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Academic literature on the topic 'Musical notation – Methodology'
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Journal articles on the topic "Musical notation – Methodology"
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De las Heras Fernández, Rosa. "Teaching flamenco zapateado: a new notation-based methodology." ARTSEDUCA, no. 28 (December 28, 2020): 68–83. http://dx.doi.org/10.6035/artseduca.2021.28.5.
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Dance has traditionally been taught using a style based on teacher-pupil oral transmission, imitation and repetition. While there are notation methods for dance, few proposals for zapateado notation exist. This research develops a critical analysis not only of the currently existing notation systems for flamenco zapateado, but also of rhythmic notation systems for percussion based on the traditional Western system of musical notation, which form the basis of the foundations of the system of the method of notation presented here. The article shows that this flamenco zapateado notation system is the first to combine how the foot strikes the floor with the rhythmic aspects using notation with a clear visual appearance and a sequence of didactic content which takes into account motor aspects as well as rhythmic ones.
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De las Heras Fernández, Rosa. "Teaching flamenco zapateado: a new notation-based methodology." ARTSEDUCA, no. 28 (December 28, 2020): 66–81. http://dx.doi.org/10.6035/10.6035/artseduca.2020.28.5.
Full textAbstract:
Dance has traditionally been taught using a style based on teacher-pupil oral transmission, imitation and repetition. While there are notation methods for dance, few proposals for zapateado notation exist. This research develops a critical analysis not only of the currently existing notation systems for flamenco zapateado, but also of rhythmic notation systems for percussion based on the traditional Western system of musical notation, which form the basis of the foundations of the system of the method of notation presented here. The article shows that this flamenco zapateado notation system is the first to combine how the foot strikes the floor with the rhythmic aspects using notation with a clear visual appearance and a sequence of didactic content which takes into account motor aspects as well as rhythmic ones.
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MARQUES, Mario. "Aspects of the common implications in time and metric in collective free improvisation in the recorded work: Musicking Shapes." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (2021): 191–202. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.21.
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During the production of Eduardo Lopes’ record Musiking Shapes, several aspects were identified that suggested an unpremeditated collective consciousness in aspects such as metrics and pulse, in a work that was based on unconventional notation, without any time-related indication. The intention was to identify a kinetic of collective pulse with common time and metric implications. The methodology applied involved auditory observation through spectrograms and the respective transcription in the musical notation of the recorded music. When triangulating these data, substantial results of the communication that underlies the interpretation of this unconventional notation were found. It was possible to prove an effective organization through what we call Prevalent Sound Events (PSE) and that these are determining factors for the collective organization that typifies musical discourse, consubstantiating the spontaneous organization of these moments in Vertical Agreement Sound Events, Horizontal Agreement Sound Events and Absolute Agreement Events
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Hornby, Emma. "Musical Values and Practice in Old Hispanic Chant." Journal of the American Musicological Society 69, no. 3 (2016): 595–650. http://dx.doi.org/10.1525/jams.2016.69.3.595.
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Augustine's appraisal of music's moral value in Confessions, as selectively abbreviated by Isidore of Seville, provides a conceptual framework for understanding early medieval Iberian musical values. Augustine advocates a devotional focus primarily on text, expressing anxiety about elaborate liturgical music. For Isidore, by contrast, diverse melody leads both faithful and unfaithful toward a transcendent anticipation of heaven, beyond reason-based concentration on text. In this article I test the hypothesis that Isidore's musical values shaped the extant Old Hispanic chant texts and melodies, offering a new appraisal of the way Old Hispanic musical values and practice relate. Examples are drawn from Old Hispanic (“Mozarabic”) chant, whose texts (preserved before 732) are closer to the late antique context than any other Western liturgy. Old Hispanic melodies are preserved in unpitched notation ca. 900. The methodology developed here has the potential to be applied to other ritual traditions.
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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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Peno, Vesna. "On the working process in writing of the Neumed book and its function in the Byzantine chant tradition: The contribution to the methodology of music literacy phenomenon." Zbornik radova Vizantoloskog instituta, no. 47 (2010): 149–60. http://dx.doi.org/10.2298/zrvi1047149p.
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The paper represents a kind of contribution to the methodology considering the phenomenon of music literacy. It suggests some guidelines to be observed for future research. Acquired findings of the main reasons for the emergence of the Neum notation as well as of the shaping process of the chanting book during the first stage of the written musical tradition (from the end of the 10th to the middle of the 11th centuries) served as a starting point, but it was pointed out who might have been a scribal team member, what professional qualification he was expected to have and what was an organization of rewriting process like, depending on type of manuscripts that served as copying models. An interpretation of chanting book function was also presented and its main purpose in liturgical life practice after the establishing of the middle Byzantine Neum notation.
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Kilpatrick, Emily. "Moot point: Editing Poetry and Punctuation in Fauré's Early Songs." Nineteenth-Century Music Review 9, no. 2 (2012): 213–35. http://dx.doi.org/10.1017/s1479409812000286.
