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Journal articles on the topic 'Visual notation'

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Author: Grafiati
Published: 4 June 2021
Last updated: 28 January 2023

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1

Mancoridis, Spiros. "ISF: A Visual Formalism for Specifying Interconnection Styles for Software Design." International Journal of Software Engineering and Knowledge Engineering 08, no. 04 (December 1998): 517–40. http://dx.doi.org/10.1142/s0218194098000285.

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We have developed a framework for specifying high-level software designs. The core of the framework is a very simple visual notation. This notation enables designers to document designs as labelled rectangles and directed edges. In addition to the notation, our framework features a supporting formalism, called ISF (Interconnection Style Formalism). This formalism enables designers to customize the simple design notation by specifying the type of entities, relations, legal configurations of entities and relations, as well as scoping rules of the custom notation. In this paper we present the formal definition of ISF and use ISF to specify two custom design notations. We also describe how ISF specifications, using deductive database technology, are used to generate supporting tools for these custom notations.
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2

Mehdi, Chedly, A. V. Golovchenko, and V. I. Siplivy. "Historical Overview of Ways to Notate Visual Acuity Data." Medicina 9, no. 1 (2021): 69–78. http://dx.doi.org/10.29234/2308-9113-2021-9-1-69-78.

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A brief historical overview of visual acuity measurement methods is presented. The main methods of visual acuity data notation, formulas for translating data from one notation to another are analyzed. The problem of non-linearity of these transformations is highlighted, prohibiting direct comparison of similar studies, in case the statistical analysis was carried out in different notations. Decimal notation is traditionally used in the Russian school of ophthalmology, while logarithmic notation prevail in most of English-language publications. This fact prevents an adequate comparison of results in Russian and foreign studies.
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3

Tan, Siu-Lan. "Visual Representations of Music in Three Cultures: Commentary on Athanasopoulos and Moran." Empirical Musicology Review 8, no. 3-4 (October 24, 2013): 200. http://dx.doi.org/10.18061/emr.v8i3-4.3941.

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Athanasopoulos and Moran (2013) examined visual representations of brief melodic sequences (solo synthesized flute playing rising, falling, peak, and valley pitch contours) by British participants familiar with western standard notation, Japanese participants familiar with Japanese standard notation, and participants from the BenaBena tribe in Papua New Guinea who were unfamiliar with any literary or notational script. This commentary discusses the method, analysis, and implications of the findings, within the context of a multidirectional gain/loss perspective of the acquisition of skills in human development, as applied to musical notation.  
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4

Dobesova, Zdena. "Evaluation of Effective Cognition for the QGIS Processing Modeler." Applied Sciences 10, no. 4 (February 20, 2020): 1446. http://dx.doi.org/10.3390/app10041446.

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This article presents an evaluation of the QGIS Processing Modeler from the point of view of effective cognition. The QGIS Processing Modeler uses visual programming language for workflow design. The functionalities of the visual component and the visual vocabulary (set of symbols and line connectors) are both important. The form of symbols affects how workflow diagrams may be understood. The article discusses the results of assessing the Processing Modeler’s visual vocabulary in QGIS according to the Physics of Notations theory. The article evaluates visual vocabularies from the older QGIS 2.x and newer 3.x versions. The paper identifies serious design flaws in the Processing Modeler. Applying the Physics of Notations theory resulted in certain practical recommendations, such as changing the fill colour of symbols, increasing the size and variety of inner icons, removing functional icons, and using a straight connector line instead of a curved line. Another recommendation was to provide a supplemental preview window for the entire model in order to improve user navigation in huge models. Objective eye-tracking measurements validated some results of the evaluation using the Physics of Notations. The respondents read workflows to solve different tasks and their gazes were tracked. Evaluation of the eye-tracking metrics revealed the respondents’ reading patterns of the diagram. Evaluation using both Physics of Notation theory and eye-tracking measurements inspired recommendations for improving visual notation. A set of recommendations for users is also given, which can be applied easily in practice using a contemporary visual notation.
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Kalashnikov, V. G., G. R. Gabidullina, S. M. Mukhametshin, A. S. Galimova, and A. M. Ableeva. "Formal and Psychological Aspects of Modern Business Notations." SHS Web of Conferences 93 (2021): 01015. http://dx.doi.org/10.1051/shsconf/20219301015.

