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Relevant bibliographies by topics / Church music Musical notation

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Academic literature on the topic 'Church music Musical notation'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Church music Musical notation"

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Askovic, Dragan. "Karlovac chant between tradition and innovation." Zbornik Matice srpske za drustvene nauke, no. 178 (2021): 207–23. http://dx.doi.org/10.2298/zmsdn2178207a.

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Church singing, which was created due to the circumstances that arose after the Great Migration, is better known as the Karlovac chant. It was named after the place where it was transcribed and represents our national way of interpreting liturgical music, characterized by accepted influences of Western European musical practice, manifested first in music transcription, notation, metrics, and Western European tonality. Those were necessary conditions for its further artistic transposition into a complex polyphonic choral facture, intended primarily for church music elite. Permeated with the standard authoritative Western European musical tradition, it succumbed to the influence of superior musical achievements. However, when exposed to Western European creative practices, it did not prove to be a harmonized expression of artistic subordination, but an example of an unpredictable musical achievement based on the synthesis of our rich musical heritage imbued with a unique confessional and national self-determination. Its basic characteristics go back to the traditional musical heritage of the Balkans and Byzantium, enriched by Western European influences.

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Grier, James. "Adémar de Chabannes, Carolingian Musical Practices, and Nota Romana." Journal of the American Musicological Society 56, no. 1 (2003): 43–98. http://dx.doi.org/10.1525/jams.2003.56.1.43.

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Abstract Writing in 1027–28, Adémar de Chabannes states in his Chronicon that musicians at the court of Charlemagne knew and used musical notation. Authentic Carolingian sources of the eighth and ninth centuries provide striking corroboration of several elements in Adémar's narrative and so suggest that his version of events may be accurate. More important, however, are the parallels between Adémar and the Carolingian sources regarding the concern of the Frankish monarchs of the period for the quality of singing in the Frankish church, and particularly the adoption of the Roman style of performance. It was in this environment that the Frankish cantors may have developed musical notation, probably at Metz in the last decade of the eighth or first of the ninth century, to assist in the preservation and dissemination of Roman nuances of singing.

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Gilányi, Gabriella. "Preservation and Creation Plainchant Notation of the Pauline Order in 14th–18th-century Hungary." Studia Musicologica 59, no. 3-4 (December 2018): 399–418. http://dx.doi.org/10.1556/6.2018.59.3-4.8.

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Abstract This study surveys the musical notation appearing in the liturgical manuscripts of the Order of St. Paul the First Hermit from the fourteenth until the eighteenth century. As a Hungarian foundation, the Pauline Order adopted one of the most elaborate and proportionate Gregorian chant notations of the medieval Catholic Church, the mature calligraphic Hungarian/Esztergom style, and used it faithfully, but in a special eremitical way in its liturgical manuscripts over an exceptionally long period, far beyond the Middle Ages. The research sought to study all the Pauline liturgical codices and codex fragments in which this Esztergom-Pauline notation emerges, then record the single neume shapes and supplementary signs of each source in a database. Systematic comparison has produced many results. On the one hand, it revealed the chronological developments of the Pauline notation over about four centuries. On the other hand, it has been possible to differentiate notation variants, to separate a rounded-flexible and a later more angular, standardized Pauline writing form based on the sources, thereby grasping the transition to Gothic penmanship at the turn of the fifteenth and sixteenth centuries. A further result of the study is the discovery of some retrospective Pauline notation types connected to the Early Modern and Baroque period, after the Tridentine Council. The characteristics of the notations of the choir books in the Croatian and the Hungarian Pauline provinces have been well defined and some individual subtypes distinguished – e.g. a writing variant of the centre of the Croatian Pauline province, Lepoglava.

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Hulková, Marta. "Central European Connections of Six Manuscript Organ Tablature Books of the Reformation Era from the Region of Zips (Szepes, Spiš)." Studia Musicologica 56, no. 1 (March 2015): 3–37. http://dx.doi.org/10.1556/6.2015.56.1.1.

