Articulation Marks Research Articles

Reliabilty of recording occlusal contacts by using intraoral scanner and articulating paper - A prospective study

ObjectiveThe recording of occlusal contacts is a pivotal step in many dental procedures, yet the lack of a standardized method could introduce clinical errors. The aim of this study was to compare the occlusal contacts recorded using a intraoral scanner to the contacts recorded using articulating paper. As a secondary outcome, the subjective clinical assessment made using the two methods was compared between different observers. MethodsTwenty-eight records were analysed for this study. Digital scan and intraoral photos of the coloured marks impressed by articulating paper were taken at the same time point for every patient. Using a standardized occlusal template, two operators recorded the number of occlusal contacts for every tooth provided by the two techniques. Then, 11 clinicians analysed the collected records and answered questions about the quality of the occlusions observed. ResultsThe statistical analysis showed significant differences between the number of contacts recorded by digital scan and those recorded by the photographed articulation marks, except in the case of the upper central incisors and first premolars. The Kappa Fleiss showed slight and fair agreement between clinicians when judging the occlusions. ConclusionThe occlusal contacts recorded using the intraoral scanner and those recorded with the articulating paper did not match, and overall the clinicians showed low agreement when rating the recorded data. Clinical significanceDespite of the great clinical importance of occlusal contact there is a lack of a precise method for recording and collecting occlusal contacts.

Seeing Red: Effects of Practice Interventions on Woodwind Students’ Accuracy in Performing Articulation

Music reading is a central part of most band programs, yet research about music reading has rarely included articulation markings. The purpose of this study was to explore the effect of four experimental practice conditions to a control condition on woodwind players’ performance of slur, accent, and staccato markings. A secondary purpose was to examine the role of working memory in performing articulation. The practice conditions used visual and kinesthetic approaches: colored notation, tracing over articulation marks, and speaking syllables. University woodwind players ( N = 26) practiced short etudes on 1 day, and they returned approximately 24 hours later for retention testing. Participants’ working memory was strongly related to playing articulation on the first day of practice. Woodwind players prioritized playing slurs over accents and staccatos, and there was some support for tracing with color to support accurate performance of articulation.

Editorial Markings as Analysis in Bach’sPartita No. 1 for Solo Violin, “Corrente”

Editorial articulation marks in J. S. Bach’s solo violin repertoire reflect not only contemporary performance practice, but can represent the editor’s perception of the musical structure. This paper highlights differences in motivic, harmonic, and voice-leading structures between editions and arrangements of J. S. Bach’sPartita No. 1 for Solo Violin(BWV 1002), “Corrente.”

Monitoring ALS from speech articulation kinematics

Patients affected by amyotrophic lateral sclerosis (ALS) show specific dysarthria in their speech resulting in specific marks which could be used to detect early symptoms and monitor the evolution of the disease in time. Classically articulation marks have been mainly based on static premises. Articulation kinematics from acoustic correlates may help in producing measurements depending on the dynamic behaviour of speech. Specifically, distribution functions from the absolute kinematic velocity estimated on a simplified articulation model can be used in establishing distances based on information theory concepts between running speech segments from patients and controls. As an example, several cases of ALS were studied longitudinally using this methodology. The study shows that the performance of dynamic articulation quality correlates may be sensitive and robust in tracking illness progress. Conclusions foresee the use of speech as a valuable monitoring methodology for ALS timely neurodegenerative progression.

