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 Musical Visitor, in which he continually attacked Lowell Mason, possibly leading to Mason's dismissal as Superintendent of Music of Boston's public schools.

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.

Ce mémoire a pour objectif d’illustrer l’importance du son dans ma démarche musicale par le biais de l'analyse de trois pièces instrumentales écrites lors de ma maîtrise. L’étude de mon processus de création, depuis les premières idées sonores jusqu’à la réalisation de la partition finale, mettra ainsi en lumière plusieurs éléments constitutifs de cette « écriture du son » au cours de mon travail de composition. Il s'attardera particulièrement sur la recherche de différentes matières sonores, sur l’intégration de sonorités bruités et inharmoniques dans la structure musicale, sur l'utilisation de modes de jeux instrumentaux non conventionnels, ainsi que sur la neutralisation des fonctions harmoniques et mélodiques. Ce mémoire abordera également les conséquences de ces recherches sonores sur la forme, la temporalité et la notation. En examinant diverses applications formelles liées au déploiement temporel du son, de la Momentform jusqu’au continuum, il interrogera notamment le rapport entre la forme et la perception de l’objet sonore. Enfin, il soulèvera les incidences de cette démarche sur l'emploi de nouvelles notations musicales qui synthétisent diverses approches d’écriture, de la notation traditionnelle à la partition graphique. Les trois pièces analysées dans ce mémoire (La peau du dehors, pour grosse caisse amplifiée ; Traverser / Disparaître, pour quatuor à cordes ; Filtres, pour ensemble de 14 instruments) permettront d’observer l’application de cette « écriture du son » au sein de projets aux instrumentations diverses, depuis la pièce soliste jusqu’à la pièce pour ensemble. / This dissertation aims to illustrate the importance of sound in my musical approach through the analysis of three instrumental pieces written during my master's degree. The study of my creative process, from the first sound ideas to the realization of the final score, sheds light on several constituent elements of this "writing of sound" during my composition work. It focuses particularly on the search for different sound materials, on the integration of noise and inharmonic sounds in the musical structure, on the use of unconventional instrumental techniques, as well as on the neutralization of harmonic and melodic functions. This dissertation also addresses the impact of these sound investigations on form, temporality and notation. By examining various formal applications related to the temporal deployment of sound, from the Momentform to the continuum, it investigates the relationship between form and perception of the sound object. Finally, it analyzes the consequences of this method on the use of new musical notations, which synthesize various approaches across traditional notation and graphic score. The three pieces analyzed in this dissertation (La peau du dehors, for amplified bass drum; Traverser / Disparaître, for string quartet; Filtres, for ensemble of 14 instruments) will allow us to observe the application of this "writing of sound" within projects with diverse instrumentations, from the solo piece to the piece for ensemble.

Peruvian composers Armando Guevara Ochoa (1926–2013) and César Vivanco (b. 1949) borrow and transplant musical elements from Andean folk tradition into their compositions for the modern classical flute. Guevara Ochoa's Yaraví, Danza y Huayno and Vivanco's Fantasía Andina are solo flute pieces rooted in Peruvian folklore traditions and Andean instrumental performance. The purpose of this dissertation is to provide flutists with technical and interpretative guidance in preparing these pieces. Yaraví, Danza y Huayno, a suite of three short dances, and Fantasía Andina, a free-meter piece in an improvisational style, incorporate elements that utilize the performance techniques of Andean instruments, with use of quotations from traditional Andean folk music. References to quenas (traditional vertical flutes), zampoñas (panpipes), pututos (ceremonial natural horns), charangos (Andean guitars) and Andean harps are integrated within the works and fused with themes borrowed from iconic pieces such as El cóndor pasa, and traditional harmonic, melodic and rhythmic structures of the huayno (fast festive dance) and yaraví (slow melancholic song). The techniques and traditions borrowed from Andean folk music are not notated in these scores due to the limitations of musical notation. Performers are expected to portray the Andean musical identity of the composers' intent. This dissertation assists performers unfamiliar with the traditions of Andean music to identify and understand the implicit Andean roots in both works and develop techniques to accurately represent sounds of Andean Peruvian traditions, with a deeper, culturally informed interpretation of this music.

Includes bibliographical references / Pages not numbered / Music has formed a part of human life as far back as demonstrable. Music existed long before musical instruments made their appearance. The examination of textual evidence read in conjunction with the available archaeologic evidence from the time and area clearly demonstrates which musical instruments were available and the instances they were used at. It clearly points to the lyre as the primary proponent of the musical culture of the time with regards to melodic music. This is confirmed from what we learn from the ancient tuning tablets. There thus is a direct demonstrable connection between the instrument and the theory of the time. Work done on the musical elements of the cantillation marks of the Hebrew Bible comfortably fits into this framework and appears to be a direct influence on the manner in which the Psalms were sung and composed. A combination of literary, archaeological and musical sources can thus be used within a literary and historical approach to demonstrate the availability of musical instruments in AIP, the manner in which tonality was recorded and its influence on the development of the Psalms. / Old Testament and Ancient Near Eastern Studies / M.A. (Biblical Archaeology)

