Musical Expertise and Melodic Structure in Memory for Musical Notation

Two experiments plus a pilot investigated the role of melodic structure on short-term memory for musical notation by musicians and nonmusicians. In the pilot experiment, visually similar melodies that had been rated as either "good" or "bad" were presented briefly, followed by a 15-sec retention interval and then recall. Musicians remembered good melodies better than they remembered bad ones: nonmusicians did not distinguish between them. In the second experiment, good, bad, and random melodies were briefly presented, followed by immediate recall. The advantage of musicians over nonmusicians decreased as the melody type progressed from good to bad to random. In the third experiment, musicians and nonmusicians divided the stimulus melodies into groups. For each melody, the consistency of grouping was correlated with memory performance in the first two experiments. Evidence was found for use of musical groupings by musicians and for use of a simple visual strategy by nonmusicians. The nature of these musical groupings and how they may be learned are considered. The relation of this work to other studies of comprehension of symbolic diagrams is also discussed.

Scaffolding children’s musical creativity : a case of a kindergarten teacher in Hong Kong

Drawn from a larger mixed methods study, this case study provides an account of aspects of the music education programme that occurred with one teacher and a kindergarten class of children aged three and four years. Contrary to transmission approaches that are often used in Hong Kong, the case depicts how musical creativity was encouraged by the teacher in response to children’s participation during the time for musical free play. It shows how the teacher scaffolded the attempts of George, a child aged 3.6 years to use musical notation. The findings are instructive for kindergarten teachers in Hong Kong and suggest ways in which teachers might begin to incorporate more creative approaches to musical education. They are also applicable to other kindergarten settings where transmission approaches tend to dominate and teachers want to encourage children’s musical creativity.

From Notation to Composition:How in my practice the exploration of notational possibilitieshas led to new compositional opportunities

This paper explores my experiments with computer animated notation. It examines how I turned to
computer animated notation to address issues with static musical notation. In particular looking at
the work of Nancarrow, Cage, Tenney, and how a number of these composers' approaches
presented difficult challenges for traditional musical notation. I then discuss how computer
animated notation can provide some interesting solutions to the notational problems provoked in
these works.
In the second part of the paper I investigate how addressing these notational challenges has led to
new prespectives on the compositional process and has introduced new considerations into my
compositional practice including time as musical material, real-time and multi-nodal interaction
with the score, networked score environments with the possibility of physically distributed
performance, performer feedback and communication, and interaction between notation and other
media including visual media and movement.

The story of notation,

"Appendices: A. Authorities referred to. B. Glossary. C. Chronological table of notation": p. 221-256.

Criteria for graphic representation in musical scores: Visual elements in musical scores

A interdisciplinaridade entre a música e as artes visuais tem sido explorado por conceituados teóricos e filósofos, embora não exista muito na área da interpretação visual do grafismo de partituras musicais. Este estudo investiga como os grafismos na notação e símbolos musicais afectam o intérprete na sua transformação em som, com referência especial a partituras contemporâneas, que utilizam notação menos convencional para a criação de uma interpretação por sugestão. Outras relações entre o som e o visual são exploradas, incluindo a sinestesia, a temporalidade e a relação entre obra de arte e público. O objectivo desta dissertação é a de constituir um estudo inovativo sobre partituras musicais contemporâneas, simultaneamente do ponto de vista musical e visual. Finalmente, também vai mais longe, incluindo desenhos da própria autora inspirados e motivados pela música. Estes já não cumprem uma função de notação convencional para o músico, embora existe uma constante possibilidade de uma reinterpretação. ABSTRACT; The inter-disciplinarity between music and visual art has been explored by leading theorists and philosophers, though very little exists in the area of the visual interpretation of graphic musical scores. This study looks at how the graphics of musical notation and symbols affect the performer in transforming them into sound, with particular reference to contemporary scores that use non¬conventional notation to create an interpretation through suggestion. Other sound-visual relationships are explored, including synaesthesia, temporality and the interconnection between work of art and audience or public. This dissertation aims to be an innovative study of contemporary musical scores, from a musical as well as visual perspective. Finally, it takes a step further with drawings of my own, directly inspired and motivated by the music. These no longer fulfil a conventionally notational function for the musician, yet the potential for a re-interpretation is ever-present.

Design de comunicação aplicado à educação musical

Dissertação de Mestrado para obtenção do grau de Mestre em Design de Comunicação, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.

Contrafactum y adaptación de la canción de Malmaridada en la Península Ibérica : del Cancionero del rey Don Denis al Cancionero para cantar la noche de Navidad de Francisco de Ocaña

Integran este número de la revista ponencias presentadas en Studia Hispanica Medievalia VIII : Actas de las X Jornadas Internacionales de Literatura Española Medieval, 2011, y de Homenaje al Quinto Centenario del Cancionero General de Hernando del Castillo.

