Abstract:         THE STANFORD 'SCORE' PROGRAM FOR MUSICAL INPUT
                         Leland Smith, Stanford University
  
  
 The SCORE program has been in use for  about  ten  years  now.   What

 began as a system for generating parameters for a particular piece of

 music has evolved into a general purpose musical input language  that

 has  been  used at several computer music centers.  Since the program

 is in FORTRAN it is not machine dependant.  SCORE can be  adapted  to

 create note lists for a variety of computer music programs.


 With SCORE it is possible to use much of the standard terminology  of

 music when  dealing with pitch and rhythm.  However SCORE by no means

 limits one just to the tempered scale and conventional rhythms.  This

 discussion  will  give an overview of the principal features of SCORE

 with emphasis on the  program's  newer  features,  such  as  extended

 capability to aid in the simulation of musical phrasing and increased

 flexibility in regard to the use of several different procedures in a

 single parameter.
 Abstract:  PRINTING MUSIC BY COMPUTER         ...
              A 16 millimeter sound film.
                Leland Smith, Stanford University
  

 As its name implies, this  film  explores  the  process  of  using  a

 computer  to print music.  Starting with a survey of various printing

 and  publishing  methods,  including  views  of  a  first  edition of

 Purcell's Te Deum, an unusal lithographic edition of Rossini's Barber

 of Seville, and descriptions of techniques  used  in  the  past  five

 centuries,  the  film traces the development of music publishing into

 the twentieth century.  With the advent of computers, the feasibility

 of  producing  excellent  musical notation using precise mathematical

 data becomes apparent.


 Computer  programs  developed  at the Center for Computer Research in

 Music and Acoustics at Stanford University are used in  the  printing

 of  music:  single  instrument  or  full  score,  voice  and  unusual

 notation, all are possible with these programs.  They  were  designed

 with  the  composer in mind, including easy input based on the letter

 names of notes and numerical values commonly used for  rhythms.   The

 page  lay-out  program automatically sets the measures and lines onto

 the page with the best note density, with the possibility of changing

 the  number  of  lines  per  page  or the number of measures per line

 without new input, giving great flexibility to the  user.   The  film

 also  explores  various types of output available, including plotters

 and electrostatic processes.

  
 PRINTING  MUSIC BY COMPUTER will also interest both the historian and

 the contemporary computer user in  its  descriptions,  examples,  and

 explanation of this exciting new process.