Academic literature on the topic 'Musical notation – Instruction and study'
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Journal articles on the topic "Musical notation – Instruction and study"
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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 (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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Stewart, Lauren. "Neurocognitive Studies of Musical Literacy Acquisition." Musicae Scientiae 9, no. 2 (2005): 223–37. http://dx.doi.org/10.1177/102986490500900204.
Full textAbstract:
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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Carmon, Yehudith, Aryeh Wohl, and Shmuel Even-Zohar. "The Musical Notes Method for Initial Reading Acquisition." Journal of Cognitive Education and Psychology 7, no. 1 (2008): 81–100. http://dx.doi.org/10.1891/194589508787381935.
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A century of experimental approaches to reading instruction has not significantly reduced initial reading acquisition problems. Though researchers continue to identify more and more symptoms of deficiencies, they have, to date, come up with but few solutions. Reading instruction traditionally begins with the particular components of a specific language. In this study, we investigate a method that begins with general, basic reading components common to all written alphabetical languages, including musical notation. We propose to introduce reading by using an original and simple musical vehicle, the Toy Musical Notes (TMN) method. After creating a primary reading scheme through music, verbal reading becomes much easier. Our method was tested on 150 preschool children, who participated in three intervention programs: TMN, conventional music, and a control group, which had a non-musical intervention program. Pre- and posttests were administered with follow-up assessments in reading development conducted in the first grade. The results reflected significant achievements for the TMN group on all reading parameters: number of mistakes, vocal reading time, velocity, and comprehension. Applying this method allowed us to use children’s natural musical interest to help them learn to read and comprehend better.
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Lau, Wing Chi Margaret, and Susan Grieshaber. "Musical free play: A case for invented musical notation in a Hong Kong kindergarten." British Journal of Music Education 27, no. 2 (2010): 127–40. http://dx.doi.org/10.1017/s0265051710000045.
Full textAbstract:
Drawn from a larger mixed methods study, this case study provides an account of aspects of the music education programme that occurred with one teacher and a kindergarten class of children aged three and four years. Contrary to transmission approaches that are often used in Hong Kong, the case depicts how musical creativity was encouraged by the teacher in response to children's participation during the time for musical free play. It shows how the teacher scaffolded the attempts of George, a child aged 3 years and 6 months, to use musical notation. The findings are instructive for kindergarten teachers in Hong Kong and suggest ways in which teachers might begin to incorporate more creative approaches to musical education. They are also applicable to other kindergarten settings where transmission approaches tend to dominate and teachers want to encourage children's musical creativity.
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Watson, Kevin E. "The Effects of Aural Versus Notated Instructional Materials on Achievement and Self-Efficacy in Jazz Improvisation." Journal of Research in Music Education 58, no. 3 (2010): 240–59. http://dx.doi.org/10.1177/0022429410377115.
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The purpose of the present study was to investigate the effects of aural versus notated pedagogical materials on achievement and self-efficacy in instrumental jazz improvisation performance. A secondary purpose of this study was to investigate how achievement and self-efficacy may be related to selected experience variables. The sample for the study consisted of collegiate instrumentalists ( N = 62) enrolled as music majors at one of six Midwestern universities. All study participants received identical instructional materials but were assigned to one of two differing instructional modalities. Participants engaged in three 70-minute instructional treatment sessions over 4 days and completed pre- and postinstruction improvisation performances that were evaluated by four expert judges using the researcher-constructed Jazz Improvisation Performance Achievement Measure. Self-efficacy was measured using the researcher-constructed Jazz Improvisation Self-Efficacy Scale. Results indicated a significant ( p < .05) interaction effect for pre- to postinstruction and instructional method, with the aural instruction group demonstrating significantly greater gains than the notation group. Posttreatment achievement scores indicated nonsignificant correlations with experience variables. Participants’ self-efficacy for jazz improvisation increased significantly ( p < .001) following exposure to improvisation instruction; however, no interaction effect was found for instruction and mode of instruction.
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Alexeyeva, Irina V., and Olga Yu Kirsanova. "The “Notebooks” of Leopold Mozart (“Die Notenbücher der Geschwister Mozart”) As a Specimen of Instructive Compositions." ICONI, no. 1 (2019): 92–101. http://dx.doi.org/10.33779/2658-4824.2019.1.092-101.
