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Relevant bibliographies by topics / Musical notation

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Academic literature on the topic 'Musical notation'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 October 2024

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Journal articles on the topic "Musical notation"

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Chan, Eleanor. "Scrollwork: Visual Cultures of Musical Notation and Graphic Materiality in the English Renaissance." Journal of Medieval and Early Modern Studies 53, no. 2 (May 1, 2023): 347–77. http://dx.doi.org/10.1215/10829636-10416642.

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Early modern English musical notation bears a fleeting resemblance to that of its modern counterpart. This superficial similarity conceals the markedly different manner in which early music notation functioned and the clues that it offers for an older and more dynamic way of reading music. This form of notation was not a transcription for future performance but rather a provocation to performance. As a result, musical notation frequently “leaked” into decorative margins. The musical pages of this period display evident delight in melding, blending, and blurring the distinction between decorative and notational elements in an effort to forge musical meaning. This article explores how far the curled lines of musical notation and ornamentation can be thought of as visual prompts to think about music and its continuation beyond the space of the page, testament to an older, more playful understanding of how to read music.

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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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Hope, Cat. "The Future is Graphic: Animated notation for contemporary practice." Organised Sound 25, no. 2 (August 2020): 187–97. http://dx.doi.org/10.1017/s1355771820000096.

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A growing number of musicians are recognising the importance of re-thinking notation and its capacity to support contemporary practice. New music is increasingly more collaborative and polystylistic, engaging a greater range of sounds from both acoustic and electronic instruments. Contemporary compositional approaches combine composition, improvisation, found sounds, production and multimedia elements, but common practice music notation has not evolved to reflect these developments. While traditional notations remain the most effective way to communicate information about tempered harmony and the subdivision of metre for acoustic instruments, graphic and animated notations may provide an opportunity for the representation and communication of electronic music. If there is a future for notating electronic music, the micro-tonality, interactivity, non-linear structures, improvisation, aleatoricism and lack of conventional rhythmic structures that are features of it will not be facilitated by common practice notation. This article proposes that graphic and animated notations do have this capacity to serve electronic music, and music that combines electronic and acoustic instruments, as they enable increased input from performers from any musical style, reflect the collaborative practices that are a signpost of current music practice. This article examines some of the ways digitally rendered graphic and animated notations can represent contemporary electronic music-making and foster collaboration between musicians and composers of different musical genres, integrating electronic and acoustic practices.

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Jarrett, Jack Marius. "Musical notation system." Journal of the Acoustical Society of America 125, no. 5 (2009): 3490. http://dx.doi.org/10.1121/1.3139596.

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Kim-Boyle, David. "REFRAMING THE LISTENING EXPERIENCE THROUGH THE PROJECTED SCORE." Tempo 72, no. 284 (March 20, 2018): 37–50. http://dx.doi.org/10.1017/s0040298217001243.

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ABSTRACTOver the past ten years, performance scores have been radically foregrounded in a variety of performance practices. Whether such notations assume a prescriptive function, visually projected for musicians to interpret, or a descriptive one, unfolding as a documentation of a live coding performance, how might such a foregrounding reframe the listening process for an audience? Does a notational schema help promote a deeper, structural level understanding of a musical work? This article will consider these various questions, exploring how principles of graphic design and the transparency of notation contribute to the listening experience. It will suggest that works featuring projected scores find aesthetic value in the juxtaposition of notation's traditionally mnemonic function and the unique temporal modalities that projected scores establish.

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HISATOME, Tomoyuki. "Notation and Musical Tone." Journal of the Visualization Society of Japan 35, no. 136 (2015): 13–16. http://dx.doi.org/10.3154/jvs.35.13.

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Sacks, Oliver. "Hallucinations of musical notation." Brain 136, no. 7 (March 23, 2013): 2318–22. http://dx.doi.org/10.1093/brain/awt057.

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Ganschow, Leonore, Jenafer Lloyd-Jones, and T. R. Miles. "Dyslexia and musical notation." Annals of Dyslexia 44, no. 1 (January 1994): 185–202. http://dx.doi.org/10.1007/bf02648161.

