Добірка наукової літератури з теми "Notational skills"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся зі списками актуальних статей, книг, дисертацій, тез та інших наукових джерел на тему "Notational skills".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Статті в журналах з теми "Notational skills"
1
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.
Повний текст джерелаАнотація:
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.
2
Corcoran, Christopher, Jan Stupacher, and Peter Vuust. "Swinging the Score? Swing Phrasing Cannot Be Communicated via Explicit Notation Instructions Alone." Music Perception 39, no. 4 (April 1, 2022): 386–400. http://dx.doi.org/10.1525/mp.2022.39.4.386.
Повний текст джерелаАнотація:
Jazz musicians usually learn to play with “swing” phrasing by playing by ear. Classical musicians—who play more from musical scores than by ear—are reported to struggle with producing swing. We explored whether classical musicians play with more swing when performing from more detailed swing notation. Thereby we investigated whether a culturally specific improvisational social procedure can be scripted in detailed music notation for musicians from a different performance background. Twenty classical musicians sight-read jazz tunes from three styles of notation, each with a different level of notational complexity. Experienced jazz listeners evaluated the performances. Results showed that more score-independent classical musicians with strong aural abilities played with equally strong swing regardless of notation; more score-dependent musicians swung most with the medium-complexity classical notation. The data suggest that some higher-level swing features, such as appropriate articulation, event durations, and deviations from a beat sequence can be communicated to a limited extent using written instructions. However, their successful implementation in performance depends on matching instructional complexity to a musician’s skill at decoding and interpreting unfamiliar information. This link between decoding skills and cross-cultural performance makes our findings relevant to ethnological and musicological studies of musical communication processes and perception-action coupling.
3
Morley, David, Paul Ogilvie, Kevin Till, Martyn Rothwell, Wayne Cotton, Donna O’Connor, and Jim McKenna. "Does modifying competition affect the frequency of technical skills in junior rugby league?" International Journal of Sports Science & Coaching 11, no. 6 (November 11, 2016): 810–18. http://dx.doi.org/10.1177/1747954116676107.
Повний текст джерелаАнотація:
The technical demands of games can be affected by changing the number of players, pitch size and rules. This controlled trial compared the frequency of technical skills between a ‘traditional’ and newly introduced systematically ‘modified’ game of primary rugby league. A total of 475 primary rugby league players (Under 7s to 9s) were filmed playing traditional ( n = 49) and modified ( n = 249) formats. Notational analysis examined the frequency of technical skills (e.g. number of passes) within ‘traditional’ and ‘modified’ games. At each age category, multivariate analysis of variance indicated the clear superiority of the ‘modified’ game for the frequency of technical skills (e.g. Under 7s total skill opportunities – ‘traditional’ = 342.9 ± 47.0; ‘modified’ = 449.4 ± 93.3, d = 1.44, p < 0.001). Systematically modifying the competitive game is an effective way to increase skill opportunities for children within rugby league. Future research should examine the outcomes of modifying games in optimizing skill development in youth sport.
4
Inkinen, Virpi, Mikko Häyrinen, and Vesa Linnamo. "Technical and tactical analysis of women’s volleyball." Biomedical Human Kinetics 5, no. 1 (November 9, 2013): 43–50. http://dx.doi.org/10.2478/bhk-2013-0007.
Повний текст джерелаАнотація:
Summary Introduction: The study aim was to construct a technical and tactical analysis of women’s volleyball based on notational analysis in top-level and junior women’s European volleyball matches, to compare these two levels, and to clarify the differences between the winners and losers of a set. Material and Methods: Four matches from the 2010 FIVB Women’s Volleyball World Championships and 2010 CEV Junior Women’s European Championship 2010 were analyzed using Data Volley software. The number and performance level of different skills were recorded in total and were grouped according to the role of the players. Methods of scoring and attacking zones were also analyzed. Results: There were only slight differences between the two levels in terms of success in different skills. When the skill executions were compared between the winning and losing teams of a set within the levels, less successful skill executions and more errors in different skills were found for the losing teams. Conclusions: The results seem to indicate that there are only minor differences between adult and junior women’s volleyball at the highest level. Attacking seems to be the most important skill concerning winning in both levels. The efficiency of attacking seems to depend upon the quality and versatility of the setting and also from the physical abilities of the players.
