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Dissertations / Theses on the topic 'Musical notation'
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Wendling, Miriam Monroe. "Musical notation in Bamberg 1007-1300." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610503.
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Housley, Laura L. "Dynamic Generation of Musical Notation from MusicXML Input on an Android Tablet." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338377470.
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Bartle, Lynne. "Addressing the idiosyncrasies of contemporary notation in recorder compositions, with specific references to unconventional symbols in Music for a bird by Hans-Martin Linde and Sieben Stucke fur altblokflote by Markus Zahnhausen." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/920.
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This treatise provides recorder performers and teachers with a guide to understanding the unconventional notation symbols encountered in Music for a Bird by Hans-Martin Linde and Sieben Stücke Für Altblockflöte by Markus Zahnhausen. Given the context of the overall history of notation, it argues that the idiosyncrasies of the unconventional notation symbols encountered in the recorder repertoire of contemporary composers such as Linde and Zahnhausen are by no means an anomaly. Throughout history, notated scores have functioned merely as incomplete guides to the reconstruction and the realization of musical works. Along with the decoding of these instructions, a host of acculturated meanings have always been taken for granted on the part of the writers of such guidelines. In the light of the modernist crisis and the resultant exacerbation of the gulf between composers and their audience, however, it would seem that the need for such acculturated intervention is greater then ever before. This treatise serves to bridge the gulf between the works of Linde and Zahnhausen on the one hand, and the average performer and teacher of the recorder on the other, by offering an analysis both of the meaning of the unconventional symbols these works contain as well as of the method according to which they should be executed on the recorder.
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Varelli, Giovanni. "Musical notation and liturgical books in late Carolingian Nonantola." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/264172.
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The musical notation of the northern Italian Benedictine abbey of St Sylvester in Nonantola has hitherto been neglected by most scholarship on early music scripts, mainly because of the paucity of surviving music manuscripts and their limited geographical diffusion. A new study was needed in order to develop a full understanding of the abbey’s role and importance in the first phases of development of the writing of music in the early Middle Ages. A Lombard foundation, Nonantola acquired much of its prestige from the links with the Carolingian court as early as the late eighth century. From the first decades after its foundation, the Po Valley abbey also benefited from an active scriptorium; this shaped a local type of text script that endured until after the fall of the Carolingian empire, when the abbey, including most of its library, was destroyed by the Hungarian invasion in 899 (§1). The study of the earliest surviving notated liturgical manuscripts revealed that, by the late ninth century, Nonantola already developed an institutional type of musical notation, making it the earliest known music script ever to be written in the Italic peninsula and, thus, among the earliest in Carolingian Europe (§§2–3). The unique design and use of musical signs showed that this northern Italic notation developed, for the most part, independently from a basic repertory of graphs derived from grammatical accents (§4). Finally, observations of the influences of the central Italic nota romana, which this study only began to explore, opened up the possibility that Nonantolan notation may preserve the oldest traces of graphic conventions for the representation of sound that can be associated with the city of Rome (§5). Placed between the northern and southern fringes of the Carolingian empire, the Benedictine abbey of Nonantola played an important role in the early history of music writing, and this study contributes to the breaking of new ground for further explorations.
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Sham, Helen. "La Musiquette a contemporary graphic notation : this exegesis is submitted to Auckland University of Technology for the degree of Bachelor of Art & Design (Graphics), Oct. 2005 /." Abstract Full dissertation, 2005.
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Exegesis (BA--Art and Design) -- AUT University, 2005.Print copy accompanied by CD. Includes bibliographical references. Also held in print ( [36] leaves. : col. ill. ; 16 x 30 cm. + CD) in City Campus Collection ( T 780.148 SHA )
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BoisAubin, Pierre A. "Digital Preservation of Haitian Mythology Music Notation." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:24078357.
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This project aims at preserving Haitian mythology music; it is conceptualized as having two components:
• Digital Preservation Archive: The process generates equivalent notation of hardcopies as well as supplementary audio clip. The resulting artifacts are archived in a website.
• Music Production Using Media Technologies: is an effort to stimulate interest in the music. Digital media technologies are applied toward arranging mythology songs for small Afro Western styled musical group. We design a workflow for notating, recording, and staging the music.
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Eales, Andrew Arnold. "An object-oriented toolkit for music notation." Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1006473.
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This thesis investigates the design and implementation of an object-oriented toolkit for music notation. It considers whether object-oriented technology provides features that are desirable for representing music notation. The ability to sympathetically represent the conventions of music notation provides software tools that are flexible to use, and easily extended to represent less common features of music notation. The design and implementation of an object-oriented class hierarchy that captures the structural and semantic relationships of music notation symbols is described. Functions that search for symbols, and update symbol positions are also implemented. Traditional context-sensitive and spatial relationships between music symbols may be maintained, or extended to provide notational features found in modern music. MIDI functionality includes the ability to play music notation and to allow step-recording of MIDI events. The toolkit has been designed to simplify the creation of applications that make use of music notation; example applications are created to demonstrate its capabilities.Microsoft Word
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Jordaan, Abri Petrus Jacobus. "Ontwikkelings in kitaarnotasie : ‘n historiese perspektief met toepassings vir hedendaagse gebruik." Diss., University of Pretoria, 2005. http://hdl.handle.net/2263/30874.
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Tatem, Joseph Edward. ""ENGRAVE - An expert system that understands and generates musical notation"." Thesis, Virginia Tech, 1987. http://hdl.handle.net/10919/43378.
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Santini, Giovanni. "Explorations in augmented reality for interactive gesture-based musical notation." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/734.
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With its capability of merging virtual and real worlds, Augmented Reality (AR) provides a new framework for professional practices in numerous disciplines: it can deliver interactive pieces of information in real-time and in space. In music, such capabilities can have an important role in music notation and interfaces for electronic music performance. Numerous experimental musical applications have been developed since the early 2000s both for education and performance. However, in most circumstances, AR has been seen more as an aide towards the understanding and/or realization of traditional repertoire rather than a game-changing technology able to foster new artistic practices. There are still many uses yet to be explored, especially concerning compositional practice This dissertation also paves the way to a new repertoire in which the unprecedented possibilities offered by AR might be fully adopted and developed. This is an explorative work, structured mainly by a series of articles written solely by the author and published during his PhD studies (or accepted for publication at the time of writing). In these papers, a set of differentiated applications and compositions in the AR field are realized. The main thread that links all of the studies lies in the investigation of the relationship between AR and gesture-based musical practices (such as gesture-based control of spatialization and AR augmented instruments). A central role played by gesture-based music notation is the capability to notate a gesture in the space, with its exact coordinates and its exact velocity. Such a novel form of notation, enabled by AR technology and impossible in other domains, can also be enriched with interactive capabilities. As discussed in some studies included in this dissertation, virtual objects assigned to notational functions can also be assigned, simultaneously, to interface functions, thus creating interface-notation hybrids. Other studies of this dissertation address the capability of a virtual object changing its functions over time: AR notation can also be transformed into a virtual performer or into a visual augmentation of gesture. Another hopeful contribution of this dissertation to the musical use of AR lies in providing technical explanations of implementation procedures that could serve as a background for the creation of best practices
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Walker, Jonathan. "Musique abstraite : numerus sonorus and the musical work." Thesis, Queen's University Belfast, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314157.