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The article discusses the features of the transition to the sixth technological order based on the digitalization of the economy, informatization and computerization of all spheres of human life. The conclusion is made about the influence of the ongoing phase shift of the social order on the social and psychological features of modern man. In particular, the increasing role of visual culture and visual (visual-logical) thinking and the corresponding graphic language is noted. The advantages of such a graphic language in terms of information capacity are noted. There is a growing interest in visual forms of modeling production systems in the form of business notations for the purpose of analyzing business processes for their modeling and controlling. The essence and features of the business notation system in various versions are considered. The possibility of combining different business notation systems as different ways of describing a managed object is emphasized. The article focuses on the use of business notation as a means of developing managerial thinking of managers as a multidimensional and contextual visual-logical process that meets the requirements of the modern information environment.
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6

Rankin, Susan. "ON THE TREATMENT OF PITCH IN EARLY MUSIC WRITING." Early Music History 30 (September 8, 2011): 105–75. http://dx.doi.org/10.1017/s0261127911000039.

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When a practical way of recording music in writing was invented in the early ninth century, it defined neither the pitches of specific notes in a melody, nor the intervallic relations between successive notes. Nineteenth-century views of such notations considered them primitive; more recent descriptions have recognised that precise pitch notation was not a basic aim. But how did ninth-century neumatic notations deal with pitch, and, if the role of memory was not usurped by written records, what role did notation fulfil? In this study, the interaction of memory and writing is explored. Notations written by a French and by a German scribe (F-La MS 239 and S-SG MS 359) are seen to follow different strategies for the arrangement of signs above the text, striking divergent visual balances between pitch information and the text–music link. In each notation the reader is led along a path of recall, with more or less emphatic written signals provided as required.
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7

Bellini, P., P. Nesi, and M. B. Spinu. "Cooperative visual manipulation of music notation." ACM Transactions on Computer-Human Interaction 9, no. 3 (September 2002): 194–237. http://dx.doi.org/10.1145/568513.568515.

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8

Stoeckle, Hermann, John Grundy, and John Hosking. "A framework for visual notation exchange." Journal of Visual Languages & Computing 16, no. 3 (June 2005): 187–212. http://dx.doi.org/10.1016/j.jvlc.2004.08.002.

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9

Wong, Yetta Kwailing, and Isabel Gauthier. "A Multimodal Neural Network Recruited by Expertise with Musical Notation." Journal of Cognitive Neuroscience 22, no. 4 (April 2010): 695–713. http://dx.doi.org/10.1162/jocn.2009.21229.

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Prior neuroimaging work on visual perceptual expertise has focused on changes in the visual system, ignoring possible effects of acquiring expert visual skills in nonvisual areas. We investigated expertise for reading musical notation, a skill likely to be associated with multimodal abilities. We compared brain activity in music-reading experts and novices during perception of musical notation, Roman letters, and mathematical symbols and found selectivity for musical notation for experts in a widespread multimodal network of areas. The activity in several of these areas was correlated with a behavioral measure of perceptual fluency with musical notation, suggesting that activity in nonvisual areas can predict individual differences in visual expertise. The visual selectivity for musical notation is distinct from that for faces, single Roman letters, and letter strings. Implications of the current findings to the study of visual perceptual expertise, music reading, and musical expertise are discussed.
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10

Rodriguez, Mauricio. "‘Xa-lan’: Algorithmic Generation of Expressive Music Scores Based on Signal Analysis and Graphical Transformations." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 8, no. 4 (June 30, 2021): 83–85. http://dx.doi.org/10.1609/aiide.v8i4.12564.

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Xa-lan is a computer program written in Common-LISP to generate music scores with a high level of notational/symbolic expressivity. Generation is driven by audio-analysis of melodic profiles. Once a melodic contour is input to the software, graphic transformations of the original profile stochastically control the different notational elements of the score. The Xa-lan routines display their final output using the ‘Expressive Notation Package’ of PWGL, a LISP-based visual composition environment. A full range of traditional and non-conventional music notation elements can be algorithmically generated with Xa-lan, retrieving to the user a ‘ready-to-play’ or fully ex-pressive music score.
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11

Moekle, Janet. "Schillinger's notation." Dance Chronicle 9, no. 3 (January 1985): 403–4. http://dx.doi.org/10.1080/01472528508568934.

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12

Rothenberg, David, and Michael Deal. "A New Morphological Notation for the Music of Humpback Whales." Art & Perception 3, no. 3 (2015): 347–58. http://dx.doi.org/10.1163/22134913-00002040.

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The humpback whale sings a song that defies easy characterization and human perception. This paper attempts to develop a new form a visual notation for this song which enables humans to better perceive its musicality, tonality and morphology, combining elements of sonographic and musical notations. The beauty of the humpback whale song is considered as to whether it is an inherent characteristic or a human projection.
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Okpokwasilli, Okwui, and Peter Born. "Process Notation." PAJ: A Journal of Performance and Art 40, no. 2 (May 2018): 50–53. http://dx.doi.org/10.1162/pajj_a_00423.