5
Thomas, Camille, Gilbert Fellingham, and Pat Vehrs. "Development of a Notational Analysis System for Selected Soccer Skills of a Women's College Team." Measurement in Physical Education and Exercise Science 13, no. 2 (April 17, 2009): 108–21. http://dx.doi.org/10.1080/10913670902812770.
Повний текст джерела
6
Penttinen, Marjaana, and Erkki Huovinen. "The Early Development of Sight-Reading Skills in Adulthood." Journal of Research in Music Education 59, no. 2 (June 9, 2011): 196–220. http://dx.doi.org/10.1177/0022429411405339.
Повний текст джерелаАнотація:
In this study the effects of skill development on the eye movements of beginning adult sight-readers were examined, focusing on changes in the allocation of visual attention within metrical units as well as in the processing of larger melodic intervals. The participants were future elementary school teachers, taking part in a 9-month-long music training period. During this period, 15 novice sight-readers’ development was observed in three measurements, with 15 amateur musicians functioning as a comparison group. The novices’ allocation of fixation time within metrical units gradually approached a pattern demonstrated by the amateurs in which increased sensitivity to metrical divisions was evinced by larger average fixation times on the latter halves of bars. Concerning larger melodic skips in otherwise stepwise melodic contexts, an analysis of fixation times suggested that the novices’ visual processing of skips did not proceed in terms of note comparison across the skip but rather through a direct identification of the notational symbols involved. Skill development was seen, then, as increasing fluency of this identification process. These and similar findings may lead to a better understanding of the problems encountered by novice sight-readers and thus to advancements in the pedagogy of music reading.
7
Gilmore, J. Hugh. "The craft of the Caman; A notational analysis of the frequency occurrence of skills used in Hurling." International Journal of Performance Analysis in Sport 8, no. 1 (February 2008): 68–75. http://dx.doi.org/10.1080/24748668.2008.11868423.
Повний текст джерела
8
Chang, Che-Wei, and Yu-Ran Qiu. "Constructing a Gaming Model for Professional Tennis Players Using the C5.0 Algorithm." Applied Sciences 12, no. 16 (August 17, 2022): 8222. http://dx.doi.org/10.3390/app12168222.
Повний текст джерелаАнотація:
Professional tennis players have their own habits of tactics and play. However, players’ shortcomings can be corrected by constantly practicing professional techniques and by tactical analysis. Therefore, this study aimed to develop a two-stage, expert decision-making system for tennis matches. The first stage consisted in dividing the court area and defining the technical classification of the net. Tennis coaches were invited to assess tennis players’ skills on the competition court, dividing it into 48 areas on both sides of the court centerline and identifying the skills used by the players. In the second stage, a classification model was developed, and the score, hitting habits, and tennis skills of the players, Roger Federer and Rafael Nadal, over 10 matches, played from 2007 to 2019, were analyzed and classified using notational analysis and the C5.0 decision tree algorithm. The results show that the two players’ highest scored techniques were the forehand stroke in the backcourt and the backhand stroke in the half court. Thus, using this expert decision-making system, our data can provide other players with imaginary training objects from two of the top players in the world to be used during training and can allow the accumulation of experience for players through continuous simulation and training analysis.
9
Barrett, Margaret. "Music Education and the Primary/Early Childhood Teacher: A Solution." British Journal of Music Education 11, no. 3 (November 1994): 197–207. http://dx.doi.org/10.1017/s0265051700002163.
Повний текст джерелаАнотація:
Music curriculum courses for generalist primary and early childhood teacher education students have tended traditionally to be heavily skill-intensive and instruction-based and reflective of the pedagogical methods of prominent music educators. In such learning experiences emphasis is generally placed upon the acquisition of skills dealing with notational and historical precedents and the development of some expertise in the areas of singing, playing and listening. Whilst these experiences provide students with valuable insights into traditional music education pedagogy, students who have a limited formal knowledge of music and who do not consider themselves to be musically articulate or literate frequently find such experiences alienating. Furthermore the teaching practices modelled through such programs tend to conflict with those advocated in other curriculum areas.In an attempt to redress this situation an action research study was undertaken in which compulsory music curriculum units for generalist primary and early childhood teacher education students were re-developed to place compositional experience at the heart of the music education enterprise. In developing a theoretical and philosophical base for the pre-service music education units a number of educational strategies common in other curriculum areas were examined and adapted for use in the music education classroom.Qualitative evaluation of the units has indicated that participating students whilst developing skills and knowledge in music and understanding of a range of teaching and learning strategies also perceive themselves to be more capable and confident as musicians.
