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Relevant bibliographies by topics / Musical notation / Dissertations / Theses

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Dissertations / Theses on the topic 'Musical notation'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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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2

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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3

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 realizati

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4

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

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5

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.<br>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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7

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

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8

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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9

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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10

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

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11

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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12

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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13

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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14

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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15

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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<p>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. </p><p>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 anim

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16

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 t

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17

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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18

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 rhy

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20

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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21

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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22

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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23

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 mat

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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.<br>ENGLISH ABSTRACT: The researcher encountered the following problems while teaching braille IWSic notation to blind learners at the Pioneer School in Worcester: • Young learners learning to read braille IWSic notation with the piano as mediwn appeared to struggle technically. For example, blind children experienced difficulty finding the correct keys over seven octaves; they had generally weak posture; they had to learn to play one part with one hand while the other hand would read; they had to memorise the music for each clef individua

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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 Superior<br>This 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? Ai

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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 calle

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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.<br>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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31

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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32

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 Stasi<br>Banca: Fernando Iazzetta<br>Banca: Eduardo Flores Gianesella<br>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 examinada

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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.<br>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

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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.<br>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.<br>The

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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 subjet

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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 comparis

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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.<br>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 me

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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 m

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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 M

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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 multiph

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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

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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 conna

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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 analysi

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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.<br>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.

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In this inquiry, I examined how young children use their personal, social and material resources to solve a music notational task. I asked 13 children, ages 5-9 to notate a song they learned the previous week, sing it back, explain what they did and then teach the song to a classmate the following week. I used Lightfoot and Davis' concept of portraiture as a qualitative research methodology to collect, code, analyze and interpret my data. Data included the children's invented notations and videotaped transcripts of their actions as they created their notations and taught the song to a classmat

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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.

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Abstract:

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

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