Relevant bibliographies by topics / Reading musical notation

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Reading musical notation'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Reading musical notation"

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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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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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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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Wong, Yetta Kwailing, and Alan C. N. Wong. "Music-reading training alleviates crowding with musical notation." Journal of Vision 16, no. 8 (2016): 15. http://dx.doi.org/10.1167/16.8.15.

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Wong, Y. K., and A. C. N. Wong. "Music-reading training alleviates crowding with musical notation." Journal of Vision 14, no. 10 (2014): 782. http://dx.doi.org/10.1167/14.10.782.

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Lee, Horng-Yih, and Sot-Fu Lei. "Musical Training Effect on Reading Musical Notation: Evidence from Event-Related Potentials." Perceptual and Motor Skills 115, no. 1 (2012): 7–17. http://dx.doi.org/10.2466/22.11.24.pms.115.4.7-17.

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Wong, Yetta Kwailing, Cynthia Peng, Kristyn N. Fratus, Geoffrey F. Woodman, and Isabel Gauthier. "Perceptual Expertise and Top–Down Expectation of Musical Notation Engages the Primary Visual Cortex." Journal of Cognitive Neuroscience 26, no. 8 (2014): 1629–43. http://dx.doi.org/10.1162/jocn_a_00616.

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Most theories of visual processing propose that object recognition is achieved in higher visual cortex. However, we show that category selectivity for musical notation can be observed in the first ERP component called the C1 (measured 40–60 msec after stimulus onset) with music-reading expertise. Moreover, the C1 note selectivity was observed only when the stimulus category was blocked but not when the stimulus category was randomized. Under blocking, the C1 activity for notes predicted individual music-reading ability, and behavioral judgments of musical stimuli reflected music-reading skill.
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Wong, Yetta Kwailing, and Isabel Gauthier. "Music-reading expertise alters visual spatial resolution for musical notation." Psychonomic Bulletin & Review 19, no. 4 (2012): 594–600. http://dx.doi.org/10.3758/s13423-012-0242-x.

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Kwailing Wong, Y., and I. Gauthier. "Music-reading expertise alters visual spatial resolution for musical notation." Journal of Vision 11, no. 11 (2011): 1145. http://dx.doi.org/10.1167/11.11.1145.

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Wong, Yetta Kwailing, Joanna Pui Chi Lau, Isabel Gauthier, and Janet H. Hsiao. "Music Reading Expertise Selectively Improves Categorical Judgment with Musical Notation." i-Perception 2, no. 4 (2011): 347. http://dx.doi.org/10.1068/ic347.

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Dissertations / Theses on the topic "Reading musical notation"

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Wiltshire, Eric Scott. "The effects of visual and aural congruence on the sight-reading of music notation /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11245.

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Tommis, Yvonne. "Teaching pre-school children to perform from conventional music notation : an exploration of different methods." Thesis, Bangor University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342574.

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Carnes, Tara Barker. "Hartley Wood Day: Inventor of Numeral Notation and Adversary of Lowell Mason." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc500655/.

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Ignorance of the basic principles of music reading was one of the primary obstacles to the improvement of congregational singing in nineteenth-century America. Six separate numeral notation systems arose to provide a simple way for the common man to learn the basic principles of music. Hartley Day developed his own numeral notation system and published six tune-books that enjoyed modest success in the New England area. This thesis examines Day's numeral notation system as it appeared in the Boston Numeral Harmony (1845), and the One-Line Psalmist (1849). It also studies Day's periodical, The M
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Hagberg, Jesper. "Musiklärares bakgrund och noter i undervisningen." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4209.