Loin de prétendre à l’exhaustivité, cette thèse présente un premier essai visant à une compréhension plus unifiée et plus globale du système modal arabe d’une période s’étalant sur cinq siècles environ. Un des enjeux de cette recherche est, pour reprendre les termes d’Amnon Shiloah, « de quitter, une fois pour toutes, la légende de léthargie » et d’enlever la qualification de «stagnation » et d’« âge des ténèbres » longtemps attachée à cette époque. Il s’est avéré à travers les pages de cette recherche, que le système modal n’a jamais perdu sa vitalité. Tout au contraire, les études historique, philologique, systémique et sémiotique menées au cours de cette thèse attestent de la présence d’un fil conducteur qui lie, d’un bout à l’autre, la tradition du XIIIe siècle à celle du XIXe siècle. / Far from being exhaustive, this thesis presents a first attempt to a more cohesive and comprehensive understanding of the Arab modal system of a period of time spanning about five centuries. One aim of this research is, following Amnon Shiloah, "to leave once and for all, the legend of lethargy" and remove the clause of "stagnation" and "dark ages" long attached to this epoch. It appears through the pages of this research that the modal system never lost its liveliness. On the contrary, historical, philological, systemic and semiotic studies conducted during this thesis show the presence of a thread that binds, from one end to the other, the tradition of the thirteenth century to that of the nineteenth century.

This paper discusses several compositions that use the computer screen to present music notation to performers. Three of these compositions, Law of Fives (2015), Polytera II (2016), and Terraformation (2016–17), employ strategies that allow the notation to change during the performance of the work as the product of composer-regulated algorithmic generation and performer interaction. New methodologies, implemented using Cycling74's Max software, facilitate performance of these works by allowing effective control of generation and on-screen display of notation; these include an application called VizScore, which delivers notation and conducts through it in real-time, and a development environment for real-time notation using the Bach extensions and graphical overlays around them. These tools support a concept of cartographic composition, in which a composer maps a range of potential behaviors that are mediated by human or algorithmic systems or some combination of the two. Notational variation in performance relies on computer algorithms that can both generate novel ideas and be subject to formal plans designed by the composer. This requires a broader discussion of the underlying algorithms and control mechanisms in the context of algorithmic art in general. Terraformation, for viola and computer, uses a model of the performer's physical actions to constrain the algorithmic generation of musical material displayed in on-screen notation. The resulting action-based on-screen notation system combines common practice notation with fingerboard tablature, color gradients, and abstract graphics. This hybrid model of dynamic notation puts unconventional demands on the performer; implications of this new performance practice are addressed, including behaviors, challenges, and freedoms of real-time notation.

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 melodispel på piano och mer sällan i undervisning i sång, gitarr och ackordspel på piano. Det framkom även att de musiklärare som hade en mer populärmusikalisk bakgrund tenderade att använda noter mindre i undervisningen än de med en klassisk bakgrund. Vidare diskuteras ur vilka perspektiv sambandet mellan musikalisk bakgrund och notanvändning kan förstås, praktiska aspekter av att undervisa med eller utan noter och hur musikundervisning speglar noters samhällsstatus. / This study aims to examine the musical background of four music teachers in lower secondary school and how they use traditional Western musical notation in their teaching. Previous research addresses the similarities of musical notation with written language, the role of musical notation in music teaching and identity and role models in music. Socio- cultural perspective has been used as a theoretical starting point. Semi-structured interviews were conducted with four music teachers in lower secondary school and analyzed using thematic analysis. The results showed that musical notation is mainly used in teaching drums and melody playing on piano but rarely when teaching singing, guitar and chord playing on piano. The study also showed that the music teachers who had a more pop musical background tended to use musical notation less in their teaching than those with a classical background. Furthermore, it is discussed from which perspectives the connection between musical background and the use of musical notation can be understood, practical aspects of teaching with or without musical notation and how music teaching reflects the social status of musical notation.

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In dem von der Deutschen Forschungsgemeinschaft geförderten Projekt PROBADO (http://www.probado.de) werden von drei universitären Informatik-Instituten und zwei Bibliotheken innovative Verfahren für nicht-textuelle Dokumente entwickelt und prototypisch für die Bereiche 3D-Architekturmodelle und Musikdokumente in bibliothekarische Arbeitsabläufe integriert. Tonaufnahmen und Musikalien stehen dabei im Mittelpunkt des Teilprojekts Probado-Musik, das von der Bayerischen  Staatsbibliothek und dem Institut für Informatik III der Universität Bonn (Arbeitsgruppe Professor Clausen) betreut wird. Die drei wichtigsten Ziele dieses Teilprojektes sind die weitgehende Automatisierung der Erschließung und Indexierung von Musikdokumenten, die Anwendung neuartiger inhaltsbasierter Suchverfahren für Musik und der Aufbau nutzerfreundlicher Oberflächen zur komfortablen Suche und Bereitstellung von diesen Musikdokumenten. Hierfür wurde ein Musik-Repository aufgebaut, das Musikdokumente in verschiedenen Formaten enthält. Dazu gehören eingescannte Notendrucke im TIFF- und JPEG-Format, Audio-Dateien im WAV- und MP3-Format sowie symbolische Musikformate wie Music-XML und die Ausgabeformate von OMR-Programmen („Optical Music Recognition“). Das Musik-Repository enthält mittlerweile ca. 100.000 Seiten von eingescannten Notendrucken und Audio-Dateien von mehreren Hundert CDs. Die dazugehörigen Metadaten werden aus dem Katalog der Bayerischen Staatsbibliothek und externen Datenquellen gewonnen und in einer FRBR-basierten Datenbank abgelegt. (Katrin Braun, Münchener Digitalisierungszentrum / Digitale Bibliothek, Bayerische Staatsbibliothek)