Dissertations / Theses: '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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Wiltshire, Eric Scott. "The effects of visual and aural congruence on the sight-reading of music notation /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11245.

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Varelli, Giovanni. "Musical notation and liturgical books in late Carolingian Nonantola." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/264172.

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The musical notation of the northern Italian Benedictine abbey of St Sylvester in Nonantola has hitherto been neglected by most scholarship on early music scripts, mainly because of the paucity of surviving music manuscripts and their limited geographical diffusion. A new study was needed in order to develop a full understanding of the abbey’s role and importance in the first phases of development of the writing of music in the early Middle Ages. A Lombard foundation, Nonantola acquired much of its prestige from the links with the Carolingian court as early as the late eighth century. From the first decades after its foundation, the Po Valley abbey also benefited from an active scriptorium; this shaped a local type of text script that endured until after the fall of the Carolingian empire, when the abbey, including most of its library, was destroyed by the Hungarian invasion in 899 (§1). The study of the earliest surviving notated liturgical manuscripts revealed that, by the late ninth century, Nonantola already developed an institutional type of musical notation, making it the earliest known music script ever to be written in the Italic peninsula and, thus, among the earliest in Carolingian Europe (§§2–3). The unique design and use of musical signs showed that this northern Italic notation developed, for the most part, independently from a basic repertory of graphs derived from grammatical accents (§4). Finally, observations of the influences of the central Italic nota romana, which this study only began to explore, opened up the possibility that Nonantolan notation may preserve the oldest traces of graphic conventions for the representation of sound that can be associated with the city of Rome (§5). Placed between the northern and southern fringes of the Carolingian empire, the Benedictine abbey of Nonantola played an important role in the early history of music writing, and this study contributes to the breaking of new ground for further explorations.

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Fujinaga, Ichiro. "Adaptive optical music recognition." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42033.

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The basic goal of the Adaptive Optical Music Recognition system presented herein is to create an adaptive software for the recognition of musical notation. The focus of this research has been to create a robust framework upon which a practical optical music recognizer can be built.
The strength of this system is its ability to learn new music symbols and handwritten notations. It also continually improves its accuracy in recognizing these objects by adjusting internal parameters. Given the wide range of music notation styles, these are essential characteristics of a music recognizer.
The implementation of the adaptive system is based on exemplar-based incremental learning, analogous to the idea of "learning by example," that identifies unknown objects by their similarity to one or more of the known stored examples. The entire process is based on two simple, yet powerful algorithms: k-nearest neighbour classifier and genetic algorithm. Using these algorithms, the system is designed to increase its accuracy over time as more data are processed.

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Shafer, Seth. "Recent Approaches to Real-Time Notation." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984210/.

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This paper discusses several compositions that use the computer screen to present music notation to performers. Three of these compositions, Law of Fives (2015), Polytera II (2016), and Terraformation (2016–17), employ strategies that allow the notation to change during the performance of the work as the product of composer-regulated algorithmic generation and performer interaction. New methodologies, implemented using Cycling74's Max software, facilitate performance of these works by allowing effective control of generation and on-screen display of notation; these include an application called VizScore, which delivers notation and conducts through it in real-time, and a development environment for real-time notation using the Bach extensions and graphical overlays around them. These tools support a concept of cartographic composition, in which a composer maps a range of potential behaviors that are mediated by human or algorithmic systems or some combination of the two. Notational variation in performance relies on computer algorithms that can both generate novel ideas and be subject to formal plans designed by the composer. This requires a broader discussion of the underlying algorithms and control mechanisms in the context of algorithmic art in general. Terraformation, for viola and computer, uses a model of the performer's physical actions to constrain the algorithmic generation of musical material displayed in on-screen notation. The resulting action-based on-screen notation system combines common practice notation with fingerboard tablature, color gradients, and abstract graphics. This hybrid model of dynamic notation puts unconventional demands on the performer; implications of this new performance practice are addressed, including behaviors, challenges, and freedoms of real-time notation.

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Tofani, Arthur Piza Mosterio. "Uma ferramenta para notação musical em braille." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/45/45134/tde-18102012-174817/.

