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Journal articles on the topic 'Musical notation – Instruction and study'
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1
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.
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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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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.
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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.
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Simoni, Mary. "Project Lovelace: unprecedented opportunities for music education." Organised Sound 8, no. 1 (2003): 57–60. http://dx.doi.org/10.1017/s1355771803001067.
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Project Lovelace is a school-based programme for students aged twelve to eighteen years interested in learning about making music by using technology. The programme is designed to encourage equal and equitable participation by male and female students through instruction in technology-enhanced music performance, improvisation, composition, analysis and notation. Project Lovelace is named in honour of the contributions of the female mathematician Ada Augusta, Countess of Lovelace, who in 1842 predicted that computers could be used for musical composition (Roads 1996).The goals of Project Lovelace are to develop collaborative-based methods for gender-balanced school music technology programmes, amass a gender-balanced repertoire suitable for school music technology programmes, nurture creativity and analytical skills in music technology, and conduct a longitudinal study that documents the changing attitudes and perceived competencies of participating students and teachers.The motivation to initiate Project Lovelace was the timely convergence of two vexing issues perennially facing music technology programmes in higher education, specifically at the University of Michigan: the proportionally small number of female applicants to university music technology programmes and the need to continually upgrade or replace laboratory equipment. Why not allocate second-generation university laboratory equipment to the schools with the intent of building school-based music technology curricula that lead to a gender-balanced university applicant pool?
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Paney, Andrew S., and Nathan O. Buonviri. "Teaching Melodic Dictation in Advanced Placement Music Theory." Journal of Research in Music Education 61, no. 4 (2013): 396–414. http://dx.doi.org/10.1177/0022429413508411.
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In this study approaches to teaching melodic dictation skills used by Advanced Placement (AP) Music Theory teachers were examined. Twelve high school teachers from four states were interviewed. Four themes emerged from the interview transcripts: cognitive frameworks, processing strategies, rhythm, and course design. Participants generally confirmed established understandings of aural skills pedagogy, particularly in areas of pattern instruction, connecting aural and written theory, connecting sight-singing and dictation, incorporating scale degree function, targeting melodic “bookends,” focusing on the big picture, sequencing curricula, and incorporating familiar melodies. Unique to the findings of this study were participants’ positive attitudes toward a standardized test and their concern for the students’ psychological barriers inherent in learning aural skills. A general indifference to rhythm counting systems and a common acknowledgment of students’ difficulties with rhythmic notation also were found. Recommendations for further research include a large-scale survey of melodic dictation strategies taught by AP Music Theory teachers, empirical investigation of the efficacy of specific counting systems, comparison of students’ reported dictation strategies and their success with dictation on the AP exam, and exploration of the influence of psychological fortitude on the dictation process.
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Silaban, Eben Ezer. "FUNGSI DAN TEKNIK PERMAINAN ALAT MUSIK TRADISIONAL MANDAILING UYUP-UYUP DI DESA PARGARUTAN JAE TAPANULI SELATAN." Grenek Music Journal 7, no. 2 (2018): 153. http://dx.doi.org/10.24114/grenek.v7i2.10896.
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This study aims to determine Function, Game Techniques and Organic Uyup-Uyup In PargarutanVillage Jae Tapanuli Selatan. The purpose of this research is to know the function, game techniqueand organology of mandailing uyup-uyup instrument in Pargarutan Jae Tapanuli Selatan Villagecommunity. The theory used is function, game technique and organology. The function of music isto express the taste and simultaneously as an activity of various types of human communication.Organology is the study of the structure of musical instruments based on sound sources, how toproduce sounds and system of alignment. Game technique is a way or technique of touch on amusical instrument over a particular tone according to the instructions or notation. The methodused in this research is qualitative descriptive method. The sample in this research is one artist andfive people of Pargarutan Jae Village. Data collection was done by observation, interview, anddocumentation. This research was taken in Pargarutan Jae Village, and this research was carriedout from October 2017. The function of Uyup-uyup music instrument in South Tapanuli there arethree of the first is the function of emotional disclosure is a medium for someone to express feelingsand emotional through the game of uyup-uyup instruments that use systematic way of presentingthe sound. The second is the entertainment function in which the South Tapanuli also needentertainment that is the entertainment of playing a uyup-uyup instrument at rest in the rice fields.Third is the Communication Function where when calling the opposite sex across the paddy fieldthe man repeatedly played uyup-uyup. Organic musical instrument Uyup-uyup consists of fiveparts, namely rice stalks, coconut leaves and lidi as a binder of coconut leaves. The game techniquein the uyup-uyup instrument is divided into the first three sections that are played in a sitting /standing position, the second way of blowing uyup-uyup is by way of the mouth is placed at thebase of the top of the uyup-uyup instrument, the third position of the finger finger, first startingfrom the left hand with the beginning of the index finger and the second hole of the middle fingerand then on the right hand begins with the index finger and the hole of both middle fingers.
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Reybrouck, Mark, Lieven Verschaffel, and Sofie Lauwerier. "Children's graphical notations as representational tools for musical sense-making in a music-listening task." British Journal of Music Education 26, no. 2 (2009): 189–211. http://dx.doi.org/10.1017/s0265051709008432.
