Ce travail est dédié à l’analyse des partitions graphiques et de l’interaction son-image qui en résulte. Notre corpus de recherche comprend aussi bien des partitions qui utilisent une notation plus plastique que le sous-type textuel ou verbal et quelques partitions mixtes lesquelles permettent un regard sur la relation établie entre le texte et l'image; comme la musique instrumentale est un art performatif, nous examinerons également les aspects énonciatifs présents dans l’écriture de l’œuvre menée par le compositeur et dans son interprétation, au moment de sa lecture et de son exécution par l’instrumentiste. La méthodologie consiste à élaborer et appliquer les concepts d’intersémioticité, en insistant sur leurs base linguistique, et ceux de linéarité et tabularité dans l’énoncé visuel. Nous voulons aussi rapporter ces concepts à la façon dont l’énoncé se produit dans les différentes instances du texte musical. En outre, cette thèse aura également un biais diachronique, dans le sens que nous voulons aborder certains types de notation utilisés tout au long de l’histoire de la musique et la façon dont s'est passée la transition d’un système à l’autre. / The purpose of this research is to analyse graphic scores and the sound-image interaction arising thereform. The research corpus includes both scores that use a notation of a more plastic caracter like the subtype textual or verbal, and some mixed scores, which allow a glimpse into the text-image relationship established. Once the instrumental music is a performative art, we will also deal with some enunciative aspects presents both in writing the work, carried out by the composer, as in his interpretation, during reading and performance of the work for the interpreter. The methodology consist in developing and applying the concepts of intersemioticity, emphasizing its linguistic basis, and linearity and tabularity in visual enunciated. We also intend to relate these concepts to the way occurs the enunciation in different instances of the musical text. Moreover, this research will also have a diachronic bias, in the sense that we intend to address some types of notation used throughout music history and how the transition between systems of notation occurred.

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In diesem leicht überarbeiteten Text seiner Keynote auf dem Jahreskongress 2019 der GMTH erörtert Sandeep Bhagwati grundlegende Konzepte des aktuellen Notationsdiskurses, wie z. B. notational perspective und comprovisation. Er erläutert den Platz von Notationsformen innerhalb einer laufenden Entwicklung, in der sich die Klangerzeugung allmählich vom menschlichen Handeln und seiner Übersetzung ins Visuelle entfernt, und entfaltet das Feld möglicher Notationen, das durch neue sensorische Technologien eröffnet wird. Wird die Einführung solcher reaktionsfähiger und fließender Notationstechnologien die Natur dessen, was wir Musik nennen, erneut verändern? Schließlich stellt er sich mögliche Verschiebungen in der Ontologie des Musizierens vor, die durch derartige ›unsichtbare‹ Notationen und durch nichtmenschliches Handeln im Bereich des Musizierens hervorgerufen werden könnten. / In this slightly updated text of his keynote speech at the Annual Congress 2019 of the GMTH, Sandeep Bhagwati discusses foundational concepts of current discourses on notation, such as notational perspective and comprovisation. He elaborates on the place of notation in an ongoing evolution that sees sound production gradually move away from human agency and its translation into the visual and unfolds the field for possible notation opened up by new sensory technologies. Will the introduction of such responsive and fluid score technologies once more change the very nature of what we call music? Finally, he imagines possible shifts in the ontology of musicking that may be occasioned by such ‘invisible’ notations and through non-human agency in musicking.

