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Some digital editions have been presented that explicitly encode early notation content in ad-hoc designed formats. One of the firsts attempts was proposed by Manion and Stinson in 1984 with the Scribe project (Stinson and Stoessel, 2014), where a software application and an encoding formats where developed (see Fig. 1 ). Maybe, the most serios attempt to create open tools for encoding mensural music so far has been the Computerized Mensural Music Editing (CMME) (Dumitrescu and Berchum, 2009). An eXtensible Markup Language (XML) based format (Selfridge-Field, 1997) was devised and both tools' for inputting music and visualizing it with a number of specific features such as choosing between early and modern clefs were released. However, besides the “The Other Josquin’” Jase Rodin’s project this work is not longer maintained.

Figure 1 Some digital editions have been presented that explicitly encode early notation content in ad-hoc designed formats. One of the firsts attempts was proposed by Manion and Stinson in 1984 with the Scribe project (Stinson and Stoessel, 2014), where a software application and an encoding formats where developed (see Fig. 1 ). Maybe, the most serios attempt to create open tools for encoding mensural music so far has been the Computerized Mensural Music Editing (CMME) (Dumitrescu and Berchum, 2009). An eXtensible Markup Language (XML) based format (Selfridge-Field, 1997) was devised and both tools' for inputting music and visualizing it with a number of specific features such as choosing between early and modern clefs were released. However, besides the “The Other Josquin’” Jase Rodin’s project this work is not longer maintained.

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Created as “a tool for music editors in order to compare early music editions and re- editions when compiling comprehensive critical modern editions’”* , the Aruspix project was the first available tool able to recognize printed mensural manuscripts and to convert them into a computer readable symbolic format (Pugin, 2009) using OMR. The music editing tools were conceived to correct the output of OMR and to superimpose and collate early music prints (see Fig. 2). Elias and Desmond, 2017), who introduced a method to encode mensural music using the
Created as “a tool for music editors in order to compare early music editions and re- editions when compiling comprehensive critical modern editions’”* , the Aruspix project was the first available tool able to recognize printed mensural manuscripts and to convert them into a computer readable symbolic format (Pugin, 2009) using OMR. The music editing tools were conceived to correct the output of OMR and to superimpose and collate early music prints (see Fig. 2). Elias and Desmond, 2017), who introduced a method to encode mensural music using the
Fig. 3: Martha Thomae and Karen Desmond Sibelius workaround. kind of notation, they devised a workaround by using articulation marks not present in mensural notation that were used to denote specific mensural features. Then, after using the SibMEI Sibelius plugin* to export MEI format, a script was developed to replace those marks with the expected mensural property (see Fig. 3).
Fig. 3: Martha Thomae and Karen Desmond Sibelius workaround. kind of notation, they devised a workaround by using articulation marks not present in mensural notation that were used to denote specific mensural features. Then, after using the SibMEI Sibelius plugin* to export MEI format, a script was developed to replace those marks with the expected mensural property (see Fig. 3).
Fig. 4: OMR systems ate currently unable to deal with this kind of manuscripts. For filling this gap, in this work we propose a format to quickly encode by hand early notation music, specifically, white mensural polyphonic works, from which we are able to generate MEI encoding for their preservation. As our objective is not to substitute MEI > but to provide a tool for simplifying its writing, we defer any diplomatic nuance to its manual editing directly in the generated MEI file. Based on the previous experience of manually encoding CWMN works with Humdrum’s **kern format (Huron, 2002), such as most of the Chopin works, we have designed a new Humdrum format named **mens for encoding white mensural notation. Repertory-specific issues similar to the ones referred to in MI to (Zitellini and Pugin, 2016) are addressed using markup and tools to convert the data into EI. The Verovio Humdrum Viewer (VHV)° (see Fig. 5) (Sapp, 2017) has been extended work with **mens . Thus, the user writes directly the content using **mens , and VHV can represent visually the content rendered and export to MEI. Additionally, the IM3 library’ has been also extended to convert from/to **mens and MEI and other formats, such as Lilypond, and MusicXML or MIDI in their CWMN translation.
