The prejudice that guitar players do not know how to read traditional western music notation has been around for a long time. That seems to also have had its affect on guitar education. For many guitarists the obvious choice is instead tablature. This study examines the attitude towards sheet music among guitar teachers at the Swedish kulturskola. The subject has been chosen primarily for the fact that the Swedish municipal music school does not have any guidelines regarding whether or not to use sheet music in the education. The purpose of this study is to examine how six guitar teachers view the use of traditional western music notation versus tablature in kulturskolan. The study is based on interviews with the teachers. The analysis has been made with a phenomenographic approach. The result reveal that all the participants prefer tablature due to it is more direct and quick implementation. Using tablature is a pedagogic strategy to keep the studentes interests in their instrument rather than an act of choice. Even if some of the teachers themselves would like to be using traditional western music notation to a greater extent they mean that it’s not possible. / Länge har fördomen funnits att gitarrister inte kan läsa noter, något som också tyckts påverka gitarrundervisningen. För många gitarrister är istället det vedertagna verktyget tabulatur. Den här studien undersöker attityden till notläsningsmetoder hos gitarrlärare på kulturskolan, just eftersom kulturskolan inte har några styrdokument. Syftet med detta arbete är att undersöka hur sex stycken gitarrlärare uppfattar att det fungerar att arbeta med notläsning respektive tabulatur i kulturskolan. Undersökningen har genomförts med kvalitativa forskningsintervjuer kring gitarrlärarnas användning av notläsningsmetoder i den egna undervisningen. Analysarbetet har utgått från en fenomenografisk ansats. Resultatet visar att lärarna föredrar tabulatur för den direkta och snabba implementeringen. Att använda sig av tabulatur är en pedagogisk strategi för att få eleverna att hålla fast vid sitt instrument, snarare än ett aktivt val. Även om lärarna själva i vissa fall hade velat använda sig av notläsning i större utsträckning så uppfattar de av olika anledningar att det inte är möjligt.

Neuere Forschungsergebnisse aus dem Bereich der Musikpsychologie zeigen, dass die subjektive Beurteilung, ob jemand spricht oder singt, nicht nur von Eigenschaften des empfangenen akustischen Signals abhängt. Obwohl die Tonhöhe beim Sprechen anders moduliert wird als beim Singen, kann der Tonhöhenverlauf einer gesprochenen Äußerung vom Rezipienten als eine musikalische Tonfolge wahrgenommen werden. Dieser Eindruck brachte Musikschaffende und Sprachwissenschaftler bereits seit Ende des 18. Jahrhunderts dazu, Sprechmelodien in Form musikalischer Notenschrift aufzuzeichnen. Im aktuellen Diskurs der Linguistik setzte sich diese Art von Notation nicht durch. Für die Beschreibung der grammatikalisch relevanten Eigenschaften der Sprechmelodie in Intonationssprachen wie Deutsch und Englisch werden schematische Darstellungen eingesetzt, in denen es im Wesentlichen auf die binäre Unterscheidung zwischen Hoch- und Tieftönen ankommt. Um die Sprechmelodie aus musiktheoretischer Sicht zu betrachten, kann sich jedoch die Transkription in musikalische Notenschrift als ein wertvolles Werkzeug erweisen. Durch die Notation wird die Vielfalt der intervallischen Strukturen von Sprechmelodien erfassbar und eine Grundlage für deren musikalische Analyse geschaffen. In diesem Artikel wird zunächst ein methodischer Ansatz zur gehörmäßigen Erfassung von Sprechmelodien erprobt. Der Vergleich zwischen der exemplarisch transkribierten Sprechmelodie und den Messwerten der Grundfrequenz des Sprachsignals deutet darauf hin, dass das Gehör die verfügbare Tonhöheninformation selektiert, um daraus die Vorstellung einer musikalischen Tonfolge zu konstruieren. Im Bereich von Tonhöhenakzenten orientiert sich die Wahrnehmung scheinbar nach dem lokalen Maximum der Grundfrequenzfunktion, während sich in den übrigen Silben deren Mittelwert als auschlaggebend herausstellt. Anhand der Transkription werden mögliche analytische Ansätze dargelegt, die strukturelle Gemeinsamkeiten zwischen sprachlichen und musikalischen Melodien veranschaulichen. / Recent research results from the field of music psychology show that the subjective assessment of whether someone speaks or sings does not only depend on the characteristics of the received acoustic signal. Although the pitch is modulated differently when speaking than when singing, the recipient can perceive the pitch of a spoken utterance as a musical tone sequence. This impression has since the end of the 18th century led musicians and linguists to record speech melodies in the form of musical notation. In the current discourse of linguistics, this kind of notation has not prevailed. For the description of the grammatically relevant characteristics of the speech melody in intonation languages such as German and English, schematic representations are used in which the main focus lies on the binary distinction between high and low tones. However, to approach speech melody from the perspective of music theory, the transcription in musical notation can be a useful tool. Notation allows to capture the variety of intervallic structures of speech melodies and provides a basis for their musical analysis. This paper introduces a methodical approach to the aural recording of speech melodies. The comparison between the transcribed speech melody and the measured values of the fundamental frequency of the speech signal suggests that the auditory system selects the available pitch information in order to construct the representation of a musical tone sequence. In the area of pitch accents, the perception seems to be driven by the local maximum of the fundamental frequency function, while in the remaining syllables, its mean value appears to be determinant. Based on the transcription, possible analytical approaches are presented, illustrating structural similarities between linguistic and musical melodies.

