Mit dem Aufkommen des Buchdrucks wurden mühsam gefertigte liturgische Musikhandschriften nur noch als strapazierfähiges Pergament geschätzt. Diese wurden dann als Buchumschlagsmaterial für gedruckte Bücher umfunktioniert. Ziel dieser Masterarbeit ist es, solche Fragmente in der Sächsischen Staats- und Universitätsbibliothek zu untersuchen. Eine kurze Zusammenfassung über alle 140 in Musikhandschriften gebundenen Bücher in der Bibliothek wird gegeben, und vier Fragmente werden im Detail betrachtet. Alle Fragmente waren einstimmig, aber es wurden verschiedene Notationsformen gefunden, von Neumen bis zur gotischen Notation. Es zeigt sich, dass selbst diese Fragmente eine große Menge an Informationen über den Entstehungsprozess dieser liturgischen Manuskripte und über die Entwicklung der Notation enthalten, die die Grundlage für weitere Forschung bilden.:I. Einführung 1. Einleitung und Fragestellung 2. Forschungslage 3. Herangehensweise II. Theoretische und methodologische Grundlagen 1. Musikpaläographische Aspekte 1.1 Kurze Zusammenfassung der Entwicklung der Neumenschrift 1.2 Quadratnotation und Gotische Notation 1.2.1 Quadratnotation 1.2.2 Gotische Notation 2. Entstehungsprozesse der ursprünglichen Musikhandschriften 2.1 Der kostbare Schreibstoff - Pergament 2.2 Arbeitsweise im Skriptorium 2.3 Vorbereitung für die Notation - Linierung der Blätter 2.3.1 Veränderungen im Zuge der Gotisierung 2.3.2 Reine Musikhandschriften und gemischte Handschriften 2.4 Kalligraphie der Musik 3. Herkunft der Trägerbände mit Musikfragmenten als Einbandmaterial 3.1 Dekontextualisierung der Musikhandschriften und die Rolle des Buchdrucks 3.2 Mögliche Entstehungen von in Musikfragmenten gebundenen Büchem III. Analyse 1. Überblick aller in Musikfragmenten eingebundenen Objekte in der SLUB 1.1 Allgemeine kodikologische Merkmale 1. 1.1 Recycelte Musikmakulatur: pragmatisch oder dekorativ? 1.2 Vorbesitzer und Bestandsübernahmen 1. 3 Vorhandene Notationsformen 2. Tiefere Analyse ausgewählter Einbände 2.1 Beispiel für Neumen auf Linien - Signatur Biogr.erud.D.905 2.2 Beispiel für Quadratnotation - Signatur Mscr.Dresd.C.82 2.3 Beispiel für Gotische Notation - Signatur Lit.Graec.B.62 2.4 Beispiel für Ostländische Notation - Signatur Astron.166 2.5 Zusammenfassung der Analysen IV. Schlussbemerkungen 1. Mögliche Erklärungen für den plötzlichen Anstieg von Musikhandschriften als Einbandmaterial 2. Zusammenfassung 3. Perspektiven Abbildungsverzeichnis Anhänge Literaturverzeichnis / With the advent of the printing press, painstakingly made liturgical music manuscripts became valued merely as durable parchment. These were then repurposed as book cover material for unrelated printed books. Such music manuscript fragments have gone largely unnoticed and uncatalogued by libraries and archives.The purpose of this masters’ thesis was to shed light on such holdings in one library: the Saxon State and University Library. A brief overview is provided of all 140 books bound in music in the library, and four fragments are studied in detail. All fragments were monophonic, but various types of notation were found, from neumes to gothic notation. It is shown that even these relatively small fragments hold vast amounts of information about the process of creating these liturgical manuscripts and about the evolution of notation, providing the groundwork for further research.:I. Einführung 1. Einleitung und Fragestellung 2. Forschungslage 3. Herangehensweise II. Theoretische und methodologische Grundlagen 1. Musikpaläographische Aspekte 1.1 Kurze Zusammenfassung der Entwicklung der Neumenschrift 1.2 Quadratnotation und Gotische Notation 1.2.1 Quadratnotation 1.2.2 Gotische Notation 2. Entstehungsprozesse der ursprünglichen Musikhandschriften 2.1 Der kostbare Schreibstoff - Pergament 2.2 Arbeitsweise im Skriptorium 2.3 Vorbereitung für die Notation - Linierung der Blätter 2.3.1 Veränderungen im Zuge der Gotisierung 2.3.2 Reine Musikhandschriften und gemischte Handschriften 2.4 Kalligraphie der Musik 3. Herkunft der Trägerbände mit Musikfragmenten als Einbandmaterial 3.1 Dekontextualisierung der Musikhandschriften und die Rolle des Buchdrucks 3.2 Mögliche Entstehungen von in Musikfragmenten gebundenen Büchem III. Analyse 1. Überblick aller in Musikfragmenten eingebundenen Objekte in der SLUB 1.1 Allgemeine kodikologische Merkmale 1. 1.1 Recycelte Musikmakulatur: pragmatisch oder dekorativ? 1.2 Vorbesitzer und Bestandsübernahmen 1. 3 Vorhandene Notationsformen 2. Tiefere Analyse ausgewählter Einbände 2.1 Beispiel für Neumen auf Linien - Signatur Biogr.erud.D.905 2.2 Beispiel für Quadratnotation - Signatur Mscr.Dresd.C.82 2.3 Beispiel für Gotische Notation - Signatur Lit.Graec.B.62 2.4 Beispiel für Ostländische Notation - Signatur Astron.166 2.5 Zusammenfassung der Analysen IV. Schlussbemerkungen 1. Mögliche Erklärungen für den plötzlichen Anstieg von Musikhandschriften als Einbandmaterial 2. Zusammenfassung 3. Perspektiven Abbildungsverzeichnis Anhänge Literaturverzeichnis