自然交互研究——笔式简谱编辑器的设计与实现

自然交互是指用户可以用自己熟悉的日常技能与计算机进行交互。中国有大量的音乐爱好者使用简谱,但是针对简谱编辑的编辑软件却相对较少,并且现有软件的交互方式不够自然,降低了用户对软件的使用效率。他们需要一种更自然、更方便使用的简谱编辑软件。该文介绍了一个基于笔式输入的简谱编辑器原型系统的设计和实现。基于对现有软件、简谱特性和可利用的新技术的综合分析,设计并实现了这个原型系统。对此原型系统进行了非正式的用户实验之后,对结果进行了分析,并提出了修改的方案。

The power of rhythm and words : from little things big things grow

Primary literacy teacher educators need to re-conceptualise the ways in which they work together to model effective interdisciplinary practice. This paper reports on such practice in a team teaching unit for postgraduate students undertaking the Bachelor of Teaching (Primary/Secondary) at Deakin University, Melbourne. The interdisciplinary (Social Education, Language and Music) unit, a first in the Faculty of Education was conceptualised to challenge both lecturer and student (local and international) to 'rethink' their understandings of pedagogy, multi-literacies and teacher preparedness. For the purpose of this paper, the authors reflect on a particular team teaching experience whereby a text (song) was used to teach both the elements of music and literacy pedagogy. It opened up new possibilities for students to engage and participate with each discipline as well as how one area can inform and further deepen the understanding for learners of the other. For example, musical notation and score was used to explain and use the 4 resource model (Luke and Freebody, 1990). The authors contend that crossdisciplinary work cannot be reduced to simple cooperation among disciplines but that primary literacy teacher educators need to develop new conceptual frameworks for learning that will enhance their understandings of pedagogy and assist in preparing teachers in a challenging world.

A interface música e linguística como instrumental metodológico para o estudo da prosódia do português arcaico

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Estudo sobre o acento secundário e a tonicidade dos monossílabos em português arcaico por meio da música e da métrica das Cantigas de Santa Maria

This paper aims to make a study on secondary stress and stress of monosyllabic words in Archaic Portuguese. With regard to secondary stress, our intention is to demonstrate its limits of occurrence. And about monosyllabic words, the aim is to analyse its stress attribution and the possibility of those words assume prominences in the linguistic level demonstrating or not its prosodic independence. The data will be collected by means of a new methodology in the study of the prosody of dead language. This methodology is based on the observation of coincidences and non-coincidences of musical prominences of poetic texts with musical notation, and linguistic prominences.

O acento secundário no português arcaico

This paper aimsto study secondary stressinArchaic Portuguese demonstrating its limits of occurrence and its behavior through the Metrical Theory by Hayes (1995). The data was collected by means of a new methodology in the study of the prosody of ancient periods of the language. This methodology is based on the observation of matching and mismatching of musical and linguistic prominences of poetic texts with musical notation.

Proparoxítonas no português arcaico: uma análise por meio da música e do texto das Cantigas de Santa Maria

This paper aims to conduct a study on proparoxytones in Medieval Portuguese through an innovative methodology based on the observation of coincidences and no-coincidences of musical and linguistic prominences of poetic texts with musical notation.. This methodology allowed us to verify the existence of a hundred and thirteen proparoxytones words in a corpus constituted by the first hundred Cantigas de Santa Maria. It was possible to locate the stressed syllable in 92,93% of the found words.

A escrita para percussão dos compositores do Grupo Música Nova: a busca pelo novo analisada a partir da notação

Pós-graduação em Música - IA

Commonplace book of John Bullard, 1775-1779

This bound volume contains excerpts copied by Jonathan Bullard from books he read as a student at Harvard in the mid 1770s. Excerpts include an unattributed poem titled "On Friendship," which appeared in the "poetical essays" section of Volume 36 of the London Magazine in 1767; Joseph Butler, The Analogy of Religion, 1736; The Quaker's Grace; a history of England; Newton's laws; Plutarch's Morals; Benjamin Franklin's writings on the Aurora Borealis. The volume also includes several extracts from articles about the death of John Paddock (Class of 1776), who drowned in the Charles in the summer of 1773, sheet music for two songs, "The Rapture," and "A Song" from Henry Harington's "Damon and Chlora," and a transcription of the satirical "Book of Harvard," written in response to the Butter Rebellion of 1766. Interleaved in the middle of the volume is a transcription from an ecclesiastical event moderated by Ebenezer Bridge in Medford, Mass. on November 20, 1779. The variety of texts suggests the commonplace book was not used solely for academic works.