English

The purpose of this study is to determine violin students’ cognitive levels about articulation marks in Department of Music Education, Fine Arts Education, Gazi Faculty of Education, Gazi University (GUGEF), and to identify the variables on which the cognitive levels vary. It is a descriptive research considering the study purpose, method and nature of study data. In the study, Turkish and international literature was reviewed to identify the place and importance of articulation marks in violin education. The study was carried out during the fall semester of 2015 to 2016 academic year. 59 violin students from the GUGEF Music Education Department participated in the study. The study data were obtained after the students filled in a questionnaire comprised of seventeen items. It was found out that majority of the violin students recall playing techniques as articulation marks are mentioned. A great majority of the students learnt articulation marks in detail during violin lessons. Again, the vast majority said they find themselves partially sufficient in recognizing and applying articulation marks. From overall success levels in the test regarding articulation marks, it was concluded that the respondents do not know the names and functions of the articulation marks. After the cognitive levels of violin students in Music Education concerning articulation marks were identified, certain recommendations were proposed: Content of instrument courses, mainly including Musical Hearing, Reading, and Writing Course, should be rearranged in the light of the study data and findings. Typing of musical notation by using articulation marks should be taught in Computer Skills course offered in the Department of Music Education. Lastly, practical training could be run by specialists to improve violin students’ cognitive and behavioural levels regarding articulation marks. Key words: Music education, instrument training, articulation, articulation marks, violin students.

Musical Imagery and the Planning of Dynamics and Articulation During Performance

Musicians anticipate the effects of their actions during performance. Online musical imagery, or the consciously accessible anticipation of desired effects, may enable expressive performance when auditory feedback is disrupted and help guide performance when it is present. This study tested the hypotheses that imagery 1) can occur concurrently with normal performance, 2) is strongest when auditory feedback is absent but motor feedback is present, and 3) improves with increasing musical expertise. Auditory and motor feedback conditions were manipulated as pianists performed melodies expressively from notation. Dynamic and articulation markings were introduced into the score during performance and pianists indicated verbally whether the markings matched their expressive intentions while continuing to play their own interpretation. Expression was similar under auditory-motor (i.e., normal feedback) and motor-only (i.e., no auditory feedback) performance conditions, and verbal task performance suggested that imagery was stronger when auditory feedback was absent. Verbal task performance also improved with increasing expertise, suggesting a strengthening of online imagery.

Publishers’ Editors’ Fingerprints in Sibelius’s Piano Works

Printed editions of Sibelius’s piano works typically contain questionable and erroneous details. Some of these result from the intervention of publishers’ editors, who revised the works during the proofreading stage. Sibelius’s publishers needed the editors for copyright reasons: only in revised form could Sibelius’s works obtain copyright protection in the USA. The nature of the revisions varies from the adding of ‘harmless’ details (such as fingerings) to more profound emendations of the note text (such as added dynamics or articulation marks). In any form, publishers’ editors’ intervention corrupts the note text, moving it away from the composer’s original intentions. For the purposes of a critical edition, the interventions must be identified. Surviving autograph manuscripts provide a basis for the identification. However, changes that occurred during the proofreading stage may well originate from the composer himself. If the manuscripts are lost, the identification must be based on knowledge of the composer’s, and the editors’, personal styles. My paper illuminates the role of publishers’ editors in the publishing processes of some of Sibelius’s later piano works, illustrates the changes publishers’ editors made to the scores, and ponders the consequences of these interventions from the viewpoint of critical editing.

Serenaden: Nr. 1 D-dur für grosses Orchester Opus 11, Nr. 2 A-dur für kleines Orchester Opus 16 (review)

