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1
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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Kujumdzieva, Svetlana. "Reconsidering the Orthodox notated manuscripts from the end of the 12th and 13th century, related to Bulgaria." Zbornik radova Vizantoloskog instituta, no. 47 (2010): 179–98. http://dx.doi.org/10.2298/zrvi1047179k.
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Manuscripts with notation in the restored Bulgarian state, after Byzantine rule from 1018 to 1187, continued the tradition from former times of being written in Slavic (old-Bulgarian) and Greek, a bilingual practice that was established during the time of SS. Cyril and Methodios. The Greek language did not have an ethnic connotation: it was perceived as the language of the rich culture of Antiquity and as a liturgical language. Most of the manuscripts originated from the south-western Bulgarian lands. Those in Slavic belong to the type of Menaia and Triodia-Pentekostaria; fewer of them are Oktoechoi. The Menaion, the Triodion-Pentekostarion, and the Oktoechos all together constitute the book of the Sticherarion. The manuscripts in Slavic were notated in the Palaeo-Byzantine notation of the archaic adiastematic type. The musical signs in them could be characterized as "instructions" for singing: they did not fix the exact pitch of the tone but only gave the direction of the melody. The manuscripts in Palaeo-Byzantine notation can be systematized into three groups: manuscripts that were partly notated in the Palaeo-Byzantine notation of the Coislin and/or the Chartres type, manuscripts in theta notation, and manuscripts that were fully notated in Palaeo-Byzantine notation. In the Bulgarian libraries from the period under consideration, there are also preserved manuscripts in Greek. They are of the Sticherarion type and were notated in Middle Byzantine notation. The origins of these Sticheraria are linked to the Bachkovo monastery. Manuscripts in Slavic notated in Middle Byzantine notation have not been found and there is no evidence that this notation was adapted to the Slavic language ? either in Bulgaria, or in any other Slavic Orthodox country. However, it does not mean that this notation was not known in any one of them: the Middle Byzantine manuscripts in Greek preserved in the Bulgarian libraries prove that this notation was known. As a whole, till the end of the 13th century, the manuscripts with notation offer a picture of a very dynamic musical practice. Various types of notation show the various levels to which church music developed and functioned: all of the notated manuscripts display a high professional level; the partly notated manuscripts and these in theta notation ? indicate an oral level with particular characteristics.
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Collins, John. "Ghanaian Christianity and Popular Entertainment: Full Circle." History in Africa 31 (2004): 407–23. http://dx.doi.org/10.1017/s0361541300003570.
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In this paper I look at the relationship between Christianity and popular entertainment in Ghana over the last 100 years or so. Imported Christianity was one of the seminal influences on the emergence of local popular music, dance, and drama. But Christianity in turn later became influenced by popular entertainment, especially in the case of the local African separatist churches that began to incorporate popular dance music, and in some cases popular theatre. At the same time unemployed Ghanaian commercial performing artists have, since the 1980s, found a home in the churches. To begin this examination of this circular relationship between popular entertainment and Christianity in Ghana we first turn to the late nineteenth century.The appearance of transcultural popular performance genres in southern and coastal Ghana in the late nineteenth century resulted from a fusion of local music and dance elements with imported ones introduced by Europeans. Very important was the role of the Protestant missionaries who settled in southern. Ghana during the century, establishing churches, schools, trading posts, and artisan training centers. Through protestant hymns and school songs local Africans were taught to play the harmonium, piano, and brass band instruments and were introduced to part harmony, the diatonic scale, western I- IV- V harmonic progressions, the sol-fa notation and four-bar phrasing.There were two consequences of these new musical ideas. Firstly a tradition of vernacular hymns was established from the 1880s and 1890s, when separatist African churches (such as the native Baptist Church) were formed in the period of institutional racism that followed the Berlin Conference of 1884/85. Secondly, and of more importance to this paper, these new missionary ideas helped to establish early local popular Highlife dance music idioms such as asiko (or ashiko), osibisaaba, local brass band “adaha” music and “palmwine” guitar music. Robert Sprigge (1967:89) refers to the use of church harmonies and suspended fourths in the early guitar band Highlife composition Yaa Amponsah, while David Coplan (1978:98-99) talks of the “hybridisation” of church influences with Akan vocal phrasing and the preference of singing in parallel thirds and sixths in the creation of Highlife.
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Peno, Vesna. "Methodological disputes about interpretation of neum notation in the 20th century." Muzikologija, no. 18 (2015): 15–33. http://dx.doi.org/10.2298/muz1518015p.
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Until the end of the twentieth century in Byzantine musicological science there were two diametrically opposite approaches to the interpretation of the Byzantine neum notation systems and post-Byzantine music heritage after the Fall of Constantinople. Western European scholars, ignoring the post-Byzantine Chant tradition and the last semeography reform from the early nineteenth century, looked at the problems of the musical past only from the perspective of the Middle Ages. Greek researchers have shared the belief that the condition of an adequate understanding of the mid-Byzantine notation, or the so-called old method, is the knowledge of analytical neum system and theory, the basics of which were set up by musicians from the end of the seventeenth and during the eighteenth century, and were finally shaped by Chrisantos, Gregory and Chourmouzios and officially accepted in the Greek church in 1814. The path to overcoming the issues relating to the development of neum notation, and finding an adequate manner of decoding it, led through the understanding of the phenomenon of "interpretation" and other tendencies that marked the post-Byzantine music practice. Two scientists -the Danish J?rgen Raasted, a follower of the Western European musicological methods established by founders of Monumenta Musicae Byzantinae, and Greek theologist and musicologist Gregory Stathes - are specifically responsible for the reconciliation of the different methodological approaches. After numerous and often heated debates, the Danish scientist eventually largely accepted the views of his Greek counterpart. Moreover, he himself insisted, at the musicological conferences organized during the 1980s, on reviewing the controversial issues: the existence of chromatic intervals in the psalmody of the Middle-Ages, the problem of syllabic and melismatic interpretations of stenographic neum records, and so on. Concerning the above mentioned issues, the contemporary trends in Byzantine musicology are presented in the conclusion of the paper. It is worth noting that the most influential scholars nowadays follow ?a middle path?, the distinction between the once exclusive Western option and the no less ?hard? Greek traditional option.
