Orientador: Eduardo Martins Morgado / Resumo: A escrita e criação musical sofreram grandes mudanças com o advento das tecnologias digitais. Das inscrições em paredes da civilização pré-histórica, passamos para a pena, o lápis, a caneta chegando ao computador. Com a criação e evolução dos programas de composição musical o compositor passou a ter uma ferramenta que aumenta as possibilidades e facilidades de criação. Programas onde são permitidos escrever música com o teclado do computador, com o teclado virtual, ou até mesmo com o auxílio de um instrumento musical eletrônico, armazenar a música composta, inserir regras de composições, se transformam num importante assistente do músico, podendo auxiliá-lo a descobrir novas possibilidades e criar novos rumos para a composição musical. As tecnologias digitais dão suporte para a produção e distribuição de informações que causam grandes impactos na forma de criar e no que se cria. Com estas tecnologias, além de escrever, é possível ouvir o que foi escrito, e com os sons dos instrumentos escolhidos. Com estas ferramentas um compositor pode escutar a sua obra completa antes mesmo dela ser experimentada por músicos. Essa funcionalidade permite ao compositor corrigir eventuais erros e verificar se o resultado final ficou de acordo com o esperado, permitindo alterações e até novas experiências com notas e instrumentos. Os objetos deste trabalho são softwares de composição musical. O objetivo geral foi selecionar softwares de composição musical que salvem em arquivo MIDI, MusicXML, P... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Musical writing and creation went through great changes due to digital technologies. From registrations on the walls of pre-historical civilization, we changed to feather, pencil, pen and computer. Together with creation and evolution of music composition programs, the composer started to have a tool which increased the possibilities and facilities of creation. Programs that allow to write music using the computer keyboard, virtual keyboard, or even an electronic musical instrument, to store compound music, insert rules of composition, become an important assistant to the musician while helping him to find new possibilities and create new directions to the musical composition. Digital technologies support the production and distribution of information that cause large impacts in creating and what is created. It is possible, with these technologies, to write and listen what was written by the sound of chosen instruments. Using these tools, a composer can listen the complete work before it has been tested by musicians. This facility allows the composer to amend occasional mistakes and check if the result is according to the expectations, making possible some changes, and even new experiences with the notes and instruments. The objects of this study were some music composition software. The main aim was to elect some software for music composition that can save files in MIDI, MusicXML, PDF, and have a DEMO version. The specific purposes were to present the characteristics of som... (Complete abstract click electronic access below) / Mestre

I tid och otid har elgitarrister fått dras med stigmat att vara bristfälliga notläsare. Rimligtvis borde det gå att lösa med lite övning, men hur ska en strukturera upp sådan övning och ger det några resultat? Deras motparter i den klassiska genren åtnjuter inte samma stämpel, tack vare dess långa tradition av notläsning. Kan svaret ligga hos den klassiska gitarrens läroresurser som bara behöver översättas till elgitarr för att notläsningen ska ta fart? I denna självstudie utforskar jag min egen övning på avistaläsning för både el- och klassisk gitarr med hjälp av en videodagbok, analyserad ur ett multimodalt designteoretiskt perspektiv. / Time and again, electric guitarists have had to live with the stigma of being deficient note readers. Presumedly, this should be solvable with a little practice, but how should one structure such practice and does it produce results? Their counterparts in the classic genre do not inherit the same label, thanks to their long tradition of reading sheet music. Could the answer lie with the classical guitar's teaching methods that need only to be translated into electric guitar for the sheet music reading to take off? In this self-study, I explore my own exercise in sight reading for both electric and classical guitars with the help of a video diary, analyzed from a multimodal perspective.