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Tablature notations that developed in the sixteenth century in the field of secular European instrumental music had an impact also on the dissemination of purely vocal and vocal-instrumental church music. In this function, the so-called new German organ tablature notation (also known as Ammerbach’s notation) became the most prominent, enabling organists to produce intabulations from the vocal and vocal-instrumental parts of sacred compositions. On the choir of the Lutheran church in Levoča, as parts of the Leutschau/Lőcse/Levoča Music Collection, six tablature books written in Ammerbach’s notation have been preserved. They are associated with Johann Plotz, Ján Šimbracký, and Samuel Marckfelner, local organists active in Zips during the seventeenth century. The tablature books contain a repertoire which shows that the scribes had a good knowledge of contemporaneous Protestant church music performed in Central Europe, as well as works by Renaissance masters active in Catholic environment during the second half of the sixteenth century. The books contain intabulations of the works by local seventeenth-century musicians, as well as several pieces by Jacob Regnart, Matthäus von Löwenstern, Fabianus Ripanus, etc. The tablatures are often the only usable source for the reconstruction of sixteenth- and seventeenth-century polyphonic compositions transmitted incompletely.

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Romanou, Ekaterini. "Italian musicians in Greece during the nineteenth century." Muzikologija, no. 3 (2003): 43–55. http://dx.doi.org/10.2298/muz0303043r.

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In Greece, the monophonic chant of the Orthodox church and its neumatic notation have been transmitted as a popular tradition up to the first decades of the 20th century. The transformation of Greek musical tradition to a Western type of urban culture and the introduction of harmony, staff notation and western instruments and performance practices in the country began in the 19th century. Italian musicians played a central role in that process. A large number of them lived and worked on the Ionian Islands. Those Italian musicians have left a considerable number of transcriptions and original compositions. Quite a different cultural background existed in Athens. Education was in most cases connected to the church - the institution that during the four centuries of Turkish occupation kept Greeks united and nationally conscious. The neumatic notation was used for all music sung by the people, music of both western and eastern origin. The assimilation of staff notation and harmony was accelerated in the last quarter of the 19th century. At the beginning of the 20th century in Athens a violent cultural clash was provoked by the reformers of music education all of them belonging to German culture. The clash ended with the displacement of the Italian and Greek musicians from the Ionian Islands working at the time in Athens, and the defamation of their fundamental work in music education.

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Romanou, Katy, and Maria Barbaki. "Music Education in Nineteenth-Century Greece: Its Institutions and their Contribution to Urban Musical Life." Nineteenth-Century Music Review 8, no. 1 (June 27, 2011): 57–84. http://dx.doi.org/10.1017/s1479409811000061.

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This article explores the music education of the Greek people in the nineteenth century, as revealed through the description of music education in Constantinople, Corfu and Athens.Before the establishment of the new state of Greece early in the nineteenth century, both Greeks and Europeans speak of ‘Greece’, referring to Greek communities beyond its borders. Music education in those communities consisted mainly of the music of the Greek Orthodox Church – applying a special notation, appropriate to its monophonic, unaccompanied chant – and Western music, and was characterized by the degree to which either culture prevailed. The antithesis of those music cultures was best represented, at least up to the 1850s, among the Greeks living in Constantinople – the seat of the Greek Orthodox Church – and Corfu of the Ionian Islands – where Italian music was assimilated. Athens was elected in 1834 as the capital of the Greek state because of its ancient monuments and did not attain the significance of a contemporary cultural centre before the 1870s. In Athens, these two musical cultures were absorbed and transformed through their confrontation and interaction. However, the new state's political orientation determined the predominance of Western music in music education in the capital.

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Scurtu, Codruț-Dumitru. "Aspects of the Paternity of Metropolitan Iosif Naniescu’s Liturgical Chant (1818-1902)." Artes. Journal of Musicology 17, no. 1 (January 1, 2018): 74–88. http://dx.doi.org/10.2478/ajm-2018-0003.

