DOCSLIB.ORG

Archief B.M. Huijbers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Archief B.M. Huijbers Plaatsingslijst Archief Archief B.M. Huijbers Lijst gegenereerd op : 2020-05-11 Archiefnummer : 498 Archiefnaam : HUYB Datering : 1943-2019 Beschrijving : Artikelen en verhandelingen over liturgie en kerkmuziek, deels van Huijbers; stukken betreffende lezingen, congressen en symposia; stukken betreffende koor en orkest van het Sint Ignatiuscollege en het koor van de Sint Dominicuskerk; stukken, verslagen en correspondentie van de Werkgroep voor Volkstaalliturgie; stukken betreffende de Nederlandse Sint Gregorius Vereniging en de Adviesraad voor Liturgie van het bisdom Haarlem; partituren; geluidsbanden. Catalogus : Archief B.M. Huijbers Katholiek Documentatie Centrum Laatste archief wijziging : 2020-03-13 Pagina 1/79 Archief B.M. Huijbers Ten Geleide B. M. Huijbers (1922-2003) Bernard Huijbers werd geboren in Rotterdam. Zijn middelbare schooltijd doorliep hij aan het Ignatiuscollege te Amsterdam. In 1940 trad hij toe tot de Jezuïtenorde waarin hij in 1954 tot priester werd gewijd. In 1951 behaalde hij het staatsexamen muziektheorie aan het Amsterdamsch Conservatorium met als hoofdvak de cursus Schoolmuziek gegeven door J.M.A.F. Smits van Waesberghe en als bijvakken koor- en orkestdirectie. Verder studeerde hij compositieleer bij E.W. Mulder. Als dirigent was Huijbers vanaf 1952 actief voor het koor van het Sint Ignatiuscollege te Amsterdam, alwaar hij ook hoofd in het vak schoolmuziek was. Hier leerde hij Huub Oosterhuis kennen en zij werkten jarenlang samen bij het ontwikkelen van kerkmuziek in de volkstaal. Beiden raakten betrokken bij de Studentenekklesia. Huijbers als dirigent en Oosterhuis als pastor. Van 1966 tot en met 1975 dirigeerde hij het koor van de Sint Dominicuskerk te Amsterdam, met name in liederen met teksten van Huub Oosterhuis, door Huijbers op muziek gezet of bewerkt. Kooroptredens zijn opgenomen op geluidsband en grammofoonplaat. Langspeelplaten die hij met zijn koren opnam zijn: Zijn Liefde gaat van Mond tot Mond: Liturgische Gezangen in het Nederlands van de Werkgroep voor Volkstaalliturgie; Beeld en Gelijkenis en Uit het Stof der Aarde, beide op teksten van Huub Oosterhuis. In 1965 werd hij docent aan het Amsterdamsch Conservatorium in de vakken liturgie en koordirectie en van 1963 tot en met 1978 in de vakken liturgie en kerklatijn. Huijbers gaf lezingen onder andere tijdens internationale congressen, waaronder een lezingencyclus met als thema "New dimensions of sacred song" aan de zomeruniversiteit te Seattle in 1968, en cursussen, waaronder "Liturgie vieren" gegeven aan pastores en georganiseerd door het Diocesaan Pastoraal Dienstencentrum Aartsbisdom Utrecht. Ook aan andere opleidingen gaf hij les: van 1968 tot 1969 liturgische muziek in het kader van de cursus "Pastorale vorming binnen- en buitenland" aan de Theologische Faculteit Tilburg; van 1969 tot 1978 liturgie aan het Nederlands Instituut voor Katholieke Kerkmuziek te Utrecht. In 1972 en 1973 verzorgde hij de cursus "Musique elementaire et chant d'assemblée" aan het Institut Catholique te Parijs. Vanaf het begin van de jaren zestig was hij betrokken bij liturgische experimenten die met name betrekking hadden op de invoering en rol van de volkstaal in liturgische muziek. Als zodanig was hij van circa 1964 tot 1965 lid van de commissie