∂20-Jul-81  1242	Alan Kotok <KOTOK at DEC-MARLBORO> 	Sorge example 
Date: 20 Jul 1981 1539-EDT
From: Alan Kotok <KOTOK at DEC-MARLBORO>
To: lcs at SU-AI
Reply-to: Kotok at KL1031
DTN: 231-7381
Mail-stop: MR1-2/E47
Subject: Sorge example
Message-ID: <MS"5(1631)"11745576675.27.245.3567 at DEC-MARLBORO>

I have copied and plotted it already.  It looks fine.  Thanks!
   --------

∂15-Jul-81  2243	ME  	bincom    
 ∂14-Jul-81  1827	LCS  	BINCOM   
HOW DO YOU MAKE 'BINCOM' WORK FOR FILES ON 2 DIFFERENT UDPS?

ME - Copy one of the files or fix the program.

∂03-Jul-81  1906	AK   via DEC-MARLBORO 	Madrigals received    
Your package arrived in good order.  Progress toward final production
of thesis is being made.

Have you considered copying all the music files to a tape, and storing
it in your archives?  If that is practical, and you need a tape, I'd
be happy to send you one.

∂01-Jul-81  2352	LYN  	the shadow... 
Is it possible to have mini-X notes??  Looks like P4 +100 gets you minis,
and P4 +300 gets you X's, but I can't figure out a way to get both at the
same time.


∂23-Jun-81  2035	MTI  	hot type 
Getting back to the work you did for the Journal:  I am forwarding your
invoice to the Press.  Curtis and I would like to convince them to use
your system for ALL future music examples in the Journal.  The amount of
work will not be significant, and with any luck we will be able to avoid
overnight rush jobs like the one earlier this month.

In attempting to twist the Journal's arm, it would be useful ammunition to
have an actual price list: foo cents per item, with examples of what an
item is (note, ff marking, clef); estimages for typical jobs, such as $20
for typical 8-1/2 x 11 " page of two-stave piano music; surcharge for rush
jobs; and the like.

I will writing a long letter to the Press, pointing out the advantages of
using your system:  you can make corrections easily; you can do things
like slurs over several staves .... you and I know each other (as opposed
to some jRandom music typesetter the Press might hire in Boston); your
files are online if we need to make changes; etc.

Please let me have a price list within the next week or so; the Press is
expecting to hear from me about this.

And thanks again for your help with that rush job. -- john

∂23-Jun-81  1556	john at LBL-UNIX (& Mccarthy [csam]) 	MS SCORE System  
Date: 23 Jun 1981 09:34:35-PDT
From: john at LBL-UNIX (& Mccarthy [csam])
To: lcs at sail
Subject: MS SCORE System
Cc: merrill at LBL-UNIX

I enjoyed talking to you this morning. As I mentioned, I sing with a men's
Slavic Chorus called Slavyanka based in San Francisco, and we are looking into
ways to use computers in producing and editing our music. Your system sounds
like a very good possibility, so I would like to find out what specific
formats it uses for input. Even if we proceed temporarily on some other course,
I would like to do it in a way that would at least be compatible for your
system. As you will probably note from the header of this message,
my arpanet address here at LBL is john@lbl-unix. Hope it gets through
to you OK.

With best regards,
	John L. McCarthy

∂21-Jun-81  2036	HYS  	minor bug in score input mode
"SFZ" in score input mode produces only "SF"; I had to change manually P5
to 92 to get that "Z" in.  I think "SFZ" used to work a long time ago, since
I tend to use "SFZ" somewhat more often than "SF" (looks more emphatic).

∂20-Jun-81  1011	Alan Kotok <KOTOK at DEC-MARLBORO> 	Answers to madrigal questions
Date: 20 Jun 1981 1310-EDT
From: Alan Kotok <KOTOK at DEC-MARLBORO>
To: lcs at SU-AI
Reply-to: Kotok at KL1031
DTN: 231-7381
Mail-stop: MR1-2/E47
Subject: Answers to madrigal questions
Message-ID: <MS"5(1631)"11737685157.19.245.3442 at DEC-MARLBORO>

1) The change on P 152 is in maesure 9. In the quinto voice, measure 9,
   beat 2, eliminate the "a" in 2nd verse and the "mo" in 3rd verse.

2) In madrigal 303, there does want to be an "8" in the tenor part clef.

