In this master’s thesis, a sound-based notation system is explored and developed in the composition and performance of a musical work for live electronics. My approach builds on existing systems for electroacoustic music analysis, most notably Dennis Smalley’s (1997) theory of spectromorphology and the symbolic language of Lasse Thoresen &amp; Andreas Hedman (2007) based on Pierre Schaeffer’s typo-morphology, as well as Mattias Sköld’s (2023) adaptation of this system for composition and transcription (Sound Notation).  By separating the compositional processes from the interpretational process in the creation of a mixed work for live electronics and acoustic instruments, the notation could be explored as an isolated activity in the writing of sound objects, later realized in a studio environment in the form playable instrument patches. This resulted in two performances of the piece Sonic Mechanics (2022) where the author performed the electronics part together with musicians from the ensembles Norrbotten NEO in Piteå (Sweden) and Ensemble mise-en in NYC (USA).  The thesis shows how symbolic notation does not need to be dismissed in live electronic performance, but that a sound-based score can complement the compositional and interpretational processes of instrument design and improvisation. The project thus demonstrates the plausibility of composing electronic music using a reduced sound- based notation system (spectromorphological reduction) and provides an example of how a sound-based score can be executed by an electronic performer, as well as investigating the affordances that this approach has for both the compositional and interpretational process. For composition, the affordances of sound-based notation are that it becomes a technology for thinking about sound and musical structures themselves, without interaction with audio technology. For performance, this approach enables different interpretations for other electronic instruments and setups. / <p>Artistic outcomes are presented in their entirety through the accompanying Research Catalogue Expositions:</p><p>https://www.researchcatalogue.net/profile/show-exposition?exposition=2012206</p><p>https://www.researchcatalogue.net/profile/show-exposition?exposition=2241923</p>

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Digitale musikschriftliche Codierungen fordern heraus: Sie zwingen dazu, den Begriff von musikalischer Schrift und Notation, der die Musikgeschichtsschreibung im lateinisch-westlichen Kulturraum seit ihren Anfängen mitgeprägt hat, zu hinterfragen, zu überdenken, neu zu verhandeln. Wie können digitale Formen musikalischer Schrift in einen Schriftbegriff integriert und theoretisch aufgefangen werden? Sind Schrift und Notation gleichzusetzen? Worin liegen die Gemeinsamkeiten, worin die Unterschiede historischer und gegenwärtiger musikschriftlicher Aufzeichnungsformen? Nach einer terminologischen Präzisierung der maßgeblichen Begrifflichkeiten will sich der Beitrag den hier angedeuteten Fragestellungen aus einer zeichentheoretischen Perspektive nähern, indem die (nicht musikspezifischen) Notationsmodelle von Nelson Goodman und Roy Harris einander gegenübergestellt und auf ihre Tauglichkeit als mögliches Beschreibungsmodell im Zusammenhang mit Musiknotationen untersucht werden. Mit dem daraus entwickelten Begriff musikalischer Schrift wird abschließend ein kurzer Blick auf heute gängige Musikcodierungsformate (MEI, Lilypond, und MusicOWL) geworfen. Letztlich sollen die aufgeworfenen Fragen einen Teilbereich jenes medialen Spannungsbereiches ausleuchten, den die Verschriftlichung von Musik in vielfältiger Weise noch immer und immer wieder eröffnet. / Digital music writing encodings pose challenges: They force us to question, rethink and renegotiate the concept of musical writing and notation which has shaped the historiography of music in the Latin-Western cultural sphere since its beginnings. How can digital forms of musical writing be integrated into and theoretically addressed by a concept of writing? Are writing and notation the same? What are the similarities, what the differences between historical and contemporary forms of music writing? Following a terminological clarification of the relevant concepts, this paper will approach these questions from a sign-theoretical perspective by contrasting the (non-music-specific) notation models of Nelson Goodman and Roy Harris and examining their suitability as possible descriptive models in connection with musical notation. Finally, with the concept of musical notation developed from this model, some nowadays commonly used music encoding formats (MEI, Lilypond, and MusicOWL) will briefly be considered. Ultimately, the questions raised are intended to illuminate a sub-area of that medial area of tension which the notation of music still opens up in various ways, time and again.

