Notation Symbols Research Articles

Musical Projects in Guitar Pro 7.5 Sequencer

The purpose of the article is to study the process of creating musical projects in the GUITAR PRO 7.5 sequencer. Research methodology. The article uses a systematic approach, as well as methods of analysis and synthesis, comparison and generalisation. The scientific novelty lies in the identification and development of innovative methods of working in the GUITAR PRO 7.5 sequencer, which allows creating musical compositions from scratch using modern software tools, as well as the possibilities of using music information technologies in the further artistic practice of musicians, sound producers, sound engineers, producers and in professional music education. Conclusions. This software product is a powerful music editor that allows one to create original scores at a professional level for subsequent editing. The programme presents many necessary tools with which the user can work with a variety of musical notation symbols and a wide range of sound dynamics and tempo control, which allows you to create samples of sounding musical pieces and their phonograms. It has a powerful built-in MIDI editor, chord builder, player, metronome, and other useful tools for musicians. Guitar Pro 7.5 can be run on Windows, Linux, and Mac OS platforms. It is widely used by musicians, composers, arrangers, sound engineers, sound designers, and producers. In addition, Guitar Pro 7.5 methods can be used for studying by students who are mastering the relevant specialties in higher educational institutions. Keywords: music notation editor, score, arrangement, sound, musician, composer, sound producer, sound engineer, producer, professional music education.

The Visual Representation of Timbre

This text deals with the difficult task of notating timbre by addressing how it can be classified, synthesised, recognised and related to visual correspondences, and then looking at the relevance of these topics for notational purposes. Timbre is understood as dependent on both spectral and time-dependent features that can be notated in ways that make sense in relation to both perception and acoustics. This is achieved by taking the starting point in Lasse Thoresen’s spectromorphological analysis. Symbols originally developed for perception-based analysis are adapted for use over a hybrid spectrum-staff system to indicate the spectral qualities of timbre. To test the system, it was used to transcribe excerpts of three classic electroacoustic music works. In addition to the benefit of being able to compare the three excerpts transcribed with the same system, there is the advantage that the visual representation is based on spectral measurable qualities in the music. The notation system’s intuitiveness was also explored in listening tests, showing that it was possible to understand spectral notation symbols placed over a staff system, particularly for examples with two sound objects instead of one.

Variasi Bowing Etudes Ou Caprices No. 2 Rodolphe Kreutzer Sebagai Strategi Pembentukan Teknik Tangan Kanan Pada Pemain Violin

Violin players are required to have balanced technical skills not only with the left hand (finger operation on the strings), but also the role of the right hand (playing the bow). Qualifications that emphasize exercises that focus on right-hand skills are in fact often under-appreciated. This research proposal presents a study-based violin learning strategy that emphasizes right hand skills through bowing variation treatment, which is applied to Rodolphe Kreutzer's Etudes Ou Caprices No. 2. The focus of this research is the music education study program, ISI Yogyakarta. This study uses a qualitative method with a musicological approach. The stages that were passed in this research were through the process of literature study, observation, interviews, and analysis. The results of this study are: the emergence of eight variations of bowing which was applied to Etudes Ou Caprices no.2 Rodolphe Kreutzer; the treatment applied is useful in improving the right hand technique and the differentiating specifications between each bowing technique; through continuous practice of bowing variation techniques can make students responsive in reading notation symbols, especially on the diversity of right-handed techniques; treatment of variations of bowing detache, staccato, spiccato, legato, and their variations can be easily applied to the repertoire/songs being studied to support interpretation.

Major Notational Symbols Proposed for Analyzing Oral Business Nepali: A Functional Perspective

A general model of conversation analysis may not equally work to meet the purpose of a given analysis and the typical characteristics of a given language. This article proposes a model of notational symbols, both adapted and developed, to match the functional features of conversations drawn from oral business Nepali.