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O presente trabalho investiga as diculdades enfrentadas por decientes visuais ao ingressarem em um curso de nvel superior em Música, onde a troca de informacão musical escrita é frequente e se dá por meio de partituras impressas em tinta, e a conversão deste material para braille demanda conhecimentos específicos e disponibilidade de recursos. Igualmente problemática, a produção musical do aluno cego é feita em braille, seja para tomar nota de aulas como para realizar tarefas de disciplinas como Contraponto, Harmonia e Análise Musical, ou mesmo para a realização de exames. Claramente, esse material deve passar por um processo de conversão para que o professor possa avaliar o aluno, entre outros motivos. O foco principal da pesquisa realizada é a analise da musicografia braille sob a ótica das possibilidades de se produzir transcrições automáticas entre partituras em braille e tinta, a fim de prover recursos tecnológicos direcionados a solução deste problema. Para tanto, foi desenvolvido um aplicativo capaz de receber informação musical em braille e converê-la para o formato MusicXML, adequado para a leitura a partir de outros aplicativos de notação musical e, consequentemente, a impressão deste material em tinta. Este programa esta sendo distribudo como software livre sob licenca LGPL, contrapondo-se as suas alternativas hoje existentes no mercado. O aplicativo desenvolvido foi utilizado e avaliado por usuarios decientes visuais e com visão normal por meio de um questionário. Os dados foram então analisados, buscando mapear as diferenças nas experiências de uso e verificar necessidades de melhorias e novas funcionalidades, buscando com isso o aprofundamento nas questões pertinentes ao problema e dando suporte a novas pesquisas relativas ao assunto.
This work researches visually-impaired person\'s dificulties when studying music as a university career, where musical information is usually forwarded as ink-printed sheet music and the translation of this material to braille involves specic skills and resource availability. In that sense, the musical production demanded from a blind student is accomplished by using braille notation, for taking notes or producing homework for disciplines like Harmony, Musical Analysis, or even to take tests. Clearly the information produced has to be submitted to a conversion process, and finally it can be reviewed by the professor or other students. The main focus of this research is the understanding of braille music aspects and the problem of generating automatic ink-printed sheet music transcriptions, providing assistive resource for music students. For attaining this goal, an application was developed in order to receive braille music input and translate it to MusicXML format, which can be read by any of the widely MusicXML compatible softwares available for reading, editing and printing music. The program is distributed as free software under LGPL license, as opposed to currently available alternatives. The resulting application was tested by visually-impaired and non-visually impaired users, and reviewed trough the application of a survey. The collected data was analyzed, in search for variations on user experience and checking for software improvement needs, as well as uncovering further relevant matters on this subject.

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Frasch, Cheryl Crawford. "Notation as a guide to modality in the Offertories of Paris, B.N., Lat. 903 /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265143145199.

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Wootton, Joan Elizabeth. "Teaching braille music notation to blind learners using the recorder as an instrument." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/50461.

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Thesis (PhD) -- University of Stellenbosch, 2005.
ENGLISH ABSTRACT: The researcher encountered the following problems while teaching braille IWSic notation to blind learners at the Pioneer School in Worcester: • Young learners learning to read braille IWSic notation with the piano as mediwn appeared to struggle technically. For example, blind children experienced difficulty finding the correct keys over seven octaves; they had generally weak posture; they had to learn to play one part with one hand while the other hand would read; they had to memorise the music for each clef individually and then combine them cognitively; they had to memorise the soprano, alto, tenor and bass parts of a piece; they often experienced discouragement because of the very slow progress they made compared with their sighted peers. • Although learners seemed to find the recorder technically more manageable, currently available braille recorder tutors proved to be inadequate. This inadequacy was a result of the tutors having been designed for the sighted child. The researcher thus set out to design a more appropriate approach than is currently available for teaching braille music notation to the blind, with the recorder as medium. The research method was qualitative and included a literature survey which covered the following unique needs of the blind learner: • psychological • emotional and social • concept development • motor skills (orientation, laterality, posture, coordination) • tactile perception • creativity and self expression The qualitative research also included video observation of a series ofiodividual and group lessons. The lesson material emerged from a programme designed by the researcher and was based on the literatme study. An observation panel. together with the researcher, evaluated the lessons on predetenDned coded assessment criteria 'The lessons and progrannne were adapted according to feedback from the lessons. The qualitative research includes interviews with five blind learners and six teachers of braille music notation. The interviews were designed to gather information on how blind learners can more appropriately be taught the braille music code. The unique needs of blind learners, in particular those concerning orientation and perceptual awareness, are considered in this alternative approach for teaching braille music notation to blind learners. 'The alternative programme is skills based and can be used convElliently in conlunetion with the Outcomes- Based Education (OBE) modeL
AFRIKAANSE OPSOMMING: Die navorser het die volgende probleme ondervind tydens baar onderrig van braille musieknotasie aan blinde leerders by Pionierskool in Worcester: • Dit wil voorkom asofjong leerders wat braille musieknotasie moet aanleer met die klavier as medium, tegniese probleme ondervind. Blinde kinders het dit byvoorbeeld moeilik gevind om die korrekte toetse oor sewe oktawe te vind; oor die algemeen was hulle houding swak; hulle moes leer om een stemparty met een hand te lees terwyl die ander hand gespeel het; hulle moes die musiek vir elke sleutelteken apart memoriseer en die stemme kognitiefbymekaar sit; hulle moes die sopraan, alt. tenoor en bas stempartye van 'n stuk memoriseer, hulle is baie keer moedeloos, weens hulle stadige vordering, in vergelyking met hulle siende portuurgroep. • A1hoewel dit gelyk het asof leerders die bioldIuit tegnies meer hanteerbaar gevind het, blyk huidige beskikbare braille bloldluit handleidings nie geskik te wees nie. Hierdie ontoereikendheid is as gevolg van die feit dat die handleidings vir die siende kind ontwerp IS. Derhalwe het die navorser gepoog om 'n meer toeganklike benadering te ontwikkel as wat tans beskikbaar is vir die onderrig van braille misieknotasie aan die blinde, met die bioldIuit as medium. Die ondersoekmetode was kwalitatief van aard en het onder andere 'n literatuuroorsig ingesluit wat die volgende unieke behoeftes van die blinde leerder ingesluit het: • siellnmdig • emosioneel en sosiaal • konsep ontwikkeling • motoriese vaardighede (oriëntasie, lateraliteit, houding, koOrdinasie) • gevoelswaarneming