voor het Experiment van de Nederlandse Commissie voor Liturgie, en was hij mede-oprichter, in 1966, van Universa Laus (Zwitserland), Groupe International d'Ëtude de Chant et Musique dans la Liturgie. Hij was van 1968 tot 1978 lid van de Adviesraad voor Liturgie, bisdom Haarlem. Vooral als mede-oprichter (1961), musicus en penningmeester van de Stichting Werkgroep voor Volkstaalliturgie te Amsterdam, waar ook Huub Oosterhuis lid van was, was Huijbers een voortrekker bij het opbouwen van een repertoire van liturgische muziek in de volkstaal. De neerslag van zijn activiteiten komt onder andere tot uiting in de publicaties van de Stichting voor Volkstaalliturgie. Een overzicht daarvan, over de periode 1961 tot en met 1967 is te vinden in een artikel van A. Vernooy Zangbundels sinds Vaticanum II, verschenen in Werkmap voor Liturgie, jrg. 18 (1984), nr. 1. Ook via publicaties in tijdschriften, bij voorbeeld het Gregoriusblad, orgaan van de Nederlandse Sint Gregoriusvereniging, en kranten, bij voorbeeld De Linie, gaf hij uiting aan zijn ideeën over liturgie en kerkmuziek. Verder schreef hij in 1969 het boekje Door Podium en Zaal over de functie van liturgische muziek. Het belang van Bernard Huijbers moet vooral bezien worden in het licht van de grote hoeveelheid liturgische muziek, die door hem op Nederlandse teksten werd getoonzet. De invloed van de "Nederlandse school" in de moderne liturgische muziek strekte zich uit tot andere Europese landen en de Verenigde Staten. Huijbers bezocht congressen en seminars en legde contact met plaatselijke vernieuwende gemeenschappen en personen. Hiermee bleef hij nog jaren corresponderen. Op latere leeftijd ging hij zelf liedteksten schrijven. In 1978 trad hij uit de Jezuïetenorde. De laatste 25 jaar van zijn leven woonde hij met zijn vrouw Annelou Koens in Frankrijk. Hij had zijn geloof in een persoonlijke God verloren en verwoordde zijn levensovertuiging nu in termen van vertrouwen in ‘het Zijn'. Daaruit kwam de bundel Woord en muziek vanuit de stilte voort. Tot op hoge leeftijd begeleidde hij groepen mensen die samen muziek wilden zingen die aansloot bij dit levensgevoel. Hij overleed in 2003 in Frankrijk. KDC - Knipselcollectie Pagina 2/79 Archief B.M. Huijbers De knipselcollectie bevat naast knipsels uit dag- en weekbladen diverse andere vormen van min of meer losbladige informatie, zoals persberichten van het Algemeen Nederlands Persbureau (ANP), overlijdensberichten, fotokopieën uit bio- en bibliografische naslagwerken enz. De knipsels over B.M. Huijbers zijn beschikbaar in de studiezaal van het KDC. Pagina 3/79 Archief B.M. Huijbers 0.Beeld en geluid. Bevat 313 stukken 1.Verslagen van vergaderingen van priester-leraren van het Sint Ignatiuscollege te Amsterdam. Met aantekeningen 1955-1960 2.Stukken betreffende de commissie voor het experiment van de Nederlandse Commissie voor Liturgie (NCL), welke het rapport "Rapport over het experiment in de liturgie" uitbracht 1964-1965 3.Verhandeling "De schoonheidsidee van St. Thomas van Aquino" [1953] 4.Verhandeling "Het heilige zijn" 1945 5.Artikel "'s Mensen naam als symbool van zijn persoon" bestemd voor #Weerklank#, jrg. 12, nrs. 3, 4, 5. Met correcties 1953 6.Artikel "Antropologie van de angst" van J.M. Kijm SJ bestemd voor #Weerklank#, jrg. 12, nr. 6 1953 7.Artikel "Aantekeningen betreffende zedelijkheid en geweten" van J.M. Kijm SJ bestemd voor #Weerklank#, jrg. 12, nr. 4 1954 8.Artikel "De leer van het communisme als pseudo-religie. Voordracht gehouden door prof.dr. G.A. Wetter SJ, rector van het Russicum, op woensdag 27 januari 1954" van J. Bennink SJ en L. Weber SJ bestemd voor #Weerklank#, jrg. 12, nr. 4 1954 9.Overdruk "Existentie contra essentie" van S. Trooster uit #Bijdragen#, dl. 10, nr. 3 1949 10.Overdruk "Het verwachten" van J.M. Kijm SJ uit #Streven#, jrg. 7, nr. 2 1953 11.Correspondentiekaart van J. Delooz, houdende een reactie op zijn artikel "'s Mensen naam als symbool van zijn persoon". Met bijlage 1955 12.Correspondentiekaart van Jean Radermakers SJ te Maastricht houdende een dankbetuiging voor zijn goede wensen 1955 13.Verhandeling "Religieuze muziek". Met bijlagen en correcties 1950-1951 14.Verhandeling "Romantiek en modernen. Een merkwaardige parallel", bestemd voor, maar niet opgenomen in #Mens en Melodie#. Met bijlagen en correcties 1953 15.Verhandeling "Geduld en begrip. Naar aanleiding van 100 jaar kromstaf, 75 jaar Gregoriusvereniging, 50 jaar Motu Poprio". Met correcties 1953 16.Verhandeling "Schoolmuziek" [1953] 17.Artikel "Schoolmuziek en UNESCO" bestemd voor [#Bonaventura#]. Met bijlage en aantekeningen 1955 18.Overdruk houdende een recensie van het boek #Albert Schweitzer. Leven en Denken# door G. Seaver. Met aantekeningen en typescript 1954 19.Verhandeling "Bij de Missa in honorem gloriosissimae Matris Dei beataeque semper Virginis Mariae" 1951 20.Artikel "Hedendaagse muziek en melodieleer" in #Symphonia#, jrg. 27, nr. 2 1950 21.Rapport "Prae-advies over muziek als leervak op de middelbare scholen". Met bijlagen 1952 22.Artikel "Liturgische impasse¬" van D. van B. (onbekend) uit #De Linie# van 17 mei 1958 23.Artikel "Hendrik Andriessen 75 jaar" in #De Kerk Zingt#, jrg. 3, nr. 8. Met typescript 1967 24.Verhandeling "Straatmuziek goed voor de kerk¬". Met correcties 1967 25.Artikel "Muziek op het college" bestemd voor [#Ouders en College#]. Met correcties [1966] 26.Artikel "Het muziekonderwijs in het eerste en het tweede leerjaar op het St. Ignatiuscollege" bestemd voor [#Bij De Tijd#]. Met correctie [1966] 27.Verslag van de muzieklessen op de tweede klas HAVO van het Sint Ignatiuscollege te Amsterdam over 1965 tot en met 1966. Met correcties 1966 Pagina 4/79 Archief B.M. Huijbers 1969 28.Verhandeling "Zoeken naar het nieuwe uit respect voor het oude". Met correcties 29.Verhandeling "Over de technische uitvoering van de psalmverzen in de processie- gezangen". Met correcties, concept en vertaling in het Frans z.j 30.Artikel "De moeilijke taak van de hedendaagse kerkcomponist" in #Sint Gregoriusblad#, jrg. 73, nrs. 5 en 6. Met typescripten en aantekeningen 1952 31.Artikel "Geseculariseerde erfenis" in #Sint Gregoriusblad#, jrg. 73, nr. 7. Met manu- en typescript 1952 32.Artikel "Tekst als vormfactor in de kerkmuziek" in #Sint Gregoriusblad#, jrg. 74, nr. 1. Met typescript 1953 33.Artikel "De kracht
Load more

Recommended publications
  • The Duality of the Composer-Performer