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.

Mathematics learning seems to be a demanding and time-consuming task for many learners. Information and communication technology (ICT) is an attractive tool of learning for students at any level and it can provide an effective atmosphere for understanding mathematics. The question is how to combine mathematics teaching contents, approaches, curricula, and syllabus with new media. The key issue in European educational policy (and other countries as well) is exchange and sharing digital learning resources (learning objects) among countries. In order to accumulate the practice of various countries and use the best digital resources created by different countries, it is necessary to localize learning objects (LO). The paper deals with some problems connected with localization of LO, developed for mathematics education, and presents some solution. Software localization is mainly referred to as language translation (e.g., translation of user interface texts and help documents). However, there are many other important elements depending on the country and people who will use the localized software. In this paper, the main attention is paid to localization of learning objects used for teaching and learning mathematics.

Das Projekt semPart – Semantik der Partitur versucht, durch Übertragung von Methoden der Informatik auf die musikalische Notation exakte Aussagen über deren Semantik zu erzielen. Dies geschieht durch Remodellierung, also durch das Erstellen kleiner mathematischer Modelle, die jeweils das historisch-kulturell bestimmte Dekodieren von isolierten Parameter-Schichten eines Notates nachbilden. Erstes wichtiges Ergebnis ist, dass es in keinem Bereich jemals eine einzige ›richtige‹ Definition von Syntax und Semantik geben kann, sondern einen Katalog von vielfältigen theoretisch möglichen und in der Praxis auch angetroffenen Varianten. Diese sind durch ihre Remodellierung exakt identifizier- und benennbar; ihre Gesamtheit bildet ein Raster, durch das Notationsstile und -werkzeuge beschreib- und vergleichbar werden. Dieses Raster und die Remodelle sind besonders politisch wichtig, zur Förderung einer öffentlichen Diskussion von Notationssystemen und ihren Eigenschaften, da zunehmend die Arbeitsweise von digitalen Werkzeugen die notationelle Praxis zu überformen und zu filtrieren droht. / The project semPart – Semantics of the Musical Score tries to clarify the semantics of musical notation by applying methods from informatics. This is done by remodelling, i. e., constructing small mathematical models that mimic the mentally and culturally determined processes taking place when decoding isolated parameters in musical notation. The first important result is that there can never be one single ‘correct’ definition of semantics in any area but rather a catalogue of many theoretically possible variants encountered in practice. Through their remodelling, these can be precisely identified and named; their totality constitutes a classification grid applicable to styles, corpora, single scores and digital tools such as editors or encoding standards. This grid and the remodels are of particular political importance in promoting a public discussion on notation systems and their characteristics, given that the increasing use of digital processing systems threatens to over-shape and narrow down notational practice.