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One of the interesting realms of contemporary musicology is the issue of study and evaluation of the historical musical text of the early classical period, remote from us in terms of time. No less significant is the comprehension of its didactic potential, as well as the adaptation of scholarly results of research and their application in pedagogical practice. More relevant is the study of the techniques of interaction on the part of the performer with this musical text. The article acquaints the readers with the unique album for clavier, absent in Russian performing and instructive practice — “Die Notenbücher der Geschwister Mozart” in its original version. Its study presents the possibility to immerse into the specificity of the artistic content and pedagogical “secrets” of one of the opuses of the instructive direction reflecting the specificity of 18th century instrumental music-making. Analytical immersion into the musical text of the “Notebooks” (such is the version of the translation of the title of the analogous albums of J.S. Bach, according to Russian publishers) as a historical document of the epoch is aided by turning to its “intonational-lexical vocabulary” stipulated by culturological context. The album discloses the practical secrets of adaptation of the musical score form of notation in its transcription into two-lined form and demonstrated signs of the reduction of the musical text in correspondence with the peculiarities of keyboard instruments. For a present-day beginning performer, the creative potential of the pieces in the collection consists in the possibility of reverse unfolding of two-line keyboard music into an ensemble score the means of which have been fixated into the musical text.
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Malinkowskaya, Augusta V. "Author’s Comments in the Conceptual Space of Musical Text: to the Methodology of Research of Musician Teacher." Musical Art and Education 7, no. 3 (2019): 9–29. http://dx.doi.org/10.31862/2309-1428-2019-7-3-9-29.
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This article presents the problem of the relationship between two landmark subsystems in the conceptual space of the musical composition text: notation and author’s instructions, comments of various types and functions. The author contrasts the text formal division (it is used in performing and pedagogical practice, non-binding “notes” and instructions by the composer of minor importance) and views of musicians who see in the traditional dichotomy “musical text – comments on it” a theoretical problem. The differences in approaches to it are analyzed in the works by S. E. Feinberg, E. Ya. Liberman; it is proposed to consider the position of the author of the article, treating the first of these subsystems as a base, the second as a superstructure in a united conceptual space of a musical text. The author develops the theme and carries out historical-style excursions and reveals the evolution of the composer’s comments in the music in 17th – early 20th centuries due to aesthetic, artistic, technological and other factors. In the historical-style sections of the article, the author relies on the concept by S. S. Skrebkov, that is in the book “The Artistic Principles of Musical Styles”. In particular, the author uses the principle of centralizing unity postulated by the scientist as a methodological guide, and interpreted broadly in the article as a general dialectical principle of musical logic. This allows to differ stylistically and at the same time to study dialectically the practice of composer commentary in musical works of the Baroque, classical and romantic eras. The main conclusion of the article is the reference to the need for performers and teachers to deepen into essential, substantial relations in a united conceptual space of a musical text of two main plans: notated, reflecting introverted, immanently musical meaning, and composer comments, where denotation is carried out, symbolization of the deep structures of music.
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Carroll, Debbie. "Children’s invented notations: Extending knowledge of their intuitive musical understandings using a Vygotskian social constructivist view." Psychology of Music 46, no. 4 (2017): 521–39. http://dx.doi.org/10.1177/0305735617716532.
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Children’s invented musical notations provide a fascinating window into their musical and metacognitive understandings. Using a Vygotskian social constructivist perspective that emphasizes the social nature of cognition, the purpose of this qualitative study was to examine the processes and products of children’s notations as they notated a song and then taught it to a peer, a multi-level task currently unstudied in the literature. Thirteen Canadian children, aged 5–9 years, without prior music instruction, notated a song learned the previous week, sung it back, explained what they did, and then taught the song to a classmate the following week. The children’s notations, as well as audio and videotapes of them carrying out the multi-level task, provided the primary data; audiotaped conversations with parents, teachers, and a school principal provided secondary data. Analyses generated descriptive and narrative portraits, which demonstrate the increasingly sophisticated representational strategies used by the children from three different age groups as they notated, refined, and taught a song. Select portraits are presented and discussed. Implications for research and practice highlight the value of the research task in eliciting children’s multiple intelligences and collaborative problem-solving skills, and painting more complete portraits of their intuitive and emergent musical and metacognitive understandings.
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Peterman, Lewis. "Kotekan in the Traditional Shona Mbira Music of Zimbabwe." Mudra Jurnal Seni Budaya 25, no. 3 (2010): 235–45. http://dx.doi.org/10.31091/mudra.v25i3.1560.
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 This article documents musical interlocking as it is traditionally practiced among the Shona people of Zimbabwe. Its focus is on the music of the mbira dzavadzimu, a traditional musicial instrument that consists of 22-25 or more keys distributed over three manuals(keyboards) played with both thumbs and one index finger. Numerous musical examples,using notational symbols developed for this study, are used throughout to clarify all technicaldetails. Most of the notational symbols are the same or similar to those used by Paul Berliner in his classic study The Soul of Mbira (Berliner: 1978). Six complete traditional mbira dzavadzimu pieces are presented in easy-to-read notated form: “Nhemamusasa,” “Chakwi,” “Nhemamusasa Variation,” “Nyamaropa,” “Shumba,” and “Taireva.” Four different categories ofinterlocking procedures form the core of the article: 1) Interlocking in Solo Mbira Music; 2) Interlocking in Two-Part Mbira Music; 3) Interlocking in Three-Part Mbira Music; and 4) Interlocking in Multiple-Part Mbira Music. Three supporting categories are also presented: 1) Interlocking in Mbira “High-Line” Parts; 2) Interlocking in Accompanying Vocal Parts; and 3) Interlocking in Miscellaneous Accompanying Parts. Much of the data in this article was gathered by the author through his private instruction with the following distinguished Shona mbira players: Irene Chigamba, Tute Chigamba, Musekiwa Chingodza, Stella Chiweshe, Michael Kamunda, Forward Kwenda, Ephat Mujuru, and Luken Kwari Pasipamire. 