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This article tries to answer two related questions: (i) what do children hear while listening to and making sense of music? and (ii) what kind of representational tools can be used to assess this sense-making? To answer these questions, we set up two empirical studies in which 89 children – 8–9-year-olds and 11–12-year-olds (first study) – and 331 children – 8–10-year-olds and 11–13-year-olds, with and without extra music training (second study) – were exposed to a music listening task. The aim of the studies was to get an overall picture of the variety of children's musical representations by means of their graphical notations, and to investigate the impact of age, formal musical training and the characteristics of the musical fragment on these notations. A major finding of the first study was the emergence of two main categories of notations, namely ‘global’ and ‘differentiated’ notations, with a very strong dominance of global over differentiated ones and a negligible impact of subject and task variables. The second study, in which we presented researcher-generated instead of existing musical fragments, yielded a larger number of differentiated notations, and a considerable impact of age and formal musical education as well as of the musical characteristics on these notations. Both studies were ascertaining studies with the aim to describe and analyse the development of children's graphical notations under given instructional conditions. To account for some of the limitations of these studies, some additional design-based research is suggested. Extensive findings/exemplars of both studies can be found on the Cambridge University Press website.
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Park, So Jeong. "Sound and Notation: Comparative Study on Musical Ontology." Dao 16, no. 3 (2017): 417–30. http://dx.doi.org/10.1007/s11712-017-9568-4.
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Jaarsma, B. S., A. J. J. M. Ruijssenaars, and W. Van den Broeck. "Dyslexia and learning musical notation: A pilot study." Annals of Dyslexia 48, no. 1 (1998): 137–54. http://dx.doi.org/10.1007/s11881-998-0007-4.
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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 (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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Dharmajaya, Gede Putra, and I. Dewa Made Bayu Atmaja Darmawan. "Tempo Tracking on Guru Ding Dong Transcript using Connected Component Labeling (CCL) Method." JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 8, no. 2 (2020): 137. http://dx.doi.org/10.24843/jlk.2019.v08.i02.p05.
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Music notation is a system of writing musical expressions as outlined in the form of symbols in the form of numbers or blocks. Music notation is used to document the composer's work in the form of songs so that it can be used by the public. In Balinese culture there is also a musical notation called Guru Ding Dong's Notation. This study discusses the segmentation of guru ding dong transcript to determine the tempo of each notation using the Connected Component Labeling method and the rule-based method. CCL algorithm applies Graph theory, where all pixels in an area that have a relationship with obeying the rules of pixel proximity will become a new image. The image that can be processed by the CCL algorithm is a binary image. In addition, this study also uses the image preprocessing method for initial data processing, namely grayscaling and binarization. The system built for research uses the MATLAB 2017b application. The results of the test resulted in an accuracy of the successful identification of characters and the tempo of each notation of 82%, this is influenced by the preprocessing process where there is a lot of noise in the image.
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Yung, Bell. "Historical Interdependency of Music: A Case Study of the Chinese Seven-String Zither." Journal of the American Musicological Society 40, no. 1 (1987): 82–91. http://dx.doi.org/10.2307/831583.
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In any continually evolving musical tradition employing some form of written notation, old music inevitably influences the new. Less obvious is that the new also affects the old. Temporal influence flows not only forward through time, but also backward. This is "historical interdependency." Through the process of da pu, the creative reinterpretation of older works, the musical tradition of the Chinese seven-string zither offers an example of this phenomenon.
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Huisman, Lukas, Bruno Gingras, Geert Dhondt, and Marc Leman. "Musical Complexity and "Embodied Notation": A Study of the Opus Clavicembalisticum (K. S. Sorabji)." Empirical Musicology Review 12, no. 1-2 (2017): 59. http://dx.doi.org/10.18061/emr.v12i1-2.4966.
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Scores of complex, 20th century, solo piano pieces can be difficult to perform and may even include elements that are physically impossible to play. This article investigates the role of music notation in the Opus Clavicembalisticum of Sorabji, which is a rather extreme case in terms of virtuosity and length. To analyze the effect of score notation on learning and performing, 9 pianists were asked to practice music fragments in 3 different score editions, namely the original Urtext edition (a 4-staff score), performance edition (same notes but organized according to an "embodied" performance viewpoint), and study edition (further simplified and with added analytical reading aids). The hypothesis was that the "embodied notation" would have an effect on study time (shorter study time) and errors (fewer errors). Objective features of the study process and performance, such as study time, error ratio and markings on the score (fingerings, hand distribution, synchronization) were compared. Subjective remarks the performers made about the scores were also analyzed. Findings indicate a significant positive influence of the score type on the study time. These results suggest that players draw on ideomotor principles, which include processes based on learned and "embodied" associations between perceived images of the scores and the motor activity that is directly associated with it.
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Athanasopoulos, George, and Nikki Moran. "Cross-Cultural Representations of Musical Shape." Empirical Musicology Review 8, no. 3-4 (2013): 185. http://dx.doi.org/10.18061/emr.v8i3-4.3940.