Das Notierte spielt im klassischen Musikbetrieb eine viel zu große Rolle. Seine ›genaue‹ Befolgung ist die Ursache für allerlei anachronistische Ideologien und Missverständnisse. Die genaue Abstufung der Dynamik anhand der angegebenen Buchstaben steht in markanter Konkurrenz zu den grammatischen, oratorischen und pathetischen Akzenten (H.Chr. Koch) und zur Takthierarchie, wie sie seit dem 15. Jahrhundert gegolten hat. Die Äquidistanz des Notierten führt zur Ideologie des stabilen Tempos, das einem Missverständnis aus einer (falsch verstandenen) Rezipientenperspektive gleichkommt. Die »invitation to collaborate« (Barrett) erstreckt sich einerseits auf die Anreicherung und Variation des Notierten in der solistischen Musik vom 16. bis 20. Jahrhundert, andererseits gelegentlich auch auf eine Reduktion gegenüber dem geschriebenen Melodieverlauf (z. B. in gewissen Klaviersonaten der Wiener Klassik). Diese Denkweise ist noch immer nicht im praktischen Musikbetrieb (inkl. Wettbewerb und Probespiel) angekommen. Unser Beitrag widmet sich angesichts dieser Sachlage der Frage: Wann, wie und mit welcher Absicht notierten Komponisten des 17.–20. Jahrhunderts (von Sweelinck bis Willy Burkhard) Angaben zu Dynamik, Artikulation und Tempomodifikation, und wann und mit welcher Absicht notierten sie diese gerade nicht, um nichts Ungewolltes zu provozieren. Außerdem gehen wir der Frage nach, wo das Fehlen von Aufführungsangaben auch das gewollte Unterbleiben von jeglichen Veränderungen in Tempo, Dynamik und Artikulation bedeutet – als rhetorische Qualität. / What is notated plays far too large a role in the classical music industry. Its ‘exact’ observance is the cause of all kinds of anachronistic ideologies and misunderstandings. The exact gradation of dynamics based on notated letters is in striking competition with grammatical, oratorical and pathetic accents (H.Chr. Koch) and with the metrical hierarchy that has been valid since the 15th century. The equidistance of the notated leads to an ideology of stable tempo, which is tantamount to a misunderstanding from a (misunderstood) recipient’s perspective. The “invitation to collaborate” (Barrett) extends on the one hand to enrichment and variation of what is notated in soloistic music from the 16th to the 20th century, and on the other hand occasionally to a reduction in relation to the written melodic line (e. g. in certain piano sonatas of the Viennese classical period). This way of thinking has still not arrived in general music practice (including competitions and auditions). In view of this situation, our contribution is devoted to this question: when, how and with what intention did composers of the 17th–20th centuries (from Sweelinck to Willy Burkhard) notate indications of dynamics, articulation and tempo modification, and when and with what intention did they not notate them, so as not to provoke anything unwanted. We also explore the question of where the absence of performance indications also means the deliberate omission of any changes in tempo, dynamics and articulation – in the sense of a rhetorical quality.

This dissertation investigates the process of collaboration and the application of both notational and technological schemes to integrate elements of contemporary composition and tap dance as a consolidated art form. Overall, this document gives an overview of choreographer/composer collaborations in Western classical music; movement notation; and ultimately analyzes my original music—a live set for tap dancer, live musicians and electronics—entitled Digital Tap Dance. Altogether, this project represents the culmination of music and dance as a compelling intermedia collaboration. By (1) researching different practices of composer-choreographer collaborations, (2) notating rudiments for tap dance, (3) creating software for tap dancers, and (4) composing original music for tap dancers, this dissertation will create options for composers and choreographers alike in composition and improvisation.

Contemporary repertoire is not commonly taught or explored by teachers during the intermediate level, when a student's musical training is transitioning to an advanced level. Nonetheless, it is important for piano instructors to be open-minded about contemporary music and have some perspective on the development of music repertoire in the future. The purpose of this dissertation is to provide a performance and pedagogical guide to Stephen Chatman's (b. 1950) Fantasies, from both technical and artistic viewpoints. The collection, which consists of eleven pieces, features a wide variety of contemporary idioms, styles, and means of notation. For instance, there are jazz-like syncopated rhythms, asymmetrical accents reminiscent of Primitivism, and Impressionistic or dissonant sonorities. Fantasies is not only a valuable tool for students to explore new sounds and improve their performing techniques while executing nontraditional notations and contemporary idioms, it is also a great teaching resource for instructors to promote students' musicality through hearing, seeing, and thinking. In this study, I provide individual, detailed descriptions for each of the pieces in the score, adding examples on how to address the difficulties they present to the performer. As a result, instructors can better understand how to help students prepare to perform this collection and spark their interest in playing contemporary music.