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Tommis, Yvonne. "Teaching pre-school children to perform from conventional music notation : an exploration of different methods." Thesis, Bangor University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342574.

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Brunner, Heather Nicole. "COLOR AND MUSIC: A REVIEW OF RESOURCES TO ENHANCE BEGINNING INSTRUCTION IN PIANO PEDAGOGY." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/316.

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This paper will examine color-coded musical notation. The history of color and music will be briefly explored before a more in-depth analysis of the widely available color-coded curriculums. Traditional method book formats will be examined for the potential integration of color-coded musical notation.

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譚詠基 and Wing-Kei Ruth Tam. "Accent markings in Schubert's piano sonatas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31211902.

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Dean, Alexander. "The five-course guitar and seventeenth-century harmony : Alfabeto and Italian song /." Digitized version, 2009. http://hdl.handle.net/1802/1098.

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Thesis (Ph. D.)--University of Rochester, 2009.
Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/10978

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Tam, Wing-Kei Ruth. "Accent markings in Schubert's piano sonatas /." Hong Kong : University of Hong Kong, 1992. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14292440.

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Athanasopoulos, Georgios. "Scoring sounds : the visual representation of music in cross-cultural perspective." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7799.

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This thesis argues that a performer’s relationship with a musical score is an interaction largely defined by social and cultural parameters, but also examines whether disparate musical traditions show any common underlying tendencies regarding the perceived relationship between musical sound and visual representation. The research brings a novel, cross-cultural perspective to bear on the topic, combining a systematic, empirical study with qualitative fieldwork. Data were collected at five sites in three countries, involving: classically-trained musicians based in the UK; traditional Japanese musicians both familiar and unfamiliar with western standard notation; literate Eastern Highlanders from Port- Moresby, Papua New Guinea; and members of the BenaBena tribe, a non-literate community in Papua New Guinea. Participants heard short musical stimuli that varied on three musical parameters (pitch, duration and attack rate) and were instructed to represent these visually so that if another community member saw the marks they should be able to connect them with the sounds. Secondly, a forced-choice design required participants to select the best shape to describe a sound from a database. Interviews and fieldwork observations recorded how musicians engaged with the visual representation of music, considering in particular the effects of literacy and cultural parameters such as the social context of music performance traditions. Similarities between certain aspects of the participants’ responses suggest that there are indeed some underlying commonalities among literate participants of any cultural background. Meanwhile, the overall variety of responses suggests that the association between music and its visual representation (when it takes place) is strongly affected by ever-altering socio-cultural parameters.

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Bays, Geoffrey Alan. "ScoreSVG a new software framework for capturing the semantic meaning and graphical representation of musical scores using JAVA2D, XML, and SVG /." unrestricted, 2005. http://etd.gsu.edu/theses/available/etd-07072005-150030/.

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Thesis (M.S.)--Georgia State University, 2005.
Ying Zhu, committee chair; Rajsekhar Sunderraman, Xaolin Hu, committee members. Electronic text ( 82 p. : ill. (some col.)) : digital, PDF file. Description based on contents viewed July 5, 2007. Includes bibliographical references (p. 52-54).

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Espinel, Miguel Angel. "Replenishment: A Musical Narrative Inspired by Sleep." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062888/.

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The Replenishment cycle contains five works that allude to the experience of sleep, beginning with awake drowsiness and ending with the piece inspired by rapid eye movement (REM) sleep, titled Conceiving Realities. This last piece is an intermedia work composed for chamber ensemble, live painting with biofeedback, computer, and audiovisual processing. This critical essay describes the composition of Conceiving Realities within the context of the Replenishment cycle, followed by a thorough analysis of the research involved in the technological aspects of the piece, and finally, a description of the instrumentation, notation, intermedia elements, and technology comprising the work. Conceiving Realities uses a system of interactions between painting, biofeedback, music, and video, in which a painter wears brainwave and heartbeat sensors that send data to a computer patch processing the sound of an ensemble as the painter listens and creates the painting while responding to the music. This requires a passive biofeedback system in which the painter is focused on listening and painting. The computer uses the data to process existing sounds, instead of synthesizing new lines. The score blends elements of traditional notation, graphics, and guided improvisation; giving the performers some creative agency. This alludes to the way in which scenarios in dreams occur without voluntary control of the dreamer. Finally, a camera captures the painting and projects three video screens applying individual types of processing to the original video stream, controlled in real time by the amplitude of the ensemble. All these elements create an immersive experience for the audience that is mediated by the interaction of sight and sound.

