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16.5 Unifying Accessible Design, Technology and Musical Content

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Figure 16.16. Classes that control the Braille printing

the two templates is the use of different insertion tags. A table of valid insertion tags will be available soon. Since the templates request named BrailleSequence objects that contain the syntax of the Braille chunk, line breaking and other separation issues can be handled here. If the character output of a BrailleSequence would not fit on the same line, a line feed can be inserted to force the character output to be on the same line. If a ScorePage object is successfully formatted, it will keep the result in its own character buffer until requested later. The latter procedure depends on the exact implementation of the ScorePage generation iteration loop.

After the steps described above, all ‘raw’ character information needed for printing to either an embosser or printer is available. All information is tailored to the preferences defined in the various objects’ settings. The final step in the Braille printing procedure will transmit the required/preferred parts to the spooler.

The final step in the Braille printing procedure invoked from the PrintBraille method associated to the ‘Print to Braille’ menu item is the transmission of the interpreted and formatted character output to the printer spooler. The printer spooler will handle the actual transmission of the data, as shown in Figure 16.16.

In the last execution step in the PrintBraille method the character buffers of the BrailleDocument’s TitlePage and various ScorePages are copied into the BraillePrinter buffer (or streamed to the BraillePrinter buffer). The BraillePrinter object will issue all required commands to send the buffers to the spooler. Notifications (for instance: error messages, print job finished, etc.) are handled by means of the BraillePrinter object.

16.5.2 Talking Music

Talking Music was originally produced by taking the music score and writing a ‘script’ for a trained reader which described the musical information within the score. The results proved very popular with end-users, but the process had several

608 16 Designing Accessible Music Software for Print Impaired People

underlying problems. The transcribers of the music who wrote the script used slightly different protocols, as many of the aspects were open to subjectivity. This resulted in users receiving inconsistent output, while it has been outlined above that consistency is a core requirement of Design for All.

From a logistics point of view, the production was very time consuming, with a transcriber, a reader and then a technician to parse the chunks of audio into a suitable structure. A further loss of productivity occurred because the music, being essentially a unilingual representation, was fixed to one language. The process cannot take place successfully unless it is automated.

One of the major strengths of an automated method of development is that the output can be produced in almost any format. The creation process is dynamic so the user has almost unlimited control of how and what the program produces. This increases the use of the technology and meets the needs and preferences of a larger body of consumers. In particular the preferences regarding musical detail are very important. In order to meet these needs effectively a way has to be found to model them. A first step in modelling these needs is to meet the requirement for a flexible means of music representation. This flexible music representation method should at least encompass all the musical input information that is provided at this moment. It should also be flexible enough to allow compatibility with any input or output format or user need added in the future. This resulted in the specification and development of an object oriented music model and all related components.

If the representation framework for parsing the musical information described above for the Braille music requirements (Section 16.5.1) is robust enough, then in theory any output format can be constructed from the object-oriented model. Using the same model facilitates much more personalisation for such requirements as automated Talking Music creation.

As outlined above, Braille music has several varying requirements from country to country as to how it is used. Using the same methods used to solve this problem, a Talking Music system can be created which allows not only non-destructive modifications to take place on the score but extra languages can be easily created, so it becomes simple for any producer to output in several different languages. These requirements all come under personalising user requirements; the scalability required to create multiple language outputs has the secondary advantage of allowing users to specify their own grammar in the Talking Music Protocols used.

In order to achieve the level of interoperability required for Talking Music, and ultimately to allow the user to navigate the score, a clearly defined output structure is required which each score can conform to. A simplification is shown in Figure 16.17.

The document contains two main sections, one with the Header information (Metadata) and one with the literal music information. The elements that make up these various repositories of information allow the output requirements to pick and choose what complexity is required.

A closer look at the parsing of the musical information is shown in Figure 16.18. The musical information becomes hierarchical in this simple example, but it is important to note that the entities involved in this framework are represented in such a way that music can be presented in a non-hierarchical way or in a dif-