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| Finale Art File | |
|---|---|
| Name | Finale Art File |
| Developer | MakeMusic, Inc. |
| Released | 1990s |
| Operating system | Microsoft Windows, macOS |
| Genre | Music notation |
| License | Proprietary |
Finale Art File is a proprietary file format associated with the Finale (software) family produced by MakeMusic, Inc. used to encapsulate graphical music notation, manuscript art, and associated metadata for distribution, archival, and printing. It evolved in parallel with releases of Finale (software), reflecting features introduced in successive versions and interoperability efforts with other notation packages such as Sibelius (software), Dorico, and raster/vector graphics tools like Adobe Illustrator and CorelDRAW. The format has been discussed in contexts involving publishers such as Hal Leonard, libraries like the Library of Congress, and academic institutions including Juilliard School and Berklee College of Music.
The format originated amid the rise of desktop publishing in the 1990s when companies such as MakeMusic, Inc. sought to provide single-file encapsulation for scores used by publishers including Schirmer, Oxford University Press, and Schott Music. Early development intersected with standards discussions involving MPEG and ISO/IEC JTC 1 for multimedia and data interchange, and with music encoding efforts such as MusicXML, NIFF, and MuseData. Adoption grew among professional users at organizations like the Royal College of Music and media companies including BBC and Sony Classical. Over successive versions, compatibility considerations with operating systems Microsoft Windows and macOS and integration with desktop suites like Microsoft Office and typesetting systems such as LaTeX influenced format extensions.
The file encapsulates a combination of vector primitives, embedded raster images, typographic information referencing foundry libraries such as Linotype and Monotype, and music-specific glyph mapping akin to SMuFL standards. Internally it stores page-level bounding boxes, staff layouts, and object z-order similar to graphic formats like EPS and SVG, while also recording performance annotations reminiscent of MIDI and editorial metadata comparable to Dublin Core schemas. Structure versions correlate with releases of Finale (software) and sometimes include conversion metadata when exported to interchange formats such as MusicXML or archival formats used by institutions like the International Association of Music Libraries, Archives and Documentation.
The format supports standard notation objects found in printed editions used by ensembles such as London Symphony Orchestra and Berlin Philharmonic: staves, clefs, key signatures, time signatures, notes, articulations, dynamics, tuplets, and text objects for lyrics and directions (used in works like Beethoven's Symphony No. 9 or Mozart's Requiem). It also handles graphic elements employed by publishers Boosey & Hawkes and G. Schirmer, Inc.: system dividers, trial-sized fingering marks, rehearsal letters, and custom glyphs for composers like John Williams or Philip Glass. Embedded audio previews reference protocols similar to MIDI and can include linked resources for educational institutions like Indiana University Jacobs School of Music.
Primary authoring occurs in Finale (software) itself, with versioned toolsets used by professionals at studios such as Abbey Road Studios and broadcasters like NPR. Third-party editors and plugins from developers associated with Garritan and MakeMusic, Inc. extend capabilities; integration exists with scoring environments like Sibelius (software) via import/export workflows and converters developed by groups including the MuseScore community. Print shops and engravers use vector editors such as Adobe Illustrator and layout tools like QuarkXPress to composite final pages; typesetters may convert content into LaTeX or InDesign workflows for publishers like Faber Music.
Interoperability has been a central concern among stakeholders including orchestras like the New York Philharmonic and academic consortia such as RISM. Converters to MusicXML and MIDI allow migration to notation systems like Dorico, Sibelius (software), and MuseScore. Cross-platform concerns engage vendors such as Apple Inc. and Microsoft for file-system and font handling; archival strategies referencing standards organizations like National Information Standards Organization aim to preserve access alongside repositories such as the British Library and Library of Congress. Proprietary aspects have led to third-party reverse-engineering efforts by communities formerly affiliated with projects like NIFF.
Publishers including Hal Leonard and film scoring houses such as Warner Bros. Pictures use the format for print master files, orchestral parts preparation for ensembles like the Los Angeles Philharmonic, and engraving archives for conservatories like Curtis Institute of Music. Educators at institutions like Royal Conservatory of Music employ it for exercises and assessments; broadcasters such as BBC Radio 3 utilize annotated scores for program notes. Arrangers working for artists like Beyoncé or Paul McCartney have leveraged the format within production pipelines that include libraries from Sony Music Publishing.
Critics from academic and archival circles including representatives of International Association of Music Libraries, Archives and Documentation and contributors to projects like Music Encoding Initiative note proprietary constraints that hinder long-term access compared with open formats such as MusicXML. Font embedding and glyph licensing with foundries like Monotype and Linotype can complicate redistribution for publishers like Hal Leonard and Boosey & Hawkes. Interchange fidelity with competitors Sibelius (software) and Dorico is imperfect, prompting reliance on intermediate formats and manual correction by engravers at firms like Elektra Records or institutions such as Yale School of Music.
Category:Music notation file formats