 
 
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Guzzetta, Christine A. "Learning method preferences in a steel drum classroom: Exploring a learner-centered pedagogy through composition, peer teaching, and student-led Modern Band projects in a middle school setting." International Journal of Music Education 38, no. 2 (2019): 267–82. http://dx.doi.org/10.1177/0255761419877575.
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This action research discovers the learning preferences of middle school students enrolled in an advanced steel drum class in central Florida, specifically their attitudes toward the learner-centered approach while composing and learning music. Sixteen participants compare the traditional teacher-led formal instruction to student-led informal learning across three projects: composition, peer teaching, and student-led small group with the introduction of Modern Band instruments. Students are given creative freedom to choose their own friendship groups, instruments, and songs. Ease, enjoyment, and success rates are measured through questionnaires, video recording, field notes, and interviews. Student preferences toward teacher-directed and peer-directed learning change throughout the study, from student-led learning to teacher-led instruction as the tasks become more difficult. In addition, preferred learning techniques of the steel drum are found to be reading notation, listening to the music, and demonstrating how to play the instrument through kinesthetic means. Music teachers can successfully implement a more learner-centered classroom by planning lessons that are in line with student ability and background knowledge, while incrementally increasing challenges.
Dissertations / Theses on the topic "Musical notation – Instruction and study"
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Carroll, Debra 1952. "Children's use of personal, social and material resources to solve a music notational task : a social constructivist perspective." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102794.
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In this inquiry, I examined how young children use their personal, social and material resources to solve a music notational task. I asked 13 children, ages 5-9 to notate a song they learned the previous week, sing it back, explain what they did and then teach the song to a classmate the following week. I used Lightfoot and Davis' concept of portraiture as a qualitative research methodology to collect, code, analyze and interpret my data. Data included the children's invented notations and videotaped transcripts of their actions as they created their notations and taught the song to a classmate. Sociocultural Vygotskian developmental theory, activity theory and Bakhtin's dialogic theory provided the interpretive lens through which I examined how the children used their resources as mediational tools to complete the task.<br>Findings revealed that children who had no previous music training used increasingly sophisticated representational strategies to notate a song, and that they were able to refine their notations when singing the song from their notation, teaching the song or when prompted by an adult or a peer. I concluded that the peer-peer situation was a motivating force for triggering a recursive process of reflections-on-actions and knowing-in-action. Classmates' questions, comments and their singing played a critical role in moving the children to modify their notations and their singing, verbal explanations and gesturing in ways they did not do alone or with me.<br>Analysis of the children's notations, verbal explanations and teaching strategies provided insights not only into what they knew about music, but also their appropriation of the cultural conventions of writing and their aesthetic sensibilities, as gleaned from their choice of symbols, colours and how they presented their symbols on the page. Interviews with parents, teachers and school principal provided contextual background for interpreting the children's notations and how they approached the task. This study shows the value of adopting a social constructivist approach to teaching the language of music. It also demonstrates that researching the products and processes of children's invented notations from a social constructivist perspective enables more detailed portraits of children's musical and meta-cognitive understandings.
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Wootton, Joan Elizabeth. "Teaching braille music notation to blind learners using the recorder as an instrument." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/50461.
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Thesis (PhD) -- University of Stellenbosch, 2005.<br>ENGLISH ABSTRACT: The researcher encountered the following problems while teaching braille IWSic notation
to blind learners at the Pioneer School in Worcester:
• Young learners learning to read braille IWSic notation with the piano as mediwn appeared
to struggle technically. For example, blind children experienced difficulty finding the
correct keys over seven octaves; they had generally weak posture; they had to learn to
play one part with one hand while the other hand would read; they had to memorise the
music for each clef individually and then combine them cognitively; they had to memorise
the soprano, alto, tenor and bass parts of a piece; they often experienced discouragement
because of the very slow progress they made compared with their sighted peers.
• Although learners seemed to find the recorder technically more manageable, currently
available braille recorder tutors proved to be inadequate. This inadequacy was a result of
the tutors having been designed for the sighted child.
The researcher thus set out to design a more appropriate approach than is currently
available for teaching braille music notation to the blind, with the recorder as medium.