Students' Mathematical Communication: COVID-19 Problem-solving Experience Among High Achievers

Mathematical communication skills are the ability to convey mathematical ideas, strategies, and solutions to solve mathematical problems, both written and verbal. The community must express ideas to solve mathematical problems in daily life or tell essential information, such as the news related to COVID-19. . The selection of subjects in this study used purposive sampling with the subjects of 3 high achievement students in ten grade. Subjects are selected based on the average daily test scores. Data collection was conducted by mathematical communication test using PISA liked problem uncertainty and data context about hand sanitizer and interview. The triangulation technique analyzed the result of test and interview data. The results showed that students with high achievement have high mathematical communication skills. Students with high achievement can present mathematical ideas orally and in writing, interpret and evaluate the strategy, the results obtained, and use terms, mathematical notation, and math symbols. Thus, high achievement students can communicate and solve problems in the context of COVID-19. This research provides new information about the mathematical communication of students with high mathematical abilities, so it can be one of the teacher's guidelines for determining appropriate learning to improve students' mathematical communication.

The Identity Construction Through Music Notation of The Indigenous Style of Gitar Tunggal Lampung Pesisir

This study aims to reveal the meaning of music notation writing of gitar tunggal Lampung Pesisir written by Imam Rozali. Imam is a gitar tunggal player who wrote his technique and playing style in notation symbols. This article uses a case study research design with pattern matching techniques (Yin, 2018). Data were collected through observation, interviews, document analysis, and audio recordings. A series of tests were carried out on the notation and other supporting information to improve the validity of the data. Laboratory analysis was carried out to describe signs, interpret symbols, and compare Western musical notation. As a result, (1) the music notation written by Imam Rozali is a musical expression used as a medium for remembering; (2) the writing of Imam Rozali’s musical notation constructs his musical identity as a Gitar tunggal Lampung Pesisir player; (3) Imam Rozali’s music notation symbolizes an indigenous style which has its concept of gitar tunggal music; (4) Imam Rozali tries to add value to his musical identity among gitar tunggal players because the notation is a symbol of intellectuality.

SHAPE

This article results from presentations at conferences in Germany and the United States in 1993 e 1994, which were later revised. The author discusses the notions of Form and Shape and its possible mean- ings in English language and in Laban / Bartenieff Movement Analysis System considering it as an in- dependent category of analysis. It discusses consen- sus and disagreements in the use of this material as well as its symbols or notation signs in different LMA programs. She presents suggestions for notation and to what differences Modes of Shape Change, Shape Qualities, General Shape Flow Baseline and Postur- al Shape Flow Support based on her teaching expe- rience in LMA programs. She also indicates when to use Shape based analysis. On presenting the back- ground of Shape category in LMA, she makes an invi- tation to deepen discussion as a mode of developing and changing shapes and wisdoms for a future use.Keywords Laban/Bartenieff Movement Analysis System. Shape. Modes of Shape Change. Shape Qualities. Notation Symbols.

What Do Signatures Signify?

At the beginning of the seventeenth century English composers used only a handful of keys: they combined five keynotes (G, A, C, D, and F) with the three signatures documented in English solmization theory (♮,♭, and♭♭). By the end of the century English theorists described eighteen keys—all of the modern major and minor keys with up to four signature accidentals. But the route from eight to eighteen keys was not straightforward. This article traces this route by examining how the function of signature flats and sharps changed in seventeenth-century England. At the beginning of the century signature flats and sharps were clefs, mere notational symbols that provided a shorthand for the probable pitches in a composition. As a result, English musicians used adjacent keys (i.e., ♮-D and -D), which were distinct, well-formed versions of a broader category of D minor. In the middle of the century, composers and theorists used ad hoc and asymmetrical strategies ♭ to create new keys. Composers explored new flat keys through the process of signature creep, while theorists devised new sharp keys when they identified the parallel key relationship. Finally, theoretical interventions at the end of the century “fixed” keys into our modern system but obscured the varied pitch structure that still animated musical practice. The messy, flexible circumstances in which keys arose complicate several assumptions about modern key; this evidence challenges notions of transpositional equivalence and reveals that different kinds of keys may be built on different conceptual foundations.

