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Journal articles on the topic 'Musical notation'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Stoïanova, Ivanka. "Notation et énoncé musical." Textuel 34/44 41, no. 1 (2002): 131–52. https://doi.org/10.3406/textu.2002.1563.

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L’évolution de la pensée formelle en musique au XXe siècle met en évidence de façon explicite l’interaction de deux orientations fondamentales : celle de la pensée «forte», nécessairement liée à notre tradition écrite signalétique, fondée sur la conception de l’œuvre musicale en tant que totalité cohérente directionnelle et réseau fermé de relations et celle de la pensée «faible» qui renvoie aux procédés des traditions orales, aux techniques improvisationnelles et aux stratégies formelles fondées sur la pluralisation des matériaux et la multi-directionnalité de l’énumération ouverte. L’intégra

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Qing, Liu Ming, and Chie Tsang Isaiah Lee. "The Graphic Notation in Chinese Traditional Music Notation History." Malaysian Journal of Social Sciences and Humanities (MJSSH) 10, no. 2 (2025): e002877. https://doi.org/10.47405/mjssh.v10i2.2877.

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Graphic notation plays an important role in the development of traditional Chinese music notation. Music notation is the most important method of recording and preserving music, and the study of ancient Chinese music notation can provide a deeper understanding of Chinese musical culture. However, despite the fact that graphic notation is one of the major notation methods preserved in ancient China, there is still limited academic research on the far-reaching importance of graphic notation. Based on this, this research employs a qualitative approach combining historical, functional, and musicol

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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 (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 decorati

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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

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Hope, Cat. "The Future is Graphic: Animated notation for contemporary practice." Organised Sound 25, no. 2 (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

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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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7

Gurke, Thomas. "The Idea of Notational Ekphrasis in Words and Music." Humanities 14, no. 6 (2025): 130. https://doi.org/10.3390/h14060130.

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This chapter will focus on the presence of musical notation in literary texts, their aesthetic, (inter-)medial presence and potentialities, in paradigmatic Modern short stories such as Katherine Mansfield’s “The Wind Blows” (1915), Virginia Woolf’s “The String Quartet” (1921) and Vladimir Nabokov’s “Music” (1932). What these stories share is a perception of music as sonorous moving forms, symbolic imagery or seemingly ‘dancing’ musical notation on the page. In introducing the term notational ekphrasis, I wish to differentiate these phenomena as overt and covert for the larger theory of interme

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Mansurovich, Ibragimov Bobir. "NOTATION OF COMPLEX EXAMPLES OF UZBEK MUSICAL HERITAGE." European International Journal of Pedagogics 4, no. 12 (2024): 21–23. https://doi.org/10.55640/eijp-04-12-04.

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This article studies the issues of notating complex forms of Uzbek musical heritage. The article analyzes the importance of restoring the rich traditions of national musical culture through modern technologies and musical notation methods and passing them on to future generations. The article also discusses the problems encountered in notating complex melodies and songs, their technical and theoretical solutions. During the study, the process of notating musical samples of high artistic value, such as shashmakom and maqomnavo, and creative research based on them were also considered. This work

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Kim-Boyle, David. "REFRAMING THE LISTENING EXPERIENCE THROUGH THE PROJECTED SCORE." Tempo 72, no. 284 (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 o

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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 (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 i

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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 (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 (1994): 185–202. http://dx.doi.org/10.1007/bf02648161.

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Magnusson, Thor. "Scoring with Code: Composing with algorithmic notation." Organised Sound 19, no. 3 (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

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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

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Stewart, Lauren. "Neurocognitive Studies of Musical Literacy Acquisition." Musicae Scientiae 9, no. 2 (2005): 223–37. http://dx.doi.org/10.1177/102986490500900204.

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Although certain parallels can be drawn between written language and notation in music — both use arbitrary visual symbols to notate the salient aspects of a sound pattern, the purpose of each notational system differs markedly. While the primary function of written language is to carry referential meaning, the primary function of musical notation is to carry instructions for the production of a musical performance. Music reading thus lies at the interface between perception and action and provides an ecological model with which to study how visual instructions influence the motor system. The

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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 (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

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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 (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 n

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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 existen

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Wong, Yetta Kwailing, and Isabel Gauthier. "A Multimodal Neural Network Recruited by Expertise with Musical Notation." Journal of Cognitive Neuroscience 22, no. 4 (2010): 695–713. http://dx.doi.org/10.1162/jocn.2009.21229.

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Prior neuroimaging work on visual perceptual expertise has focused on changes in the visual system, ignoring possible effects of acquiring expert visual skills in nonvisual areas. We investigated expertise for reading musical notation, a skill likely to be associated with multimodal abilities. We compared brain activity in music-reading experts and novices during perception of musical notation, Roman letters, and mathematical symbols and found selectivity for musical notation for experts in a widespread multimodal network of areas. The activity in several of these areas was correlated with a b

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Narasimhan, Anuvratha, and Saileswari RNS. "Automatic notation generation using speech recognition." Naad Nartan Journal of Dance and Music 12, no. 1 (2024): 44–46. https://doi.org/10.5281/zenodo.10992293.