Reviewed by: Serenaden: Nr. 1 D-dur für grosses Orchester Opus 11, Nr. 2 A-dur für kleines Orchester Opus 16 Jacquelyn Sholes Johannes Brahms. Serenaden: Nr. 1 D-dur für grosses Orchester Opus 11, Nr. 2 A-dur für kleines Orchester Opus 16. Herausgegeben von Michael Musgrave. (Neue Ausgabe sämtlicher Werke, Ser. I: Orchesterwerke, Bd. 5.) Munich: G. Henle, 2006. [Frontispiece (3 facsimiles), 1 p.; Vorwort, p. vii; Abkürzungen und Sigel, p. ix–x; Einleitung, p. xi–xxvii; Zur Gestaltung des Notentextes, p. xxviii–xxix; Besetzung, p. xx; score, p. 1–337; Anhang A, p. 338; Anhang B, p. 339; Krit. Bericht, p. 341–406; Verzeichnis der Abbildungen, p. 407. ISMN M-2018-6008-4; pub. no. HN 6008. Cloth. $486.] The new complete edition of the works of Johannes Brahms addresses several shortcomings of the original Johannes Brahms sämtliche Werke, edited by Hans Gál and Eusebius Mandyczewski, and published in twenty-six volumes by Breitkopf & Härtel in 1926–27. It is perhaps not surprising that there are problems with the original "collected works" edition, given that the entirety of its editing and publication was completed within a period of five years (during which time, furthermore, Mandyczewski's productivity was limited due to illness) and under significant financial constraints (as reported by George Bozarth in his "Editing Brahms' Music," Brahms Studies 2 [Lincoln: University of Nebraska Press, 1998], 2). The haste with which the old edition was produced resulted in texts of inconsistent reliability, with numerous errors—particularly involving misplaced or missing dynamic and articulation markings—riddling some of the works (again see Bozarth, this time his "Brahms's Posthumous Compositions and Arrangements: Editorial Problems and Questions of Authenticity," Brahms 2: Biographical, Documentary, and Analytical Studies, ed. Michael Musgrave (Cambridge: Cambridge University Press, 1987), 71 ff.). In compiling their edition, Gál and Mandyczewski consulted only a limited number of sources. With few exceptions, these were restricted to documents available in Vienna or among the holdings of the Breitkopf & Härtel archives. For many works, the sources consulted consisted of one autograph, the original published edition, and the composer's Handexemplar, i.e., his annotated copy of the first edition. Some of the errors in the Sämtliche Werke may be blamed on the editors' heavy reliance on the first editions and on the Handexemplare. Gál and Mandyczewski viewed the latter—and in the absence of corrections therein, the original editions—as definitive. This is problematic, for not only do the original editions in fact contain various inaccuracies that arose during hand-copying or engraving, and were overlooked by proofreaders including the composer himself—a phenomenon reported by Donald and Margit McCorkle, and in various essays by Robert Pascall—but Brahms sometimes made amendments in autograph copies rather than in his Handexemplare. Furthermore, as Pascall has pointed out, the Handexemplare were for Brahms's personal use; thus the annotations they contain may have been experimental rather than reflecting the composer's final wishes, which might be more reasonably ascertained by examining Brahms's correspondence with his publishers, as well as later editions and perhaps transcriptions. Such sources were almost entirely neglected in the compilation of the original Sämtliche Werke. Among the many other important documents not consulted [End Page 180] but now known and available are fair copies, engravers' models, and publishers' proofs, some of which were known to Gál and Mandyczewski but were excluded for purposes of expediency and/or financial feasibility, or were simply unavailable. McCorkle ("Five Fundamental Obstacles in Brahms Source Research," Acta Musicologica 48, no. 2 [July–December 1976]: 263), suggests that publishers Rieter-Biedermann and Simrock deliberately withheld some of the relevant manuscripts in their possession in order to "retain their monopoly as publishers of Brahms in the face of the encroaching Breitkopf & Härtel Sämtliche Werke." There are other drawbacks to the original Sämtliche Werke. For instance, the editors unfortunately kept their commentary and annotations extremely brief and limited, indicating neither the nature nor frequency of discrepancies between source texts, declining to explain the methodology they employed in handling those discrepancies, and omitting indications of editorial intervention, thus rendering...

Note-by-note synthesis is not enough

Traditional analysis and synthesis of musical tones are based on the idea that music can be deconstructed into note units that can be individually synthesized and recombined to create music. This ‘‘divide and conquer’’ strategy is natural for scientists and engineers, but it does not always work well in practice. In particular, brass instrument tones in a musical context are quite different from brass tones produced in isolation. Synthesis methods that are capable of reproducing individual tones fail to sound realistic when these tones are sequenced to produce a musical phrase. The combined spectral interpolation synthesis (CSIS) method uses a fairly simple spectrally based model in which the dynamically changing spectrum is a function of fundamental frequency and rms amplitude. The spectrum function is determined by measuring actual acoustic performances. The synthesis model must be controlled by appropriately evolving frequency and amplitude controls. A rule-based system computes these controls from a machine-readable version of a musical score, which includes slurs and other articulation markings. The rules take musical context and phrasing into consideration. The combination of musical context and a good synthesis model results in greatly improved synthesis.