10
Berch, Daniel B. "Why Learning Common Fractions Is Uncommonly Difficult: Unique Challenges Faced by Students With Mathematical Disabilities." Journal of Learning Disabilities 50, no. 6 (July 18, 2016): 651–54. http://dx.doi.org/10.1177/0022219416659446.
Повний текст джерелаАнотація:
In this commentary, I examine some of the distinctive, foundational difficulties in learning fractions and other types of rational numbers encountered by students with a mathematical learning disability and how these differ from the struggles experienced by students classified as low achieving in math. I discuss evidence indicating that students with math disabilities exhibit a significant delay or deficit in the numerical transcoding of decimal fractions, and I further maintain that they may face unique challenges in developing the ability to effectively translate between different types of fractions and other rational number notational formats—what I call conceptual transcoding. I also argue that characterizing this level of comprehensive understanding of rational numbers as rational number sense is irrational, as it misrepresents this flexible and adaptive collection of skills as a biologically based percept rather than a convergence of higher-order competencies that require intensive, formal instruction.
Дисертації з теми "Notational skills"
1
Thomas, Camille. "Development of a Notational Analysis System for Selected Soccer Skills of a Women's College Team." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1473.pdf.
Повний текст джерела
2
Hartz, Barry C. "Cultivating Individual Musicianship and Ensemble Performance Through Notation-Free Learning in Three High School Band Programs." Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1435244359.
Повний текст джерела
3
Jansen, van Vuuren Catharina. "A structured comparison between the Suzuki and Colourstrings violin methods with critical reference to the teaching of notation reading skills." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/57187.
Повний текст джерелаАнотація:
The purpose of this study is to explain and compare the Suzuki and Colourstrings violin methods and their respective approaches to the teaching of notation reading skills to beginner violinists. A thorough literature review on the introduction of notation reading skills to the beginner violinist, as well as the Suzuki and Colourstrings violin methods in general was conducted. The biographies of the founders and a brief history of each method are given. A structured summary of the approach to notation reading skills, and the foundations and methodology of the respective methods are discussed. Based on these findings, an analysis of each method s pedagogical literature is made to identify and give a deeper understanding of the approach towards notation reading skills. These findings are compared and recommendations are made on how the respective methods can be used in support of the other.Die doel van hierdie studie is om die Suzuki en Colourstrings vioolmetodes, asook elkeen se benadering tot die aanleer van notasielees vaardighede vir beginners, te ondersoek en verduidelik. n Deeglike literatuurstudie oor die inleiding tot notasie en die aanbieding van die onderskeie metodes in die algemeen is gedoen. Die biografieë van die stigters asook n kort geskiedenis van die onderskeie metodes word uiteengesit. n Gestruktureerde opsomming van die benadering tot notasielees en die onderskeie metodes se fondasies en metodologieë word bespreek. Die pedagogiese materiaal van elke metode word op grond van die bevindinge geanaliseer om sodoende elkeen se benadering tot die aanleer van notasielees te identifiseer en n dieper insig te verskaf. Die bevindinge word gebruik om n vergelyking te tref en aanbevelings te maak ten opsigte van die onderskeie metodes se benadering, met die doel om mekaar te ondersteun of aan te vul.
Dissertation (MMus)--University of Pretoria, 2016.
tm2016
Music
MMus
Unrestricted
4
Incognito, Oriana. "The multiple dimensions of emergent literacy skills in pre-schoolers." Doctoral thesis, 2021. http://hdl.handle.net/2158/1235207.
Повний текст джерелаАнотація:
The objective of this dissertation was to provide a broader and more varied framework for the development of emergent literacy skills among Italian pre-school children. The pre-school period is an important transition period for the development of the child's subsequent skills.
In Italy, from an educational point of view, this period corresponds to the transition from pre-school to primary school—the time of transition from emergent literacy to formalised literacy during which the child learns conventional forms of reading and writing.
This dissertation answers the questions: What is emergent literacy? What are the variables with which it interfaces? Is it susceptible to change? In relation to these three theoretical cores, three studies are illustrated. The first ‘What is the relation between numerical representational skills, alphabetical representational skills, and pictorial representational skills in 3-, 4- and 5-year-old pre-schoolers?’; the second ‘The direct and mediated contribution of SES to emergent literacy skills in pre-schoolers: a longitudinal study’; and the last ‘The impact of music education program on emergent literacy and meta-musical skills in pre-schoolers’
The three studies conducted for this dissertation have brought to light three fundamental aspects: (1) to study emergent literacy and numeracy skills, it is necessary and useful to study their relationship to other related individual skills, such as executive skills; (2) it is necessary to consider the contextual and family characteristics from which the child comes, for example, home literacy opportunities and school teaching; (3) these skills can be enhanced both directly, with interventions targeted on specific emergent skills, or indirectly with interventions on other domains that are not specific to the skills to be promoted.