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In cross-cultural research involving performers from distinct cultural backgrounds (U.K., Japan, Papua New Guinea), we examined 75&nbsp;musicians&rsquo; associations between musical sound and shape, and saw pronounced differences between groups. Participants heard short stimuli varying in pitch contour and were asked to represent these visually on paper, with the instruction that if another community member saw the marks they should be able to connect them with the sounds. Participants from the U.K. group produced consistent symbolic representations, which involved depicting the passage of time from left-to-right. Japanese participants unfamiliar with English language and western standard notation provided responses comparable to the U.K. group&rsquo;s. The majority opted to use a horizontal timeline, whilst a minority of traditional Japanese musicians produced unique responses with time represented vertically. The last group, a non-literate Papua New Guinean tribe known as BenaBena, produced a majority of iconic responses which did not follow the time versus pitch contour model, but highlighted musical qualities other than the parameters intentionally varied in the investigation, focusing on hue and loudness. The participants&rsquo; responses point to profoundly different &lsquo;norms&rsquo; of musical shape association, which may be linked to literacy and to the functional role of music in a community.&nbsp;
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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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Barciński, Łukasz. "Trans(a)l(e)atory Studies or the Translator as a Performer: "Finnegans Wake" by James Joyce in Polish Translation." Między Oryginałem a Przekładem 24, no. 41 (2018): 29–47. http://dx.doi.org/10.12797/moap.24.2018.41.02.
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Following the interdisciplinary approach, the article presents the translator’s role from the point of view musical terminology, which becomes appropriated for the sake of translation studies. As a result, the study applies the musical term aleatory music denoting an indeterminate type of musical notation which allows considerable freedom in the interpretation of a musical score. From this perspective, the translator, confronted with the inevitable interpretative gaps and indeterminacies in the source text, is compared to a musical performer who interprets the indeterminate aleatory notation. This approach is defined as trans(a)l(e)atory studies which consist in the analysis of multiple interpretative possibilities of target text versions based on one source text. The prominent example of the performative aspect of the translation process defined in this way is Finnegans Wake by James Joyce, the Polish translation of which (Finneganów Tren by rendered by Krzysztof Bartnicki) is analysed. The comparative study focuses on indeterminate aspects of language such as puns, neologisms (including portmanteau words), iconicity, blends and the superimposition of languages.
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Casey, Rob. "Developing a Phenomenological Approach to Music Notation." Organised Sound 20, no. 2 (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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Tejada, Jesus, and Delia Serra. "The Effects of Static and Dynamic Visual Representations as Aids for Primary School Children in Tasks of Auditory Discrimination of Sound Patterns. An Intervention-based Study." International Journal of Emerging Technologies in Learning (iJET) 13, no. 02 (2018): 60. http://dx.doi.org/10.3991/ijet.v13i02.7430.
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It has been proposed that non-conventional presentations of visual information could be very useful as a scaffolding strategy in the learning of Western music notation. As a result, this study has attempted to determine if there is any effect of static and dynamic presentation modes of visual information in the recognition of sound patterns. An intervention-based quasi-experimental design was adopted with two groups of fifth-grade students in a Spanish city. Students did tasks involving discrimination, auditory recognition and symbolic association of the sound patterns with non-musical representations, either static images (S group), or dynamic images (D group). The results showed neither statistically significant differences in the scores of D and S, nor influence of the covariates on the dependent variable, although statistically significant intra-group differences were found for both groups. This suggests that both types of graphic formats could be effective as digital learning mediators in the learning of Western musical notation.
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Startsev, D. А. "Musical notation in the aspect of the semiotics theory by Charles Morris." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 200–212. http://dx.doi.org/10.34064/khnum1-56.13.