Bartók's String Quartet No. 4/III: A New Interpretative Approach

Despite the diversity of analytical approaches towards the music of Bela Bartok, most are directed exclusively towards the listener and do not overtly address any issues of performance. Concerns of performers only tend to be accommodated in the context of Bartok's own recordings and therefore exclude a large part of his compositional output. The orientation towards performers provided here attempts to redress this balance while challenging the role played by a number of analytical approaches. A voice-leading analysis, for example, such as that of the first movement of Bartok's Fourth String Quartet by Roy Travis,1 may provide a sense of movement and overall direction, but it does not equip performers with what they need to know in the context of post-tonal works, where explicit articulation is beginning to replace conventional voice-leading. The Fourth Quartet (1928) is a representative work because, of all Bartok's quartets, it has the greatest abundance of articulation markings. Yet the third movement is not over-endowed with such markings; the composer uses them sparingly and specifically. In this movement, which he describes as the 'kernel' of the work,2 his resourcefulness and mastery of texture and instrumental techniques enable him to blend a mixture of background influences into a highly individualised idiom. The priority he gives to performance indications as a means of characterising his melodic and harmonic structures prompts an alternative analytical approach that demonstrates both how the practice of performance can determine issues of analysis and, conversely, how issues of analysis may determine the practice of performance. The rhetorical character of this movement has, until now, worked against a detailed analysis of its melody and expressive content. Yet it is Bartok's novel exploitation of speech-like rhythmic elements, also evident in the melodies of folksongs, which determines the content and unusual structure of this movement. A parallel can even be drawn between the function of articulation and accentuation in Baroque music and in folk tunes; both seem to have influenced Bartok's articulation. Indeed, the interpretative strategy I propose for Bartok's work shows remarkable affinities with existing suggestions for the

Classical and Romantic performing practice, 1750-1900

Despite the continuing interest in historically informed vocal and instrumental performance practice, the relationship between a composer's notation and the sounds it was intended to elicit remains problematic. Early recordings reveal a strikingly different sound and style from modern practice, and written sources indicate that earlier practice was even more radically different. This book looks beyond modern responses to the notation in an attempt to understand how Classical and Romantic composers may have expected to hear their music realized in performance. Theories of accentuation and their relationship to practice are discussed in relation to the notation of accents and dynamics. Similarly, articulation and phrasing are examined in theory and practice as well as in relation to composers' articulation markings and slurs. String bowing is treated as a special case, since detailed bowing instructions provide particularly important evidence of the difference between historical and current practice. Aspects of tempo are covered in detail in four chapters: evolving tempo conventions, the impact of the metronome, the range of meanings of tempo terms, the practices of particular composers, and various types of tempo modification are examined. Changing attitudes to embellishment, ornamentation, and improvization during the period are discussed in general; and individual chapters examine particular issues relating to appoggiaturas, trills, turns and other ornaments, vibrato, and portamento. A final section deals with the fermata, recitative, arpeggiation in keyboard playing; the variable dot of prolongation and other aspects of rhythmic flexibility; and the conventions of ‘heavy’ and ‘light’ performance.