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14

Dobesova, Zdena. "Cognition of Graphical Notation for Processing Data in ERDAS IMAGINE." ISPRS International Journal of Geo-Information 10, no. 7 (July 15, 2021): 486. http://dx.doi.org/10.3390/ijgi10070486.

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This article presents an evaluation of the ERDAS IMAGINE Spatial Model Editor from the perspective of effective cognition. Workflow models designed in Spatial Model Editor are used for the automatic processing of remote sensing data. The process steps are designed as a chain of operations in the workflow model. The functionalities of the Spatial Model Editor and the visual vocabulary are both important for users. The cognitive quality of the visual vocabulary increases the comprehension of workflows during creation and utilization. The visual vocabulary influences the user’s exploitation of workflow models. The complex Physics of Notations theory was applied to the visual vocabulary on ERDAS IMAGINE Spatial Model Editor. The results were supplemented and verified using the eye-tracking method. The evaluation of user gaze and the movement of the eyes above workflow models brought real insight into the user’s cognition of the model. The main findings are that ERDAS Spatial Model Editor mostly fulfils the requirements for effective cognition of visual vocabulary. Namely, the semantic transparency and dual coding of symbols are very high, according to the Physics of Notations theory. The semantic transparency and perceptual discriminability of the symbols are verified through eye-tracking. The eye-tracking results show that the curved connector lines adversely affect the velocity of reading and produce errors. The application of the Physics of Notations theory and the eye-tracking method provides a useful evaluation of graphical notation as well as recommendations for the user design of workflow models in their practice.
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15

Vickery, Lindsay. "The Limitations of Representing Sound and Notation on Screen." Organised Sound 19, no. 3 (November 13, 2014): 215–27. http://dx.doi.org/10.1017/s135577181400020x.

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Animated screen-based notation and visual representation of sound provide an important solution to visualising a range of musical phenomena and techniques including continuous parametrical changes, synchronisation with prerecorded audio or live processing, and nonlinear formal organisation. The limitations of human visual capabilities, however, place some constraints upon the efficacy of screen-based representation, particularly in regard to notation reading. Findings from sightreading studies exploring the manner in which notation is encoded, processed and executed are examined with the aim of identifying the perceptual and practical boundaries of presenting animated notation on screen. The development of efficient visual representation is proposed as an important requirement for alleviating the issues created by the time constraints of reading on screen. Studies in semantics and cross-modal activation are discussed as a foundation for the expansion of approaches to the visualisation of sound.
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Frishkopf, Michael. "West African Polyrhythm: culture, theory, and representation." SHS Web of Conferences 102 (2021): 05001. http://dx.doi.org/10.1051/shsconf/202110205001.

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In this paper I explicate polyrhythm in the context of traditional West African music, framing it within a more general theory of polyrhythm and polymeter, then compare three approaches for the visual representation of both. In contrast to their analytical separation in Western theory and practice, traditional West African music features integral connections among all the expressive arts (music, poetry, dance, and drama), and the unity of rhythm and melody (what Nzewi calls “melo-rhythm”). Focusing on the Ewe people of south-eastern Ghana, I introduce the multi-art performance type called Agbekor, highlighting its poly-melo-rhythms, and representing them in three notational systems: the well-known but culturally biased Western notation; a more neutral tabular notation, widely used in ethnomusicology but more limited in its representation of structure; and a context-free recursive grammar of my own devising, which concisely summarizes structure, at the possible cost of readability. Examples are presented, and the strengths and drawbacks of each system are assessed. While undoubtedly useful, visual representations cannot replace audio-visual recordings, much less the experience of participation in a live performance.
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17

Poast, Michael. "Color Music: Visual Color Notation for Musical Expression." Leonardo 33, no. 3 (June 2000): 215–21. http://dx.doi.org/10.1162/002409400552531.

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In this article, the author de-scribes Color Music, an alternative notation system for musical expres-sion. The system uses colors and shapes-powerful tools of expres-sion-in conjunction with sound to form a new language for musical no-tation. The author briefly describes the history of color/sound relation-ships since the time of Aristotle and discusses the use of color in scores by Alexander Scriabin, Arnold Schoenberg, John Cage, Krzysztof Penderecki, Gyorgy Ligeti, Olivier Messiaen and other contemporary composers who recognized color as a tool of expression for musical no-tation. He also discusses the psy-chology and musical meaning of col-ors, along with the role of performers as interpreters of Color Music, and the use of standard mu-sical forms as structural devices for applying color to scores. He de-scribes his Color Music: Toccata and Fugue (1995) in detail.
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18

Burloiu, Grigore, Arshia Cont, and Clement Poncelet. "A Visual Framework For Dynamic Mixed Music Notation." Journal of New Music Research 46, no. 1 (November 2016): 54–73. http://dx.doi.org/10.1080/09298215.2016.1245345.