The purpose of this study is to investigate whether the students' upbringing environment has influenced their will to play music and which their method of preferable choice is when learning a new piece of music playing guitar. Previous research shows that children growing up in a musical environment often start playing music themselves and that their motivation to play is depending on support and stimulation from family members and teachers. Research also shows that children usually start making or playing music with their hearing, but by learning to read sheet music they further develop their musical skills. The method of study is semi structured interviews with five students in the aesthetic program in music in the upper secondary school. As a complement to the interviews, the students have been given a musical piece and asked to learn it before the interviews. The study has been analysed from a sociocultural perspective largely based on Vygotsky's view of the environment’s impact on children's upbringing. The study shows that all students in the study have started playing guitar at an early age because of there being musicians around them growing up. The results also show that most of the students prefer to learn new pieces playing their guitar using hearing instead of sheet music. / Syftet med studien är att undersöka ifall informanternas uppväxtmiljö har påverkat deras vilja att musicera och vilka instuderingsmetoder de föredrar när de lär sig spela något nytt på gitarren. Tidigare forskning visar att barn som växer upp i en miljö där musik är centralt ofta själva börjar musicera och att deras motivation är beroende av stöttning och stimulans från familj och lärare. Forskning visar också att barn oftast börjar musicera med hjälp av sitt gehör men genom att lära sig läsa noterad musik så utvecklar de deras musikaliska färdigheter. Studiens metod är semistrukturerade intervjuer med fem elever på det estetiska programmet i musik på gymnasiet. Som ett komplement till intervjuerna har eleverna fått ta del av ett instuderingsmoment i form av ett stycke musik de blivit ombedda att lära sig spela inför intervjuerna. Studien har blivit analyserad ur ett sociokulturellt perspektiv till stor del utifrån Vygotskijs syn på omgivningens påverkan av barns uppväxt. Studien visar att samtliga elever i studien har börjat spela gitarr i tidig ålder till följd att det funnits musicerande människor i deras omgivning när de vuxit upp. Resultatet visar också att majoriteten av eleverna föredrar att lära sig nya stycken på gitarren med hjälp av sitt gehör över noter.

Notskrift används för att dokumentera, kommunicera och läsa musik. Notskrift har traditionellt lästs från papper, men med ny teknik tillgänglig har fysiska papper till viss del bytts ut mot digitala enheter, såsom surfplattor. Fördelar med notläsning på surfplattor kan vara portabilitet, snabb åtkomst, och möjlighet för smidig bladvändning. Möjliga nackdelar kan vara svårigheter att annotera och liten skärmstorlek. Tidigare forskning på området har bland annat berört metoder för bladvändning, digitala notställ och digital semantisk förståelse av noter. Trots rapporter om musikers preferenser relaterat till exempelvis storlek på noterna saknas studier om vilka åsikter och attityder musiker har till fenomenet notläsning på surfplatta och i vilken utsträckning de vill använda det. För att kunna utveckla digitala verktyg som gör nytta för frilansmusiker i det dagliga yrkesutövandet behövs kunskap om hur de använder teknik, vilka förutsättningar som kan underlätta notläsning på surfplattor, och om det finns specifika hinder eller sociala aspekter som påverkar attityder till ny teknik. För att adressera problemet är det av intresse att undersöka attityder kring notläsning på surfplattor. Studiens frågeställning lyder: Vilka attityder har frilansmusiker i en kammarmusikensemble till notläsning på surfplattor? För att undersöka fenomenet genomfördes en kvalitativ “face-to-face survey” på frilansande musiker som är medlemmar i en kammarmusikensemble. I syfte att fånga åsikter, attityder, och känslor genomfördes semistrukturerade intervjuer. För att få en tydlig bild av respondenterna genomfördes även en kort grundläggande enkätundersökning. De transkriberade intervjuerna analyserades genom en tematisk analys där egenskaper kodades utifrån den insamlade informationen. Vidare identifierades teman explicit, utan att leta efter något utöver det som har sagts. Detta utfördes med ett datadrivet tillvägagångssätt, där mönster huvudsakligen framkom ur data snarare än analytikernas intressen. De attityder som framkom i studiens resultat kan beskrivas vara övervägande positiva, främst baserat i att surfplattor av musikerna beskrivs ha logistiska och praktiska fördelar såsom portabilitet, snabb åtkomst, och delning. Utöver de positiva attityderna återfanns även negativa attityder, med teman rörande rädsla för tekniska problem, ovana, och svårigheter med bladvändning och annotering. Begränsningar i studien rör studiens korta tidsperiod och att datainsamlingsmetod i stor grad anpassats efter respondenternas tillgänglighet samt att resultatet inte kan anses fullständigt generaliserbart. Tidigare forskning har till stor del berört enskilda aspekter av digitala noter och experiment i kontrollerad miljö. Studien ger nya insikter relaterat till vad musiker upplever i verkliga sammanhang. Resultatet kan vara till nytta för utvecklare av applikationer för notläsning eller tillverkare av tillbehör för bladvändning. / Sheet music is used to document, communicate, and read music. Traditionally sheet music was read on paper, but with new emerging technology physical paper is partly being replaced by digital devices such as tablets. Some advantages of digital sheet music and tablets are described as portability, rapid access, and possibility for easier page turns. Possible disadvantages could be difficulty annotating and small screen sizes. Previous research on the subject has touched on different methods for page turning, digital music stands, and digital semantic understanding of sheet music. Reports about some aspects of musicians preferences, for example regarding size of note staffs are found in the literature, but there is a lack of research on which attitudes and opinions musicians hold regarding reading music from tablets. To be able to develop digital tools that create value for freelance musicians in their daily work, knowledge about how they use technology and which obstacles hinders use. To address the problem it is interesting to explore attitudes towards reading music from tablets among freelance musicians. The research question of this study is: Which attitudes do freelance musicians in a chamber music quartet hold towards reading music on tablets? To explore the phenomenon, a qualitative “face-to-face survey” was performed on freelance musicians that are members of a chamber music quartet. Semi structured interviews were conducted to acquire attitudes, opinions, and emotions. A small questionnaire was also used to get a clear picture of the participants and gather background information. The transcribed interviews were analyzed by first coding interesting characteristics based on the information collected. Furthermore, themes were identified explicitly, without looking for anything beyond what has been said. This is done with a data-driven approach, where patterns emerge mainly from the data rather than the interests of analysts. The attitudes that were held by the participants of the study can be described as mostly positive, based on that tablets were described having logistic and practical advantages such as portability, rapid access and sharing. However, some negative attitudes were found among the musicians, concerning fear of technical problems, unfamiliarity, and difficulty turning pages and annotating. Limitations in the study relate to the study's short time period, that the data collection method was largely adapted to the respondents' availability, and that the results cannot be considered generalizable. Previous research has largely concerned individual aspects of digital sheet music and experiments in a controlled environment. The study provides new insights related to what musicians experience in a real life environment. The result may be useful to developers of music reading applications or manufacturers of page turning accessories.