Review: Bach's Clavier-Übung III: The Making of a Print. With a Companion Study of the Canonic Variations on Vom Himmel Hoch, BWV 769 by Gregory Butler, J. S. Bach; Bach Interpretation: Articulation Marks in Primary Sources of J. S. Bach by John Butt, J. S. Bach; The Forkel-Hoffmeister & Kühnel Correspondence: A Document of the Early 19th-Century Bach Revival by

Book Review| July 01 1992 Review: Bach's Clavier-Übung III: The Making of a Print. With a Companion Study of the Canonic Variations on Vom Himmel Hoch, BWV 769 by Gregory Butler, J. S. Bach; Bach Interpretation: Articulation Marks in Primary Sources of J. S. Bach by John Butt, J. S. Bach; The Forkel-Hoffmeister & Kühnel Correspondence: A Document of the Early 19th-Century Bach Revival by Johann Nicolaus Forkel, Hoffmeister & Kühnel, George B. Stauffer; The Bach Manuscripts of Johann Peter Kellner and His Circle: A Case Study in Reception History by Russell Stinson, J. S. Bach; Bach and the Riddle of the Number Alphabet by Ruth Tatlow, J. S. Bach Bach's Clavier-Übung III: The Making of a Print. With a Companion Study of the Canonic Variations on "Vom Himmel Hoch," BWV 769Gregory ButlerJ. S. BachBach Interpretation: Articulation Marks in Primary Sources of J. S. BachJohn ButtJ. S. Bach The Forkel-Hoffmeister & Kühnel Correspondence: A Document of the Early 19th-Century Bach RevivalJohann Nicolaus Forkel Hoffmeister & KühnelGeorge B. StaufferThe Bach Manuscripts of Johann Peter Kellner and His Circle: A Case Study in Reception HistoryRussell StinsonJ. S. BachBach and the Riddle of the Number AlphabetRuth TatlowJ. S. Bach Daniel R. Melamed Daniel R. Melamed Search for other works by this author on: This Site PubMed Google Scholar Journal of the American Musicological Society (1992) 45 (2): 339–352. https://doi.org/10.2307/831452 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Daniel R. Melamed; Review: Bach's Clavier-Übung III: The Making of a Print. With a Companion Study of the Canonic Variations on Vom Himmel Hoch, BWV 769 by Gregory Butler, J. S. Bach; Bach Interpretation: Articulation Marks in Primary Sources of J. S. Bach by John Butt, J. S. Bach; The Forkel-Hoffmeister & Kühnel Correspondence: A Document of the Early 19th-Century Bach Revival by Johann Nicolaus Forkel, Hoffmeister & Kühnel, George B. Stauffer; The Bach Manuscripts of Johann Peter Kellner and His Circle: A Case Study in Reception History by Russell Stinson, J. S. Bach; Bach and the Riddle of the Number Alphabet by Ruth Tatlow, J. S. Bach. Journal of the American Musicological Society 1 July 1992; 45 (2): 339–352. doi: https://doi.org/10.2307/831452 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the American Musicological Society Search This content is only available via PDF. Copyright 1992 The American Musicological Society, Inc. Article PDF first page preview Close Modal You do not currently have access to this content.

Bach Interpretation: Articulation Marks in Primary Sources of J. S. Bach

Bach Interpretation: Articulation Marks in Primary Sources of J. S. Bach

"Bach Interpretation: Articulation Marks in Primary Sources of J. S. Bach." By John Butt

"Bach Interpretation: Articulation Marks in Primary Sources of J. S. Bach." By John Butt

Bach interpretation: articulation marks in primary sources of J.S. Bach

List of plates Preface List of abbreviations Introduction Part I. Background to Articulation in the Performance Practice of Bach's Era: 1. The primacy of singing 2. Articulation marks in string playing 3. Articulation marks in wind playing 4. Articulation marks in keyboard playing 5. Articulation marks and rhythmic inequality Part II. The Principles of Bach's Notated Articulation: A Study of the Scores and Parts of the Concerted Vocal Works: 6. Articulation marks within the compositional and notational procedure 7. Principal articulation patterns in the instrumental parts of vocal works 8. Fundamentals of Bach's notated articulation Part III. Bach's Refined Articulation - The Instrumental Works: 9. Bach's role in the preparation of printed sources 10. Articulation marks in fair copies of works for instrumental ensemble 11. Bach's keyboard articulation and the development of the keyboard idiom 12. Bach and 'modern' articulation: slurs as 'phrase marks' 13. Articulation marks in analysis and interpretation Conclusion Appendixes Notes References Index of BMV works Index of names.