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Comparison of the various printed and manuscript sources in the early songs of Gabriel Fauré reveals considerable discrepancies between the punctuation and formatting of the poems in their original published forms and the way in which they appear on the musical page. Numerous articles of punctuation are omitted, others appear in different form to their poetic originals and new symbols occasionally appear. Despite the many source variants and lacunae (notably the absence of engraving copy and proofs), together with the composer's occasionally haphazard notation, the disparities between musical and literary sources are often sufficiently numerous and consistent as to suggest deliberate compositional intervention. While critical editions of song and opera typically allow for compositional initiative with regard to changes to the words of poems, punctuation and formatting are generally (and often tacitly) amended to match literary, rather than musical sources. This study tests that standard editorial practice – one little discussed in the critical literature – against a more nuanced methodology, viewing the demands of a grammatically and semantically coherent text within a musical rather than an exclusively poetic context. It explores the symbiosis of musical and grammatical symbols, which Fauré often seems to have used almost interchangeably, and tests the implications for performers of Fauré's text-setting practices. In seeking a balance between fidelity to the poet and the composer, it also readdresses our editorial responsibility to the performer.
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Ferencziné Ács, Ildikó. "The Nyíregyháza Model: The Teaching of Teaching Music / of Making Music." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (2020): 9–36. http://dx.doi.org/10.24193/subbmusica.2020.2.01.
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"The Music Pedagogy Workshop working within the Institute of Music at the University of Nyíregyháza has initiated several programmes related to music methodology, financed by EU funds. Within the framework of subproject entitled “Renewing the practice of teaching music in public education based on folk traditions,” digital handbooks and teachers’ books have been designed for the Grades 1 to 4 of primary schools. The present paper introduces the novel features of the material designed for Grades 1 and 2. It touches upon the issues of the relevant points in curricular regulations, the possibilities of the innovative methods of score notation and score reading, tailored to the age characteristics of students, and the new approach to teaching the musical elements connected to a selected song corpus. The basic concept in designing the material of the first two grades was the amalgamation of folk culture, including folk tales and children’s game songs, and the world around children. The elements of the knowledge of the present and the past appear side by side in the individual thematic units. Interdisciplinarity also gets emphasised. The generative and creative music activities, the tasks aimed at developing receptive competences, games, and the application of graphic notation, targeting the development of fine motor skills and music literacy, have been designed to broaden the toolkit of music pedagogy for junior schools. Keywords: digital education material, folk music, children’s songs, graphic notation, generativity"
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Gatt, Michael. "The OREMA Project: A call for the liberation of sound analysis." Organised Sound 20, no. 3 (2015): 316–22. http://dx.doi.org/10.1017/s1355771815000242.
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Following Edgard Varèse’s influential lectures – translated and documented in ‘The Liberation of Sound’ – electroacoustic music has spawned many different styles and genres. His argument was for composers to follow their imagination and not be bound to the constraints of musical notation. This, arguably, was one of the catalysts for the emergence of electroacoustic musical works. With past and recent technological advancement, the varieties of genres and styles within electroacoustic music have only expanded, challenging the notion of how one could analyse such works. It is therefore unsurprising that there is no general consensus on analytical methodologies. But for an art form that celebrates all musical possibilities should the analysis of such musics be constraint to a set number of formalised analytical methodologies?Rather than propose a new all-encompassing methodology, this article will argue for a universal approach to electroacoustic music analysis and the liberation of sound analysis. The concept of an analytical community (a community that accepts multiple analyses whilst encouraging practitioners to find new and innovative ways to analyse such works) will be raised as a means to address the issues facing electroacoustic music analysis, using the OREMA (Online Repository for Electroacoustic Music Analysis) project as an example of such an initiative.
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Budanov, Vladimir Grigoryevich, and Tamara Andreevna Sinitcyna. "Quantum-synergetic ontology of generalized corporeality (Part III): psychosemantic language of theater, anthropological jazz." Культура и искусство, no. 12 (December 2020): 138–59. http://dx.doi.org/10.7256/2454-0625.2020.12.34793.
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This article is a continuation of the topic on methodology of generalized corporeality, which stems from the concept of quantum-synergetic anthropology, developed in the previous parts of the triptych. Ontologies of the states (functional bodies and subbodies of generalized corporeality), as well as temporal ontologies are viewed on the example of theatrical acting. The author structures an isomorphism of the well-known musical notation, and representation of the changing anthropological profile in form of a chord of the simultaneously activated “resonating” states of the actor. The article discusses the appropriateness of such musical metaphor, analogy between the freedom of actors’ improvisation, as the anthropological jazz characteristic to any performer, although to different extent. The classical style is even less versatile than jazz improvisation. The author draws parallels of such performances with works of the classics of theater directing, philosophy of acting, and communication of musicologists: K. S. Stanislavsky, A. A. Vasiliev, B. Latour, J. Huizinga, J. E. Berendt. A certain language of interpretation of acting is offered using the dynamic patterns of description of events in the course of the play.  If these patterns are adequate to stage reality, which the author was trying to prove, they can be implemented in training the actors, staging performances, etc. This virtually led to creation of a new psychological technique that allows amplifying the acting skills. Moreover, such type of notational representation of actor roles allows archiving and decoding the director's intention using a fairly universal method.
Dissertations / Theses on the topic "Musical notation – Methodology"
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Richmond, Kevin David. "Non-traditional notation and techniques in student piano repertoire." 2003. http://hdl.handle.net/2152/12589.
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