Wie gerecht kann eine historisch gewachsene Notationsform einem bestimmten Stil und seiner Ausführung werden? Im sogenannten stylus phantasticus des ausgehenden 16. und 17. Jahrhunderts wird ein freies Spiel gefordert, während aber gleichzeitig ›konventionell‹ notiert wird. Bisherige Beiträge zu diesem Themengebiet stellten vor allem die kompositorische Freiheit dieses Stils in den Mittelpunkt und bezogen sich in Interpretationsfragen auf die Ausführung rhetorischer Figuren. Im Folgenden soll – was zunächst viel basaler erscheinen mag – zusätzlich das Verhältnis von interpretatorischer Freiheit zur Taktmaßnotation untersucht werden, wofür zwei Beispiele musikalischer Interpretation herangezogen werden. Diese Analysen sollen zeigen, wie nah bzw. weit entfernt das (vom Komponisten / von der Komponistin vermutlich intendierte) klangliche Resultat von der eigentlichen Notation ist. / To what extent can a type of notation that has developed over time do justice to a specific musical composition style and its execution? In the so-called stylus phantasticus of the late 16th and 17th centuries, free playing is demanded, while at the same time ‘conventional’ notation is used. Previous contributions to this subject have focused on freedom in terms of composition and the execution of rhetorical figures. In the following, the relationship between freedom of interpretation and metrical notation will also be examined (which may at first seem much more basic), taking into account two different recordings. Their analysis will show how close or far away the acoustic result (as presumably intended by the composer) is from what is actually notated.

Tikslas:Ištirti kompiuterizuotam natų rašymui skirtas technologijas. Tyrimo objektas:Natų saugojimo formatai ir jų kūrimo programinė įranga. Problemos analizė:Kompiuterizuotam natų rašymui yra sukurta nemažai specialios programinės įrangos ir jų rezultato saugojimo formatų. Tačiau susistemintos informacijos apie tokių technologijų privalumus ir trūkumus rasti gan sunku, todėl vartotojai patys turi jas bandyti ir atrasti jiems labiausiai tinkančias. Tyrimo metodologija:Teoriniai tyrimo metodai: literatūros apžvalga ir analizė. Praktiniai tyrimo metodai: natografijos failų formatų apimties skirtumo tyrimas, natų rašymui skirtos programinės įrangos funkcionalumo įvertinimo bei patrauklumo vartotojui stebėjimas ir tyrimas. Naudotos priemonės:Sibelius 6, Harmony Assitant, Quick Score Elite Level II, Denemo – tyrimo duomenų gavimui ir kūrimui; Microsoft Excel 2003 – tyrimo duomenų aprašymui ir susisteminimui; SPSS Statistics 17.0 – tyrimo duomenų apdorojimui, analizei ir pateikimui; Microsoft Word 2003 – darbo rengimui ir pateikimui. Tyrimo apimtis: Failų formatų apimtis lyginta atsižvelgiant į: failo dydį, natų formato tipą, formato skaitomumą vartotojui, failo apimtį ir jos sumažinimo galimybę. Programinės įrangos funkcionalumas ištirtas įvertinant funkcijų kiekio santykį atitinkamose funkcionalumo grupėse: teksto įterpimas ir apiforminimas, lapo formatavimas, pasirinktų natų ir ženklų atvaizdavimas penklinėje, partitūros rašymas MIDI klaviatūra ir kompiuterio klaviatūra, muzikos... [toliau žr. visą tekstą] / Many various science areas are gradually relocating to information technology space and the recording of notes is not an exception. Hence, there are many different note recording and preserving formats and special software intended for the creation of such formats. However, because of comparatively rapid IT advancement it is usually hard to follow the all existing IT solutions and select the most proper, therefore, the objective of this work is to examine the technologies intended for the recording and preserving notes on the computer. During the time of this work the following examinations were completed: • The examination of note preserving formats; • The analysis of note recording software functionality; • The research of note recording software appeal; After completing the review of note preserving formats it was clear that they can be categorized into three groups: ascii, xml and binary. The note preserving formats which are based on ascii and xml codes are more coherent for the common user and take less hard disk space. After analyzing the note recording software the final results reveal that the Harmony Asisstant program is highly advanced and supports most functions. The Sibelius 6 is also very advanced and functional. After completing the note recording software appeal survey it was discovered that the respondents consider Sibelius 6 as the most appealing and coherent program.

