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.

Thesis (Ph. D.)--University of Washington, 2006. / Vita. Includes bibliographical references (leaves 262-271).

Thesis (Ph. D.)--University of Rochester, 2009. / Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/10978

published_or_final_version / Music / Master / Master of Philosophy

This study surveys and categorizes new techniques of sound production for the pianoforte which have come into prominent use since 1950. In addition the project developes a series of ten study pieces (etudes) which aid advanced piano students in acquiring the basic techniques required to perform many of the piano compositions written since 1950.A review of the piano literature of selected composers from 1950-1975 revealed thirteen basic techniques which have come into common use in these twenty-five years. Although many more techniques exist, they are combinations or variations of these basic techniques. The thirteen techniques have been classified into four categories: string techniques, keyboard techniques, string/keyboard techniques, and pedal techniques. Only techniques using sounds derived from the manipulation of the strings, keyboard, and pedals of the piano were included in this study.Although the study reveals that many of the techniques discussed were first introduced in the earlier part of the twentieth century, particularly through the compositions of Henry Cowell, they did not become common compositional techniques until the years after 1950. Their popularity after 1950 can be seen as part of a trend of composers becoming captivated with "sounds" per se, apart from their melodic or harmonic significance. This interest and fascination with "sound events" set the proper climate for the widespread development of the pianoforte techniques discussed in this paper. The development of the tape recorder and the long playing record made the interchange of musical ideas and the new techniques readily accessible.This study serves to clarify much of the mystique which surrounds many of the pianoforte compositions published since 1950. It discusses the new notational symbols used to designate the techniques and gives practical suggestions as to their proper execution.The series of study pieces developed for this project are meant to serve as an introduction to the new techniques. Although the pieces are written for the advanced piano student they are devoid of the rhythmic and visual complications which often surround compositions incorporating the new techniques. Except for two etudes, each piece uses only one new technique.

Thesis (Ed.D.)--Teachers College, Columbia University, 1970. / Typescript; issued also on microfilm. Sponsor: Gladys Tipton. Dissertation Committee: Charles W. Walton. Includes bibliographical references (leaves 325-344).

Thesis (M. Phil.)--University of Hong Kong, 1992. / Includes bibliographical references (p. 83-85).

Thesis (D.M.A.)--University of Iowa, 1978. / Examples from: Circles / L. Berio; The King of Denmark / M. Feldman; Liasons / R. Haubenstock-Ranati; Quadrivium / B. Maderna; Nr. 9 Zyklus / K. Stockhausen. Includes bibliographical references (leaves 176-182).

This paper will examine color-coded musical notation. The history of color and music will be briefly explored before a more in-depth analysis of the widely available color-coded curriculums. Traditional method book formats will be examined for the potential integration of color-coded musical notation.

One of the difficulties most frequently encountered among music students is reading inadequacy. In this particular study we shall attempt to measure and increase the visual span of reading musical notation.