Relevant bibliographies by topics / Visual notation / Books

Books on the topic 'Visual notation'

To see the other types of publications on this topic, follow the link: Visual notation.
Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 27 books for your research on the topic 'Visual notation.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse books on a wide variety of disciplines and organise your bibliography correctly.

1

Gordon, Edwin. The aural-visual experience of music literacy: Reading and writing music notation. Chicago: GIA Publications, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Christina, Matawa, and University of London. Institute of Education, eds. Focus on music 2: Exploring the musicality of children and young people with retinopathy of prematurity. London: Institute of Education, University of London, 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Ockelford, Adam. Shape in music notation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0010.

Full text
Abstract:
This chapter explores how perceptual domains function in the auditory and visual modalities, and sets out a model, using ‘zygonic’ theory, showing how different forms of mapping between the two may logically occur in cognition. Such mappings enable the perceived shapes of patterns in sound to be represented as two-dimensional visual shapes. Four types of inter-domain relationship are identified: ‘regular’, ‘irregular’ (the latter being ‘indirect’ or ‘arbitrary’) and ‘synaesthetic’. ‘Regular’, ‘indirect’ and ‘arbitrary’ representations are somewhat analogous to the threefold typology of signs defined in Peircean semiotics: icon, index and symbol. The new model is tested in the context of (1) young children’s ‘picture’ scores, (2) blind children’s tactile representations of pitch, (3) Western staff notation, (4) music in braille, (5) guitar chord symbols and (6) a synaesthete’s representation of patterns in sound. The implications for musicians and for musicological and music-psychological understanding and future research are discussed.
APA, Harvard, Vancouver, ISO, and other styles
4

George, Susan Ella. Visual Perception of Music Notation: On-Line and Off-Line Recognition. IRM Press, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Visual Perception of Music Notation: On-Line and Off-Line Recognition. IRM Press, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Rashada, Shareef. My First Book of Songs: 38 Songs Arranged in the Visual Music Notation System. Lulu Press, Inc., 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Rashada, Shareef. My First Book of Songs: 38 songs arranged in the Visual Music Notation System™. Lulu.com, 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Rashada, Shareef. Songbook for a Major: Learning to Play the EasyKey Way Using the Visual Music Notation System. Lulu Press, Inc., 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Rashada, Shareef. Songbook for Bb Major: Learning to Play the EasyKey Way Using the Visual Music Notation System. Lulu Press, Inc., 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Rashada, Shareef. Songbook for G Major: Learning to Play the EasyKey Way Using the Visual Music Notation System. Lulu Press, Inc., 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
11

Rashada, Shareef. Songbook for F Major: Learning to Play the EasyKey Way Using the Visual Music Notation System. Lulu Press, Inc., 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
12

Rashada, Shareef. Songbook for e Major: Learning to Play the EasyKey Way Using the Visual Music Notation System. Lulu Press, Inc., 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
13

Rashada, Shareef. Songbook for B Major: Learning to Play the EasyKey Way Using the Visual Music Notation System. Lulu Press, Inc., 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
14

Rashada, Shareef. Songbook for d Major: Learning to Play the EasyKey Way Using the Visual Music Notation System. Lulu Press, Inc., 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
15

Rashada, Shareef. Songbook for F# Major: Learning to Play the EasyKey Way Using the Visual Music Notation System. Lulu Press, Inc., 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
16

Rashada, Shareef. Songbook for Eb Major: Learning to Play the EasyKey Way Using the Visual Music Notation System. Lulu Press, Inc., 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
17

Rashada, Shareef. Songbook for C Major: Learning to Play the EasyKey Way Using the Visual Music Notation System. Lulu Press, Inc., 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
18

Rashada, Shareef. Songbook for Ab Major: Learning to Play the EasyKey Way Using the Visual Music Notation System. Lulu Press, Inc., 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
19

Rashada, Shareef. Songbook for Db Major: Learning to Play the EasyKey Way Using the Visual Music Notation System. Lulu Press, Inc., 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
20

Johnson, Shersten. Understanding Is Seeing. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.7.

Full text
Abstract:
Music notation, often thought of as a neutral vehicle of communication between composer and performer—a mere memory aid or set of performance instructions—is in truth hardly unbiased. It not only shapes music, but also shapes how we think and talk about it and, by extension, how we analyze it. This essay studies the influences of notation on traditional analytical understandings of music and how through the lens of disability––particularly blindness––those understandings can be “reread.” The discussion explores narratives of analysis that explicate musical structure by relying on visual means of interpretation. An obvious place to begin critiquing these narratives is by examining how tactile representations like Braille notation conceptualize music. Accounts of visually impaired musicians’ experiences with notation and analysis will motivate discussion of alternative ways of hearing and representing musical structure. The essay then contemplates other means of understanding that serve the goals of music analysis with reference to concepts of “universal design.”
APA, Harvard, Vancouver, ISO, and other styles
21

Rashada, Shareef. Learning to Play the EasyKey Way: A Revolutionary Way to Read, Write, Teach, and Play Music Using the the Visual Music Notation System. Lulu Press, Inc., 2021.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
22

Schlaug, Gottfried. Music, musicians, and brain plasticity. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0018.