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<em>Notations play a pivotal role in archiving compositional forms. In carnatic music, notations are not only means to propagate </em><em>music to masses and pass it down generations, but also help students of music to improve their musicianship. Reading and </em><em>writing notations is an art. Transcribing a piece of melody to sol-fa ( swaras in carnatic music) requires years of training and a </em><em>keen ear. Apart from the musical knowledge, transcription also requires one’s laborious effort on writing/typing, legibility, neat </em><em>alignment etc. Thus, notation writing has 2 ph

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Shaiakhmetova, Alfiia K. "Phonemes and articulation of Qur’anic texts in Arabic in musical notation (fixation, notation, analysis)." Ученые записки Российской академии музыки имени Гнесиных 4, no. 51 (2024): 100–113. https://doi.org/10.56620/2227-9997-2024-4-100-113.

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The main focus of this study is on the phonetics and articulation of the texts of the Quran in Arabic in musical notation (notography becomes a means of studying a musical text). It is thanks to the clear rules of reading the Koran that it can be assumed that the performance of certain surahs sounds almost the same, with the constant transformation of the musical text. These norms and rules continue to apply to this day: sound information is transmitted from mouth to mouth, where the intonations of the sacred word are imprinted in the memory of the worshipper and passed on to the next generati

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McLean, Alex, and Kate Sicchio. "Live Notation for Patterns of Movement." TDR: The Drama Review 68, no. 1 (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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McLean, Alex, and Kate Sicchio. "Live Notation for Patterns of Movement." Live Notation for Patterns of Movement 68, no. 1 (2024): 104–16. https://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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Žarković, Antonija. "Cantabo Domino: Musical Liberation through Sacred Musical Notation." Science, Art and Religion 3, no. 3--4 (2024): 80–83. http://dx.doi.org/10.5005/jp-journals-11005-0084.

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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 (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

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Nanni, Matteo. "Musikalische Diagramme zwischen Spätantike und Karolingerzeit." Das Mittelalter 22, no. 2 (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 musica

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Bales, Kathleen, and Albert C. Vinci. "Fundamentals of Traditional Musical Notation." Notes 43, no. 1 (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 (1991): 61–78. http://dx.doi.org/10.1177/026565909100700104.

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Wey, Yannick. "Stenographic Music Notation as a Musical Memory Aid among Dulcimer Players in Switzerland's Alpine Region." Journal of Music Research Online 13 (January 1, 2023): 1–17. https://doi.org/10.5281/zenodo.11184458.

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Music stenography is a method for the simple and fast transcription of sound. Many systems have been developed, primarily during the nineteenth century, but did not find a practical application among musicians and composers. Examples of nineteenth-century music stenography, previously only documented in didactical treatises, were discovered during digitisation projects in the archive of the Centre for Appenzell and Toggenburg Folk Music in Switzerland. Some dulcimer players from the Alpine region of Appenzell mastered their own form of musical notation based on stenographic symbols. To deciphe

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Casey, Rob. "Developing a Phenomenological Approach to Music Notation." Organised Sound 20, no. 2 (2015): 160–70. http://dx.doi.org/10.1017/s1355771815000047.

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Sound art theorists Seth Kim-Cohen and Salomé Voegelin regard the fixed conceptual structures of notation either as an obstacle to pure sensorial engagement with sound (Voegelin 2010), or as the site of arrogant musical exceptionalism (Kim-Cohen 2009). While sound, whether constituted in phenomenological or idealist terms, is evolving and dynamic, notation is characterised by its ossifying imperative (Kim-Cohen 2009; Voegelin 2010). For Voegelin, a music score is regarded as conceptual, not perceptual. It is read as text and, it seems, has no meaningful place within a phenomenological practice

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Baek, Jeehea. "Sustainable Becoming-Music of Pre-Service Early Childhood Teachers Through Intra-Action with Materials in Invented Notation Activities." Education Sciences 15, no. 5 (2025): 572. https://doi.org/10.3390/educsci15050572.

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The current study examined how pre-service early childhood teachers, through invented notation activities, intra-act with the agency of music and the environment to achieve a process of becoming-music, grounded in Barad’s agential realism, presuming that it is necessary to consider the encounter with music itself rather than perceiving it as a ‘teaching subject’. The collected data included 54 sets of invented notations performed by 22 pre-service teachers, recorded videos of their performances driven by their interpretations, their journals, and observational records and notes by the research

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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

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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 (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 n

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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 (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 hund

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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

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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 (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,” contex

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Gunawan, Sailendra Bedantara, Iwan Gunawan, and Abizar Algifari Saiful. "The Application of Aleatoric Technique through Graphic Notation in the Choral Composition “Acumalaka”." Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni 25, no. 2 (2024): 98. https://doi.org/10.24036/komposisi.v25i2.131069.

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This article examines the use of aleatoric techniques through graphic notation in the choral music composition Acumalaka. It aims to demonstrate how aleatoric techniques and graphic notation can enhance artistic quality and musical expression. The composition process applied the practice-led research method, with the researcher serving as both composer and conductor. This approach involved the direct creation of the piece, alongside observing the choir's rehearsal and performance. Additionally, interviews with 14 singers were conducted to explore their experiences interpreting graphic notation

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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 (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

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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 (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 J

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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 (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 (2007): 451–52. http://dx.doi.org/10.1093/em/cam061.

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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 (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

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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 (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

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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 (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 wi

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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 (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 p

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