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Journal articles on the topic 'Musical notation'
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Chan, Eleanor. "Scrollwork: Visual Cultures of Musical Notation and Graphic Materiality in the English Renaissance." Journal of Medieval and Early Modern Studies 53, no. 2 (May 1, 2023): 347–77. http://dx.doi.org/10.1215/10829636-10416642.
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Early modern English musical notation bears a fleeting resemblance to that of its modern counterpart. This superficial similarity conceals the markedly different manner in which early music notation functioned and the clues that it offers for an older and more dynamic way of reading music. This form of notation was not a transcription for future performance but rather a provocation to performance. As a result, musical notation frequently “leaked” into decorative margins. The musical pages of this period display evident delight in melding, blending, and blurring the distinction between decorative and notational elements in an effort to forge musical meaning. This article explores how far the curled lines of musical notation and ornamentation can be thought of as visual prompts to think about music and its continuation beyond the space of the page, testament to an older, more playful understanding of how to read music.
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Schuiling, Floris. "Notation Cultures: Towards an Ethnomusicology of Notation." Journal of the Royal Musical Association 144, no. 2 (2019): 429–58. http://dx.doi.org/10.1080/02690403.2019.1651508.
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AbstractThe ubiquity and diversity of notational practices in music suggest that notation is a significant part of human beings' musicking behaviour. However, it is difficult to address its function since the usual conception of notation in music scholarship is at odds with studying performance in the first place. This article presents a methodological outline for an ethnomusicology of music notation by investigating the musicality of notation not in terms of its representation of musical structures, but in terms of its mediation of the social and creative agency of musicians. It is suggested that, rather than detracting from musical reality, notation composes musical cultures. This constructive work is simultaneously ontological and ethical. It is described in terms of three distinct processes, namely mobilization, entextualization and remediation. In doing so, this article presents an interdisciplinary approach to a topic that has traditionally defined the disciplinary centre of music scholarship.
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Hope, Cat. "The Future is Graphic: Animated notation for contemporary practice." Organised Sound 25, no. 2 (August 2020): 187–97. http://dx.doi.org/10.1017/s1355771820000096.
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A growing number of musicians are recognising the importance of re-thinking notation and its capacity to support contemporary practice. New music is increasingly more collaborative and polystylistic, engaging a greater range of sounds from both acoustic and electronic instruments. Contemporary compositional approaches combine composition, improvisation, found sounds, production and multimedia elements, but common practice music notation has not evolved to reflect these developments. While traditional notations remain the most effective way to communicate information about tempered harmony and the subdivision of metre for acoustic instruments, graphic and animated notations may provide an opportunity for the representation and communication of electronic music. If there is a future for notating electronic music, the micro-tonality, interactivity, non-linear structures, improvisation, aleatoricism and lack of conventional rhythmic structures that are features of it will not be facilitated by common practice notation. This article proposes that graphic and animated notations do have this capacity to serve electronic music, and music that combines electronic and acoustic instruments, as they enable increased input from performers from any musical style, reflect the collaborative practices that are a signpost of current music practice. This article examines some of the ways digitally rendered graphic and animated notations can represent contemporary electronic music-making and foster collaboration between musicians and composers of different musical genres, integrating electronic and acoustic practices.
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Jarrett, Jack Marius. "Musical notation system." Journal of the Acoustical Society of America 125, no. 5 (2009): 3490. http://dx.doi.org/10.1121/1.3139596.
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Kim-Boyle, David. "REFRAMING THE LISTENING EXPERIENCE THROUGH THE PROJECTED SCORE." Tempo 72, no. 284 (March 20, 2018): 37–50. http://dx.doi.org/10.1017/s0040298217001243.
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ABSTRACTOver the past ten years, performance scores have been radically foregrounded in a variety of performance practices. Whether such notations assume a prescriptive function, visually projected for musicians to interpret, or a descriptive one, unfolding as a documentation of a live coding performance, how might such a foregrounding reframe the listening process for an audience? Does a notational schema help promote a deeper, structural level understanding of a musical work? This article will consider these various questions, exploring how principles of graphic design and the transparency of notation contribute to the listening experience. It will suggest that works featuring projected scores find aesthetic value in the juxtaposition of notation's traditionally mnemonic function and the unique temporal modalities that projected scores establish.
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HISATOME, Tomoyuki. "Notation and Musical Tone." Journal of the Visualization Society of Japan 35, no. 136 (2015): 13–16. http://dx.doi.org/10.3154/jvs.35.13.
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Sacks, Oliver. "Hallucinations of musical notation." Brain 136, no. 7 (March 23, 2013): 2318–22. http://dx.doi.org/10.1093/brain/awt057.
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Ganschow, Leonore, Jenafer Lloyd-Jones, and T. R. Miles. "Dyslexia and musical notation." Annals of Dyslexia 44, no. 1 (January 1994): 185–202. http://dx.doi.org/10.1007/bf02648161.
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Chang, Chia-Lun. "Staff Notation or Numbered Music Notation That Is the Question: A Brief History of Numbered Music Notation and an Examination on Its Effectiveness of Music Learning." Arts Studies and Criticism 3, no. 4 (September 20, 2022): 310. http://dx.doi.org/10.32629/asc.v3i4.1037.
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The staff music notation was originated from Gregorian chants of medieval Europe. It became the universal standard notation although there were music notations found in other ancient cultures. During 19th century, a new and simplified notation system in which Arabic numbers were used to represent musical notes began to circulate among amateurish music learners all over the world. While this notation system, named numbered music notation (NMN) in this article, started to wane in other countries in the early 20th century, Chinese adopted it earnestly and continued to use it as a major practice in music printings and education. In the field of traditional Chinese music, some readily assume it is a Chinese invention. This article puts forward a discussion on the emergence of the NMN and its application in China, compares it with the staff music notation, and exams how notations affect music training.
