program for MIDI playback.

MUSIC

The richness of the notation symbols and the manner in which they may be displayed are important considerations in evaluating notation programs. In addition to normal notation, it is desirable to have small notes and non-pitched notes. Though grace notes are a must, three programs do not have them! In displaying beamed groups, the user should have control over whether the beams are slanted or horizontal. "Tuplets" (i.e., duplets, triplets, etc.) are very important, with triplets and quintuplets a minimum requirement. Tuplets should be easy to enter into the score. Fi- nally, there must be a variety of expression marks available.

Copyist. Either horizontal or slanted beaming can be selected. Note heads without stems, cues (small notation symbols), non- pitched note heads, diamond note heads, and grace notes are also available. Tuplets are created by placing the appropriate number and grouping symbol in association with a group of notes. A number of expression marks are available, including mordent, accents, arpeggiato marks, and trills.

DynaDuet. Slanted beams are normally added to notes, which range in value from whole note through sixty-fourth notes; grace notes are not available. The four common clefs (treble, bass, alto, and tenor) are provided. Tuplets are limited to triplets and quintuplets, and dynamic symbols range from ppp to fff. A number of expression marks are available: in addition to staccato, accents, and tenuto marks, there are symbols for trills, turns, and mordents. Pedal marks for piano are also available.

MusicPrinter Plus. Notes are represented with stems, whose direction may be specified or automatically determined, ledger lines, and rhythmic dots. Slanted or horizontal beams may be selected. Note heads without stems, cues, grace notes, quarter- tone accidentals, diamond-shaped notes, non-pitched notes (percussion notation with x heads), and flageolet note heads are also available. Tuplets are created manually, by pressing the "-" key to create brackets and then pressing the alt key and a number key at the same time. A large number of expression marks are available; in addition to staccato, accents, and tenuto marks, there are symbols for tremolo, arpeggio, porta- mento, trills and mordents, up- and down- bow marks, pedal markings, and others

Note Processor. In addition to normal notation, note heads without stems, cues, and grace notes are also available. Tuplets are created with DARMS code using the "!R" and "$R" codes. However, this program rhythmically checks the input code, and when I tried to enter the sixteenth-note triplets in the Beethoven example, it always reported a rhythmic mismatch. There was no hint that one needed to reset the "irrational rhythm" ratios; no matter what I tried, I was unsuccessful in achieving the correct result. Notation fonts are based upon four of the nine standard sizes used in German nineteenth century music engrav- ing: Pearl, Leine Mittel, Peter, and Maho. These, combined with cue symbols, are the only sizes available. The complete character set, including cue notes, consists of 242 items. Diamond note heads are available, along with regular and grace-note heads. A number of expression marks are available: in addition to several staccato, accent, and tenuto marks, there are symbols for various mordents and turns, arpeggiato, and trills. There are also more esoteric characters, such as Hauptstimme, Neben- stimme, and Bart6k pizzicato.

Personal Composer. Notes and rests range in value from the whole note to the thirty-second note, and stem direction can be specified by the user. Grace notes are lacking. When entering rhythmic values smaller than the quarter note, one must specify whether the note stands alone, begins a new beamed group, or continues an existing one. Beamed groups terminate when the user

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presses the enter key, types a rhythmic value greater than an eighth note, or types "exit." Triplets and quintuplets may be entered with special commands that permit the placement of the number and the presence or absence of a bracket. A number of expression marks are available: in addition to staccato, accents, and tenuto marks, there are symbols for bow up and down, pause, tremolo, trills, turns, and mordents. Pedal marks for piano are also available. The percussion clef is available in addition to the usual treble, C, and bass clefs. Dynamics range from ppp to fff.

SCORE. In addition to specifying the usual filled and open note heads, SCORE has available the diamond note head of mensural notation (as well as the appropriate clefs and other necessary symbols), the non- pitched x note head, and the headless note (stem only). These can be displayed in any size and can be intermixed. Beams and slurs may be altered into almost any form, including slanted beams to indicate smooth progression from, for example, a thirty- second to an eight rhythm. Any tuplet, including nested tuplets, may be entered into SCORE. A number of expression marks are available in SCORE's command language: in addition to staccato, accents, and tenuto marks, there are symbols for bow up and down, pause, tremolo, trills, turns, and mordents. Many other markings are available by entering the screen editor. Pedal marks for piano and harp are also available, as is a graphic representation of the three piano pedals. All marks are kept, in groups of ten, in files created by the DRAW program, and only the file name and item number are necessary to identify a specific marking. The percussion clef and vocal tenor clef (a G clef with an eight below its tail) are available in addition to the usual treble, C, and bass clefs. The size of a clef may be changed to represent, for example, a smaller cautionary clef. Dynamics range from pppp to ffff.

Theme. In addition to normal notes, cue notes, stemless notes, and mensural notation can be specified. Grace notes are not included. In mensural notation mode, the mensuration sign is displayed in place of the modern time signature. Slanting beams and bar lines are automatically provided, unless they are not desired. Tuplets range

from duplets to thirty notes in a series using durations from 128th notes to whole notes. The total duration occupied by an irrational rhythm must be equal to a half beat, a full beat, or a multiple of a full beat. Also, an irrational rhythm of one beat or more must begin on the beat. A number of expression marks are available: in addition to staccato, accents, and tenuto marks, there are symbols for up- and down-bow, arpeggiato, trills, turns, and mordents. Pedal marks for both piano and organ are also available.

SCREEN EDIT

Efficient screen editing routines are needed to place notation symbols into their proper position on the screen and to move them into their final precise locations. Consequently, an effective notation program must have functions that provide an easy-to-use method of placing symbols on the screen. In addition, the individual symbols must be capable of being easily moved, copied, deleted, and inserted.

Copyist. The cursor (a large D) moves horizontally by columns and vertically by lines and spaces; the program's interaction with the mouse is minimal. The mouse controls a separate arrow that can quickly be moved anywhere on the screen, and when the mouse button is clicked, the cursor moves to the mouse arrow. Movement beyond the bounds of the screen is accomplished with the page-up and page-down keys. Once in the desired location, music symbols are entered by typing a one-, two-, or three-character sequence on the computer keyboard. For example, "ct" produces a treble clef. The direction of beams is specified using the plus and minus keys on the number pad. Ledger lines are automatically added to notes outside the staff; automatic placement can be toggled off. An individual notation symbol may be deleted by placing the cursor over the item and then pressing the delete key. There are several insert space and erase commands that are useful for adjusting the music on the staff after it has been entered.