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Föreliggande uppsats syftar till att undersöka vad fyra musiklärare på högstadiet har för musikalisk bakgrund och hur de använder sig av traditionell västerländsk notskrift i undervisningen. Tidigare forskning tar upp noters likhet med skriftspråk, noters roll i musikundervisning och identitet och förebilder i musik. Som teoretisk utgångspunkt har sociokulturellt perspektiv använts. Halvstrukturerade intervjuer genomfördes med fyra musiklärare i högstadiet och analyserades med tematisk analys. Resultaten visade att noter främst användes i undervisning i trumspel och melodispe
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HAHN, LOIS BLACKBURN. "CORRELATIONS BETWEEN READING MUSIC AND READING LANGUAGE, WITH IMPLICATIONS FOR MUSIC INSTRUCTION (NOTATION)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188032.

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There is evidence that the strategies used by fluent readers of written language and by fluent "sight-readers" of musical notation are much the same. Both require a background in the modality represented by the written symbols. Both require context for construction of meaning through sampling and prediction. In this study, a method of elementary music-reading instruction was developed in which musical notation is introduced in the context of musical patterns familiar to the students through earlier musical experiences. The focus is on melodic contour and rhythmic units, initially with no empha
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Bouabid, Nadhir. "La spécificité du déchiffrage pianistique chez les musiciens aveugles et déficients visuels : effets des représentations mentales des notations musicales sur la conduite de mémorisation." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040012/document.

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Le présent travail s’inscrit dans une perspective descriptive analytique des comportements des pianistes aveugles et déficients visuels durant la mise en mémoire et la restitution au piano de diverses tâches présentées à l’oreille ou sur un support écrit adapté au handicap visuel de ceux-ci. Cette adaptation qui consiste à transcrire en braille pour les aveugles ou à imprimer en gros caractères pour les malvoyants des partitions ordinaires, se révèle lourde de conséquences. Ainsi, deux conditions font qu’un travail mental d’intégration et de synthèse très coûteux s’impose à ces musiciens : d’u
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Svensson, Ringbo Sara. "Notvärde : Strategier för rytmisk notläsning med barn runt förskoleklassåldern." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2681.

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I denna studie undersöks och jämförs hur rytmisk notläsning med barn, 5–8 år, framställs i vetenskapliga texter under 2000-talet. Fokus för studien är vilka strategier som skildras men även forskning om vilka effekter notläsning kan ha på läs- och skrivutveckling refereras. För att besvara studiens syfte och frågeställning används metoden allmän litteraturstudie med systematisk ansats samt en informell intervju med tre forskare inom neurologi. Fyra vetenskapliga artiklar är inkluderade i studien. Alla har granskats kvalitets- och kunskapskritiskt. Den vetenskapsteoretiska ansatsen för studien
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Dahlstedt, Ludvig. "Lär trummisar som de blivit lärda vad avser noter och gehörsspel?" Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2507.

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Syftet med denna uppsats är att belysa i vilken mån trumsetslärares tendenser att främja notläsningsbaserade verksamheter kontra gehörsspelsbaserade dito, samt det sätt som dessa olika moment utförs på, är ett resultat av hur de själva blivit undervisade. Tidigare forskning på bland annat spegelneuroner ger vid handen att olika handlingsprogram lärs in omedvetet hos en person vid kontakten med andra människor, för att vid ett senare tillfälle kunna manifesteras i handlingar likartade den som personen iakttagit. Uppsatsen bygger på kvalitativa intervjuer med fyra trumsetslärare från kulturskolo
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Sangsta, Jens. "Kan du läsa? : En observationsstudie i en pianists metoder för att spela noterade stycken." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-71665.

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Med utgångspunkt i min bristande notläsningsförmåga är syftet med föreliggande studie att undersöka vilka resurser utöver själva noterna som jag använder vid inlärningen av ett noterat musikstycke. Detta sker via videoobservation, dikterad loggbok, samt insamling av tidigare data. Tre olika övningspass á 20 minuter ligger till grund för resultatet. Dessa analyserades och bearbetades utifrån ett designteoretiskt perspektiv. I resultatet beskrivs vilka resurser jag använde, hur de användes, samt varför de användes. I diskussionsdelen belyses resultatet utifrån ett designteoretiskt perspektiv, ja
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Kamstra, Darin J. "Multiple-percussion notation : the effectiveness of three types of staff notation on sight-reading ability /." 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3242889.