Full text
Abstract:
This article reviews studies on the brains of musicians. Making music not only engages primary auditory and motor regions and the connections between them, but also regions that integrate and connect areas involved in both auditory and motor operations, as well as in the integration of other multisensory information. Professional instrumentalists learn and repeatedly practice associating hand/finger movements with meaningful patterns in sound, and sounds and movements with specific visual patterns (notation) while receiving continuous multisensory feedback. Learning to associate actions with particular sounds leads to functional but also structural changes in frontal cortices.
APA, Harvard, Vancouver, ISO, and other styles
23

Déroche, François. A Qurʾanic Script from Umayyad Times. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190498931.003.0003.

Full text
Abstract:
This is a study of two major Umayyad Qur’an manuscripts: the Codex of Fustat and Codex of Damascus, which survive as fragments scattered between different collections. The growing formality represented by their script, their degree of orthographic notation, the approach of their scribes to layout, and the varying quality of their illumination will be analyzed, serving as a basis for a reflection about the processes that led to their production at both the levels of scribes and patrons. The new form given to manuscripts of the Qur’an in this period, it will be argued, reflects emerging concerns about its visual and aesthetical dimensions, but also a drive towards increased control by the authorities over the Qur’anic text and its transmission.
APA, Harvard, Vancouver, ISO, and other styles
24

Moore, Kelli. Legal Spectatorship. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478022947.

Full text
Abstract:
In Legal Spectatorship Kelli Moore traces the political origins of the concept of domestic violence through visual culture in the United States. Tracing its appearance in Article IV of the Constitution, slave narratives, police notation, cybernetic theories of affect, criminal trials, and the “look” of the battered woman, Moore contends that domestic violence refers to more than violence between intimate partners—it denotes the mechanisms of racial hierarchy and oppression that undergird republican government in the United States. Moore connects the use of photographic evidence of domestic violence in courtrooms, which often stands in for women’s testimony, to slaves’ silent experience and witnessing of domestic abuse. Drawing on Harriet Jacobs’s Incidents in the Life of a Slave Girl, abolitionist print culture, courtroom witness testimony, and the work of Hortense Spillers, Moore shows how the logic of slavery and antiblack racism also dictates the silencing techniques of the contemporary domestic violence courtroom. By positioning testimony on contemporary domestic violence prosecution within the archive of slavery, Moore demonstrates that domestic violence and its image are haunted by black bodies, black flesh, and black freedom. Duke University Press Scholars of Color First Book Award recipient
APA, Harvard, Vancouver, ISO, and other styles
25

Nakai, You. Reminded by the Instruments. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190686765.001.0001.

Full text
Abstract:
David Tudor (1926–1996) is remembered today in two guises: as an extraordinary pianist of postwar avant-garde music who worked closely with composers like John Cage and Karlheinz Stockhausen, influencing the development of graphic notation and indeterminacy; and as a spirited pioneer of live-electronic music who realized idiosyncratic performances based on the interaction of homemade modular instruments, inspiring an entire generation of musicians. However, the fact that Tudor himself did not talk or write much about what he was doing, combined with the esoteric nature of electronic circuits and schematics (for musicologists), has prevented any comprehensive approach to the entirety of his output which actually began with the organ and ended in visual art. As a result, Tudor has remained a puzzle of sorts in spite of his profound influence—perhaps a pertinent status for a figure who was known for his deep love of puzzles. This book sets out to solve the puzzle of David Tudor as a puzzle that David Tudor made, applying Tudor’s own methods for approaching other people’s materials to the unusually large number of materials that he himself left behind. Patching together instruments, circuits, sketches, notes, diagrams, recordings, receipts, letters, custom declaration forms, testimonies, and recollections like modular pieces of a giant puzzle, the narrative skips over the misleading binary of performer/composer to present a lively portrait of Tudor as a multi-instrumentalist who always realized his music from the nature of specific instruments.
APA, Harvard, Vancouver, ISO, and other styles
26

Lehmann, Andreas C., and Reinhard Kopiez. Sight-reading. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0032.

Full text
Abstract:
Sight-reading is defined as the execution – vocal or instrumental – of longer stretches of non- or under-rehearsed music at an acceptable pace and with adequate expression. Some people also label this ‘playing by sight’ or ‘prima vista’. Similar to improvisation, sight-reading requires the instant adaptation to new constraints, which places it among those that motor scientists refer to as open skills. This article briefly looks at how music notation is perceived and then moves on to the structure of sight-reading, taking into account the real-time conditions under which it takes place. This includes a discussion of perceptual and problem-solving issues. Finally, the article outlines the course of skill acquisition with its characteristic differences between novices and experts, and presents a model of sight-reading performance.
APA, Harvard, Vancouver, ISO, and other styles
27

Tenzer, Michael. In Honor of What We Can’t Groove To Yet. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658397.003.0009.

Full text
Abstract:
This chapter advances the premise that a reconstructed approach to musical transcription can anchor future university music curricula across all music subdisciplines. Arguments for this position include the relevance of transcription for integration of ethnomusicology, music theory, composition, and performance; its benefit to cultivating embodied musicianship (especially singing); and its potential to foster cross-cultural ethics and empathy. Transcription is also an ecumenical medium in which to keep our teaching strongly anchored in literacy, the core value of Western universities, without unduly tilting toward Eurocentrism or any other sort of centrism. It can engage the general student in many ways: it need not imply staff notation, and the creative task of visually representing music can powerfully reward music and non-music students alike. The conclusion of the chapter proposes a pedagogy of transcription, as well as sample assignments at several levels of challenge that can be effective for all students.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'Visual notation' for other source types:
Journal articles Dissertations / Theses
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography