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"Musical notation"
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Word events : perspectives on verbal notation
\"Verbal notation has emerged since the 1950s as a prominent medium in the field of experimental music, as well as in related areas of arts practice involving performance and object making... This book examines the use of English grammar in verbal notation, with numerous examples of usage from specific verbal scores. Commentaries explore the compositional strategies and performance practice of particular works in key essays...from composers, artists and performers\"--P. 4 of cover.
Book
Visualizing Music
To feel the emotional force of music, we experience it
aurally. But how can we convey musical understanding
visually?
Visualizing Music explores the art of communicating
about music through images. Drawing on principles from the fields
of vision science and information visualization, Eric Isaacson
describes how graphical images can help us understand music. By
explaining the history of music visualizations through the lens of
human perception and cognition, Isaacson offers a guide to
understanding what makes musical images effective or ineffective
and provides readers with extensive principles and strategies to
create excellent images of their own. Illustrated with over 300
diagrams from both historical and modern sources, including
examples and theories from Western art music, world music, and
jazz, folk, and popular music, Visualizing Music explores
the decisions made around image creation.
Together with an extensive online supplement and dozens of
redrawings that show the impact of effective techniques,
Visualizing Music is a captivating guide to thinking
differently about design that will help music scholars better
understand the power of musical images, thereby shifting the
ephemeral to material.
eBook
Where sight meets sound : the poetics of late medieval music writing
\"The main function of western musical notation is incidental: it prescribes and records sound. But during the fourteenth and fifteenth centuries, notation began to take on an aesthetic life all its own. Composers sometimes asked singers to read the music in unusual ways-backwards, upside-down, or at a reduced speed-to produce sounds whose relationship to the written notes is anything but obvious. This book explores innovations in late-medieval music writing as well as how modern scholarship on notation has informed-sometimes erroneously-ideas about the premodern era. By viewing notation as a complex technology that did more than record sound, the book revolutionizes the way we think about music's literate traditions\"-- Provided by publisher.
Book
Development of a Robotic Manipulator for Piano Performance via Numbered Musical Notation Recognition
This paper presents a piano-playing robotic system that integrates numbered musical notation recognition with automated manipulator control. The system captures the notation using a camera, applies four-point detection for perspective correction, and performs measure segmentation through an orthogonal projection method. A pixel-scanning technique is then used to locate the positions of numerical notes, pitch dots, and rhythmic markers. Digit recognition is achieved using a CNN model trained on both the MNIST handwritten digit dataset and a custom computer-font digit dataset (CFDD), enabling robust identification of numerical symbols under varying font styles. The hardware platform consists of a 3D-printed robotic hand mounted on a linear rail and driven by an ESP32-based embedded controller with custom driver circuits. According to the recognized musical notes, the manipulator executes lateral positioning and vertical key-press motions to reproduce piano melodies. Experimental results demonstrate reliable notation recognition and accurate performance execution, confirming the feasibility of combining computer vision and robotic manipulation for low-cost, automated musical performance.
Journal Article
Kernel Density Estimation and Convolutional Neural Networks for the Recognition of Multi-Font Numbered Musical Notation
Optical music recognition (OMR) refers to converting musical scores into digitized information using electronics. In recent years, few types of OMR research have involved numbered musical notation (NMN). The existing NMN recognition algorithm is difficult to deal with because the numbered notation font is changing. In this paper, we made a multi-font NMN dataset. Using the presented dataset, we use kernel density estimation with proposed bar line criteria to measure the relative height of symbols, and an accurate separation of melody lines and lyrics lines in musical notation is achieved. Furthermore, we develop a structurally improved convolutional neural network (CNN) to classify the symbols in melody lines. The proposed neural network performs hierarchical processing of melody lines according to the symbol arrangement rules of NMN and contains three parallel small CNNs called Arcnet, Notenet and Linenet. Each of them adds a spatial pyramid pooling layer to adapt to the diversity of symbol sizes and styles. The experimental results show that our algorithm can accurately detect melody lines. Taking the average accuracy rate of identifying various symbols as the recognition rate, the improved neural networks reach a recognition rate of 95.5%, which is 8.5% higher than the traditional convolutional neural networks. Through audio comparison and evaluation experiments, we find that the generated audio maintains a high similarity to the original audio of the NMN.
Journal Article
Jazz composition and arranging in the digital age
This is a comprehensive instructional text and reference guidebook on the art and craft of jazz composition and arranging for small and large ensembles. It is written from the perspective of doing the work using music notation software, and contains many practical and valuable tips to that end for the modern jazz composer/arranger.
eBook
THE SUM OF ITS PARTS Notation Systems in Demi-Clarinet Repertoire
Two variations exist: upper demi-clarinet refers to the mouthpiece, barrel, and upper joint, while lower demi-clarinet refers to the mouthpiece inserted into the lower joint and bell. Despite the works early date, Errante emphasizes that Smith, not he, was the inventor of the technique: \"It's got to have been Bill... we met in 1966, [and] he was already doing that. Souvenirs de Nice is unique in its use of microtonal notation, indicating the precise sounding pitch of the full clarinet fingerings applied to the \"prepared\" clarinet (Fig. 3). In our discussion, Errante described this choice as purely practical: \"I [was] just fingering... what would be low E, and then just going through it, E F-sharp, G, G-sharp, and, you know, chromatic fingering, and then seeing what pitches it produced with the mouthpiece and bell... then just writing them down.\" The bulk of the demi-clarinet repertoire was composed by the technique's inventor, William O. Smith.
Journal Article