Project Descriptions

4. Practice-based Research

g) The Interrelationship of Notation and Performance

 

Sight-reading is an important part of professional musicianship, and to be able to imagine the sound in advance of playing is a necessity for good phrasing and intonation. The connection between sign and sound is trained in sight-singing as a part of aural skills, but to many students, this may be quite difficult, and not corresponding to their instrumental level. It seems as if there is a missing link in the way we learn music - compared to text reading, where the sign immediately gives an impression of the sound.

     Learning the language of music mostly happens through playing an instrument, with quite much focus on the technical mastering of the instrument. In this process, the written notes might be seen merely as a sign of where to put the fingers on the instrument, rather than being perceived as symbols of sounds.
     This one-way access to the music is not adequate for a professional musician, and to achieve an all-round mastering of the musical language, you have to work equally with reading, listening, playing and singing.

     To help the student to develop all these skills, I have written the textbook SNAPSHOT – An Introduction to Sight-Reading, which consists of a large number of short exercises and examples from classical, tonal music.

 

(Inge Bjarke is the author of three textbooks: Musikkens Grundbegreber (“The Fundamental Concepts of Music”) (MUFO 1991); Rytmer med Toner (“Rhythms with Tones”) (MUFO 1994); SNAPSHOT- An Introduction to Sight-Reading (MUFO 2009, English version 2011)

 

(Inge Bjarke)

  

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Institute for the Study of Culture Institut for Kulturvidenskaber (IKV)   Research Director for The Aesthetics of Music and Sound and Editor and Webmaster for www.soundmusicresearch.org: Cynthia M. Grund cmgrund@sdu.dk     Projects   (For descriptions, please click on the tabs at the top of the page.)   1.Understanding Music through Modern Technology a) Recognizing Music b) Recognition of Expressive Styles in Music Performance c) Autonomous Agents – An Accompanist in VR d) The Composition and Its Role in the Ensemble 2. Intermediality a) Intermediality b) Lyric and Meaning in Music c) Towards an Aesthetic Theory of Correlativity d) Are Treatments of the Metaphysics of Music in Medieval Literature Relevant for Current Theories of Musical Meaning and Significance? 3. Learning through Music a) Music Communication b) Children's Knowledge Creation with Intelligent Agents in Music Education - Understanding for Optimizing Motivations c) Adaptable Interfaces & Augmented Avatar - Introducing Tools for the Disabled and Musicians in VR d) Community Singing and/or Ideology e) Creating Creativity f) Understanding Musical Creativity and Aesthetics in a Digital-Based Youth Cultural Context g) The Sound of Movement - the Sound of Learning 4. Practice-based Research a) Analysis and Implementation of Practice-Based Research b) Relationship of Gesture to Communicative Authenticity in Performance c) Musical Implications of the Work of Selected Philosophers d) Employing the Methods of Discourse Narrative to Support Interpretive Choices Faced by the Practicing Musician e) Soundmapping the Genes f) A Program of Practice-based Research Designed to Examine Listener Reaction to Olivier Messiaens Vingt Regards sur l'Enfant Jesus g) The Interrelationship of Notation and Performance h) Technological and Aesthetic Investigations of the Physical Movements of Pianists 5. Selective Bibliography