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Magnusson, Thor. "Scoring with Code: Composing with algorithmic notation." Organised Sound 19, no. 3 (November 13, 2014): 268–75. http://dx.doi.org/10.1017/s1355771814000259.
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Computer code is a form of notational language. It prescribes actions to be carried out by the computer, often by systems called interpreters. When code is used to write music, we are therefore operating with programming language as a relatively new form of musical notation. Music is a time-based art form and the traditional musical score is a linear chronograph with instructions for an interpreter. Here code and traditional notation are somewhat at odds, since code is written as text, without any representational timeline. This can pose problems, for example for a composer who is working on a section in the middle of a long piece, but has to repeatedly run the code from the beginning or make temporary arrangements to solve this difficulty in the compositional process. In short: code does not come with a timeline but is rather the material used for building timelines. This article explores the context of creating linear ‘code scores’ in the area of musical notation. It presents theThrenoscopeas an example of a system that implements both representational notation and a prescriptive code score.
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Pizà, Antonio. "Frontera de Valldemosa’s Equinotación and the Nineteenth-Century Textbook Controversies It Sparked." Itamar. Revista de investigación musical: territorios para el arte, no. 10 (July 7, 2024): 119. http://dx.doi.org/10.7203/itamar.10.29138.
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Abstract. Francisco Frontera de Valldemosa (1807-1891) published the first edition of his treatise, generally known as Equinotación, in 1837. The book purported to simplify musical notation by reducing the complex system of clefs to only three. From the moment it became public his clef method became controversial. First, it sparked a long controversy in the Revue et gazette musicale de Paris regarding the system’s originality, usefulness, and possible plagiarism. Subsequent editions decades later also sparked debates and even a couple of lawsuits, as reflected in several articles in the Gaceta musical barcelonesa. At the bottom of these polemics and under the guise of music-theoretical arguments there were the commercial interests of the textbooks’ authors. Keywords. Equinotación, Francisco Frontera de Valldemosa, Jose Gil y Navarro, musical notation, textbooks, music theory and solfège methods, Revue et gazette musicale de Paris, Gaceta musical barcelonesa.
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Stewart, Lauren. "Neurocognitive Studies of Musical Literacy Acquisition." Musicae Scientiae 9, no. 2 (July 2005): 223–37. http://dx.doi.org/10.1177/102986490500900204.
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Although certain parallels can be drawn between written language and notation in music — both use arbitrary visual symbols to notate the salient aspects of a sound pattern, the purpose of each notational system differs markedly. While the primary function of written language is to carry referential meaning, the primary function of musical notation is to carry instructions for the production of a musical performance. Music reading thus lies at the interface between perception and action and provides an ecological model with which to study how visual instructions influence the motor system. The studies presented in this article investigate how musical symbols on the page are decoded into a musical response, from both a cognitive and neurological perspective. The results of a musical Stroop paradigm are described, in which musical notation was present but irrelevant for task performance. The presence of musical notation produced systematic effects on reaction time, demonstrating that reading of the written note, as well as the written word, is obligatory for those who are musically literate. Spatial interference tasks are also described which suggest that music reading, at least for the pianist, can be characterized as a set of vertical to horizontal mappings. These behavioural findings are mirrored by the results of an fMRI training study in which musically untrained adults were taught to read music and play piano keyboard over a period of three months. Learning-specific changes were seen in superior parietal cortex and supramarginal gyrus, areas which are known to be involved in spatial sensorimotor transformations and preparation of learned actions respectively.
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Hidayatullah, Riyan, Muhammad Jazuli, and Muhammad Ibnan Syarif. "The Identity Construction Through Music Notation of The Indigenous Style of Gitar Tunggal Lampung Pesisir." Harmonia: Journal of Arts Research and Education 21, no. 2 (January 1, 2022): 303–17. http://dx.doi.org/10.15294/harmonia.v21i2.30253.
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This study aims to reveal the meaning of music notation writing of gitar tunggal Lampung Pesisir written by Imam Rozali. Imam is a gitar tunggal player who wrote his technique and playing style in notation symbols. This article uses a case study research design with pattern matching techniques (Yin, 2018). Data were collected through observation, interviews, document analysis, and audio recordings. A series of tests were carried out on the notation and other supporting information to improve the validity of the data. Laboratory analysis was carried out to describe signs, interpret symbols, and compare Western musical notation. As a result, (1) the music notation written by Imam Rozali is a musical expression used as a medium for remembering; (2) the writing of Imam Rozali’s musical notation constructs his musical identity as a Gitar tunggal Lampung Pesisir player; (3) Imam Rozali’s music notation symbolizes an indigenous style which has its concept of gitar tunggal music; (4) Imam Rozali tries to add value to his musical identity among gitar tunggal players because the notation is a symbol of intellectuality.
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Haumahu, John Pierre. "Recognition of Beam's Music Notation Patterns Using Artificial Neural Networks with The Backpropagation Method." JOURNAL OF INFORMATICS AND TELECOMMUNICATION ENGINEERING 3, no. 1 (July 25, 2019): 41. http://dx.doi.org/10.31289/jite.v3i1.2557.
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<p class="8AbstrakBahasaIndonesia"><span>The beam notations is officially used as the standard of international music notation, and is often found in scores for both musical instruments and vocals. In Indonesia, the use of numerical notation is more widely used and understood, because the learning process of notation beams is not easy, and takes time for the introduction of each symbol and its meaning. The pattern recognition technology makes it possible to recognize the pattern of the beam notations. The software used for system development is Matlab, utilizing artificial neural network using backpropagation method to recognize the pattern of beam notation. Backpropagation is a supervised learning method, where the system will be given the training first, and then the system can understand and identify patterns based on the knowledge gained. The final result shows that the system is able to recognize patterns from notations that have been previously studied with the highest percentage of 91.20%.</span></p>
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Englin, Stanislav E. "History and Theory of Musical Writing as an Academic Discipline." Musical Art and Education 7, no. 1 (2019): 95–106. http://dx.doi.org/10.31862/2309-1428-2019-7-1-95-106.