The research method was qualitative and included a literature survey which covered the
following unique needs of the blind learner:
• psychological
• emotional and social
• concept development
• motor skills (orientation, laterality, posture, coordination)
• tactile perception
• creativity and self expression
The qualitative research also included video observation of a series ofiodividual
and group lessons. The lesson material emerged from a programme designed by the researcher and was based on the literatme study. An observation panel.
together with the researcher, evaluated the lessons on predetenDned coded
assessment criteria 'The lessons and progrannne were adapted according to
feedback from the lessons.
The qualitative research includes interviews with five blind learners and six
teachers of braille music notation. The interviews were designed to gather
information on how blind learners can more appropriately be taught the braille
music code.
The unique needs of blind learners, in particular those concerning orientation
and perceptual awareness, are considered in this alternative approach for
teaching braille music notation to blind learners. 'The alternative programme is
skills based and can be used convElliently in conlunetion with the Outcomes-
Based Education (OBE) modeL<br>AFRIKAANSE OPSOMMING: Die navorser het die volgende probleme ondervind tydens baar onderrig van braille
musieknotasie aan blinde leerders by Pionierskool in Worcester:
• Dit wil voorkom asofjong leerders wat braille musieknotasie moet aanleer met die klavier
as medium, tegniese probleme ondervind. Blinde kinders het dit byvoorbeeld moeilik
gevind om die korrekte toetse oor sewe oktawe te vind; oor die algemeen was hulle
houding swak; hulle moes leer om een stemparty met een hand te lees terwyl die ander
hand gespeel het; hulle moes die musiek vir elke sleutelteken apart memoriseer en die
stemme kognitiefbymekaar sit; hulle moes die sopraan, alt. tenoor en bas stempartye van
'n stuk memoriseer, hulle is baie keer moedeloos, weens hulle stadige vordering, in
vergelyking met hulle siende portuurgroep.
• A1hoewel dit gelyk het asof leerders die bioldIuit tegnies meer hanteerbaar gevind het,
blyk huidige beskikbare braille bloldluit handleidings nie geskik te wees nie. Hierdie
ontoereikendheid is as gevolg van die feit dat die handleidings vir die siende kind ontwerp
IS.
Derhalwe het die navorser gepoog om 'n meer toeganklike benadering te ontwikkel as wat
tans beskikbaar is vir die onderrig van braille misieknotasie aan die blinde, met die
bioldIuit as medium.
Die ondersoekmetode was kwalitatief van aard en het onder andere 'n literatuuroorsig
ingesluit wat die volgende unieke behoeftes van die blinde leerder ingesluit het:
• siellnmdig
• emosioneel en sosiaal
• konsep ontwikkeling
• motoriese vaardighede (oriëntasie, lateraliteit, houding, koOrdinasie)
• gevoelswaarneming
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HAHN, LOIS BLACKBURN. "CORRELATIONS BETWEEN READING MUSIC AND READING LANGUAGE, WITH IMPLICATIONS FOR MUSIC INSTRUCTION (NOTATION)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188032.
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There is evidence that the strategies used by fluent readers of written language and by fluent "sight-readers" of musical notation are much the same. Both require a background in the modality represented by the written symbols. Both require context for construction of meaning through sampling and prediction. In this study, a method of elementary music-reading instruction was developed in which musical notation is introduced in the context of musical patterns familiar to the students through earlier musical experiences. The focus is on melodic contour and rhythmic units, initially with no emphasis on exact pitch. An experimental study was conducted to compare the effectiveness of this method with a more traditional one in which the elements of notation are first introduced in isolation. Subjects for the study were two beginning string classes (fourth- through sixth-grade students) in geographically contiguous schools in a large school district in a southwestern city. There were two 30-minute classes per week. During the first two months, both groups were given identical pre-reading experiences, including rote playing, by the regular music teachers. Instruction in music reading, begun in the third month, consisted of eleven lessons administered to each group by the investigator. The testing instrument, designed by the investigator and used as pretest and posttest, consisted of initial measures of five children's songs, four of which were familiar to the children through rote experiences. While all of the subjects received zero on the pretest, posttest scores for both groups indicated growth in music reading. A t-test on the data permitted rejection of the null hypothesis and acceptance of the alternate hypothesis that the investigator-designed method was more effective than the traditional one in both the music-reading task and the sight-reading task.
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Caldwell, Rodney Hildred. "Rhythmic and metrical groupings of chant notation as an influence upon the conducting for the "Quatre motets sur des themes gregoriens", Op. 10, of Maurice Durufle." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187189.
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This project focuses on the relationship between plainchant notation and the conducting gesture in the Quatre Motets Sur Des Themes Gregoriens, Op. 10 of Maurice Durufle. Durufle's intimate knowledge of the chant practices of the Solesmes school of chant interpretation is a major influence in the compositional style of the four motets. This project explores the relevance of the Solesmes interpretational practices and their influence on Durufle's compositional technique. The conducting gesture employed in the realization of the motets must demonstrate an active knowledge of the compositional techniques employed and the Solesmes interpretational practices. As such the incorporation of traditional Gregorian Chironomy into a working gesture for use in the rehearsal and performance of the motets is the essence of this project.