Near-Infrared Reflectance Spectroscopy and Authenticity of Performance: Indications in Bach's Music Manuscripts

AbstractIt is quite well known that supplementary entries were made in music manuscripts of Johann Sebastian Bach after his death in 1750. In most cases, however, the positive separation of later entries from original ones has remained an unsolved problem in Bach research. It is here demonstrated that reflectance spectroscopy in the wavelength range from 700 to 1200 nm can be used to detect and identify such amendments. As will be shown, irongall inks, commonly used in those days, often exhibit a characteristic optical behavior in the near-infrared region, which enables one to distinguish between entries made by different authors. In this particular study, performance indications in the oboe I part of Bach's cantata Wer da glaubet und getauft wird, BWV 37, could be traced to the hand of Carl Friedrich Zeiter, musical director of the Singakademie in Berlin (1800–1832), by comparing the reflectance spectra of the inks used for articulation markings (slurs) and ornaments (trills) with those of an undoubtedly...

Questions concerning the Edition of the 'Goldberg Variations' in the Neue Bach Ausgabe

The edition of BWV 988 has a number of serious errors that make it unsuitable for performance or study. The editor, Christoph Wolff, has introduced arbitrary readings, redistributed articulation marks, and misread ornaments. The editors of the Neue Bach Ausgabe ought to consider withdrawing the edition. (Rabin, Ronald J.)

Performing Beethoven's early piano concertos

Imagine for a moment that you are the recently appointed music director of a moderately wellendowed symphony orchestra-one that plays on 'modern' instruments. Although no stranger to the standard repertoire, you are conducting much of it for the first time. One of the first two Beethoven piano concertos is scheduled next season, and your soloist is open-minded and eager to apply the latest wisdom; the two of you will have the luxury of a couple of meetings before the first of two full-length orchestral rehearsals. In spite of the sincerity with which you and your teachers have steered clear of the historical performance movement in the past, you no longer find it possible to ignore the glowing reviews that Roger Norrington, John Eliot Gardiner, Christopher Hogwood and others are now receiving. Blissfully unaware of your status as a defensive post-modernist, you resolve to catch up with current thinking about so-called 'authentic performance practice'. But your needs, like those of all performers, are ultimately practical. You want to find the best edition and parts for your orchestra and soloist. What about the scale and range of dynamics? How might you approach the myriad of articulation marks in these scores? What tempos should you employ, and with how much flexibility? You want advice about performing forces and seating plans. How about advising your soloist about cadenzas? You are not ready to take the plunge into period instruments, but you certainly want to know what recordings on them sound like.' You set aside a few hours to dig around in the nearby university library, reasonably confident of extracting answers to your questions. The following exercise outlines what might transpire if this task was undertaken with any earnestness. An early Beethoven concerto is an ideal example by which to measure not only the growing pains of the historical performance movement but also the dilemmas faced increasingly by performers and musical organizations of every persuasion. My thesis is, first, that the scholarly community has done little to address seriously the performer's concerns; second, that when such concerns are addressed, the same evidence is used to reach conflicting conclusions; and finally, that whatever artistic decisions are made, you may expect that the motives behind them as well as the result will be most critically evaluated. Let us consider first the question of the score and parts. Few works in the concerto repertory receive more performances than the five Beethoven piano concertos. Yet the only parts commercially available today continue to be those issued as part of the Breitkopf & Hdirtel Gesamtausgabe [GA] in 1862.2 This is all the more ironic given that a comprehensive new critical edition [BWG] of the first three concertos (op.15, 19, 37), replete with nearly one hundred oversize pages of Kritischer Bericht, was issued by the Beethoven-Archiv in 1984.3 To date, inexplicably, no parts have been made available. Orchestras are, of course, free to purchase the score of the new critical edition and incorporate changes in their old Breitkopf parts. But the changes-assuming for the moment that all of them are desirable-are so extensive that probably not even the world's most prosperous orchestras will find it feasible.