3) On page 58, there do indeed want to be dashes in bar 37.

4) Yes, please take the footnotes out of the examples.

5) It's your choice whether to make all the Prima Parte's lower or upper
   case.  Please make them all consistent, doing the least work for yourself.

The examples were OK, except for the footnotes.  I guess this brings us
to the point of making the large copies of the corrections accumulated,
and shipping them off to us.

Thanks.
   --------


∂17-Jun-81  1948	AK   via DEC-MARLBORO 	Examples    
I have printed the examples, and Judie will examine them soon.  Replies
to your other questions will be forthcoming.  Thanks.

∂15-Jun-81  1846	AK   via DEC-MARLBORO 	Finishing up!    
Did you receive the "examples" in the mail?  We are very close to
done, and would like to know if you anticipate any particular delay
before finishing it all up.
Thanks.
Alan

∂09-Jun-81  2007	Alan Kotok <KOTOK at DEC-MARLBORO> 	''LAST'' round of corrections
Date: 9 Jun 1981 2305-EDT
Judie has gone thru the 153 pages of music proofreading one more
time, and has found the following corrections to be made:

Page	Correction

6	Change title to "E MENTRE IL DUOL".

7	Move footnote 1 to beginning of measure 24 (tenor).

8	Move footnote 2 to beginning of measure 27 (tenor).

9	Add comma in alto measure 7 after syllable "a".

25	Move footnote 4 so that it's over the third beat of measure
	58.

54	Move footnote 2 so that it comes just before the syllable
	"de" in measure 53.

55	Add footnote 3 following fermata in canto measure 70 and
	delete the "3"s in two voices below.

73	Remove footnote 5 in tenor measure 62.

80	Move footnote 5 in tenor measure 36 so that it precedes
	the word "d'huo" in text.

81	Move footnote 7 in measure 41 so that it follows the
	syllable "to".

103	Move footnote 6 in alto voice measure 26 so it is over the
	first note in beat 4.

105	Add comma after "sospiri" in tenor measure 3.

115	Footnote 11 should be in the tenor voice over the first beat
	of measure 63.  Delete footnote 12 at the end of measure 63.
	In the quinto voice, change footnote 11 to 12 in measure 63.

123	Add a slur in the quinto voice from beat 3 in measure 11 to
	beat 1 in measure 12.

129	In tenor measure 20 move footnote 1 so that it precedes the
	syllable "em".

152	In quinto measure 8 beat 2, verse 2, the syllable "a" should
	be deleted.

153	In alto voice, measures 16 and 17, verse 2, change
	"-mio cor son pur' a-ma-to." to "-d'il mio cor son pur' a-ma-".

If you have any questions as to the above, please leave me a note.
I don't think we need "check" prints of these.
   --------

∂07-Jun-81  1139	AK   via DEC-MARLBORO 	Judie's Examples 
I have just mailed a large envelope (first class, this time) with
the directions for making the examples.  It should reach you Tues,
or Wed., maybe.  If you have any questions, send me a note.  You
could leave the first drafts in my area, and I will print them.
Thanks.

∂05-Jun-81  1956	AK   via DEC-MARLBORO 	Thesis 
Thanks for the good news that the music is on the way.  Judie
certainly intends to get you a copy of the thesis.  By the way,
could we have your proper title for "acknowledgment" in the thesis?
Judie intends to get the examples in order this weekend, so they
should be on their way to you soon.

Since I imagine all the music files are filling up some disk,
can I send you a tape to archive them on for posterity, and
in case we want to formally publish them later?

∂04-Jun-81  1323	JA   on TTY31  1323 
JA says hello for David Hunt

∂03-Jun-81  1810	AK   via DEC-MARLBORO 	Mad 214, etc.    
I have copied off 214 page 4.  Thanks.

I am in the process of moving my job to Marlboro, and have not had
a chance to investigate further your graphics system.  I'll get back
to it when things settle down a bit.

Thanks for your offer to have the music printed.  I think that since
we have to add "sequential" page numbers to each page, and we won't
know them until the very last minute, that it would be best for me
to print them here.  I suspect I can find a better price than I have
already been quoted.