“Doing gives birth to ideas”. From ideas to composition: a study of composition processes in higher music education. Recent technological developments have challenged the historical methods of composing music for acoustical instruments using traditional scores. However, composers in the Western art music traditionstill continue to use them when they explore the realm of sounds intraditional instruments and possible ways to communicate their intentions. The aim of the present study is to describe the development process in the composition of score-based music intended to be performed by a mixed ensemble of wind, string and percussion instruments. Three composer students from an undergraduate program in Western art music composition each participated during two semesters in the data collection. The data consists of a series of composition sketches, qualitative interviews, voice logs, music recordings and observations of rehearsals and concerts. The analysis focused on shedding light on the participants’ ways of developing the content as the processes of composition unfold. The main methods of analysis were to compare different versions of the same composition and, on the basis of this comparison, to ask analytical questions of the participants. A result common to the three participants, is the conclusion that they start with rudimentary structures and gradually elaborate them so that they become more detailed and sophisticated, for example, more varied in instrumentation. This elaboration is supported by the use of written notes – scaffolds – that guide the development of the structure in different directions. Seven types of scaffolds, that represent different strategies to formulate and solve compositional problems, were found in the empirical data. The study contributes to wider understanding of the importance of making handwritten sketches throughout the process of developing musical ideas. Despite recent technological developments, there is evidence that hand-sketching still serves as an intuitive tool for meaningmaking, in combination with other tools such as acoustical instruments and new music technology.

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’un côté la complexité du braille musical due à un degré d’abstraction très élevé et à une linéarité spatiale permanente, de l’autre la non-conformité de la technique d’agrandissement des textes ordinaires avec une lecture synthétique et avec un champ visuel très réduit. De telles circonstances invitent à s’interroger sur les effets de la structure de ces notations musicales et des représentations mentales qu’elles génèrent sur la conduite de mémorisation en l’absence totale ou partielle de la vision. L’objectif principal est de relever la spécificité des processus qui sous-tendent l’assimilation des données inscrites sur le matériau de la lecture. Pour ce faire, j’ai mené une étude de cas portant sur des jeunes pianistes aveugles et malvoyants non professionnels utilisant des procédures de déchiffrage diverses. / The present work involves an analytical description of the behaviors of blind and visually impaired pianists when memorizing and rendering on the piano various tasks presented to the ear or on written material adapted to their visual disability. This adaptation, which consists in transcribing ordinary music scores in braille, for the blind, or in large print, for the visually impaired, entails important consequences. Two conditions result in those musicians having to perform a very difficult integrating and synthesizing task: on the one hand, musical braille is complex, being highly abstract and characterized by permanent spatial linearity; on the other hand, the technique for enlarging ordinary texts is not compatible with synthetic reading and a very restricted visual field. Those circumstances lead us to investigate how those musical notations and the mental representations they generate affect the memorizing process when vision is totally or partially lacking. The main objective is to pinpoint the specific processes underlying the assimilation of the data inscribed on the reading material. To this end, I have carried out a case study involving young non-professional blind and visually impaired pianists using diverse reading procedures.