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Lewis, Kevin D. "A Historical and Analytical Examination of Graphic Systems of Notation in Twentieth-Century Music." University of Akron / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=akron1271353110.
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Massiou, Anna. "Musical notation in the liturgical books of Monte Cassino (tenth-twelfth centuries)." Thesis, University of Cambridge, 2006. https://www.repository.cam.ac.uk/handle/1810/252002.
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Frasch, Cheryl Crawford. "Notation as a guide to modality in the Offertories of Paris, B.N., Lat. 903 /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487265143145199.
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Martin, Pierre. "CompositionALife: an artificial world as a musical representation for composition." Thesis, Linköping University, Department of Computer and Information Science, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2880.
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Composing music is something a lot of people have wished they could be able to do. Unfortunately, to be able to compose music, people often need several years of training and study to acquire the necessary knowledge: first to learn how to use the traditional musical representation and then to learn the rules for composing different kinds of music.
This thesis describes research to develop and evaluate a representation and system for musical composition. The system provides users with a simple and specific language to create and interact with the artificial world; and by creating animals and giving them behaviors, users are composing music. The user study conducted at the end of this project showed that this program ("CompositionALife") could make it easier for people without previous knowledge in music and/or composition to compose interesting music.
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Antoniadis, Pavlos. "Embodied navigation of complex piano notation : rethinking musical interaction from a performer’s perspective." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC007/document.
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La thèse propose un paradigme d’interaction avec la notation musicale complexe pour piano selon une perspective « incarnée » et «située » de l’interprète. Ce paradigme, que je nomme navigation incarnée, s’oppose au paradigme traditionnel d’interprétation textuelle. Le paradigme traditionnel considère un processus de lecture linéaire et hiérarchique, selon lequel la compréhension et l’internalisation du texte musical sont les conditions préalables pour l’application de la technique instrumentale, permettant par la suite une interprétation personnelle. À la place de ce paradigme, je propose de traiter la notation musicale comme un élément dynamique, non linéaire, et à la fois incarné et externalisé. Dans une deuxième phase, le paradigme proposé devient la base du développement d’outils adaptés au projet de la navigation incarnée et de diverses applications, incluant l’analyse de la performance, l’apprentissage incarné et interactif, la composition musicale et l’improvisationThis thesis proposes a performer-specific paradigm of embodied interaction with complex piano notation. This paradigm, which I term embodied navigation, extends and even confronts the traditional paradigm of textual interpretation. The latter assumes a linear and hierarchical process, whereby internalized understanding of the musical text is considered a prerequisite of instrumental technique towards personal interpretation. In lieu of that, I advocate for a dynamic, non-linear, embodied and external processing of music notation. At a second stage, the proposed paradigm serves as the basis for the development of methodologies and customized tools for a range of applications, including: performance analysis, embodied interactive learning, contemporary composition, free improvisation and piano pedagogy
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Mailian, Rubik. "The origin and development of the Armenian neumes (xaz) a survey of recent scholarship /." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.
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Bousted, Donald. "Rhythmic, diatonic and microtonal structures in musical composition : method and notation (compositions 1993-1998)." Thesis, University of Huddersfield, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247383.
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CULLAN, MICHAEL JOSEPH. "TERNARY RHYTHM NOTATION: A NOVEL GRAMMATICAL CONSTRUCTION OF MUSICAL RHYTHM OVER AN ALGEBRAIC LATTICE." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/612819.
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We present a novel musical notation, generated by a formal grammar, which symbolizes musical rhythms as
strings over a ternary alphabet. This notative system is shown to be an improvement over the conventional
binary rhythm notation, because it uniquely encodes any rhythm given in classical, sheet music notation.
We leverage this grammatical system to compute the number of distinct rhythms up to a specified timeunit.
We then define a binary operation on the strings generated by the rhythm grammar to coincide with
the musical notion of ”additive rhythm.” We show that the set of musical rhythms with a given time-unit
becomes a finite commutative monoid under this operation, and moreover that this operation imbues the set
with an algebraic lattice structure. Finally, we use the algebraic properties of this representation of musical
rhythms to define a number of similarity measures between rhythms, which we suggest to have applications
in automated music transcription.
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Tommis, Yvonne. "Teaching pre-school children to perform from conventional music notation : an exploration of different methods." Thesis, Bangor University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342574.
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Wiltshire, Eric Scott. "The effects of visual and aural congruence on the sight-reading of music notation /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11245.
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Blair, Sullivan. "Grammar and harmony : the written representation of musical sound in Carolingian treatises /." Ann Arbor (Mich.) : UMI, 2003. http://catalogue.bnf.fr/ark:/12148/cb392686165.
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Tofani, Arthur Piza Mosterio. "Uma ferramenta para notação musical em braille." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/45/45134/tde-18102012-174817/.
