Conference Schedule / Archive

In this workshop, we will present Lilypond as a viable alternative to commercial notation packages (Sibelius, Finale) for composers and musicologists alike. We will explain Lilypond's editing paradigm, where music is not entered graphically but as plain text, which is then translated to the actual sheet music. While this non-WYSIWYG editing style can initially seem complex and takes time to get used to, it offers many advantages (concerning, for example, the typesetting quality) that we intend to demonstrate in detail. After this workshop, participants should feel confident to get started with Lilypond in order to typeset their next small-to-medium composition or musicological paper. They should regard it as natural to consult the documentation and participate in the Lilypond community to overcome any problems that they might face a part of this process. We will use the cross-platform Lilypond editor 'Frescobaldi' (http://frescobaldi.org) as the main tool in the workshop.
We plan to cover the following subjects:
- Showcase of some examples
- Comparison with commercial notation packages (typesetting quality, license situation)
- Installation on different operating system
- Introduction to HTML help system and realtime support (mailing list, IRC)
- Editing paradigm, basic syntax
- Workflow suggestions for preparing larger scores and individual parts
- Conversion to and from other formats (e.g., .sib and .etf)
- Addressing specific questions by workshop participants ("How do I...?")
- Preparing musicological documents with lilypond-book and LaTeX or the OOoLilyPond plugin for OpenOffice
- Alternative editors ('LilyPondTool' jEdit plugin, Denemo, Rosegarden, Musescore)

The score for Parallaxis is in four parts and can be played on any four melodic instruments. Multiple quartets may perform simultaneously under the direction of one or more directors.
The music notation is presented to the performers through the authors web-based score playback system. This allows performers to interact with the score and to make decisions regarding the preparation of a "version" before a performance. There is also the possibility of live interventions during a performance by a "Director/Conductor".
The score adopts a "scrolling score" paradigm, this combined with graphic notation allows the score to be interpreted by musicians without strict "classical" training. The individually controllable scrolling score's "parts" allows a high degree of coordinated ensemble playing (complex poly-rhythms etc.) regardless of the musicians experience in such ensemble styles.

We present the outcomes of a series of room impulse response (IR) measurements. We have recorded binaural, Ambisonic-encoded and regular stereo/mono IRs of multichannel loudspeaker arrays in various concert halls in Austria, Northern Ireland, Germany and New Zealand. The resulting IRs and accompanying documentation have been made publicly available on a website for composers to use in the production and documentation of their multichannel pieces. The paper also discusses several custom-written shell scripts and extensions to the Aliki and Jconvolver software packages, which we have developed for the production of the presented IRs.