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19

Netto, Joanne Manhaes, Tatiana Barboza, Fernanda Araujo Baiao, and Flavia Maria Santoro. "KiPN: a visual notation for knowledge-intensive processes." International Journal of Business Process Integration and Management 9, no. 3 (2019): 197. http://dx.doi.org/10.1504/ijbpim.2019.100926.

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20

Stewart, Lauren. "Neurocognitive Studies of Musical Literacy Acquisition." Musicae Scientiae 9, no. 2 (July 2005): 223–37. http://dx.doi.org/10.1177/102986490500900204.

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Although certain parallels can be drawn between written language and notation in music — both use arbitrary visual symbols to notate the salient aspects of a sound pattern, the purpose of each notational system differs markedly. While the primary function of written language is to carry referential meaning, the primary function of musical notation is to carry instructions for the production of a musical performance. Music reading thus lies at the interface between perception and action and provides an ecological model with which to study how visual instructions influence the motor system. The studies presented in this article investigate how musical symbols on the page are decoded into a musical response, from both a cognitive and neurological perspective. The results of a musical Stroop paradigm are described, in which musical notation was present but irrelevant for task performance. The presence of musical notation produced systematic effects on reaction time, demonstrating that reading of the written note, as well as the written word, is obligatory for those who are musically literate. Spatial interference tasks are also described which suggest that music reading, at least for the pianist, can be characterized as a set of vertical to horizontal mappings. These behavioural findings are mirrored by the results of an fMRI training study in which musically untrained adults were taught to read music and play piano keyboard over a period of three months. Learning-specific changes were seen in superior parietal cortex and supramarginal gyrus, areas which are known to be involved in spatial sensorimotor transformations and preparation of learned actions respectively.
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Fox, David. "Site Notation-1." Journal of Architectural Education 64, no. 1 (September 2010): 10–20. http://dx.doi.org/10.1111/j.1531-314x.2010.01097.x.

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22

De las Heras Fernández, Rosa. "Teaching flamenco zapateado: a new notation-based methodology." ARTSEDUCA, no. 28 (December 28, 2020): 66–81. http://dx.doi.org/10.6035/10.6035/artseduca.2020.28.5.

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Dance has traditionally been taught using a style based on teacher-pupil oral transmission, imitation and repetition. While there are notation methods for dance, few proposals for zapateado notation exist. This research develops a critical analysis not only of the currently existing notation systems for flamenco zapateado, but also of rhythmic notation systems for percussion based on the traditional Western system of musical notation, which form the basis of the foundations of the system of the method of notation presented here. The article shows that this flamenco zapateado notation system is the first to combine how the foot strikes the floor with the rhythmic aspects using notation with a clear visual appearance and a sequence of didactic content which takes into account motor aspects as well as rhythmic ones.
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De las Heras Fernández, Rosa. "Teaching flamenco zapateado: a new notation-based methodology." ARTSEDUCA, no. 28 (December 28, 2020): 68–83. http://dx.doi.org/10.6035/artseduca.2021.28.5.

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Dance has traditionally been taught using a style based on teacher-pupil oral transmission, imitation and repetition. While there are notation methods for dance, few proposals for zapateado notation exist. This research develops a critical analysis not only of the currently existing notation systems for flamenco zapateado, but also of rhythmic notation systems for percussion based on the traditional Western system of musical notation, which form the basis of the foundations of the system of the method of notation presented here. The article shows that this flamenco zapateado notation system is the first to combine how the foot strikes the floor with the rhythmic aspects using notation with a clear visual appearance and a sequence of didactic content which takes into account motor aspects as well as rhythmic ones.
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24

Lu, Mei-Chen. "The Dance Notation Bureau." Dance Chronicle 32, no. 2 (July 7, 2009): 291–301. http://dx.doi.org/10.1080/01472520902966062.

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25

Marshack, Alexander. "The Taï Plaque and Calendrical Notation in the Upper Palaeolithic." Cambridge Archaeological Journal 1, no. 1 (April 1991): 25–61. http://dx.doi.org/10.1017/s095977430000024x.

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Analysis of the Taï plaque, the most complex Upper Palaeolithic composition, has revealed evidence of the problem-solving and visual cueing strategies involved in the accumulation of the marks. The composition consists of a boustrophedon sequence of short horizontal containing lines or sections, each of which carries irregular subsets of marks. The analysis proceeded in stages over a period of twenty years, initially with use of a microscope, but did not involve cross-sectional analysis or counting. The theoretical assumption guiding the analysis was that notations represent a cognitive form of visual problem-solving and structuring. A test of the sequence of containing lines and their subsets of marks suggested the notation on the Taï plaque was a non-arithmetic form of lunar/solar observational recording. The analysis, if validated, carries profound implications for our understanding of Upper Palaeolithic culture, and cultural features of the indigenous European population in the periods that followed.
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Wood, Christopher S. "Notation of visual information in the earliest archeological scholarship." Word & Image 17, no. 1-2 (January 2001): 94–118. http://dx.doi.org/10.1080/02666286.2001.10435704.