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Giraud, Eleanor Joyce. "The production and notation of Dominican manuscripts in thirteenth-century Paris." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648704.

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Beal, John C. "An introduction to the musical octoechos of the Georgian Orthodox Church." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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Hessel, Eric. "Addressing Technical and Musical Demands of Contemporary Music for Horn through Newly-Composed Etudes." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538667/.

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Contemporary music for horn often requires techniques and musical or notational considerations that are unconventional with respect to the standard pedagogy of the instrument. As such, these considerations often represent a level of challenge to which the average-intermediate to advanced-hornist is unprepared to approach or altogether unfamiliar. The most prominent of these demands arising in the last few decades of the twentieth century through today include microtonality (such as extended just intonation and quarter tones), extended techniques in combination or juxtaposition (such as multiphonics and right hand technique), rhythmic complexity (including metric modulation, non-dyadic meters, additive rhythms, and nested tuplets), and unconventional notations (graphic, spatial, and other temporal notations). This document first surveys the challenges of the repertoire in question, which includes works by György Ligeti, Thea Musgrave, Milton Babbitt, Brian Ferneyhough, Iannis Xenakis, Heinz Holliger, and Douglas Hill, among others. After considering the merits and limitations of existing pedagogical materials that work towards these ends, the document then underlines a strategic pedagogical goal for understanding and approaching unconventional contemporary repertoire through newly-composed etudes. This document is written in conjunction with and justification for the author's 24 Unconventional Etudes for Horn, and includes examples therefrom.

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Stemmermann, Nell. "Church's Musical Visitor, 1871-1897: Class, Nationalism, and Musical Taste." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1407404428.

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Bigler, Nathan Robert. "Musical Form in Hymns of the Church of Jesus Christ of Latter-Day Saints." Thesis, Northern Arizona University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10817691.

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Hymn singing is an integral part of both congregational and private worship for millions across the globe. While hymns have been the subject of research regarding history, origins, and cultural influence, there has been very little research regarding musical forms and harmonic structures found in nineteenth- and twentieth-century Protestant hymns. In discussing form, many theory texts describe the bulk of modern hymn music as “strophic.”

Using William Caplin’s text Classical Form (1998) as a model of analytical techniques and principles, this thesis examines the Mormon collection Hymns of the Church of Jesus Christ of Latter-day Saints (1985) and reveals that “strophic” is too narrow a label for an entire hymnal. Four formal models and one harmonic structure emerge. Each is identified by specific musical characteristics (illustrated using hymn examples), and together these five structures encompass a majority of the 341 hymns in the hymnal. Chapter 1 gives a brief historical review of Protestant hymn development and of the LDS hymnal. Chapter 2 discusses the analytical methods used in this study. Chapter 3 introduces the two smaller multi-phrase models: the “small-scale model” that manifests as any of several variations of an aaba phrase structure; and the “two-phrase model” that manifests as an extremely compact binary structure. Chapter 3 also introduces the “standard harmonic structure” that circumscribes expository, transitional, developmental, and closing/cadential harmonic functions across a single hymn. Chapter 4 introduces the two larger sectional models (made up of phrase groups): the “verse-chorus model” that manifests as a sectional binary form with distinctive musical characteristics in each half; and the “large-scale model” that encompasses all other sectional hymns. There are dozens of ways individual hymns can manifest the characteristics of one model or another, and much of the interest of studying hymns is found in discovering that within these five structures the hymns exhibit an abundance of structural variety, creativity, and interest. Chapter 5 examines ways that many hymns stretch the model boundaries, exhibit formal trends outside the model boundaries, or largely defy formal categorization based on the four models and the standard harmonic structure outlined in this study.

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Ellard, Luke Michael. "Bridging the Gap: Introducing Extended Techniques and Contemporary Notation through Newly Composed Etudes for Clarinet." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703365/.

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This dissertation aims to address the pedagogical gap in introductory material for contemporary clarinet instruction. Through examining the most prominent contemporary methods for the clarinet, the pedagogical gap is highlighted, particularly regarding material aimed at newcomers and early undergraduate students. To address these needs, a new collection of etudes is proposed, introducing extended techniques and contemporary notation for newcomers to modern music.

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Evans, Michael C. "A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1292560563.

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Lee, In-suk. "Aspects of the Korean traditional vocal genre, kagok : female kagok and the call for a new integrative kagok notation : a thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Music in the University of Canterbury /." Thesis, University of Canterbury. School of Music, 2007. http://hdl.handle.net/10092/994.