The Effect of Angklung Musical Instrument on the Ability to Recognize Number Symbols and Fine Motorik of Children Aged 5-6 Years

This study aims to educate early childhood children about learning to recognize number notation easily and how to play angklung correctly. With the playing Angklung can develop the ability to recognize symbols of the numerical notation and fine motor that is coordinating between eyes by hand. This study was conducted in children aged 5-6 years at the Taman Kasih Kindergarten in Surabaya, with a total of 23 control classes and 23 experimental classes for children. This study uses quantitative research that uses experimental methods and has a control group. The feasibility of angklung media from media experts and material experts with very valid criteria and is appropriate to use. Pretest results of children's abilities are still many who have not developed 74%, have not developed 4%, and have developed as expected 17%. After being given treatment using the angklung instrument, the ability of 70% of children to develop is very good and 30% to develop as expected. Based on the data above, the angklung media used in playing musical instruments in recognizing numerical notation symbols can improve the cognitive aspects of early childhood development while the results of pretest results of fine motor skills of children are still at the stage of developing as much as 54% and fine motor skills that develop as expected as much as 46%. After being treated as much as five times, then held a posttest increased to fine motor skills of children to develop very well 76% and develop as expected 24%.

Musicalization of Literature: Kostas Ostrauskas’s The Quartet

In works of literature, music can be found in the form of score fragments, notation symbols, song lyrics, musicological terminology, acoustic aspects of speech, musicians as characters, etc. Such manifestations connect two systems of signification and create an intermedial dialogue between music and literature, which requires a specific methodological approach. According to the intermediality theoretician Werner Wolf, “[t]he verbal text appears to be or become [...] similar to music, or to effects connected with certain compositions, and we get the impression of experiencing music ‘through’ the text”26. This paper discusses possible forms of a musico-literary relationship, the effects they produce, and examples of musicalization found in Kostas Ostrauskas’s play The Quartet (1969). In this play, the musico-literary dialogue is developed on different levels: structure and story, the twofold nature of the characters, intertextuality. Analysis of the play’s architextual relationship with the medium of music helps to identify the specific, musico-literary genre of this play. This unusual genre is defined not only by the content of The Quartet but also by its expression, i.e. graphic nuances, inserted imagery, etc. As shown by the analysis, the play could be understood as a metonymy of the history of both contemporary music and dramatic literature.

Preserving Musicality Through Pictures

The natural musicality so often present in children’s singing can begin to fade as the focus of a lesson shifts to the process of reading and writing conventional notation symbols. Approaching the study of music from a linguistic perspective preserves the pace and flow that is inherent in spoken language and song. SongWorks teaching practices offer a pedagogical sequence based on the natural groupings of sounds within spoken language. A series of lessons on the American folk song “Rocky Mountain” illustrates examples of linguistic pathways to preserving musicality in conventional notation.

The Notation Scanner Systems Using Resilient Backpropagation Method

Abstract This research proposes anotation scanner system for numerical notation. This research was supported by using resilient backpropagation algorithm and uses the music application to get a melody of musical instruments. Objects used are designed to be focused on the numerical notation symbols. To be implemented, the input image from camera will be pre-processing, image segmentation, number and symbol recognition, output sound, and to read numerical notation symbols before entering resilient backpropagation algorithm resize the image will be 21x21 pixels. By using colour filtering can reduce errors in handwriting recognition. Success rate by using 15 new sample data with 100 sample data training, the test to get a successful outcome as much as 87.9% and 12.1% error while success rate by using 15 new sample data with 50 sample data training, the test to get a successful outcome as much as 74.4% and 25.6% error.