DynaDuet. The Edit screen is used to create scores. The screen is scrolled over the system by clicking the mouse button on horizontal or vertical arrows embedded in the frame of the screen. Larger areas can be

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scrolled by clicking and dragging on the scroll bar at the top and side of the screen. The user can also move to a specific location in the score by placing the mouse arrow over the display at the bottom of the screen that locates the cursor (staff number, bar number, and beat number) and typing a new value. For entering notation symbols, the Edit screen displays three rows of musical symbols at the bottom. The user points to a symbol with the mouse and selects it by clicking a mouse button (where- upon the mouse cursor assumes the shape of the symbol), then moving the cursor to the proper position(s) on the score and again clicking a mouse button. A newly-entered symbol appears in red, indicating that its input is not finalized; when the next note is entered, the red symbol turns black. Af- ter symbols have been finalized, they can be altered by placing the same cursor symbol exactly over its location and clicking the mouse button. When the right mouse button is clicked, a small menu appears just to the right of the cursor providing the options "cut," "copy," and "paste." Not all of the possible symbols are displayed at the bottom of the screen, but those not shown may be displayed by clicking on an arrow ajacent to the symbol-set.

MusicPrinter Plus. The user selects a character by typing a character code and moving the cursor to the desired position, then places the character into the score by hitting the space bar, the enter key, or the left mouse button. Because there are many more symbols than keys, each key is used as a toggle-the character changes with re- peated strokes of the key. Notation symbols are mnemonically assigned to the computer-keyboard keys: Q for quarter note, C for clef, G for grace note, etc. In- dividual notation symbols are deleted by placing the cursor of the symbol exactly over the item to be deleted and then hitting the escape key. Notes must match in stem direction but do not need to be rhythmically identical. If the cursor is a half note, it can be used, for example, to delete an eighth note and its attached ledger lines, stems, flags, and beams. Characters at specific staff locations can be deleted with special computer-keyboard or mouse button se- quences. Characters in a specific column- or the column itself-may be deleted. Staff lines at a specific location may be deleted,

leaving a space, or may be inserted into a space.

Note Processor. The screen editor is used both to fine-tune DARMS- and MIDI-created notation and to enter music from scratch. A two-row menu of icons, or options, appears at the bottom of the screen. The most efficient operation of the editor requires the use of a mouse, although the computer-keyboard screen control keys may be used. The icons in the top row cause actions, while the lower row contains notation symbols. Actions include scrolling, insert, delete, move, change to cue size, format, print, save to disk, and change size of notation on the screen. The notation symbols displayed initially are three clefs, notes to thirty-seconds, grace note, and rests to a quarter; by clicking the mouse while selecting the arrows at the ends of the bottom row, the choice of notation symbols is changed. Most symbols are placed on the screen by first selecting an icon, then moving the cursor to the appropriate position and clicking. Some symbols, such as beams and slurs, require selecting two points, and a few, such as dynamics and meters, require computer-keyboard input. Not all symbols are available as icons, and the user may create some characters to be recalled later by typing the number of the symbol while holding down the alt key.

Personal Composer. The cursor (a crosshair or box) is moved by computer-keyboard keys, by a mouse, or through computer- keyboard commands typed at the prompt line at the bottom of the screen. In addition to the computer-keyboard commands for moving around the screen, the cursor may be controlled with EMACS (a main- frame text editor developed at MIT) commands. The user places symbols on the screen by typing a multi-letter code. If the symbol does not appear at the cursor location, typing the code will place the symbol in the score. If the symbol already ex- ists at the cursor location, typing the code will delete the symbol. There are several common word-processor functions available in the program. The copy function can affect notes (with or without transposition), staves, text, single elements, or everything within the bounded region specified by the cursor; it can copy up to a page of music. There are commands to insert and delete

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a page of the score, and the computer-keyboard insert and delete keys add or delete one column from the staff. One can search for the next stem-up or stem-down note, the next note, or a specified string in the text.

SCORE. The user controls the screen of the score editor by moving the cursor (a small arrow) with computer-keyboard keys or a mouse. There are two basic edit modes: symbols can either be placed on the screen by typing mnemonic codes on the computer keyboard or they may be selected with the cursor and their numeric parameters changed by typing on the keyboard. Any rhythmic value can be assigned to notes and rests.

Theme. This program provides the least flexible cursor control; it does not use a mouse, but uses instead the J and K computer-keyboard keys. The keys on the computer keyboard are defined to represent music notation, and they are used in conjunction with the shift, alt, and control keys to place notation symbols on the screen.

BLOCK COMMANDS

Block commands provide a method of manipulating a group or block of symbols. Word processors typically include such block commands as copy, delete, and move. These operations are also useful functions in notation programs, which may also include transposition.

Copyist. The four sets of block commands include the insert, erase, move, and cut-and- paste functions in both the vertical and horizontal mode. They may affect all or only a selected group of symbols within their defined bounds. The block commands are initiated by typing a two-character command, then moving the cursor to the end of the block and typing the terminating command (often just pressing the enter key).

DynaDuet. Block commands are instituted by holding down the mouse button and moving the cursor to the right, thereby selecting several symbols to delete, copy, or paste. In addition, stems may be flipped and beams or slurs added.

MusicPrinter Plus. In addition to copy, move, and delete functions, there are several specifically musical block commands: "beams"

(which replaces rhythmic flags with horizontal or slanted beams), "ties and slurs," and "transposition."

Note Processor. There are no block commands in this program, although there are insert, erase, move, and cut-and-paste functions available for single symbols. Block operations must be achieved using a word processor on the DARMS code.

Personal Composer. A block is specified by placing the cursor at the upper left of the desired area, clicking the mouse button, moving to the lower left of the area, and clicking again. Once selected, the symbols in the defined area may be deleted, copied, moved, or transposed.

SCORE. Blocks of symbols may be altered at one time with the "group move," copy, or delete commands. In addition, numeric parameters for a group may be altered, note stems flipped, and staves transposed and justified with group commands. There is a special group edit screen that specifies an entire staff or set of staves and the horizontal positions of the area to be altered.

Theme. Insert measure, copy measure, and delete measure are the only block commands available.

