∂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.


∂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.
∂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
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