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Hessel, Eric. "Addressing Technical and Musical Demands of Contemporary Music for Horn through Newly-Composed Etudes." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538667/.
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Contemporary music for horn often requires techniques and musical or notational considerations that are unconventional with respect to the standard pedagogy of the instrument. As such, these considerations often represent a level of challenge to which the average-intermediate to advanced-hornist is unprepared to approach or altogether unfamiliar. The most prominent of these demands arising in the last few decades of the twentieth century through today include microtonality (such as extended just intonation and quarter tones), extended techniques in combination or juxtaposition (such as multiphonics and right hand technique), rhythmic complexity (including metric modulation, non-dyadic meters, additive rhythms, and nested tuplets), and unconventional notations (graphic, spatial, and other temporal notations). This document first surveys the challenges of the repertoire in question, which includes works by György Ligeti, Thea Musgrave, Milton Babbitt, Brian Ferneyhough, Iannis Xenakis, Heinz Holliger, and Douglas Hill, among others. After considering the merits and limitations of existing pedagogical materials that work towards these ends, the document then underlines a strategic pedagogical goal for understanding and approaching unconventional contemporary repertoire through newly-composed etudes. This document is written in conjunction with and justification for the author's 24 Unconventional Etudes for Horn, and includes examples therefrom.
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Li, Hanhan. "Stephen Chatman's Piano Fantasies (1993): An Instructional and Performance Guide for Teachers and Intermediate Piano Students." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505243/.
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Contemporary repertoire is not commonly taught or explored by teachers during the intermediate level, when a student's musical training is transitioning to an advanced level. Nonetheless, it is important for piano instructors to be open-minded about contemporary music and have some perspective on the development of music repertoire in the future. The purpose of this dissertation is to provide a performance and pedagogical guide to Stephen Chatman's (b. 1950) Fantasies, from both technical and artistic viewpoints. The collection, which consists of eleven pieces, features a wide variety of contemporary idioms, styles, and means of notation. For instance, there are jazz-like syncopated rhythms, asymmetrical accents reminiscent of Primitivism, and Impressionistic or dissonant sonorities. Fantasies is not only a valuable tool for students to explore new sounds and improve their performing techniques while executing nontraditional notations and contemporary idioms, it is also a great teaching resource for instructors to promote students' musicality through hearing, seeing, and thinking. In this study, I provide individual, detailed descriptions for each of the pieces in the score, adding examples on how to address the difficulties they present to the performer. As a result, instructors can better understand how to help students prepare to perform this collection and spark their interest in playing contemporary music.
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Brunner, Heather Nicole. "COLOR AND MUSIC: A REVIEW OF RESOURCES TO ENHANCE BEGINNING INSTRUCTION IN PIANO PEDAGOGY." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/316.
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This paper will examine color-coded musical notation. The history of color and music will be briefly explored before a more in-depth analysis of the widely available color-coded curriculums. Traditional method book formats will be examined for the potential integration of color-coded musical notation.
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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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Goodenough, Pammala K. "A comparison of computer-assisted and peer-partner practice in treble-staff note recognition /." View online, 2010. http://repository.eiu.edu/theses/docs/32211131575082.pdf.
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Bechara, Silvia Regina de Camera Corrêa [UNESP]. "Jovens estudantes de música na cibercultura musical: facebook e educação musical 2.0." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/127999.
