Although no single music notation program can accommodate the requirements of every user, musicians working in an academic setting will find Nightingale an inviting software package that offers a viable compromise between ease and power. It accommodates scores of up to sixty-four staves and one hundred parts, affords attractive printed output, even without a laser printer, and supports comprehensive MIDI recording and playback capabilities. Nightingale's developers have evidently given accessibility high priority. The Installation Guide contains both brief instructions for experienced Macintosh users and detailed instructions for beginning users, enabling even the rank novice to install the program with ease and confidence. The User's Manual then offers a step-by-step tutorial: four chapters dealing with basic note entry, tools, and commands, MIDI playback and recording, and editing techniques are bound with the original manual, and a fifth chapter on setting up a score and page layout is furnished both as a printed insert and as an on-screen file contained in the Nightingale folder. Although much of the tutorial is admirably clear, there are weaknesses. The authors seem to be ambivalent about its function and audience, sometimes presenting too much information in an undifferentiated fashion. For example, many beginning users will not immediately require the information on MIDI channel testing presented in chapter 3, although it is certainly indispensable for readers who encounter a problem with MIDI playback. If material of this nature were offset from the rest of the text by smaller type or shading the portion of the page on which it appeared, beginners could know what portions of the tutorial might safely be skipped if they didn't encounter the specific problems addressed by those text portions. In addition, the text is marred by occasional errors: it is simply not true, for instance, that shift-clicking on a previously selected symbol will deselect that symbol (p. 26). The chart of short-cut keys for the tool palette (p. 39 and insert) is particularly annoying: it is not only non-U.S. users who will find discrepancies between their keyboards and the shortcut keys listed, for there are no fewer than ten such discrepancies between U.S. System 7.1 and the chart. Even more than program documentation, it is the user interface that determines software accessibility. Nightingale's interface is straightforward, with menus of the sort familiar from other Macintosh applications, a tool palette containing readily recognizable icons of musical symbols, and an intuitively organized system of shortcut tool and command keys. Contents of menus are logical, and the names of menu items generally convey their functions clearly. File, for instance, contains the same kinds of items as the File menu of Macintosh word processing programs: New, Open, Save, and Print are there, along with some specialized relatives such as Extract Parts and Import MIDI File. Likewise, Edit contains the expected Cut/Copy/Paste family of commands. The Score menu and submenu commands control the layout of systems and pages; a flow or bulk-assignment feature for text or lyrics is also available in Score. Transposition, clarification of rhythmic notation, changing stem direction for multivoice notation or other purposes, and removing modifiers are among the operations controlled under the Notes/Rests menu; the Groups command controls beaming, tuplets, and, perhaps somewhat unexpectedly, octave signs. The View menu controls what is displayed upon the screen and how it is displayed; the Reduce and Enlarge commands in this menu, for example, permit one to work with a small section of enlarged score to fine-tune the placement of symbols or to get an overview of a whole page of score even on a standard size monitor by working with a 25 percent or 50 percent reduction. Finally, the Play/Record menu controls the MIDI applications of Nightingale. …
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