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O presente trabalho investiga as diculdades enfrentadas por decientes visuais ao ingressarem em um curso de nvel superior em Música, onde a troca de informacão musical escrita é frequente e se dá por meio de partituras impressas em tinta, e a conversão deste material para braille demanda conhecimentos específicos e disponibilidade de recursos. Igualmente problemática, a produção musical do aluno cego é feita em braille, seja para tomar nota de aulas como para realizar tarefas de disciplinas como Contraponto, Harmonia e Análise Musical, ou mesmo para a realização de exames. Claramente, esse material deve passar por um processo de conversão para que o professor possa avaliar o aluno, entre outros motivos. O foco principal da pesquisa realizada é a analise da musicografia braille sob a ótica das possibilidades de se produzir transcrições automáticas entre partituras em braille e tinta, a fim de prover recursos tecnológicos direcionados a solução deste problema. Para tanto, foi desenvolvido um aplicativo capaz de receber informação musical em braille e converê-la para o formato MusicXML, adequado para a leitura a partir de outros aplicativos de notação musical e, consequentemente, a impressão deste material em tinta. Este programa esta sendo distribudo como software livre sob licenca LGPL, contrapondo-se as suas alternativas hoje existentes no mercado. O aplicativo desenvolvido foi utilizado e avaliado por usuarios decientes visuais e com visão normal por meio de um questionário. Os dados foram então analisados, buscando mapear as diferenças nas experiências de uso e verificar necessidades de melhorias e novas funcionalidades, buscando com isso o aprofundamento nas questões pertinentes ao problema e dando suporte a novas pesquisas relativas ao assunto.This work researches visually-impaired person\'s dificulties when studying music as a university career, where musical information is usually forwarded as ink-printed sheet music and the translation of this material to braille involves specic skills and resource availability. In that sense, the musical production demanded from a blind student is accomplished by using braille notation, for taking notes or producing homework for disciplines like Harmony, Musical Analysis, or even to take tests. Clearly the information produced has to be submitted to a conversion process, and finally it can be reviewed by the professor or other students. The main focus of this research is the understanding of braille music aspects and the problem of generating automatic ink-printed sheet music transcriptions, providing assistive resource for music students. For attaining this goal, an application was developed in order to receive braille music input and translate it to MusicXML format, which can be read by any of the widely MusicXML compatible softwares available for reading, editing and printing music. The program is distributed as free software under LGPL license, as opposed to currently available alternatives. The resulting application was tested by visually-impaired and non-visually impaired users, and reviewed trough the application of a survey. The collected data was analyzed, in search for variations on user experience and checking for software improvement needs, as well as uncovering further relevant matters on this subject.
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Giraud, Eleanor Joyce. "The production and notation of Dominican manuscripts in thirteenth-century Paris." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648704.
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Wootton, Joan Elizabeth. "Teaching braille music notation to blind learners using the recorder as an instrument." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/50461.
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Thesis (PhD) -- University of Stellenbosch, 2005.ENGLISH ABSTRACT: The researcher encountered the following problems while teaching braille IWSic notation to blind learners at the Pioneer School in Worcester: • Young learners learning to read braille IWSic notation with the piano as mediwn appeared to struggle technically. For example, blind children experienced difficulty finding the correct keys over seven octaves; they had generally weak posture; they had to learn to play one part with one hand while the other hand would read; they had to memorise the music for each clef individually and then combine them cognitively; they had to memorise the soprano, alto, tenor and bass parts of a piece; they often experienced discouragement because of the very slow progress they made compared with their sighted peers. • Although learners seemed to find the recorder technically more manageable, currently available braille recorder tutors proved to be inadequate. This inadequacy was a result of the tutors having been designed for the sighted child. The researcher thus set out to design a more appropriate approach than is currently available for teaching braille music notation to the blind, with the recorder as medium. The research method was qualitative and included a literature survey which covered the following unique needs of the blind learner: • psychological • emotional and social • concept development • motor skills (orientation, laterality, posture, coordination) • tactile perception • creativity and self expression The qualitative research also included video observation of a series ofiodividual and group lessons. The lesson material emerged from a programme designed by the researcher and was based on the literatme study. An observation panel. together with the researcher, evaluated the lessons on predetenDned coded assessment criteria 'The lessons and progrannne were adapted according to feedback from the lessons. The qualitative research includes interviews with five blind learners and six teachers of braille music notation. The interviews were designed to gather information on how blind learners can more appropriately be taught the braille music code. The unique needs of blind learners, in particular those concerning orientation and perceptual awareness, are considered in this alternative approach for teaching braille music notation to blind learners. 'The alternative programme is skills based and can be used convElliently in conlunetion with the Outcomes- Based Education (OBE) modeL
AFRIKAANSE OPSOMMING: Die navorser het die volgende probleme ondervind tydens baar onderrig van braille musieknotasie aan blinde leerders by Pionierskool in Worcester: • Dit wil voorkom asofjong leerders wat braille musieknotasie moet aanleer met die klavier as medium, tegniese probleme ondervind. Blinde kinders het dit byvoorbeeld moeilik gevind om die korrekte toetse oor sewe oktawe te vind; oor die algemeen was hulle houding swak; hulle moes leer om een stemparty met een hand te lees terwyl die ander hand gespeel het; hulle moes die musiek vir elke sleutelteken apart memoriseer en die stemme kognitiefbymekaar sit; hulle moes die sopraan, alt. tenoor en bas stempartye van 'n stuk memoriseer, hulle is baie keer moedeloos, weens hulle stadige vordering, in vergelyking met hulle siende portuurgroep. • A1hoewel dit gelyk het asof leerders die bioldIuit tegnies meer hanteerbaar gevind het, blyk huidige beskikbare braille bloldluit handleidings nie geskik te wees nie. Hierdie ontoereikendheid is as gevolg van die feit dat die handleidings vir die siende kind ontwerp IS. Derhalwe het die navorser gepoog om 'n meer toeganklike benadering te ontwikkel as wat tans beskikbaar is vir die onderrig van braille misieknotasie aan die blinde, met die bioldIuit as medium. Die ondersoekmetode was kwalitatief van aard en het onder andere 'n literatuuroorsig ingesluit wat die volgende unieke behoeftes van die blinde leerder ingesluit het: • siellnmdig • emosioneel en sosiaal • konsep ontwikkeling • motoriese vaardighede (oriëntasie, lateraliteit, houding, koOrdinasie) • gevoelswaarneming
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Fortes, Fabricio Pires. "PENSAMENTO SIMBÓLICO E NOTAÇÃO MUSICAL." Universidade Federal de Santa Maria, 2009. http://repositorio.ufsm.br/handle/1/9084.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorThis dissertation s purpose is to characterize the musical notation as a representational system in which a certain kind of symbolic thought works. In this sense, the operations that are made in this notation are understood as signs handling without considering the meaning. Though this characterization confronts the question for the possibility of the symbolic thought, which question may be asked like this: how is it possible to warranty the results correction obtained by the sign s handling without taking care of the meanings? Aiming to offer a solid answer to this question, it was used a Leibniz s notion of blind or symbolic thought or knowledge, and certain associated functions. Based in an exam of three functions that are played by signs, as well as an analysis of traditional musical notation s basic elements this work tried to characterize the musical thought as a kind of formal operation. This can be seen in the western basic musical structure, in which scale and rhythm are comprehended as formal organization s ways in that are present a certain kind of calculus. So the signs in musical notation simply do not play the role of substitute the phonic component, but they make visible some structural aspects of these images. This exhibition is attributed in different senses to others representational systems, as diagrams, some artificial languages and even some alternative musical symbolism, some, called graphism , proposed by some 20th century composers. In this perspective the method used was the comparison among the different representation forms in order to identify the musical notation as an ecthetic representation. Concluding, the musical notation is characterized as a constitutive element of the music itself, and it is not a mere secondary code.