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Background. According semiotics, the text by which the fixation and preservation of information is carried out is the result of sign activity of man. The study of the patterns and nature of the notation and its elements is impossible without consideration of semiosis – the process of functioning of signs. The peculiarity of the musical activity is the fact that the graphic musical text finds a different form – the note signs are read by the interpreter and transform into sound. In other side, it is important to note that in the mind of the composer in the process of recording the work sound images are primary. On this basis, it can be assumed that musical activity combines the functioning of several sign systems. Therefore, it seems appropriate to investigate musical notation – the carrier of musical information – as an abstract written sign system and to illuminate its components using semiotic theory. Since the latter, according to Ch. Morris (2001), creates a “common language” that can be applied to any particular sign system. The object of the research is the traditional music notation as a written sign system. The main goal is the analysis of a special musical sign system and its elements from the standpoint of semiotics. The semiotic research method is used in the aspect of the theory of Charles Morris, one of the founders of semiotics as a scientific discipline about signs. Research results. “The human mind is inseparable from the functioning of signs – perhaps, in general, intelligence should be equated with the functioning of signs,” – this thought by Ch. Morris (2001: 45) immediately removes the question of the legitimacy of seeing in the art a sign system or a kind of language. Unlike the so-called natural language, music is a special language that, for its scientific description, needs to be studied from a semiotic point of view to study its formal structure, to refer to objects that are denoted and to interpreters using the sign system. In the definition of Ch. Morris (2001: 76), language is a set of symbolic means, the use of which is conditioned by syntactic, semantic, and pragmatic rules. The scientist uses the definitions “designatum” and “denotatum” describing the sign correlation in the process of “semiosis”. The “designatum” may be considered as an “image” or “concept” of the “denotatum”, which refers to real-world objects. In the written music notation (text) system, signs are presented in complex form. Given the absence of “denotatum” as a real object in the musical activity, the only physical result of the sign’s functioning is sound itself. However, this physical phenomenon is not within the scope of the sign system under consideration as a denotation or other component. That is, the material sound result is part of another musical process and, accordingly, another sign system – the performing process of a piece of music. Signs can be jointed into different combinations. As Ch. Morris (2001) writes, this does not preclude the existence of an isolated sign. In the case of musical texts, significant situations may occur in which individual graphic elements in combination find new content. For example, the league, along with the emphasis, can demonstrate the motive structure. In this situation, the emphasis indicates the location of the reference tone, and the league – framed the boundaries of the motive. Being a semantic unit, the structure of the motive is due to the logical accent, which has a major impact on the ratio of other tones of the sequence: the notes located before and after the accent have a different degree of gravity, which directly determines the musical pronunciation. The absence of a league in this combination makes it possible to read this motif as having a different length, especially if it bordered on others. In the absence of an accent, the location of the reference tone is not indicated and obeys the metric grid of the tact, namely, the main note of the motif will be placed on a downbeat. The consideration of musical notes in the semiotic aspect also led to the assumption that there are independent signs that, being isolated, carry information (for example, the “note” sign, which indicates the pitch and duration); as well as special signs that add new qualities to other musical notes (for example, alteration symbols), which, taken separately, do not have practical value. For example, the “#” (“sharp”) symbol functions only in combination with another, independent, “note” sign. At the same time, reading the alteration sign together with the pause symbol is not possible due to the lack of appropriate syntactic and semantic rules. These special characters play the role of qualifiers and add their “designates” to other meanings, acting at the syntactic and semantic levels of the semiosis process. The concept of the interaction of signs in the process of semiosis provides for the formation of new complex characters from independent and special characters. New iconic situations form a new value field. During the use of characters in various combinations, the interpreter may take into account other designations, which is further regulated by pragmatic rules. Conclusions. Many studies of musical language as a system related to natural lead to negative results and incline their authors to statements about the metaphorical nature of this concept. However, its study from a semiotic perspective, that is, the study of musical notation as a system of signs or a special language, opens up a different perspective. The identification of conditions and rules for the functioning of signs at different semiotic levels makes it possible to provide a complete description of the sign musical notation system and its elements. The groups of “designatums” and “denotatums” need to be precisely defined, namely, their belonging to a certain sign system, since the same sequence of tones in one system acts as a unit of language, and in another, for example, as a leitmotif. It is noted that the musical system has more “designatums” than actually existing objects of reference (“denotatums”). The analysis of relations arising at the syntactic level made it possible to identify a number of special musical graphic signs that function only in combination with other signs and supplement or change their reference (for example, alteration signs). The process of functioning of signs and the formal structure of the sign system of a musical language require a comprehensive and deeper study, which is the perspective of this study.
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Lefferts, Peter M. "Signature-systems and tonal types in the fourteenth-century French chanson." Plainsong and Medieval Music 4, no. 2 (1995): 117–47. http://dx.doi.org/10.1017/s0961137100000954.
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Beyond the standard and familiar theoretical instruction materials on notation and mensuration, on mode and hexachord, and on the rules of two-part counterpoint, information and insight about the techniques of musical composition in the later Middle Ages are hard to come by. From a modern vantage point, medieval music theory leaves many of the questions most interesting to us unanswered. And for our part, too, analysts of chansons and motets have yet to agree on many basic notions about how this music works, and therefore what is most necessary to talk about. It is symptomatic of this state of affairs that articles discussing analytical approaches to early music, even those addressed to specialists, do not start out in medias res but rather must begin with first principles, and that current textbooks ignore or skimp on all but the most superficial aspects of musical style. We need to establish for all genres the paradigms or fundamental givens, the constraints understood at the outset, the range of choices available to the composer.
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Jekiel, Mateusz. "Comparing rhythm in speech and music: The case of English and Polish." Yearbook of the Poznan Linguistic Meeting 1, no. 1 (2014): 55–71. http://dx.doi.org/10.1515/yplm-2015-0003.
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Abstract The point of departure for the following study is Patel and Daniele (2003), who suggested that the rhythm of a culture’s language is reflected in its instrumental music. The former study used the normalised pairwise variability index (henceforth nPVI), a measure of temporal patterning in speech, to compare the variability of vocalic duration in recorded speech samples with the variability of note duration in music notation on the example of English and French speech and classical music. The aim of this experiment is to test whether the linguistic rhythm conventionalised in the language of a community affects the rhythm in the musical practice of that community, by focusing on English and Polish speech and classical, as well as folk music. The nPVI values were obtained from a set of English and Polish recorded news-like sentences, and from musical notation of English and Polish classical and folk musical themes. The results suggest that reflections of Polish speech rhythm may be more apparent in folk music than in classical music, though more data are needed to test this idea. This initial study suggests that the method used might bring more fruitful results when comparing speech rhythm with less formalized and more traditional musical themes.