    The Duality of the Composer-Performer by Marek Pasieczny Submitted for the Degree of Doctor of Philosophy School of Arts Faculty of Arts and Social Sciences Supervisors: Prof. Stephen Goss ©Marek Pasieczny 2015 The duality of the composer-performer A portfolio of original compositions, with a supplementary dissertation ‘Interviews Project: Thirteen Composers on Writing for the Guitar’. Abstract The main focus of this submission is the composition portfolio which consists of four pieces, each composed several times over for different combinations of instruments. The purpose of this PhD composition portfolio is threefold. Firstly, it is to contribute to the expansion of the classical guitar repertoire. Secondly, it is to defy the limits imposed by the technical facilities of the physical instrument and bring novelty to its playability. Third and most importantly, it is to overcome the challenges of being a guitarist-composer. Due to a high degree of familiarity with the traditional guitar repertoire, and possessing intimate knowledge of the instrument, it is often difficult for me as a guitarist-composer to depart from habitual tendencies to compose truly innovative works for the instrument. I have thus created a compositional approach whereby I separated my role as a composer from my role as a guitarist in an attempt to overcome this challenge. I called it the ‘dual-role’ approach, comprising four key strategies that I devised which involves (1) borrowing ‘New Music’ practices to defy traditionalist guitar tendencies which are often conservative and insular; (2) adapting compositional materials to different instrumentations; and expanding on (3) the guitar technique as well as; (4) the guitar’s inventory of extended techniques.
    [Show full text]
  • Exploiting Innate Rhythmic Sense in a Ringtone Composer
    EXPLOITING INNATE RHYTHMIC SENSE IN A RINGTONE COMPOSER Daniel Lock & Paul Cairns UCL Interaction Centre University College London 26 Bedford Way, London WC1H 0AP, UK www.uclic.ucl.ac.uk/paul/taptone/ ABSTRACT ringtone composer interfaces are far from usable. They are so far from usable that third party developers are even Mobile phone ringtones help their owners identify their own producing downloadable software to make ringtone phone ringing amongst the many other possible phones that composition easier [8]. Some web-sites also offer could ring in a given place. However, existing interfaces for instructions on how to enter various tunes into different personalising ringtones have real usability problems. This phones [2] but the phone owner must still struggle with the paper proposes a new design that exploits humans’ innate original interfaces even to do this. rhythmic abilities. The design is implemented in a PC prototype and compared to the existing interface of a popular There is clearly a demand, then, for ringtone composition. brand of phone. It is found to be more satisfying and suggests In this paper, we consider a new method for entering further development. ringtones into a mobile phone. Of course, mobile phones present interesting constraints, having limited screen space Keywords and only push-button interfaces. They also present Music Interface, Rhythm, Natural Interaction, TapTone, interesting opportunities because unlike the majority of Mobile Phone Ringtones desktop computers, the microphone is an essential feature of the device. 1. MUSIC FOR THE MASSES A guiding principle to the resulting design was the At one level, the ringtones of mobile phones need only exploitation of natural abilities of humans, that is, music communicate a single bit of information – whether someone seems to be a universal human cultural trait so the interface is trying to call you or not.
