Querying Music Notation

2016 ◽  
Author(s):  
Raphael Fournier-S'niehotta ◽  
Philippe Rigaux ◽  
Nicolas Travers
Keyword(s):  
Music Notation

scholarly journals Associations Between Music Training and the Dynamics of Writing Music by Hand

2020 ◽  
pp. 102986492097214
Author(s):  
Aurélien Bertiaux ◽  
François Gabrielli ◽  
Mathieu Giraud ◽  
Florence Levé
Keyword(s):  
Classical Music ◽  
Music Notation ◽  
Musical Score ◽  
Music Training ◽  
Video Recordings ◽  
Musical Structures ◽  
Music Recognition ◽  
High Level ◽  
Bottom To Top ◽  
Western Classical Music

Learning to write music in the staff notation used in Western classical music is part of a musician’s training. However, writing music by hand is rarely taught formally, and many musicians are not aware of the characteristics of their musical handwriting. As with any symbolic expression, musical handwriting is related to the underlying cognition of the musical structures being depicted. Trained musicians read, think, and play music with high-level structures in mind. It seems natural that they would also write music by hand with these structures in mind. Moreover, improving our understanding of handwriting may help to improve both optical music recognition and music notation and composition interfaces. We investigated associations between music training and experience, and the way people write music by hand. We made video recordings of participants’ hands while they were copying or freely writing music, and analysed the sequence in which they wrote the elements contained in the musical score. The results confirmed experienced musicians wrote faster than beginners, were more likely to write chords from bottom to top, and they tended to write the note heads first, in a flowing fashion, and only afterwards use stems and beams to emphasize grouping, and add expressive markings.

scholarly journals Developing a Spatial-Skills-Focused Music Program for Older Adults With Changes in Cognition

2020 ◽  
Vol 4 (Supplement_1) ◽  
pp. 291-292
Author(s):  
Jennie Dorris ◽  
Juleen Rodakowski
Keyword(s):  
Older Adults ◽  
Cognitive Abilities ◽  
Rank Test ◽  
Music Notation ◽  
Spatial Skills ◽  
Post Intervention ◽  
Professional Musicians ◽  
Cognitive Changes ◽  
Music Program ◽  
Orientation Test

Abstract Older adults with cognitive changes need stimulating programming to maximize their cognitive abilities. One area to maximize includes spatial skills, its decline can lead to disorientation and wandering. Music has potential to maximize spatial skills: reading music’s notation is associated with enhanced spatial skills in children and professional musicians. It’s critical to understand the potential impact of a spatially focused music program for older adults with changing cognition; if successful, future music programs could support people staying orientated in their environments and living independently longer. We developed and assessed a six-week marimba program focused on reading music with 15 older adults ages 65-89 with changes in cognition. We compared their scores on the Orientation Test from the Test of Visual Perceptual Skills pre- and post-intervention and assessed if participants self-selected to read music notation. Participants scored an average Modified Mini Mental State Examination (3MSE) score of 81.3 (SD = 11.0). On average, participants’ scores on the Orientation Test moved from 13.4 (SD =1.9) to 14.1 (SD= 2.7), providing a cohen’s d effect size of 0.3. Over the six weeks, 11 out of the 15 participants selected to read music for at least one class, indicating a statistically significant change using the Wilcoxon signed-rank test (Z = -3.16, p < 0.01), suggesting that older adults with cognitive changes may be able to learn to read music. This is important, as a spatially focused music program may maximize spatial skills that older adults need to successfully navigate their world safely and independently.

Source Book of Proposed Music Notation Reforms

Notes ◽  
1991 ◽  
Vol 47 (3) ◽  
pp. 804
Author(s):  
Mel Wildberger ◽  
Gardner Read ◽  
Helen Wanske
Keyword(s):  
Music Notation ◽  
Source Book

Depressive symptomatology and learning: Does intermediate testing or restudying the information determine long-term memory retrieval of novel symbols?

2016 ◽  
Vol 33 (S1) ◽  
pp. S412-S412
Author(s):  
V. Giannouli
Keyword(s):  
Retention Interval ◽  
Music Education ◽  
Memory Retrieval ◽  
Testing Effect ◽  
Depressive Symptomatology ◽  
Long Term Memory ◽  
Music Notation ◽  
Testing Time ◽  
Term Memory

