Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2006. / 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.

A pesquisa aborda a subjetividade presente no fazer musical infantil. De modo específico, busca compreender os processos que geram sentido e significado nas notações musicais, de um grupo de nove crianças, com idade entre 4 a 6 anos. As crianças participantes são alunos regulares de Musicalização, do Curso Básico de Música, da Fundação Municipal de Artes de Montenegro – FUNDARTE. O registro das manifestações empíricas ocorreu em quatro encontros, no período de setembro a novembro de 2009, os quais foram filmados para o detalhamento das análises. A epistemologia da pesquisa qualitativa e subjetividade, defendida por Gonzales Rey, orienta a escolha metodológica e os conceitos relevantes da investigação, adotando-se o estudo de caso como estratégia de pesquisa. O sentido e o significado das notações musicais das crianças foram compreendidos, a partir de núcleos configurados em torno da materialidade, das narrativas, das relações interpessoais e simbologias compartilhadas no processo dialógico que envolveu as crianças participantes e o pesquisador. Os aportes teóricos de Silvia Helena Cruz e colaboradores (2008) possibilitaram que as interações dessa pesquisa fossem guiadas pela voz das crianças, para então apreender os fundamentos de sua subjetividade. A presente pesquisa poderá contribuir como um referencial para futuras pesquisas com crianças, realizadas em outros contextos e áreas da educação, interessadas em compreender o sentido e o significado das produções infantis. / The research approaches the subjectivity present in musical making for children. In a specific way, it aims to understand the processes that generate meaning and sense in musical notation, in a group of nine children aged from 4 to 6 years. Participant’s children are regular students of Musicalization on the Basic Course of Music at Fundação Municipal de Artes de Montenegro – FUNDARTE. The record of empirical manifestations in this research occurred in four meetings from September to November 2009, when were filmed for a detailed analysis. The epistemology of qualitative and subjectivity research, defended by Gonzales Rey, guides the methodological choice and the relevant concepts of investigation, adopting the case study as research strategy. The meaning and sense of musical notation of children were understood from configured issues around the materiality, the narratives, the interpersonal relations and symbology shared in the dialogic process that involved the participant children and the researcher. The theoretical contribution of Silvia Helena Cruz and collaborators (2008) made possible that the interactions of this research were guided by the children voice for then to apprehend the fundamentals of their subjectivity. This research can contribute as a reference for future researches with children in other contexts and education area, interested in understanding the meaning and sense of children productions.

A pesquisa aborda a subjetividade presente no fazer musical infantil. De modo específico, busca compreender os processos que geram sentido e significado nas notações musicais, de um grupo de nove crianças, com idade entre 4 a 6 anos. As crianças participantes são alunos regulares de Musicalização, do Curso Básico de Música, da Fundação Municipal de Artes de Montenegro – FUNDARTE. O registro das manifestações empíricas ocorreu em quatro encontros, no período de setembro a novembro de 2009, os quais foram filmados para o detalhamento das análises. A epistemologia da pesquisa qualitativa e subjetividade, defendida por Gonzales Rey, orienta a escolha metodológica e os conceitos relevantes da investigação, adotando-se o estudo de caso como estratégia de pesquisa. O sentido e o significado das notações musicais das crianças foram compreendidos, a partir de núcleos configurados em torno da materialidade, das narrativas, das relações interpessoais e simbologias compartilhadas no processo dialógico que envolveu as crianças participantes e o pesquisador. Os aportes teóricos de Silvia Helena Cruz e colaboradores (2008) possibilitaram que as interações dessa pesquisa fossem guiadas pela voz das crianças, para então apreender os fundamentos de sua subjetividade. A presente pesquisa poderá contribuir como um referencial para futuras pesquisas com crianças, realizadas em outros contextos e áreas da educação, interessadas em compreender o sentido e o significado das produções infantis. / The research approaches the subjectivity present in musical making for children. In a specific way, it aims to understand the processes that generate meaning and sense in musical notation, in a group of nine children aged from 4 to 6 years. Participant’s children are regular students of Musicalization on the Basic Course of Music at Fundação Municipal de Artes de Montenegro – FUNDARTE. The record of empirical manifestations in this research occurred in four meetings from September to November 2009, when were filmed for a detailed analysis. The epistemology of qualitative and subjectivity research, defended by Gonzales Rey, guides the methodological choice and the relevant concepts of investigation, adopting the case study as research strategy. The meaning and sense of musical notation of children were understood from configured issues around the materiality, the narratives, the interpersonal relations and symbology shared in the dialogic process that involved the participant children and the researcher. The theoretical contribution of Silvia Helena Cruz and collaborators (2008) made possible that the interactions of this research were guided by the children voice for then to apprehend the fundamentals of their subjectivity. This research can contribute as a reference for future researches with children in other contexts and education area, interested in understanding the meaning and sense of children productions.

