Spelling suggestions: "subject:"music notation"" "subject:"nusic notation""
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Pattern Recognition for Music NotationCalvo-Zaragoza, Jorge 27 June 2016 (has links)
No description available.
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Imitating Christ in Ars Subtilior Picture Music: Intersections with Theological Symbolism and Visual TraditionsMcNellis, Rachel 23 May 2019 (has links)
No description available.
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A critical evaluation of assessment practices in music literacy programmes for young adults / Jacomine PretoriusPretorius, Jacomine January 2007 (has links)
The topic of assessment has attracted wide-spread attention in the discipline of
music education in recent decades. However, most research centres on school-based
assessment, and then mainly on the assessment of practical music subjects.
Current assessment practices in music literacy programmes (such as 'paper-and-pencil' and standardized tests) counteract what is arguably the most important
goal of music education, namely the development of musicianship. Therefore, in
this study, my aim is to investigate assessment practices in music literacy courses
for young adults, and to show how assessment in these courses can contribute to
the development of musicianship.
In order to reach these aims, the terms 'musicianship' and 'music literacy' are
defined. The importance of a guiding philosophy for assessment is highlighted
and constructivism is discussed as an example of such a philosophy, since
constructivist principles largely correspond with the principles of assessment and
adult education. Principles for effective assessment are subsequently established
before being applied to the assessment of music literacy outcomes. Finally, the
need for further research about various topics that can inform assessment
practices in music subjects is pointed out. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.
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Information Structures in Notated Music: Statistical Explorations of Composers' Performance Marks in Solo Piano ScoresBuchanan, J. Paul 05 1900 (has links)
Written notation has a long history in many musical traditions and has been particularly important in the composition and performance of Western art music. This study adopted the conceptual view that a musical score consists of two coordinated but separate communication channels: the musical text and a collection of composer-selected performance marks that serve as an interpretive gloss on that text. Structurally, these channels are defined by largely disjoint vocabularies of symbols and words. While the sound structures represented by musical texts are well studied in music theory and analysis, the stylistic patterns of performance marks and how they acquire contextual meaning in performance is an area with fewer theoretical foundations.
This quantitative research explored the possibility that composers exhibit recurring patterns in their use of performance marks. Seventeen solo piano sonatas written between 1798 and 1913 by five major composers were analyzed from modern editions by tokenizing and tabulating the types and usage frequencies of their individual performance marks without regard to the associated musical texts. Using analytic methods common in information science, the results demonstrated persistent statistical similarities among the works of each composer and differences among the work groups of different composers. Although based on a small sample, the results still offered statistical support for the existence of recurring stylistic patterns in composers' use of performance marks across their works.
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CompositionALife: an artificial world as a musical representation for composition / CompositionALife: en artificiell värld som musikalisk representation för kompositionMartin, Pierre January 2005 (has links)
<p>Composing music is something a lot of people have wished they could be able to do. Unfortunately, to be able to compose music, people often need several years of training and study to acquire the necessary knowledge: first to learn how to use the traditional musical representation and then to learn the rules for composing different kinds of music. </p><p>This thesis describes research to develop and evaluate a representation and system for musical composition. The system provides users with a simple and specific language to create and interact with the artificial world; and by creating animals and giving them behaviors, users are composing music. The user study conducted at the end of this project showed that this program ("CompositionALife") could make it easier for people without previous knowledge in music and/or composition to compose interesting music.</p>
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A critical evaluation of assessment practices in music literacy programmes for young adults / Jacomine PretoriusPretorius, Jacomine January 2007 (has links)
Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.
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A critical evaluation of assessment practices in music literacy programmes for young adults / Jacomine PretoriusPretorius, Jacomine January 2007 (has links)
The topic of assessment has attracted wide-spread attention in the discipline of
music education in recent decades. However, most research centres on school-based
assessment, and then mainly on the assessment of practical music subjects.
Current assessment practices in music literacy programmes (such as 'paper-and-pencil' and standardized tests) counteract what is arguably the most important
goal of music education, namely the development of musicianship. Therefore, in
this study, my aim is to investigate assessment practices in music literacy courses
for young adults, and to show how assessment in these courses can contribute to
the development of musicianship.
In order to reach these aims, the terms 'musicianship' and 'music literacy' are
defined. The importance of a guiding philosophy for assessment is highlighted
and constructivism is discussed as an example of such a philosophy, since
constructivist principles largely correspond with the principles of assessment and
adult education. Principles for effective assessment are subsequently established
before being applied to the assessment of music literacy outcomes. Finally, the
need for further research about various topics that can inform assessment
practices in music subjects is pointed out. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.
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Towards a comprovisation practice : a portfolio of compositions and notations for improvisationsPapageorgiou, Dimitris January 2017 (has links)
This thesis explores the interplay between repeatability and contingency in a series of instrumental and electro-instrumental compositions, through a practice that involves the devising and development of unique notational strategies and the use of bespoke real-time digital signal processing software. In particular, this study examines the praxis of comprovisation, i.e. practices situated between the poles of composition and improvisation, and it is framed by three main research topics: 1. An exploration of musical time and form as components of a dynamic system between events and musical gestures, involving structures of variable and/or indeterminate temporal durations. 2. An investigation of the ways in which the temporal organization and the in-time trópos (τρόπος - ”way, mode, modality, manner”) of an improvisational performance-practice for solo violin can be transduced into the symbolic level so as to be explored as compositional material. 3. An examination of the conditions in which Middle Eastern makam music composition and improvisation traditions can inform the development of contemporary notational devices for a comprovisation practice involving other performers. In addition to the scores, software, and recordings of the compositions, a relevant portfolio of recorded solo-violin improvisations and two published papers examining the above topics are included to further illustrate the discussion.
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CompositionALife: an artificial world as a musical representation for composition / CompositionALife: en artificiell värld som musikalisk representation för kompositionMartin, Pierre January 2005 (has links)
Composing music is something a lot of people have wished they could be able to do. Unfortunately, to be able to compose music, people often need several years of training and study to acquire the necessary knowledge: first to learn how to use the traditional musical representation and then to learn the rules for composing different kinds of music. This thesis describes research to develop and evaluate a representation and system for musical composition. The system provides users with a simple and specific language to create and interact with the artificial world; and by creating animals and giving them behaviors, users are composing music. The user study conducted at the end of this project showed that this program ("CompositionALife") could make it easier for people without previous knowledge in music and/or composition to compose interesting music.
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A Multi-Dimensional Approach towards Understanding Music Notation through CognitionLeinbach, Cade 05 1900 (has links)
Composition has been conceptualized as a method for communicating a way of thinking (i.e., cognition) from composers to performers and audience members. Music notation, or how music is represented in a visual format, becomes the vehicle through which such cognition is communicated. In the past, research on notation has been approached either categorically or as a taxonomy, where it is placed into separate categories based primarily on visual elements, including its symbols, conventions, and practices. The modern application of notation in Western classical music repertoire, however, has shown that the boundaries between these systems are not always clear and sometimes blend together. Viewing music notation from a spectrum-based approach instead provides a better understanding of notation through its cognitive effects.
These spectra can then be viewed through multiple dimensions, all addressing different aspects. The first dimension consists of the historical systems of notation, ranging from standard music notation (SMN) to music graphics. Additional kinds of notation, such as proportional, pictorial, and aleatoric, work as the mediary levels between these two. The second dimension focuses on whether notation is processed intuitively, based on either cultural priming or general cognitive principles, or through conscious interpretation. The last dimension views notation as either a visual representation of the sound (descriptive) or a representation of the process performed to create the sound (prescriptive). This thesis conceptualizes a theory for understanding music notation though these multiple dimensions by synthesizing psychological studies about music, music notation research, and pre-existing musical scores.
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