IntroductionThere is a hypothesis in cognitive psychology that long-term memory retrieval is improved by intermediate testing than by restudying the information. The effect of testing has been investigated with the use of a variety of stimuli. However, almost all testing effect studies to date have used purely verbal materials such as word pairs, facts and prose passages.ObjectiveHere byzantine music symbol–word pairs were used as to-be-learned materials to demonstrate the generalisability of the testing effect to symbol learning in participants with and without depressive symptoms.MethodFifty healthy (24 women, M age = 26.20, SD = 5.64) and forty volunteers with high depressive symptomatology (20 women, M age = 27.00, SD = 1.04) were examined. The participants did not have a music education. The examination material was completely new for them: 16 byzantine music notation stimuli, paired with a verbal label (the ancient Greek name of the symbol). Half of the participants underwent intermediate testing and the others restudied the information in a balanced design.ResultsResults indicated that there were no statistically significant differences in final memory test performance after a retention interval of 5 minutes for both groups of participants with low and high level depressive symptomatology (P > 0.005). After a retention interval of a week, tested pairs were retained better than repeatedly studied pairs for high and low depressive symptomatology groups (P < 0.005).ConclusionsThis research suggests that the effect of testing time on later memory retrieval can also be obtained in byzantine symbol learning.Disclosure of interestThe authors have not supplied their declaration of competing interest.

scholarly journals Comparing rhythm in speech and music: The case of English and Polish

2014 ◽  
Vol 1 (1) ◽  
pp. 55-71 ◽  
Author(s):  
Mateusz Jekiel
Keyword(s):  
Folk Music ◽  
Instrumental Music ◽  
Classical Music ◽  
Initial Study ◽  
Music Notation ◽  
Temporal Patterning ◽  
Speech Rhythm ◽  
Musical Notation ◽  
Variability Index ◽  
Point Of Departure

Abstract The point of departure for the following study is Patel and Daniele (2003), who suggested that the rhythm of a culture’s language is reflected in its instrumental music. The former study used the normalised pairwise variability index (henceforth nPVI), a measure of temporal patterning in speech, to compare the variability of vocalic duration in recorded speech samples with the variability of note duration in music notation on the example of English and French speech and classical music. The aim of this experiment is to test whether the linguistic rhythm conventionalised in the language of a community affects the rhythm in the musical practice of that community, by focusing on English and Polish speech and classical, as well as folk music. The nPVI values were obtained from a set of English and Polish recorded news-like sentences, and from musical notation of English and Polish classical and folk musical themes. The results suggest that reflections of Polish speech rhythm may be more apparent in folk music than in classical music, though more data are needed to test this idea. This initial study suggests that the method used might bring more fruitful results when comparing speech rhythm with less formalized and more traditional musical themes.

Gaze patterns of expert and amateur sight-readers with particular focus on the cognitive underpinnings of reading key and time signatures

2021 ◽  
Author(s):  
◽  
Jacobus Frederick Viljoen
Keyword(s):  
Eye Tracking ◽  
Low Complexity ◽  
Sight Reading ◽  
Music Notation ◽  
Positive Role ◽  
Gaze Patterns ◽  
Musical Knowledge ◽  
Quasi Experimental ◽  
Reading Key ◽  
Key Aspects

Over the last decade, eye-tracking technology has provided researchers with specific tools to study the process of reading (language and music) empirically. Most of these studies have focused on the “Eye-Hand Span” phenomenon (the ability to read ahead of the point of playing). However, little research investigates the cognitive implications of specific aspects of musical notation when performed in real time. This research aimed to observe the fixations patterns of sight-readers in order to investigate the cognitive underpinnings of key and time signatures in music scores. This research project is a quantitative study using a quasi-experimental research design. Tobii eye-tracking equipment and software were used to record the eye movements of 11 expert and 7 amateur keyboard sight-readers. Two key aspects of music notation, key and time signatures, were selected as the main focus of the study. To investigate these aspects, eighteen research participants were provided with seventeen sight-reading examples for one hand (low complexity) and two hands (high complexity) composed specifically by the researcher. Several examples contained one or more unexpected aspects (accidentals or changes of time signature) to test their effect on fixation count and duration. Two variables (fixation count and fixation duration) were utilised to analyze fixation patterns on the selected aspects of the scores. Three main results emerged from the data analysis: 1) Expert sight-readers performed with much greater accuracy than experts in both tests; 2) Expert sight-readers exhibited a higher fixation count on entire scores in complex examples; 3) Both expert and amateur sight-readers fixate more and for longer on certain notational aspects such as key and time signatures than other notational aspects such as deviations or individual notes. This selection of focused attention suggests that both expert and amateur sight-readers cognitively process music scores in a hierarchical order. In conclusion, key and time signatures appear to require more and longer fixations by both groups of readers than other aspects of the score. This supports previous research which suggests that sound musical knowledge may play a positive role in performers’ sight-reading skills, thereby contributing to more successful sight-reading performances.

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