SPECIAL FEATURES

Every notation program examined has at least one feature that facilitates note entry or edit. These features can sometimes overcome major difficulties encountered in entering or editing a score. In addition, having notation that can be included in a word processor's text makes it possible to create thematic catalogs easily and to insert musical examples. Any PostScript-gener- ated output can be inserted into text PostScript files; in addition, Theme can generate PC Paintbrush-compatible graphics files and Note Processor can generate TIFF format graphic files.

Copyist. This program has two special features that provide a quick method of entering notes and beamed groups on the staff. In music-keyboard mode, the row of computer-keyboard keys beginning QWERTY can be used to place noteheads on the staff. The notehead under the Y key is placed at the cursor position while the keys to the left generate notes below the

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cursor and the keys to the right generate notes above the cursor. Each press of a key automatically moves the cursor three columns to the right. Rhythms and stem direction can be entered at the same time; accidentals must be entered later. A second method, the 'join" mode, is used to enter groups of beamed notes. When enough noteheads have been entered in music-keyboard mode, the cursor is moved up or down, depending upon the desired stem direction, and the appropriate rhythmic value is typed.

DynaDuet. Various control commands (so called because one holds down the control key while typing another key) move the cursor in different ways, insert and delete measures, change pitches by semitones, enter the cut-copy-paste function, invert stems, and add beams.

MusicPrinter Plus. Key signatures are gen- erated efficiently by pressing the K key after selecting the appropriate accidental. Each time K is pressed, the accidental is properly placed in relation to the current clef and the cursor is moved one column to the right. For example, to place a key signature for E-flat major, press the "flat" key on the computer keyboard (the "2" key), position the cursor in the desired column, then press K three times. Another useful feature resides under the * on the numeric keypad; when that key is pressed, the pre- viously-selected symbol becomes the cur- rently-selected one. This feature speeds up the creation of a score when one toggles between notes and bar lines, for example. Note Processor. TIFF graphic format files can be created by Note Processor and intermixed with text by reading them into standard word processors, such as Word- Perfect.

Personal Composer. Syntellect, a proprietary programming language specifically designed for the control of notation and MIDI, is based upon the syntax of LISP. Macros can be created and added to the command structure to be used just like any prede- fined command. The Easy Key program is a collection of macros designed to improve the user interface.

SCORE. A system of up to twenty-six user- defined macros or motives is provided in the input command language. A macro is defined with a single alphabetic character

identifier followed by parentheses enclos- ing the sequence of symbols defined in the input command language. The macros or motives are recalled by typing @ followed by the identifier. Macros may be transposed, their rhythm may be augmented or diminished, and they may be nested within other macros. In addition, under code number 12 available in the screen edit mode, there are various open and filled boxes, circles, and arcs. The boxes can be used to create fifteenth-century notation.

Theme. The "empty stave" command provides for the entry of an invisible rest of any duration, inserting blank space in place of notes and rests. Portions of a screen may be extracted and sent to a disk file for in- clusion in the text produced by a conventional word processor. The saved print file in printer format can be used in text files, as can a PC Paintbrush-compatible graphics file.

CHORD SYMBOLS

Guitar chord grids are available in Copy- ist, MusicPrinter Plus, Note Processor, and SCORE; they are not available in Dyna- Duet, Personal Composer, and Theme.

USER-DEFINED SYMBOLS

While some of the programs have extensive character sets, composers are continually inventing new symbols. Conse- quently, a truly flexible notation program should include the capability of designing and including symbols created by the user.

Copyist. Includes a program to create up to ten special symbols.

Note Processor. The manual implies that up to thirty-two user-defined symbols can be added to the musical character font but doesn't explain how to do so.

Personal Composer. The MIDIgraphic editor provides a method of creating graphic icons and assigning two-character codes to them for use in the Score editor.

SCORE. The DRAW program provides a method of creating graphic symbols with vectors that can be entered into the score.

Theme. The symbol set can be enhanced by creating a special output file that can then be altered by the PC Paintbrush program.

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DynaDuet and MusicPrinter Plus do not ac- commodate user-defined symbols.

TEXT

All seven of the programs reviewed provide a means of entering text into the score. Two kinds of text handling are needed in scores: "title" text (capable of being placed anywhere for title pages and individual sections of the score, explanatory notes, etc.) and "vocal" text (which generally appears below the staff on one or more lines in alignment with the music). In addition to flexible positioning, various sizes and typefaces of text should be available. Because vocal texts may be in any language, the common Western European diacritics (acute and grave accents, cedilla, umlaut, and circumflex) should also be available. The programs exhibit a variety of possibilities.

Copyist. Text may be entered one line at a time, and the cursor can be moved to any location on the page. Six different font control characters provide five sizes, from 9-point type to 20-point, in italic and roman faces. No diacritics are available.

DynaDuet. Text may be placed only in areas outlined by green boxes, which accept only one line. The boxes outline areas above the staff, between staves, and below the staff. Text can be entered horizontally anywhere in elements of one measure. Only one ty- peface and size is available, with no diacritics. Of the programs reviewed, DynaDuet provides the least support for entering text.

MusicPrinter Plus. Text can be placed anywhere within the bounds of a staff. The program operates essentially like a word processor, and includes the block editing operations copy, move, and delete. All text entry is in "tite" mode; the enter key moves the cursor to the left edge of the next lower line, the arrow keys move the cursor up and down by a third of a line to allow typing super- and sub-scripts, and the insert and delete computer-keyboard keys function as expected. The full computer-keyboard character set is available, except for four keys that have been redefined as opening double quotes, umlaut, acute accent, and cedilla. The underline, acute and grave accents, cedilla, umlaut, and circumflex may be typed over existing characters without erasing them. Text may appear in one of four type fonts (roman, bold, italic, and

large title), and each font has its own dis- tinctive cursor.

Note Processor. All text is entered in "vocal" mode in DARMS code using the @ and $ delimiters attached to the DARMS representation of music notation. Vertical position may be specified globally or locally. Type fonts are roman, bold, and italic, at 10 or 12 characters per inch.

Personal Composer. All text is entered in "title" mode one line at a time, and the computer keyboard functions like a typewriter. The word processor functions copy, move, insert, and delete are available. A special "split" command is used to divide text into separate items so that it can be moved to another system. Nine typefaces are available, each in roman, italic, bold, and bold- italic, and type size can be extensively var- ied. There is a special "undo" command to allow easy retrieval of deleted text.