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Peattie, Matthew. "Old Beneventan Melodies in a Breviary at Naples: New Evidence of Old Beneventan Music for the Office." Journal of Musicology 29, no. 3 (2012): 239–61. http://dx.doi.org/10.1525/jm.2012.29.3.239.
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This article discusses previously undocumented examples of music for the old Beneventan divine office in a manuscript housed in the Archivio Storico Diocesano in Naples (Cod. Misc. 1, fasc. VII). The breviary, which was copied at the scriptorium of Santa Sofia, Benevento, in 1161, transmits two unica—canticle antiphons for the feast of St. Mercurius—in Beneventan style. It also preserves a Beneventan-style antiphon for the Holy Twelve Brothers of Benevento that is not transmitted in previously published sources of Beneventan chant. The discovery of music in Beneventan style for St. Mercurius is of importance to the history of the old Beneventan rite, as it attests to the continued production of the distinctive formulaic style of the Beneventan rite into the later eighth century. The relics of Mercurius, a military saint of Byzantium, were enshrined at the altar of Santa Sofia at Benevento in 768, and Mercurius was adopted as patron of the court, the church of Santa Sofia, and the city of Benevento. Despite the establishment of the cult of St. Mercurius in the second half of the eighth century, until now no musical record has indicated the presence of old Beneventan music for this feast (there is no extant Beneventan mass proper for Mercurius, and the documented sources for the divine office preserve only Romano-Beneventan or neo-Gregorian-style music). I consider the St. Mercurius antiphons within the context of the musical style of the old Beneventan rite and argue that they should be included in the Beneventan canon on the basis of musical style. As pitch-specific exemplars of the distinctive formulaic style of the Beneventan chant, this source is of particular value to the study of Beneventan pitch and modality. Notated in fully heightened Beneventan neumes on a staff line, these antiphons are among the few surviving witnesses of the old Beneventan repertory that preserve the distinctive modal properties of the repertory in pitch-specific notation. I introduce the music of these antiphons and consider their importance as witnesses to the continued production and copying of Beneventan music from the late eighth to the twelfth centuries.
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Dănilă, Irina Zamfira. "An Account of the Works of Nektarios Protopsaltis and Nektarios Frimu in Manuscript no. 7 from the “Dumitru Staniloae” Ecumenical Library of the Metropolitan Church of Moldavia and Bukovina." Artes. Journal of Musicology 19, no. 1 (March 1, 2019): 150–74. http://dx.doi.org/10.2478/ajm-2019-0008.
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Abstract The “Dumitru Staniloae” Ecumenical Library of the Metropolitan Church of Moldavia and Bukovina (reffered to below as LMCMB) from Iasi has an invaluable collection of theological books and documents, consisting of more than 100,000 items. The library also has an important number of rare books – 35 of which are psaltic music manuscripts. Manuscript no. 7 from LMCMB is a psaltic Antologhion with Chrysantine notation, written in Romanian using the Cyrillic alphabet. The copyist and the place where it was copied are unknown, but it is possible that it was written at Mount Athos, between 1877 and 1882 (Apud Bucescu, 2009, p. 108). Manuscript no. 7 mainly contains chants for various services, translated and adapted by Nektarios Protopsaltes (1804-1899). Nektarios was one of the best known psalm singers and Romanian composers, founder of a psaltic music school, who was active at the Holy Mountain in the second half of the nineteenth century. Manuscript no. 7 also contains a rarer variant of the Doxastikon Lord, the fallen woman, attributed to another Moldavian composer – Nektarios Frimu (†1856). Like Nektarios Protopsaltis, he was also born in Husi (Moldavia, Romania) – but lived and worked in Iasi. For his achievements, he is honoured with the title of “hierarch of Tripoleos”. He authored the Anthology – Collection of psaltic chants for the Liturgy, (1840) and Collection of Psaltic Chants for Vespers and Matins (1846), one of the first works of its kind in Chrysantine notation in the Romanian language; these volumes were greatly valued during the second half of the nineteenth century. The present paper, which is part of the ampler project of cataloguing the entire collection of psaltic music manuscripts from LMCMB, focuses on the codicological presentation of the manuscript and its musical and liturgical content. The work will also present the authors, the Greek sources the chants were based on, also emphasizing the importance of this codex in the context of the LMCMB collection.
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Peno, Vesna. "The traditional and modern in church music: A study in canon and creativity." Muzikologija, no. 6 (2006): 233–50. http://dx.doi.org/10.2298/muz0606233p.
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Definitions of the terms "traditional" and "modern", relating to the chanting tradition of the Eastern Church, sprang from research into so-called kalophony ? a specific compositional method that established melismatic melody. Despite differing academic opinions about the origins of this melody in the liturgical practice of the Eastern Church, it is evident that very embellished and elaborate kalophonic melodies appeared frequently from the mid-13th century onwards. The compositional treatment of various genres of these melodies began historically with partial respect for the established hymnographic text. This was followed by a more liberal arrangement, ending in a total departure from any textual base (kratema). The fact that the melody in melismatic mode superseded the text suggests that kalophony represented a certain kind of modernity. Even though musical manuscripts in neumatic notation had no written rules about methods of composition or how to balance tones and words, in the tradition of the Easternchanting practice, melody was always recognized as a helpful addition, an exegesis of the textus receptus. In order to fully comprehend the introduction of this "new sound" and "new style", this study focuses on the work of a major protagonist of them, a monk from the Great Lavra, blessed John Koukouzeles. I consider the following questions: 1) The purpose and function of chant in the art of Byzantium in general 2) The role of the composer/ artist and his creative freedom 3) Evaluating criteria for church-related arts/composition 4) Criteria which immortalized or buried artwork/composition of the time Allowing for what possibly motivated John Koukouzeles and his contemporaries to compose kalophonic melodies or to kalophonically modify old, traditional melodies this study focuses on the effects that hesychasm had on the chanting practice of the time. Considering the theological validation of kalophonic modifications of some liturgical hymns, an attempt was made to interpret the introduction of kalophony as a reflection of prevailing tendencies in Byzantium church life at the dawn of its demise, which affected all areas of artistic production. One of the leading hesychast theologians of the time St. Gregory of Palama (who shared at one point monastic community with St. John Koukouzeles in the Great Lavra) questioned whether continuous prayer simultaneous to breathing, a practice taught by hecychasts, could influence composers in their chanted prayer. Did they too want to prove that chanting which acts (in time), as continual prayer, leads to unity with God? Did the composers seek melodies that would express the apophatic, melodies that no longer needed words? Could it be that the result of their creativity (kalophony) replaced the old poetics of the chanting art with the newly discovered beauty of their sound? In this study, the questions of whether the 14th century found its Ars Nova in Byzantine named manuscripts and whether these new compositional principles preceded modernism, or were, as implied by the aforementioned questions, a reinforcement of the tradition with a new means of expression, is answered by the fact that the Eastern Church included John Koukouzeles in the assembly of the saints. Thus, his opus, albeit new was recognized in the foundational spirit, and as such, endures through the history on its way to Eshaton.