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The article outlines the reasons why the modern musicologist must be competent in matters of history and theory of a notation. Results of research of the systems of graphical writing of music are proposed to be used in educational purposes. This is due to the fact that the notation is reflected some of the most important features of the musical thinking of the era of its formation. Therefore, knowledge of specific types of music semiography is a tool of obtaining objective data on the deep principles of music of the specific historical period (time of creation and at least, the initial existence of this notation). The interconnected subjects analyze the study of the notation and the basic tasks of musicology. Introduction of training course of music semiography be seen in the light of the multidimensional problem of music education and science. It is concluded that the implementation of educational subject “History and theory of musical writing” provided the coordination of efforts of scientists aimed at creating a modern concept of semiography, contributes to the attainment the essence of musical writing on the basis of generalization of the results of semiography studies. In turn, this will be a significant step on the path of knowledge absolutely patterns, reflected in the variety notations.
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Wong, Yetta Kwailing, and Isabel Gauthier. "A Multimodal Neural Network Recruited by Expertise with Musical Notation." Journal of Cognitive Neuroscience 22, no. 4 (April 2010): 695–713. http://dx.doi.org/10.1162/jocn.2009.21229.
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Prior neuroimaging work on visual perceptual expertise has focused on changes in the visual system, ignoring possible effects of acquiring expert visual skills in nonvisual areas. We investigated expertise for reading musical notation, a skill likely to be associated with multimodal abilities. We compared brain activity in music-reading experts and novices during perception of musical notation, Roman letters, and mathematical symbols and found selectivity for musical notation for experts in a widespread multimodal network of areas. The activity in several of these areas was correlated with a behavioral measure of perceptual fluency with musical notation, suggesting that activity in nonvisual areas can predict individual differences in visual expertise. The visual selectivity for musical notation is distinct from that for faces, single Roman letters, and letter strings. Implications of the current findings to the study of visual perceptual expertise, music reading, and musical expertise are discussed.
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Žarković, Antonija. "Cantabo Domino: Musical Liberation through Sacred Musical Notation." Science, Art and Religion 3, no. 3--4 (July 17, 2024): 80–83. http://dx.doi.org/10.5005/jp-journals-11005-0084.
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McLean, Alex, and Kate Sicchio. "Live Notation for Patterns of Movement." TDR: The Drama Review 68, no. 1 (March 2024): 104–16. http://dx.doi.org/10.1017/s1054204323000576.
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If computer programming languages can be used to control the movement of robots, they can therefore be used as choreographic notations. Weaving, dance, and musical forms can be taken as places of inspiration for this, bringing together patterns, computation, movement, and notation in live telematic performance involving live coding of both audience and robots.
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Bales, Kathleen, and Albert C. Vinci. "Fundamentals of Traditional Musical Notation." Notes 43, no. 1 (September 1986): 52. http://dx.doi.org/10.2307/897844.
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Hubicki, Margaret, and T. R. Miles. "Musical notation and multisensory learning." Child Language Teaching and Therapy 7, no. 1 (February 1991): 61–78. http://dx.doi.org/10.1177/026565909100700104.
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Nanni, Matteo. "Musikalische Diagramme zwischen Spätantike und Karolingerzeit." Das Mittelalter 22, no. 2 (November 7, 2017): 273–93. http://dx.doi.org/10.1515/mial-2017-0017.
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AbstractDuring the Late Antiquity and the Early Middle Ages, different strategies of visualizing music were adopted. In this article the history and the development of music-related diagrams is put into the larger context of a cultural history of visualization. The philosophical discussion on notational iconicity and diagrammatology, known as ‘Schriftbildlichkeit’, supplies a theoretical background for the description of the music diagrams offered here. The basic question is how visuality and musical graphic (diagrams and notation) interact focusing on a specific visual logic related to musical issues. After a short introduction to Sybille Krämer‘s concept of diagram and after working out some main characteristic of medieval diagrams, a selection of music related diagrams is depicted. The sources presented range from ancient Greek and Latin descriptions of musical diagrams (Aristoxenus of Tarentum, Phaenias of Eresus, Bakchios and Vitruvius) to the wing diagrams of Aristides Quintilianus and Martianus Capella, the structural graphics by Boethius and concludes with the notational diagrams in the Carolingian music treatises (Musica and Scolica Enchiriadis).
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Tan, Siu-Lan. "Visual Representations of Music in Three Cultures: Commentary on Athanasopoulos and Moran." Empirical Musicology Review 8, no. 3-4 (October 24, 2013): 200. http://dx.doi.org/10.18061/emr.v8i3-4.3941.
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Athanasopoulos and Moran (2013) examined visual representations of brief melodic sequences (solo synthesized flute playing rising, falling, peak, and valley pitch contours) by British participants familiar with western standard notation, Japanese participants familiar with Japanese standard notation, and participants from the BenaBena tribe in Papua New Guinea who were unfamiliar with any literary or notational script. This commentary discusses the method, analysis, and implications of the findings, within the context of a multidirectional gain/loss perspective of the acquisition of skills in human development, as applied to musical notation.
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Casey, Rob. "Developing a Phenomenological Approach to Music Notation." Organised Sound 20, no. 2 (July 7, 2015): 160–70. http://dx.doi.org/10.1017/s1355771815000047.
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Sound art theorists Seth Kim-Cohen and Salomé Voegelin regard the fixed conceptual structures of notation either as an obstacle to pure sensorial engagement with sound (Voegelin 2010), or as the site of arrogant musical exceptionalism (Kim-Cohen 2009). While sound, whether constituted in phenomenological or idealist terms, is evolving and dynamic, notation is characterised by its ossifying imperative (Kim-Cohen 2009; Voegelin 2010). For Voegelin, a music score is regarded as conceptual, not perceptual. It is read as text and, it seems, has no meaningful place within a phenomenological practice of sound art (Voegelin 2010). The criticism that Vogelin’s phenomenalism, in particular, levels at notation invites close examination of notational practice and the semiotic structures that underwrite it. In this article, I seek to challenge the conceptual imperative of fixed notation through the presentation of a case study in the form of an original composition for string quartet and tape. Drawing on research by Rudolf Arnheim and Mark Johnson, a form of notation will be proposed that enables the score to escape singularly semiotic structures so that it may address the dynamic, phenomenological mode of experience that recent theories of sound art imply is beyond the reach of musical notation.