Esse trabalho está dividido em duas partes. Na primeira realizamos a transcrição de um manuscrito inédito de Mário de Andrade intitulado \"Síncopa\", pertencente à série \"Manuscritos do autor\", do Arquivo Mário de Andrade, hoje localizado no Instituto de Estudos Brasileiros - IEB/USP. Trata-se de um conjunto de anotações diversas sobre o assunto, feitas ao longo do tempo e ajuntadas no arquivo pessoal do poeta e musicólogo. À transcrição desse conjunto acrescentei análises, contextualização das notas e articulações à bibliografia publicada do autor. Em uma segunda parte, construo minha tese sobre a síncopa do Brasil a partir do desenvolvimento das ideias e da metodologia exposta no manuscrito de Mário de Andrade, procurando sustentá-la através de análises diversas da estrutura rítmica da música popular brasileira e da síncopa em particular. / This dissertation is divided in two parts. In the first one I make a transcription of an unpublished manuscript by Mário de Andrade titled \"Syncopation\", belonging to the series \"Author\'s Manuscripts\" from the Mário de Andrade Archives, now located at the Institute of Brazilian Studies - IEB/USP. This manuscript consists in a collection of various annotations about the subject, made in several periods and gathered in the personal files of the poet and musicologist. To the transcription of this collection I added analyses, a contextualization of the annotations, and articulations with the published biography of the author. In the second part, I elaborate my thesis about syncopation in Brazil based on a development of the ideas and methodology presented in Mário de Andrade\'s manuscript, and seek to demonstrate it with various analyses of the rhythmic structure of Brazilian popular music, in particular of syncopation.

Orientador: Claudiney Rodrigues Carrasco / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T21:39:07Z (GMT). No. of bitstreams: 1 Bonilha_FabianaFatorGouvea_D.pdf: 1842001 bytes, checksum: cb77c0883c16aaace870af44a4202f16 (MD5) Previous issue date: 2010 / Resumo: O presente trabalho foi motivado pela experiência pessoal de sua autora como musicista com deficiência visual e representa a continuidade da Dissertação de Mestrado intitulada "Leitura musical na ponta dos dedos: caminhos e desafios do ensino da musicografia braille na perspectiva de alunos e professores", defendida no Departamento de Música,do Instituto de Artes da Unicamp. Nele são abordados aspectos relativos ao ensino e à difusão do código musical em braille, enfatizando-se, sobretudo,as concepções subjacentes à Educação Inclusiva. Esta pesquisa possui um enfoque qualitativo, pois visa apreender as percepções dos indivíduos frente aos desafios da alfabetização musical em braille. A coleta de dados foi realizada por meio do acompanhamento e estudo de três casos, nos quais três sujeitos experienciaram o processo de aprendizado da notação musical desenvolvida para os cegos. Além disso, foi realizada uma investigação acerca dos meios utilizados para a transcrição de partituras em Braille, delineando-se as peculiaridades desse processo. Na análise dos dados coletados, discute-se o papel do educador musical, do aluno com deficiência visual e do especialista em aplicações da musicografia braille. Como desdobramentos deste trabalho, há a produção de um áudio-documentário que retrata o desenvolvimento da pesquisa e a implantação de um acervo musical que contém obras em braille. São, por fim, levantadas questões relevantes, que podem resultar em novas investigações sobre o tema e na implementação de iniciativas favoráveis ao ensino e a difusão da musicografia braille. A pesquisa contou com o apoio da FAPESP e com a infraestrutura do Laboratório de Acessibilidade da Biblioteca Central Cesar Lattes da UNICAMP / Abstract: The current study was motivated by the author's life experience being both blind and a musician. It covers different aspects of Braille Music teaching and diffusion, emphasizing the concept of an inclusive education. Using a qualitative approach, three cases were studied and followed, in which three people experienced the process of Braille music learning. The resources available for Braille music transcription were also investigated, and it supported the creation of a Braille music collection. In the data analysis, the roles of music educator, of blind students and of experts are discussed. An audio documentary was developed as a representation of this study. Some questions are also placed in order to favour future investigations / Doutorado / Doutor em Música