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000849513.pdf: 3486170 bytes, checksum: bd70e9a411e0645146f53c494821bd7c (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Minhas experiências com jovens em sala de aula, observando sua dinâmica em transitar em diferentes contextos - online, offline, escola, música - despertou em mim a curiosidade de entender melhor como se davam essas relações, e em que isso implicava em uma Educação Musical na contemporaneidade. Assim, a presente pesquisa trata das interações entre jovens estudantes de música e a cibercultura musical na mídia social Facebook, e suas implicações para a área de educação musical. Propõe também desvelar as articulações dos compartilhamentos vinculados à música com a formação musical de jovens estudantes de música entre 18 e 29 anos. Por meio de uma pesquisa de campo baseada em recursos etnográficos virtuais, os dados foram coletados via observação participante virtual no Facebook e entrevistas online assíncronas. O referencial teórico constitui-se um mosaico de conceitos: cultura musical, mundos musicais, compartilhar, cibercultura, cibercultura musical, pós-modernidade e Educação Musical. A interpretação dos dados é mostrada por intermédio de uma galeria de arte, na qual suas várias alas trazem as reflexões das práticas da cibercultura musical e a Educação Musical. Neste âmbito, os estudantes compartilham suas emoções, pensamentos e opiniões e utilizam o Facebook amplamente para divulgar seu trabalho. Os resultados mostram que o Facebook utilizado no dia a dia não traz muita contribuição para a formação musical dos estudantes participantes, porém se mostra uma ferramenta relevante para a construção do conhecimento musical, desde que mediado por um educador<br>My experiences with young people in the classroom, observing their dynamics in transit in different contexts - online, offline, school, music - awakened in me the curiosity to better understand how to get along these relationshi ps, and in what this implied a Musical Education contemporaneity. Thus, this research deals with the interactions between young music students and music cyberculture in Facebook social media and its implications for the field of music education. It also proposes to unveil the joints of shares linked to the music with the musical training of young music students between 18 and 29 years. Through a field research based on virtual ethnographic resources, data were collected via virtual participant observation Facebook and asynchronous online interviews. The theoretical framework constitutes a mosaic of concepts: musical culture, musical worlds, share, cyberculture, musical cyberculture, postmodernity and Music Education. Interpretation of the data is shown through an art gallery, in which its various wings bring the reflections of the practices of musical cyberculture and Music Education. In this context, students share their emotions, thoughts and opinions and use Facebook extensively to publicize their work. The results show that Facebook used in daily lives does not bring much contribution to the musical education of participating students, but it shows a relevant tool for the construction of musical knowledge from that mediated by an educator
Books on the topic "Musical notation – Instruction and study"
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Jon, Chappell, ed. The Cherry Lane unabridged dictionary of guitar tablature and notation: A comprehensive guide to modern guitar notation, technique, and symbols. Cherry Lane Music Co., 1990.
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Hoenack, Peg. Rhythm and pitch notation charts. 2nd ed. Peg Hoenack's MusicWorks, 1987.
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E, Ross Robert. If you really want to learn piano!: A quicker and easier method for learning to play pianos and electronic keyboards. Keyboard Music Pub. Co., 1991.
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Upitis, Rena Brigit. Can I play you my song?: The compositions and invented notations of children. Heinemann, 1992.
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The gig bag book of scales for all guitars: Over 180 essential scales presented in standard notation and tablature. Amsco Publications, 1997.
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E, Ross Robert. The new music system for keyboards: A quicker and easier method for learning to play pianos and electronic keyboards. Keyboard Music Pub. Co., 1992.
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The advanced guitar case scale book: Over 100 essential scales for the contemporary guitarist : fully fingered in standard notation and tablature. Amsco Publications, 1993.
Find full textBook chapters on the topic "Musical notation – Instruction and study"
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Sinding-Larsen, Henrik. "Computers, Musical Notation and the Externalisation of Knowledge: Towards a Comparative Study in the History of Information Technology." In Understanding the Artificial: On the Future Shape of Artificial Intelligence. Springer London, 1991. http://dx.doi.org/10.1007/978-1-4471-1776-6_7.
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Török, Ágnes. "The Notation of the 20th and 21st Century Choral Music." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/3.
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The Avant garde schools required a notation style different from the traditional one both in instrumental and vocal music. This study points to the historical background of contemporary notation and the interdependence of the graphic representation of sound and notation. The illustrations are primarily quotes selected from the Hungarian choir literature and further material is used to introduce the authentic elements used for modes of expression. Key words: choral music, contemporary musical notation, graphic elements, chance
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Dorfman, Jay. "Models of Music Pedagogy and Their Influences on Technology-Based Music Instruction." In Theory and Practice of Technology-Based Music Instruction. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199795581.003.0005.
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Pedagogical approaches to teaching music have developed into mature curricular structures. The most prominent music pedagogies have features in common that can inform the new pedagogy of TBMI, and we should learn from the success of these approaches as we develop technology-based methods that will lead students to musical ends. In the section that follows, I will briefly summarize some of the major pedagogical approaches that are in use in today’s music classrooms. Then, I will offer lessons that we can learn from examining traditional music teaching that apply to the development of the TBMI approach. Saliba (1991) described the Orff-Schulwerk approach to music education as “pedagogy to organize elements of music for children through speaking, singing, playing, and dancing” (p. vii). This approach, which dates to early 19th-century Germany, combines basic musical elements into small forms such as songs and patterns in order to make musical material manageable for young children (Saliba, 1991). Carl Orff ’s approach to music education was based on his personal experiences and his belief that integrating music and movement was fundamental to music learning processes (Frazee & Kreuter, 1987; Frazee, 2006). Performing, listening, improvising, and analyzing music are all characteristic activities of Orff -Schulwerk music lessons. An important trait of this approach is its emphasis on children feeling musical elements (through active experience) prior to conceptualizing their understanding of the elements. Other distinguishing characteristics of the Orff pedagogy include the use of ostinati as accompaniment for singing and movement at varying levels of complexity and the use of simple instruments as a means for children’s immediate expression (Wheeler & Raebeck, 1977). Creativity is central to the original Orff-Schulwerk model of music pedagogy, as is the teacher’s role in facilitating that creativity. “[Orff ’s] instructional plan includes provisions for several kinds of original work. . . . The teacher should be prepared to help children notate their musical ideas, evaluate the music they produce, and relate their creative eff orts to the study of musical form and style” (Landis & Carder, 1990, p. 110).