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Chen, Gen Fang, and Jia Shing Sheu. "A Novel Watermarking Method for Synchronous Transmission of Gong-Che Notation Score and its MIDI Information." Applied Mechanics and Materials 764-765 (May 2015): 784–87. http://dx.doi.org/10.4028/www.scientific.net/amm.764-765.784.
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In this paper, a new watermarking algorithm to realize synchronous transmission of Gong-Che Notation musical score image and its MIDI information was been present. Firstly, it transforms the MIDI information to a sequence of 0 1 codes which is the watermarking data, then it embeds the watermarking data into the Gong-Che Notation musical score image by clockwise inward rotating order, finally, it judges whether the Gong-Che Notation musical score image need expand to avoid loss musical information by computing number of connected component labeling. Experiments shows that the expanded times are no more than Len(M(2))/(2H*W).
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Corcoran, Christopher, Jan Stupacher, and Peter Vuust. "Swinging the Score? Swing Phrasing Cannot Be Communicated via Explicit Notation Instructions Alone." Music Perception 39, no. 4 (April 1, 2022): 386–400. http://dx.doi.org/10.1525/mp.2022.39.4.386.
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Jazz musicians usually learn to play with “swing” phrasing by playing by ear. Classical musicians—who play more from musical scores than by ear—are reported to struggle with producing swing. We explored whether classical musicians play with more swing when performing from more detailed swing notation. Thereby we investigated whether a culturally specific improvisational social procedure can be scripted in detailed music notation for musicians from a different performance background. Twenty classical musicians sight-read jazz tunes from three styles of notation, each with a different level of notational complexity. Experienced jazz listeners evaluated the performances. Results showed that more score-independent classical musicians with strong aural abilities played with equally strong swing regardless of notation; more score-dependent musicians swung most with the medium-complexity classical notation. The data suggest that some higher-level swing features, such as appropriate articulation, event durations, and deviations from a beat sequence can be communicated to a limited extent using written instructions. However, their successful implementation in performance depends on matching instructional complexity to a musician’s skill at decoding and interpreting unfamiliar information. This link between decoding skills and cross-cultural performance makes our findings relevant to ethnological and musicological studies of musical communication processes and perception-action coupling.
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Held, Marcus, and Clive Brown. "Early Music, Notation and Performance." Per Musi, no. 42 (October 20, 2022): 1–10. http://dx.doi.org/10.35699/2317-6377.2022.39099.
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In this interview granted to Marcus Held, Clive Brown discourses about his career dedicated to the historical investigations related to the 18th and 19th centuries music, with emphasis on past performance practices. Brown, who witnessed the consolidation of the Early Music in England, recalls the processes of (re)discovery not only of the past repertoire, but also of the musical thought. With particular interest in musical notation and its intellectual processes, the researcher points that the approach to the score has definitely changed throughout the centuries and, from that, many challenges are posed for the activity of contemporary musical editing.
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Liss, Barry. "A media ecological approach to the history of music notation: The neume, staff and mensural rhythm." Explorations in Media Ecology 22, no. 2 (June 1, 2023): 189–203. http://dx.doi.org/10.1386/eme_00160_1.
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This article examines the transition from the oral mode of memorized song to the visualization of written musical notation. Modern music notation, unlike writing, emerged as a product of the medieval era. Musical forms burst information capacity boundaries sometime around fifteen centuries ago when unison cantillated plain-chant (one cantor) evolved into diversified organum (harmonious voices) in sacred ceremonies. New modalities of visually codifying song were required to keep pace with the growing possibilities of rhythm and harmony. Musical notation took recognizable shape roughly four hundred years prior to the printing press and some twelve hundred years after the onset of the phonetic alphabet. Moreover, musical notation, the ability to recreate from visual symbols polyphonic pitch and rhythmic complexity, was firmly in place centuries before the onset of the Renaissance. Although song and the spoken word coevolved naturally over perhaps hundreds of thousands of years, the split from orality to literacy eventually required a visual technology to ‘hold’ song in stasis similar to the alphabet’s capturing of speech. This article focuses attention on the history of the neume, the musical staff and the mensural rhythm system as fundamental building blocks in the architecture of modern musical notation. This suggests that modes of visual specialist separation and tendencies towards individualist learning in the form of musical practice were embodied prior to and synergistically inspired the social transformations shaped by literacy.
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Chen, Steve Shihong, and J. Richard Dennis. "Linking Different Cultures by Computers: A Study of Computer-Assisted Music Notation Instruction." Journal of Educational Technology Systems 21, no. 3 (March 1993): 207–24. http://dx.doi.org/10.2190/cyr8-7en1-ldme-cru0.
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CAMNI, which stands for Computer-Assisted Music Notation Instruction, is self-educational software designed and developed with HyperCard. This program features interactive hypermedia (inter-linked musical notation knowledge, musical tempo controlled by the user, the use of digital sounds and animation), multiple representation mode (the staff notation, the number notation, the letter name of notes and the piano keyboard, four representations are linked and can be switched from one to another easily or presented at the same time in terms of a user's need), graphical user interface “GUI,” context-sensitive-sound icon (the use of a sound icon in lesson navigation and sub-index design), direct manipulation (pointing and clicking objects to interact with the program), and self-directed but computer-context-sensitive-guided environment (multi-path navigation characterized by an author-designed but user-defined and individualized learning approach). The CAMNI was specifically designed for Chinese students who would like to study the staff notation whether or not they have background with the number notation (the traditional Chinese musical notation system).