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Cagirgan, Gokhan, and Gun Elvan. "Creation and development process of terms used in music education in Turkey." Cypriot Journal of Educational Sciences 15, no. 4 (2020): 667–73. http://dx.doi.org/10.18844/cjes.v15i4.5049.
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Societies have different ways of transferring the products they created within their own cultural structures by using the basic elements of music. We see that some societies use verbal transfer, some societies use written transfer, while the other societies use both means of transfer. The signs, which are the basis of music theory and the tools of written language, are called "notes", and the text created with these signs is called "musical notation". This study was conducted to examine how music education terms emerged in the historical process, the beginning of using musical notation due to the need for notes among Turkish people, and the creation and development process of terms used in music education in Turkey. For this purpose, the development and dissemination of music theory from past to present were examined by a literature review, and the different opinions and historical information found in the literature were presented together. Also, the introduction of Classical Western Music to Turkish people, their interaction processes, and the changes that occurred regarding the musical sense as a result of the Westernization movements were examined in the study. In this process, particularly the developments in European music had a worldwide influence
 
 Keywords: Music Education, Musical Terms, Process.
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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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Eppstein, Ury. "Musical Instruction in Meiji Education. A Study of Adaptation and Assimilation." Monumenta Nipponica 40, no. 1 (1985): 1. http://dx.doi.org/10.2307/2385000.
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Brook, Julia, Rena Upitis, and Wynnpaul Varela. "Informal music making in studio music instruction: A Canadian case study." British Journal of Music Education 34, no. 2 (2017): 153–67. http://dx.doi.org/10.1017/s0265051716000450.
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The purpose of this study was to gain an in-depth understanding of how one classically trained musician adapted his pedagogical practices to accommodate the needs and interests of his students. A case-study methodology was employed to explore the perceptions and practices of this teacher, and data were collected over a two-year period through interviews and observations. Findings indicated that students were engaged in music-making throughout the lesson, and that many of the lesson characteristics aligned with Lucy Green's (2002, 2008) descriptions of an informal pedagogical orientation. The overarching aim of the teacher's instruction was to support students’ development of musical knowledge and skills that would enhance their learning, and to expand their understanding of musical genres and performance practices.
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Ng, Hoon Hong. "Project Stomp: Using Graphic Notation for Effective Multimodal Collaborative Learning." General Music Today 33, no. 3 (2019): 5–13. http://dx.doi.org/10.1177/1048371319890299.
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A mode is a socially and culturally shaped resource for making meaning. Examples of modes include written and oral language, visuals, audio, and gestures. In music learning, multiple modes may be used to help students develop greater musical understanding and achievement. This article details the three steps utilized in Project Stomp, a systematic pedagogical course of study that utilized multiple representational modes to engage a diverse group of secondary students in a composition- and performance-based module of study.
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Boynton, Susan. "Orality, Literacy, and the Early Notation of the Office Hymns." Journal of the American Musicological Society 56, no. 1 (2003): 99–168. http://dx.doi.org/10.1525/jams.2003.56.1.99.
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Abstract This article takes the early notation of the Office hymns as the framework for a new investigation of orality and literacy in musical notation. Of all chant genres, hymns remained an oral tradition the longest, and the notation of entire hymn repertories was apparently rare before 1100. As a repertory of melodies hardly written down before the eleventh century, the hymns offer an opportunity to study the initial recording of an oral tradition at a time when other chant genres were increasingly notated. The variety of approaches to notating both entire hymn repertories and individual hymns in the sources up to the early twelfth century signals the increasing reliance on writing, as well as the dynamic interaction between orality and literacy, that characterizes monastic textual production in the eleventh century. The article places the notation of hymns in the context of their important role in monastic education and proposes an analogy between hymnaries and monastic customaries.
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Grégoire, Laurent, Pierre Perruchet, and Bénédicte Poulin-Charronnat. "The Musical Stroop Effect." Experimental Psychology 60, no. 4 (2013): 269–78. http://dx.doi.org/10.1027/1618-3169/a000197.
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The usual color-word Stroop task, as well as most other Stroop-like paradigms, has provided invaluable information on the automaticity of word reading. However, investigating automaticity through reading alone has inherent limitations. This study explored whether a Stroop-like effect could be obtained by replacing word reading with note naming in musicians. Note naming shares with word reading the crucial advantage of being intensively practiced over years by musicians, hence allowing to investigate levels of automatism that are out of reach of laboratory settings. But the situation provides much greater flexibility in manipulating practice. For instance, even though training in musical notation is often conducted in parallel with the acquisition of literacy skills during childhood, many exceptions make that it can be easily decoupled from age. Supporting the possibility of exploiting note naming as a new tool for investigating automatisms, musicians asked to process note names written inside note pictures in incongruent positions on a staff were significantly slowed down in both a go/no-go task (Experiment 1) and a verbal task (Experiment 2) with regard to a condition in which note names were printed inside note pictures in congruent positions.