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Chang, Chia-Lun. "Staff Notation or Numbered Music Notation That Is the Question: A Brief History of Numbered Music Notation and an Examination on Its Effectiveness of Music Learning." Arts Studies and Criticism 3, no. 4 (September 20, 2022): 310. http://dx.doi.org/10.32629/asc.v3i4.1037.

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The staff music notation was originated from Gregorian chants of medieval Europe. It became the universal standard notation although there were music notations found in other ancient cultures. During 19th century, a new and simplified notation system in which Arabic numbers were used to represent musical notes began to circulate among amateurish music learners all over the world. While this notation system, named numbered music notation (NMN) in this article, started to wane in other countries in the early 20th century, Chinese adopted it earnestly and continued to use it as a major practice in music printings and education. In the field of traditional Chinese music, some readily assume it is a Chinese invention. This article puts forward a discussion on the emergence of the NMN and its application in China, compares it with the staff music notation, and exams how notations affect music training.

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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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Dissertations / Theses on the topic "Musical notation"

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Wendling, Miriam Monroe. "Musical notation in Bamberg 1007-1300." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610503.

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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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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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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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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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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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Jordaan, Abri Petrus Jacobus. "Ontwikkelings in kitaarnotasie : ‘n historiese perspektief met toepassings vir hedendaagse gebruik." Diss., University of Pretoria, 2005. http://hdl.handle.net/2263/30874.

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Tatem, Joseph Edward. ""ENGRAVE - An expert system that understands and generates musical notation"." Thesis, Virginia Tech, 1987. http://hdl.handle.net/10919/43378.

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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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Books on the topic "Musical notation"

1

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

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Vinci, Albert C. Fundamentals of traditional musical notation. [Kent, Ohio]: Kent State University Press, 1985.

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Ryder, Charles. An anthology of musical notation. Kingston-upon-Thames: Stanley Picker Gallery, 1999.

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El-Mallah, Issam. Arab music and musical notation. Tutzing: H. Schneider, 1997.

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McGrain, Mark. Music notation: Theory and technique for music notation. Boston, Mass: Berklee, 1986.

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(Solesmes), Abbaye Saint-Pierre, ed. La Notation musicale des chants liturgiques latins =: The musical notation of Latin liturgical chants. (Sablé-sur-Sarthe: Editions de) Solesmes, 1996.

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Read, Gardner. 20th-century microtonal notation. New York: Greenwood Press, 1990.

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Hebborn, Barbara. Die Dasia-Notation. Bonn: Orpheus, 1995.

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Parrish, Carl. The notation of medieval music. New York: Pendragon Press, 2009.

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Linda, Lusk, ed. Essentials of music notation. [Van Nuys, Calif.]: Alfred Pub. Co., 2009.

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Book chapters on the topic "Musical notation"

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Elster, Jaye J. "Basics of notation." In How to Swing in Musical Theatre, 68–91. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003254300-8.

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Elster, Jaye J. "Speed of notation." In How to Swing in Musical Theatre, 92–108. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003254300-9.

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de Aguiar, Vinícius Jonas. "Diagrams, Musical Notation, and the Semiotics of Musical Composition." In Diagrammatic Representation and Inference, 748–51. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91376-6_73.

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Riches, Gary, Ruben Martinez, Jamie Maison, Matt Klosterman, and Mark Griffin. "Developing Notation – Audio to Musical Score." In Apple Watch for Developers, 163–76. Berkeley, CA: Apress, 2015. http://dx.doi.org/10.1007/978-1-4842-1338-4_5.

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Boenn, Georg. "A Shorthand Notation for Musical Rhythm." In Computational Models of Rhythm and Meter, 15–31. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76285-2_3.

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Kelly, Thomas Forrest. "The Oldest Musical Notation at Montecassino." In The Sources of Beneventan Chant, XI—37—XI—45. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003420699-11.

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Deford, Ruth I. "Who Devised the Proportional Notation in Isaac's Choralis Constantinus?" In Epitome musical, 167–214. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.em-eb.4.9008.