    [Show full text]
  • Betternote: Evaluating Alternative Music Notation Jack Swiggett Stanford University 610 Mayfield Ave, Stanford, CA 94305 [email protected]
    BetterNote: Evaluating Alternative Music Notation Jack Swiggett Stanford University 610 Mayfield Ave, Stanford, CA 94305 [email protected] ABSTRACT pitch mapping. And the lines and spaces are not enough to This paper presents a tool for objectively evaluating music represent every note in Western music theory, so notes are notation systems. In particular, we assess the ease with sometimes augmented with a “sharp” (♯) or a “flat” (♭) to which a musician playing piano can sight-read music change their pitch. On top of this, learners must study a written using a particular system. We use this tool to separate system for representing rhythm. evaluate two different notation systems—traditional Western notation and a proposed alternative, known as As a result of these complexities, beginning musicians are Klavarskribo. We present the results of this evaluation, and often intimidated by notation, and many never learn to read discuss future steps that would further our understanding of it. Yet without reading notation, they cannot easily share alternative music notation systems. their musical ideas or explore the vast wealth of written music that exists. Many have sought to remedy this Author Keywords problem by developing alternative notation systems that are Music, notation, piano, usability, user study. more intuitive for learners. Yet while hundreds of alternative systems have been proposed, we have almost no ACM Classification Keywords objective evaluations of their efficacy. Without a way to H5.2. Information interfaces and presentation (e.g., HCI): compare systems, we cannot redesign and optimize music User Interfaces. notation to serve a wider audience. INTRODUCTION Klavarskribo Western music notation has a long and complex history.
    [Show full text]
  • Positional Drum Notation
    Positional Drum Notation Sebastiano Bea, Mishel Johns Abstract—Sheet music designed for pitched instruments does not translate well to drum music. Our prototype drum set music notation is designed to allow efficient display of information and easy interpretation especially by novice learners. The notation maps the instruments in the drum set horizontally to match the usual location in the drum set, and adds easily distinguishable icons that visually resemble the instrument. Sections with identical music are consolidated and marked in a timeline for the musician to follow. Index Terms—Musical Notation, drums, positional mapping, vertical orientation INTRODUCTION Musical notation has been historically designed for instruments with pitches. The higher the note is on the score, the higher the 1 RELATED WORK pitch. Notes are seen as an ordinal variable, as they can be In this section we will present different notation systems which compared. With drum sets, however, this distinction falls, as there we have identified along with the main pros and cons of each one. is no (obvious) direct way to compare the sound of each drum. The bass drum may have a lower frequency compared to a crash 1.1 Traditional Music Staff Notation cymbal, but they differ by many other factors that are not easily It is the current standard for drum music notation. It is based on comparable. Drum sounds are much more "nominal" rather than the same rules that govern notation for other instruments. Each "ordinal", as they are so different that they cannot be ordered line / space on the score corresponds to a specific drum quantitatively.
    [Show full text]
  • Download Or to Make It Available to a Third Part
    ADDRESSING THE IDIOSYNCRASIES OF CONTEMPORARY NOTATION IN RECORDER COMPOSITIONS, WITH SPECIFIC REFERENCE TO UNCONVENTIONAL SYMBOLS IN MUSIC FOR A BIRD BY HANS-MARTIN LINDE AND SIEBEN STÜCKE FÜR ALTBLOKFLÖTE BY MARKUS ZAHNHAUSEN BY LYNNE BARTLE SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MAGISTER MUSICAE AT THE NELSON MANDELA METROPOLITAN UNIVERSITY JANUARY 2009 SUPERVISOR: PROF. ZELDA POTGIETER CO-SUPERVISOR: MRS. ERNA CLOETE DECLARATION BY STUDENT FULL NAME: LYNNE BARTLE STUDENT NUMBER: 201319578 QUALIFICATION: MAGISTER MUSICAE DECLARATION: In accordance with Rule G4.6.3, I hereby declare that this treatise is my own work and that it has not previously been submitted for assessment to another University or for another qualification. SIGNATURE: DATE: JANUARY 2009 ----------------------------------------------------------------------- i DECLARATION OF ETHICS I hereby declare that this research was conducted with due cognisance of the ethical considerations involved. To this end: • Research subjects were informed of the aims and the objectives of this study • Research subjects participated in this research on a voluntary basis • Research subjects gave the researcher permission to use their responses in the writing of her treatise • The researcher applied to the company Schott Musik International GmbH & Co. KG, Mainz, for permission to duplicate Hans-Martin Linde’s score of Music for A Bird (Appendix B). Permission was granted. (Appendix D) • The researcher applied to the company Doblinger Muzikverlag for permission to duplicate Markus Zahnhausen’s score for Sieben Stücke Für Altblokflöte, (Appendix C). Permission was granted. (Appendix E) • In the case of the recording of Hans-Martin Linde’s Music for a Bird, track 1 on attached CD (Appendix F), permission for this duplication was granted by the performing artist, Ms Nanna Schall.
