References
Harry B. Lincoln, ed.,The Computer and Music (Ithaca: Cornell University Press, 1970).
John Rothgeb, “Musical Research by Computer: Some Current Limitations,”Computers and the Humanities, 5, iii (January 1971), 178–82.
Barry S. Brook, ed.,Musicology and the Computer (New York: City University of New York Press, 1970). [For a review, see p. 56–58, below.]
John Clough, “TEMPO: A Composer's Programming Language,”Perspectives of New Music, IX, 1 (Fall-Winter 1970), 113–25.
Tobias D. Robison, “IML-MIR: A Data-Processing System for the Analysis of Music,” Harald Heckmann, ed.,Elektronische Datenverarbeitung in der Musikwissenschaft (Regensburg: Gustav Bosse, 1967), 103–35.
Barry S. Brook, “The Simplified ‘Plaine and Easie Code System’ for Notating Music: A Proposal for International Adoption,”Fontes Artis Musicae, XII, 2–3 (1965), 156–60.
George Hill, “The Thematic Index to the Köchel Catalog,”Institute for Computer Research in the Humanities Newsletter, IV, 7 (March 1969), 8–9.
Hans-Rudolf Dürrenmatt, Murray Gould, and Jan LaRue, “Die Notierung thematischer Incipits auf ‘Mark-Sense Cards’,”Fontes Artis Musicae, XVII, 1–2 (January–August 1970), 15–23.
David S. Prerau, “Computer Pattern Recognition of Standard Engraved Music Notation,” Ph.D. diss., Massachusetts Institute of Technology, 1970.
Until then see the report inComputers and the Humanities, 5, ii (November 1970), 109–10.
Donald Byrd, “Transcription by Plotter,”Random Bits, V, 9 (May 1970), 1ff.
Reported inComputers and the Humanities, 5, ii (November 1970), 111.
Raymond F. Erickson, “Melodic Structure and Rhythmic Problems in Organum Purum: A Computer-Assisted Study,” Ph.D. diss., Yale University 1970.
Nancy O. Rubenstein, “A FORTRAN Computer Program for Transcribing Franconian Rhythm,” Ph.D. diss., Washington University, 1969;Dissertation Abstracts, XXX, 12 (June 1970) 5474-A.
Jens L. Hanson, “An Operational Approach to the Theory of Rhythm,” Ph.D. diss., Yale University 1969;Dissertation Abstracts, XXX, 9 (March 1970), 3972-A.
Glenn R. Mortenson, “Development and Use of Computerized Procedures for Scoring Sight Reading of Rhythms to Compare the Effectiveness of Metric and Representational Notation with Conventional Notation,” Ph.D. diss., Northwestern University, 1970;Dissertation Abstracts; XXXI, 8 (February 1971), 4205-A.
James L. Curry, “A Computer-Aided Analytical Study of Kyries in Selected Masses by Johannes Ockeghem,” Ph.D. diss., University of Iowa, 1969;Dissertation Abstracts, XXX, 9 (March 1970), 3969-A.
Arthur Mendel, “Some Preliminary Attempts at Computer-Assisted Style Analysis in Music.”Computers and the Humanities, 4, i (September 1969), 41–52.
Lewis Lockwood, “A Stylistic Investigation of the Masses of Josquin Desprez with the Aid of the Computer: A Progress Report,” Barry S. Brook, ed.,Musicology and the Computer, 19–27; a slightly revised version appears as “Computer Assistance in the Investigation of Accidentals in Renaissance Music,” Dragotin Cvetko, ed.,International Musicological Society: Report of the Tenth Congress, Ljubljana, 1967, Kassel: Barenreiter (1970), 444–9.
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For another application of linguistics to computer-assisted research in music, see Terry Winograd, “Linguistics and the Computer Analysis of Tonal Harmony,”Journal of Music Theory, XII, 1 (Spring 1968), 2–49.
Frederick Crane and Judith Fiehler, “Numerical Methods of Comparing Musical Styles,” Harry B. Lincoln, ed.,The Computer and Music, 209–22.
Donald M. Pederson, “Some Techniques for Computer-Aided Analysis of Musical Scores,” Ph.D diss., University of Iowa, 1968;Dissertation Abstracts, XXIX, 6 (December 1968), 1919-A.
Stefan M. Kostka, “A Computer-Assisted Study of Some Aspects of Style Development in the String Quartets of Paul Hindemith,” Ph.D. diss., University of Wisconsin, 1969;Dissertation Abstracts, XXXI, 2 (August 1970), 786-A.
Raymond F. Erickson, “A General-Purpose System for Computer-Aided Musical Studies,”Journal of Music Theory, XIII, 2 (Winter 1969), 276–94.
Gary Berlind and George W. Logemann, “An Algorithm for Musical Transposition,”Computer Studies in the Humanities and Verbal Behavior, II, 2 (August 1969), 102–8.
Lionel Chernoff, “The Determination of All Possible Hexachord-Generated, Twelve-Tone Rows Characterized by Bisymmetric Configurations of All the Simple Intervals,” Ph.D. diss., Catholic University, 1968;Dissertation Abstracts, XXX, 1 (July 1969), 354-A.
Robert M. Mason, “An Encoding Algorithm and Tables for the Digital Analysis of Harmony,”Journal of Research in Music Education, XVII, 3 (Fall 1969), 286–300, XVII, 4 (Winter 1969), 369–87.
Dragotin Cvetko, ed.,International Musicological Society: Report of the Tenth Congress, Ljubljana, 1967, Kassel: Barenreiter (1970).
Benjamin Suchoff, “The Computer and Bartók Research in America,”Journal of Research in Music Education, XIX, 1 (Spring 1971) 3–16; see also Benjamin Suchoff, ed.,Roumanian Folk Music, The Hague: Martinus Nijhoff (1971), for Appendix II in Volume 4 and Appendix III in Volume 5, which are computer-derived.
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Kostka, S.M. Recent developments in computer-assisted musical scholarship. Comput Hum 6, 15–21 (1971). https://doi.org/10.1007/BF02402318
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DOI: https://doi.org/10.1007/BF02402318