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Szabó, István. "Historical Aspects of Rhythm Notation and Rhythm Sequences." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/12.
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For percussionists, rhythm notation represents more than a mere temporal sequence of music; it also assists the selection and execution of the appropriate technique. This musical execution is often dependent on the percussion instrument, although it is safe to argue that the movement sequence when sounding an instrument is independent of its size and proportions. Starting from the first beats, it is as crucial to learn and master movement routines as it is to understand and feel the time between notes, since these together enable one to play out rhythm notation precisely and internalise the correct motor processes. Applying the adequate movement sequences during the learning process consciously could result in substantial self-control abilities, which can also be utilised during practice. In the past centuries, the style of percussionists’ performance has transformed substantially due to the evolution of instruments and mallets, as well as performers’ efforts towards faster tempos. In this study, a brief overview on the history of percussion instruments is followed by the presentation of the technical evolution and milestones of how snare drums and other drums are played. When practicing percussion instruments, we must bear in mind the vast contribution of percussionists from bygone centuries, who laid the foundations of modern-day techniques either in wars or for others’ entertainment. Keywords: tabor, snare drum, traditional grip, rudimental
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Upitis, Rena. "Stages of Notational Development." In This Too is Music. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190884956.003.0009.
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This chapter examines the research on invented music-notation systems, comparing the music notations generated by children with invented spellings, as well as describing the role that music training plays in shaping children’s notations of their own compositions. It also explores the role of developing notations in a creative community of practice. Further, the chapter outlines five developmental stages, beginning with the child who creates notations with no sound-symbol correspondence and moving through to notations showing the musical units, notations depicting limited rhythm and pitch information, and regulated but nonstandardized notations and ending with standardized music notation. The chapter is filled with examples from children to show how notations are developed, including a case study of a single child progressing through all of the developmental phases.
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Mclntyre, Donald B. "An Executable Notation, With Illustrations From Elementary Crystallography." In Computers in Geology - 25 Years of Progress. Oxford University Press, 1994. http://dx.doi.org/10.1093/oso/9780195085938.003.0024.
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Elementary crystallography is an ideal context for introducing students to mathematical geology. Students meet crystallography early because rocks are made of crystalline minerals. Moreover, morphological crystallography is largely the study of lines and planes in real three-dimensional space, and visualizing the relationships is excellent training for other aspects of geology; many algorithms learned in crystallography (e.g., rotation of arrays) apply also to structural geology and plate tectonics. Sets of lines and planes should be treated as entities, and crystallography is an ideal environment for introducing what Sylvester (1884) called "Universal Algebra or the Algebra of multiple quantity." In modern terminology, we need SIMD (Single Instruction, Multiple Data) or even MIMD. This approach, initiated by W.H. Bond in 1946, dispels the mysticism unnecessarily associated with Miller indices and the reciprocal lattice; edges and face-normals are vectors in the same space. The growth of mathematical notation has been haphazard, new symbols often being introduced before the full significance of the functions they represent had been understood (Cajori, 1951; Mclntyre, 1991b). Iverson introduced a consistent notation in 1960 (e.g., Iverson 1960, 1962, 1980). His language, greatly extended in the executable form called J (Iverson, 1993), is used here. For information on its availability as shareware, see the Appendix. Publications suitable as tutorials in , J are available (e.g., Iverson. 1991; Mclntyre, 1991 a, b; 1992a,b,c; 1993). Crystals are periodic structures consisting of unit cells (parallelepipeds) repeated by translation along axes parallel to the cell edges. These edges define the crystallographic axes. In a crystal of cubic symmetry they are orthogonal and equal in length (Cartesian). Those of a triclinic crystal, on the other hand, are unequal in length and not at right angles. The triclinic system is the general case; others are special cases. The formal description of a crystal gives prominent place to the lengths of the axes (a, b, and c) and the interaxial angles ( α, β, and γ). A canonical form groups these values into a 2 x 3 table (matrix), the first row being the lengths and the second the angles.
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Ahlquist, Karen. "Balance of Power." In Rethinking American Music. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.003.0002.
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This chapter discusses composers’ music—that is, music that demands a faithful adherence to detailed notation--in urban public settings in the late nineteenth century, among them formal performance series, music festivals, exhibitions, and outdoor “garden” concerts. Drawing examples from Boston, New York, Philadelphia, Washington, DC, Cincinnati, and Chicago, it shows Americans experimenting with strategies for musical dissemination that took audience response as an important consideration. Illustrating the relationship between social class and aesthetic perspectives in late-nineteenth-century American concert life, Ahlquist offers a potential model from the United States for the historical study of composers’ music throughout the Western world.