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Dănilă, Irina Zamfira. "Romanian-Greek manuscript inventory number 27 Anthology – An Account of the activity of the copyist Chiril Monahul from Bisericani Monastery (Neamt County)." Artes. Journal of Musicology 24, no. 1 (April 1, 2021): 300–320. http://dx.doi.org/10.2478/ajm-2021-0018.
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Abstract This paper is a fraction of an ampler project aimed at classifying and studying the entire collection of musical manuscripts from the “Dumitru Stăniloae” Ecumenical Library of the Metropolitan Church of Moldavia and Bukovina of Iasi. This documentary collection consists of a number of 32 musical manuscripts, in Chrysantine notation mainly originating from the 19th century. Manuscript 27 was created in 1846 by Cyril the Monk from the Bisericani Monastery (Neamt county) – he was a psalter, composer and copyist of great talent. He wrote other two manuscripts, ms. inventory numbers 23 and 31/49, which are in the “Dumitru Stăniloae” Ecumenical Library of the Metropolitan Church of Moldavia and Bukovina of Iasi. His own creation (with the mention “by the writer”) in Ms. 27 contains the first psalm, Blessed is the man in the plagal of the 4th mode, the troparia God is with us in the plagal of the 4th mode, the polyeleos Good word in the 4th mode legetos, the doxastikon of the Easter, The day of Ressurection, the plagal of the 1st mode and two heirmoi of the Holy Week. These are chants that are remarkable through their fluidity and expressiveness, as they retain the specific psaltic melodic formulas and reveal a balanced analytical musical writing. The liturgical music in Manuscript 27 consists of various chants, from those performed during the Vespers to the Matin and the Liturgy. Following analysis of the manuscript’s repertoire, I discovered that the main source of Ms. 27 is the first three volumes of the Anthology by Nektarios Frimu, published in Neamț (3rd volume, 1840) and Iași (1st and 2nd volume, 1846). Cyril the Monk, the copyist of Ms. 27, selected works from these sources, and introduced along the self-authored chants mentioned earlier, chants by other lesser-known authors, such as Nechifor (The Blessings of the Ressurection, the plagal of 1st mode in Greek) and Calinic (troparia from the chant Lord is with us, the plagal of the 4th mode in Romanian and the polyeleos The Lord’s servants, the plagal of the 2nd mode, in Greek). Besides, among the chants in Romanian, the manuscript records chants in Greek (by established Greek authors), which are proof of the continuous practice of the Greek chanting in Moldavia, long with that in Romanian, in the period before the Reforms (1863-1864) introduced by Alexandru Ioan Cuza, the ruler of the Romanian Principalities.
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Shelemay, Kay Kaufman, Peter Jeffery, and Ingrid Monson. "Oral and written transmission in Ethiopian Christian chant." Early Music History 12 (January 1993): 55–117. http://dx.doi.org/10.1017/s0261127900000140.
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Of all the musical traditions in the world among which fruitful comparisons with medieval European chant might be made, the chant tradition of the Ethiopian Orthodox Church promises to be especially informative. In Ethiopia one can actually witness many of the same processes of oral and written transmission as were or may have been active in medieval Europe. Music and literacy are taught in a single curriculum in ecclesiastical schools. Future singers begin to acquire the repertory by memorising chants that serve both as models for whole melodies and as the sources of the melodic phrases linked to individual notational signs. At a later stage of training each one copies out a complete notated manuscript on parchment using medieval scribal techniques. But these manuscripts are used primarily for study purposes; during liturgical celebrations the chants are performed from memory without books, as seems originally to have been the case also with Gregorian and Byzantine chant. Finally, singers learn to improvise sung liturgical poetry according to a structured system of rules. If one desired to imitate the example of Parry and Lord, who investigated the modern South Slavic epic for possible clues to Homeric poetry, it would be difficult to find a modern culture more similar to the one that spawned Gregorian chant.
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Alexandrina, Alexandra V. "Features of the Formation of Partes Singing Collections of the Late 17th — Mid 18th Centuries." Bibliotekovedenie [Russian Journal of Library Science] 70, no. 3 (July 21, 2021): 279–88. http://dx.doi.org/10.25281/0869-608x-2021-70-3-279-288.