SCORE. Text can be entered in one of two modes: freeform (for entering text of up to 160 characters anywhere on the screen) and lyric (for entering vocal text). Lyric text is entered using a delimiter between sylla- bles or words, then specifying the location of each text segment. There are several built-in font styles (bold, italic, and roman) in a variety of faces, with the possibility of adding more. Text may appear in any size, and it can even be rotated to appear at a slant. In addition to all the characters available on the computer keyboard, musical notes, a copyright symbol, and diacritics (accents, umlaut, circumflex, and cedilla) can be specified. Of the programs under review, SCORE provides the greatest flexibility for text entry.

Theme. Two methods are available for entering text. In "vocal" mode, each word or syllable is inserted immediately after a cor- responding duration and may affect rhythmic spacing. Word strings entered in "title" mode are also attached to a specific rhythm but do not affect spacing. Figured-bass characters may be entered in either of the text modes, and diacritics are available. Both italic and roman fonts are available in 10- point and 12-point sizes.

PART EXTRACTION

Part extraction is a chore that no one en- joys; it is just the sort of mindless, repeti-

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tive exercise that is aptly suited to the computer. But it is not entirely a mechanical process, and a capable part-extraction function must be very flexible and provide easily edited files. Most of the programs provide for reasonable part extraction; only DynaDuet does not. Most of the programs expect the user to create a score from which parts will be extracted. However one program, Note Processor, takes the opposite approach: the user creates parts files that are then built up into a complete score.

Copyist. Parts are extracted into files that can be read into the program for touch-up editing.

DynaDuet. This is the only program without a part-extraction utility; the user is expected to extract parts by deleting un- wanted staves and saving the result under a new file name.

MusicPrinter Plus. Part extraction is accomplished with a separate program that is not copy-protected. The program does not combine multiple rests; each part includes common text, metronome, and other music "control" symbols.

Note Processor. The basic orientation of Note Processor is the part, and scores are built up from part files. While a file may contain up to twelve staves, it is regarded by the program as a single part. To build a score, a series of several part files must be read in, to be combined by the program.

Personal Composer. Part extraction is based upon the MIDI channel, and up to a maximum of 16 parts can be extracted. Each channel is a single-line part that can be extracted to the screen for editing.

SCORE. This program includes the most sophisticated part-extraction function of all those reviewed. Before parts are extracted from a score, each staff must be numbered so that it can be identified by the part ex- tractor. In addition, the symbols for text, rehearsal numbers, and various expression marks can be identified, so that they will be extracted to the parts. The part-extraction function provides for multi-measure rests to be automatically combined and allows for such niceties as automatic breaking of a continuous set of rest measures to identify tempo changes, such as ritardando and ac- celerando.

Theme. Part extraction is accomplished through a separate program that provides a large number of editing commands. When extracting parts, a new title for the performer's part must be assigned, as must the part's format.

TRANSPOSITION

The ability to transpose a motive, a part, or an entire piece is a function at which the computer should be very adept. However, while transposition is the simple moving of notes up or down some specified interval, moving the notes may cause strange-look- ing music. For instance, notes below the middle line of the staff normally have up- stems, with beams above the noteheads and slurs and ties below. When a note is transposed above the middle staff line, the stem direction should be switched, as should the locations of the beams and slurs. A really useful transposition function will not only transpose a group of notes diatonically, it will also allow transposition without regard to key signature. Each of the seven programs provides a transposition function.

Copyist. The part-extraction function provides the ability to transpose instrumental parts from concert key to the appropriate key for the instrument. No other transposition capability is available.

DynaDuet. A selected block of notes may be transposed up to one octave on either side of the pitch in increments of semitones. This function is best for transposing a motive to be copied. Stem direction is not altered.

MusicPrinter Plus. Two kinds of transposition are available, one at the part level generally used with part extraction and one at the motive level using the block command. The transposition function alters an entire staff or the complete score. The user must supply the source key signature (usually the current signature), the target signature, the direction to transpose, and the interval. Key signatures in the target area are altered and, because spacing is not automatically ad- justed, may overwrite notation. Transpo- sition without key signature is possible by not entering anything at the key signature prompts. Block transposition of selected notes operates in the same manner as does part transposition. In both cases, stem direction is not changed.

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Note Processor. A part-transposition function, available in the "Process DARMS" menu, prompts for standard instrumental transpositions and also allows for transposition by semitone interval. Stems, beams, and slurs are switched.

Personal Composer. The transposition command affects a single staff area, all staves in the file, or all staves assigned to a single channel. A new key signature must be specified, and transposition is governed by the difference between the old and the new signature, after the direction of the transposition is specified. Stems are not switched. The transposition function is very awk- ward to use.

SCORE. The transposition command ("TR") operates on a single staff area from a mi- nor second to a major ninth up or down. The user can specify a new clef or a new key signature, and note stems may be automatically normalized, causing beams and slurs to appear in their proper positions. The page-extraction function also provides the capability of transposing an entire part to the appropriate level for a specified instrument. Finally, transposition is also available at the smallest level with the macro or motivic feature of the input command language.

Theme. Block transposition of the entire staff or any portion of it, up to an octave in either direction, is possible. Diatonic and chro- matic transposition of major, minor, augmented, and diminished intervals is possible, and the program can supply cautionary naturals. Stems and beams are switched, but slurs are not.

PAGE FORMATTING

There are two approaches to page format. In one the user must specifically lay out each line (a WYSIWYG approach), placing measures and notes in their proper positions. In the other approach (format control), music is entered as a continuous stream without any indication of the number of measures on a line, with the layout determined by the program. Copyist, MusicPrinterPlus, and Personal Composer use the WYSIWYG approach which, because it is simple, allows the user to determine specifically the look of the music on the page. However, page layout is a com-

plex job, and this method requires consid- erable time on the user's part. The second method is better, as long as there are many options the user can control. Format control provides greater flexibility, since music entered as a continuous stream can be printed out in a variety of formats. Four of the programs use this approach to page formatting.

Copyist. WYSIWYG approach to page printing is simple and straightforward; there is no control of page formatting at print time.

DynaDuet. Music data is stored as a continuous stream, without any page markings. When a file is printed, the program automatically determines the number of measures on a line and produces the page format. Very few parameters can be altered in customizing page format. The entire score or only selected pages can be printed, and the number of copies can be specified.