Founded in 1967, the Amsterdam-based improvising collective the Instant Composers Pool is one of the longest consistently performing groups in improvised music. This thesis forms an ethnography and musicological study of the ICP Orchestra, which originated when the "pool" developed a more coherent line-up around 1980. With a background in experimental music as well as free jazz, their performance practice differs in many respects from the practices of American forms of jazz. Whereas most accounts of improvisation emphasise orality and creative interaction in opposition to the performance of composed music, 'instant composition' defines improvisation precisely in terms of compositional thinking. Moreover, founding member and orchestra leader Misha Mengelberg composed a very diverse repertoire for the group which draws on styles from Duke Ellington to John Cage and uses various forms of compositional and notational techniques to explore the different improvisatory possibilities that they afford, thus blurring the distinction between improvisation and composition both in name and in practice. Apart from a detailed historical and ethnographic description of a group that is central to a genre that has been underrepresented in music-historical research, this thesis investigates the repertoire of the ICP and its use as an opportunity to reconsider the relation between musical text and performance. Drawing on my observations and interviews with the musicians, and connecting these to theories of material culture and science and technology studies, it develops a concept of compositions as animated and animating objects in performance, tools and materials that participate in the creative interactive process of improvised performance rather than textual representations of 'the music itself'. I substantiate this theory with detailed descriptions of ICP performances recorded during fieldwork. This contributes to a rethinking of musical notation and simultaneously brings new insights into improvisation as a creative practice.

Ce travail a pour but principal de répondre à certaines difficultés de notation rencontrées par les compositeurs. Dans un premier temps, nous nous se proposons de montrer les limites du système d’écriture musicale occidentale (SEMO) dans la notation de certains éléments de la musique et, dans un deuxième temps, de montrer les avantages qu’offre l’utilisation de l’écriture multimédia (EM). Les résultats de ce travail, obtenus à partir de six « expériences-projets de composition », montrent l’efficacité de l’EM : un ensemble de procédés qui permettent l'utilisation simultanée de plusieurs modes de représentation de l'information (tels que textes, sons, images fixes ou animées, entre autres), servant à noter un message afin de pouvoir le conserver et le transmettre du compositeur à l’interprète. Dans le cadre de la composition musicale, l’EM, telle que nous l’avons employée ici, s’est montrée efficace pour noter les éléments suivants : le timbre, des nouveaux modes de jeu, des nouvelles techniques vocales, des instructions pour l’emploi des logiciels ; et aussi l’EM s’est montrée efficace pour l’intégration des éléments suivants dans les œuvres de musique mixte : le jeu d’un musicien de tradition orale, des modes de jeu tirés des musiques de tradition orale et exécutés par un musicien de tradition écrite, une langue tonale (et l’expressivité liée aux genres de musique de tradition orale dans les œuvres écrites. À l’ensemble de notations multimédia déjà existantes et disponibles pour la composition musicale, nous ajoutons deux types de notation qui se sont révélés efficaces dans cette recherche : la notation auditive et la notation d’un savoir-faire au moyen de la vidéo. / The main goal of this work is to solve some of the difficulties that composers encounter when notating music. Firstly, we describe how the Western musical notation (WMN) is limited when attempting to write specific musical elements. Secondly, we show the possible advantages that multimedia writing (MW) could offer on the notation of such elements. To address these issues, we used MW in six “experiments/composition projects” that were conceived to answer specific notation questions. The results obtained thereof allowed us to demonstrate the efficacy of MW for overcoming current limitations in music notation. More specifically, MW constitutes a group of procedures that allows to simultaneously represent information in different ways. This information could be either text, sounds, still or moving images, among others. Such procedures can be used to note down a message to further save it and transfer it from the composer to the performer. In the context of our experimental paradigms, MW has proven to be efficient for: the notation of timber, the integration of musicians from oral tradition in mixed music works, the incorporation of instrumental techniques drawn from oral tradition music into written music, the integration of a tonal language in a music score, the notation of new instrumental and vocal techniques, the guidance at using new software, and the incorporation of expressiveness associated to music styles of oral tradition into written works. We consider that two types of notation that proved to be efficient in this research could be added to the body of already existing MW, namely auditive notation and the notation of a know-how by the means of video.

Optical Music Recognition (OMR) is the field of computationally reading music notation. This thesis presents, in the form of dissertation by publication, contributions to the theory, resources, and methods of OMR especially for handwritten notation. The main contributions are (1) the Music Notation Graph (MuNG) formalism for describing arbitrarily complex music notation using an oriented graph that can be unambiguously interpreted in terms of musical semantics, (2) the MUSCIMA++ dataset of musical manuscripts with MuNG as ground truth that can be used to train and evaluate OMR systems and subsystems from the image all the way to extracting the musical semantics encoded therein, and (3) a pipeline for performing OMR on musical manuscripts that relies on machine learning both for notation symbol detection and the notation assembly stage, and on properties of the inferred MuNG representation to deterministically extract the musical semantics. While the the OMR pipeline does not perform flawlessly, this is the first OMR system to perform at basic useful tasks over musical semantics extracted from handwritten music notation of arbitrary complexity.