Esta dissertação visa caracterizar a notação musical enquanto sistema representacional em que opera um tipo de pensamento simbólico. Nesse sentido, as operações realizadas nessa notação são entendidas como pura manipulação de signos, sem a necessária consideração do designado. Entretanto, essa caracterização se defronta com a pergunta pela possibilidade do pensamento simbólico. Tal questão pode ser formulada à seguinte maneira: como é possível garantir a correção dos resultados obtidos pela manipulação simbólica, enquanto pura manipulação de signos sem atenção aos significados? Com vistas a oferecer uma resposta consistente a essa pergunta, recorre-se à noção leibniziana de pensamento (ou conhecimento) cego ou simbólico, e a certas funções a ela associadas. A partir de um exame de três funções exercidas pelos signos a saber, função de sub-rogação, função de cálculo e função ectética bem como de uma análise dos elementos básicos da notação musical tradicional, busca-se caracterizar o pensamento musical como um tipo de operação puramente formal. Isso pode ser observado pela atenção ao caráter estrutural da própria música ocidental, em que noções como a de Escala e a de ritmo são entendidas como modos de organização formal nas quais opera um certo tipo de cálculo. Assim, os signos da notação musical não executam simplesmente a função de substituir imagens acústicas, mas exibem ou tornam visíveis certos aspectos estruturais dessas imagens. Ora, essa exibição é atribuída também, em diferentes sentidos, a outros sistemas representacionais, como os diagramas, algumas linguagens artificiais e até mesmo algumas formas alternativas de simbolismo musical, como os chamados grafismos, propostos por compositores do século XX. Nessa perspectiva, a estratégia aqui empregada passa pela comparação entre a notação musical tradicional e diferentes formas de representação, buscando identificar essa notação como um tipo de representação ectética. Como conclusão, caracteriza-se a notação musical como elemento constitutivo da própria música, e não simplesmente como um código secundário.
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Shafer, Seth. "Recent Approaches to Real-Time Notation." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984210/.
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This paper discusses several compositions that use the computer screen to present music notation to performers. Three of these compositions, Law of Fives (2015), Polytera II (2016), and Terraformation (2016–17), employ strategies that allow the notation to change during the performance of the work as the product of composer-regulated algorithmic generation and performer interaction. New methodologies, implemented using Cycling74's Max software, facilitate performance of these works by allowing effective control of generation and on-screen display of notation; these include an application called VizScore, which delivers notation and conducts through it in real-time, and a development environment for real-time notation using the Bach extensions and graphical overlays around them. These tools support a concept of cartographic composition, in which a composer maps a range of potential behaviors that are mediated by human or algorithmic systems or some combination of the two. Notational variation in performance relies on computer algorithms that can both generate novel ideas and be subject to formal plans designed by the composer. This requires a broader discussion of the underlying algorithms and control mechanisms in the context of algorithmic art in general. Terraformation, for viola and computer, uses a model of the performer's physical actions to constrain the algorithmic generation of musical material displayed in on-screen notation. The resulting action-based on-screen notation system combines common practice notation with fingerboard tablature, color gradients, and abstract graphics. This hybrid model of dynamic notation puts unconventional demands on the performer; implications of this new performance practice are addressed, including behaviors, challenges, and freedoms of real-time notation.
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譚詠基 and Wing-Kei Ruth Tam. "Accent markings in Schubert's piano sonatas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1992. http://hub.hku.hk/bib/B31211902.
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Dean, Alexander. "The five-course guitar and seventeenth-century harmony : Alfabeto and Italian song /." Digitized version, 2009. http://hdl.handle.net/1802/1098.
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Thesis (Ph. D.)--University of Rochester, 2009.Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/10978
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Tam, Wing-Kei Ruth. "Accent markings in Schubert's piano sonatas /." Hong Kong : University of Hong Kong, 1992. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14292440.
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Brunner, Heather Nicole. "COLOR AND MUSIC: A REVIEW OF RESOURCES TO ENHANCE BEGINNING INSTRUCTION IN PIANO PEDAGOGY." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/316.
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This paper will examine color-coded musical notation. The history of color and music will be briefly explored before a more in-depth analysis of the widely available color-coded curriculums. Traditional method book formats will be examined for the potential integration of color-coded musical notation.
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Stuani, Ricardo de Alcântara 1971. "A escrita para percussão dos compositores do Grupo Música Nova : a busca pelo novo analisada a partir da notação /." São Paulo, 2015. http://hdl.handle.net/11449/131847.
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Orientador: Carlos Eduardo di StasiBanca: Fernando Iazzetta
Banca: Eduardo Flores Gianesella
Resumo: Procuramos neste trabalho discutir aspectos da notação para percussão que se conectam a uma busca pelo novo na música de Gilberto Mendes (1922), Rogério Duprat (1932 - 2006) e Willy Corrêa de Oliveira (1938), signatários do Manifesto Música Nova, em 1963. Acreditamos que, de acordo com as propostas contidas no Manifesto, nestas partituras encontraremos tentativas de uma renovação da estética musical determinadas por um pensamento vanguardístico de experimentação, podendo ser examinadas a partir da utilização de novos grafismos que representam recursos de indeterminação, improvisação, explorações timbrísticas e também incorporando elementos das linguagens poéticas, teatrais e das artes visuais. O foco da pesquisa serão as obras Concerto para Tímpanos, Caixa e Percussão (Gilberto Mendes, 1991), Antinomies I (Rogério Duprat, 1962) e Memos (Willy Corrêa de Oliveira, 1977). Ao discutir as características da notação para percussão nestas peças, identificamos o posicionamento das vanguardas dos anos sessenta em sua busca pelo novo, que também pretendemos avaliar através da tentativa destes três compositores de incorporar instrumentos de percussão típicos brasileiros em sua música de caráter experimental, no caso: o berimbau, a cuíca e o agogô, verificando o problema da escrita para estes instrumentos
Abstract: This work aims to discuss aspects of percussion notation that were connected to a search for novelty in the music of the Brazilian composers Gilberto Mendes (1922), Rogério Duprat (1932 - 2006) e Willy Corrêa de Oliveira (1938), who signed the Manifesto Música Nova, in 1963. We believe that, according to the proposals contained in the Manifesto, in these scores we can find evidence of an attempt to renew musical aesthetics determined by the experimentalavant-gardethought, which can be examined on the basis of thecreation of new graphics, representing procedures of indeterminacy,improvisation, timbristic explorations and the incorporation of elements of poetic, theatrical and visual languages. The focus of the research is the Concerto para Tímpanos, Caixa e Percussão (Gilberto Mendes, 1991), Antinomies I (Rogério Duprat, 1962) and Memos (Willy Corrêa de Oliveira, 1977). In discussing the notation characteristics for percussion in these parts, we identified the positioning of the sixties avant-garde in its search for novelty that we also intend to evaluate through a trial of these three composers to incorporate typical Brazilian percussion instruments in their experimental music, in this case: the berimbau, the cuíca and the agogô, checking the notation problem for these instruments
Mestre
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Pina, Rosana Andrade Fortes de. "Design de comunicação aplicado à educação musical." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2013. http://hdl.handle.net/10400.5/12086.
