Buxton, W., Sniderman, R., Reeves, W., Patel, S. & Baecker, R. (1979). The Evolution of the SSSP Score Editing Tools. Computer Music Journal 3(4), 14-25. Reprinted in, , C. Roads & J. Strawn, (Eds.) (1985). Foundations of Computer Music. MIT Press, Cambridge MA, 376-402.  Home/Search   Document Not in Database   Summary   Related Articles   Check

....selected can be an unusual shape. The second method is to enclose the selected objects with a rectangle or an enclosure (closed curve) The gesture drawing a rectangle is used in Landay s interface design editor [14] and the enclosing gesture is suggested by Buxton et al. in their music system [3]. GEdit [12] the Air traffic control system [4] and Tivoli [13, 20] also used the enclosing gesture to select objects. In these editors, the objects are not fixed in their two dimensions; the square and the enclosing gestures are very suitable for such objects. The selection gesture cannot be a ....

W. Buxton, R. Sniderman, W. Reeves, S. Patel, and R. Baecker. The evolution of the SSSP score editing tools. Computer Music Journal, 3(4):14--25, 1979.

....The Mockingbird system [12] was a pioneer in the use of a graphical UI and MIDI keyboard. However, because this system relies heavily on MIDI keyboard input nearly all input requires skilled performance and editing. The system also depends on a WIMP interface style to edit notation. Buxton [2] developed a system which included a set of gestures for specifying notes and rests (see Figure 1) While this is an effective set of gestures for very basic note entry, the system does not provide gestures for other fundamental notations such as stem direction, accidentals, and beams. Although we ....

....Buxton s gestures in the Music Notepad, there are some situations where the gesture scheme is cumbersome. For example, multiple short notes often appear in long sequences, but the gesture for creating short notes is unfortunately relatively complicated. Figure 1: A set of gestures developed in [2] for creating notes of various durations. Rests are created by mirroring these same gestures around the horizontal axis. A similar gestural component is embedded in an otherwise conventional WIMP interface in both the NoteWriter and the NoteAbility systems [14] These systems provide simple ....

Buxton, W., Sniderman, R., Reeves, W., Patel, S., and Baecker R., "The Evolution of the SSSP Score Editing Tools," Computer Music Journal, Issue No. 12, 3:(4), pp. 14-25, 1979.

....degree of functionality in a very compact form, but the gestures must be memorized by the user. Taysi explored the relations between the design of gestures, their utility, and the ease with which the user masters them [164] Buxton et al. developed SSSP, a gestural system for music transcription [19, 21]. Rubine s drawing gestures simultaneously convey the object, the operation, and as many as two parameters to the system with one gesture [142, 143] His system introduced a type of swift adaptation in the concept of eager recognition. Unique subgestures may be recognized as soon as the subset ....

Buxton, William A. S., R. Sniderman, W. Reeves, S. Patel, and R. Baecker. The Evolution of the SSSP Score Editing Tools. Computer Music Journal 3, no. 4 (1979): 14-25.

....using handdrawn proofreaders symbols to specify commands. Figure 1.1 shows a familiar sight in a proofread text, from Buxton [6] Giving commands in this way was possible using Coleman s system, returning the word processor user to a more intuitive and quicker way of editing text. Buxton [7] built a musical score editor Ideally, we want a one to one mapping between concepts and gestures. User interfaces should be designed with a clear objective of the mental model we are trying to establish. Phrasing can reinforce the chunks or structure of the model. Figure 1.1: Proofreader s ....

W.A.S. Buxton et al. The evolution of the sssp score-editing tools. In Curtis Roads and John Strawn, editors, Foundations of Computer Music, chapter 22, pages 433--466. The MIT Press, 1985.

....hardware (Buxton et al. 1978) The synthesizer could produce up to 16 voices using various synthesis methods in real time under the control of the PDP 11. The software was a broad range of UNIX based C language routines and applications that all manipulated the same event and voice data structures (Buxton et al. 1979). The software distribution put together in 1982 by F. Richard Moore and D. Gareth Loy at the Computer Audio Research Laboratory (CARL) at the University of California in San Diego (UCSD) included comprehensive C language libraries for event and signal processing of all sorts, and the cmusic ....

Buxton, W. et al.,1979. "The Evolution of the SSSP Score Editing Tools." Computer Music Journal 3(4): 1425.

....data in one place so that a change in the score will automatically be propagated to the parts, and part specific layout information can be maintained for each part (view) Views have many other potential applications. Alternative notations for a single piece of music can be represented as views [Buxton 85b] Even repeated sections of music might be represented as views. For example, it is common notational practice to indicate that a section of music is to be repeated. Often, each repetition has its own ending, or notation such as tacet the 7 first time. This is essentially a view mechanism in ....

Buxton, W., R. Sniderman, W. Reeves, R. Patel, and R. Baecker. The Evolution of the SSSP Score-Editing Tools. Foundations of Computer Music. In C. Roads and J. Strawn, MIT Press, 1985, pages 376-402.

....description language (PDL) Other gesture recognition approaches include neural networks [Hollan88] and Learning Vector Quantization (LVQ) Shankar93] Gesture Based Systems [Coleman69] describes a text editor that employs proofreader s symbols for editing commands. Buxton s musical score editor [Buxton85] supports simple gestures to indicate note duration and scoping operations. Margaret Minsky s Button Box [Minsky84] is a complete Logo programming environment that uses gestures for selection, movement, and path specification. Rhyne86] presents a gesture based spreadsheet program. Murase88] ....

Buxton, W.A.S., Sniderman, R., Reeves, W., Patel, S., and Baecker, R. The Evolution of the SSSP Score-Editing Tools. In Foundations of Computer Music, Roads, C. and Strawn, J. (Eds.), 387-392. MIT Press (Cambridge, MA), 1985. 174

....score (i.e. a pitch vs. time plot) where color was used to denote organ voicing. This graphical score was transcribed for use by the SSSP s digital synthesizer rather easily. The further revisions to the score used several graphical notations that were specific to the SSSP system (Buxton et al. 1979), and for which tools were written in C. These notations went beyond the simple pitch time diagrams and included structure trees, timbral notations, and other non traditional graphical representations for which computer editors were built. This is an example of realizing an ad hoc ....

Buxton, W. et al.,1979. "The Evolution of the SSSP Score Editing Tools." Computer Music Journal 3(4): 1425.

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Buxton, W., Sniderman, R., Reeves, W., Patel, S. & Baecker, R. (1979). The Evolution of the SSSP Score Editing Tools. Computer Music Journal 3(4), 14-25. Reprinted in, , C. Roads & J. Strawn, (Eds.) (1985). Foundations of Computer Music. MIT Press, Cambridge MA, 376-402.

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