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McCawley, James D. "Linguistic aspects of musical and mathematical notation." In Typological Studies in Language, 169. Amsterdam: John Benjamins Publishing Company, 1992. http://dx.doi.org/10.1075/tsl.21.14mcc.

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Kaminski, Joseph S. "Jianpu simplified notation and the transnational in musical repertoires of New York's Chinatown." In Material Cultures of Music Notation, 110–23. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429342837-11.

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Stoessel, Jason. "The Interpretation of Unusual Mensuration Signs in the Notation of the Ars subtilior." In Epitome musical, 179–202. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.em-eb.3.2666.

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Conference papers on the topic "Musical notation"

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Musil, Jaroslav. "Noty ve výuce předmětu Hudební výchova na základní škole: příklady využití notačního programu Sibelius." In Musica viva in schola. Brno: Masaryk University Press, 2023. http://dx.doi.org/10.5817/cz.muni.p280-0272-2023-16.

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The presented text focuses on the importance and need of teaching notation in music education at elementary schools, as well as on the role of the teacher and his approach to the issue of music education. The main aim of the paper is modern multimedia tools and technologies linked to musical notation. The possibilities of education for future and existing educators are also mentioned, including the current offer of notation software with all its functions and areas of use. The paper also provides examples of the use of the Sibelius notation program in music education, from listening to musical pieces to basic teaching of notation, musical instruments, and export of sound or video. The use of a notation program in the sense of creating electronic teaching materials by the teacher is also mentioned.

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Ho, Wen-Shing. "Invention of Musical Notation Applying the Musical Notation to the Cinematic Art Language." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.31.

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Ginanjar, Rikip, and Ivan Iskandar. "MIDI Conversion to Musical Notation." In 2011 First International Conference on Informatics and Computational Intelligence (ICI). IEEE, 2011. http://dx.doi.org/10.1109/ici.2011.25.

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Toh, Chooi Ling Si, Chee Kyun Ng, and Nor Kamariah Noordin. "Melody to musical notation translating system." In 2011 IEEE 17th Asia-Pacific Conference on Communications (APCC). IEEE, 2011. http://dx.doi.org/10.1109/apcc.2011.6152934.

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Suyanto, Yohanes. "Numbered Musical Notation and LATEX Document Integration." In 2018 4th International Conference on Science and Technology (ICST). IEEE, 2018. http://dx.doi.org/10.1109/icstc.2018.8528296.

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Kuuskankare, Mika. "Towards Real-time Score Analysis in PWGL." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19424.

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In this paper, we introduce an original approach to computerized music analysis within the graphical computer-assisted composition environment called PWGL. Our aim is to facilitate the realtime analysis of interactive scores written in common Western music notation. To this end, we have developed a novel library that allows us to analyze scores realized with the help of ENP (the graphical music notation module of PWGL), and to visualize the results of the analysis in realtime. ENP is extended to support the display of supplementary information that can be drawn on top of the score as an overlay. The analysis backend is realized with the help of our builtin musical scripting language based on pattern matching. The analysis results are presented directly as a part of the original score leveraging the extensible and interactive visualization capabilities of ENP. In this paper we describe the current state of the library and present, as a case study, a fully functional application allowing for the realtime analysis and display of voice leading errors according to the counterpoint rules developed mainly in the Renaissance and Baroque eras.

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

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

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Jiang, Tigang, Fu Qi, and Yuming Mao. "Numbered Musical Notation Image Recognition Algorithm and Realization." In 9th Biennial Conference of the Australian Pattern Recognition Society on Digital Image Computing Techniques and Applications (DICTA 2007). IEEE, 2007. http://dx.doi.org/10.1109/dicta.2007.4426807.

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

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Simões, Antônio R. M., and Alexsandro Meireles. "Speech prosody in musical notation: Spanish, Portuguese and English." In Speech Prosody 2016. ISCA, 2016. http://dx.doi.org/10.21437/speechprosody.2016-44.

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Reports on the topic "Musical notation"

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TENOR Boston 2023: The Eighth International Conference on Technologies for Music Notation and Representation. Northeastern University, May 2023. http://dx.doi.org/10.17760/d20511476.

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