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27

Granada, David, Juan Manuel Vara, Marco Brambilla, Verónica Bollati, and Esperanza Marcos. "Analysing the cognitive effectiveness of the WebML visual notation." Software & Systems Modeling 16, no. 1 (January 6, 2015): 195–227. http://dx.doi.org/10.1007/s10270-014-0447-8.

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28

del-Río-Ortega, Adela, Manuel Resinas, Amador Durán, Beatriz Bernárdez, Antonio Ruiz-Cortés, and Miguel Toro. "Visual ppinot: A Graphical Notation for Process Performance Indicators." Business & Information Systems Engineering 61, no. 2 (June 20, 2017): 137–61. http://dx.doi.org/10.1007/s12599-017-0483-3.

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29

Hidayatullah, Riyan, Muhammad Jazuli, and Muhammad Ibnan Syarif. "The Identity Construction Through Music Notation of The Indigenous Style of Gitar Tunggal Lampung Pesisir." Harmonia: Journal of Arts Research and Education 21, no. 2 (January 1, 2022): 303–17. http://dx.doi.org/10.15294/harmonia.v21i2.30253.

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This study aims to reveal the meaning of music notation writing of gitar tunggal Lampung Pesisir written by Imam Rozali. Imam is a gitar tunggal player who wrote his technique and playing style in notation symbols. This article uses a case study research design with pattern matching techniques (Yin, 2018). Data were collected through observation, interviews, document analysis, and audio recordings. A series of tests were carried out on the notation and other supporting information to improve the validity of the data. Laboratory analysis was carried out to describe signs, interpret symbols, and compare Western musical notation. As a result, (1) the music notation written by Imam Rozali is a musical expression used as a medium for remembering; (2) the writing of Imam Rozali’s musical notation constructs his musical identity as a Gitar tunggal Lampung Pesisir player; (3) Imam Rozali’s music notation symbolizes an indigenous style which has its concept of gitar tunggal music; (4) Imam Rozali tries to add value to his musical identity among gitar tunggal players because the notation is a symbol of intellectuality.
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Burman, Douglas D., and James R. Booth. "Music Rehearsal Increases the Perceptual Span for Notation." Music Perception 26, no. 4 (April 1, 2009): 303–20. http://dx.doi.org/10.1525/mp.2009.26.4.303.

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DESPITE EVIDENCE FOR IMPROVED VISUAL PROCESSING of the printed score among skilled musicians, the effect of music rehearsal on the effective visual field ("perceptual span") for a musical score has never been directly examined. Following 1––20 rehearsals, 11 skilled and 10 less skilled adult musicians reported whether a variant note appeared within a melodic sequence of 3––18 notes, presented onscreen for 200 ms in a tachistoscopic task designed to evaluate the perceptual span. Initially, skilled musicians showed a slightly larger perceptual span for challenging passages (5 notes vs. 4 notes for less skilled musicians). Perceptual spans increased incrementally in both groups, but skill differences in span size disappeared by 20 rehearsals (span of 11 notes). A correlation between improvements in visual perceptual span and performance speed suggests that perceptual learning could underlie early improvements in performance during music rehearsals.
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Moody, Daniel L., Patrick Heymans, and Raimundas Matulevičius. "Visual syntax does matter: improving the cognitive effectiveness of the i* visual notation." Requirements Engineering 15, no. 2 (May 7, 2010): 141–75. http://dx.doi.org/10.1007/s00766-010-0100-1.

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32

Patton, Kevin. "Morphological notation for interactive electroacoustic music." Organised Sound 12, no. 2 (July 4, 2007): 123–28. http://dx.doi.org/10.1017/s1355771807001781.

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AbstractInteractive electroacoustic music that alters or extends instrumental timbre, samples it, or generates sound based upon data generated in real time by the performer presents a new set of challenges for the performing musician. Unlike tape music, interactive music can continuously vary its response and, frequently, performers are unable are to predict how the computer will react. Many, if not most, scores include no visual representation of how the computer may affect the sound of the instrument.Providing performers with a readily accessible visual representation of the sonic possibilities of interactive computer music will provide a conceptual framework within which performers can understand a piece of music. Interpretation of this type of notation by the performer will provide a perspective on how his or her acoustic instrument relates to the digital instrument. This can be especially useful when improvised or aleatoric methods are called for.This paper outlines a system of interactive computer-music descriptive notation that links pictographic representations to the system of spectromorphologies suggested by Dennis Smalley. The morphological notation (MN) uses these morphologies and adds a z-plane to the well-established time-vs-pitch schema. Ideally, MN will not only represent the sound data of the moment, but also will be an intuitive picture of the musical possibilities of a composition's electronic component.
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Davis, Dylan. "Acid Patterns: How people are sharing a visual notation system for the Roland TB-303 to create and recreate acid house music." Organised Sound 27, no. 1 (April 2022): 7–19. http://dx.doi.org/10.1017/s1355771822000164.