The results of these studies suggest that paying attention to the children's early skills allows us to focus on improving evaluation tools and interventions. And, the roles of all stakeholders in the process must be considered in order to support children’s transition from pre-school to primary school.
Книги з теми "Notational skills"
1
Vervaet, Al. A practical guide to developing counting skills and rhythmic literacy, or, How to stop singing the "where are we? blues". London: Studio Music, 1987.
Знайти повний текст джерела
2
Upitis, Rena. This Too is Music. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190884956.001.0001.
Повний текст джерелаАнотація:
This Too Is Music guides and motivates teachers to foster classroom conditions that enable elementary students to thrive as improvisers, critical listeners, performers, and composers. Using anecdotes and illustrated with musical examples, the book explores how these aspects of music making are intertwined and quells any doubts teachers may have regarding their abilities to create an environment where children can improvise, dance, compose, and notate their musical offerings. While the book acknowledges the importance of traditional approaches to teaching notation and performance, its emphasis is on the student’s point of view, illustrating how young musicians can learn when their musical ideas are honored and celebrated. Various teaching ideas are presented; some are exploratory in nature, and others involve direct instruction. Regardless of their nature, all of the activities arise from research on children’s musical development in general and their development of notational systems in particular, and they have been tested in multiple elementary-classroom environments and preservice settings. The activities center on engaging with music through movement, performing, singing, improvising, composing, developing notational skills, and appealing to children across subjects, including language, drama, and mathematics. Activities encompass both small-scale classroom lessons and large-scale productions. This pedagogy has a timeless quality; even in our digital age, this musical environment appeals to children. The book invites readers to adapt the ideas to their own teaching settings, showing both preservice and established teachers that they can teach music creatively to build community and to inspire all who enter there.
3
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.
Повний текст джерелаАнотація:
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.
4
Sheet Music & Co. Musical Handwriting Exercise Book: Music Notation Skills Improvement for Kids Teenagers and Adults. Independently Published, 2022.
Знайти повний текст джерела
5
Giddings, Steve. Technology for Unleashing Creativity. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197570739.001.0001.
Повний текст джерелаАнотація:
This book makes a case for creativity and technology in music education that are skills often put to the side in spite of learners’ musicianship skills. Bridging the gap between music in and out of school is an important aspect of becoming a lifelong learner of music. Throughout, the book gives practical tips and lessons to help bridge the divide and help facilitators and learners explore creativity and technology in innovative ways through the informal learning approach. Digital Audio Workstations (DAWs), notation software, online apps, sound gear, and coding are explored and evaluated for their strengths and drawbacks to help learners unleash their creativity.
6
Metzlerrr. Move with Purpose Bishop Checkerboard Strategy Skills Chess Scorebook: Chess Notation Pad, Chess Scorebook, Games Score Moves to Track and Record, Notation Scoresheets to Log Scores, Matches, Tournaments and Results. Independently Published, 2021.
Знайти повний текст джерела
7
Basics, Humanity's. Manuscript Paper for Music Composition Paperback 8X10 175 Pages for Composing Music Skills Dictation Notation: Music Notebook for Theory Skills Self Starter Learners All Ages Simple Basic Music Journal. Independently Published, 2021.
Знайти повний текст джерела
8
John, Ri Ri. Move with Purpose Bishop Checkerboard Strategy Skills Chess Scorebook: Chess Notation Pad, 50 Games Score Moves to Track and Record a Chess Game, Notation Scoresheets to Log Scores, Matches, Tournaments and Results. Independently Published, 2021.
Знайти повний текст джерела
9
Donin, Nicolas. Domesticating gesture. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0005.
Повний текст джерелаАнотація:
As personal and solitary as it may be, the process of composition always implies more than one individual and has many collective dimensions. This chapter presents an ethnographic account of the collective process involved in creating a work for ‘augmented string quartet’ at IRCAM from 2006 to 2008. It addresses three primary concerns: the composer–performer interaction and the role of musical notation; the relationship between artistic creativity and reflexivity; and the sharing of skills and expertise across disciplines. The project led not only to a new musical work, but also to a technological device for ‘gesture-following’ (including customised motion sensors and innovative software), scientific papers, and new expertise in computer music design for future projects involving motion capture. These patterns of distributed creativity are essential to ‘musical research’ as a collective endeavour, and are present in many other circumstances of contemporary or traditional composition and performance.