Orientador: Carlos Eduardo di Stasi / Banca: Fernando Iazzetta / Banca: Eduardo Flores Gianesella / Resumo: Procuramos neste trabalho discutir aspectos da notação para percussão que se conectam a uma busca pelo novo na música de Gilberto Mendes (1922), Rogério Duprat (1932 - 2006) e Willy Corrêa de Oliveira (1938), signatários do Manifesto Música Nova, em 1963. Acreditamos que, de acordo com as propostas contidas no Manifesto, nestas partituras encontraremos tentativas de uma renovação da estética musical determinadas por um pensamento vanguardístico de experimentação, podendo ser examinadas a partir da utilização de novos grafismos que representam recursos de indeterminação, improvisação, explorações timbrísticas e também incorporando elementos das linguagens poéticas, teatrais e das artes visuais. O foco da pesquisa serão as obras Concerto para Tímpanos, Caixa e Percussão (Gilberto Mendes, 1991), Antinomies I (Rogério Duprat, 1962) e Memos (Willy Corrêa de Oliveira, 1977). Ao discutir as características da notação para percussão nestas peças, identificamos o posicionamento das vanguardas dos anos sessenta em sua busca pelo novo, que também pretendemos avaliar através da tentativa destes três compositores de incorporar instrumentos de percussão típicos brasileiros em sua música de caráter experimental, no caso: o berimbau, a cuíca e o agogô, verificando o problema da escrita para estes instrumentos / Abstract: This work aims to discuss aspects of percussion notation that were connected to a search for novelty in the music of the Brazilian composers Gilberto Mendes (1922), Rogério Duprat (1932 - 2006) e Willy Corrêa de Oliveira (1938), who signed the Manifesto Música Nova, in 1963. We believe that, according to the proposals contained in the Manifesto, in these scores we can find evidence of an attempt to renew musical aesthetics determined by the experimentalavant-gardethought, which can be examined on the basis of thecreation of new graphics, representing procedures of indeterminacy,improvisation, timbristic explorations and the incorporation of elements of poetic, theatrical and visual languages. The focus of the research is the Concerto para Tímpanos, Caixa e Percussão (Gilberto Mendes, 1991), Antinomies I (Rogério Duprat, 1962) and Memos (Willy Corrêa de Oliveira, 1977). In discussing the notation characteristics for percussion in these parts, we identified the positioning of the sixties avant-garde in its search for novelty that we also intend to evaluate through a trial of these three composers to incorporate typical Brazilian percussion instruments in their experimental music, in this case: the berimbau, the cuíca and the agogô, checking the notation problem for these instruments / Mestre

A pesquisa aborda a subjetividade presente no fazer musical infantil. De modo específico, busca compreender os processos que geram sentido e significado nas notações musicais, de um grupo de nove crianças, com idade entre 4 a 6 anos. As crianças participantes são alunos regulares de Musicalização, do Curso Básico de Música, da Fundação Municipal de Artes de Montenegro – FUNDARTE. O registro das manifestações empíricas ocorreu em quatro encontros, no período de setembro a novembro de 2009, os quais foram filmados para o detalhamento das análises. A epistemologia da pesquisa qualitativa e subjetividade, defendida por Gonzales Rey, orienta a escolha metodológica e os conceitos relevantes da investigação, adotando-se o estudo de caso como estratégia de pesquisa. O sentido e o significado das notações musicais das crianças foram compreendidos, a partir de núcleos configurados em torno da materialidade, das narrativas, das relações interpessoais e simbologias compartilhadas no processo dialógico que envolveu as crianças participantes e o pesquisador. Os aportes teóricos de Silvia Helena Cruz e colaboradores (2008) possibilitaram que as interações dessa pesquisa fossem guiadas pela voz das crianças, para então apreender os fundamentos de sua subjetividade. A presente pesquisa poderá contribuir como um referencial para futuras pesquisas com crianças, realizadas em outros contextos e áreas da educação, interessadas em compreender o sentido e o significado das produções infantis. / The research approaches the subjectivity present in musical making for children. In a specific way, it aims to understand the processes that generate meaning and sense in musical notation, in a group of nine children aged from 4 to 6 years. Participant’s children are regular students of Musicalization on the Basic Course of Music at Fundação Municipal de Artes de Montenegro – FUNDARTE. The record of empirical manifestations in this research occurred in four meetings from September to November 2009, when were filmed for a detailed analysis. The epistemology of qualitative and subjectivity research, defended by Gonzales Rey, guides the methodological choice and the relevant concepts of investigation, adopting the case study as research strategy. The meaning and sense of musical notation of children were understood from configured issues around the materiality, the narratives, the interpersonal relations and symbology shared in the dialogic process that involved the participant children and the researcher. The theoretical contribution of Silvia Helena Cruz and collaborators (2008) made possible that the interactions of this research were guided by the children voice for then to apprehend the fundamentals of their subjectivity. This research can contribute as a reference for future researches with children in other contexts and education area, interested in understanding the meaning and sense of children productions.