With a medium level of technical and interpretive difficulty, these arrangements of “Three Spirituals” are aimed at more advanced pianists. Lasting around 1½ to 2½ minutes each, the three movements are all fairly short and can be performed separately or – as recommended by the composer – in the order given here.:“Go Down, Moses” “Sometimes I Feel Like A Motherless Child” “Nobody Knows The Trouble I’ve Seen” / Die Arrangements der hier vorliegenden Ausgabe von „Three Spirituals“ richten sich mit ihrem in spieltechnischer Hinsicht mittleren Schwierigkeitsgrad und ihren musikalischen Anforderungen an schon etwas fortgeschrittenere Klavierspieler. Mit einer Dauer von circa eineinhalb bis zweieinhalb Minuten haben alle drei Sätze eine überschaubare Länge und können sehr gern einzeln oder – empfehlenswerterweise – in der hier abgedruckten Reihenfolge vorgetragen werden.:“Go Down, Moses” “Sometimes I Feel Like A Motherless Child” “Nobody Knows The Trouble I’ve Seen”

Introduction. As a practicing musician a stylistic form of terminology is often used, which is commonly based off of genre-specific conventions and norms. As the common users of music libraries often are practicing musicians, genre is identified as a subject/element of great importance in order to fully describe music and scores. With this point of view, the thesis aim to investigate how librarians and users make use of classification systems and classification codes. Method and theory. The primary empirical material of this thesis consists of qualitative interviews with librarians from a number of libraries, which all work with scores. The interviews were conducted with a pre-prepared questionnaire containing questions regarding how the librarians work, use and perceive the used classification systems in relation to the scores the libraries catalog and classify. The collected interview material was then compared to an analysis of the classification systems which are used by the libraries – Dewey Decimal Classification, Library of Congress Classification and the Swedish classification system ”SAB”. The main theoretical focus is genre theory, which is applied as a point of view for the analysis of both the interviews and the classification systems themselves. Analysis. The collected interview material was analyzed with a thematic sectioning. This sectioning was determined in conjunction with both certain key points from the previous research which was presented in the thesis and with the interviews themselves. The classification systems were then analyzed in relation to the presented theoretical material, with the essential theoretic perspective being genre theory. Each and one of the interviewed librarians expressed pros and cons of the classification systems they used. Some of these pros and cons were identified as recurring between the interviews. Such as the classification systems not being able to fully describe newer scores containing modern music. Results. With these analyses the thesis four main questions were then answered and presented. The librarians did see a function for the classification systems in their work, even though they were aware of the issues and problematic sides with the classification system they used. The interviewees saw the classification systems being used by the user to a lesser extent. Through the analysis of the classification, it was revealed that they do not offer genre classification to a sufficient degree, which in turn affects how useful the systems are for the music library users. Thus, the analyzed classification systems cannot describe scores in a fully fledged way. Conclusions. Even though the results show that the classification systems can’t be used to completely describe or fully grasp scores, the interviewed librarians did see them as useful in their practice. Several of the interviewees gave examples of problems within each of the classification systems, but they still saw them as useful. For the users (musicians) who are active in the genre of western art music the systems work adequately, but for users active in other genres the systems are not as useful. To evaluate whether the classification systems are relevant enough to keep using, it is necessary to both see to the opinions of the librarians currently using them, how and if the music library users use them and to what extent and how much of the cataloging is dedicated to classification. From the interviews, it is concluded that the libraries dedicate about 10-20 percent of their cataloging to classification. In relation to this and how the librarians see the classification systems as useful to a certain degree, it is concluded that the classification systems do have a purpose as an underlying structure and categorizing structure. This thesis has however come to illuminate some of the problems in the classification systems which pertain to genre and genres importance in describing music and scores. Even though the classification systems foremost strive to describe medium (instrumentation) and do this in an acceptable way, this must be seen in relation to how important genre is in order to fully describe a score and its importance for the users. Likewise, genre and genre categorization is an unavoidable part of music and sometimes even an integrated part of the elements medium and character. Thus, it is concluded that it is of utter importance to take into account the impact on and meaning for music that genre has when researching how scores are to be classified. This is a twy years master's thesis in Library and information science.