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Schön, Daniele, and Mireille Besson. "Visually Induced Auditory Expectancy in Music Reading: A Behavioral and Electrophysiological Study." Journal of Cognitive Neuroscience 17, no. 4 (2005): 694–705. http://dx.doi.org/10.1162/0898929053467532.
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The general aim of this experiment was to investigate the processes involved in reading musical notation and to study the relationship between written music and its auditory representation. It was of main interest to determine whether musicians are able to develop expectancies for specific tonal or atonal auditory events based on visual score alone. Can musicians expect an “atonal” event or will it always sound odd? Moreover, it was of interest to determine whether the modulations in amplitude of a late positive component (P600) described in previous studies are linked to a general mismatch detection process or to specific musical expectancies. Results showed clearly that musicians are able to expect tonal auditory endings based on visual information and are also able to do so for atonal endings, although to a smaller extent. Strong interactions seem to exist between visual and auditory musical codes and visual information seems to influence auditory processing as early as 100 msec. These results are directly relevant for the question of whether music reading is actually music perception.
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Seipelt, Agnes, Paul Gulewycz, and Robert Klugseder. "Digitale Musikanalyse mit den Techniken der Music Encoding Initiative (MEI) am Beispiel von Kompositionsstudien Anton Bruckners." Die Musikforschung 71, no. 4 (2021): 366–78. http://dx.doi.org/10.52412/mf.2018.h4.295.
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Studying the harmonic structures of a musical work and exploring its origins is one of the main tasks of traditional musicology. Since the advent of computer technologies, new tools for musical analysis emerged to gain new perspectives on well-known compositions. In the field of digital musical editions, the markup language MEI (Music Encoding Initiative) plays a prominent role for encoding musical notation with a musicological demand. This paper presents the current state of the project "Digital Music Analysis with MEI using the Example of Anton Bruckner's Compositional Studies". Its aim is to encode the "Kitzler Study book" written by Bruckner and to present it in a digital Edition. Also, the project explores the capability of MEI for an automatic or half-automatic harmonic analysis.
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Macklin, Christopher. "Cross-Cultural Perspectives on Secular Vocal Performance in Early Wales." Journal of the Royal Musical Association 134, no. 2 (2009): 167–83. http://dx.doi.org/10.1080/02690400903109059.
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AbstractThere are many historical repertories of interest for which documentary evidence is scant. In such areas traditional models of musicological research, driven by notation, may be of limited use, and there is thus a need to develop alternative formulations for the relationship between the performance, the performer and the text. In this study, textual analysis and ethnographic comparisons of structurally similar performance cultures (namely, classical Greece and Rome and bardic traditions of south-eastern Europe and eastern Africa) are combined to examine one such tradition: the secular music of the bards of medieval and early-modern Wales. Contemporary accounts pertaining to this repertory are characterized by a systematic ambiguity in their description of speech and song, and a selective use of musical notation for instrumental but not vocal figuration. Comparisons with other musical cultures that share this ambiguity lead to the development of a model of performance that accounts for these textual features.
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Stock, Jonathan. "A Case for World Music." British Journal of Music Education 8, no. 2 (1991): 101–18. http://dx.doi.org/10.1017/s0265051700008226.
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The basic aim of this article is to argue that world music should be an integral part of any musical curriculum. An extensive example, drawn from Chinese traditional music, outlines potential benefits that the study of world music offers to the music teacher interested in it either for its own sake or as a means of developing pupils' skills at improvisations and composition. The featured example is a composition for erhu (Chinese two-stringed fiddle) by the folk musician Abing. Ideas are raised concerning musical context, analysis, melodic structure, tonality, metre, notation and ornamentation.
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Fabian, Dorottya. "Performers, Composers, Scores and Editions: Commentary on Huisman, Gingras, Dhondt, and Leman (2017)." Empirical Musicology Review 12, no. 1-2 (2017): 72. http://dx.doi.org/10.18061/emr.v12i1-2.5244.
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Reflecting on a study that examines the impact of various editions on the speed of learning and performance errors, this short paper notes the crudeness of western music notation and how musicians cope with deciphering the composer's musical intentions. Drawing on parallels with practitioners who specialize in historically informed performance and tend to favor playing from manuscripts and facsimiles, I argue that although performing editions are useful, proper education regarding the meaning of notation practices and compositional styles might better serve musicians. This enables each generation to construct its own understanding of the music, and of the contradictory and insufficiently specified demands of the score.
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Wood, Stuart. "Beyond Messiaen’s birds: the post-verbal world of dementia." Medical Humanities 46, no. 1 (2019): 73–83. http://dx.doi.org/10.1136/medhum-2018-011616.