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Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2006.<br>Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4031. Adviser: William Moersch. Includes bibliographical references (leaves 133-139) Available on microfilm from Pro Quest Information and Learning.
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Books on the topic "Reading musical notation"

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The musician's guide to reading & writing music. GPI Books, 1993.

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Hansen, Julia. Music reading for beginners: A self-instruction program. J. Hansen, 1986.

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Reading music: A step-by-step introduction to understanding music notation and theory. 2nd ed. Fall River Press, 2012.

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Gordon, Edwin. The aural-visual experience of music literacy: Reading and writing music notation. GIA Publications, 2004.

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How to read music: Reading music made simple. St. Martin's Press, 1999.

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60 music quizzes for theory & reading. Alfred Pub. Co., 2007.

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Vogler, Leonard. How to read music. Amsco Publications, 2000.

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Barrett, Bob. Reading & writing chord charts: The music director's guide to communicating with the band. Taylor Made Music, 1998.

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Nickol, Peter. Learning to read music: Make sense of those mysterious symbols and bring music alive. 2nd ed. How To Books, 2007.

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Reading and writing music: 50 ready-to-use activities for grades 3-9. Parker Pub. Co., 1987.

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Book chapters on the topic "Reading musical notation"

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Boyko, L. A., L. V. Tereshchenko, and A. V. Latanov. "Dependence of Eye Movement Parameters During Sight-Reading on Pianist’s Skill and Complexity of Musical Notation." In Advances in Cognitive Research, Artificial Intelligence and Neuroinformatics. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71637-0_20.

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Davidson, Lyle, and Bernadette Colley. "Children’s Rhythmic Development from Age 5 to 7: Performance, Notation, and Reading of Rhythmic Patterns." In Music and Child Development. Springer New York, 1987. http://dx.doi.org/10.1007/978-1-4613-8698-8_6.

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Mills, Janet, and Gary E. McPherson. "Musical literacy: Reading traditional clef notation." In The Child as Musician. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780198744443.003.0009.

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"Musical Literacy and Literature in Strings Education." In Advances in Early Childhood and K-12 Education. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3359-8.ch003.

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Chapter 3 seeks a meaningful way of acquiring musical literacy and literature through learning the string instruments. In this section, the book offers actual musical examples for the learners. The chapter also introduces practical strategies on when and how to teach musical notation to early strings learners. The author expands the discussion on music reading and shares teaching examples with a special emphasis on acquiring musical literature and literacy as the students perceive more enjoyment as they read music of various kinds. The author also includes an adaptation of Dalcroze methods, choral methods, and composition methods to the violin teaching and learning with more specific musical examples on reading.
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Larson, Katherine R. "Breath of Sirens." In The Matter of Song in Early Modern England. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198843788.003.0002.

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This chapter dissects the physiological matter of song by attending to the gendered mechanisms and rhetorical effects of the musical breath. It explores how early moderns conceptualized the acoustic medium of the breath, charts its movement through the vocal mechanism of the body, and examines the traces of that process preserved in physiological treatises, singing handbooks, and surviving manuscript and print scores. While these documents provide rich insight into singing as a physical and acoustic phenomenon in sixteenth- and seventeenth-century England, they testify equally powerfully to song’s airy intangibility, particularly at moments where language and musical notation strain to represent the physical experience of singing. Reading the ambivalent figure of the singing siren alongside the prolific output of Margaret Cavendish, the final section of the chapter considers the acoustic impact of the musical breath in relation to the culturally fraught phenomenon of women’s song performance.
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Reiter, Walter S. "In the Footsteps of Corelli." In The Baroque Violin & Viola. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190922696.003.0020.