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Abstract The Romanian Orthodox Church in the 19th century and the first half of the 20th century had a valuable generation of hierarchs protopsalts, composers, translators and promoters of the psaltic music of the Byzantine tradition. From this exceptional generation, Iosif Naniescu is the most valuable composer and interpreter of the 19th century psaltic music. By his rich musical work, Metropolitan Iosif stands out as a reference point for the composition and translation of Greek psaltic chanting. Thanks to the original compositions and translations from the old music notation system, Iosif Naniescu may be included among the promoters of the Christian music notation system in our country alongside Macarie the Monk (with whom he would collaborate), Anton Pann (with whom he bound a close friendship between 1839-1854), and Dimitrie Suceveanu (whom he promoted as a protopsalter of Moldavia). The quality of his performance is highlighted by the countless written testimonies over time. Iosif Naniescu shows a special talent and zeal in his widespread work of over 100 musical manuscripts (stored in our country and in the Holy Mountain of Athos); he is also acknowledged for the Psalms of Time, which he copied in anthologies besides his own chants. Therefore, the present article comes to assert the origins of his chants and pays tribute to classical music of Byzantine tradition.

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DJOKOVIĆ, Predrag. "Towards perfect unity: himnography and some musical reinterpretations within Serbian chanting practice." Fontes Slaviae Orthodoxae 1, no. 1 (February 12, 2019): 71–79. http://dx.doi.org/10.31648/fso.3042.

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This paper explains the musical treatment of the hymnographic genres within the Serbian chanting practice. As it is known, the original Byzantine poetic structure written in verse — which was in perfect unity with the Byzantine chant concerning the rhythm and meter — was lost in Church-Slavonic translations. The Slavonic hymnography in prose inevitably caused modification of the music language, i.e. establishing of the new bond between the word and a tone. Accordingly, a creative practise of “tailoring” the church melodies to the structure and semantics of the particular hymnographic genre occurred within Serbian chanting practise. Eventually, many songs from the Octoechos, General Chanting, as well as certain songs of the Festal Chanting, gained the status of the “fixed” chants, the proof of which are the first Serbian chanting collections from the 19th century written in staff notation. In these chants semantics and music are set in a specific manner and they represent a model by which the chanters govern themselves while singing other church hymns. Ideal unity of hymnography and music in the fixed chants is reflected in coinciding of textual and music phrases. Such an ideal balance contributes to the clear transmission of the hymnographic content to the faithful. However, sticheras, irmoses, troparions and kontakions which lack the ideal balance, may cause the hymnographic narration and, at some places, even the theological points to be incomprehensible and imprecise. To creative chanters it is an opportunity to “tailor”, i.e. to reinterpret the chants in order to compensate for these imperfections. Such a creative interpretation is possible only by skilled chanters who, above all, thoroughly understand the meaning and structure of a particular hymnographic work. Amongst such chanters were some of the bishops and patriarchs of the Serbian Orthodox Church. Certain chants related to this problem are examined in this paper.

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Chircev, Elena. "Romanian Music of Byzantine Tradition Between 1918 and 2018." Artes. Journal of Musicology 19, no. 1 (March 1, 2019): 124–49. http://dx.doi.org/10.2478/ajm-2019-0007.

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Abstract Written in the year of Romania’s centennial anniversary as a national state, this paper intends to offer a panorama of the monodic music of Byzantine tradition of the period, composed by the Romanian chanters. Although the entire twentieth century was characterized by the harmonization of the already established church chants, the musical works written in neumatic notation specific to the Orthodox Church continue to exist, albeit discontinuously. Based on the political changes that occurred in the Romanian society, three distinct periods of psaltic music creation can be distinguished: a. 1918-1947; b.1948-1989; c.1990-2018. The first period coincides with the last stage of the process of “Romanianization” of church chants. The second one corresponds to the communist period and is marked by the Communist Party’s decisions regarding the Church, namely the attempt to standardise the church chants. After 1990, psaltic music regains its position and the compositions of the last two decades enrich its repertoire with new collections of chants. Thus, we can see that in the course of a century marked by political turmoil and changes, psaltic composition went on a hiatus in the first decades of the totalitarian regime, to gradually resurge after 1980, enriched with numerous works bearing a distinct Romanian stamp.

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Bernstein, Jane A., and H. Colin Slim. "An earthquake, a damaged painting, an unknown motet, and a lost Petrucci edition." Early Music 49, no. 1 (February 1, 2021): 3–16. http://dx.doi.org/10.1093/em/caab007.