Fig. 4: OMR systems ate currently unable to deal with this kind of manuscripts. For filling this gap, in this work we propose a format to quickly encode by hand early notation music, specifically, white mensural polyphonic works, from which we are able to generate MEI encoding for their preservation. As our objective is not to substitute MEI > but to provide a tool for simplifying its writing, we defer any diplomatic nuance to its manual editing directly in the generated MEI file. Based on the previous experience of manually encoding CWMN works with Humdrum’s **kern format (Huron, 2002), such as most of the Chopin works, we have designed a new Humdrum format named **mens for encoding white mensural notation. Repertory-specific issues similar to the ones referred to in MI to (Zitellini and Pugin, 2016) are addressed using markup and tools to convert the data into EI. The Verovio Humdrum Viewer (VHV)° (see Fig. 5) (Sapp, 2017) has been extended work with **mens . Thus, the user writes directly the content using **mens , and VHV can represent visually the content rendered and export to MEI. Additionally, the IM3 library’ has been also extended to convert from/to **mens and MEI and other formats, such as Lilypond, and MusicXML or MIDI in their CWMN translation.
Fig. 5: Verovio Humdrum Viewer snapshot (1649-1706).
Fig. 5: Verovio Humdrum Viewer snapshot (1649-1706).
Fig. 6: Simple **mens encoding of notes and rests.
Fig. 6: Simple **mens encoding of notes and rests.
WHITE MENSURAL MANUAL ENCODING: FROM HUMDRUM TO MEI [able 1 (see example in Fig. 6). This way, a maxima rest is encoded using the code “Xr’.
WHITE MENSURAL MANUAL ENCODING: FROM HUMDRUM TO MEI [able 1 (see example in Fig. 6). This way, a maxima rest is encoded using the code “Xr’.
Fig. 8: MEI encoding of **mens code in Figure. 2.1. PERFECTION ENCODING
Fig. 8: MEI encoding of **mens code in Figure. 2.1. PERFECTION ENCODING
Fig. 17: Salve Regina: “parte de tiple 1° del 1° coro”.
Fig. 17: Salve Regina: “parte de tiple 1° del 1° coro”.
Fig. 18: Some possible amiguities. To compare the performance and suitability of the proposal, we have first encoded part of the content directly into MEI using Oxygen”, taking us between around 12 minutes per staff, being difficult to concentrate on the direct transcription process from the manuscript while writing XML code. When we have moved to the second and the rest of voices, the problem has been even worse due to the MI EI staff separation architecture. In contrast, the encoding using **mens has taken us between 2 and 3 minutes for each staff, including the time to make those interpretation deci Perhaps the most interesting feature is the ability of sions of the original manuscript. **kern , inherited by **mens, to > represent in a very efficient way the simultaneity of voices, which has helped us in particular to deduce the correct transcription in situations of ambiguity so common in this kind of manuscripts, due in many cases to ink blots, paper holes and dropped ink, where sometimes we do not know which symbol the copyist wanted to represent (see Fig. 18).
Fig. 18: Some possible amiguities. To compare the performance and suitability of the proposal, we have first encoded part of the content directly into MEI using Oxygen”, taking us between around 12 minutes per staff, being difficult to concentrate on the direct transcription process from the manuscript while writing XML code. When we have moved to the second and the rest of voices, the problem has been even worse due to the MI EI staff separation architecture. In contrast, the encoding using **mens has taken us between 2 and 3 minutes for each staff, including the time to make those interpretation deci Perhaps the most interesting feature is the ability of sions of the original manuscript. **kern , inherited by **mens, to > represent in a very efficient way the simultaneity of voices, which has helped us in particular to deduce the correct transcription in situations of ambiguity so common in this kind of manuscripts, due in many cases to ink blots, paper holes and dropped ink, where sometimes we do not know which symbol the copyist wanted to represent (see Fig. 18).
Fig. 19: IM3 engraving of mensural and modern transcription (excerpt).
Fig. 19: IM3 engraving of mensural and modern transcription (excerpt).
Fig. 21: Extract of Humdrum encoding using **mens. Fig. 20: Extract of MEI encoding of manuscript.
Fig. 21: Extract of Humdrum encoding using **mens. Fig. 20: Extract of MEI encoding of manuscript.
Fig, 22: Verovio engraving (excerpt). WHITE MENSURAL MANUAL ENCODING: FROM HUMDRUM TO MEI
Fig, 22: Verovio engraving (excerpt). WHITE MENSURAL MANUAL ENCODING: FROM HUMDRUM TO MEI
Fig, 23: Lilypond engraving (excerpt).
Fig, 23: Lilypond engraving (excerpt).
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MusicologyMusic Encoding
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