Editing Sheet music (section)

===20th century and early 21st century===

In the late 20th and into the 21st century, significant interest has developed in representing sheet music in a computer-readable format (see [[Scorewriter|music notation software]]), as well as downloadable files. [[Music OCR]], software to "read" scanned sheet music so that the results can be manipulated, has been available since 1991.

In 1998, virtual sheet music evolved further into what was to be termed digital sheet music, which for the first time allowed publishers to make copyright sheet music available for purchase online. Unlike their hard copy counterparts, these files allowed for manipulation such as instrument changes, transposition and [[MIDI]] (Musical Instrument Digital Interface) playback. The popularity of this instant delivery system among musicians appears to be acting as a catalyst of new growth for the industry well into the foreseeable future.

An early computer notation program available for home computers was [[Music Construction Set]], developed in 1984 and released for several different platforms. Introducing concepts largely unknown to the home user of the time, it allowed manipulation of notes and symbols with a pointing device such as a [[Mouse (computing)|mouse]]; the user would "grab" a note or symbol from a palette and "[[Drag and drop|drop]]" it onto the staff in the correct location. The program allowed playback of the produced music through various early sound cards, and could print the musical score on a graphics printer.

Many software products for modern [[digital audio workstation]] and [[List of scorewriters|scorewriters]] for general personal computers support generation of sheet music from MIDI files, by a performer playing the notes on a MIDI-equipped keyboard or other [[MIDI controller]] or by manual entry using a mouse or other computer device.

By 1999, a system and method for coordinating music display among players in an orchestra was patented by [[Harry Connick Jr.]]<ref>{{US patent|6348648}}</ref> It is a device with a computer screen which is used to show the sheet music for the musicians in an orchestra instead of the more commonly used paper. Connick uses this system when touring with his [[big band]], for instance.<ref>{{cite web|url=http://www.macobserver.com/article/2002/03/07.6.shtml |title=Harry Connick Jr. Uses Macs at Heart of New Music Patent |publisher=The Mac Observer |date=2002-03-07 |access-date=2011-11-15}}</ref>  With the proliferation of wireless networks and iPads similar systems have been developed. In the classical music world, some [[string quartet]] groups use computer screen-based parts. There are several advantages to computer-based parts. Since the score is on a computer screen, the user can adjust the contrast, brightness and even the size of the notes, to make reading easier. In addition, some systems will do "page turns" using a foot pedal, which means that the performer does not have to miss playing music during a page turn, as often occurs with paper parts.

Of special practical interest for the general public is the [[Mutopia project]], an effort to create a library of [[public domain]] sheet music, comparable to [[Project Gutenberg]]'s library of public domain books. The [[International Music Score Library Project]] (IMSLP) is also attempting to create a virtual library containing all [[public domain]] musical scores, as well as scores from composers who are willing to share their music with the world free of charge.

Some [[scorewriter]] computer programs have a feature that is very useful for composers and arrangers: the ability to "play back" the notated music using [[synthesizer]] sounds or [[virtual instrumentation|virtual instruments]]. Due to the high cost of hiring a full symphony orchestra to play a new composition, before the development of these computer programs, many composers and arrangers were only able to hear their orchestral works by arranging them for piano, organ or string quartet. While a scorewiter program's playback will not contain the nuances of a professional orchestra recording, it still conveys a sense of the tone colors created by the piece and of the interplay of the different parts.