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This article discusses the use of an accessible visual notation system that represents the melodic component of an electronic music composition in acid house music, based on programming the Roland TB-303 bassline synthesiser’s sequencer. This notation system can be used for sharing, composition, collaboration and archival purposes. This system is called an acid pattern. The article analyses a variety of different approaches to communicate acid patterns. It examines the requirements and visual elements used and how they relate directly to the functionality of the Roland TB-303’s sequencer. Through content analysis of images, text and audio data gathered from various music community websites this article furthers the understanding of how the practices and cultures of acid house music composition, notation and archiving are shared online and how they, enabled by web-based technologies, can build communities. This article suggests important possibilities for communities of practice-based around a shared cultural identity, accessible notation systems, and the creation and recreation of music in both online and offline contexts.
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DUNNING, DAVID E. "“ALWAYS MIXED TOGETHER”: NOTATION, LANGUAGE, AND THE PEDAGOGY OF FREGE'S BEGRIFFSSCHRIFT." Modern Intellectual History 17, no. 4 (September 26, 2018): 1099–131. http://dx.doi.org/10.1017/s1479244318000410.

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Gottlob Frege is considered a founder of analytic philosophy and mathematical logic, but the traditions that claim Frege as a forebear never embraced his Begriffsschrift, or “conceptual notation”—the invention he considered his most important accomplishment. Frege believed that his notation rendered logic visually observable. Rejecting the linearity of written language, he claimed Begriffsschrift exhibited a structure endogenous to logic itself. But Frege struggled to convince others to use his notation, as his frustrated pedagogical efforts at the University of Jena illustrate. Teaching Begriffsschrift meant using words to explain it; rather than replacing spoken language, notation became its obverse in a bifurcated style of argument that separated deduction from commentary. Both registers of this discourse, however, remained within Frege's monologue, imposing a consequential passivity on his students. In keeping with Frege's visual understanding of notation, they learned by silently observing it, though never in isolation: notation and language were always mixed together.
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Wong, Yetta Kwailing, and Isabel Gauthier. "Music-reading expertise alters visual spatial resolution for musical notation." Psychonomic Bulletin & Review 19, no. 4 (March 30, 2012): 594–600. http://dx.doi.org/10.3758/s13423-012-0242-x.

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Kwailing Wong, Y., and I. Gauthier. "Music-reading expertise alters visual spatial resolution for musical notation." Journal of Vision 11, no. 11 (September 23, 2011): 1145. http://dx.doi.org/10.1167/11.11.1145.

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37

Xu, Ke, Ying Liu, and Cheng Wu. "BPSL Modeler – Visual Notation Language for Intuitive Business Property Reasoning." Electronic Notes in Theoretical Computer Science 211 (April 2008): 211–20. http://dx.doi.org/10.1016/j.entcs.2008.04.043.

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38

Lucas, Raymond. "Designing a Notation for the Senses." Architectural Theory Review 14, no. 2 (August 2009): 173–92. http://dx.doi.org/10.1080/13264820903049240.

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39

Smith, Jason McC. "The Pattern Instance Notation: A simple hierarchical visual notation for the dynamic visualization and comprehension of software patterns." Journal of Visual Languages & Computing 22, no. 5 (October 2011): 355–74. http://dx.doi.org/10.1016/j.jvlc.2011.03.003.

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40

Cardona-Hurtado, Oscar Abel. "Beneficios de la notación de Peirce para los conectivos proposicionales binarios." Respuestas 21, no. 1 (January 1, 2016): 56. http://dx.doi.org/10.22463/0122820x.637.