Iconographs is such a composition in which mathematical techniques are brought to bear. Nine separate number series have been generated and carried out to 1024 units. These series are combined by addition to calculate a single number by taking the remainder after dividing the sum of the series by nine. This mod 9 reduction is used to choose a set of pitches. Iconographs is a composition for microcomputer and chamber orchestra written in proportional notation with 1024 time segments grouped into 32 pages of 32 time segments each. The duration for each segment is .618034 seconds, which is the Golden Mean of one second, represented in a horizontal space of .34375 inches. The horizontal space/time-frame proportion is consistent but the actual duration of sounds are only approximate. The duration of the entire composition is 10.54778 minutes with a total horizontal space of 352 inches. The structure of the composition as a whole has no relationship to any of the traditional forms does contain a focus of formal structure at time-frame number 632, the Golden Mean. This focus is expressed by a density of sound events in all parts.

No description available.

ENGRAVE is an expert system that performs the work of a music engraver. The system takes a digital image of a conductor's score as input and produces engraved-quality copies of the individual parts. ENGRAVE consists of a vision system and a graphics system. The vision system contains a low-level section that recognizes features and a visual expert system that understands their meanings. Under the current computer vision paradigm, low-level processing is general-purpose while domain knowledge is used only in "high-level" routines. We hypothesize that domain knowledge is necessary at the low level as well for a vision system to work reliably. The visual expert uses a frame-based approach to explain the objects round in music. In the graphics system, we make use of the concept of "spatial planning" to generate correct musical notation. We show by example that spatial planning can be applied to other domains. / Master of Science

Thesis (PhD) -- University of Stellenbosch, 2005. / ENGLISH ABSTRACT: The researcher encountered the following problems while teaching braille IWSic notation to blind learners at the Pioneer School in Worcester: • Young learners learning to read braille IWSic notation with the piano as mediwn appeared to struggle technically. For example, blind children experienced difficulty finding the correct keys over seven octaves; they had generally weak posture; they had to learn to play one part with one hand while the other hand would read; they had to memorise the music for each clef individually and then combine them cognitively; they had to memorise the soprano, alto, tenor and bass parts of a piece; they often experienced discouragement because of the very slow progress they made compared with their sighted peers. • Although learners seemed to find the recorder technically more manageable, currently available braille recorder tutors proved to be inadequate. This inadequacy was a result of the tutors having been designed for the sighted child. The researcher thus set out to design a more appropriate approach than is currently available for teaching braille music notation to the blind, with the recorder as medium. The research method was qualitative and included a literature survey which covered the following unique needs of the blind learner: • psychological • emotional and social • concept development • motor skills (orientation, laterality, posture, coordination) • tactile perception • creativity and self expression The qualitative research also included video observation of a series ofiodividual and group lessons. The lesson material emerged from a programme designed by the researcher and was based on the literatme study. An observation panel. together with the researcher, evaluated the lessons on predetenDned coded assessment criteria 'The lessons and progrannne were adapted according to feedback from the lessons. The qualitative research includes interviews with five blind learners and six teachers of braille music notation. The interviews were designed to gather information on how blind learners can more appropriately be taught the braille music code. The unique needs of blind learners, in particular those concerning orientation and perceptual awareness, are considered in this alternative approach for teaching braille music notation to blind learners. 'The alternative programme is skills based and can be used convElliently in conlunetion with the Outcomes- Based Education (OBE) modeL / AFRIKAANSE OPSOMMING: Die navorser het die volgende probleme ondervind tydens baar onderrig van braille musieknotasie aan blinde leerders by Pionierskool in Worcester: • Dit wil voorkom asofjong leerders wat braille musieknotasie moet aanleer met die klavier as medium, tegniese probleme ondervind. Blinde kinders het dit byvoorbeeld moeilik gevind om die korrekte toetse oor sewe oktawe te vind; oor die algemeen was hulle houding swak; hulle moes leer om een stemparty met een hand te lees terwyl die ander hand gespeel het; hulle moes die musiek vir elke sleutelteken apart memoriseer en die stemme kognitiefbymekaar sit; hulle moes die sopraan, alt. tenoor en bas stempartye van 'n stuk memoriseer, hulle is baie keer moedeloos, weens hulle stadige vordering, in vergelyking met hulle siende portuurgroep. • A1hoewel dit gelyk het asof leerders die bioldIuit tegnies meer hanteerbaar gevind het, blyk huidige beskikbare braille bloldluit handleidings nie geskik te wees nie. Hierdie ontoereikendheid is as gevolg van die feit dat die handleidings vir die siende kind ontwerp IS. Derhalwe het die navorser gepoog om 'n meer toeganklike benadering te ontwikkel as wat tans beskikbaar is vir die onderrig van braille misieknotasie aan die blinde, met die bioldIuit as medium. Die ondersoekmetode was kwalitatief van aard en het onder andere 'n literatuuroorsig ingesluit wat die volgende unieke behoeftes van die blinde leerder ingesluit het: • siellnmdig • emosioneel en sosiaal • konsep ontwikkeling • motoriese vaardighede (oriëntasie, lateraliteit, houding, koOrdinasie) • gevoelswaarneming

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.