MusicPrinter Plus. WYSIWYG approach. Only a few parameters can be controlled at print time. Page break can be controlled according to page length or an explicit code entered into the music data. Other parameters that can be controlled are page numbers, their location on the page, and the printing of specified non-printing characters.

Note Processor. Music data is stored in separate part files with no page format information. A number of format parameters may be specified at print time: key and meter warnings at the ends of lines, line length, indent option and size of indent, spacing following barlines, the specific measures to be placed on each line of a page, whether multiple bars of rests should be printed in- dividually, whether cues should be printed, and whether non-playing instruments should appear in the system.

Personal Composer. WYSIWYG approach. Page formatting for dot matrix and laser printers is handled differently. Format specifications for dot matrix printers are dependent on the program's initital setup; print format for laser printers is controlled by a style file. This program provides the most flexibility for a WYSIWYG system.

SCORE. Music data is one continuous stream with no line or page marks. The actual lay-

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NOTES, March 1990

out is determined at print time, with the user controlling a number of parameters. Because the music is created with vector graphics, a wide variety of options are available for printing. The vertical size of staves can be easily controlled by setting staff height in the appropriate music data file. In addition, at print time, the size of the music may be scaled to different paper sizes. Other format parameters control the actual location of the print image on the page, the vertical spacing of systems, the number of measures on a line, and whether a page is to be printed horizontally or vertically. Of the programs under review, SCORE provides the greatest flexibility for deter- mining page formatting.

Theme. Because music data is one continuous stream with no page marks, the print options provide ways to determine the appearance of a printed page without affect- ing the data. At print time, one may specify the measures to be printed, the left, right, top, and bottom margins, whether part names will be printed, the smallest horizontal spacing between notes, automatic justification, the printing of measure and page numbers, the vertical justification between systems, and titles and their positions. Once entered for a specific piece, these print specifications are saved in a disk file and automatically used when the same piece is reprinted.

SPACING

There are two important issues concern- ing spacing: first, whether automatic spacing is created by the computer, and second, whether music appears in "music" spacing as opposed to proportional spacing. Placing notes on a staff or system can be difficult, especially if irrational rhythmic values are included. While it is possible to adjust the notation in some of the programs by hand, automatic spacing is most desirable. However, because of the com- plexities of spacing, any program providing automatic spacing should allow for manual adjustments.

Spacing of notational elements is a crit- ical aspect of a score's appearance. In normal engraved music of the nineteenth and early twentieth centuries, the space between notes is not directly in proportion to

rhythmic value. A quarter note, for example, does not take twice the amount of room that an eighth note takes; instead, spacing more closely approximates a ratio of about three to two. Most of the programs do not provide automatic music spacing.

Copyist. Spacing must be done by hand; the program's standard spacing is three columns, making it possible to approximate good spacing. For spacing purposes the program does not regard the number of beats in a bar.

DynaDuet. The cursor determines spacing. Notes are placed in predetermined locations. Inserting a small note-value causes the cursor to enlarge the immediate area assigned to a note. The program does not check for valid rhythmic values, and it is not possible to change note spacing by hand.

MusicPrinter Plus. For spacing purposes the program does not regard the number of beats in a bar, nor does it determine proper rhythmic spacing. To 'justify," or align, the notation on two or more staves, one can delete and insert columns that move an entire staff either right or left. Sequencer (Atari).

Note Processor. Music read in from DARMS or MIDI files is automatically given music spacing. There is a provision in the DARMS code for changing the basic spacing value so that segments of the staff may be ex- panded. In addition, proportional spacing is accomplished by including a spacing, non- printing staff containing a string of the smallest note-values.

Personal Composer. The user must determine the placement of notation symbols in the score.

SCORE. The "lineup-justify" command makes SCORE unique in this group of programs; it rhythmically adjusts a staff or group of staves to quickly produce finished copy with all symbols properly spaced, using music spacing.

Theme. Notation is entered into the score with the minimum amount of spacing needed to align notes in a system; the "extra-space" command can be used to adjust spacing in the score by the entry or dele-

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tion of up to sixty-three spaces between notes on a staff. Proportional spacing for either the screen display or the printed output can be toggled. With proportional spacing off, the notation is spaced only to maintain proper alignment.

LIMITS

All the programs are limited in the amount of music they can display on a monitor's screen; in most cases these limits are fixed constraints. SCORE allows the combination of multiple files of systems to create a score; this is also the principal manner in which Note Processor formats scores.

Copyist. The logical page of music that can be kept in the computer's memory is 329 cursor spaces high, encompassing roughly 16 to 20 staves. A sheet of 8.5" x 11" printer paper can usefully hold only about two- thirds of that amount. The monitor screen displays about two-fifths of a page using a Hercules card and about half that amount using a CGA card. A score can consist of no more than 50 pages.

DynaDuet. A maximum of thirteen staves can appear on the screen at once. Ties and slurs must be added to notes before beams because all the notes connected by a beam are treated by editing commands as one element.

MusicPrinter Plus. Each document is limited to 64 kilobytes, or about 150 to 200 staves at the default setting.

Note Processor. I was unable to determine this program's limits.

Personal Composer. The staff extends four ledger lines in each direction, and symbols cannot be placed outside these bounds. Up to 64 staves can be bracketed together into a single system.

SCORE. Only 16 staves of music can be saved in a music graphics file, but any number of files may be combined at printout to create a complete manuscript.

Theme. The maximum number of parts al- lowed is 16 or 40, depending upon which version of the program is used.

RECOMMENDATIONS

After working with the seven programs for some time and comparing and con- trasting their features and operations, I found SCORE to be the best program by far, clearly in a class above the others. It provides more features than the other programs and is capable of reproducing more complex music. Its biggest drawback lies in its strength, which makes it a complex program to learn and to use. Once learned, however, it is by far the most flexible of the programs. It is also one of the easiest programs with which to produce simple music. The input language can easily be learned by following the examples in the manuals, and the output from the program requires little editing. I was able to enter the Beet- hoven example very quickly and had to do almost no further editing. SCORE is the only program that I consider capable of producing professional print-quality music notation.

