Thesis (Ph. D.)--Ohio State University, 1979. / Photocopy : Ann Arbor, Mich. : University Microfilms International, 1979. 21 cm. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 369-379).

This work is a philosophical investigation of signs. It offers a definition of the term ?sign? and develops three different systems for talking precisely about signs and their properties. The system of object display lines is developed in the first chapter; the ostension notation and the box notation are developed in the second chapter; and the contemporary associationist definition of a sign is developed in the third chapter. These systems, in conjunction with the definition, are proffered as a philosophical foundation for the theory of notation. The first chapter of this work develops the distinction between i) mere objects (non-signs), ii) signs of mere objects, and iii) signs of signs. The exhibitive use of objects is distinguished from their constitutive use; and the de re use of signs is distinguished from their de signo use. Both the discursive homogeneity thesis and the sentential homogeneity thesis are formulated. Arguments against the former are considered, and the thesis is rejected. The latter thesis, however, is accepted as a means of stopping the infinite regress that would occur if the meaning of a sign always had to be explained through the use of other signs. Object display lines are developed as a systematic and rule governed method of introducing mere objects into a discourse. The second chapter deals with the problem of using signs to talk about signs; and offers both an historical analysis of the development of quotation marks as a form of punctuation, and an historical analysis of the philosophical debate over quotation marks. Frege?s convention of using quotation marks to mention signs is rejected, and the ostension notation and the box notation are developed as replacements. The third chapter deals with the nature of signs. The ontological status of signs is considered, and the thesis that signs are relations is rejected. This is followed by a brief historical survey of the associationist and behaviorist conceptions of a sign. Finally, a contemporary associationist conception of a sign is developed, and the basic structure of the human sign is postulated. A number of refinements are made to the definition to avoid pansemiosis.

Thesis (M.A.)--Eastern Illinois University, 2010. / Includes bibliographical references (leaves 28-30).

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.