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Kagok is a genre of highly refined, traditional, Korean, vocal music, which is now endangered and marginalized in contemporary Korean culture. Female kagok signers (kisaeng) have also been ignored in Korean music society. The aim of this study is to preserve and revitalize kagok, in order to conserve its true nature in a contemporary context, and for the future. This thesis is twofold. The first part shows how the aesthetics of the Chosŏn dynasty are fundamental to kagok's history, and female kagok singers' education. Furthermore, existing kagok scores, written in traditional chŏngganbo notation or in Western staff notation, are examined in this part, and they reveal the need for the creation of a new kagok notation. The second part of the thesis concerns the creation and testing of the New Integrative Kagok Notation (NIKN), which combines the essentials of chŏngganbo and Western staff notation, and provides a more effective vehicle for the transmission, transcription and recording of this art form, particularly for inexperienced, contemporary students.

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Buchanan, J. Paul. "Information Structures in Notated Music: Statistical Explorations of Composers' Performance Marks in Solo Piano Scores." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849733/.

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Written notation has a long history in many musical traditions and has been particularly important in the composition and performance of Western art music. This study adopted the conceptual view that a musical score consists of two coordinated but separate communication channels: the musical text and a collection of composer-selected performance marks that serve as an interpretive gloss on that text. Structurally, these channels are defined by largely disjoint vocabularies of symbols and words. While the sound structures represented by musical texts are well studied in music theory and analysis, the stylistic patterns of performance marks and how they acquire contextual meaning in performance is an area with fewer theoretical foundations. This quantitative research explored the possibility that composers exhibit recurring patterns in their use of performance marks. Seventeen solo piano sonatas written between 1798 and 1913 by five major composers were analyzed from modern editions by tokenizing and tabulating the types and usage frequencies of their individual performance marks without regard to the associated musical texts. Using analytic methods common in information science, the results demonstrated persistent statistical similarities among the works of each composer and differences among the work groups of different composers. Although based on a small sample, the results still offered statistical support for the existence of recurring stylistic patterns in composers' use of performance marks across their works.

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Carroll, Debra 1952. "Children's use of personal, social and material resources to solve a music notational task : a social constructivist perspective." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102794.

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In this inquiry, I examined how young children use their personal, social and material resources to solve a music notational task. I asked 13 children, ages 5-9 to notate a song they learned the previous week, sing it back, explain what they did and then teach the song to a classmate the following week. I used Lightfoot and Davis' concept of portraiture as a qualitative research methodology to collect, code, analyze and interpret my data. Data included the children's invented notations and videotaped transcripts of their actions as they created their notations and taught the song to a classmate. Sociocultural Vygotskian developmental theory, activity theory and Bakhtin's dialogic theory provided the interpretive lens through which I examined how the children used their resources as mediational tools to complete the task.
Findings revealed that children who had no previous music training used increasingly sophisticated representational strategies to notate a song, and that they were able to refine their notations when singing the song from their notation, teaching the song or when prompted by an adult or a peer. I concluded that the peer-peer situation was a motivating force for triggering a recursive process of reflections-on-actions and knowing-in-action. Classmates' questions, comments and their singing played a critical role in moving the children to modify their notations and their singing, verbal explanations and gesturing in ways they did not do alone or with me.
Analysis of the children's notations, verbal explanations and teaching strategies provided insights not only into what they knew about music, but also their appropriation of the cultural conventions of writing and their aesthetic sensibilities, as gleaned from their choice of symbols, colours and how they presented their symbols on the page. Interviews with parents, teachers and school principal provided contextual background for interpreting the children's notations and how they approached the task. This study shows the value of adopting a social constructivist approach to teaching the language of music. It also demonstrates that researching the products and processes of children's invented notations from a social constructivist perspective enables more detailed portraits of children's musical and meta-cognitive understandings.

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Lorenzetti, Michelle Arype Girardi. "Aprender e ensinar música na igreja católica : um estudo de caso em porto Alegre/RS." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/114671.

