music notation language and compiler generating midi

Discussion in 'comp.music.midi' started by Andre Serbin, Jul 8, 2003.

  1. Andre Serbin

    Andre Serbin Guest

    There has been released a new music notation language - Moo - and a
    supporting
    compiler generating midi: http://moo2midi.sourceforge.net/

    Here is an excerpt from Introduction:

    ===========
    This language was designed out of the impa-
    tience with the classical notation and various graphical tools
    supporting
    it as music entry even for very simple pieces becomes a quite laborous
    activity, with most of the effort concentrated on the process of
    typeset-
    ting rather than on the musical contents of the piece. The major goal
    of
    the whole project was to design a notation that would let a piece be
    no-
    tated at or very close to the speed at which it could be sung, much
    like
    a good typist that could almost follow the speaker. The other important
    goal was to be able to instantly playback notated pieces, which
    provided
    an incentive to write a translator from Moo to MIDI.
    Because of these goals, the language should be viewed as a scratch
    pad shorthand, and not as a full-fledged music notation with provisions
    for various playing style directions and other fine points usually
    found
    in common sheet music. In other words, Moo is not supposed to replace
    classical notation, but to add to it by providing a convenience of
    being
    able to quickly put down a sketch of a musical thought with very little
    care for details that can be filled in later.
    The Moo language was created as an experimenting tool with the intent of
    achieving the following notation properties.

    o A very streamlined notation allowing for one character per note on
    average. This leads to elimination of flats and sharps, and to imple-
    menting "most adjacent note choice" technique to reduce the number of
    explicit octave jumps.

    o The absence of tonal bias, i.e. a piece is notated with regard to
    its
    functional structure rather than to any particular tonality. All at-
    tachments to concrete tonal values should be done using transposition
    parameters, which allows for easy reintegration of parts from differ-
    ent pieces. This implies elimination of key signature.

    o A simple yet flexible rhythm notation allowing at least as much
    flex-
    ibility as classical notation. In fact, it is desirable that it do
    not impose any time signature on the whole piece allowing each mea-
    sure to have its own number of beats. Also, the tempo value should be
    specified using some external tempo parameter and not in the parts
    themselves.

    o A very concise chord notation providing means of streamlined entry
    of
    harmonic progressions that can be seamlessly combined with plain
    notes.
    ===========


    Andrey

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