Automatic Recognition of Square Notation Symbols in Western Plainchant Manuscripts

While the Optical Music Recognition (OMR) of printed and handwritten music scores in modern standard notation has been broadly studied, this is not the case for early music manuscripts. This is mainly due to the high variability in the sources introduced by their severe physical degradation, the lack of notation standards and, in the case of the scanned versions, by non-homogenous image-acquisition protocols. The volume of early musical manuscripts available is considerable, and therefore we believe that computational methods can be extremely useful in helping to preserve, share and analyse this information. This paper presents an approach to recognizing handwritten square musical notation in degraded western plainchant manuscripts from the XIVth to XVIth centuries. We propose the use of image processing techniques that behave robustly under high data variability and which do not require strong hypotheses regarding the condition of the sources. The main differences from traditional OMR approaches are our avoidance of the staff line removal stage and the use of grey-level images to perform primitive segmentation and feature extraction. We used 136 images from the Digital Scriptorium repository (DS, 2007), from which we were able to extract over 90% of the staves and over 88% of all symbols present. For symbol classification, we used gradient-based features and SVM classifiers, obtaining over 90% precision and recall over eight basic symbol classes.

A proposal of a color music notation system on a single melody for music beginners

Music teachers often encounter obstructions in teaching beginners in music reading. Conventional notational symbols require beginners to spend significant amount of time in memorizing, which discourages learning at early stage. This article proposes a newly-developed color music notation system that may improve the recognition of the staff and the numbered musical notation for music beginners. The focus is on single melodies that are relatively easy for music beginners to read and to play, which may increase students’ confidence at the first step of music learning. The color music notation system that associates color music scores with color and music synesthesia by human vision and audition is proposed. Pitch, duration, range, and intensity of music elements are coded as colors, lattices, graphs, and shape sizes, respectively. Based on the 12-tone equal temperament, we adopt the Itten color wheel and the natural color system with 12 primary colors to retain colors accurately when the notation is reproduced. Hopefully, beginners can use the novel colored music scores to read and to play music quickly, accurately, and confidently.

Symbolic notations and students achievements in algebra

This study focuses on symbolic notations and its impact on students’ achievement in Algebra. The main reason for this study rests on the observation from personal and professional experiences on students’ increasing hatred for Algebra. One hundred and fifty (150) Senior Secondary School Students (SSS) from Ojo Local Education District, Ojo, Lagos, Nigeria formed the sample population for the study. Three research instruments were used for the study, questionnaires were constructed for both students’ and teacher’s to measure students’ perceptions about symbolic notations like symbols, letters and signs in Algebra and how it affect their learning of Algebra, while the teacher’s instruments measure the mode/strategies of teaching notation symbols in Algebra at the classroom levels. t-test and Chi-square (χ2) at 0.05 level of significance were used to test the stated hypotheses. Results from the hypotheses among others shows that students’ do not have interest in Algebra and the usefulness of Algebraic notations are not known to them because they were not introduced to Algebraic topics with notations symbols early enough in schools. Also, due to the inadequate modes/strategies in handling notations symbols by the teacher’s at the classrooms also resulted in significant differences between the performance of students’ in the achievement test with symbolic notations and without symbolic notations. It was recommended among others that the schools should have mathematics laboratories where different mathematics teaching materials could easily be at the reach of the teacher’s. Key words: Symbolic notations, Chi-square (χ2), t-test, significance level, senior secondary school students, perceptions.

The Brahmsian Hairpin

Abstract Hairpins, the notation symbols < and >, are today universally accepted as equivalent to the markings crescendo and diminuendo, calling for an increase or decrease in volume. This view is irreconcilable with the scores of the core German repertoire of the nineteenth century. This article offers a new understanding of hairpins based on careful examination of the scores of Brahms and of early-twentieth-century recordings by artists close to him. In Brahms's milieu hairpins did not prescribe sounds, but rather described meanings. The difference between prescription and description is central, suggesting that instead of “growing louder/quieter,” hairpins are better understood as “becoming more/less.” The means by which “more/less” was realized by nineteenth-century musicians included many techniques beyond dynamics, most notably agogic inflection.

