This new process claims the serious attention of commercial music publishers for its fine qualities, not the least of which is ease and cheapness of production.' Smith's Woodwind Trio was published using this system in 1973 and Richard Swift, reviewing it for Notes, drew attention to the 'admirable clarity and ease of reading for performer and score reader, easily equivalent to the finest examples of contemporary music printing by other means. The first printing of a complete musical work set entirely by computer was of Smith's Six Bagatelles for Piano which appeared in December 1971, printed at 100 dpi on a CalComp plotter and reduced by a factor of five for printing at 8.5'x11'. The graphics plotters used for output were not able to plot curves so MSS did not use music fonts as they are understood today, instead using user-editable symbol libraries based on polygons, and text was generated from an internal character set. In this example of an early SCORE routine the beginnings of the parameter system (P2, P3 etc.) can be seen: BUZZ Īs vector graphics terminals became available in the early 1970s, the parametric approach to describing musical information that had been designed for MUSIC V was adapted by Smith into a program he called MSS (the standard abbreviation for manuscripts) for printing musical scores. The core concept of SCORE was to break music into a set of items ('objects' in modern terminology) with parameters that describe their characteristics. The first incarnation of SCORE was written by Leland Smith in 1967 as a means of entering music into the MUSIC V sound generating system running on the PDP-10 mainframe computers at the Stanford Artificial Intelligence Laboratory (SAIL). 3.2 Editing music graphically/numerically.

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