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Antecedentes: En la notación tradicional para los conectivos proposicionales binarios son tenidos en cuenta solamente algunos de estos. A lo largo del siglo XX fueron propuestas varias notaciones que subsanan esa falencia, dando lugar al planteamiento de interesantes problemas matemáticos. Objetivo: En este escrito se presenta la notación creada por el norteamericano Charles Peirce, se muestran algunas propiedades de las cuales goza esta simbología, y se evidencian sus ventajas con respecto a la tradicional. Método: Se describe la notación propuesta por Peirce, y se verifican algunas propiedades de carácter lógico geométrico y algebraico entre sus conectivos; también se analiza la posible actuación de estas propiedades en la notación usual. Resultados: Además de varias propiedades individuales y de múltiples relaciones entre los conectivos, las simetrías del sistema completo de los conectivos proposicionales binarios se evidencian de manera visual en los signos propuestos por Peirce. Conclusión: Diversas bondades de las cuales goza la notación propuesta por Peirce, permiten afirmar que la notación usual es superada de manera clara por la simbología diseñada por el científico norteamericano.Abstract Background: In traditional binary notation for propositional connectives only some of these ones are taken into account. Throughout the twentieth century several notations were proposed which overcome this flaw, leading to the proposal of interesting mathematical problems. Objective: This paper presents the notation created by the American Charles Peirce, showing some of the properties of this symbols, and evidencing the advantages of these compared to the traditional. Method: the notation proposed by Peirce is described, and some properties of the geometric and algebraic logical character among its connective are verified; also, the possible role of these properties in the traditional notation is analyzed. Results: In addition to several individual properties and multiple relations between the connectives, the symmetries of the full set of binary propositional connective is visually evident in the signs proposed by Peirce. Conclusion: Different benefits of the notation proposed by Peirce, support the conclusion that the usual notation is clearly surpassed by the symbolism designed by the American scientist.Palabras clave: Conectivo proposicional, Charles S. Peirce, operación, simetría, tabla de verdad.
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Fortes, Fabrício Pires. "A Distinção Gráfico-Linguístico e a Notação Musical." Philosophy of Music 74, no. 4 (December 30, 2018): 1465–92. http://dx.doi.org/10.17990/rpf/2018_74_4_1465.

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This paper examines the traditional musical notation from the viewpoint of the general problem concerning the types of visual representations. More specifically, we analyze this system in relation to the distinction between graphical and linguistic representations. We start by comparing this notation with the representational systems which are most commonly associated with such categories: on the one hand, pictorial representations as an example of a graphical representation; on the other hand, verbal writing usually associated with a linguistic representation. Then, we examine the traditional musical notation in relation to different ways of drawing the distinction graphic–linguistic, and we evaluate the applicability of such criteria to the former system. Finally, we present some general remarks about the legitimacy of this distinction both with respect to representational systems in general and to the specific case of the traditional musical notation.
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Goolsby, Thomas W. "Profiles of Processing: Eye Movements during Sightreading." Music Perception 12, no. 1 (1994): 97–123. http://dx.doi.org/10.2307/40285757.

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Temporal and sequential components of the eye movement used by a skilled and a less-skilled sightreader were used to construct six profiles of processing. Each subject read three melodies of varying levels of concentration of visual detail. The profiles indicates the order, duration, and location of each fixation while the subjects sightread the melodies. Results indicate that music readers do not fixate on note stems or the bar lines that connect eighth notes when sightreading. The less-skilled music reader progressed through the melody virtually note-by-note using long fixations, whereas the skilled sightreader directed fixations to all areas of the notation (using more regressions than the less-skilled reader) to perform the music accurately. Results support earlier findings that skilled sightreaders look farther ahead in the notation, then back to the point of performance (Goolsby, 1994), and have a larger perceptual span than less-skilled sightreaders. Findings support Slobodans (1984) contention that music reading (i. e., sightreading) is indeed music perception, because music notation is processed before performance. Support was found for Sloboda's (1977, 1984, 1985, 1988) hypotheses on the effects of physical and structural boundaries on visual musical perception. The profiles indicate a number of differences between music perception from processing visual notation and perception resulting from language reading. These differences include: (1) opposite trends in the control of eye movement (i. e., the better music reader fixates in blank areas of the visual stimuli and not directly on each item of the information that was performed), (2) a perceptual span that is vertical as well as horizontal, (3) more eye movement associated with the better reader, and (4) greater attention used for processing language than for music, although the latter task requires an "exact realization."
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Watts, Victoria. "Dancing the Score: Dance Notation and Différance." Dance Research 28, no. 1 (May 2010): 7–18. http://dx.doi.org/10.3366/drs.2010.0002.

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This article moves towards an explanation of the kinds of meaning captured in dance notation, towards a critical reflection on linguistic accounts of meaning in dance, and towards a model of analysis that slips free from the dichotomy of theory versus practice, and its correlate of text versus experience. In following Derrida's argument about speech and writing, and through a re-reading of his account of the myth of Theuth, I suggest that dance notation sensuously illustrates the kind of binary-destabilising matter and movement that Derrida theorises variously as trace, différance, and arche-writing. Further, I propose that dance notation, in its relationship to theatrical dance, provides an exemplary, rather than a unique, textual practice: one which necessarily annihilates the old mind/body and speech/writing dualisms. While Derrida achieves this through elaborate, often mischievous, wordplay in his deconstructions, I reflect upon the etymology of choreography and choreology, upon the process of reading and writing a dance score, and upon the marginal status of notation within the dance field.
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Senn, Dan. "Systems for nonlinear instruments and notation." Journal of New Music Research 23, no. 3 (September 1994): 209–34. http://dx.doi.org/10.1080/09298219408570657.