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The Synodal Singing Collection (SSC) of the State Historical Museum is one of the most extensive collections of singing manuscripts collected in the last quarter of the 19th — early 20th centuries from all over Russia in the Synodal School of Church Singing. It contains hooked notation manuscripts of various chants, notolinear manuscripts with harmonization of ancient chants, partes concerts and “Services of God” by composers of the 17th — 18th centuries. At present, the research focuses on the specifics of the musical techniques of Russian partes concerts, correlation of the verbal text and music, their repertoire, authorship, the fate of concert cycles, the arrangements for various number of singing voices, etc. However, the important issue of the time of compilation of concert collections has not received sufficient coverage in the scientific literature. The goal of this study is, firstly, to determine the specifics of the formation of such collections using the example of the manuscript No. 360/1-8 from the Synodal Singing Collection the State Historical Museum with the involvement of other manuscripts of this Collection. The detailed palaeographic analysis of eight manuscripts that made up the collection, which previously belonged to the Novgorod Bishop’s House, allowed the author to determine the time of recording of each concert, as well as the time of compilation of the collection. Analysis of the paper watermarks and the notes placed on the sheets of manuscripts showed that the collection No. 360/1-8 of SSC from the State Historical Museum is a convolute, which is based on the works rewritten in the 1720s with the inclusion of Services recorded in the early and mid 18th century. In addition, the cycle of stichera and slavniki from the Feast Services was written after the compilation and, probably, after binding the voice parts of the collection, possibly by its compiler. The study of the notes of singers placed in the parts of this collection allowed the author of the article to find out their names, time and specifics of their singing activities. The conclusions drawn from the example of the collection No. 360/1-8 of SSC of the State Historical Museum are applicable to many collections of that time.
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Hudak, Paul, Tom Makucevich, Syam Gadde, and Bo Whong. "Haskore music notation – An algebra of music –." Journal of Functional Programming 6, no. 3 (May 1996): 465–84. http://dx.doi.org/10.1017/s0956796800001805.
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AbstractWe have developed a simple algebraic approach to music description and composition calledHaskore. In this framework, musical objects consist of primitive notions such as notes and rests, operations to transform musical objects such as transpose and tempo-scaling, and operations to combine musical objects to form more complex ones, such as concurrent and sequential composition. When these simple notions are embedded into a functional language such as Haskell, rather complex musical relationships can be expressed clearly and succinctly. Exploiting the algebraic properties of Haskore, we have further defined a notion ofliteral performance(devoid of articulation) through whichobservationally equivalentmusical objects can be determined. With this basis many useful properties can be proved, such as commutative, associative, and distributive properties of various operators. An algebra of music thus surfaces.
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Schuiling, Floris. "Notation Cultures: Towards an Ethnomusicology of Notation." Journal of the Royal Musical Association 144, no. 2 (2019): 429–58. http://dx.doi.org/10.1080/02690403.2019.1651508.
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AbstractThe ubiquity and diversity of notational practices in music suggest that notation is a significant part of human beings' musicking behaviour. However, it is difficult to address its function since the usual conception of notation in music scholarship is at odds with studying performance in the first place. This article presents a methodological outline for an ethnomusicology of music notation by investigating the musicality of notation not in terms of its representation of musical structures, but in terms of its mediation of the social and creative agency of musicians. It is suggested that, rather than detracting from musical reality, notation composes musical cultures. This constructive work is simultaneously ontological and ethical. It is described in terms of three distinct processes, namely mobilization, entextualization and remediation. In doing so, this article presents an interdisciplinary approach to a topic that has traditionally defined the disciplinary centre of music scholarship.
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Deeming, H. "The remarkable story of musical notation." Early Music 35, no. 3 (June 4, 2007): 451–52. http://dx.doi.org/10.1093/em/cam061.
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Bales, Kathleen, and Albert C. Vinci. "Fundamentals of Traditional Musical Notation." Notes 43, no. 1 (September 1986): 52. http://dx.doi.org/10.2307/897844.
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Wong, Yetta Kwailing, and Isabel Gauthier. "A Multimodal Neural Network Recruited by Expertise with Musical Notation." Journal of Cognitive Neuroscience 22, no. 4 (April 2010): 695–713. http://dx.doi.org/10.1162/jocn.2009.21229.
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Prior neuroimaging work on visual perceptual expertise has focused on changes in the visual system, ignoring possible effects of acquiring expert visual skills in nonvisual areas. We investigated expertise for reading musical notation, a skill likely to be associated with multimodal abilities. We compared brain activity in music-reading experts and novices during perception of musical notation, Roman letters, and mathematical symbols and found selectivity for musical notation for experts in a widespread multimodal network of areas. The activity in several of these areas was correlated with a behavioral measure of perceptual fluency with musical notation, suggesting that activity in nonvisual areas can predict individual differences in visual expertise. The visual selectivity for musical notation is distinct from that for faces, single Roman letters, and letter strings. Implications of the current findings to the study of visual perceptual expertise, music reading, and musical expertise are discussed.
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Poast, Michael. "Color Music: Visual Color Notation for Musical Expression." Leonardo 33, no. 3 (June 2000): 215–21. http://dx.doi.org/10.1162/002409400552531.
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In this article, the author de-scribes Color Music, an alternative notation system for musical expres-sion. The system uses colors and shapes-powerful tools of expres-sion-in conjunction with sound to form a new language for musical no-tation. The author briefly describes the history of color/sound relation-ships since the time of Aristotle and discusses the use of color in scores by Alexander Scriabin, Arnold Schoenberg, John Cage, Krzysztof Penderecki, Gyorgy Ligeti, Olivier Messiaen and other contemporary composers who recognized color as a tool of expression for musical no-tation. He also discusses the psy-chology and musical meaning of col-ors, along with the role of performers as interpreters of Color Music, and the use of standard mu-sical forms as structural devices for applying color to scores. He de-scribes his Color Music: Toccata and Fugue (1995) in detail.
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FAUTLEY, MARTIN. "Notation and Music Education." British Journal of Music Education 34, no. 2 (June 26, 2017): 123–26. http://dx.doi.org/10.1017/s0265051717000031.
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Every year on the pre-service teacher education course with which I am associated in England, we have something we have come to refer to as ‘the notation argument’. When this happens varies, but it normally occurs fairly near the beginning of the course. In essence, what happens is that a divide opens up between those pre-service teachers who believe they need to teach western classical stave notation in isolation from other aspects of music, and that this needs to be done in advance of other musical activities, as preparation for them. The other group of pre-service trainee teachers counter this with the case that there should be some sort of a need for this knowledge, and that acquiring it in isolation is unlikely to happen anyway. This notation argument can rage, on and off, for a good proportion of the first term, depending on how the issues are dealt with, and how passionate the various advocates are.