Wie gerecht kann eine historisch gewachsene Notationsform einem bestimmten Stil und seiner Ausführung werden? Im sogenannten stylus phantasticus des ausgehenden 16. und 17. Jahrhunderts wird ein freies Spiel gefordert, während aber gleichzeitig ›konventionell‹ notiert wird. Bisherige Beiträge zu diesem Themengebiet stellten vor allem die kompositorische Freiheit dieses Stils in den Mittelpunkt und bezogen sich in Interpretationsfragen auf die Ausführung rhetorischer Figuren. Im Folgenden soll – was zunächst viel basaler erscheinen mag – zusätzlich das Verhältnis von interpretatorischer Freiheit zur Taktmaßnotation untersucht werden, wofür zwei Beispiele musikalischer Interpretation herangezogen werden. Diese Analysen sollen zeigen, wie nah bzw. weit entfernt das (vom Komponisten / von der Komponistin vermutlich intendierte) klangliche Resultat von der eigentlichen Notation ist. / To what extent can a type of notation that has developed over time do justice to a specific musical composition style and its execution? In the so-called stylus phantasticus of the late 16th and 17th centuries, free playing is demanded, while at the same time ‘conventional’ notation is used. Previous contributions to this subject have focused on freedom in terms of composition and the execution of rhetorical figures. In the following, the relationship between freedom of interpretation and metrical notation will also be examined (which may at first seem much more basic), taking into account two different recordings. Their analysis will show how close or far away the acoustic result (as presumably intended by the composer) is from what is actually notated.

Ulrike Reiner, Verbundzentrale des Gemeinsamen Bibliotheksverbundes (VZG) Göttingen, stellte ihr Projekt der automatischen Analyse von Notationen der Dewey-Dezimalklassifikation (DDC) vor. DDC-Notationen zeichnen sich dadurch aus, dass sie in aller Regel lang und komplex sind und in ihrer Herstellung zahlreiche Regeln zu durchlaufen haben. Ihr Computerprogramm analysiert DDC-Notationen und gibt alle in einer DDC-Notation enthaltenen DDC-Notationen samt DDC-Klassenbenennungen aus. Die gewonnenen DDC-Klassenbenennungen können z.B. für eine DDC-basierte Suche verwendet werden.

The main purpose of this dissertation is to offer a modern transcription and critical edition of François Campion's Sonatina in D Major, found in his Piéces de Guitare du S.r Campion from 1748. Since it is not a common practice for the modern classical guitarist to study the baroque guitar and all its idiosyncrasies, this transcription from French tablature into modern notation will make this piece accessible to all classical guitar players. Using his sonatina as an example, this dissertation covers the process of transcribing baroque guitar French tablature while emphasizing a practical performance approach that suits the classical guitar. This approach includes examining tuning differences, suggested transposed notes, ornamental interpretation, and the overall differences in performance practice between both instruments. Not much is known about Campion's life (c1685-1747), but his importance as a musician in France during the early eighteenth century is evidenced by his publications and his accounts as a theorbo and baroque guitar player for the orchestra of the opera company L'Académie Royale de Musique, for which he was employed from 1703 until 1719. Unfortunately, while this music is fairly known and usually performed by early music specialists, it is ignored by modern guitarists, mainly because of the lack of modern transcriptions. This sonatina serves as an original critical edition adaptation for the classical guitar.

Multi-instrumentalist, composer, and music philosopher Anthony Braxton (b. 1945) has developed performance practices and notational systems that are frequently disregarded by scholars of music, despite his prolific output and influence. His restructuralist aesthetic blurs the boundaries between philosophy, visual art, and numerous musical genres and stylistic practices to create an amalgam that is often difficult to categorize due to his perpetual quest to avoid confining definitions. The purpose of this dissertation is to draw attention to various facets of Anthony Braxton's notational and performance practices by using them as a springboard for personal creativity. Inspiration for these original works was drawn from a variety of Braxton's methods, particularly from his quartet music of the 1980s and his Ghost Trance Music, and drew heavily from his concepts of "moment time" and "individual presence," which are key themes arising throughout his music and the literature. Specific compositional techniques were either used verbatim or as inspiration for the development of original practices and are accompanied by an analysis and discussion.