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Este estudo tem como objetivo investigar as relações educativo-musicais presentes na Igreja Católica de Porto Alegre. A questão norteadora indaga como ocorreu a aprendizagem musical de pessoas que atuam neste contexto e como o ensino de música é desenvolvido. Para realizar esta pesquisa, optei pela abordagem qualitativa, realizando um estudo de caso. Para elaboração do referencial, foram consultados Souza (2004; 2014), Setton (2008; 2012) e Petitat (2011). De um total de 240 pessoas envolvidas com música na igreja, foram selecionadas doze que atuavam como professores e/ou formadores de música. Sobre a aprendizagem musical, identificaram-se diversos processos que não ocorrem fixos nem isolados, mas de maneira dinâmica, estando interligados inclusive com outras instâncias formativas. Descreveram-se: a aprendizagem que ocorria na prática (aprender fazendo); o aprender no grupo; a autoaprendizagem; o aprender em cursos, ensaios e festivais na igreja. Sobre o ensino e a atuação, analisaram-se concepções do ser músico na igreja, as diferenças entre o profissional remunerado e o voluntário; o ser professor e/ou formador. Foram pontuadas questões referentes à divulgação e à captação de alunos, ao local das aulas, às escolhas didáticas. Esta pesquisa contribui para a reflexão de como os processos de educação musical ocorrem na Igreja Católica e amplia o olhar sobre o aprender e o ensinar música.
The purpose of this study was objective to investigate the educational-musical relations present in the Catholic church of Porto Alegre. The leading question was how the musical formation of people who work in this context occurred and how the musical teaching was executed. To accomplish this research, I opted for a qualitative approach, conducting a case study. The authors Souza (2004; 2014), Setton (2008; 2012) and Petitat (2011) were included in the framework. From a total of 240 people who worked with music in the Church, twelve were selected because they worked as teachers and/or music trainers. Several processes about musical learning were identified, which do not occur isolated and fixed, but in a dynamic and interconnected way, also in relation with other formative instances. It was possible to describe: the process of learning, which occurred in practice (to learn while doing); learning in group; self learning; learning in courses, rechearsals and church festivals. About the teaching and performance, it was possible to analyze conceptions of being a Church musician, the differences between the paid professional and the volunteer; and about being a teacher and/or trainer, highlighting questions related to disclosure and recruitment of pupils, class locations, and selection of didactic activities. This research contributes to the reflection about how these processes of musical education occur in the Catholic Church, thus increasing how to see learning and teaching music.

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Germiquet, Nicole Madeleine. "Religious musical performance as an articulation of transformation : a study of how the Tsonga Presbyterians of the Presbyterian Church of Mozambique negotiate their indigenous Tsonga and Swiss reformed church heritages." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020836.

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The Presbyterian Church of Mozambique (IPM) has its origins in the Swiss Mission and the European Reformed Church. An ethnomusicological study was conducted on the music of the IPM in order to uncover its musical influences. The musical influences were found to pertain to an indigenous Tsonga musical character, as well as to a Reformed Church musical tradition. By situating the discussion in this thesis within the perspective that music may reflect that which is not explicitly spoken about in words, the music of the IPM was shown to reflect the dual-heritage of the members of the IPM. Thus, this thesis attempts to answer the questions: how is the music of the IPM a reflection of the Tsonga Presbyterians’ dual-heritage?; and how do the Tsonga Presbyterians negotiate their dual-heritage? It was found that the Tsonga Presbyterians negotiate their dual-heritage by blending a Reformed Church performance style with a Tsonga one. For example, the music in the form of hymns and church songs, performed by church choirs, is shown to be didactic in nature where the lyrics are the most important aspect of the music. The didactic nature of the music is a principle of the Reformation carried forth in the music of the IPM. Although music serves to transmit the Christian message and is used as a means of praising the Christian God in the IPM, it also exists on the level in which the indigenous Tsonga heritage may be incorporated into the Christian lives of the members of the IPM without having an impact on the Reformed Church belief system. This is where the members have the freedom to blend their musical heritages. Music, in this instance, is shown to be a powerful tool by which the importance of an indigenous, and an appropriated, heritage may be garnered and observed.Looking to the historical aspects of the IPM, the music and language literacy education, provided by Swiss missionaries on the mission stations, was shown to have had an influence on Tsonga hymn composition. Along with the mobile phone, the observed decrease in music literacy at Antioka was situated within a discussion that looked at the influence of these aspects on the transmission, conservation and continuation of music in the IPM. Throughout the thesis, social transformation is referred to and the manner in which the music of the IPM is conserved or continued is an indication of how musical transformation may reflect social transformation.

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Goodenough, Pammala K. "A comparison of computer-assisted and peer-partner practice in treble-staff note recognition /." View online, 2010. http://repository.eiu.edu/theses/docs/32211131575082.pdf.

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Carnes, Tara Barker. "Hartley Wood Day: Inventor of Numeral Notation and Adversary of Lowell Mason." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500655/.

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Ignorance of the basic principles of music reading was one of the primary obstacles to the improvement of congregational singing in nineteenth-century America. Six separate numeral notation systems arose to provide a simple way for the common man to learn the basic principles of music. Hartley Day developed his own numeral notation system and published six tune-books that enjoyed modest success in the New England area. This thesis examines Day's numeral notation system as it appeared in the Boston Numeral Harmony (1845), and the One-Line Psalmist (1849). It also studies Day's periodical, The Musical Visitor, in which he continually attacked Lowell Mason, possibly leading to Mason's dismissal as Superintendent of Music of Boston's public schools.

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Hawkins, Cynthia Susan. "Aspects of the musical education of choristers in Church of England choir schools." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63228.

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41

Cagle, Caroline Woodell. "Technology in Society: The Pipe Organ in Early Modern England." Diss., Virginia Tech, 2002. http://scholar.lib.vt.edu/theses/available/etd-04172003-005110.