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This paper investigates the use of verbatim musical transcription as a research method in dementia care. It reports on an art-based ethnographic study (Aesthetic Research in Everyday Life (Aeriel)) in which verbatim transcription was applied to everyday interactions in dementia care, making use of musical—instead of verbal—notation. Starting from the notion that medical and healthcare settings can be sites of ‘found performance’, the paper reviews literature relating to artistic methodologies within medical humanities, music, ethnography and dementia care. From this review, it proposes a research design and method of verbatim musical transcription as a potential avenue of investigating communication between carer and cared for in dementia care. The paper offers an illustrative example from Aeriel and draws conclusions from the synthesis of verbal and musical data analysis. Findings indicate an important advance in studies of dementia care communication towards a concept of the ‘post-verbal’ enabled by a musical research method and the clinical applications that it offers.
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Menard, Elizabeth A. "Music Composition in the High School Curriculum." Journal of Research in Music Education 63, no. 1 (2015): 114–36. http://dx.doi.org/10.1177/0022429415574310.
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Student and teacher perceptions regarding composition instruction were investigated using case study techniques in two high school music programs: a general music program providing accelerated instruction to gifted musicians in small classes and a typical performance-based band program. Students in both programs participated in a composition instruction program. Qualitative data included student and teacher interviews, observation, and participant journals. Quantitative data included administration of a composition attitude survey and assessment of student compositions. Analysis of band director perceptions revealed themes identifying challenges to implementing composition instruction: performance culture traditions, time, class setting, teacher preparation, and lack of student fundamental musical knowledge. Teachers in both programs identified benefits as development of student potential, importance of exposure to composition, and increased musical understanding. In the band program, student attitude toward composition increased significantly from pre- to post-instruction, while the general music students, with previous composition experience, showed no change in attitude. Students from both programs identified time as a challenge to composition and also indicated frustration in their lack of fundamental music knowledge. Students identified enjoyment, improved musical understanding, personal expression, increased interest in music, and understanding composition process as benefits to composition experience.
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Mantasa, Dedi, and Yos Sudarman. "PENGGUNAAN APLIKASI BASIC GUITAR CHORDS 3D PADA PEMBELAJARAN SENI BUDAYA (MUSIK) DI KELAS VII SMP NEGERI 3 KECAMATAN HARAU." Jurnal Sendratasik 9, no. 3 (2020): 41. http://dx.doi.org/10.24036/jsu.v9i1.109436.
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AbstractThis study aims to describe the activities of Culture and Arts (music) teachers in grade VII of SMP Negeri 3 Harau District, Lima Puluh Kota Regency in implementing music instruction using the Basic Guitar Chords 3D application for learning guitar at school. The use of this guitar playing application provides an opportunity for students to learn guitar playing virtually with a different learning atmosphere from how guitar learning was theoretically and practically conducted before.This study uses references to results from relevant research and several theoretical studies especially those related to learning and instruction, learning methods, guitar learning through application, and Culture and Arts (music) instruction in junior high school.This is a qualitative research with a descriptive analysis approach. The object of research was teachers’ activities in implementing music instruction in grade VII of SMP Negeri 3 Harau. The learning observed involves learning guitar under the topic of playing a string instrument in a musical ensemble. The research instruments used were observation notes, interview notes, and document studies. The results of the study explain that learning guitar using the Basic Guitar Chords 3D application can create new experiences for students in learning music using the android application. However, due to the fact that the use of this application coincides with learning musical ensembles under the Basic Competence of playing simple music, this application conceptually does not support learning musical ensembles by using actual musical instruments.However, the teachers’ thought to explain that playing music can be done through application surely gives a point, and it can be developed by the teachers in learning music at school.Keywords: Android application, guitar, learning, instruction, ensemble
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Bergonzi, Louis. "Effects of Finger Markers and Harmonic Context on Performance of Beginning String Students." Journal of Research in Music Education 45, no. 2 (1997): 197–211. http://dx.doi.org/10.2307/3345580.
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This study is an investigation of the effects of finger placement markers (FPMs) and I harmonic context on the left-hand technique, intonation performance skills, and overall musical performance skills of sixth-grade beginning string students. Central to this study was the question of how a tactile/visual reference and an aural reference influence the development of string intonation performance skills. Subjects were assigned to research conditions in a 2 ? 2 factorial design (FPMs by harmonic context). Students received 90 minutes of weekly, heterogeneous-group instruction from the same teacher and used researcher-prepared audio home practice tapes to accentuate their class experience. Subjects with FPMs played significantly more in tune than those who did not have FPMs. Students whose instruction and practice were accompanied by harmonic background demonstrated a higher degree of overall musical performance ability. Differences were significant even after adjusting for musical aptitude. There were no differences in left-hand technique. Results of this study endorse the theoretical and practical support for the use of these teaching techniques in beginning string instruction.
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CATALUNYA, DAVID, and CARMEN JULIA GUTIÉRREZ. "Mozarabic preces in Ars Nova notation: a new fourteenth-century fragment discovered in Spain." Plainsong and Medieval Music 22, no. 2 (2013): 153–67. http://dx.doi.org/10.1017/s096113711300003x.