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Dissertação de Mestrado para obtenção do grau de Mestre em Design de Comunicação, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.Desde os primórdios, o homem teve a necessidade de comunicar e se expressar e fê-lo não só através de sons, como de elementos visuais, entre outros. A notação musical do Ocidente mais antiga surgiu com os Gregos e desde então tem evoluído. Na época contemporânea, ocorreu um salto extraordinariamente significativo, quando os compositores reconheceram que a notação clássica não era suficiente para comunicar as suas ideias sonoras, por um lado, e que, do ponto de vista visual, a notação musical pode ser uma oportunidade de expressão plástica. A presente investigação insere-se no campo da notação musical, procurando estabelecer a ponte entre a representação dos sons através de sinais gráficos, e o design de comunicação. Pretende-se saber se a legibilidade de uma partitura pode influenciar a aprendizagem em música e a performance instrumental, principalmente na fase inicial da aprendizagem de um instrumento. Para responder a esta interrogação recorre-se à revisão da literatura sobre pedagogia musical, transformações operadas ao longo do tempo na notação musical, considerando que a escrita de música é, tal como as escritas de outras linguagens, é um objecto de comunicação, no caso, entre o compositor e o intérprete. O estado da arte foi construído recorrendo, ainda, a entrevistas exploratórias a alunos que se encontram numa fase inicial de aprendizagem da linguagem musical e na aprendizagem de um instrumento, a professores de música e a compositores. Desta pesquisa fez parte uma recolha de partituras gráficas, que foram analisadas e criticadas com vista ao desenvolvimento do projecto prático, simultaneamente o objectivo específico mais importante e o resultado alcançado no âmbito da presente investigação. Deste modo, respondemos, afirmativamente, à questão de partida (Poderá um novo sistema de notação musical e de partitura gráfica, de apoio à aprendizagem e à performance, contribuir para agilizar a aprendizagem e minimizar o esforço de leitura?).
ABSTRACT: Since the beginnings, the man had the need to communicate and express and he made it not only through sounds as through visual elements and others. The an¬cient musical notation of the west, came up with the Greeks, and since then it as evolved. In contemporary era, occurred a jump dramatically significant when com¬posers recognized that the classical notation was not enough to communicate their sound ideas on one hand, and that in the visual point of view, the musical notation can be an opportunity for plastic expression. This investigation falls within the field of musical notation, seeking to establish the bridge between the representation of sounds by graphics signs, and the communi¬cation design. It is intended to know if the legibility of a score can influence learning in music and instrumental performance, especially in the early stage of learning an instrument. To answer this question we resort to the review of literature on music pedagogy, changes undertaken over time in musical notation, considering that writing music is as the writings of other languages, an object of communication, in this case, be¬tween the composer and the performer. The state of the art was built using also the exploratory interviews to students, who are at an early stage of learning the language of music and learning an instrument, music teachers and composers. Of this research it had made part, a collection of graphic scores, which were analysed and criticized in the view of the development of the practical project, simultaneously, the specific and the most important purpose and result achieved in the present investigation. Thus, we answer affirmatively to the question of departure « can a new system of musical notation and graphic score, of support learning and performance, help to expedite the learning and minimize the effort of reading?».
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Fujinaga, Ichiro. "Adaptive optical music recognition." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42033.
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The basic goal of the Adaptive Optical Music Recognition system presented herein is to create an adaptive software for the recognition of musical notation. The focus of this research has been to create a robust framework upon which a practical optical music recognizer can be built.The strength of this system is its ability to learn new music symbols and handwritten notations. It also continually improves its accuracy in recognizing these objects by adjusting internal parameters. Given the wide range of music notation styles, these are essential characteristics of a music recognizer.
The implementation of the adaptive system is based on exemplar-based incremental learning, analogous to the idea of "learning by example," that identifies unknown objects by their similarity to one or more of the known stored examples. The entire process is based on two simple, yet powerful algorithms: k-nearest neighbour classifier and genetic algorithm. Using these algorithms, the system is designed to increase its accuracy over time as more data are processed.
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Ellard, Luke Michael. "Bridging the Gap: Introducing Extended Techniques and Contemporary Notation through Newly Composed Etudes for Clarinet." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703365/.
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This dissertation aims to address the pedagogical gap in introductory material for contemporary clarinet instruction. Through examining the most prominent contemporary methods for the clarinet, the pedagogical gap is highlighted, particularly regarding material aimed at newcomers and early undergraduate students. To address these needs, a new collection of etudes is proposed, introducing extended techniques and contemporary notation for newcomers to modern music.
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Rhoden, Sandra Mara. "O sentido e o significado da notação musical das crianças." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/27047.
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A pesquisa aborda a subjetividade presente no fazer musical infantil. De modo específico, busca compreender os processos que geram sentido e significado nas notações musicais, de um grupo de nove crianças, com idade entre 4 a 6 anos. As crianças participantes são alunos regulares de Musicalização, do Curso Básico de Música, da Fundação Municipal de Artes de Montenegro – FUNDARTE. O registro das manifestações empíricas ocorreu em quatro encontros, no período de setembro a novembro de 2009, os quais foram filmados para o detalhamento das análises. A epistemologia da pesquisa qualitativa e subjetividade, defendida por Gonzales Rey, orienta a escolha metodológica e os conceitos relevantes da investigação, adotando-se o estudo de caso como estratégia de pesquisa. O sentido e o significado das notações musicais das crianças foram compreendidos, a partir de núcleos configurados em torno da materialidade, das narrativas, das relações interpessoais e simbologias compartilhadas no processo dialógico que envolveu as crianças participantes e o pesquisador. Os aportes teóricos de Silvia Helena Cruz e colaboradores (2008) possibilitaram que as interações dessa pesquisa fossem guiadas pela voz das crianças, para então apreender os fundamentos de sua subjetividade. A presente pesquisa poderá contribuir como um referencial para futuras pesquisas com crianças, realizadas em outros contextos e áreas da educação, interessadas em compreender o sentido e o significado das produções infantis.The research approaches the subjectivity present in musical making for children. In a specific way, it aims to understand the processes that generate meaning and sense in musical notation, in a group of nine children aged from 4 to 6 years. Participant’s children are regular students of Musicalization on the Basic Course of Music at Fundação Municipal de Artes de Montenegro – FUNDARTE. The record of empirical manifestations in this research occurred in four meetings from September to November 2009, when were filmed for a detailed analysis. The epistemology of qualitative and subjectivity research, defended by Gonzales Rey, guides the methodological choice and the relevant concepts of investigation, adopting the case study as research strategy. The meaning and sense of musical notation of children were understood from configured issues around the materiality, the narratives, the interpersonal relations and symbology shared in the dialogic process that involved the participant children and the researcher. The theoretical contribution of Silvia Helena Cruz and collaborators (2008) made possible that the interactions of this research were guided by the children voice for then to apprehend the fundamentals of their subjectivity. This research can contribute as a reference for future researches with children in other contexts and education area, interested in understanding the meaning and sense of children productions.