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42

Fandrich, David John. "The birthing process select anthems of Samuel Sebastian Wesley and the nineteenth-century English musical renaissance /." 24-page ProQuest preview, 2008. http://proquest.umi.com/pqdweb?did=1507552661&sid=1&Fmt=2&clientId=10355&RQT=309&VName=PQD.

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Moore, Laurence James, and res cand@acu edu au. "Sing to the Lord a New Song: a Study of changing musical practices in the Presbyterian Church of Victoria, 1861-1901." Australian Catholic University. School of Arts and Sciences, 2004. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp49.29082005.

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The latter half of the 19th century was a time of immense change in Presbyterianism worldwide in respect of the role of music in worship. Within this period the long tradition of unaccompanied congregational psalmody gave way to the introduction of hymnody, instrumental music (initially provided by harmoniums and later by pipe organs) and choral music in the form of anthems. The Presbyterian Church of Victoria, formed in 1859 as a union of the Church of Scotland and the majority of the Free Presbyterian and the United Presbyterian churches and numerically the strongest branch of Presbyterianism in Australia, was to the forefront in embracing this tide of change. Beginning in 1861with the proposal for the compilation of a colonial hymnbook, issues associated with musical repertoire and practice occupied a prominent place in discussions and decision making over the next 30 years. Between 1861 and 1901 hymnody was successfully introduced into church worship with the adoption of three hymnals in 1867, 1883 and 1898. Programs of music education were devised for the teaching of the new repertoire and for improving the standard of congregational singing. A hallmark tradition of Presbyterianism was overturned with the introduction of instruments into worship, initially as a support for congregational singing but in time as providers of purely instrumental music also. The profile of the choir changed dramatically. Making extensive use of primary sources, this study aims to document the process of change in Victoria between 1861 and 1901, exploring the rationales underlying decisions taken and historical factors facilitating change. Musical developments in Victoria are viewed in the context of those elsewhere, especially Scotland and of general changes in aesthetic taste. The study concludes that the process of musical change shows the Presbyterian Church of Victoria to have been a forwardlooking and well-endowed institution with the confidence to take initiatives independent of Scottish control. It is also concluded that changes in musical practice within the worship of the Presbyterian Church of Victoria reflect developments taking place in other denominations and the changing aesthetic tastes of the Victorian era.

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Caldwell, Rodney Hildred. "Rhythmic and metrical groupings of chant notation as an influence upon the conducting for the "Quatre motets sur des themes gregoriens", Op. 10, of Maurice Durufle." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187189.

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This project focuses on the relationship between plainchant notation and the conducting gesture in the Quatre Motets Sur Des Themes Gregoriens, Op. 10 of Maurice Durufle. Durufle's intimate knowledge of the chant practices of the Solesmes school of chant interpretation is a major influence in the compositional style of the four motets. This project explores the relevance of the Solesmes interpretational practices and their influence on Durufle's compositional technique. The conducting gesture employed in the realization of the motets must demonstrate an active knowledge of the compositional techniques employed and the Solesmes interpretational practices. As such the incorporation of traditional Gregorian Chironomy into a working gesture for use in the rehearsal and performance of the motets is the essence of this project.

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Yarnelle, Edward Joseph. "Pipe and electronic church organ acquisitions since 1975 in selected Roman Catholic parishes in the United States." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/722778.

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A survey was conducted to determine current conditions pertaining to church organ acquisitions and renovations in selected Roman Catholic parishes in the United States. A need exists to ascertain what problems are occurring with the process of organ acquisition, what solutions are possible, and how trends in organ acquisition are measuring up with the principles outlined by Vatican II.Addresses of organ companies were obtained from the current National Association of Pastoral Musician's Organ Builders Directory_ (1988). The 105 organ companies queried sent the researcher the addresses of 711 past and current Roman Catholic customers; each customer was sent a questionnaire. Fifty-eight percent of the contacts responded, supplying significant information from 362 parishes in the forty-eight contiguous United States. Information was obtained regarding: organ installation/renovation, selection, organ companies considered, console placement, parish size, age of church building, fund-raising, greatest difficulties experienced, points of advice based on experience, diocesan organ acquisition policies, acoustical concerns, and reasons for choosing a pipe or an electronic instrument.Reviews of related research and discussions of current publications, Roman Catholic church music legislation, new technologies used for accompanying church music, and differing opinions of church leaders supplement the survey research.Parishes reported their most difficult problems encountered during organ acquistion and offered their best points of advice for avoiding problems. The data include opinions regarding pipe and electronic instruments; organ companies frequently utilized; examples of sucessful organ console placement; the status and examples of diocesan written policies concerning keyboard accompaniment instruments; the benefits of combining fund-raising with parish education and communication; and the need for greater concern and education regarding acoustics.Case studies describe Roman parishes that achieved quality worship services after thorough preparations for their organ acquisition. Beginning parishes need the greatest amount of help for organ planning. Conclusions call for national-level attention and education about the organ acquisition process, and encourage dioceses to facilitate this goal with well-written policies.
School of Music

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Sheppard, Marilyn. "The music of architecture." Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/35914.