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Syarif, Arry Maulana, Azhari Azhari, Suprapto Suprapto, and Khafiizh Hastuti. "Human and Computation-based Music Representation for Gamelan Music." Malaysian Journal Of Music 9 (November 20, 2020): 82–100. http://dx.doi.org/10.37134/mjm.vol9.7.2020.
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A public database containing representative data of karawitan traditional music is needed as a resource for researchers who study computer music and karawitan. To establish this database, a text-based pitch model for music representation that is both human and computer-based was first investigated. A new model of musical representation that can be read by humans and computers is proposed to support music and computer research on karawitan also known as gamelan music. The model is expected to serve as the initial effort to establish a public database of karawitan music representation data. The proposed model was inspired by Helmholtz Notation and Scientific Pitch Notation and well-established, text-based pitch representation systems. The model was developed not only for pitch number, high or low or middle pitch information (octave information), but for musical elements found in gamelan sheet music pieces that include pitch value and legato signs. The model was named Gendhing Scientific Pitch Notation (GSPN). Ghending is a Javanese word that means “song”. The GSPN model was designed to represent music by formulating musical elements from a sheet music piece. Furthermore, the model can automatically be converted to other music representation formats. In the experiment, data in the GSPN format was implemented to automatically convert sheet music to a binary code with localist representation technique.
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Wong, Yetta Kwailing, and Alan C. N. Wong. "Music-reading training alleviates crowding with musical notation." Journal of Vision 16, no. 8 (June 20, 2016): 15. http://dx.doi.org/10.1167/16.8.15.
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Wong, Y. K., and A. C. N. Wong. "Music-reading training alleviates crowding with musical notation." Journal of Vision 14, no. 10 (August 22, 2014): 782. http://dx.doi.org/10.1167/14.10.782.
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Chen, Steve Shihong, and J. Richard Dennis. "Linking Different Cultures by Computers: A Study of Computer-Assisted Music Notation Instruction." Journal of Educational Technology Systems 21, no. 3 (March 1993): 207–24. http://dx.doi.org/10.2190/cyr8-7en1-ldme-cru0.
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CAMNI, which stands for Computer-Assisted Music Notation Instruction, is self-educational software designed and developed with HyperCard. This program features interactive hypermedia (inter-linked musical notation knowledge, musical tempo controlled by the user, the use of digital sounds and animation), multiple representation mode (the staff notation, the number notation, the letter name of notes and the piano keyboard, four representations are linked and can be switched from one to another easily or presented at the same time in terms of a user's need), graphical user interface “GUI,” context-sensitive-sound icon (the use of a sound icon in lesson navigation and sub-index design), direct manipulation (pointing and clicking objects to interact with the program), and self-directed but computer-context-sensitive-guided environment (multi-path navigation characterized by an author-designed but user-defined and individualized learning approach). The CAMNI was specifically designed for Chinese students who would like to study the staff notation whether or not they have background with the number notation (the traditional Chinese musical notation system).
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Casey, Rob. "Developing a Phenomenological Approach to Music Notation." Organised Sound 20, no. 2 (July 7, 2015): 160–70. http://dx.doi.org/10.1017/s1355771815000047.
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Sound art theorists Seth Kim-Cohen and Salomé Voegelin regard the fixed conceptual structures of notation either as an obstacle to pure sensorial engagement with sound (Voegelin 2010), or as the site of arrogant musical exceptionalism (Kim-Cohen 2009). While sound, whether constituted in phenomenological or idealist terms, is evolving and dynamic, notation is characterised by its ossifying imperative (Kim-Cohen 2009; Voegelin 2010). For Voegelin, a music score is regarded as conceptual, not perceptual. It is read as text and, it seems, has no meaningful place within a phenomenological practice of sound art (Voegelin 2010). The criticism that Vogelin’s phenomenalism, in particular, levels at notation invites close examination of notational practice and the semiotic structures that underwrite it. In this article, I seek to challenge the conceptual imperative of fixed notation through the presentation of a case study in the form of an original composition for string quartet and tape. Drawing on research by Rudolf Arnheim and Mark Johnson, a form of notation will be proposed that enables the score to escape singularly semiotic structures so that it may address the dynamic, phenomenological mode of experience that recent theories of sound art imply is beyond the reach of musical notation.
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Suryarasmi, Anindita, and Reza Pulungan. "Penyusunan Notasi Musik dengan Menggunakan Onset Detection pada Sinyal Audio." IJCCS (Indonesian Journal of Computing and Cybernetics Systems) 7, no. 2 (July 31, 2013): 167. http://dx.doi.org/10.22146/ijccs.3357.
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AbstrakNotasi musik merupakan dokumentasi tertulis dari sebuah lagu. Walaupun notasi musik telah umum digunakan, namun tidak semua orang yang berkecimpung di dalam dunia musik memahami bagaimana notasi musik dituliskan. Penelitian ini menawarkan penyusunan notasi music secara otomatis dengan mengimplementasikan metode onset detection. Hal mendasar yang harus diketahui dalam pembuatan notasi musik adalah durasi serta nada yang dimainkan. Dengan menggunakan mendeteksi onset dari data audio, jarak antar pukulan dapat diketahui. Dengan demikian maka durasi permainan pun bisa dihitung. Hasil dari pencarian durasi tersebut diolah kembali untuk menciptakan objek-objek note yang disusun dalam notasi musik. Sistem menghasilkan keluaran berupa file dengan format musicXML. Dengan format ini maka hasil keluaran sistem akan bersifat dinamis dan dapat diolah kembali dengan music editor yang mendukung format file tersebut.Hasil penelitian menunjukkan akurasi yang tinggi dalam pengenalan pola permainan yang berhubungan dengan durasi setiap note hingga mencapai 99.62%. Kata kunci— notasi musik, onset detection, musicXML AbstractMusical notation is written documentation of a music. Even though musical notation is commonly used, not every musician knows how to write a musical notation. This work offers automatic musical notation generation from audio signal using onset detection.Duration and pitch of the notes are two basic parameters that have to be known in order to generate music notation. This work implemented onset detection method to recognize the pattern by measuring the interval between two notes. Using the interval, the duration of each notes can be calculated and used to create note objects in order to arrange a musical notation. The output of the system is a musicXML formatted file. This format allowed the output to be edited using software for music editor. The result of this work shows high accuracy up to 99.62% for detecting each notes and measuring the duration. Keywords— musical notation, onset detection, musicXML
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LEE, EUGENE. "A notational system for third-tone music." Organised Sound 2, no. 3 (December 1997): 215–23. http://dx.doi.org/10.1017/s1355771898009066.
