Habilitationsschrift--Zürich. / "Literatur": p. 29. "Notenbeilagen": p. [31]-116.

Thesis (M. A.)--St. Vladimir's Orthodox Theological Seminary, 1998. / Most titles in bibliography in Armenian. Includes bibliographical references (leaves 37-47).

Thesis (M.M.)--The University of North Carolina at Greensboro, 2008. / Advisor: Alejandro Rutty; submitted to the School of Music. Title from PDF t.p. (viewed May 28, 2009). Includes bibliographical references (p. 28).

Thesis (M. A.)--St. Vladimir's Orthodox Theological Seminary, 1998. / Most titles in bibliography in Armenian. Includes bibliographical references (leaves 37-47).

Inaug.-Diss.--Leipzig.

Inaug.-Diss.--Heidelberg. / Lebenslauf. Includes bibliographical references.

Thesis (Ph. D.)--University of Illinois at Urbana-Champaign, 1979. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 380-400).

Thesis (M. A.)--St. Vladimir's Orthodox Theological Seminary, 1998. / Most titles in bibliography in Armenian. Includes bibliographical references (leaves 37-47).

This treatise provides recorder performers and teachers with a guide to understanding the unconventional notation symbols encountered in Music for a Bird by Hans-Martin Linde and Sieben Stücke Für Altblockflöte by Markus Zahnhausen. Given the context of the overall history of notation, it argues that the idiosyncrasies of the unconventional notation symbols encountered in the recorder repertoire of contemporary composers such as Linde and Zahnhausen are by no means an anomaly. Throughout history, notated scores have functioned merely as incomplete guides to the reconstruction and the realization of musical works. Along with the decoding of these instructions, a host of acculturated meanings have always been taken for granted on the part of the writers of such guidelines. In the light of the modernist crisis and the resultant exacerbation of the gulf between composers and their audience, however, it would seem that the need for such acculturated intervention is greater then ever before. This treatise serves to bridge the gulf between the works of Linde and Zahnhausen on the one hand, and the average performer and teacher of the recorder on the other, by offering an analysis both of the meaning of the unconventional symbols these works contain as well as of the method according to which they should be executed on the recorder.

This thesis argues that a performer’s relationship with a musical score is an interaction largely defined by social and cultural parameters, but also examines whether disparate musical traditions show any common underlying tendencies regarding the perceived relationship between musical sound and visual representation. The research brings a novel, cross-cultural perspective to bear on the topic, combining a systematic, empirical study with qualitative fieldwork. Data were collected at five sites in three countries, involving: classically-trained musicians based in the UK; traditional Japanese musicians both familiar and unfamiliar with western standard notation; literate Eastern Highlanders from Port- Moresby, Papua New Guinea; and members of the BenaBena tribe, a non-literate community in Papua New Guinea. Participants heard short musical stimuli that varied on three musical parameters (pitch, duration and attack rate) and were instructed to represent these visually so that if another community member saw the marks they should be able to connect them with the sounds. Secondly, a forced-choice design required participants to select the best shape to describe a sound from a database. Interviews and fieldwork observations recorded how musicians engaged with the visual representation of music, considering in particular the effects of literacy and cultural parameters such as the social context of music performance traditions. Similarities between certain aspects of the participants’ responses suggest that there are indeed some underlying commonalities among literate participants of any cultural background. Meanwhile, the overall variety of responses suggests that the association between music and its visual representation (when it takes place) is strongly affected by ever-altering socio-cultural parameters.