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In this inquiry, I examined how young children use their personal, social and material resources to solve a music notational task. I asked 13 children, ages 5-9 to notate a song they learned the previous week, sing it back, explain what they did and then teach the song to a classmate the following week. I used Lightfoot and Davis' concept of portraiture as a qualitative research methodology to collect, code, analyze and interpret my data. Data included the children's invented notations and videotaped transcripts of their actions as they created their notations and taught the song to a classmate. Sociocultural Vygotskian developmental theory, activity theory and Bakhtin's dialogic theory provided the interpretive lens through which I examined how the children used their resources as mediational tools to complete the task. / Findings revealed that children who had no previous music training used increasingly sophisticated representational strategies to notate a song, and that they were able to refine their notations when singing the song from their notation, teaching the song or when prompted by an adult or a peer. I concluded that the peer-peer situation was a motivating force for triggering a recursive process of reflections-on-actions and knowing-in-action. Classmates' questions, comments and their singing played a critical role in moving the children to modify their notations and their singing, verbal explanations and gesturing in ways they did not do alone or with me. / Analysis of the children's notations, verbal explanations and teaching strategies provided insights not only into what they knew about music, but also their appropriation of the cultural conventions of writing and their aesthetic sensibilities, as gleaned from their choice of symbols, colours and how they presented their symbols on the page. Interviews with parents, teachers and school principal provided contextual background for interpreting the children's notations and how they approached the task. This study shows the value of adopting a social constructivist approach to teaching the language of music. It also demonstrates that researching the products and processes of children's invented notations from a social constructivist perspective enables more detailed portraits of children's musical and meta-cognitive understandings.

Denna studie har som syfte att synliggöra, beskriva och reflektera kring de faktorer som konstituerar fenomenet interpretationsprocess. För att spegla fenomenet från två håll genomförs två interpretationer av en grafiskt noterad solosång, och för att kunna kvalitetsbeskriva förloppen i denna praktikbaserade studie, används en metod där interpreten pendlar mellan rollen som praktiker och forskare, och reflekterar i och över handling.         I förhållande till text och notation har den ena interpretationsprocessen sin utgångspunkt i sångarens livsvärld samt dennes tolkning av några symboler, medan den andra tar sin utgångspunkt i sångarens upplevelse av några bilmekanikers livsvärldar, samt deras tolkningar av samma symboler. Som metodisk grund används fenomenologin, vars två grundläggande teser är: en vändning mot sakerna, samt en följsamhet mot sakerna. Det som undersöks är interpretens erfarenheter och det sätt på vilket fenomenet interpretationsprocess framträder, och både verbala samt klingande exempel på denna levda och upplevda erfarenhet redovisas. Resultatet jämförs även med tidigare forskning inom liknande områden.         Resultatet visar att några av de centrala faktorer som konstituerar de båda interpretations-processerna är textanalysens (i vid bemärkelse) betydelse, närvaron av publikframförande- och kommunikationstanken, växlingen mellan praktik och reflektion, samt det egna skapandets omfattning och karaktär. Tolkningen av den verbala texten samt notationen utgjorde stommen för vad som skulle kommuniceras, och tankarna på en närvarande publik påverkade både instrumentet och själva tolkningen. Interpretations-processen präglades i hög grad av en växelverkan mellan praktiskt musicerande och reflektion, och av pendlandet mellan del och helhet, förförståelse och förståelse. Interpreten fungerade i hög grad som medkompositör, och skapandet präglades av både spontanitet och övervägda val.         Interpretens olika val och ställningstaganden speglas i de klingande gestaltningar som återfinns på skivan.

The basic goal of the Adaptive Optical Music Recognition system presented herein is to create an adaptive software for the recognition of musical notation. The focus of this research has been to create a robust framework upon which a practical optical music recognizer can be built. / The strength of this system is its ability to learn new music symbols and handwritten notations. It also continually improves its accuracy in recognizing these objects by adjusting internal parameters. Given the wide range of music notation styles, these are essential characteristics of a music recognizer. / The implementation of the adaptive system is based on exemplar-based incremental learning, analogous to the idea of "learning by example," that identifies unknown objects by their similarity to one or more of the known stored examples. The entire process is based on two simple, yet powerful algorithms: k-nearest neighbour classifier and genetic algorithm. Using these algorithms, the system is designed to increase its accuracy over time as more data are processed.

The aim of this creative project is the search for an alternative path of spatial understanding and the implementation of an complementary way that seeks to communicate new spatial ideas in the real of architecture.By introducing the hypothesis of a consolidated unit that consists of the triptych space, movement and the perceiving human being, one is necessary to create a media that can potentially help the expression of multidimensional structures.For this purpose dance is introduced in the field of architecture. Choreography and movement notation are structured and interpreted in order to inform the field of architecture on a theoretical as well as on a practical level.By analyzing components of dance, useful elements that can help to "render" architectural ideas can be identified.The second part of this thesis project, provides a way of how to implement the unit space, movement and the perceiving human being, into the field of architecture. A synthesis of elements existing both in the field of architecture and dance, constitute the base for an architectonic artefact. The introduction of an artefact as such, "moves" beyond the expected understanding of architectural space, commonly portrayed as something static and absolute, while it offers new possibilities to spatial perception. / Department of Architecture

<p>A semiminim is typically defined as a note value worth half a minim, usually drawn as a flagged or colored minim. That definition is one according to which generations of scholars have constructed chronologies and provenances for fourteenth- and fifteenth-century music and the people who created it. `Semiminims' that do not match this definition are often portrayed in modern scholarship as anomalous, or early prototypes, or evidence of poor education, or as peculiarities of individual preference. My intensive survey of the extant theoretical literature from the earliest days of the Ars Nova through c. 1440 reveals how the conceptualization and codification of notation occurred in different places according to different fundamental principles, resulting not in one semiminim but a plethora of related small note values. These phenomena were dynamic and unstable, and a close study of them helps to clarify a range of historical issues. Localized traditions have often been strictly bounded in scholarly literature; references to French, Italian, and English notation are commonplace. I explain notational preferences in Italy, England, central Europe, and the rest of western Europe with regard to these small note values but demonstrate that theorists educated in each of these places routinely incorporated portions of other traditions. This process began long before the `ars subtilior,' dating at least to the time of Franco of Cologne. Rarely were regional traditions truly isolated; the various aspects of semiminim-family note values were debated and adapted for decades across these cultural and geographical boundaries. The central theme of my research is to show how and why the theoretical conceptualization of these myriad small note values is key to understanding the continual merging of these local preferences into a more amalgamated style of notation by the mid-fifteenth century.</p> / Dissertation

Thesis (D.M.A.)--Rutgers University, 2010. / "Graduate Program in Music Education." Includes bibliographical references (p. 103-118).

Ulm, Univ., Diss., 2000.

Thesis (Ph. D.)--University of Michigan, 1935. / Bibliography: p. 79-99.

Thesis (Ph. D.)--Columbia University, 1939. / Vita. Published also as Teachers college, Columbia university, Contributions to education, no. 775. Music tests, etc.: [30] p. (variously paged). Bibliography: p. 106-108.