∂31-May-81  1929	Alan Kotok <KOTOK at DEC-MARLBORO> 	Answer to Deh Filli problems 
Date: 31 May 1981 2226-EDT
From: Alan Kotok <KOTOK at DEC-MARLBORO>
To: lcs at SU-AI
Reply-to: Kotok at MILL20
DTN: 223-7381
Mail-stop: ML2-2/H33
Subject: Answer to Deh Filli problems
Message-ID: <MS"5(1631)"11732543613.7.245.3403 at DEC-MARLBORO>

In Tenor, measures 48-52:
In the partbook, there is a semibreve rest in my measure 48. I think it
is extra. (Please put footnote 2 at beginning of Tenor 48.) If you move
the Tenor 1 measure to the left, things improve if you also:
	1) Change the 2 "e's" back to "d's". (I changed them to "e's"
	   because they didn't fit into the chord in 50 - At your 
	   suggestion, I suspect.)
	2) Make the 2 "g's" on "ri - a" whole notes.  They are semibreves
	   in the partbook, but that rhythm displaced the tenor voice in
	   the next phrase (which is similar to measure 2 ff).
	3) Put an natural over the note that is g-sharp, and put footnote
	   3 there. (G-sharp is in the partbook.) (Eliminate footnote 3
	   in measure 52.)

Quinto measure 51:
Please move the "na" to be under the first e-flat.

Bass measure 50:
The notes e and a are in the partbook.

				Judie
   --------

∂28-May-81  1906	AK   via DEC-MARLBORO 	madrigal margins 
For your information, the nominal margins, on 8.5 X 11 paper
are 1 inch top, right, and bottom, and 1.5 inches left.  While
I am willing to trim original so copier can achieve these margins,
if you know what they should be on originals, and can cut to
that size, it would save me another process step.  In any
case don't make more work for yourself if this is a pain.

∂28-May-81  1854	AK   via DEC-MARLBORO 	Wide madrigals   
Judie says that an eighth of an inch over is OK, and that you should
continue at that scale for the remainder.

Could you send me a note concerning your desires, requirements and
application for the graphics system I am trying to find for you?
I think things are looking hopeful, so long as the scale is not
too grandiose.

∂26-May-81  0948	AK   via DEC-MARLBORO 	Book 2 
If you do not get book 2 in the mail today, please let me know, and I
will start the process of getting you another copy.

Judie would like you to make the following change, when you get book 2:
In 205, Alto, measure 21, beat 3.5, there should be an editorial sharp
over note as well as a footnote number.

The pages of the second half of book 3 which had corrections are in the
mail to you today.

∂20-May-81  1834	AK   via DEC-MARLBORO 	Book 3, etc.
We have the first part of Book 3, and have marked corrections, and
returned same to you by first class mail.  I am presently transferring
the rest of book 3 by Arpanet to Massachusetts.

I have poked the system in your behalf, with some encouraging results.
As I recall, you were interested in a graphics terminal.  Could you
elaborate?  If you are familiar with the VT125 or GIGI terminals,
could you comment on their suitability? If not, try and describe your
requirements.

∂17-May-81  1102	AK   via DEC-MARLBORO 	Book 3 first round corrections  
Do you intend to mail these to us, or put files in my area?

∂17-May-81  1051	AK   via DEC-MARLBORO 	your note of 15 may   
I think the 2" margins will solve my problem completely.

The book 2 stuff was shipped 3rd class mail (due to the weight), and
so probably the Postal Service snail is struggling with it.  If you
don't get it this week, let me know, and I will send another package
of Xeroxes.

Judie has the "example" stuff almost ready to go, and we will send
it to you probably the end of this week.

Book 3 final markups for the first half are done, and will go into
the mail tomorrow.  The remainder of book 3 will be done as soon
as I can get printouts to Judie.

I will move your graphics terminal problem closer to the front of
my "stove".

∂10-May-81  1815	AK   via DEC-MARLBORO 	files 303 thru 323    
Do you have any further need of the source files for the book 3
madrigals on [1,AK]?  If not, I'll delete them.

∂10-May-81  1800	AK   via DEC-MARLBORO 	Guess what! 
Judie has asked me to ask you to add "Prima Parte" to the titles of the
following Book II madrigals:
203 Tra le dolcezze
206 Misero me
210 Pietoso duol
215 Un Bacio solo
220 Ahi, tu piangi
Also, "Seconda Parte" to 216 Il Bacio E Segno.