Die Beherrschung der traditionellen Notenschrift gilt in der Instrumentalpädagogik als Voraussetzung für fortgeschrittenes Musizieren. Dagegen wird in der schulischen Musikpädagogik in Deutschland auf vertiefte Inhalte von Musiklehre oft verzichtet, um den Zugang zum Hören, Singen, Spielen und Verstehen von Musik barrierearm zu gestalten. Instrumentalpädagogik auf der einen und Schulmusik auf der anderen Seite bilden auf diese Weise Methoden aus, die weitgehend unverbunden koexistieren und ihr Potenzial zur wechselseitigen Inspiration nicht ausschöpfen. Dieser Aufsatz zeigt, wie eine Kombination traditioneller und innovativer Notationsweisen dazu beitragen kann, die beschriebene Kluft zu überwinden und Schüler*innen das Verständnis kompositorischer Elemente, Strukturen und Abläufe zu erleichtern. Variable Bausteine zur Verschriftlichung unter Einbeziehung von Solmisation und grafischen Elementen dienen der Vermittlung von Lernzielen, z. B. beim Hören und Analysieren von Musik, in Live-Arrangement, Improvisation und Komposition. Sie sind – vom Vorschulbereich bis zur Arbeit mit fortgeschrittenen Gruppen und Ensembles – an unterschiedliche Niveaus und Lerninhalte adaptierbar. / In instrumental pedagogy, proficiency in traditional musical notation is considered a prerequisite for advanced music-making. In contrast, school music pedagogy in Germany often dispenses with advanced music theory content in order to make listening to, singing, playing and understanding music more accessible. Thus, instrumental pedagogy on the one hand and school music on the other form methods that coexist largely disconnected and do not make use of their potential for mutual inspiration. This essay shows how combining traditional and innovative notation methods may help to bridge this gap and facilitate pupils’ comprehension of compositional elements, structures and progressions. Variable components for notation, including solmisation and graphic elements, serve to communicate learning goals, e. g., in listening to and analysing music, arranging, improvising and composing. They can be adapted to various levels and learning contents from pre-school education to working with advanced groups and ensembles.

This dissertation aims to address the pedagogical gap in introductory material for contemporary clarinet instruction. Through examining the most prominent contemporary methods for the clarinet, the pedagogical gap is highlighted, particularly regarding material aimed at newcomers and early undergraduate students. To address these needs, a new collection of etudes is proposed, introducing extended techniques and contemporary notation for newcomers to modern music.

Contemporary music for horn often requires techniques and musical or notational considerations that are unconventional with respect to the standard pedagogy of the instrument. As such, these considerations often represent a level of challenge to which the average-intermediate to advanced-hornist is unprepared to approach or altogether unfamiliar. The most prominent of these demands arising in the last few decades of the twentieth century through today include microtonality (such as extended just intonation and quarter tones), extended techniques in combination or juxtaposition (such as multiphonics and right hand technique), rhythmic complexity (including metric modulation, non-dyadic meters, additive rhythms, and nested tuplets), and unconventional notations (graphic, spatial, and other temporal notations). This document first surveys the challenges of the repertoire in question, which includes works by György Ligeti, Thea Musgrave, Milton Babbitt, Brian Ferneyhough, Iannis Xenakis, Heinz Holliger, and Douglas Hill, among others. After considering the merits and limitations of existing pedagogical materials that work towards these ends, the document then underlines a strategic pedagogical goal for understanding and approaching unconventional contemporary repertoire through newly-composed etudes. This document is written in conjunction with and justification for the author's 24 Unconventional Etudes for Horn, and includes examples therefrom.

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.

Text in Afrikaans, abstract in Afrikaans and English / Die gebruik van simbole maak wiskunde eenvoudiger en kragtiger, maar ook moeiliker verstaanbaar. Laasgenoemde kan voorkom word as slegs eenvoudige en noodsaaklike simbole gebruik word, met die verduidelikings en motiverings in woorde. Die krag van simbole le veral in die feit dat simbole as substitute vir konsepte kan dien. Omdat die krag van simbole hierin le, skuil daar 'n groot gevaar in die gebruik van simbole. Wanneer simbole los is van sinvolle verstandsvoorstellings, is daar geen krag in simbole nie. Dit is die geval met die huidige benadering in skoolalgebra. Voordat voldoende verstandsvoorstellings opgebou is, word daar op die manipulasie van simbole gekonsentreer. Die algebraiese historiese-kenteoretiese perspektief maak algebra meer betekenisvol vir leerders. Hiervolgens moet die leerlinge die geleentheid gegun word om oplossings in prosavorm te skryf en self hul eie wiskundige simbole vir idees spontaan in te voer. Hulle moet self die voordeel van algebraiese simbole beleef. / The use of symbols in algebra both simplifies and strengthens the subject, but it also increases its level of complexity.This problem can be prevented if only simple and essential symbols are used and if the explanations are fully verbalised. The power of symbols stems from their potential to be used as substitutes for concepts. As this constitutes the crux of mathematical symbolic representation, it also presents a danger in that the symbols may not be comprehended. If symbols are not related to mental representations, the symbols are meaningless. This is the case in the present approach to algebra. Before sufficient mental representations are built, there is a concentration on the manipulation of symbols. The algebraic historical epistemological perspective makes algebra more meaningful for learners. Learners should be granted the opportunities to write their solutions in prose and to develop their own symbols for concepts. / Mathematics Education / M. Sc. (Wiskunde-Onderwys)

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