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Music, as a performing art, transports us to distant moments and spaces than those we are in the present time. A hundred musicians playing Brucknerâ s Scherzo on Symphony No. 7 could make us feel emotionally moved; it could make us feel joy, anger, anguish, delight, peace, fear, freedom. Music has the ability to change our mood, to make us go through a series of feelings. This, I believe, has to do with how it involves you in it. Arthur Schopenhauer also says: â The effect of music on the mind, so penetrating, so immediate, so unfailing, and also the after-effect that sometimes follows it, consisting in a specially sublime frame of mind, are explained by the passive nature of hearing just describedâ 3. This penetrating component of music, so immediate, of which Schopenhauer speaks, is how the Sublime is experienced through it. Music could even elevate the soul of those who are most open to perceive it. What is that â sublimeâ moment that happens when you are listening to a live orchestra and get moved by the experience? Are we capable of achieving that moment through the use of architectural elements alone? I believe the answer is yes. There is more to the moment than just the music itself, and that a â sublimeâ moment can be experienced in many contexts. There are elements that are common to this experience, primarily the presence of the Four Classical Elements. With this in mind, I came to the idea that by including Air, Fire, Earth and Water into my project, then I would be a step closer to having the users go through a sublime experience.
Master of Architecture

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Papageorgiou, Dimitris. "Towards a comprovisation practice : a portfolio of compositions and notations for improvisations." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25817.

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This thesis explores the interplay between repeatability and contingency in a series of instrumental and electro-instrumental compositions, through a practice that involves the devising and development of unique notational strategies and the use of bespoke real-time digital signal processing software. In particular, this study examines the praxis of comprovisation, i.e. practices situated between the poles of composition and improvisation, and it is framed by three main research topics: 1. An exploration of musical time and form as components of a dynamic system between events and musical gestures, involving structures of variable and/or indeterminate temporal durations. 2. An investigation of the ways in which the temporal organization and the in-time trópos (τρόπος - ”way, mode, modality, manner”) of an improvisational performance-practice for solo violin can be transduced into the symbolic level so as to be explored as compositional material. 3. An examination of the conditions in which Middle Eastern makam music composition and improvisation traditions can inform the development of contemporary notational devices for a comprovisation practice involving other performers. In addition to the scores, software, and recordings of the compositions, a relevant portfolio of recorded solo-violin improvisations and two published papers examining the above topics are included to further illustrate the discussion.

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Smith, Alyssa Gretchen. "An examination of notation in selected repertoire for multiple percussion." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1118639448.

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Thesis (D.M.A.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xiv, 107 p.; also includes graphics, music. Includes bibliographical references (p. 103-107). Available online via OhioLINK's ETD Center.

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Kilbey, Margaret. "Music-making in the English parish church from the 1760s to 1860s, with particular reference to Hertfordshire." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:ad312575-0d25-401a-a06a-a31fda3b7db8.

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This dissertation focuses on a previously unexplored aspect of music-making in the English parish church during the 1760s to 1860s, namely its local development in response to inter-related episcopal, elite, clerical and economic influences. The historiography suggests ineffectual episcopal leadership and little gentry engagement with parochial church music-making during this period. By contrast, this study presents evidence of their influence, particularly during the late eighteenth to early nineteenth centuries. Elite support for Sunday and charity schools was allied with a desire to improve congregational psalmody, and church organs and barrel-organs were given with this objective in mind. Gentry involvement with amateur military bands of music also influenced the instrumentation of choir-bands. These actions were mirrored by those further down the social scale, and formed part of a complex pattern of support for church music-making. This dissertation argues that methods adopted to improve congregational singing in one generation were reviled in the next. The suggestion that teaching charity school children to sing would result in a congregation of singing adults became a recurring theme, yet time and again it met with little success. Nineteenth-century reform of church music-making has often been presented as a clear-cut progression, with the replacement of choir-bands by a barrel-organ or harmonium, but this dissertation argues that these phases were sometimes parallel rather than sequential, with no inevitable outcome. Furthermore, new evidence reveals that nineteenth-century church rate disputes had a profound effect on church music-making, an area of research neglected in modern literature. Lack of available seating became a significant problem in parish churches owing to the often compulsory attendance of schoolchildren, which opens up another new area of research. This dissertation argues that attempts to reform music-making contributed to alterations in the church fabric long before ecclesiological reorderings, and had long-lasting repercussions.

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Purba, Mauly 1961. "Musical and functional change in the gondang sabangunan tradition of the Protestant Toba Batak 1860s-1990s, with particular reference to the 1980s-1990s." Monash University, Dept. of Music, 1998. http://arrow.monash.edu.au/hdl/1959.1/8596.

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

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