The other programs under review should not be consigned to the dustbin, however. As long as one realizes that the notation they produce cannot meet with equal ease the quality of that produced by SCORE, they exhibit some good qualities. I really like the screen interfaces of DynaDuet and MusicPrinter Plus; both are easy-to-use programs. DynaDuet, however, has too many limitations to be very useful (it cannot, for example, produce grace notes). The most inexpensive program that produces PostScript output is Copyist. If one has a limited project involving simple music that has to be done quickly, then Copyist would probably be adequate. Note Processor is, of course, the notation program of choice for anyone committed to DARMS. I can't recommend Theme because it is copy-protected, it is not easy to use, it cannot produce grace notes, and its output looks poor. Perhaps the people at Theme should have spent less time developing copy protection for a program that doesn't need it and more developing the program's interface. Per- sonal Composer is a complex program with shocking lacks in its character set (for instance, it also lacks grace notes), and it requires great efforts to get usable notation.

GARRETT BOWLES

University of California, San Diego

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NOTES, March 1990

NEW SOFTWARE

This semiannual list covers software released for the Amiga, Apple II, Apple Macin- tosh, Atari, IBM, and Yamaha personal computers.

ADMINISTRATION

Advantage Showare, version 1.2 (charting only), version 2.0 (charting with animation), for the Macintosh. Advantage Sho- ware, 1989. $495.00 (charting), $695.00 (animation). Marching band charting program. System requirements: 1 Mb RAM.

Musical Instrument Inventory Control, for the Apple II and IBM PC. Right On Pro- grams, 1989. $89.00. Database for music teachers. System requirements: Apple IIe, IIc, Ilgs or IBM PC or compatible. Copy-protected.

On-line Audio Access, for the IBM PC. Right On Programs, 1989. $199.00. Cata- loguing program for LPs, CDs, and tapes suit- able for personal or library use.

Personal Music Librarian, version 1.OC, for the Atari ST and IBM PC. By Dennis Hev- ener. Personal Database Applications, 1989. $55.00. Database for recordings and sheet music collections. System requirements: 1 Mb RAM (ST); 512K RAM (IBM). Not copy-protected.

Pyware Music Administrator, version 5.1 for the Apple II and IBM PC. Pygraphics, 1989. $295.00. Database management program for uniforms, music libraries, student grades and records, budgets, instrument inventory, etc. System requirements: 128K RAM (Apple); 640K RAM (IBM).

Record Mogul, for the IBM PC. Macaluso Music Company, 1989? Calculates profits or royalties in the entertainment industry.

Sheet Music Inventory Control, for the Apple II and IBM PC. Right On Pro- grams, 1989. $89.00. Database for music teachers. System requirements: Apple IIe, IIc, IIgs or IBM PC or compatible. Copy-protected.

ScoreMaster, for the Macintosh. Computer Music Consortium, 1989. $295.00 (includes indexes for 2 libraries; additional libraries are $50 each). Searches commercial production music libraries of Bruton, FirstCom Digital, K.P.M., MusicHouse, Network, and Omnimusic.

COMPUTER-ASSISTED COMPOSITION

Fingers, for the Atari ST. Dr. T's Music Software, 1989. $79.00. Interactive composition/performance tool that does not require extensive musical background.

MIDI Jazz Improvisation I, for the Apple II, Atari ST, IBM PC, and Tandy. Elec- tronic Courseware Systems, 1989. $80.00 each. Helps teach jazz improvisation skills. Sys- tem requirements: MIDI interface card, MIDI keyboard, Mastertracks Sequencer (Apple); SST Sequencer (Atari).

Music Creator Apprentice, for the IBM PC. Computer Music Supply, 1989. $149.00. Creates compositions with no knowledge of music required. System requirements: 512K RAM; CGA/EGA/VGA/Hercules video; hard disk drive.

Music Creator Professional, for the IBM PC. Computer Music Supply, 1989. $495.00. Automated composition, with extensive editing capabilities. System requirements: 512K RAM; EGA/VGA/Hercules video; hard disk drive.

Rhyme Design, for the Macintosh. Rap- ture Studios, 1989. $99.95. Rhyming diction- ary, containing over one million words.

COMPUTER-ASSISTED INSTRUCTION AND DRILL

Pyware Instrument Designer, version 1.1, for the Apple IIgs. Pygraphics, 1989 $129.00. Program intended for music or physics acoustics courses that allows experimentation with altering sound waves. System requirements: 768K RAM.

Take Note, for the Amiga and Atari ST. Take Note Software, 1989. $79.95 each. Drills for pitches, intervals, chords, scales, note recognition, and note spelling.

The Ear, for the Atari ST. Steinberg/Jones, 1989? $99.00. MIDI-compatible ear-training program.

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Music Software

MIDI-GENERAL

Auricle, for the Yamaha C1. Auricle Con- trol Systems, 1989. $1,495.00. Fits music to film or video for the professional entertainment- industry composer and music editor.

Cake2Mid, for the IBM PC. Twelve Tone Systems, 1989. Freeware utility available from many music-oriented bulletin boards, for creating standard MIDI files for use with the company's Cakewalk sequencer.

Clicktracks, version 2.0, for the Macin- tosh. Passport Designs, 1989. $495.00 . Col- lection of utilities that help fit music to film. Sys- tem requirements: 512K RAM, printer; SMPTE- to-MIDI time code converter recommended.

HyperScore, version 5.1, for the Atari ST, IBM PC, and Macintosh. HyperScore Users Group, 1989? $100.00. Unix-based music notation, processing, and performance tools written in Smalltalk. System requirements: 4 Mb RAM; IBM version requires 80386 processor; sound compiler or MIDI driver required for sound synthesis.

MTA [MIDI Transit Authority], version 2.0, for the Atari ST. Intelligent Music, 1989. $250.00. Real-time MIDI processor emulating Axxess Mapper.

Synthia Professional, for the Amiga. The Other Guy's Software, 1989. $395.00. 16- bit synthesis/sound editing program.

T-BASIC, for the Atari ST. Dr. T's Music Software, 1989. $149.00. BASIC programming language extensions for MIDI applications.

MIDI EDITORS/LIBRARIANS

Big Noise D-10/20/110 Editor/Librarian, version 1.3, for the IBM PC or Yamaha C1. By Richard Johnson. Big Noise Software, 1989. $119.95. Programmer/editor/librarian

for Roland's D-5, D-10, D-20, and D-110 synthesizers. System requirements: 640K RAM; CGA/EGA/VGA/Hercules video; mouse strongly recommended. Copy-protected.

Big Noise D-50 Editor/Librarian, version 1.3, for the IBM PC or Yamaha C1. By Richard Johnson. Big Noise Software, 1989. $119.95. Programmer/editor/librarian for Ro- land's D-50 synthesizer. System requirements:

640K RAM; CGA/EGA/VGA/Hercules video; mouse strongly recommended. Copy-protected.