As Judie is trying to wrap this thing up in the next few weeks, she
asks whether you will be able to devote the time?  In any case, the
first priority is to finish the second pass on book 3.

∂08-May-81  1827	AK   via DEC-MARLBORO 	Book 2 FINAL! corrections  
I have mailed the book 2 large sheets back to you today.  Only the
pages with corrections are in the tube.

Judie says:

1) Continued thanks for your efforts.
2) She added a bunch of slurs.  They were in the partbooks, and her
conscience is making her add them to the transcription.

3) Please center the page numbers, sticking with the ones you have.
We will add "thesis-relative" numbers ourselves, later.

4) We will go with the Kodak 64% reductions.  I still have to find
a more cooperative and economical copying service.  Assuming I can
verify that scotch tape won't show, I can register the pages by taping
them to a second sheet at precisely the right location.

(Of course, even the sheets of book 2 not returned need page numbers
centered).

∂06-May-81  1402	Alan Kotok <KOTOK at DEC-MARLBORO> 	Missing madrigal printout    
Date: 6 May 1981 1651-EDT
From: Alan Kotok <KOTOK at DEC-MARLBORO>
To: lcs at SU-AI
Subject: Missing madrigal printout
Message-ID: <MS"5(1563)"11725928931.26.245.5926 at DEC-MARLBORO>

We are missing the printout of "Voi sete bella", 217.  Could you please
transfer those files back to my area so I can make a new plot?
   --------

∂04-May-81  1824	AK   via DEC-MARLBORO 	Mad 323, strange files
I'm not sure I understand why page 1 had 4 files, and the
rest 2.  Also, the PLT file is twice as big.  Maybe I'll
find out when I print it.  Also, what is the file CIRC.X23?

∂04-May-81  1817	AK   via DEC-MARLBORO 	Mad 323, etc.    
I am collecting madrigal 323 now.

I have finally sent off the rest of the book 3 corrections today.
You should get them shortly.

As to page numbering, the best thing looks like for you to proceed
with the consecutive numbers in the center of the page.
We will add "thesis relative" page numbers in the corner later.

I am still experimenting with reproduction.  I am trying to see
how a second generation copy (copy of the reduction) looks.
I guess the best thing to do for the moment is hang loose.

∂04-May-81  1420	ME  	music printing news from NS   
a489  1811  02 May 81
AM-ENT--Music Printing, Adv 06,700
$adv 06
For Release AMs Wed May 6
Music Engraver's Work Cut by Computer
Eds: Subs for Bob Thomas column.
By OLE DUUS
Associated Press Writer
    AARHUS, Denmark (AP) - A rare combination of music science and
computer knowhow is bringing into print treasures of old music, some
never before published. It also is eliminating for contemporary
composers long, frustrating years of waiting for publication of their
works.
    The unusual combination is personified in Mogens Kjaer, 40, a
university-trained musicologist and self-taught computer specialist.
His brainchild of 10 years ago is becoming the most radical innovation
in music printing since the first lines of music were engraved in the
16th century.
    Even in the age of advanced computer technology, there is
fascination in watching Kjaer sit down at a four-octave piano
keyboard, silently play a score of music into a digital computer and
minutes later have the first master sheet come out on a graphic
plotter.
    If a music engraver could be found today who would undertake to
prepare Beethoven's 5th symphony for printing, it would take him at
least 90 days. Kjaer's computer does it in 16 hours.
    The method is called scan-note. Kjaer first envisioned it when he
was still a music teacher, pianist and bandleader who had an active
interest in computers and datalogy. Loath of the labor of hand-writing
arrangements for students and musicians, he persuaded a local data
software firm to cooperate in devising a computerized shortcut to
printed music.
    Scan-note is now a company in its own right, and after 10 years of
development and about $500,000 in direct investment, the system is
increasingly good business.
    Proof is that the system now supplies the master films for about 10
percent of all music printed in Europe, and the company's sales
manager, Knud Dalboege Andersen, predicts it will cover 80 percent of
the market five years from now.
    This is no trifle considering that, in Europe alone, an estimated
400,000 sheets of music, new and old, are prepared in various methods
for printing every year. Trade sources consider it a fair guess that
each sheet is printed eventually in an average of 3,000-5,000 copies.
    Another measure of success is the type of business coming Kjaer's
way. Orders from Austrian and West German publishers have included all
the waltzes composed by Johann Strauss, the complete works of Joseph
Haydn and all the cantatas of Johan Sebastian Bach.
    An Italian foundation guarding a treasure of medieval manuscript
music placed an initial order involving hundreds of mostly unpublished
madrigals, some by Antonio Vivaldi.
    Recently, the unknown manuscript of a symphony written by Mozart at
age 9 was discovered in Germany. When the score goes into full print
soon, it will have gone through Kjaer's system.
    The rather simple system is built largely from standard equipment.
What makes it so different from any other are the 12,000 instructions
fed into the computer using a system where just one music symbol may
require 200 digital impulses.
    The secret of Kjaer's system is his study of a thousand years of
musical notations to define and systematize the rules, and then their
conversion into logical computer instructions.
    ''Without Kjaer's combination of musicology and datalogy, which may
not be found in any other single person, this thing would not have
been possible,'' says Andersen, the sales manager.
    Scan-note programmers, all with university degrees in music, now
work from two piano key terminals, each capable of producing 60-70
sheets of music in an eight-hour day.
    The right hand plays the music from the piano keys into the
computer. The left activates a special keyboard for such functions as
ties, slurs, note values, figurations and possible text lines.
    The computer feeds the instructions to a fast printer for
proofreading. A slower graphic plotter then draws up an oversized
sheet, which subsequently is scaled down photographically to the
desired size of the master film to be used by the publisher for the
printing of the music.
    The system will print out both a full score for conductors and the
individual dual voices for musicians or singers. A recent innovation
is a synthesizer that allows a composer in theory to write his music
directly into the computer, then listen to the playback for editing by
ear.
    End Adv AMs Wed May 6
    