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Gjoroveni, Argita. "The Byzantine Musical Tradition in Southern Illyria. The Sticherarion Br. 81 of the CSA of Tirana, Albania: Repertory and Notation." Doctoral thesis, Università degli studi di Padova, 2016. http://hdl.handle.net/11577/3424979.
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This doctoral thesis aims to investigate some aspects of the liturgical and musical tradition of Southern Illyria, a specific region of the Byzantine civilization in the Balkans. Focusing on a group of manuscripts conserved today at the National Archive of the State in Tirana the project will help expand and deepen the knowledge about medieval Byzantine music of the Western Balkans. The methods adopted include the cataloguing, the study of the notation, the classification of the neumatic signs, as well as performing the transcription and critical analyses of texts and music, through a comparison with other authoritative MSS, representative of the Middle Byzantine musical notation. Among the six manuscripts in Greek and Byzantine notation currently preserved at the National Archive of Albania in Tirana (which cover a period from the 13th to the 19th century, and document the last two phases of the Byzantine notation) the research focus will be on the MS Br. 81, the only Sticherarion surviving in Albania. An initial investigation based on the identification though the indexing the repertory included in the Sticherarion Br. 81 was further extended by transcribing the texts and the intonations of some groups of musical compositions. The chants were selected according to the following criteria: 1) compositions considered significant for possible textual and musical comparisons with other concordant sources; 2) the repertory of unica chants included in the Sticherarion Br. 81.
Through a comparative study of the repertory, i.e. by confronting the compositions obtained from Sticherarion Br. 81 with the concordant sources in the Middle Byzantine notation, the thesis aims to clarify the nature of the chants present in Sticherarion Br. 81, as well to identify the significant musical and textual variants through an in-depth analysis of the melodies. The analysis of the content of the MS has also permitted to address issues related to the origins of Sticherarion Br. 81. Since the Albanian musical MSS have not yet been comprehensively studied from a musicological perspective, this thesis, by providing a description and a first analysis of the repertory of Br. 81, aims to address this lack, and to provide scholars directions for future research. This is the aim of the Appendices with musical transcriptions too, which, besides making accessible a significant group of unique chants, also offer an interesting material for new investigations on the notation and on the local variations of the musical and liturgical repertory of a larger area of Byzantine culture.La presente tesi di dottorato si propone di esaminare un aspetto della tradizione liturgico-musicale presente nel territorio dell’Illiria del sud, parte specifica e integrante della civiltà bizantina dei Balcani. Rivolgendo l’attenzione a un gruppo di manoscritti oggi conservati a Tirana, presso l’Archivio Centrale Nazionale di Tirana, il progetto si è posto l’obiettivo di approfondire la conoscenza delle testimonianze della musica bizantina medievale nei Balcani occidentali, effettuando la catalogazione, studiando la notazione, classificando le scritture neumatiche, eseguendo la trascrizione e l’analisi critica dei testi e delle musiche, attraverso il confronto con altri testimoni autorevoli in notazione bizantina. Tra i sei manoscritti in lingua greca e in notazione bizantina attualmente conservati nell’Archivio Centrale Nazionale dell’Albania a Tirana (che abbracciano un periodo dal sec. XIII al XIX e documentano le ultime due fasi della notazione bizantina) è stato scelto di studiare il ms. Br. 81 del sec. XIII-XIV, l’unico della tipologia degli sticheraria. Una iniziale indagine basata sull’identificazione, l’indicizzazione e alla stesura dell’incipitario di tutti i brani si è estesa trascrivendo contemporaneamente testi e intonazioni di alcuni gruppi di composizioni musicali. La selezione dei canti è stata effettuata secondo i seguenti criteri: 1) composizioni ritenute significative per i possibili confronti testuali e musicali con altre fonti concordanti; 2) unica presenti nel manoscritto Br. 81. Attraverso lo studio comparativo del repertorio, mettendo di fronte le composizioni ricavate dallo Sticherario Br. 81 e le rispettive fonti concordanti in notazione medio bizantina, la tesi mira a chiarire la natura dei canti presenti nello sticherario Br. 81, nonché individuare le varianti significative musicali e testuali tramite un’approfondita analisi delle melodie e dei testi. L’analisi del contenuto ha permesso inoltre di affrontare le problematiche legate all’origine e alla provenienza dello sticherario Br. 81. La tesi risponde soprattutto all’esigenza di avviare la ricognizione, la descrizione e una prima analisi di un repertorio rimasto finora ai margini degli studi musicologici, mettendo a disposizione degli studiosi gli elementi per successivi e specifici approfondimenti. A questo scopo risponde anche l’appendice di trascrizioni musicali che, oltre a rendere noto già un gruppo significativo di unica, offre anche un materiale interessante per nuove indagini sulla notazione e sulle varianti locali di un repertorio comune a una vasta area della cultura bizantina.
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Bays, Geoffrey Alan. "ScoreSVG a new software framework for capturing the semantic meaning and graphical representation of musical scores using JAVA2D, XML, and SVG /." unrestricted, 2005. http://etd.gsu.edu/theses/available/etd-07072005-150030/.
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Thesis (M.S.)--Georgia State University, 2005.Ying Zhu, committee chair; Rajsekhar Sunderraman, Xaolin Hu, committee members. Electronic text ( 82 p. : ill. (some col.)) : digital, PDF file. Description based on contents viewed July 5, 2007. Includes bibliographical references (p. 52-54).
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Burrell, Robert W. B. "A Process of Becoming: A Musical Enquiry into Process-Relational Philosophy Through Autoethnographical and Zoomusicological Means." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/366148.