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Al Tashly, Mohammed Zuhdi, and Nedal Ahmad Obeidat. "A Suggested Method for the Musical Notation of Basic Arabic Percussion Instruments." Dirasat: Human and Social Sciences 50, no. 5 (September 30, 2023): 632–51. http://dx.doi.org/10.35516/hum.v50i5.6111.
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Objectives: The study aimed to propose a standardized method for musical notation of Arabic percussion instruments, following the model of other musical instruments, as well as to provide examples of the method for notation of Arabic percussion instruments.
Methods: This study follows the developmental approach, which involves studying a specific phenomenon and searching for solutions in order to develop effective outcomes for teaching. A musical notation was developed for the basic Arab percussion instruments used in modern Arab music ensembles, including the dhol, katem, riq, and tabla. Proposed models were developed in four lines, and each instrument was used in a way that corresponded to the selected rhythm, using a musical staff consisting of five lines and four spaces. Abbreviations and symbols were also developed to facilitate reading of the fast-paced shapes.
Results: The results showed that a special rhythmic notation line can be assigned to each of the basic Arabic percussion instruments in modern Arab music bands. The rhythmic notation of the group of Arabic percussion instruments is represented in four lines. To ensure clarity and purity of rhythm, the instruments (dahola and katam) can be used to perform basic stress positions, while the instruments (riq and tabla) can be used to play percussive ornaments in addition to the basic rhythmic stresses.
Conclusions: The study emphasizes the important role of Arabic rhythms, and the importance of educating musicians playing them, and not leaving them to improvise without specific musical notation, similar to other musical instruments, in order to control the performance.
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Startsev, Dmytro. "MUSICAL NOTATION AS A SEMIOTIC OBJECT." European Journal of Arts, no. 4 (2021): 112–17. http://dx.doi.org/10.29013/eja-21-4-112-117.
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Aleksandrova, Antonina Sergeevna. "THEORETICAL ASPECTS OF STUDYING MUSICAL NOTATION." Manuscript, no. 8 (August 2019): 139–44. http://dx.doi.org/10.30853/manuscript.2019.8.28.
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Starrfelt, Randi, and Yetta Wong. "Musical notation reading in pure alexia." Journal of Vision 17, no. 10 (August 31, 2017): 1038. http://dx.doi.org/10.1167/17.10.1038.
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Deeming, H. "The remarkable story of musical notation." Early Music 35, no. 3 (June 4, 2007): 451–52. http://dx.doi.org/10.1093/em/cam061.
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Varisandi, Syafiq Agil, Setya Yuwana, and I. Nengah Mariasa. "Music Jaranan Turangga Yaksa in Dongko Village Trenggalek Regency (Study Ethnomusicology)." Jurnal Seni Musik 12, no. 2 (December 31, 2023): 291–300. http://dx.doi.org/10.15294/jsm.v12i2.74816.
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Jaranan Turangga Yaksa is an original art from Dhongko Village, Trenggalek Regency. Turangga Yaksa is a horse with a giant head and ridden by a knight who can control amarah, syaitonah, lauamah, dan serakah. This art is the result of creations from the Baritan ceremony (bar ngarit tanduran), local people usually hold tayub parties which aim to express gratitude for the harvest they have received. In this research, Jaranan Turangga Yaksa was studied ethnomusicologically by taking several approaches, namely describing the notation, musical aspects and organology found in the musical instrument Jaranan Turangga Yaksa. The research was conducted in Dhongko Village, Trenggalek Regency. The data collection method was carried out by interviewing several sources such as Mbah Mu'an (Creator of the Jaranan Turangga Yaksa music), chairman of the Sanggar Purwo Budaya, singer, dancer, and also pengrawit. Observe the development of musical accompaniment, and also perform FGD (Forum Group Duscussion) to deepen information and data to make it more valid. The description of the musical notation used by the author includes using number notation on balungan instruments and also vocals. The use of the terms plak, dlang, dhe as notation for percussion instruments such as kendang. Writing drum notation using notasi balok, and also using symbols as another term in writing gamelan notation. From the musical aspect, Jaranan Turangga Yaksa music has its own drum beats that differentiate it from other jaranan music such as Jaranan Buto, Jaranan Senterewe, Jaranan Pegon, and Jaranan Dor.
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Tao, Lin. "Research on the Notation of French Guitar and Lute in the Renaissance and Baroque Periods." Arts Studies and Criticism 3, no. 2 (July 6, 2022): 195. http://dx.doi.org/10.32629/asc.v3i2.916.
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After the long and dark Middle Ages, Europe ushered in the Renaissance of ideological and cultural prosperity. Under the influence of humanism, secular music began to be valued and some church music also began to be secularized, and thus the guitar instrument ushered in its first heyday. With the development of instrumental music, a notation method, which is suitable for musical instruments, gradually began to appear, also known as "sign spectrum". Besides, guitar instruments use a lot of musical notation. Even in the baroque period when the staff is mature, some French lute and baroque guitar solo works still use this notation. This notation was recorded in different ways in various parts of Europe during the Renaissance and Baroque periods, but it can be roughly divided into Italian notation and French notation. This paper will focus on the analysis of French notation.
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Szczyrba-Poroszewska, Joanna. "Zabawowe sposoby wprowadzania zapisu muzycznego w zakresie wysokości dźwięku — propozycje dla nauczycieli klas I–III." Pedagogika Przedszkolna i Wczesnoszkolna, no. 2 (18) (2021): 61–71. http://dx.doi.org/10.4467/23537159ppw.21.018.15178.
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Fun ways to introduce of musical notation in terms of pitch — suggestions for teachers in grades 1–3 An important issue in music education of children is introduction of musical alphabet. The main aims are reminding teachers of two ways to record pitch, introducing the guidelines for learning formulated by psychologists, presentation of selected ways of introducing musical notation in a way adapted to the abilities of early school children.
