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Sep 30, 2019 · Footnote 7 An ‘ethnomusicology of notation’ signifies a broadly anthropological perspective on the social, epistemic and creative processes involved in practices of writing and reading music, instead of a narrowly musicological or music-theoretical one, which would study notation mainly for its musical content. The ethnomusicology I refer to is the approach which Frank Harrison famously ...
- Floris Schuiling
- 2019
Here I start from the premiss that notation is both constructive and indicative of certain ways of thinking about music. Building on this, I argue that notation, as much as it can play this constructive role, can also play (and, indeed, has played) a deconstructive role by seeking to represent the unrepresented and to question the unquestioned.
Jun 7, 2001 · In my sense of the term, a score is a musical notation the main purpose of which is to serve as a work prescription. It records a set of instructions, addressed to performers, the faithful execution of which generates an instance of the piece it specifies. 1 The instructions transmitted via a score must be sufficient to characterize a work of the kind in question. 2
On the Interpretation of Bach's Trills 295. reveal the notational procedures that Bach used to suggest a particular interpretation of the trill for each instance. In each of the following examples a) shows the trill in its context as. Bach wrote it; b) shows the basic progression of "main notes" with a.
Music has been around for a long time; in almost every culture aroundthe world we find evidence of music. Music throughout history started as mostlyvocal music it was transmitted , orally with no written notation. During the early ninth and tenth century the written tradition started to be seen and developed. hisT marked the beginnings of music ...
- Carolyn S. Gorog
- 2015
Feb 11, 2022 · However, the same question also challenges us to conceptualize composition and notation in ways that move beyond the work-concept. As I have previously argued, a purely performance-based music scholarship fails to do justice to the wide variety of forms and uses of notation (what I call ‘notation cultures’) that occur throughout the world. 3
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provide working definitions of terms relating music to time (‘tempo’, ‘pulse’ etc.) and then of concepts related more exclusively to time. 2.2. ‘Tempo’ Tempo is of course Italian or Portuguese for ‘time’. When applied to music, however, ‘tempo’ is the underlying ‘pace’ or ‘speed’ at which music is per-