10
Browning, Birch P. How Students Acquire Musical Understanding. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199928200.003.0007.
Повний текст джерелаАнотація:
The chapter describes how initial musical learning occurs as infants are exposed to motherese, or infant-directed speech, and react to aural stimuli by encoding information. The aural-oral feedback loop by which babies learn sounds is illustrated. The chapter also covers children’s acquisition of an understanding of local musical culture through acculturation. Subsequent formal instruction enables students to perceive, think about, perform, and create music. The developmental process for understanding music notation is shown to be remarkably similar to thatfor learning oral and written language. The outcomes of formal instruction are covered, including the ability to understand music from a variety of perspectives, which enables the rapid acquisition of new repertoire. Musical understanding is described as the synthesis of and interaction between musical knowledge and musical skill, with the goal of self-regulation in learning
Частини книг з теми "Notational skills"
1
Gries, David. "Equational logic: A great pedagogical tool for teaching a skill in logic." In ZUM '95: The Z Formal Specification Notation, 508–9. Berlin, Heidelberg: Springer Berlin Heidelberg, 1995. http://dx.doi.org/10.1007/3-540-60271-2_141.
Повний текст джерела
2
Walter, Matthias. "Problem definitions and basic notation." In Multi-Project Management with a Multi-Skilled Workforce, 39–51. Wiesbaden: Springer Fachmedien Wiesbaden, 2014. http://dx.doi.org/10.1007/978-3-658-08036-5_3.
Повний текст джерела
3
Boyko, L. A., L. V. Tereshchenko, and A. V. Latanov. "Dependence of Eye Movement Parameters During Sight-Reading on Pianist’s Skill and Complexity of Musical Notation." In Advances in Cognitive Research, Artificial Intelligence and Neuroinformatics, 167–73. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71637-0_20.
Повний текст джерела
4
Isoda, Masami, and Raimundo Olfos. "Introduction of Multiplication and Its Extension: How Does Japanese Introduce and Extend?" In Teaching Multiplication with Lesson Study, 65–101. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-28561-6_4.
Повний текст джерелаАнотація:
AbstractIn Chap. 10.1007/978-3-030-28561-6_1, the Japanese approach was explained as developing students who learn mathematics by and for themselves (Isoda, 2015), and also as trying to cultivate human character, mathematical values, attitudes, and thinking as well as knowledge and skills (Isoda, 2012; Rasmussen and Isoda, Research in Mathematics Education 21:43–59, 2019). To achieve these aims, the approach is planned under the curriculum sequence to enable students to use their previous knowledge and reorganize it in preparation for future learning. By using their learned knowledge and reorganizing it, the students are able to challenge mathematics by and for themselves. In relation to multiplication, the Japanese curriculum and textbooks provide a consistent sequence for preparing future learning on the principle of extension and integration by using previous knowledge, up to proportions. (The extension and integration principle (MED, 1968) corresponds to mathematization by Freudenthal (1973) which reorganizes the experience in the our life (Freudenthal, 1991). Exemplars of the Japanese approach on this principle are explained in Chaps. 10.1007/978-3-030-28561-6_6 and 10.1007/978-3-030-28561-6_7 of this book.) This chapter is an overview of the Japanese curriculum sequence with terminology which distinguish conceptual deferences to make clear the curriculum sequence in relation to multiplication. First, the teaching sequence used for the introduction of multiplication, and the foundation for understanding multiplication in the second grade, are explained. Based on these, further study of multiplication is done and extended in relation to division up to proportionality. The Japanese approach to multiplication is explained with Japanese notation and terminology as subject specific theories for school mathematics teaching (Herbst and Chazan, 2016). The Japanese approach was developed by teachers through long-term lesson study for exploring ways on how to develop students who learn mathematics by and for themselves (Isoda, Lesson study: Challenges in mathematics education. World Scientific, New Jersey, 2015a; Isoda, Selected regular lectures from the 12th International Congress on Mathematical Education. Springer, Cham, Switzerland, 2015b). This can be done only through deep understanding of the curriculum sequence which produces a reasonable task sequence and a concrete objective for every class in the shared curriculum, such as in the Japanese textbooks (Isoda, Mathematical thinking: How to develop it in the classroom. Hackensack: World Scientific, 2012; Isoda, Pensamiento matemático: Cómo desarrollarlo en la sala de clases. CIAE, Universidad de Chile, Santiago, Chile, 2016) (This is also illustrated in Chap. 10.1007/978-3-030-28561-6_7 of this book.).
