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.

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.

This thesis sets out to investigate new notation symbols, systems, and string techniques in some one hundred 20th century string quartets, selected from a variety of composers. The analysis includes compositions that have, through contemporary aesthetic ideals, extended musical and technical resources and stimulated the development of compositional methods in such a way as to influence later works in the genre. k The thesis divided into two parts : Histoiy and Research Part One is a brief history of 20th century music, and includes the development o f the string quartet from earliest times up to the mid-century. Part Two researches string techniques and notation from the turn of the century up to 1990. The historical perspective demonstrates that after World War n, with the emergence o f the electronic age and a changing social and intellectual climate, traditional concepts were being challenged. Composers facing the dilemma affecting music in general, and the string quartet in particular, had to adapt to radically developing techniques and styles. Sounds and syntax o f a different type were initially, but unsuccessfully, sought to unify the divergent thinking o f the time. Ultimately, the developmental paths took shape from the problem itself and different approaches emerged to master the multi-faceted dimensions available to composers. Part Two investigates music syntax from the viewpoint of recording new symbols, notation systems and string techniques. Quartets of the first half of the century show that both the dissolution and the extension o f traditional processes were contained, importantly, within the continued use of conventional notation. The impact and significance of these quartets within the context of 20th century development cannot be ignored. However, the quartets researched post-1960 demonstrate that composers have enlarged all parameters of the genre through the extension of traditional resources and by radical innovation. This research demonstrates that the emergence of new symbols and string techniques in the second half of the century has been largely on an arbitrary basis. Nevertheless^ broad classification of these elements is undertaken. / Art History, Visual Arts & Musicology / D.Mus. (Musicology)

This thesis sets out to investigate new notation symbols, systems, and string techniques in some one hundred 20th century string quartets, selected from a variety of composers. The analysis includes compositions that have, through contemporary aesthetic ideals, extended musical and technical resources and stimulated the development of compositional methods in such a way as to influence later works in the genre. k The thesis divided into two parts : Histoiy and Research Part One is a brief history of 20th century music, and includes the development o f the string quartet from earliest times up to the mid-century. Part Two researches string techniques and notation from the turn of the century up to 1990. The historical perspective demonstrates that after World War n, with the emergence o f the electronic age and a changing social and intellectual climate, traditional concepts were being challenged. Composers facing the dilemma affecting music in general, and the string quartet in particular, had to adapt to radically developing techniques and styles. Sounds and syntax o f a different type were initially, but unsuccessfully, sought to unify the divergent thinking o f the time. Ultimately, the developmental paths took shape from the problem itself and different approaches emerged to master the multi-faceted dimensions available to composers. Part Two investigates music syntax from the viewpoint of recording new symbols, notation systems and string techniques. Quartets of the first half of the century show that both the dissolution and the extension o f traditional processes were contained, importantly, within the continued use of conventional notation. The impact and significance of these quartets within the context of 20th century development cannot be ignored. However, the quartets researched post-1960 demonstrate that composers have enlarged all parameters of the genre through the extension of traditional resources and by radical innovation. This research demonstrates that the emergence of new symbols and string techniques in the second half of the century has been largely on an arbitrary basis. Nevertheless^ broad classification of these elements is undertaken. / Art History, Visual Arts and Musicology / D.Mus. (Musicology)