Illustration of Czech popular music sheet covers in the first half of the 20th century Abstract This diploma thesis focuses on the visual form of popular music sheet covers published in selected publishers in the first half of the 20th century, especially on small formats of the twenties to forties. Many Czech as well as several foreign artists influenced by various artistic tendencies took part in the artistic processing of the covers. The creation of a large part of them is closely connected with illustration, poster creation and advertising activities. Some artists have been creating covers systematically and we can find their work in several publishers, but for some this activity was only a short episode in their work. The resulting prints of music sheet covers obtained in the institutions that collect them are documented and evaluated here - especially the Music Department of the National Library and the Czech Museum of Music belonging to the National Museum in Prague. In some cases, this section also records the original illustrations stored in the Museum of Applied Arts in Prague, which were very helpful in identifying the artistic practices. It is clear from this diploma thesis that the illustrations of these sheet music, which have not been given space in the literature so far, are an important...

Föreliggande uppsats syftar till att undersöka vad fyra musiklärare på högstadiet har för musikalisk bakgrund och hur de använder sig av traditionell västerländsk notskrift i undervisningen. Tidigare forskning tar upp noters likhet med skriftspråk, noters roll i musikundervisning och identitet och förebilder i musik. Som teoretisk utgångspunkt har sociokulturellt perspektiv använts. Halvstrukturerade intervjuer genomfördes med fyra musiklärare i högstadiet och analyserades med tematisk analys. Resultaten visade att noter främst användes i undervisning i trumspel och melodispel på piano och mer sällan i undervisning i sång, gitarr och ackordspel på piano. Det framkom även att de musiklärare som hade en mer populärmusikalisk bakgrund tenderade att använda noter mindre i undervisningen än de med en klassisk bakgrund. Vidare diskuteras ur vilka perspektiv sambandet mellan musikalisk bakgrund och notanvändning kan förstås, praktiska aspekter av att undervisa med eller utan noter och hur musikundervisning speglar noters samhällsstatus. / This study aims to examine the musical background of four music teachers in lower secondary school and how they use traditional Western musical notation in their teaching. Previous research addresses the similarities of musical notation with written language, the role of musical notation in music teaching and identity and role models in music. Socio- cultural perspective has been used as a theoretical starting point. Semi-structured interviews were conducted with four music teachers in lower secondary school and analyzed using thematic analysis. The results showed that musical notation is mainly used in teaching drums and melody playing on piano but rarely when teaching singing, guitar and chord playing on piano. The study also showed that the music teachers who had a more pop musical background tended to use musical notation less in their teaching than those with a classical background. Furthermore, it is discussed from which perspectives the connection between musical background and the use of musical notation can be understood, practical aspects of teaching with or without musical notation and how music teaching reflects the social status of musical notation.

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Ph.D. Thesis Abstract Piano Concerto in G Minor, op. 33, by Antonín Dvořák - Early and Final Version Critical Edition of the Score // Study about the Origin, the First Printing and the Performance Practice The dissertation is focused on the Concerto for Piano by Antonín Dvořák from 1876 - an outstanding composition not only in the Czech milieu but in all the European context as well - , which was a very long time condemned for its "unsuitable" piano part. The thesis summarizes all existing knowledge of the history of the origins and reception of the Dvořák's Piano Concerto, which is further verified on the basis of written contemporary sources (Dvořák's correspondence and contemporary press, sometimes yet unknown). Distorted and false pieces of information are corrected and supplemented with new findings (relating to the performances, interpreters, arrangements). Thanks to them, the author presents a new sight of the history of the reception of this composition from inception until the beginning of present century. For the first time all musical sources are examined in detail and relations between them studied (autograph with revisions between years 1876-1883, a copy of the score, which Leoš Janáček let made in 1878/9 and materials of the first printing J. Hainauer from 1883). Then author draws attention to...