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Lingas, Alexander. "The origins of Russian music. Introduction to the Kondakarian Notation. Revised, translated, and with a chapter on relationships between Latin, Byzantine and Slavonic church music by Neil K. Moran. By Constantin Floros. Pp. xix+312 incl. 16 figs, 3 catalogues of neumes, 25 musical examples and 60 tables. Frankfurt-am-Main: Peter Lang, 2009. £41.90. 978 3 631 59553 4." Journal of Ecclesiastical History 63, no. 1 (December 5, 2011): 133–34. http://dx.doi.org/10.1017/s0022046911001965.
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Bodurian, Agota, and Stela Drăgulin. "Armenian Church music: genres, modes, and notation Issues." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), no. 2 (January 15, 2021): 35–46. http://dx.doi.org/10.31926/but.pa.2020.13.62.2.4.
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Terry, Paul. "Musical Notation in Secondary Education: Some Aspects of Theory and Practice." British Journal of Music Education 11, no. 2 (July 1994): 99–111. http://dx.doi.org/10.1017/s0265051700000991.
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The teaching of musical notation is now a legal requirement of the National Curriculum for music in England and Wales. Far from settling the debate over the desirability, or otherwise, of teaching notation, this aspect of the legislation seems to make a review of the problem imperative.This article examines theories of music as a language analogous to the spoken or written word, and then considers the practical and sociological arguments for and against the teaching of staff notation.
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Stewart, Lauren. "Neurocognitive Studies of Musical Literacy Acquisition." Musicae Scientiae 9, no. 2 (July 2005): 223–37. http://dx.doi.org/10.1177/102986490500900204.
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Although certain parallels can be drawn between written language and notation in music — both use arbitrary visual symbols to notate the salient aspects of a sound pattern, the purpose of each notational system differs markedly. While the primary function of written language is to carry referential meaning, the primary function of musical notation is to carry instructions for the production of a musical performance. Music reading thus lies at the interface between perception and action and provides an ecological model with which to study how visual instructions influence the motor system. The studies presented in this article investigate how musical symbols on the page are decoded into a musical response, from both a cognitive and neurological perspective. The results of a musical Stroop paradigm are described, in which musical notation was present but irrelevant for task performance. The presence of musical notation produced systematic effects on reaction time, demonstrating that reading of the written note, as well as the written word, is obligatory for those who are musically literate. Spatial interference tasks are also described which suggest that music reading, at least for the pianist, can be characterized as a set of vertical to horizontal mappings. These behavioural findings are mirrored by the results of an fMRI training study in which musically untrained adults were taught to read music and play piano keyboard over a period of three months. Learning-specific changes were seen in superior parietal cortex and supramarginal gyrus, areas which are known to be involved in spatial sensorimotor transformations and preparation of learned actions respectively.
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Picanussa, Branckly Egbert. "Template Khusus Untuk Menulis Notasi Angka: Modifikasi Fungsi Tools Program Aplikasi Musik Finale." JURIKOM (Jurnal Riset Komputer) 7, no. 1 (February 15, 2020): 169. http://dx.doi.org/10.30865/jurikom.v7i1.1981.
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The numerical notation is one of musical notation which is very popular for most of the Indonesian people, especially composers or music practitioners who have not learned music in formal education. This article is one of the researches about tools modification of music application program of Finale to get a special template to write numerical notation. The method which is used in this research is action research. With this method, the researcher use Finale Music Program tools to get a special template to write numerical notation. The result of this research is a special template to write numerical notation.
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WEST, M. L. "THE BABYLONIAN MUSICAL NOTATION AND THE HURRIAN MELODIC TEXTS." Music and Letters 75, no. 2 (1994): 161–79. http://dx.doi.org/10.1093/ml/75.2.161.
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Englin, Stanislav E. "History and Theory of Musical Writing as an Academic Discipline." Musical Art and Education 7, no. 1 (2019): 95–106. http://dx.doi.org/10.31862/2309-1428-2019-7-1-95-106.
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The article outlines the reasons why the modern musicologist must be competent in matters of history and theory of a notation. Results of research of the systems of graphical writing of music are proposed to be used in educational purposes. This is due to the fact that the notation is reflected some of the most important features of the musical thinking of the era of its formation. Therefore, knowledge of specific types of music semiography is a tool of obtaining objective data on the deep principles of music of the specific historical period (time of creation and at least, the initial existence of this notation). The interconnected subjects analyze the study of the notation and the basic tasks of musicology. Introduction of training course of music semiography be seen in the light of the multidimensional problem of music education and science. It is concluded that the implementation of educational subject “History and theory of musical writing” provided the coordination of efforts of scientists aimed at creating a modern concept of semiography, contributes to the attainment the essence of musical writing on the basis of generalization of the results of semiography studies. In turn, this will be a significant step on the path of knowledge absolutely patterns, reflected in the variety notations.
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AYANGIL, RUHI. "Western Notation in Turkish Music." Journal of the Royal Asiatic Society 18, no. 4 (October 2008): 401–47. http://dx.doi.org/10.1017/s1356186308008651.