Le présent travail s’inscrit dans une perspective descriptive analytique des comportements des pianistes aveugles et déficients visuels durant la mise en mémoire et la restitution au piano de diverses tâches présentées à l’oreille ou sur un support écrit adapté au handicap visuel de ceux-ci. Cette adaptation qui consiste à transcrire en braille pour les aveugles ou à imprimer en gros caractères pour les malvoyants des partitions ordinaires, se révèle lourde de conséquences. Ainsi, deux conditions font qu’un travail mental d’intégration et de synthèse très coûteux s’impose à ces musiciens : d’un côté la complexité du braille musical due à un degré d’abstraction très élevé et à une linéarité spatiale permanente, de l’autre la non-conformité de la technique d’agrandissement des textes ordinaires avec une lecture synthétique et avec un champ visuel très réduit. De telles circonstances invitent à s’interroger sur les effets de la structure de ces notations musicales et des représentations mentales qu’elles génèrent sur la conduite de mémorisation en l’absence totale ou partielle de la vision. L’objectif principal est de relever la spécificité des processus qui sous-tendent l’assimilation des données inscrites sur le matériau de la lecture. Pour ce faire, j’ai mené une étude de cas portant sur des jeunes pianistes aveugles et malvoyants non professionnels utilisant des procédures de déchiffrage diverses. / The present work involves an analytical description of the behaviors of blind and visually impaired pianists when memorizing and rendering on the piano various tasks presented to the ear or on written material adapted to their visual disability. This adaptation, which consists in transcribing ordinary music scores in braille, for the blind, or in large print, for the visually impaired, entails important consequences. Two conditions result in those musicians having to perform a very difficult integrating and synthesizing task: on the one hand, musical braille is complex, being highly abstract and characterized by permanent spatial linearity; on the other hand, the technique for enlarging ordinary texts is not compatible with synthetic reading and a very restricted visual field. Those circumstances lead us to investigate how those musical notations and the mental representations they generate affect the memorizing process when vision is totally or partially lacking. The main objective is to pinpoint the specific processes underlying the assimilation of the data inscribed on the reading material. To this end, I have carried out a case study involving young non-professional blind and visually impaired pianists using diverse reading procedures.

Chuen Fung Wong. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 94-102). / Abstracts in English and Chinese. / Abstract --- p.i / Abstract (Chinese Translation) --- p.iii / Acknowledgements --- p.v / Table of Contents --- p.vi / List of Figures and Tables --- p.viii / Romanization and Translation --- p.ix / Chapter 1. --- Introduction --- p.1 / Beyond Ethnomusicology and Music History --- p.1 / Music Scholarship and Historiography in Modern China --- p.3 / Modern Research on Guqin: Becoming a Chinese Instrument --- p.8 / On Methodology --- p.11 / Chapter 2. --- The Making of Modern Notation: Reformation Models of Guqin Notation in the Twentieth Century --- p.14 / Introduction --- p.14 / Guqin Notation --- p.16 / Traditional Notation/Pre-Modern: An Imagined Tradition --- p.18 / Modern Changes --- p.20 / Notation Model in Oinxue Rumen --- p.21 / Notation Model in Qinjing --- p.23 / Wang Guangqi's Model --- p.25 / Yang Tinliu's Reformation Proposal --- p.28 / Gong Yi´ةs Guqin Yamoufa --- p.31 / Concluding Remarks: The Making of a Modern Notation --- p.35 / Chapter 3. --- Between Creativity and Reconstruction: Dapu and Its Changing Concept --- p.38 / Introduction --- p.38 / Defining Dapu --- p.40 / "Between Ancient and Modern, Historical and Creative" --- p.41 / The Power of Silk String --- p.46 / Dapu in Modern China and Its Practical Uses --- p.48 / Concluding Remarks: Dapu and Modernity in China --- p.51 / "Epilogue: A Brief Report on the Fourth National Dapu Conference,19-26 August 2001, Changshu" --- p.56 / Chapter 4. --- Becoming a Chinese Music history: Guqin and Music Historiography --- p.60 / Introduction --- p.60 / Music Historiography and the Work-Concept in China --- p.63 / Guqin and Musical Works --- p.66 / Situating Guqin Music into History: The Irony of Meihua Sannong --- p.68 / The Tactics of Historicization: The Case of Lisao --- p.72 / Werktreue and Chinese Music Historiography: A Conceptual Imperialism --- p.76 / Chapter 5. --- Conclusion: Guqin and Postcolonial Modernity in China --- p.80 / Introduction --- p.80 / A Postcolonial Reading --- p.82 / The Quest for Modernity --- p.83 / Final Remarks: On Translation and Chinese Music Scholarship --- p.86 / Appendix A Chinese Dynasties and Historical Periods --- p.88 / "Appendix B Map of China, Hong Kong, and Taiwan" --- p.89 / Appendix C General Histories of Chinese Music --- p.90 / Reference Cited --- p.94 / Glossary of Chinese Terms --- p.103

The subject of the thesis is an process analysis in the company AiP Safe, Ltd. First, theoretical approaches and methods for organization and business process analysis are summarized. The best known modeling notations are also described. For the analysis of AiP Safe, Ltd. was chosen BSP method and for process modeling was chosen BPMN notation. The result of the work is a suggestion to establish strategic goals and strategies to achieve them, change in the organizational structure, optimization of selected processes, introduction of new metrics, introduction of new information system and recommendations based on the SWOT analysis.