Café Space, Communication, Creativity, and Materialism

Café Space, Communication, Creativity, and Materialism

The Early Development of Sight-Reading Skills in Adulthood

In this study the effects of skill development on the eye movements of beginning adult sight-readers were examined, focusing on changes in the allocation of visual attention within metrical units as well as in the processing of larger melodic intervals. The participants were future elementary school teachers, taking part in a 9-month-long music training period. During this period, 15 novice sight-readers’ development was observed in three measurements, with 15 amateur musicians functioning as a comparison group. The novices’ allocation of fixation time within metrical units gradually approached a pattern demonstrated by the amateurs in which increased sensitivity to metrical divisions was evinced by larger average fixation times on the latter halves of bars. Concerning larger melodic skips in otherwise stepwise melodic contexts, an analysis of fixation times suggested that the novices’ visual processing of skips did not proceed in terms of note comparison across the skip but rather through a direct identification of the notational symbols involved. Skill development was seen, then, as increasing fluency of this identification process. These and similar findings may lead to a better understanding of the problems encountered by novice sight-readers and thus to advancements in the pedagogy of music reading.

Kotekan in the Traditional Shona Mbira Music of Zimbabwe


 
 
 This article documents musical interlocking as it is traditionally practiced among the Shona people of Zimbabwe. Its focus is on the music of the mbira dzavadzimu, a traditional musicial instrument that consists of 22-25 or more keys distributed over three manuals(keyboards) played with both thumbs and one index finger. Numerous musical examples,using notational symbols developed for this study, are used throughout to clarify all technicaldetails. Most of the notational symbols are the same or similar to those used by Paul Berliner in his classic study The Soul of Mbira (Berliner: 1978). Six complete traditional mbira dzavadzimu pieces are presented in easy-to-read notated form: “Nhemamusasa,” “Chakwi,” “Nhemamusasa Variation,” “Nyamaropa,” “Shumba,” and “Taireva.” Four different categories ofinterlocking procedures form the core of the article: 1) Interlocking in Solo Mbira Music; 2) Interlocking in Two-Part Mbira Music; 3) Interlocking in Three-Part Mbira Music; and 4) Interlocking in Multiple-Part Mbira Music. Three supporting categories are also presented: 1) Interlocking in Mbira “High-Line” Parts; 2) Interlocking in Accompanying Vocal Parts; and 3) Interlocking in Miscellaneous Accompanying Parts. Much of the data in this article was gathered by the author through his private instruction with the following distinguished Shona mbira players: Irene Chigamba, Tute Chigamba, Musekiwa Chingodza, Stella Chiweshe, Michael Kamunda, Forward Kwenda, Ephat Mujuru, and Luken Kwari Pasipamire. 
 
 

Analysis of Tonal Music: A Schenkerian Approach

Preface PART 1: BASIC PRINCIPLES 1. Introduction Beethoven, Piano Sonata, Op. 2, No. 1, I 2. Melody and Counterpoint Some Characteristics of Melody Counterpoint Structural Melody 3. Bass Lines and Harmonic Structure Tonic Harmony (T Class) Intermediate Harmonies (Int Class) Dominant Harmony (D Class) Larger Contexts Chord Prolongation: Summary 4. Linear Techniques Linear Progressions Linear Intervallic Patterns The Neighbor Note Linear Intervallic Patterns: Summary 5. Tonal Structure Notational Symbols Tonal Structure and the Ursatz The Bass Arpeggiation (Bassbrechung) The Fundamental Line (Urlinie) Structural Levels The Principle of Interruption More on the Ursatz 6. Techniques of Melodic Prolongation The Initial Ascent The Arpeggiated Ascent Unfolding Motion into an Inner Voice Motion from an Inner Voice Voice Exchange Shift of Register Descending and Ascending Register Transfer Coupling Superposition Reaching Over Cover Tone Substitution The Phrygian