Big Noise Kl/m/r Editor/Librarian, version 1.3, for the IBM PC or Yamaha C1. By Richard Johnson. Big Noise Software, 1989. $119.95. Programmer/editor/librarian

for Kawai's K1, Klm, Klr, and Kl-II synthesizers. System requirements: 640K RAM; CGA/ EGA/VGA/Hercules video; mouse strongly recommended. Copy-protected.

Big Noise M1/R Editor/Librarian, version 1.2, for the Atari ST; version 1.3, for the IBM PC or Yamaha C1. By Richard Johnson. Big Noise Software, 1989. $119.95. Programmer/editor/librarian for Korg's M1 and M1R synthesizers. System requirements: (IBM) 640K RAM; CGA/EGA/VGA/Hercules video; mouse strongly recommended. Copy-protected.

Big Noise MT-32 Editor/Librarian, version 1.3, for the IBM PC or Yamaha C1. By Richard Johnson. Big Noise Software, 1989. $119.95. Programmer/editor/librarian

for Roland's MT-32 synthesizer. System requirements: 640K RAM; CGA/EGA/VGA/Her- cules video; mouse strongly recommended. Copy- protected.

Big Noise SQ/ESQ Editor/Librarian, version 1.3, for the IBM PC or Yamaha C1. By Richard Johnson. Big Noise Software, 1989. $119.95. Programmer/editor/librarian

for Ensoniq's SQ-80, ESQ-1, and ESQ-M synthesizers. System requirements: 640K RAM; CGA/EGA/VGA/Hercules video; mouse strongly recommended. Copy-protected.

Big Noise VZ-1 Editor/Librarian, version 1.3, for the IBM PC or Yamaha C1. By Richard Johnson. Big Noise Software, 1989. $119.95. Programmer/editor/librarian for Ca- sio's VZ-1 and VZ-O1M synthesizers. System requirements: 640K RAM; CGA/EGA/VGA/ Hercules video; mouse strongly recommended. Copy-protected.

Explorer M1, for the Atari ST. Digidesign, 1989. $195.00. Editor/librarian for the Korg Ml synthesizer.

Explorer 1000, for the Atari ST. Digide- sign, 1989. $150.00. Editor/librarian for the Oberheim Matrix-6/1000 synthesizers.

Explorer 32, for the Atari ST. Digidesign, 1989. $195.00. Editor/librarian for the Ro- land L/A synthesizer series.

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NOTES, March 1990

KI-VDS [Voice Development System], for the Atari ST. Musicode, 1989. $89.00. Ed- itor/librarian and sequencer for the Kawai K1 series.

Korg M1 Editor/Librarian, for the Mac- intosh. Opcode Systems, 1989. $249.00. Editor/librarian for Korg M1 synthesizer.

MVP-LXP1, for the IBM PC. Playroom Software, 1989. Editor/librarian using Mi- crosoft Windows.

Oview Synth Programmer for the E-mu Proteus and Baldwin SM-100, version 1.0, for the IBM PC. Turtle Beach, 1989. $149.00. Editor/librarian. System requirements: 640K RAM; CGA/EGA/VGA/Her- cules video. Copy-protected.

Quest Editor/Librarians, for the Amiga, Atari, IBM PC, and Yamaha C1. Sound Quest, Inc., 1989? $165.00 each. Editor/librarians for various Ensoniq, Kawai, Korg, Ro- land, and Yamaha synthesizers.

Super Librarian, for the Amiga, IBM PC, Macintosh, and Yamaha Cl. Pixel Publish- ing, 1989. $149 each. Universal librarian program.

TIGER [The Integrated Graphic EditoR], for the Atari ST. Dr. T's Music Software, 1989. $149.00. Icon-oriented MIDI editor.

X-Alyzer, for the Atari ST. Digidesign, 1989. Yamaha DX7/II/TX802 editor/librarian that can convert sounds into samples.

X-OR, for the Amiga, Atari ST, and Mac- intosh. Dr. T's Music Software, 1989. $249.00. Universal editor/librarian supporting over 60 instruments.

MIDI SAMPLERS

Alchemy Apprentice, for the Macintosh. Blank Software, 1989. $345.00. Sample editor/manager.

Alchemy 2.0, for the Macintosh. Blank Software, 1989. $695.00. Advanced sample editor/manager.

Avalon, for the Atari ST. Steinberg/Jones, 1989. $349.00. Universal sample editor.

MIDI Sample Wrench, version 1.1, for the Amiga. Dissidents, 1989. $279.00. Univer- sal digital sound sample editor. System requirements: 512K RAM, 1 Mb preferred.

MIDI SEQUENCERS

Ballade, for the IBM PC. Dynaware, 1989. $195.00 Sequencer/librarian for the Roland MT-32, CM-32/64 and LA-PC card. System requirements: 640K RAM; EGA or VGA graphics card; mouse.

Cubit, for the Atari ST. Steinberg/Jones, 1989. Sequencer compatible with M.ROS mul- titasking operating system.

DynaDuet, for the IBM PC. Dynaware, 1989. $245.00. Integrated sequencer and notation program. System requirements: 512K RAM; EGA or VGA graphics card; mouse.

FORTE II, for the IBM PC. LTA Produc- tions, 1989? $250.00. 32-track sequencer with extensive editing capabilities. System requirements: 256K RAM.

Master Tracks Pro 3.0, for the Amiga, Ap- ple IIgs, Macintosh. Passport Designs, 1989. $395.00 each. 64-track MIDI sequencer that syncs to MTC and SMPTE time codes.

Performer, version 3.0, for the Macintosh. Mark of the Unicorn, 1989. $495.00. Ad- vanced graphics-oriented sequencer.

Quest I, for the Amiga. Sound Quest, Inc., 1989. Sequencer that supports patterns of up to 999 beats.

Quest II, for the Amiga. Sound Quest, Inc., 1989. Sequencer that supports patterns of up to 2,728 beats.

Rhapsody, for the Macintosh. Gateway Software, 1989. $149.00. Graphics-oriented sequencer with drum-machine programmer, database manager, and other features.

sYbil, for the Macintosh. Scorpion Sys- tems, 1989. $299.00 each. Sequencerfor MIDI drums, drum machine, or guitar.