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Arscott, Caroline. "Stenographic Notation: Whistler's Etchings of Venice." Oxford Art Journal 29, no. 3 (October 1, 2006): 371–93. http://dx.doi.org/10.1093/oxartj/kcl019.

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Wong, Yetta Kwailing, Cynthia Peng, Kristyn N. Fratus, Geoffrey F. Woodman, and Isabel Gauthier. "Perceptual Expertise and Top–Down Expectation of Musical Notation Engages the Primary Visual Cortex." Journal of Cognitive Neuroscience 26, no. 8 (August 2014): 1629–43. http://dx.doi.org/10.1162/jocn_a_00616.

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Most theories of visual processing propose that object recognition is achieved in higher visual cortex. However, we show that category selectivity for musical notation can be observed in the first ERP component called the C1 (measured 40–60 msec after stimulus onset) with music-reading expertise. Moreover, the C1 note selectivity was observed only when the stimulus category was blocked but not when the stimulus category was randomized. Under blocking, the C1 activity for notes predicted individual music-reading ability, and behavioral judgments of musical stimuli reflected music-reading skill. Our results challenge current theories of object recognition, indicating that the primary visual cortex can be selective for musical notation within the initial feedforward sweep of activity with perceptual expertise and with a testing context that is consistent with the expertise training, such as blocking the stimulus category for music reading.
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Chen, Jie, Panpan Yuan, Hong Li, Changming Chen, Yi Jiang, and Kang Lee. "Music-reading expertise associates with face but not Chinese character processing ability." Quarterly Journal of Experimental Psychology 75, no. 5 (November 1, 2021): 854–68. http://dx.doi.org/10.1177/17470218211053144.

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A growing number of behavioural and neuroimaging studies have investigated the cognitive mechanisms and neural substrates underlying various forms of visual expertise, such as face and word processing. However, it remains poorly understood whether and to what extent the acquisition of one form of expertise would be associated with that of another. The current study examined the relationship between music-reading expertise and face and Chinese character processing abilities. In a series of experiments, music experts and novices performed discrimination and recognition tasks of musical notations, faces, and words. Results consistently showed that musical experts responded more accurately to musical notations and faces, but not to words, than did musical novices. More intriguingly, the music expert’s age of training onset could well predict their face but not word processing performance: the earlier musical experts began musical notation reading, the better their face processing performance. Taken together, our findings provide preliminary and converging evidence that music-reading expertise links with face, but not word, processing, and lend support to the notion that the development of different types of visual expertise may not be independent, but rather interact with each other during their acquisition.
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Chen, Jie, Panpan Yuan, Hong Li, Changming Chen, Yi Jiang, and Kang Lee. "Music-reading expertise associates with face but not Chinese character processing ability." Quarterly Journal of Experimental Psychology 75, no. 5 (November 1, 2021): 854–68. http://dx.doi.org/10.1177/17470218211053144.

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Abstract:
A growing number of behavioural and neuroimaging studies have investigated the cognitive mechanisms and neural substrates underlying various forms of visual expertise, such as face and word processing. However, it remains poorly understood whether and to what extent the acquisition of one form of expertise would be associated with that of another. The current study examined the relationship between music-reading expertise and face and Chinese character processing abilities. In a series of experiments, music experts and novices performed discrimination and recognition tasks of musical notations, faces, and words. Results consistently showed that musical experts responded more accurately to musical notations and faces, but not to words, than did musical novices. More intriguingly, the music expert’s age of training onset could well predict their face but not word processing performance: the earlier musical experts began musical notation reading, the better their face processing performance. Taken together, our findings provide preliminary and converging evidence that music-reading expertise links with face, but not word, processing, and lend support to the notion that the development of different types of visual expertise may not be independent, but rather interact with each other during their acquisition.
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Thom, Rose Anne, Ann Hutchinson Guest, and Julia McGuinness-Scott. "Dance Notation: The Process of Recording Movement." Dance Research Journal 19, no. 2 (1987): 48. http://dx.doi.org/10.2307/1478176.

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Jeschke, Claudia. "Notation Systems as Texts of Performative Knowledge." Dance Research Journal 31, no. 1 (1999): 4. http://dx.doi.org/10.2307/1478305.

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