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Abstract In 1519 Girolamo Alibrandi completed an altarpiece depicting the Presentation of Jesus at the Temple for the Compagnia of the Church of Santa Maria Candelora dei Verdi in Messina. The painting celebrates the service of Candlemas, the titular feast of the church and confraternity. One arresting detail, an open music book, appears in the lower-right quadrant of the work. Despite considerable damage sustained by the altarpiece in Messina’s 1908 earthquake, enough of the text and musical notation in the book is decipherable, allowing us to reconstruct the beginning of a hitherto unknown four-voice setting of Nunc dimittis. No concordant source of this motet has been found, but the artist’s accurate depiction of the music book enables us to identify it as a lost edition issued by Ottaviano Petrucci sometime before the end of 1504. Furthermore, the format, mise-en-page and text underlay suggest that the volume portrayed in the painting was a lauda edition—the kind of publication marketed for and used by confraternities such as the Compagnia della Candelora in Messina.

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Dissertations / Theses on the topic "Church music Musical notation"

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Mailian, Rubik. "The origin and development of the Armenian neumes (xaz) a survey of recent scholarship /." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.

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BoisAubin, Pierre A. "Digital Preservation of Haitian Mythology Music Notation." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:24078357.

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This project aims at preserving Haitian mythology music; it is conceptualized as having two components: • Digital Preservation Archive: The process generates equivalent notation of hardcopies as well as supplementary audio clip. The resulting artifacts are archived in a website. • Music Production Using Media Technologies: is an effort to stimulate interest in the music. Digital media technologies are applied toward arranging mythology songs for small Afro Western styled musical group. We design a workflow for notating, recording, and staging the music.

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Eales, Andrew Arnold. "An object-oriented toolkit for music notation." Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1006473.

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This thesis investigates the design and implementation of an object-oriented toolkit for music notation. It considers whether object-oriented technology provides features that are desirable for representing music notation. The ability to sympathetically represent the conventions of music notation provides software tools that are flexible to use, and easily extended to represent less common features of music notation. The design and implementation of an object-oriented class hierarchy that captures the structural and semantic relationships of music notation symbols is described. Functions that search for symbols, and update symbol positions are also implemented. Traditional context-sensitive and spatial relationships between music symbols may be maintained, or extended to provide notational features found in modern music. MIDI functionality includes the ability to play music notation and to allow step-recording of MIDI events. The toolkit has been designed to simplify the creation of applications that make use of music notation; example applications are created to demonstrate its capabilities.
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Sham, Helen. "La Musiquette a contemporary graphic notation : this exegesis is submitted to Auckland University of Technology for the degree of Bachelor of Art & Design (Graphics), Oct. 2005 /." Abstract Full dissertation, 2005.

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Exegesis (BA--Art and Design) -- AUT University, 2005.
Print copy accompanied by CD. Includes bibliographical references. Also held in print ( [36] leaves. : col. ill. ; 16 x 30 cm. + CD) in City Campus Collection ( T 780.148 SHA )

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Santini, Giovanni. "Explorations in augmented reality for interactive gesture-based musical notation." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/734.

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With its capability of merging virtual and real worlds, Augmented Reality (AR) provides a new framework for professional practices in numerous disciplines: it can deliver interactive pieces of information in real-time and in space. In music, such capabilities can have an important role in music notation and interfaces for electronic music performance. Numerous experimental musical applications have been developed since the early 2000s both for education and performance. However, in most circumstances, AR has been seen more as an aide towards the understanding and/or realization of traditional repertoire rather than a game-changing technology able to foster new artistic practices. There are still many uses yet to be explored, especially concerning compositional practice This dissertation also paves the way to a new repertoire in which the unprecedented possibilities offered by AR might be fully adopted and developed. This is an explorative work, structured mainly by a series of articles written solely by the author and published during his PhD studies (or accepted for publication at the time of writing). In these papers, a set of differentiated applications and compositions in the AR field are realized. The main thread that links all of the studies lies in the investigation of the relationship between AR and gesture-based musical practices (such as gesture-based control of spatialization and AR augmented instruments). A central role played by gesture-based music notation is the capability to notate a gesture in the space, with its exact coordinates and its exact velocity. Such a novel form of notation, enabled by AR technology and impossible in other domains, can also be enriched with interactive capabilities. As discussed in some studies included in this dissertation, virtual objects assigned to notational functions can also be assigned, simultaneously, to interface functions, thus creating interface-notation hybrids. Other studies of this dissertation address the capability of a virtual object changing its functions over time: AR notation can also be transformed into a virtual performer or into a visual augmentation of gesture. Another hopeful contribution of this dissertation to the musical use of AR lies in providing technical explanations of implementation procedures that could serve as a background for the creation of best practices

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Bartle, Lynne. "Addressing the idiosyncrasies of contemporary notation in recorder compositions, with specific references to unconventional symbols in Music for a bird by Hans-Martin Linde and Sieben Stucke fur altblokflote by Markus Zahnhausen." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/920.

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This treatise provides recorder performers and teachers with a guide to understanding the unconventional notation symbols encountered in Music for a Bird by Hans-Martin Linde and Sieben Stücke Für Altblockflöte by Markus Zahnhausen. Given the context of the overall history of notation, it argues that the idiosyncrasies of the unconventional notation symbols encountered in the recorder repertoire of contemporary composers such as Linde and Zahnhausen are by no means an anomaly. Throughout history, notated scores have functioned merely as incomplete guides to the reconstruction and the realization of musical works. Along with the decoding of these instructions, a host of acculturated meanings have always been taken for granted on the part of the writers of such guidelines. In the light of the modernist crisis and the resultant exacerbation of the gulf between composers and their audience, however, it would seem that the need for such acculturated intervention is greater then ever before. This treatise serves to bridge the gulf between the works of Linde and Zahnhausen on the one hand, and the average performer and teacher of the recorder on the other, by offering an analysis both of the meaning of the unconventional symbols these works contain as well as of the method according to which they should be executed on the recorder.

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Lewis, Kevin D. "A Historical and Analytical Examination of Graphic Systems of Notation in Twentieth-Century Music." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1271353110.

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Cataylo, Vilma May Chavez. "Musical works built on the native language to bring about musical knowledge and cultural development /." Access Digital Full Text version, 1986. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10624090.

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Thesis (Ed. D.)--Teachers College, Columbia University, 1986.
Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Lenore Pogonowski. Bibliography: leaves 291-295.

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Housley, Laura L. "Dynamic Generation of Musical Notation from MusicXML Input on an Android Tablet." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338377470.

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Martin, Pierre. "CompositionALife: an artificial world as a musical representation for composition." Thesis, Linköping University, Department of Computer and Information Science, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2880.

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Composing music is something a lot of people have wished they could be able to do. Unfortunately, to be able to compose music, people often need several years of training and study to acquire the necessary knowledge: first to learn how to use the traditional musical representation and then to learn the rules for composing different kinds of music.

This thesis describes research to develop and evaluate a representation and system for musical composition. The system provides users with a simple and specific language to create and interact with the artificial world; and by creating animals and giving them behaviors, users are composing music. The user study conducted at the end of this project showed that this program ("CompositionALife") could make it easier for people without previous knowledge in music and/or composition to compose interesting music.

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Books on the topic "Church music Musical notation"

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Byzantine neumes: A new introduction to the Middle Byzantine musical notation. Copenhagen: Museum Tusculanum Press, 2011.

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author, Costea G., Croitoru I. author, and Moldoveanu Nicu editor, eds. Gramatica muzicii psaltice bisericești: Studiu comparativ cu notația liniară. București: Editura Institutului Biblic și de Misiune Ortodoxă, 2013.

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I︠A︡synovsʹkyĭ, I︠U︡ P. Vizantiĭsʹka hymnohrafii︠a︡ i t︠s︡erkovna monodii︠a︡ v ukraïnsʹkiĭ ret︠s︡ept︠s︡iï rannʹomodernoho chasu: Mohohrafichne doslidz︠h︡enni︠a︡. Lʹviv: Instytut ukraïnoznavstva im. I. Krypʹi︠a︡kevycha NAN Ukraïny, 2011.

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Papachristopoulos, Ioannis. Beziehungen zwischen den drei Subkategorien der heirmologischen Gesänge-Hauptgattung in der griechischen Kirchenmusik: Verdeutlicht am Fall eines im Dritten Echos vertonten und durch das analytische Notationssystem transkribierten dreifachen Melos' aus dem 18. und 19. Jahrhundert. Frankfurt am Main: Peter Lang, 2011.

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Muro, Don. The church musician's guide to music technology. Chicago: GIA Publications, 2004.

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Catholic Church. A manual of liturgic chants in modern notation, and sacred melodies. Montreal: [Brothers of Christian Instruction, 1994.

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Nat︠s︡ionalen fond "Nauchni izsledvanii︠a︡." and Bulgaria. Ministerstvo na obrazovanieto, mladezhta i naukata, eds. Slavi︠a︡nski muzikalni rŭkopisi v Rilskii︠a︡ manastir. Sofii︠a︡: Iztok-Zapad, 2012.

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Ştefan, Răzvan-Constantin. Stihirile dogmatice anastasime ale Vecerniei Sâmbetelor Octoihului: Izvoarele liturgice şi tradiţia muzicala (din secolul al Xl-lea până în prima jumătate a secolului al XIX-lea. Bucureşti: Editura Basilica, 2014.

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McGrain, Mark. Music notation. Boston, Mass: Berklee College of Music, 1986.

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Konet︠s︡ vremeni kompozitorov. Moskva: Russkiĭ putʹ, 2002.

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Book chapters on the topic "Church music Musical notation"

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Donin, Nicolas. "Finding the body in twentieth-century musical notation." In Music-Dance, 122–38. Abingdon, Oxon; New York, NY: Routledge, 2018. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-8.

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Gundorina, Anastasia. "Metaphor as a Structural Principle of Modern Musical Notation." In Language, Music and Gesture: Informational Crossroads, 39–52. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-3742-1_4.

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Rioli, Maria Chiara, and Riccardo Castagnetti. "Sound Power: Musical Diplomacy Within the Franciscan Custody in Mandate Jerusalem." In European Cultural Diplomacy and Arab Christians in Palestine, 1918–1948, 79–104. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55540-5_5.

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AbstractAlthough often underestimated or barely quoted by historical studies, music plays a crucial role in the cultural agenda of Church institutions and missionary congregations. Among the Catholic actors, the Franciscan Custody of the Holy Land was a central one connecting two of their main goals: evangelisation and education. These two tasks were strictly linked: music was a central element in the liturgies celebrated in the parishes and in the Holy Places and at the same time a pedagogical tool, taught in the schools ruled by the Friars. Music reveals also the complex process of encounter of Palestinian and Western patterns in modern Palestine. In this way the music sung and taught in the St Saviour also contributed to shape the soundscape of Jerusalem. The chapter discusses various sources related to Augustine Lama, at that time the director of the schola cantorum of St Saviour.

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Romanou, Katy. "The Music of the Modern Greeks in Western and Eastern Music Literature, from the 9th to the 19th Centuries." In The Music Road, 257–78. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266564.003.0013.

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This chapter concerns the interactions between Eastern and western music from the ninth to the 19th century. Through observations of western writers (such as Zarlino, Burney, Martini, Villoteau, Fétis) about the music of their contemporary Greeks, it is shown that most of the Eastern terms and concepts described in western treatises of the 9th century (when the East influenced the West) have been preserved almost unchanged in the Greek church over the centuries. By the end of the 18th century, westernisation of the East and the spread of nationalism brought great political and cultural changes to the population of Asia Minor. In Constantinople, music theory and the notation of the Greek chant were then rationalised (westernised). In the books of the reformer, Chrysanthos of Madytos, the strong influence of the French Enlightenment is most evident, side by side though with, still vivid, Eastern concepts and ideas.

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"Basic Musical Notation." In Mathematics and Music, 49–66. Chapman and Hall/CRC, 2013. http://dx.doi.org/10.1201/b14784-6.

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Bamberger, Jeanne. "How the conventions of music notation shape musical perception and performance." In Musical Communication, 143–70. Oxford University Press, 2005. http://dx.doi.org/10.1093/acprof:oso/9780198529361.003.0007.

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"The Transition to the Modern Era: Instrumental Music and Performing Indications." In Musical Notation in the West, 142–80. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781139034821.007.