    [Show full text]
  • Musical Notation & Representation
    Musical Notation & Representation Music 253/CS 275a Stanford University Craig Stuart Sapp & Mauricio Rodriguez January 2017 Representing Music Two main categories: • For Performance (used as memory aid and for non-aural transmission) Usually not a complete representation (some discretion left to performer) • Usually written, but also Guidonian hand is a spatial representation of music for education and memorization. • For Analysis Usually highlights a specific aspect of the music (reductive) • Graphical representations (visualizations) • Digital representations (computational analysis) • Audio-based analysis (such as spectrograms) Also: • Sonification: reverse process on converting data into sound. Oldest Known Music Notation Old Babylonian cuneiform musical notation. 2000-1700 BC 2 double columns, each of 7 ruled lines with numbers in Old Babylonian cuneiform tablature notation, with headings, "intonation" and "incantation", respectively. Two ascending 7-note scales to be played on a 4-stringed lute tuned in ascending fifths. http://ww.schoyencollection.com/music_files/ms5105.jpg http://ww.schoyencollection.com/music.html Music Notation in Ancient Greece Oldest complete notated song (~1st century AD) Seikilos epitaph http://en.wikipedia.org/wiki/Seikilos_epitaph Music Notation in Ancient Greece While you live, shine Have no grief at all Life exists only for a short while And time demands its toll http://en.wikipedia.org/wiki/Seikilos_epitaph Performed on a hydraulis: https://www.youtube.com/watch?v=P4_iWkP24Ww#t=7 Music Notation in Ancient
    [Show full text]
  • A Theoretical Model of Piano Sightplaying Components A
    A THEORETICAL MODEL OF PIANO SIGHTPLAYING COMPONENTS A Dissertation Presented to The Faculty of the Graduate School University of Missouri-Columbia In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy By DNEYA BUNNAG UDTAISUK Dr. Wendy L. Sims, Dissertation Supervisor MAY, 2005 The undersigned, appointed by the Dean of Graduate School, have examined the dissertation entitled A THEORETICAL MODEL OF PIANO SIGHTPLAYING COMPONENTS Presented by Dneya B. Udtaisuk a candidate for the degree of Doctor of Philosophy and hereby certifi that in their opinion it is worthy acceptance. The undersigned, appointed by the Dean of Graduate School, have examined the dissertation entitled A THEORETICAL MODEL OF PIANO SIGHTPLAYING COMPONENTS Presented by Dneya B. Udtaisuk A candidate for the degree of Doctor of Philosophy And hereby certify that in their opinion it is worthy acceptance. __________________________________ __________________________________ __________________________________ __________________________________ __________________________________ ii Thanks to …. My advisor, Dr. Wendy L. Sims for her true inspirations, directions, opinions, advise and encouragement. Your devotion and who you are makes my 10-year journey become a life-long educational and moral nourishment. My dissertation committee, Dr. Martin Bergee, Dr. Rebecca McCathren, and Prof. Karen Larvick, and Dr. Richard Robinson who generously gives me support and guidance. I will always be thankful for your contributions to this work. My proofreaders Dr. Cathi Wilson and Chattavee Numtee who spent their valuable time on perfecting this dissertation. Dr. Deborrah Carr, Teacher Development Program, College of Education and Dr. Melvin Platt, School of Music for granting me a clinical and a teaching position. This financial support ended up as one-of-a-kind experience that fosters me to become a better prepared person in the fields.