Orientador: Claudiney Rodrigues Carrasco / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-06T06:49:42Z (GMT). No. of bitstreams: 1 Bonilha_FabianaFatorGouvea_M.pdf: 1327152 bytes, checksum: ff750ed1d58c4a62354dbb43f2a65d0d (MD5) Previous issue date: 2006 / Resumo: O presente estudo foi motivado pela experiência pessoal de sua autora,musicista com deficiência visual. Ele aborda aspectos referentes ao ensino da Musicografia Braille, que por sua vez, consiste na notação musical criada por Louis Braille para uso de pessoas cegas. A partir de um enfoque qualitativo, buscou-se investigar a percepção de estudantes de Música com deficiência visual e de seus respectivos professores acerca das condições atuais de aplicação da Musicografia Braille ao campo da educação musical. Por meio de entrevistas e questionários, os sujeitos relataram suas experiências, a partir das quais se pôde estabelecer um panorama sobre o ensino desse sistema de escrita. Para análise dos dados, foi utilizada a técnica de formulação do Discurso do Sujeito Coletivo, que visa apreender os pensamentos e as crenças comuns a uma dada população. Os dados colhidos foram discutidos mediante o stabelecimento de categorias e subcategorias concebidas a partir dos depoimentos. Nesse estudo, buscou-se também investigar e avaliar as ferramentas tecnológicas atualmente utilizadas para a produção de partituras em Braille e, de acordo com essa avaliação, foram criados procedimentos que otimizassem a transcrição de obras musicais. Com base na realização desse estudo, concluiu-se que, na atualidade, há muitos obstáculos que impedem o acesso ao ensino da Musicografia Braille, dos quais decorre a grande desinformação por parte de alunos e professores. Apontou-se para a necessidade de uma maior difusão da notação musical em Braille, tanto através de novas produções acadêmicas, quanto através de iniciativas que facilitem a implantação de acervos musicais transcritos para esse Sistema / Abstract: The current study was motivated by the author's life experience being both blind and a musician. It covers different aspects of Braille Music Writing, which is the musical notation created by Louis Braille for blind musicians. Using a qualitative approach, this study investigates the opinion of blind music students and their teachers regarding the current application of Braille Music Writing in musical education. Subjects described their experiences with Braille Music Writing through interviews and questionnaires, enabling the researcher to establish a panorama of music teaching in Braille. Data was analyzed using the technique of formulation of the General Subject Discourse that aims to extract and summarize thoughts and beliefs of a given population. Subjects' opinions were divided into categories and results were drawn from each category. In his study, the author also investigated current technological tools commonly used to produce Braille music sheets, and created a protocol to optimize musical transcription into Braille. The author concluded that there are many obstacles that currently obstruct the access of blind students and their professors to Braille Music Writing, and therefore generates misinterpretation of its potential and usage. As a consequence, the author emphasizes the need for diffusion of information regarding Braille Music writing both through its use within the university and the establishment of Braille music sheets libraries / Mestrado / Mestre em Música

Esse trabalho está dividido em duas partes. Na primeira realizamos a transcrição de um manuscrito inédito de Mário de Andrade intitulado \"Síncopa\", pertencente à série \"Manuscritos do autor\", do Arquivo Mário de Andrade, hoje localizado no Instituto de Estudos Brasileiros - IEB/USP. Trata-se de um conjunto de anotações diversas sobre o assunto, feitas ao longo do tempo e ajuntadas no arquivo pessoal do poeta e musicólogo. À transcrição desse conjunto acrescentei análises, contextualização das notas e articulações à bibliografia publicada do autor. Em uma segunda parte, construo minha tese sobre a síncopa do Brasil a partir do desenvolvimento das ideias e da metodologia exposta no manuscrito de Mário de Andrade, procurando sustentá-la através de análises diversas da estrutura rítmica da música popular brasileira e da síncopa em particular. / This dissertation is divided in two parts. In the first one I make a transcription of an unpublished manuscript by Mário de Andrade titled \"Syncopation\", belonging to the series \"Author\'s Manuscripts\" from the Mário de Andrade Archives, now located at the Institute of Brazilian Studies - IEB/USP. This manuscript consists in a collection of various annotations about the subject, made in several periods and gathered in the personal files of the poet and musicologist. To the transcription of this collection I added analyses, a contextualization of the annotations, and articulations with the published biography of the author. In the second part, I elaborate my thesis about syncopation in Brazil based on a development of the ideas and methodology presented in Mário de Andrade\'s manuscript, and seek to demonstrate it with various analyses of the rhythmic structure of Brazilian popular music, in particular of syncopation.