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The adoption of western notation (which is an example of graphic notation) as the “official system” in Turkey dates from after 1828. Sultan Mahmud II (reigned 1808–1839) abolished the Janissary force in 1826 and with it the musical unit of that army, it was a band for wind and percussion instruments (Mehterhâne-i Hümâyûn). He then organised his new army on western lines and thus introduced an institution of western origin, the military band, as the musical unit of his modern army. This new institution, which was European in its music system, instruments, repertoire and first and foremost its methods of education, was formed under the name Muzika-i Hümâyûn (the royal military band). Professional musicians were invited from Europe to participate and, with the foundation of Muzika-i Hümâyûn in 1827, the most far-reaching change in Turkish musical history took place. It was an outstanding manifestation of westernisation which necessarily made a deep impact on both the Turkish makam (modal) music system and the existence and the behaviour of the musicians who produced and performed it. The domination of makam music and its masters in court circles and their claim to be the sole and absolute system of taste was undermined, although the appreciation and respect of certain sultans and bureaucrats continued on a personal level. From that date on, a duality, an East-West dichotomy (the effects of which can still be seen), overtook the cultural sphere of which music was a part. Within this dichotomy, tonal polyphonic music of the West began to make its influence felt at least as much as, if not more than, makam based Turkish music both within the state framework and in the society at large. These dual concepts were referred to as Alla Turca and Alla Franga. While Alla Franga (alafranga in common parlance) came to symbolise modernity, change and the new life style, Alla Turca (alaturka in common parlance) became a manifestation of being archaic and conservative and of having a blind commitment to tradition and an under-developed taste (even no taste at all). Within this series of dichotomies, which took hold of every area of life (from literature to fashion also, eating habits, systems of beliefs, and education as well as government) makam based Turkish music received a large share of “cultural negation” with the judgement that it did not even have a decent notation system. It became marginalised and restricted to a narrow social group deeply and passionately devoted to it. Even during this process, makam music developed a dynamic of self-protection against “cultural negation” with its composers, theorists, publishers, performers and listening public. Makam music composers and performers learnt western notation, they wrote pieces down and deciphered music from that notation; a system of education based on modern methods developed while still preserving meşk (the traditional oral teaching method of Turkish music). These efforts were driven by the ‘ideal’ of transforming makam music, which was claimed to be archaic due to its monodic structure, into a polyphonic music. The musicians who knew western notation (such as Melekzet Efendi, Leon [Hancıyan] Efendi, etc.) were paid great amounts of money in order to record the works of the old masters in western notation and compile them, along with new compositions, into extensive note-collections (such as Muzika-i Hümâyûn Kumandanı [the commander of the royal military band] Necîp Paşa Collection and the Pertev Paşa Collection, etc.). Works were also published in note editions (such as Mâlûmat [literally meaning knowledge], Müntehâbât [literally meaning selections], Ûdî [lute-player] Arşak editions, etc.). Moreover, educational guides devoted to teaching makam theory and solmisation (such as Tanbûrî Cemîl Bey's Rehber-i Mûsikî [The Music Guide], Muallim [teacher] İsmail Hakkı Bey's Mahzen-i Esrâr-ı Mûsikî [The Cellar of the Secrets of Music], Muallim Kâzım Bey's Mûsikî Nazariyâtı [Music Theory], etc.) and the first methods for learning the instruments of makam music (such as Ûdî Salâhî Bey's Ud metodu [Lute Method], Seyyid Abdülkaadir Bey's Usûl-i Ta'lîm-i Keman [Method for Practising Violin, etc.], modelled on their European counterparts, were beginning to be published.
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Hughes, Ed, Alice Eldridge, and Chris Kiefer. "Syncphonia: Understanding the value of participatory design in developing music technology to support musical ensembles that use notation." Journal of Music Technology & Education 13, no. 1 (August 1, 2020): 57–77. http://dx.doi.org/10.1386/jmte_00016_1.
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The benefits of ensemble performance are well recognized; notation supports group performance, but cuts in music education and changing musical cultures mean that notation is increasingly perceived as a barrier to entry. In an extended participatory design (PD) project, we co-designed and developed a software system for networked notation called Syncphonia with the aim of enhancing access to and experience of notation-based ensemble performance. In previous work, our formal evaluation and informal observations and feedback revealed a wide range of benefits. In this article, we are concerned with articulating the knowledge generated and insights gained through this extended PD process. To do so, we employ a framework for systematic reflection that has been designed to support investigation into the tacit knowledge generated in participatory design. Through this method, we focus inward and share three insights into the value of networked notation in contemporary musical cultures; we also look outward and articulate five approaches to PD with musical ensembles that might benefit others adopting this rich research method. A pluralistic and inclusive vision of notation is espoused and speculation is submitted that a dynamic, networked notation might ameliorate the boundaries between composing, improvising and performing to the benefit of all three.
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Garst, Marilyn M. "How Bartók Performed His Own Compositions." Tempo, no. 155 (December 1985): 15–21. http://dx.doi.org/10.1017/s0040298200021847.
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Performers of 20th-century music have more information about how the music is to be performed than do performers of earlier music. Since the Baroque era, composers have become more explicit in their notation, greatly simplifying questions of interpretation. In addition to the advantage of explicit notation, performers can often have personal contact with a living composer about interpretative questions. In the case of Béla Bartók, there are also recordings of the composer performing his own works. Such recordings are useful adjuncts to the musical notation.
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Marx, Shirley. "A Zimbabwean mbira: a Tradition in African Music and its Potential for Music Education." British Journal of Music Education 7, no. 1 (March 1990): 25–42. http://dx.doi.org/10.1017/s026505170000749x.
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This article aims to encourage the provision of the Zimbabwean mbira dzavadzimu in schools as a means of experiencing a novel musical system. It provides an outline of the mbira's cultural context within an oral tradition. The basic structure of the mbira pattern is abstracted and represented by four types of notation which makes the music accessible to a range of people. However, the characteristic ‘inherent rhythms’ that emerge kaleidoscopically from patterns and variations throughout performance give the music an elusive quality, the dimensions of which cannot be captured in staff notation. The simplicity of the separate components of a composition can be individually explored on a variety of instruments, while the resultant combination of its interlocking melodic lines is one of complexity and ever-shifting musical images. The mbira introduces a new aesthetic into the classroom and is ideal for both solo and ensemble playing.
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Polo Pujadas, Magda. "Philosophy of Music: Wittgenstein and Cardew." Philosophy of Music 74, no. 4 (December 30, 2018): 1425–36. http://dx.doi.org/10.17990/rpf/2018_74_4_1425.
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The article focuses on the experimental music that emerged after the Second World War and in graphic musical notation. He has a special interest in the influence exercised by the reading of the Tractatus Logico Philosophicus in the musical work Treatise by Cornelius Cardew. The isomorphism between language and reality and the different types of propositions formulated by the first Wittgenstein represent a new conception of music in the composer.
