The Early History of Music Writing in the West

Treitler, Leo

doi:10.2307/831146

Cited by 67 publications

(15 citation statements)

References 8 publications

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“…This finding, which is completely coherent with some general theories of knowledge acquisition (e.g., Dienes & Perner, 1999;Karmiloff-Smith, 1992), indicates that the development of instrumental expertise is associated with the student's capacity to become more aware gradually of the existence of different musical components as well as with the capacity to make these musical components cognitively more explicit. In this sense, one could say that developing more sophisticated conceptions of musical scores would require first being aware of their multidimensional nature, in other words, knowing the broad spectrum of information that these cultural representations code both explicitly and implicitly (Treitler, 1982). Second, the results of both chi-square tests and SCFA have indicated that each developmental-instructional group typically focused its attention on different musical aspects.…”

Section: Conclusion and Discussionmentioning

confidence: 99%

“…This article is focused on the field of music interpretation within the Western classical tradition. As is very well known, learning and teaching of this musical genreunlike others (e.g., jazz, flamenco)-customarily requires the use of musical scores, cultural tools for external representation composed of a wide range of musical notations (Treitler, 1982). Within this classical instrumental tradition, many of the current curricula in different countries suggest that one central goal of teaching should be to promote students' active and constructive learning to help them to become capable, independent performers (Broomhead, 2001).…”

Section: Introductionmentioning

confidence: 99%

“…In contrast, this hypothetical student probably will focus his or her attention not on analyzing the internal logic of the musical score (i.e., syntax and structure) or on understanding its artistic sense and meaning (i.e., at a stylistic, expressive, and communicative level) and even less on thinking about subtle aspects related to how the piece should sound. Changing the student's approach to learning would imply, among other things, that his or her teacher helps him or her to build a more sophisticated view regarding what is written in these cultural tools, both explicitly and implicitly (see Treitler, 1982). Thus, if we adopt a constructivist perspective on knowledge (Pozo et al, 2006), the study of these conceptions of musical scores as external representations becomes important from an educational point of view, given that to change the conceptions held by students, one must first precisely know which conceptions they hold.…”

Section: Introductionmentioning

confidence: 99%

See 2 more Smart Citations

Piano Students’ Conceptions of Musical Scores as External Representations: A Cross-Sectional Study

Bautista

Echeverría

Pozo

et al. 2009

Journal of Research in Music Education

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Musical scores are some of the most important learning tools for musicians’ acquisition of musical knowledge. However, despite their educational relevance, very little is known about how music students conceive of these cultural external representations. Given that these conceptions might act as mediators of students’ learning approaches, the importance of knowing these conceptions seems evident in order to eventually change them. The general aim of this investigation was to study the conceptions of piano students at Spanish music conservatories by adopting a developmental-instructional perspective. The participants were 215 students at intermediate and tertiary degree levels, representing three levels of the collapsed variable age— level of instruction. Data were collected by means of a written open-ended task and analyzed by means of descriptive, parametric, and nonparametric statistical methods.The findings suggested that (a) students’ conceptions were more sophisticated at higher age and education levels, (b) each developmental-instructional group typically focused on different musical aspects, which reflected an inclusive and hierarchical logic, and (c) five increasingly sophisticated conceptions could be identified among these students.

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Section: Conclusion and Discussionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

See 1 more Smart Citation

Piano Students’ Conceptions of Musical Scores as External Representations: A Cross-Sectional Study

Bautista

Echeverría

Pozo

et al. 2009

Journal of Research in Music Education

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“…He has been collecting and studying recordings of chant with specific focus on how music transmission based on oral transmission and ritual was gradually changed to one based on writing and music notation. The examples studied come from improvised, partially notated, and gesture-based [13] notational chant traditions: Hungarian siratok (laments) 1 , Torah cantillation [24] 2 , tenth century St. Gallen plainchant [18] 3 , and Koran recitation 4 .…”

Section: Chantsmentioning

confidence: 99%

Chants and Orcas

Ness

Wright

Martins

et al. 2008

Proceedings of the 2nd ACM Workshop on Multimedia Semantics

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The recent explosion of web-based collaborative applications in business and social media sites demonstrated the power of collaborative internet scale software. This includes the ability to access huge datasets, the ability to quickly update software, and the ability to let people around the world collaborate seamlessly. Multimedia learning techniques have the potential to make unstructured multimedia data accessible, reusable, searchable, and manageable. We present two different web-based collaborative projects: Cantillion, and the Orchive. Cantillion enables ethnomusicology scholars to listen and view data relating to chants from a variety of traditions, letting them view and interact with various pitch contour representations of the chant. The Orchive is a project to digitize over 20,000 hours of Orcinus orca (killer whale) vocalizations, recorded over a period of approximately 35 years, and provide tools to assist their study. The developed tools utilize ideas and techniques that are similar to the ones used in general multimedia domains such as sports video or news. However, their niche nature has presented us with special challenges as well as opportunities. Unlike more traditional domains where there are clearly defined objectives one of the biggest challenges has been the desire to support researchers to formulate questions and problems related to the data even when there is no clearly defined objective.

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“…5 Leo Treitler describes neumes as "those melodic inflections of the syllables." 6 Numerous theories exist on how the neumes developed, but pinpointing an exact source proves to be elusive. Even among well-respected scholars, varying opinions exist on how to interpret the evidence.…”

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confidence: 99%

Untitled

2013

jmo

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New things are often viewed as being better and more advanced than older counterparts; however, new does not denote superior. Music notation serves as one example of an innovation that is both lauded and derided. Early forms of music notation appear vague and ambiguous according to modern standards. But when combined with oral traditions, early music notation contained all the information required for a successful performance. Most facts pertaining to the notation of each period are clear, but multiple interpretations of early notation exist. The objective of this research is to critically analyze key periods of Western music notation to formulate a model for the evaluation of early notation. The research methodology consists of engaging primary and secondary sources from historical documents. These sources include scores, early musical treatises, and contemporary interpretations. The concluded model asserts that early music notation seems insufficient, imprecise, and indefinite when compared to contemporary forms, but early notation cannot be removed from the context it served and evaluated through the scope of modern requirements. From the origin of neumes in the ninth century to the rhythmic developments of the Ars Nova period in the fourteenth century, the evolution of music notation progressed as series of innovations that worked alongside oral traditions to meet the musical demands of each period.

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The Early History of Music Writing in the West

Cited by 67 publications

References 8 publications

Piano Students’ Conceptions of Musical Scores as External Representations: A Cross-Sectional Study

Piano Students’ Conceptions of Musical Scores as External Representations: A Cross-Sectional Study

Chants and Orcas

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