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"Introduction Edessa. The Birthplace Of Syriac Ecclesiastical Music." In The Beth Gazo in Musical Notation, 135–52. Piscataway, NJ, USA: Gorgias Press, 2012. http://dx.doi.org/10.31826/9781463217808-002.

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Sloboda, John. "The Uses of Space in Music Notation." In Exploring the Musical MindCognition, emotion, ability, function, 43–69. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780198530121.003.0003.

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Hasty, Christopher. "New Music—New Rhythm." In Thought and Play in Musical Rhythm, 337–80. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190841485.003.0014.

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This chapter undertakes an exploration of rhythmic practices in twentieth and, especially, late twentieth-century European-International modernist music, focusing on attempts to reduce or eliminate durational projection and taking into account the role of notation in crafting experiments with a newly emancipated rhythm. It is suggested that this emancipation of rhythm is at least as significant as the “emancipation of dissonance” and, indeed, far more significant if “rhythm” is given a properly broad scope. Principal examples are taken from Morton Feldman’s De Kooning (1963), Toru Takemitsu’s Rain Tree for percussion (1981), and Salvatore Sciarrino’s Muro d’Orrizonte (1997).

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Conference papers on the topic "Church music Musical notation"

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Araújo, João, Rogerio Constante, Flávio Luiz Schiavoni, and Octávio Deluchi. "Harmonia: a MuseScore's plugin to teach music." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10447.

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Information and Communication Technologies (ICTs) have been characterized as a very effective resource for promoting innovation in the way of teaching and learning. In relation to the musical area, computer software of musical notation, like MuseScore, has been more and more used for the musical compositions and to teach and learn music writing, musical arrangement, composition and counterpoint. MuseScore is a free software that can easily be applied to academic purposes, such as universities, for teaching students in music fields and can also be used in the professional life of students who have graduated from courses that use it. In addition, it allows the implementation of plugins for various purposes, such as the analysis of scores in relation to various preset parameters. In this context, this work aims to present the development of the Harmonia, an open source plugin for MuseScore focused on teaching musical analysis and automatic verification of scores based in harmony predefined rules.

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Genfang, Chen, Zhang Wenjun, and Wang Qiuqiu. "Pick-up the Musical Information from Digital Musical Score Based on Mathematical Morphology and Music Notation." In 2009 First International Workshop on Education Technology and Computer Science. IEEE, 2009. http://dx.doi.org/10.1109/etcs.2009.261.

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"Music Computer Technologies in Music Studies at School of the Digital Age (Aspect of Musical Notation)." In Jan. 29-30, 2019 Cebu (Philippines). Emirates Research Publishing, 2019. http://dx.doi.org/10.17758/erpub3.uh0119404.

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Martincek, Peter Jan. "RECONSTRUCTION PROBLEMS OF 17TH-CENTURY MUSICAL COMPOSITIONS WRITTEN IN NEW GERMAN ORGAN TABLATURE NOTATION WITH SPECIFIC EXAMPLES FROM LEVOCSKA ZBIERKA HUDOBNIN THE LEVOCA MUSIC COLLECTION." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s12.005.

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Akkermann, Miriam. "(Musik)instrument (im) Computer." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.102.

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The use of the computer as a sound generator is omnipresent in current music production and ranges from music notation programs playing back samples via MIDI control to specially programmed sound synthesis programs. The term ‚computer‘ is generally understood as a complete set of hardware and software. But a closer look at this complete set is definitely worthwhile and poses some systematical challenges. In the early days of digital sound synthesis in real time, the hardware is strongly connected to the resulting sound. The control was done by means of a programming language or a specially designed software, which offered more or less possibilities of intervention, depending on the stage of development. But do these sound generators actually fulfill the definition of a musical instrument – and what exactly is that definition? What about the so-called software instruments, which, partly hardware-independent, allow users to play music? How can and should interfaces be classified seeing that hardware extensions developed specifically for musical use, but still need (special) software and other technical equipment for sound generation and, above all, output? And who actually decides on the sound and handling of the new instrument, since the integration of computers into musical works usually takes place in close cooperation between composers, musicians, engineers and programmers? In order to be able to discuss these questions, not only new methodological approaches but also cooperation between the disciplines is unavoidable and at the same time rewarding.

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