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Nedelcuț, Nelida, Ciprian Gabriel Pop, and Amalia Nedelcuț. "Distance Learning in the Musical Field in Romania through European-Funded Projects." International Journal of Advanced Corporate Learning (iJAC) 11, no. 1 (August 29, 2018): 36. http://dx.doi.org/10.3991/ijac.v11i1.9209.
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<p class="Abstract">The organization of Romanian distance learning in music has been supported in terms of research, collaboration and financing by European projects, with the following achievements: training of teaching staff involved in distance learning, assistance in activities meant to introduce ICT in general schools, construction of a platform dedicated to distance learning activities, creating a database with instrumental accompaniments for singers, designing multimedia courses, assessing distance learning programs offered by the Academy of Music Gheorghe Dima in Cluj-Napoca.</p><p class="Abstract">The Prelude Training Programme on ICT in Music Education – a project aimed at developing a training programme for in-service music educators, as there are many ways in which technology helps educators meet instructional goals: Programs designed to help students develop their musicianship or improve their knowledge of notation and skill in reading notation, support with improvisation skills, notation and sequencing programs which assist students in composition activities.</p><p class="Abstract">Vemus - Virtual European Music Schools - a programme which focuses on teaching music notation or performing instruments, involving execution of rhythm patterns, melody, music scores; E-vocal learning, with simultaneous appearance of sound and notation, conducted by famous musicians. DIMA - Direct Impact of Multimedia Application - a platform that comprises courses, audio and video examples focusing on music history, performing and listening activities.</p><p class="Abstract">The partners proceed from various areas (higher education, innovation/development centers), and the projects were conceived to stimulate the implementation of ICT in the educational process in music, approaching teaching staff as a target group, and students as an interested party.</p>The need for such products was revealed by interviews and questionnaires and the results’ evaluation proved that the online environment can be accessed in order to develop educational resources, enrich lesson content, motivate and engage children in music education, deliver information and learning opportunities, stimulate children in their musical endeavors.
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Brown, Geoffrey, and Helen Harrison. "Motivation and Musical Literacy in the Education of Year 3 Children." British Journal of Music Education 12, no. 1 (March 1995): 45–50. http://dx.doi.org/10.1017/s0265051700002382.
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This paper describes how a teacher explored her teaching of an introduction to recorder playing to children, and how she tested her belief that music notation was an essential component of that teaching.Two roughly parallel classes of 7 to 8 year-olds were introduced to recorder playing. One group was given tuition accompanied by music notation, the other group learned to play by ear. An interaction was found between the ability of the child and the relative success of a method of teaching. More able pupils became demotivated without access to written music, whilst less able pupils retained their interest when playing by ear. An intermediate strategy, using notation with the names of the notes written below, proved effective for those of average ability.An holistic assessment of the quality of performance created by the two groups was independently assessed. Contrary to expectations the playing by ear group produced better quality sound than that of the group exposed to music notation.The implication for the introduction of music performance to young children is discussed.
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Grier, James. "Adémar de Chabannes (989–1034) and Musical Literacy." Journal of the American Musicological Society 66, no. 3 (2013): 605–38. http://dx.doi.org/10.1525/jams.2013.66.3.605.
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Abstract In the second half of 1027, Adémar de Chabannes contributed the musical notation to the production of an elaborate liturgical manuscript (currently Paris, Bibliothèque nationale de France, MS latin 1121) at the scriptorium of Saint Martial in Limoges. While doing so, he introduced the innovative technique of placing the neumes in strict alignment along the vertical axis of writing in accordance with their relative pitch. The accurate heighting of the neumes revolutionized the teaching of music at Saint Martial, and eventually throughout Aquitaine. Instead of relying on the rote communication of melodies from more experienced singers, younger musicians could turn to the visual transmission of chant through the medium of notation, now made more transparent by the use of accurate heighting. This article investigates the musical and intellectual context in which Adémar introduced the innovation of accurate heighting to the scriptorium at Saint Martial, the role of tonaries (now equipped with precise intervallic information) in musical pedagogy, and the impact of these devices on musical practices at Saint Martial through the eleventh century.
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Magnusson, Thor. "Scoring with Code: Composing with algorithmic notation." Organised Sound 19, no. 3 (November 13, 2014): 268–75. http://dx.doi.org/10.1017/s1355771814000259.
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Computer code is a form of notational language. It prescribes actions to be carried out by the computer, often by systems called interpreters. When code is used to write music, we are therefore operating with programming language as a relatively new form of musical notation. Music is a time-based art form and the traditional musical score is a linear chronograph with instructions for an interpreter. Here code and traditional notation are somewhat at odds, since code is written as text, without any representational timeline. This can pose problems, for example for a composer who is working on a section in the middle of a long piece, but has to repeatedly run the code from the beginning or make temporary arrangements to solve this difficulty in the compositional process. In short: code does not come with a timeline but is rather the material used for building timelines. This article explores the context of creating linear ‘code scores’ in the area of musical notation. It presents theThrenoscopeas an example of a system that implements both representational notation and a prescriptive code score.
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KNYT, ERINN. "Between Composition and Transcription: Ferruccio Busoni and Music Notation." Twentieth-Century Music 11, no. 1 (March 2014): 37–61. http://dx.doi.org/10.1017/s1478572213000145.
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Abstract‘The new art of music is derived from the old signs – and these now stand for the musical art itself.’1 With this statement, Ferruccio Busoni (1866–1924) summarized his main criticism of traditional music notation – that it was lifeless and outdated. Based on an analysis of Busoni's organic method of keyboard notation (1909), an examination of composition sketches and performance scores, and an investigation of his writings about notation in aesthetic texts – in particular the Sketch of a New Aesthetic of Music (1907) – this article shows how Busoni's multifaceted views about notation forged a middle ground between the work as text and the work as performance in an age enthralled to the idea of Werktreue. In addition, it traces the continuing influence of Busoni's ideas about notation on Arnold Schoenberg and other contemporaneous theorists and composers.