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Yaroshenko, О. М. "INITIATING IN THE PROCESS OF LEARNING TO READ NOTE FROM THE SHEET." Educational Dimension 4 (December 26, 2002): 318–24. http://dx.doi.org/10.31812/educdim.5113.
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This article investigates the role and importance of imitation in the process of rea-ding musical notation as a specific psychological process with definite mechanisms and stages of its development. The results of the author's observation, as well as the teacher's role in the process of reading musical notation, are reported.
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Fortes, Fabrício Pires. "A Distinção Gráfico-Linguístico e a Notação Musical." Philosophy of Music 74, no. 4 (December 30, 2018): 1465–92. http://dx.doi.org/10.17990/rpf/2018_74_4_1465.
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This paper examines the traditional musical notation from the viewpoint of the general problem concerning the types of visual representations. More specifically, we analyze this system in relation to the distinction between graphical and linguistic representations. We start by comparing this notation with the representational systems which are most commonly associated with such categories: on the one hand, pictorial representations as an example of a graphical representation; on the other hand, verbal writing usually associated with a linguistic representation. Then, we examine the traditional musical notation in relation to different ways of drawing the distinction graphic–linguistic, and we evaluate the applicability of such criteria to the former system. Finally, we present some general remarks about the legitimacy of this distinction both with respect to representational systems in general and to the specific case of the traditional musical notation.
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Rothenberg, David, and Michael Deal. "A New Morphological Notation for the Music of Humpback Whales." Art & Perception 3, no. 3 (2015): 347–58. http://dx.doi.org/10.1163/22134913-00002040.
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The humpback whale sings a song that defies easy characterization and human perception. This paper attempts to develop a new form a visual notation for this song which enables humans to better perceive its musicality, tonality and morphology, combining elements of sonographic and musical notations. The beauty of the humpback whale song is considered as to whether it is an inherent characteristic or a human projection.
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Suryarasmi, Anindita, and Reza Pulungan. "Penyusunan Notasi Musik dengan Menggunakan Onset Detection pada Sinyal Audio." IJCCS (Indonesian Journal of Computing and Cybernetics Systems) 7, no. 2 (July 31, 2013): 167. http://dx.doi.org/10.22146/ijccs.3357.
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AbstrakNotasi musik merupakan dokumentasi tertulis dari sebuah lagu. Walaupun notasi musik telah umum digunakan, namun tidak semua orang yang berkecimpung di dalam dunia musik memahami bagaimana notasi musik dituliskan. Penelitian ini menawarkan penyusunan notasi music secara otomatis dengan mengimplementasikan metode onset detection. Hal mendasar yang harus diketahui dalam pembuatan notasi musik adalah durasi serta nada yang dimainkan. Dengan menggunakan mendeteksi onset dari data audio, jarak antar pukulan dapat diketahui. Dengan demikian maka durasi permainan pun bisa dihitung. Hasil dari pencarian durasi tersebut diolah kembali untuk menciptakan objek-objek note yang disusun dalam notasi musik. Sistem menghasilkan keluaran berupa file dengan format musicXML. Dengan format ini maka hasil keluaran sistem akan bersifat dinamis dan dapat diolah kembali dengan music editor yang mendukung format file tersebut.Hasil penelitian menunjukkan akurasi yang tinggi dalam pengenalan pola permainan yang berhubungan dengan durasi setiap note hingga mencapai 99.62%. Kata kunci— notasi musik, onset detection, musicXML AbstractMusical notation is written documentation of a music. Even though musical notation is commonly used, not every musician knows how to write a musical notation. This work offers automatic musical notation generation from audio signal using onset detection.Duration and pitch of the notes are two basic parameters that have to be known in order to generate music notation. This work implemented onset detection method to recognize the pattern by measuring the interval between two notes. Using the interval, the duration of each notes can be calculated and used to create note objects in order to arrange a musical notation. The output of the system is a musicXML formatted file. This format allowed the output to be edited using software for music editor. The result of this work shows high accuracy up to 99.62% for detecting each notes and measuring the duration. Keywords— musical notation, onset detection, musicXML
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Hughes, Ed, Alice Eldridge, and Chris Kiefer. "Syncphonia: Understanding the value of participatory design in developing music technology to support musical ensembles that use notation." Journal of Music Technology & Education 13, no. 1 (August 1, 2020): 57–77. http://dx.doi.org/10.1386/jmte_00016_1.
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The benefits of ensemble performance are well recognized; notation supports group performance, but cuts in music education and changing musical cultures mean that notation is increasingly perceived as a barrier to entry. In an extended participatory design (PD) project, we co-designed and developed a software system for networked notation called Syncphonia with the aim of enhancing access to and experience of notation-based ensemble performance. In previous work, our formal evaluation and informal observations and feedback revealed a wide range of benefits. In this article, we are concerned with articulating the knowledge generated and insights gained through this extended PD process. To do so, we employ a framework for systematic reflection that has been designed to support investigation into the tacit knowledge generated in participatory design. Through this method, we focus inward and share three insights into the value of networked notation in contemporary musical cultures; we also look outward and articulate five approaches to PD with musical ensembles that might benefit others adopting this rich research method. A pluralistic and inclusive vision of notation is espoused and speculation is submitted that a dynamic, networked notation might ameliorate the boundaries between composing, improvising and performing to the benefit of all three.
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Covarrubias, Sabina. "Multimedia writing procedures for musical composition, seven case studies." Ricercare, no. 15 (June 15, 2022): 164–78. http://dx.doi.org/10.17230/ricercare.2022.15.8.