5
Upitis, Rena. "A Community of Practice to Support Notational Development." In This Too is Music, 91–116. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190884956.003.0008.
Повний текст джерелаАнотація:
This chapter provides the means for teachers to create a community of practice in their classrooms, through both the types of approaches and specific activities, setting the stage for children to create their own music notations. It argues that rich learning can take place when notations are created and developed in a community of musicians engaged in similar undertakings. Examples in the chapter abound. The students notate their compositions to remember them or to allow someone else to play their music, just as notations developed historically for similar reasons. The activities described in this chapter, deliberately designed to develop notational skills, are relayed through anecdote and example. These activities set the backdrop for a closer look at notational development in the two chapters that follow.
6
Hill, Juniper. "Developing Creativity-Enabling Skills." In Becoming Creative, 28–66. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199365173.003.0002.
Повний текст джерелаАнотація:
This chapter examines six skill sets for enabling creativity that are important across multiple music cultures: physical technique, aural skills, vocabulary and memory facility, syntax tools, decision-making skills, and self-assessment skills. The extent to which musicians develop and are able to employ these skills correlates with their learning experiences. Social environment, values, and belief systems shape different learning approaches. The natures of human memory and oral culture further interact to facilitate creativity-enabling skill development. Valuable insights are drawn from the experiences of classical, jazz, and traditional musicians in South Africa, Finland, and the United States. Formal and informal music education, authoritarian and learner-directed teaching, emphasis on obedience and student agency, and reliance on notation and playing by ear all have long-term consequences for creative development.
7
Shrock, Dennis. "The Modern Era." In Choral Repertoire, 636—C6.P1423. 2nd ed. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197622407.003.0006.
Повний текст джерелаАнотація:
Abstract The Modern era began during the early years of the twentieth century when composers felt that the genres, tonalities, scorings, and notational symbols of the Romantic era could no longer satisfy their creative needs. Traditional genres were too confining for new ideas of expression, harmonic language based on functional tonality seemed to be exhausted, additional and unique colors were needed in scoring, and innovative elements of notation were required to manifest revolutionary concepts of communication. Consequently, dramatic changes affected virtually every element of music making. New genres ranged from stage productions that incorporated dance (e.g., Claude Debussy’s Le martyre de saint Sébastien) to vocal chamber music scored for a large ensemble of highly skilled soloists (e.g., Olivier Messiaen’s Cinq rechants for twelve singers). Experiments in new tonalities resulted in the dodecaphonic (twelve-tone) technique, pandiatonicism, bitonality, atonality, and divisions of the traditional chromatic scale into smaller units than half steps. Scorings for uncommon colors included wordless chorus as an orchestral instrument, sprechstimme, numerous percussion instruments, and electronic sounds and instruments. New notation consisted of a wide range of symbols to indicate such performance elements as variations in vibrato, speaking, singing in falsetto, producing the highest or lowest notes possible, yelling, hissing, and whispering. In addition, aleatoric performance became a feature of a number of Modern-era compositions. This is especially evident in passages of indeterminate rhythm within traditionally metered music.
8
Reiter, Walter S. "Stepping Back in Time." In The Baroque Violin & Viola, vol. II, 3–17. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197525111.003.0001.
Повний текст джерелаАнотація:
The interpretation of early seventeenth-century sonatas involves the use of specific skills foreign to today’s conservatory-trained musician. Developing basic improvisational skills entails learning to dare: as a warm-up, specially devised note patterns are applied to a simple scale and transposed into other keys. The art of playing divisions is defined as “the spontaneous dividing up of a single note into several shorter notes.” Numerous sources help us to learn this skill, as they did at the time. Ganassi’s Fontegara is recommended as an initial source to develop fluency in divisions within specified intervals; suggestions are given as to how to practice them. The importance of learning to read seventeenth-century music from facsimiles is emphasized and the old ‘diamond’ notation explained. Divisions underwent a stylistic evolution toward 1600: Bassano’s divisions and cadences, more appropriate to the early sonata repertoire, are thoroughly explored and Virgiliano’s Rules are quoted in full and discussed.