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ABSTRACTThis article reports the discovery of an early fourteenth-century manuscript fragment (two small snippets from the same folio) of Castilian origin. One side of the original folio contained a monophonic piece in Ars Nova notation whose text has been identified as Mozarabic preces, a musical repertoire that was suposed to lack written transmission from the twelfth to the early sixteenth centuries. The fragment thus throws new light on the survival of the Mozarabic rite through the late Middle Ages. The backside of the folio contains music written in an old mensural system based on undifferentiated semibreves and puncta divisionis. In this regard, the manuscript may represent the earliest known Spanish source to employ the Petronian system described in the mensural treatise in Barcelona Cathedral (misc. 23). The study includes a detailed codicological examination of the manuscript (including the digital restoration of a palimpsest), transcriptions and musical analysis.
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Hill, Matthew, Barry Hill, and Robert Walsh. "Conflict in collaborative musical composition: A case study." Psychology of Music 46, no. 2 (2017): 192–207. http://dx.doi.org/10.1177/0305735617704712.
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In collaborative musical composition, such as those used frequently in popular music styles, conflicts between band members are commonplace. This article seeks to examine how task-based and interpersonal conflicts between band members impact on the creation of collaborative compositions, utilising a case study of a band composing music for an album recording. This paper reports on research that tracks the process of the creation of songs for a fourth album recording by a three-piece ensemble who have worked together since 1999. The composition process is marked by numerous disputes and arguments among the band personnel and the interactions between the band members move fluidly between phases of instruction, cooperation, collaboration and conflict. The authors (also the band’s members) analyse video and audio recordings of rehearsals, making observations based in grounded theory in relation to verbal and nonverbal interactions and offering personal reflections on these interactions. Drawing on theoretical perspectives in relation to communication, conflict and group dynamics such as group flow and empathetic creativity, individual and group behaviour are examined with emphasis on the impact of such behaviour on the collaborative process.
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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 (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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Mansyur, Marwati. "IDENTIFIKASI KESULITAN CALON GURU TAMAN KANAK-KANAK DALAM MEMPELAJARI MUSIK." Perspektif Ilmu Pendidikan 15, no. VIII (2007): 40–45. http://dx.doi.org/10.21009/pip.151.6.
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The objectives of this research are to discover the difficulties faced by the students as the candidates for kindergarten teachers in studyint music, to identify the kinds of the difficulties, to know the students ‘knowledge of musical instruments, and to measure the degrees of students’ creativity in learning music. The research used survey conducted as from May through November 2005 in The Study Program of PGTK within the Department of Child Education, Schoolof Education, State University of Jakarta. The population covered all students of the Program Study of D-II PGTK which were doing music course. The respondents were choosen by random sampling technique with the total number of 40 students. The result of the study show that (1) background knowledge of music in skill low, (2) reading musical notation is the most difficult to study, (3) the best known musical instrument is tambourine and the best known is castanyet and (4) student’s creativity in learning music is categorized high.
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Zavadska, Galina, and Ilona Bagele. "A POLYPHONIC DICTATION AS A FORM OF WORK ON HARMONIOUS HEARING." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 26, 2017): 168. http://dx.doi.org/10.17770/sie2017vol4.2438.
Full textAbstract:
Harmonious hearing is one kind of musical hearing that manifests itself in relation to a simultaneous sounding of consonances (a complex of sounds of different pitch) and mutual relationships between consonances.
 
 A polyphonic music dictation is one of the most important and complicated forms of work for the development of harmonious hearing during sol-fa classes at a higher education establishment. The skill of remembering a polyphonic dictation and quickly fixing the heard music involves an organic combination of listening to separate sounds and to the harmonious vertical of sounds, as well as their functional interaction, which promotes the development of musical thinking in general.
 
 The given research is concerned with the comparison of the methodological recommendations for fixing polyphonic dictations, as well as with working out the algorithm of the polyphonic dictation notation.
 
 Research aim: to study the principles of a polyphonic dictation and specificity of its notation.
 
 Work on a polyphonic dictation implies an organic combination of hearing separate voices and the harmonious vertical, comprehending each moment of sounding and their functional-logical interconnection.
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Leikvoll, Katarzyna Julia. "Hvordan kan kunnskap om tekstlesing og lese- og skriveopplæring i grunnskolen brukes i noteopplæring på nybegynnernivå?" Nordic Research in Music Education 2, no. 1 (2021): 46–70. http://dx.doi.org/10.23865/nrme.v2.3026.
Full textAbstract:
How can knowledge about language learning and teaching be used to enhance the study of music reading at the beginner level? This theoretical article aims to discuss the possibility of using teaching methods for reading and writing used in Norwegian primary schools for teaching literacy for music notation to instrumental pupils at the beginner level, focusing on western tonal music. Language and music reading have much in common as cognitive processes. However, comparison of methods for teaching how to read language and music shows several fundamental differences. They relate to the emphasis on various methodological elements, progression in the introduction of new symbols and choice of the activities used in the teaching/learning process. The article describes musical and linguistic syntax, acquisition of reading skill as a cognitive activity, and compares popular method books for teaching reading text and music in Norway. In the discussion section it is argued that the teaching activities that use writing music, experiencing various elements of music as sound before introducing musical notation and introducing basic knowledge about harmony, as well as adjusting of layout in the books for beginners, will have a positive effect on sight-reading at the beginner level.