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The purpose of this article is to describe the multimedia writing (MW) procedures that have proven to be effective in resolving some of the difficulties faced by composers in: 1. notation of timbre, 2. notation of new performance modes, 3. notation of new vocal techniques, 4. notation of a tonal language in a score, 5. notation of the instructions for the use of the computer programs contained in the work, 6. synchronization of the oral tradition musicians with the audio recordings, and 7. time reduction during the learning of the work. To address these issues, we used MW in six "experiments" —composition projects designed to answer specific questions about notation. These experiments and other subsequent projects allowed us to confirm our findings. In our experiments, MW was a set of procedures that allowed information to be represented in different ways simultaneously. The information can be text, sound, still or moving images, among others. These procedures can be used to record a message with the aim of saving it and transferring it from the composer to the performer. The results obtained demonstrated the effectiveness of MW in overcoming the current limitations of the Western music writing system (WMWS).
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Hughes, David W. "Oral mnemonics in Korean music: data, interpretation, and a musicological application." Bulletin of the School of Oriental and African Studies 54, no. 2 (June 1991): 307–35. http://dx.doi.org/10.1017/s0041977x00014816.
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The use of oral mnemonics in the transmission of instrumental music is a well-known and persistent feature of East Asian musics. In both Korea and Japan, there are several such systems for different instruments. There are also various systems of written mnemonics, that is, musical notation; many originally oral systems have come to be used as notations as well. Following Western scholarly usage, we shall often refer to oral mnemonics in general by the term solfège; although etymologically dubious, this practice at least helps avoid over-use of the unwieldy expression ‘oral mnemonics’.The present paper will deal with one type of oral mnemonics in Korea, known collectively as yukpo or sometimes as kuŭm (cf. Lee, 1981: 31–4; Hahn, 1973: 79–83; Howard, 1988: 68, 91, 115, 182, 212, 227).3 Yukpo exist or are known to have existed for most string and wind instruments and even for percussion. By the sixteenth century at least, these originally oral syllables had begun to be written down as a kind of musical notation. The first mention of yukpo is in the Annals of King Sejo (A.D. 1470): ‘ Formerly there was only [for musical notation] the use of mnemonic sounds, called the Yukpo … The complexities are difficult to comprehend’ (quoted in Lee, 1981: 31, Condit 1976: 205, 207 has a more extensive but interpretive translation). This quotation suggests that yukpo were already considered both old and obscure by Sejo's time.
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Hudak, Paul, Tom Makucevich, Syam Gadde, and Bo Whong. "Haskore music notation – An algebra of music –." Journal of Functional Programming 6, no. 3 (May 1996): 465–84. http://dx.doi.org/10.1017/s0956796800001805.
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AbstractWe have developed a simple algebraic approach to music description and composition calledHaskore. In this framework, musical objects consist of primitive notions such as notes and rests, operations to transform musical objects such as transpose and tempo-scaling, and operations to combine musical objects to form more complex ones, such as concurrent and sequential composition. When these simple notions are embedded into a functional language such as Haskell, rather complex musical relationships can be expressed clearly and succinctly. Exploiting the algebraic properties of Haskore, we have further defined a notion ofliteral performance(devoid of articulation) through whichobservationally equivalentmusical objects can be determined. With this basis many useful properties can be proved, such as commutative, associative, and distributive properties of various operators. An algebra of music thus surfaces.
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Chen, Jie, Panpan Yuan, Hong Li, Changming Chen, Yi Jiang, and Kang Lee. "Music-reading expertise associates with face but not Chinese character processing ability." Quarterly Journal of Experimental Psychology 75, no. 5 (November 1, 2021): 854–68. http://dx.doi.org/10.1177/17470218211053144.
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A growing number of behavioural and neuroimaging studies have investigated the cognitive mechanisms and neural substrates underlying various forms of visual expertise, such as face and word processing. However, it remains poorly understood whether and to what extent the acquisition of one form of expertise would be associated with that of another. The current study examined the relationship between music-reading expertise and face and Chinese character processing abilities. In a series of experiments, music experts and novices performed discrimination and recognition tasks of musical notations, faces, and words. Results consistently showed that musical experts responded more accurately to musical notations and faces, but not to words, than did musical novices. More intriguingly, the music expert’s age of training onset could well predict their face but not word processing performance: the earlier musical experts began musical notation reading, the better their face processing performance. Taken together, our findings provide preliminary and converging evidence that music-reading expertise links with face, but not word, processing, and lend support to the notion that the development of different types of visual expertise may not be independent, but rather interact with each other during their acquisition.
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Chen, Jie, Panpan Yuan, Hong Li, Changming Chen, Yi Jiang, and Kang Lee. "Music-reading expertise associates with face but not Chinese character processing ability." Quarterly Journal of Experimental Psychology 75, no. 5 (November 1, 2021): 854–68. http://dx.doi.org/10.1177/17470218211053144.
Full textAbstract:
A growing number of behavioural and neuroimaging studies have investigated the cognitive mechanisms and neural substrates underlying various forms of visual expertise, such as face and word processing. However, it remains poorly understood whether and to what extent the acquisition of one form of expertise would be associated with that of another. The current study examined the relationship between music-reading expertise and face and Chinese character processing abilities. In a series of experiments, music experts and novices performed discrimination and recognition tasks of musical notations, faces, and words. Results consistently showed that musical experts responded more accurately to musical notations and faces, but not to words, than did musical novices. More intriguingly, the music expert’s age of training onset could well predict their face but not word processing performance: the earlier musical experts began musical notation reading, the better their face processing performance. Taken together, our findings provide preliminary and converging evidence that music-reading expertise links with face, but not word, processing, and lend support to the notion that the development of different types of visual expertise may not be independent, but rather interact with each other during their acquisition.
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Dmytro, Malyi. "The “open” notation as a tool for creating a composer’s text (self‑commentary)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, no. 63 (January 23, 2023): 26–51. http://dx.doi.org/10.34064/khnum1-63.02.