    [Show full text]
  • ABC MUSIC NOTATION Ailler-Brennink Chromatic Notation
    Albert Brennink ABC MUSIC NOTATION Ailler-Brennink Chromatic Notation araumus Association for Research of an Alternative and Universal Music Notation araumus Our music has developed from the Middle Ages and there are five new black keys on the organ to the 21st century in giant steps. It is the deve- keyboard. Yet there have been no great changes to lopment from the church modes of the Gregorian the essence of notation; a fifth line was added to Chant to more modern modes and atonality, or from the staff and the accidentals were invented for the seven notes to twelve notes in the octave. Our mu- black keys on the keyboard. sic notation is still lagging slightly behind this rapid development. Therefore the ARAUMUS Associati- It seems to have taken a long time for the world of on has set itself the task of finding or developing an music to realize that this is a poor, makeshift soluti- alternative notation for more modern music. To this on. After all, musical performances were becoming end, the already known proposals for alternative more and more magnificent. Today, however, after notations will first be tested. Secondly, after an having advanced from diatonic to atonal music, and evaluation, the best notations will be compared. since pianos and organs are tuned not only to be And thirdly, one dodecaphonic music notation well-tempered, but also to be in equal temperament, will be provided for future use as an alternative to we have come to the point where a new dodecapho- traditional notation. nic or twelve-tone notation is urgently needed.
    [Show full text]
  • Augmenting Music Sheets with Harmonic Fingerprints
    Augmenting Music Sheets with Harmonic Fingerprints Matthias Miller Alexandra Bonnici Mennatallah El-Assady Department of Computer Science Faculty of Engineering Department of Computer Science University of Konstanz, Germany University of Malta, Malta University of Konstanz, Germany [email protected] [email protected] [email protected] Figure 1: Augmenting piano sheet music with harmonic fingerprint glyphs facilitates the identification of recurring har- monic patterns and the comparison of musical parts to understand differences in the note distribution. Here, an excerpt from Chopin’s ‘Grande Valse Brillante’ is augmented with the fingerprints showing a recurring pattern in the first four glyphs. ABSTRACT KEYWORDS Common Music Notation (CMN) is the well-established foundation Visualization, Harmony, Analysis, Sheet Music for the written communication of musical information, such as ACM Reference Format: rhythm or harmony. CMN suffers from the complexity of its visual Matthias Miller, Alexandra Bonnici, and Mennatallah El-Assady. 2019. Aug- encoding and the need for extensive training to acquire proficiency menting Music Sheets with Harmonic Fingerprints. In ACM Symposium on and legibility. While alternative notations using additional visual Document Engineering 2019 (DocEng ’19), September 23–26, 2019, Berlin, Ger- variables (e.g., color to improve pitch identification) have been pro- many. ACM, New York, NY, USA, 10 pages. https://doi.org/10.1145/3342558. posed, the community does not readily accept notation systems that 3345395 vary widely from the CMN. Therefore, to support student musicians in understanding harmonic relationships, instead of replacing the 1 INTRODUCTION CMN, we present a visualization technique that augments digital Isidore of Seville recounts how until the 7th-century music was sheet music with a harmonic fingerprint glyph.
    [Show full text]
  • Music Theory Contents
    Music theory Contents 1 Music theory 1 1.1 History of music theory ........................................ 1 1.2 Fundamentals of music ........................................ 3 1.2.1 Pitch ............................................. 3 1.2.2 Scales and modes ....................................... 4 1.2.3 Consonance and dissonance .................................. 4 1.2.4 Rhythm ............................................ 5 1.2.5 Chord ............................................. 5 1.2.6 Melody ............................................ 5 1.2.7 Harmony ........................................... 6 1.2.8 Texture ............................................ 6 1.2.9 Timbre ............................................ 6 1.2.10 Expression .......................................... 7 1.2.11 Form or structure ....................................... 7 1.2.12 Performance and style ..................................... 8 1.2.13 Music perception and cognition ................................ 8 1.2.14 Serial composition and set theory ............................... 8 1.2.15 Musical semiotics ....................................... 8 1.3 Music subjects ............................................. 8 1.3.1 Notation ............................................ 8 1.3.2 Mathematics ......................................... 8 1.3.3 Analysis ............................................ 9 1.3.4 Ear training .......................................... 9 1.4 See also ................................................ 9 1.5 Notes ................................................