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Technical information on the basic bow stroke of the giga and dynamic variation within it are the subject of two exercises. The sarabanda is contrasted with that of Corelli (Lesson Seventeen) and the student encouraged to realize the figured bass of this and other movements. Rhythm contains emotional information just as harmony does: altering the rhythms of a melody line by Pergolesi and comparing their impact demonstrates this point. Vivaldi uses syncopations, hemiolas, and ambiguities of time signature, and he tussles with the bass to give his corrente rhythmic interest, so maximizing the rhythmic impact is the purpose of Exercise 87. Last, the student is encouraged to read the by now familiar sonata from the original 1709 edition as a preparation to reading seventeenth-century notation in upcoming lessons. As usual, the lesson is packed with detailed observations of the text and technical and musical information.
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Wu, Fu-Hai Frank. "Applying Machine Learning in Optical Music Recognition of Numbered Music Notation." In Cognitive Analytics. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2460-2.ch098.

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Although research of optical music recognition (OMR) has existed for few decades, most of efforts were put in step of image processing to approach upmost accuracy and evaluations were not in common ground. And major music notations explored were the conventional western music notations with staff. On contrary, the authors explore the challenges of numbered music notation, which is popular in Asia and used in daily life for sight reading. The authors use different way to improve recognition accuracy by applying elementary image processing with rough tuning and supplementing with methods of machine learning. The major contributions of this work are the architecture of machine learning specified for this task, the dataset, and the evaluation metrics, which indicate the performance of OMR system, provide objective function for machine learning and highlight the challenges of the scores of music with the specified notation.
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Dickason, Kathryn. "Dance of the Hours." In Ringleaders of Redemption. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197527276.003.0004.

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This chapter demonstrates the formative role dance played in the Christianization of the liturgy and the sacralization of time. Using evidence from liturgical manuals, musical notation, and rituals, it traces how devotional choreography recuperated pagan motifs, impressed itself onto the regular rhythms of the liturgical calendar, and partook in the dance of the cosmos. In church dramas, dance exerted a didactic function, reinforcing the theme of Christian salvation alongside anti-Judaic rhetoric. The first section traces the authorization of liturgical dance in the Western Middle Ages. Through its ritualization of dance, the Western Church reinvented ancient rites within the discipline of the Latin liturgy. The second section illuminates the use of dance in liturgical drama. On the liturgical stage, the reenactment of Christian history offered a space for the ambivalence of dance to be worked out and re-signified. The third section offers a close reading of one specific liturgical dance ritual in Auxerre. This rite reconciled a pre-Christian myth with medieval eschatology and the Christian ordo.
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McCarthy, Kerry. "Waltham Abbey (1540)." In Tallis. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190635213.003.0003.

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The third document of Tallis’s career shows him being sent away from Waltham Abbey, the last monastery dissolved in England, in March 1540. Tallis served the abbey as a professional musician, as he had done at Dover a decade earlier. He was the highest paid of more than sixty lay staff there. The Lady Chapel, where Tallis would have done much of his work, is still intact, including a large wall painting of the Last Judgment with angel musicians. Another precious survival from Waltham Abbey is a manuscript of music theory now in the British Library (Lansdowne 763), which Tallis took with him at his departure and inscribed with his own name. It is a comprehensive pre-Reformation guide to practical music: notation, sight-reading, improvisation, and simple composition.
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Dalby, Bruce. "Beginning Woodwinds and Brass." In Teaching School Jazz. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0007.

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Many school jazz programs in North America do an impressive job of developing their members’ technical and music-notation-reading skills, necessary to perform jazz big band literature with polish and precision. However, many school jazz students are as dependent on notation as they are in the concert band. Although the young jazzer may take improvised solos in jazz band performances, he may be unable to negotiate chord changes or incorporate characteristic jazz vocabulary. In light of this, this chapter covers concepts and skills relevant to beginning jazz instruction for wind instrumentalists. Specifically, it identifies three foundational topics for the reader to consider in fashioning an authentic and effective jazz curriculum: (1) establishing a listening foundation, (2) developing ear-playing ability, and (3) developing a personal repertoire of jazz tunes. Following these sections the text addresses (4) style and articulation and (5) rhythm.
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