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Statement of the problem. Musical notation is an open, symbolic system of composer’s thinking. At the dry stage of its development, it becomes individualized in the creativity of a number of composers, which is thought out the development of new forms of overcoming the material through advanced piano techniques and atypical logic. The article introduces the concept of “open” musical notation as a method of musical composition. On the example of compositional analysis of his “Engravings” for piano (2021), the author sets out its principles. Analysis of recent research and publications. A number of works are devoted to the theme of notation, which can be divided into: 1) on history and typology of traditional notation (Rastall, 1983; Strayer, 2013; Ship, 2016; Kachmar, 2019); 2) non-traditional notation (Stone, 1980; Dubinets, 1999; Muzhchil, 2016). There are researches that reveal the idea of “open” work by U. Eco (1979), which corresponds to the theme of the article, among which – “From a Work to an ‘Open’ Work: Research Experience” (Zavialova & Kalashnyk & Savchenko & Stakhevuch & Smirnova,2020). Main objective(s) of the study is to identify the foundations of the composer’s thinking on the example of the cycle “Engravings” for piano and an attempt to propose a method of “open” notation, as a different way of creation. The scientific novelty is that it offers a method of musical composition, which was obtained by the author through many years of working, namely – the method of “open” musical notation. Methodology focuses on such methods of contemporary cognitivism as: genealogical – identifying the causal links between the creation of the method of “open” notation; contextual and comparative – the study of forms of existence of non-identical types of composer’s thinking; compositional and semantics – the disclosure of the principles of the structure of works in the context of the poetics of creativity. Results and conclusions. The article attempts to theoretically substantiate the method of “open” musical notation, which was used to create the author’s last opuses –“Engravings” for piano (2021) and “The Three Dead Kings” for viola solo (2022). Each type of notation used in the circles is a universe with a unique hierarchical structure, the elements of which are subject to the laws created by the author. Compositional and semantics analysis of “Engravings” reveals the positions of the method. It is manifested in the use of atypical clefs/staffs, the logic and existence of which correspond to the general idea and concepts of each part separately.
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Ribeiro, Felipe de Almeida. "cents_analysis_v1.0." Revista Vórtex 2, no. 2 (December 30, 2014): 207–8. http://dx.doi.org/10.33871/23179937.2014.2.2.478.
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Computer music patch/abstraction developed with Max 7 (Cycling74) for frequency analysis and music notation. It features a microtonal interval calculator alongside an interface for musical notation. This patch was made for those who deal with the notation of microtonal music.
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Jo, Eunsook. "A Plan for the Re-establishment of Jeongganbo Terminology through the Analysis of its Use in Elementary Music Textbooks." National Gugak Center 49 (April 30, 2024): 149–77. http://dx.doi.org/10.29028/jngc.2024.49.149.
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Jeongganbo (井間譜), a notation method that replaces the time value of the sound with the area of space by creating a space in the shape of the letter ‘jeong’ (井), is characterized by the uniqueness that requires notating one or more musical elements, such as pitch, rhythmic pattern, playing technique, and lyrics, in each space. Due to the fundamental characteristics of jeongganbo, various types of jeongganbo have been developed and utilized in Korean traditional music education of general schools, but research on names or conceptual errors indicating various types of jeongganbo has not been conducted, raising the need for research. Accordingly, this study reviews the terminology and concepts of jeongganbo presented in the current 8-9 types of elementary school music textbooks, further analyzing the use of various jeongganbo types and seeking ways to redefine jeongganbo terminology for effective discrimination of the current single name of jeongganbo. The results of the study are summarized as follows. First, there are some errors in the concepts of jeongganbo stated in dictionaries and compendia, including the statement that the pitch in addition to the time value is notated. In addition, the concept of jeongganbo presented in the current elementary school music textbooks was mainly presented to teach 5th and 6th graders how to play traditional wind instruments, danso and sogeum. While 7 types of the textbooks is relatively accurate in using it, 1 type makes an error. Second, the result of the analysis after classifying the types of jeongganbo used in the current 8-9 types of elementary school music textbooks according to the notation type and notation method of notation content (music elements) is that the notation form of jeongganbo is divided into vertical and horizontal types. The result of classifying and examining the use of jeongganbo according to the way musical elements such as syllable of rhythmic patterns, name of pitch, melodic line, lyrics and others are notated is that various types of jeongganbo for a whole musical piece, one rhythmic pattern beat, or one line have been developed and they are widely used across 3rd to 6th grades, depending on the instruction content or instruction stage. Third, there are the principle of generating terms to differentiate and refer to various types of jeongganbo. First, there is separation by notation type; second, separation by notation method of music element; third, separation by the level of notation method even for the same musical element; fourth, unification of terms in the case of the same functional notation method of a single music element; and fifth, it is referred as jeongganchongbo when two or more musical elements are combined. The names of many jeongganbo created by these principles are classified into sub-concepts such as ‘horizontal/vertical jeongganbo’, ‘horizontal/vertical jeongganchongbo’, ‘horizontal/vertical gueum-jeongganbo’, ‘horizontal/vertical yulja-jeongganbo’, ‘horizontal/vertical garakseonjeongganbo’, ‘horizontal/vertical gasa-jeongganbo’, and ‘horizontal/vertical gita-jeongganbo’; and all these sub-concepts leads to the higher concept, jeongganbo. It is assumed that various types of jeongganbo will continue to be developed and utilized in the future, which is a phenomenon that highlights the inherent characteristics of jeongganbo as an open score, and its infinite succession and development is expected.
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Galera-Núñez, Mar. "Music reading and music notation software." Per Musi 25 (April 12, 2024): 1–16. http://dx.doi.org/10.35699/2317-6377.2024.48079.
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A multiple-case study was conducted within the context of the subject “Musical Practices and Fundamentals” of the Degree of Primary Education at the University of Seville. Five volunteers were subjected to an oral test in which they had to study four music sheets of two different difficulty levels, using two different means. The main objective of this study was to understand the differences between the perceptions of the participants toward the use of these two different means. The results show that the software had greater acceptance for those participants who had lower knowledge and skills regarding the musical content of the music sheets used in this study. Based on the results, it is understood that the introduction of this type of means could pose an improvement in the performance of the students, thereby reducing the differences in previous musical knowledge and skills, which, in turn, could enrich the methodology of the subject.