ap-ny-05-02 2108EDT
 - - - - - -

a284  2005  02 May 81
AM-Advance Advisory,
Editors:
    The following advances have moved this cycle. Here is a listing:
 
    AARHUS, Denmark - ENT--Music Printing, a489, for May 6
    HOLLYWOOD - ENT--'Excalibur', a490, for May 5
    MEMPHIS, Tenn. - ENT--Music Coure, a493, for May 7
    HOLLYWOOD - TV Talk-Burstyn, a495, for May 6
    NEW YORK - Religion Today, a496, for May 8
    DYER, Ind. - American Style: Wright, a453, for May 5
    EAST McKEESPORT, Pa. - American Style: Autograph Hound, a466, for
May 7
    The AP
    
ap-ny-05-02 2303EDT
***************

∂30-Apr-81  1956	AK   via DEC-MARLBORO 	Guess what? 
1) I am mailing you the rest of the book 3 corrections.

2) There is a file in [1,AK] called VERSE, which contains the text
   for verses 2 and 3 of madrigal 323.  I don't know the right spacing,
   so you may have to adjust it.  Look at the files, and it should be
   evident what to do.  The note references are to the printed version
   in your files 323AA.X23, etc.

3) It now appears that the only acceptable page numbering for the music
   is as a continuation of the numbering of the thesis text.  We are
   verifying that fact.  If true, I suspect the best thing to do would
   be to hold off running the final copies until we know the first page
   number.  What a drag!

4) I am still trying to find a reasonable copying operation.  The last
   one I went to wanted 10 cents a page times 10 copies, times 200 pages,
   which is a lot of money.  Anyway, they had a Kodak copier with a
   .64 scaling, which makes your 1.23 size a mite too small.  The other
   problem is that they are unwilling to carefully position the original
   to get the margin correct.  It appears that the RIGHT edge of the
   printing on the original wants to be 1.75 inches from the right edge
   of the paper to get 1.00 inch right margin.  Can you do this?  Do
   you have a better idea?

5) We received the first round of book 3 corrections from you in good
   order.

Thanks a lot.  The end is near!

∂25-Apr-81  1949	AK   via DEC-MARLBORO 	madrigals   
I think Judie wants to make one more pass thru the book II madrigals
before you print them at size 1.23.  We may as well get them as clean as
possible before bothering to print them again.

I'll be sending you another packet from book 3 this coming week,
and will be expecting the ones you just did in the mail.

I think we are actually converging to a completion.  Thanks again.

∂18-Apr-81  2256	HYS   on TTY60  2256
One of these days you really ought to fix the tremolo on whole notes when
using socre input.  I'm sure you know the bug; either it's too low, or it
goes in the wrong direction.  Grumble.