记谱法是基于声音的音乐的视觉表现

IF 1.1 4区计算机科学 Q4 COMPUTER SCIENCE, INTERDISCIPLINARY APPLICATIONS

Journal of New Music Research Pub Date : 2022-05-27 DOI:10.1080/09298215.2023.2174144

Mattias Sköld

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引用次数: 1

摘要

本文描述了一种混合音乐符号系统的音乐评价，该系统结合了传统符号和光谱形态分析的概念。在2017年至2020年的三个学年里，三组作曲学生学习使用声音符号，仅仅根据他们的符号转录来重新创作和解释简短的电声音乐草图——他们没有听过原始的草图。学生们对乐谱的解读与原乐谱有明显的相似之处，他们的书面反思表明，虽然在寻找合适的音，特别是音高稳定的音方面存在一些困难，但在理解乐谱方面没有太大的困难。

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Notation as visual representation of sound-based music

This text describes the musical evaluation of a hybrid music notation system that combines traditional notation with symbols and concepts from spectromorphological analysis. During three academic years from 2017 to 2020, three groups of composition students learned to work with sound notation, recreating and interpreting short electroacoustic music sketches based solely on their notation transcriptions – they had not heard the original sketches. The students’ score interpretations bore obvious similarities to the original music sketches and their written reflections showed that there were no major difficulties in understanding the notation although some difficulties existed concerning finding suitable sounds, especially sounds with stable pitch.

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来源期刊

Journal of New Music Research 工程技术-计算机：跨学科应用

CiteScore

3.20

自引率

0.00%

发文量

审稿时长

>12 weeks

期刊介绍： The Journal of New Music Research (JNMR) publishes material which increases our understanding of music and musical processes by systematic, scientific and technological means. Research published in the journal is innovative, empirically grounded and often, but not exclusively, uses quantitative methods. Articles are both musically relevant and scientifically rigorous, giving full technical details. No bounds are placed on the music or musical behaviours at issue: popular music, music of diverse cultures and the canon of western classical music are all within the Journal’s scope. Articles deal with theory, analysis, composition, performance, uses of music, instruments and other music technologies. The Journal was founded in 1972 with the original title Interface to reflect its interdisciplinary nature, drawing on musicology (including music theory), computer science, psychology, acoustics, philosophy, and other disciplines.