9
Dalby, Bruce. "Beginning Woodwinds and Brass." In Teaching School Jazz, 63–76. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0007.
Повний текст джерелаАнотація:
Many school jazz programs in North America do an impressive job of developing their members’ technical and music-notation-reading skills, necessary to perform jazz big band literature with polish and precision. However, many school jazz students are as dependent on notation as they are in the concert band. Although the young jazzer may take improvised solos in jazz band performances, he may be unable to negotiate chord changes or incorporate characteristic jazz vocabulary. In light of this, this chapter covers concepts and skills relevant to beginning jazz instruction for wind instrumentalists. Specifically, it identifies three foundational topics for the reader to consider in fashioning an authentic and effective jazz curriculum: (1) establishing a listening foundation, (2) developing ear-playing ability, and (3) developing a personal repertoire of jazz tunes. Following these sections the text addresses (4) style and articulation and (5) rhythm.
10
Houlahan, Micheál, and Philip Tacka. "Sound Ways to Develop Music Theory Skills Through Audiation in the Choral Rehearsal." In Choral Artistry, 117–37. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197550489.003.0005.
Повний текст джерелаАнотація:
Abstract This chapter presents an overview of the pedagogical tools that foster the development of audiation, notation, reading, and music theory skills in the choral rehearsal taught from a Kodály perspective. Choral directors often adopt specific teaching tools based on their own educational experiences. Because of this, they may not recognize the benefits of adopting pedagogical tools because they do not fully understand how to incorporate them into the choral rehearsal. Audiation and music literacy skills are essential dimensions of what it means to be a musician. Using the best practices to teach these skills can significantly enhance an ensemble’s sound and their ability to learn how to sight-read.
Тези доповідей конференцій з теми "Notational skills"
1
Vencúrik, Tomáš, Dominik Bokůvka, Jiří Nykodým, and Pavel Vacenovský. "Decision making of semi-professional female basketball players in competitive games." In 12th International Conference on Kinanthropology. Brno: Masaryk University Press, 2020. http://dx.doi.org/10.5817/cz.muni.p210-9631-2020-48.
Повний текст джерелаАнотація:
Purpose: Nowadays, not only the research but also coaching is focusing on decision making in basketball. Decision making is critical in basketball, especially in relation to offensive skills (with ball). Generally, the players have to decide what to do with the ball (make an appro-priate decision) and in the shortest time possible. From this point of view, the study aims to identify the factors which can affect the decision making of offensive skills of female basket-ball players. Methods: Eight semi-professional female basketball players participated in this study. Basket-ball players played five competitive games in the second division. During all games, the heart rate was monitored. Decision making was assessed according to Basketball Offensive Game Performance Instrument (BOGPI) and categorized as appropriate and inappropriate. For this purpose, the notational analysis was used. Based on previous research, the four main factors were set as independent variables. Each of these factors was categorized. The first factor was the intensity of load ( 95% of HR ), second factor was ball possession duration (0–8 s, 9–16 s, and 17–24 s), third factor was game period (1st quarter, 2nd quarter, 3rd quarter, and 4th quarter), and the fourth factor was defensive pressure of an opponent (low, moderate, and high). Objectivity was verified by the method of inter-rater agreement, and re-liability was using intra-rater agreement. The influence of factors on decision making was ex-pressed by binary logistic regression. Method of backward stepwise selection was used to find predictors of inappropriate decisions and to find the best model. Results: One regression coeficient in the final model was statistically significant – defensive pressure of the opponent. When the defensive pressure is moderate or high, the chance for inappropriate decisions increased. Conclusion: Based on these findings, the coaches should take into consideration these fac-tors when preparing individual training sessions.
2
Akiba, Misato, and Wonseok Yang. "Learning to Read Music by Differences in Perception of Information." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001754.