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Wendling, Miriam. "Adam Easton’s Office for the Feast of the Visitation of the Virgin Mary." In Cardinal Adam Easton (c.1330–1397). Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463726528_ch06.
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Adam Easton’s Office for the Visitation is a large-scale liturgical poetic work. With texts for Vespers, Matins, Lauds and the minor Offices, its sung performance could literally take hours. Easton’s Office was chosen from among several composed for the promulgation of the new Feast of the Visitation, but how it was circulated remains a mystery. It survives in more than a dozen notated sources from the late fourteenth through the sixteenth centuries, none of them identical. This chapter is the first study to examine the surviving sources of the Office with musical notation to provide the most likely explanation for how it was transmitted across Europe.
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Schulenberg, David. "Bach the Teacher." In Bach. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0013.
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This chapter examines the works of Bach’s later years, including several published collections, in the context of his teaching. The latter, considered in its broadest sense, included not only instruction in the St. Thomas School but private lessons and mentorship for university students and younger professional musicians. To these activities Bach added the revision and publication of compositions that could serve as examples for study and emulation. Among the latter are the four volumes of Clavierübung, including the harpsichord partitas, Italian Concerto, and Goldberg Variations; the Schemelli Chorales and Canonic Variations for organ; and the Musical Offering and Art of Fugue. Also instructive, in a profound sense, are the great vocal works of these years: the passions, oratorios, and Latin church music, including the B-Minor Mass.
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Parr, Sean M. "The New Franco-Italian School of Singing." In Vocal Virtuosity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197542644.003.0002.
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The nineteenth-century web of teachers, singers, and teacher-singers suggests that coloratura can be examined from the perspective of treatises produced by vocal pedagogues. In addition to vocal instruction, the treatises provide clues as to interpretation, by recommending and describing vocal articulations and styles corresponding to melodic styles and role characterizations. This chapter examines pedagogical treatises in conjunction with musical scores and the careers of individual singers, attempting to trace ideas of coloratura articulation and florid-lyrical expression. The Paris Conservatoire endorsed certain teacher-singer lineages and sought to merge French and Italian traditions into a new school of singing led by three pedagogues: Laure Cinti-Damoreau, Gilbert-Louis Duprez, and Manuel Garcia II. The study reveals a bifurcation between singing styles that carries over from vocal pedagogy to the operatic stage. This division between agile, florid singing and declamatory, sustained singing heralded our modern, more familiar vocal categories, such as the coloratura soprano.
Conference papers on the topic "Musical notation – Instruction and study"
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Homenda, Wladyslaw, and Agnieszka Jastrzebska. "A Practical Study on Feature Selection Methods in Pattern Recognition: Examples of Handwritten Digits and Printed Musical Notation." In 2017 6th IIAI International Congress on Advanced Applied Informatics (IIAI-AAI). IEEE, 2017. http://dx.doi.org/10.1109/iiai-aai.2017.186.
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Lou, Shi-Jer, Yi-Zhen Zhu, Kuo-Hung Tseng, Yuan-Chang Guo, and Ru-Chu Shih. "A Study of Computer-Assisted Instruction on Music Appreciation: An Example of Chinese Musical Instruments." In 2009 Ninth IEEE International Conference on Advanced Learning Technologies (ICALT). IEEE, 2009. http://dx.doi.org/10.1109/icalt.2009.62.
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Hansen, Brian, Leya Breanna Baltaxe-Admony, Sri Kurniawan, and Angus G. Forbes. "Exploring Sonic Parameter Mapping for Network Data Structures." In ICAD 2019: The 25th International Conference on Auditory Display. Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.055.
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In this paper, we explore how sonic features can be used to represent network data structures that define relationships between elements. Representations of networks are pervasive in contemporary life (social networks, route planning, etc), and network analysis is an increasingly important aspect of data science (data mining, biological modeling, deep learning, etc). We present our initial findings on the ability of users to understand, decipher, and recreate sound representations to support primary network tasks, such as counting the number of elements in a network, identifying connections between nodes, determining the relative weight of connections between nodes, and recognizing which category an element belongs to. The results of an initial exploratory study (n=6) indicate that users are able to conceptualize mappings between sounds and visual network features, but that when asked to produce a visual representation of sounds users tend to generate outputs that closely resemble familiar musical notation. A more in-depth pilot study (n=26) more specifically examined which sonic parameters (melody, harmony, timbre, rhythm, dynamics) map most effectively to network features (node count, node classification, connectivity, edge weight). Our results indicate that users can conceptualize relationships between sound features and network features, and can create or use mappings between the aural and visual domains.