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This folio and exegesis represent the findings of a practice-based inquiry into process-relational philosophy, autoethnography and zoomusicology. Beginning in early 2010 and continuing through to mid 2012 it has been my personal goal to create a substantial body of new musical compositions that addresses the dual ambitions of a practice-based inquiry into a deep comprehension of process-relational philosophy and the development of new modes of making music. The philosophical stimulus reflects a desire to bring the personal and professional together; to observe, through an autoethnographical methodology, the process of becoming in action in my own family, and then to incorporate musical stimuli from the natural world as a lateral thinking provocateur, what de Bono (1991) calls a ‘Po’ (p.15). I sought to create new musical works in the western notation system, as well as in the mixed media of electro-acoustics and live performance, and finally through pure electro-acoustics. The folio and exegesis present what has been explored, uncovered, researched and learned and thence developed through this inquiry into the Whiteheadean notions of ‘process and reality’ and the philosophical insights of the ‘process of becoming’. The evolution and maturation of my language and syntax of composition is presented in the folio of music. Further explanation and evidence is addressed in the exegesis, specifically in Chapters 5 through to 8. Chapter 7 of the exegesis presents a critical analysis of selected movements from the greater works created during the research and responds to the literature, which informs the philosophical investigation of process-relational philosophy. Literature in this exegesis also includes examples of landmark works in the mediums selected for composition.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Athanasopoulos, Georgios. "Scoring sounds : the visual representation of music in cross-cultural perspective." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7799.
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This thesis argues that a performer’s relationship with a musical score is an interaction largely defined by social and cultural parameters, but also examines whether disparate musical traditions show any common underlying tendencies regarding the perceived relationship between musical sound and visual representation. The research brings a novel, cross-cultural perspective to bear on the topic, combining a systematic, empirical study with qualitative fieldwork. Data were collected at five sites in three countries, involving: classically-trained musicians based in the UK; traditional Japanese musicians both familiar and unfamiliar with western standard notation; literate Eastern Highlanders from Port- Moresby, Papua New Guinea; and members of the BenaBena tribe, a non-literate community in Papua New Guinea. Participants heard short musical stimuli that varied on three musical parameters (pitch, duration and attack rate) and were instructed to represent these visually so that if another community member saw the marks they should be able to connect them with the sounds. Secondly, a forced-choice design required participants to select the best shape to describe a sound from a database. Interviews and fieldwork observations recorded how musicians engaged with the visual representation of music, considering in particular the effects of literacy and cultural parameters such as the social context of music performance traditions. Similarities between certain aspects of the participants’ responses suggest that there are indeed some underlying commonalities among literate participants of any cultural background. Meanwhile, the overall variety of responses suggests that the association between music and its visual representation (when it takes place) is strongly affected by ever-altering socio-cultural parameters.
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Carnes, Tara Barker. "Hartley Wood Day: Inventor of Numeral Notation and Adversary of Lowell Mason." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500655/.
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Ignorance of the basic principles of music reading was one of the primary obstacles to the improvement of congregational singing in nineteenth-century America. Six separate numeral notation systems arose to provide a simple way for the common man to learn the basic principles of music. Hartley Day developed his own numeral notation system and published six tune-books that enjoyed modest success in the New England area. This thesis examines Day's numeral notation system as it appeared in the Boston Numeral Harmony (1845), and the One-Line Psalmist (1849). It also studies Day's periodical, The Musical Visitor, in which he continually attacked Lowell Mason, possibly leading to Mason's dismissal as Superintendent of Music of Boston's public schools.
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Hessel, Eric. "Addressing Technical and Musical Demands of Contemporary Music for Horn through Newly-Composed Etudes." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538667/.
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Contemporary music for horn often requires techniques and musical or notational considerations that are unconventional with respect to the standard pedagogy of the instrument. As such, these considerations often represent a level of challenge to which the average-intermediate to advanced-hornist is unprepared to approach or altogether unfamiliar. The most prominent of these demands arising in the last few decades of the twentieth century through today include microtonality (such as extended just intonation and quarter tones), extended techniques in combination or juxtaposition (such as multiphonics and right hand technique), rhythmic complexity (including metric modulation, non-dyadic meters, additive rhythms, and nested tuplets), and unconventional notations (graphic, spatial, and other temporal notations). This document first surveys the challenges of the repertoire in question, which includes works by György Ligeti, Thea Musgrave, Milton Babbitt, Brian Ferneyhough, Iannis Xenakis, Heinz Holliger, and Douglas Hill, among others. After considering the merits and limitations of existing pedagogical materials that work towards these ends, the document then underlines a strategic pedagogical goal for understanding and approaching unconventional contemporary repertoire through newly-composed etudes. This document is written in conjunction with and justification for the author's 24 Unconventional Etudes for Horn, and includes examples therefrom.
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Espinel, Miguel Angel. "Replenishment: A Musical Narrative Inspired by Sleep." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062888/.
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The Replenishment cycle contains five works that allude to the experience of sleep, beginning with awake drowsiness and ending with the piece inspired by rapid eye movement (REM) sleep, titled Conceiving Realities. This last piece is an intermedia work composed for chamber ensemble, live painting with biofeedback, computer, and audiovisual processing. This critical essay describes the composition of Conceiving Realities within the context of the Replenishment cycle, followed by a thorough analysis of the research involved in the technological aspects of the piece, and finally, a description of the instrumentation, notation, intermedia elements, and technology comprising the work. Conceiving Realities uses a system of interactions between painting, biofeedback, music, and video, in which a painter wears brainwave and heartbeat sensors that send data to a computer patch processing the sound of an ensemble as the painter listens and creates the painting while responding to the music. This requires a passive biofeedback system in which the painter is focused on listening and painting. The computer uses the data to process existing sounds, instead of synthesizing new lines. The score blends elements of traditional notation, graphics, and guided improvisation; giving the performers some creative agency. This alludes to the way in which scenarios in dreams occur without voluntary control of the dreamer. Finally, a camera captures the painting and projects three video screens applying individual types of processing to the original video stream, controlled in real time by the amplitude of the ensemble. All these elements create an immersive experience for the audience that is mediated by the interaction of sight and sound.
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Evans, Michael C. "A New Look at Ars Subtilior Notation and Style in the Codex Chantilly, Ms. 564." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1292560563.
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Anapolskaya, Ekaterina. "Les Millions d’Arlequin de Marius Petipa et Riccardo Drigo : les créateurs, l’analyse du ballet, son destin." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040095.