Повний текст джерелаАнотація:
The development of information technology and devices has made it easier for everyone to take and share videos and photos, and many number of information has become available in the world. For example, when learning how to play a musical instrument, a game, or a household appliance, they can effectively understand it from videos and images on YouTube or Instagram, instead of reading an instruction manual or a reference book. Whereas the piano is difficult to practice efficiently because repetition and reading music are said to be the two most important elements needed to acquire the skill. Therefore, continuous practice is essential, but many people give up halfway. Focusing on reading music, we have to process multiple pieces of information on the score simultaneously in a short period of time while playing the piano. However, for beginners, it’s difficult to keep reading the necessary information from a score where information is concentrated in many symbols at the tempo of the performance. This research examines how to make it easier for beginners to recognize and remember information about music notation and how to use the information obtained more naturally. To this end, we clarified the process by which beginners learn and recognize information about musical notation in piano learning activities and clarified the characteristics that are expressed when they perform using the recognized knowledge.Firstly, we investigated whether learners would get support in an application whose purpose was to support reading practice. We found that the support could be categorized into three types, and that learning about pitch, rhythm, and keyboard position was important for beginners. To clarify the differences in these learning procedures depending on the level of proficiency, we conducted behavioral observations of beginners and experienced pianists practicing reading music, summarized their behavioral procedures into ordinal data, and conducted a Dematel analysis. As a result, we’re able to classify the level of proficiency into three levels: beginners (subjects with no piano experience), experienced (subjects with less than one year of piano study), and proficient (subjects with more than seven years of piano study). Based on the results of the questionnaire and interviews, we’re able to discover common issues such as beginners (1) not being able to practice smoothly because they couldn’t establish a procedure, (2) taking a long time to read the pitch of notes from the score, and (3) finding it difficult to read the rhythm from the score. From the above research, we examined new information display methods and innovations for the three types of information in music notation: pitch, rhythm, and sequence. In the case of pitch, it’s thought that information can be recognized efficiently by using the properties of color. For rhythm, we extracted information from the score and organized it in a new way, which reduced the error rate and led to more efficient practice. Also, with the information organized, even beginners were able to efficiently find the regularities and similarities in the score, which led to smooth read music.
3
Waszkowski, Robert, Tadeusz Nowicki, and Agata Chodowska Wasilewska. "Designing and Implementing Simulation Exercises for State Sanitary and Epidemiological Service." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001632.
Повний текст джерелаАнотація:
The paper presents business processes related to the work of sanitary services in cases of an epidemic of foodborne diseases. On their basis, simulation exercises according to given scenarios were developed. The work is related to the implementation of a project financed by the National Center for Research and Development. The activities of the staff of the county-level State Sanitary Inspectorate were analyzed in terms of actions taken in crisis situations related to the emergence of a large food poisoning outbreak or an epidemic of food-borne infectious disease. The same analysis was carried out in the scope of actions performed by individual teams participating in the simulation exercises. The result of the analysis was presented in the form of business process diagrams made in BPMN notation. The architecture of the simulation exercise support system assumes the use of a number of components responsible for the preparation of data and exercise scenarios, the implementation of exercises in training teams, supervision by exercise management, monitoring of the current course of the exercise, and review after activities.Business processes perfectly illustrate what activities are performed by individual groups of people during exercises and allow for monitoring and measuring indicators of the team’s work effectiveness. Business processes have been divided into two groups of processes. The first group of processes concerns activities performed only by persons exercising. These are processes that describe the activities performed during an epidemiological inquiry. In this case, describing the activities in the form of a process allows the practitioners to increase the speed of reaction in making decisions that directly affect the course of the investigation because they have at their disposal the entire range of data processed by the process along with the full picture of the situation.The second group of business processes describes the activities of the teams for preparing exercises, play-offs, and evaluating the results in the form of a simulation exercise scenario. The activities listed in this group of processes allow the participants of the above-mentioned teams for the efficient management of the tasks of the training team, for monitoring their activities, and for full control of the simulation. The training preparation team receives tasks related to the preparation of the environment and data for a given exercise scenario and the commissioning of individual system components at the start of the simulation exercises. The play-off team receives tasks related to the preparation of answers to the questions of the practitioners, reactions to decisions made by the practitioner team, and the control of the simulation time. The results analysis team receives tasks related to the analysis of the history of processes, the analysis of decisions and actions, the assessment of the course of exercises, and the skills of the training team. Each team receives a full range of data processed by individual processes in this group.The processes of both groups are interconnected. Activities undertaken by the training team within the processes of the first group directly affect the appearance of activities in the processes of the second group. Mutual communication within the performed tasks allows for simulation exercises in accordance with the modeled exercise scenario. The simulation exercise support system records each action and decision of the participants in the history of the processes along with the exact timestamp and a record of who performed the action. The concept of the AAR subsystem (after action review) is based on historical data of tasks performed within the framework of the processes, enabling the reconstruction of the course of the exercise with the possibility of starting the exercise from a selected moment. The paper will also present the methodology of designing interfaces for a system of computer-aided simulation exercises.