    [Show full text]
  • Musical Notation & Representation
    Musical Notation & Representation Music 253/CS 275a Stanford University Craig Stuart Sapp 9 Jan 2018 Representing Music • For Performance (used as memory aid and for non-aural transmission) Usually not a complete representation (some discretion left to performer) • Usually written, but also Guidonian hand is a spatial representation of music for education and memorization. • For Analysis Usually highlights a specific aspect of the music (reductive) • Graphical representations (visualizations) • Digital representations (computational analysis) • Audio-based analysis (such as spectrograms) Oldest Known Music Notation Old Babylonian cuneiform musical notation. 2000-1700 BC 2 double columns, each of 7 ruled lines with numbers in Old Babylonian cuneiform tablature notation, with headings, "intonation" and "incantation", respectively. Two ascending 7-note scales to be played on a 4-stringed lute tuned in ascending fifths. http://ww.schoyencollection.com/music_files/ms5105.jpg http://ww.schoyencollection.com/music.html Music Notation in Ancient Greece Oldest complete notated song (~1st century AD) Seikilos epitaph http://en.wikipedia.org/wiki/Seikilos_epitaph Music Notation in Ancient Greece While you live, shine Have no grief at all Life exists only for a short while And time demands its toll http:// en.wikipedia.org/wiki/Seikilos_epitaph Performed on a hydraulis: https://www.youtube.com/watch?v=P4_iWkP24Ww#t=7 Music Notation in Ancient Greece 2nd century BC Earliest surviving composition with a known composer (Athenios son of Athenios) http://en.wikipedia.org/wiki/Delphic_Hymns
    [Show full text]
  • (12) United States Patent (10) Patent No.: US 7,767,895 B2 Johnston (45) Date of Patent: Aug
    USOO7767895B2 (12) United States Patent (10) Patent No.: US 7,767,895 B2 Johnston (45) Date of Patent: Aug. 3, 2010 (54) MUSIC NOTATION SYSTEM 3,460,425 A * 8/1969 Kiepe ....................... 84/470 R (76) I S. Joh H12O3, 8920-100 3,562,394 A * 2/1971 Kiepe ..... ... 84f678 nVentor: James S. Johnston, s ck Street, Edmonton, AB (CA) T6E 4Y8 3,698.277 A 10/1972 Barra ........................ 84.483.1 5,392,682 A * 2/1995 McCartney-Hoy ........ 84/470 R ( c ) Notice: Subject tO any disclaimer, the term of this 5,886,273 A * 3/1999 Haruyama - - - - - - - - - - - - - - - - - - - 84.478 patent is extended or adjusted under 35 5,962,800 A * 10/1999 Johnson et al. ............ 84.483.2 U.S.C. 154(b) by 0 days. (21) Appl. No.: 11/955,730 (Continued) (22) Filed: Dec. 13, 2007 OTHER PUBLICATIONS (65) Prior Publication Data KlavarScript—klavar notation software Dec. 2006, viewed at www. US 2008/O141849 A1 Jun. 19, 2008 vdkolk.nl/klavarien/intro.htm on Nov. 2, 2007. Related U.S. Application Data (Continued) (60) Provisional application No. 60/870,203, filed on Dec. Primary Examiner Jeffrey Donels 15, 2006. Assistant Examiner—Robert W Horn (51) Int. Cl. (74) Attorney, Agent, or Firm—Donald V. Tomkins G09B I5/02 (2006.01) (57) ABSTRACT (52) U.S. Cl. .................................... 84/483.2; 84/470 R (58) Field of Classification Search ................ 84/483.1, 847483.2, 47OR A music notation system uses a grid with vertical columns See application file for complete search history. representing musical notes and horizontal rows representing (56) References Cited time intervals.
    [Show full text]