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Les Millions d’Arlequin est un ballet créé en 1900, fruit du talent et de la passion pour leur métier de deux figures significatives de la scène du Théâtre Mariinski à Saint-Pétersbourg à la fin du XIXe et au début du XXe siècle : le chorégraphe français Marius Petipa et le compositeur et chef d’orchestre italien Riccardo Drigo. 1900 est une date symbolique, la fin d’une époque et le début d’une autre, l’aboutissement du style académique dans le ballet classique russe et l’apparition de nouvelles tendances dans la chorégraphie qui vont triompher avec Les Ballets russes de Diaghilev. Nous connaissons bien les grands ballets de Petipa comme La Belle au bois dormant, Raymonda ou La Bayadère, mais une partie de l’œuvre de ce grand chorégraphe, ses ballets créés dans les années 1900, reste dans l’oubli. C’est aussi le cas pour la musique de Riccardo Drigo, qui comme la plus grande partie de la musique de ballet, est souvent reléguée au second plan. Par notre travail, grâce à une analyse détaillée de la dramaturgie musicale et à l’aide de nombreux documents que nous avons réussi à découvrir, nous aimerions faire sortir cette œuvre de l’oubli et montrer son importance pour l’histoire de la danse et l’évolution de la musique de ballet. Ce travail sur Les Millions d’Arlequin invite aussi à réfléchir sur le rapport envers les chorégraphies du passé, y compris les œuvres de Petipa, sur la nécessité et les moyens de les reconstruire, et sur la place qu’elles devraient avoir dans le répertoire actuel des troupes de ballet classiqueHarlequin’s Millions is a ballet created in 1900, the fruit of the talent and a passion for their craft of two major figures of the Mariinsky Theatre in St. Petersburg in the late 19th and early 20th century: the French choreographer Marius Petipa and the Italian composer and conductor Riccardo Drigo. 1900 is a symbolic date, the end of one era and the beginning of another, the culmination of the Academic style in Russian classical ballet and the emergence of new choreographic trends that will triumph with the Ballets Russes of Diaghilev. We are familiar with Petipa’s great ballets such as The Sleeping Beauty, Raymonda or La Bayadère, but a part of the work of this great choreographer, the ballets created in the 1900s, remain in oblivion. This is also the case for the music of Riccardo Drigo, which like much ballet music is often relegated to the second class.Through our work, based on a detailed analysis of musical dramaturgy and drawing on many documents we discovered, we would like to bring this work out of oblivion and to demonstrate its importance to the history of dance and the evolution of ballet music. This work on Harlequin’s Millions also invites reflection on the place of the choreography of the past, including Petipa’s works; on the need and the ways to revive it; and on the place it should have in the current repertoire of classical ballet companies
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Buchanan, J. Paul. "Information Structures in Notated Music: Statistical Explorations of Composers' Performance Marks in Solo Piano Scores." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849733/.
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Written notation has a long history in many musical traditions and has been particularly important in the composition and performance of Western art music. This study adopted the conceptual view that a musical score consists of two coordinated but separate communication channels: the musical text and a collection of composer-selected performance marks that serve as an interpretive gloss on that text. Structurally, these channels are defined by largely disjoint vocabularies of symbols and words. While the sound structures represented by musical texts are well studied in music theory and analysis, the stylistic patterns of performance marks and how they acquire contextual meaning in performance is an area with fewer theoretical foundations.
This quantitative research explored the possibility that composers exhibit recurring patterns in their use of performance marks. Seventeen solo piano sonatas written between 1798 and 1913 by five major composers were analyzed from modern editions by tokenizing and tabulating the types and usage frequencies of their individual performance marks without regard to the associated musical texts. Using analytic methods common in information science, the results demonstrated persistent statistical similarities among the works of each composer and differences among the work groups of different composers. Although based on a small sample, the results still offered statistical support for the existence of recurring stylistic patterns in composers' use of performance marks across their works.
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Smith, Alyssa Gretchen. "An examination of notation in selected repertoire for multiple percussion." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1118639448.
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Thesis (D.M.A.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains xiv, 107 p.; also includes graphics, music. Includes bibliographical references (p. 103-107). Available online via OhioLINK's ETD Center.
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Goodenough, Pammala K. "A comparison of computer-assisted and peer-partner practice in treble-staff note recognition /." View online, 2010. http://repository.eiu.edu/theses/docs/32211131575082.pdf.
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Carroll, Debra 1952. "Children's use of personal, social and material resources to solve a music notational task : a social constructivist perspective." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102794.
Full textAbstract:
In this inquiry, I examined how young children use their personal, social and material resources to solve a music notational task. I asked 13 children, ages 5-9 to notate a song they learned the previous week, sing it back, explain what they did and then teach the song to a classmate the following week. I used Lightfoot and Davis' concept of portraiture as a qualitative research methodology to collect, code, analyze and interpret my data. Data included the children's invented notations and videotaped transcripts of their actions as they created their notations and taught the song to a classmate. Sociocultural Vygotskian developmental theory, activity theory and Bakhtin's dialogic theory provided the interpretive lens through which I examined how the children used their resources as mediational tools to complete the task.Findings revealed that children who had no previous music training used increasingly sophisticated representational strategies to notate a song, and that they were able to refine their notations when singing the song from their notation, teaching the song or when prompted by an adult or a peer. I concluded that the peer-peer situation was a motivating force for triggering a recursive process of reflections-on-actions and knowing-in-action. Classmates' questions, comments and their singing played a critical role in moving the children to modify their notations and their singing, verbal explanations and gesturing in ways they did not do alone or with me.
Analysis of the children's notations, verbal explanations and teaching strategies provided insights not only into what they knew about music, but also their appropriation of the cultural conventions of writing and their aesthetic sensibilities, as gleaned from their choice of symbols, colours and how they presented their symbols on the page. Interviews with parents, teachers and school principal provided contextual background for interpreting the children's notations and how they approached the task. This study shows the value of adopting a social constructivist approach to teaching the language of music. It also demonstrates that researching the products and processes of children's invented notations from a social constructivist perspective enables more detailed portraits of children's musical and meta-cognitive understandings.
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Lee, In-suk. "Aspects of the Korean traditional vocal genre, kagok : female kagok and the call for a new integrative kagok notation : a thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Music in the University of Canterbury /." Thesis, University of Canterbury. School of Music, 2007. http://hdl.handle.net/10092/994.
Full textAbstract:
Kagok is a genre of highly refined, traditional, Korean, vocal music, which is now endangered and marginalized in contemporary Korean culture. Female kagok signers (kisaeng) have also been ignored in Korean music society. The aim of this study is to preserve and revitalize kagok, in order to conserve its true nature in a contemporary context, and for the future. This thesis is twofold. The first part shows how the aesthetics of the Chosŏn dynasty are fundamental to kagok's history, and female kagok singers' education. Furthermore, existing kagok scores, written in traditional chŏngganbo notation or in Western staff notation, are examined in this part, and they reveal the need for the creation of a new kagok notation. The second part of the thesis concerns the creation and testing of the New Integrative Kagok Notation (NIKN), which combines the essentials of chŏngganbo and Western staff notation, and provides a more effective vehicle for the transmission, transcription and recording of this art form, particularly for inexperienced, contemporary students.