MUSIC SCORING

Easy Key, version 2.0, for the IBM PC. By John Clifton. The author, 1989. $79.00. Macro program that simplifies using Jim Mil- ler's Personal Composer notation program. Sys- tem requirements: Personal Composer, version 2.0.

Escort, for the IBM PC. Passport Designs, Inc, 1989. $250.00 (with SCORE, $995.00). Imports standard MIDI files for real time music transcription using the company's SCORE mu-

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Music Software

sic notation program. System requirements: 256K RAM.

Laser Music Processor, for the IBM PC. TEACH Services, 1989. $99.95. MIDI-compatible Postscript-oriented scoring program with built-in sequencer.

MusEXPRESS, for the Atari ST. Samson Technologies, 1989. $149.95. MIDI-compatible scoring program.

MusicEase Notation Software, version 2.01, for the IBM PC. Grandmaster, 1989. $99.95. MIDI-compatible scoring program especially suited for quick projects. System requirements: 512K RAM; CGA or EGA graphics; Roland MPU-401 or compatible card optional. Not copy-protected.

MusicProse, for the Macintosh. Coda Mu- sic Software, 1989. $249.00. MIDI-compatible scoring program especially suited for producing lead sheets, choral works, and small-

ensemble scores. System requirements: 1 Mb RAM; laser or dot matrix printer.

MusScribe, for the Macintosh. By Keith Hamel. SoftCore Music Systems, 1989. $200.00 ($250.00 Canadian). Interactive music editor supporting PostScript printers. System requirements: 512K RAM, Adobe System's So- nata font.

Pyware MIDI Translator, version 1.1, for the Apple IIgs. Pygraphics, 1989. $79.00. Utility program for the Pyware Music Writer which translates sequencer files to Music Writer notation files. System requirements: 768K RAM.

Pyware Music Writer, Level 1 (3-stave), Level 2 (6-stave), or Level 3 (32-stave), all in version 1.4, for the Apple IIgs. Py- graphics, 1989. $119.00 (Level 1), $295.00 (2), $595.00 (3). Music notation and composition program with MIDI compatibility and score printing. System requirements: 768K RAM required; 1.25 Mb strongly recommended.

PUBLISHER ADDRESSES

Advantage Showare, Inc. 476 Severn Way Lexington, KY 40503 (800) 666-2764

Auricle Control Systems 3828 Woodcliff Road Sherman Oaks, CA 91403 (818) 990-8442

Big Noise Software P.O.B. 23740 Jacksonville, FL 32241 (904) 730-0754

Blank Software 1477 Folsom Street San Francisco, CA 94103 (415) 863-9224

John Clifton 175 West 87 Street, Suite 27E New York, NY 10024 (212) 724-1578

Coda Music Software 1401 East 79 Street Minneapolis, MN 55425-1126 (800) 843-2066

Computer Music Consortium Inc.

142 W. 24 Street, Floor 8 New York, NY 10011 (212) 645-4183

Computer Music Supply 382 North Lemon Walnut, CA 91789 (714) 594-5051

Digidesign 1360 Willow Road, #101 Menlo Park, CA 94025 (415) 327-8811 Dissidents 730 Dawes Avenue Utica, NY 13502 (315) 797-0343 Dr. T's Music Software 220 Boylston Street Chestnut Hill, MA 02167 (617) 244-6954

Dynaware 1163 Chess Drive, Suite J Foster City, CA 94404 (415) 349-5700

Electronic Courseware Systems

1210 Lancaster Drive Champaign, IL 61821 (217) 359-7099

Grandmaster, Inc. Box 2567 Spokane, WA 99220 (509) 747-6773

HyperScore Users Group John Tangney 1317 Masonic Avenue San Francisco, CA 94117 (415) 255-1603 jtangneycup.portal.com Intelligent Music 116 North Lake Avenue Albany, NY 12206 (518) 434-4110 LTA Productions Box 6623 Hamden, CN 06517 (203) 787-9857 Macaluso Music Company 3006 South Columbus Street,

Suite C2 Arlington, VA 22206 (703) 671-4551

Jim Miller P.O. Box 648 Honaunau, HI 96726 Opcode Systems 3641 Haven Drive, Suite A Menlo Park, CA 94025 (415) 321-8977

Passport Designs, Inc. 625 Miramontes Street Half Moon Bay, CA 94019 (415) 726-0280

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NOTES, March 1990

Personal Database Applications

2634 Meadow Bend Court Duluth, GA 30136 (404) 242-0887

Pixel Publishing 1573 Eglinton Avenue W,

Suite 3 Toronto, Ontario M6E2G9 Canada (416) 785-3036

Playroom Software 7308-C East Independence

Blvd., Suite 310 Charlotte, NC 28212 (704) 536-3093

Pygraphics P.O. Box 639 Grapevine, TX 76051 (817) 481-7536

Rapture Studios 26449 Oakwood Avenue Elkhart, IN 46514

Right On Programs 755 New York Avenue Huntington, NY 11743 (516) 424-7777

Samson Technologies Corp. 485-19 South Broadway Hicksville, NY 11801 (516) 932-3810

Scorpion Systems Group 328 Flatbush Ave., Suite

275-M Brooklyn, NY 11238 (718) 507-5825 SoftCore Music Systems 4840 Larkspur Avenue Richmond, B.C. V7C 2J3 Canada (604) 275-3959 Sound Quest, Inc. 1573 Eglinton Avenue West,

STE 200 Toronto, Canada M6E 2G9 (800) 387-8720

Steinberg/Jones Russ Jones Marketing Group 17700 Raymer Street, Suite

1002 Northridge, CA 91325 (818) 993-4091 Take Note Software 285 Divisadero, #3 San Francisco, CA 94117 (415) 431-9495

TEACH Services 182 Donivan Road Brushton, NY 12916 (518) 358-2125

Temporal Acuity Products 300-120th Avenue N.E.,

Bldg. 1 Bellevue, WA 98005 The Other Guy's Software 55 North Main Street, Suite

301-D P.O. Box H Logan, UT 84321 (800) 942-9402 THEME Software Co. P.O. Box 8204 Charlottesville, VA 22906

Thoughtprocessors 584 Bergen Street Brooklyn, NY 11238

Turtle Beach Softworks P.O.B. 5074 York, PA 17405 (717) 757-2348

Twelve Tone Systems P.O.B. 226 Watertown, MA 02272 (617) 273-4437

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