Contemporary Music Score Collection

Total Page:16

File Type:pdf, Size:1020Kb

Contemporary Music Score Collection UCLA Contemporary Music Score Collection Title Bloodwork Permalink https://escholarship.org/uc/item/2kv8r49h Author Lowrie, James Publication Date 2020 License https://creativecommons.org/licenses/by-nc/4.0/ 4.0 eScholarship.org Powered by the California Digital Library University of California BLOODWORK For String Quartet James Lowrie Bloodwork, for string quartet James Lowrie, 2018 Written for the Rolston String Quartet as part of the Soundstreams Emerging Composers Workshop Duration: ca. 6” Program Note: This quartet is based off the statistics drawn from my bloodwork taken over my entire life, where 1 second = 1 month. This process manifests quite simply in the viola, where the C-string acts as a chart of my creatinine. When the creatinine value goes up, so goes the violist up the C-string of the viola. This set-up reflects my interest in the paradox of the “intuition vs. system” divide when it comes to contemporary classical music. The system here is the very height of the ‘personal’, but, is also simply a set of numbers to work with. The Viola: Bloodwork rules The viola part is guided by a set of performance instructions that are unrelated to instructions for the rest of the quartet. This is because the viola is a literal-minded sonic representation of my creatinine tests since birth where a date and a creatinine quantity become a timepoint and a pitch . These are the Bloodwork rules. Bloodwork rule 1: All unbracketed notes that represents a data point will glissandoed toward the next note in the data point series, with a steady rate of change. The arrival at one of these data points can be represented by a slight accent at the moment of arrival if you feel so inclined. Bloodwork rule 2: If a note is in round brackets it is not a real data point, rather it is a guidepost so that you know where you should be in the glissando. These will have a cents number above them but don’t need to be completely accurate so long as the overall effect is a slow, gradual glissando to the next data point. Bloodwork rule 3: The part must be performed entirely on the C string. Bloodwork rule 4: The part must be performed non-vibrato. Bloodwork rule 5: The general volume should never go above mezzo-piano. However, you should drop down quieter whenever there is a worry of drowining out the rather quiet effects of the rest of the ensemble. This should be done in such a way that maintains autonomy from the rest of the quartet. Bloodwork rule 6: The part should be played with imperceptible bowing as if the part is under one long slur, including the transition into silence in the middle. Violins and Cello Bloodwork involves several non-traditional playing methods, each of which have some notational quirks to them: 1. Pizzicato with Tension Screw slide: Playing with the tension screw on the end of the bow is employed to be a pizzicato effect that can also glissando between one note and the next. In this method, the right hand reaches over the left and places the end of the bow at the notated pitch. This technique is often employed with glissando lines between the pitches. This means the tension screw is dragged along the string to the next notated pitch. If there is no line, just go to the next pitch by removing the bow off the string. This effect should be played, in general, as loud as possible without creating distortion. The cello may need to back off a little bit to balance with the violins. This will be a quiet effect. The X-notehead: Pizz. with the right hand to re-articulate the note. Note in parathetical: The tension screw should be at this pitch at this time. Do not re-articulate. Wavey gliss. line: Similar to a vibrato. Instead of just moving the tension screw in a regular gliss, wabble it up or down the string to create a wobbly effect. 2. Bowing Col Legno CLT: Col legno tratto is accompanied by the following techniques. Triangle noteheads : Play high up on the string as possible. The sound created is like a white noise of an LP. The notated pitch will correspond to the string that is being played. This effect should again be as loud as possible without destroying the blank LP effect. Sometimes the note will be written above the staff along with a roman numeral. This is logistical, so that the gliss. down to a notated pitch will make more sense. An accent in this context (and this context only) should be performed by suddenly and forcefully pulling most/all of the length wood side of the bow across the string, creating a bit of a (!) inside of the soundscape of the blank LP. Then, a sudden resumption of the slower bow speed on the next note. CLB: Col legno battuto (jété) A upwards line means bounce the bow towards the bridge, making the pitch go up. A downwards line is a movement away from the bridge. 3. Flautando Bowing This “airy” sound should be about 80% the white noise created by bowing and 20% pitch. It is a quiet effect. Right hand technique: A fast bowspeed combined with underbowing Left hand technique: The pitches are touched lightly akin to playing a harmonic, except extra fingers are placed behind the touched pitch in order to avoid any harmonics being produced. Diamond noteheads: Play flautando. The “half filled” diamond represents a black notehead, while an empty diamond represents an empty notehead. In 2013/14 there are flautando noteheads in the pizzicato section. Here, you are to use flautando left hand technique while pizzicatoing normally. These are differentiated from harmonics in that the DO NOT have the circle above them. 4. Pick notation This is spatial clef: The pitches in this section are all very high up, with the hand between the end of the fingerboard and the bridge, in the general position outlined by the vertical position of the notes in relation to the clef. Whenever this clef is in use, you will also be playing with a pick (or your fingernails if you have long ones on your right hand!) The effect will not be clear pitches, but rather clunks/clicks. This clef will be accompanied by a 1-line staff in order to emphasize the approximate/percussive element of finger positioning. The number above each note tell you which string you should be playing. The number for all subsequent notes until a new number follows (kind of like accidentals). Drag the pick quickly across all four strings, muting the strings with your palm somewhere between the fretboard and the bridge. Up arrow means from low to high, down arrow means from high to low. This effect turns up a few times outside of the context of the spatial clef but is played the exact same way, in these contexts it can be played with the back of the nail. Miscellaneous playing techniques + notation marks for the whole quartet. Bow bridge: This should be a quiet white-noise effect without any pitch. This can also be moved in and out of imperceptibly from regular bowing, as if the pitched material is being subsumed into the white noise. The main example of this being the white noise in the violin in bars 70-71. Hand : Use hand to rub body of instrument in a continuous circular or figure eight motion. Overbow: Use extreme bow pressure to get a white noise grunt. Depending on the instrument etc. you may want to mute the strings with the left hand high up the finger board to better achieve the sound. Bow Positions ESP: Multo Sul Ponticello, almost on the bridge. SP: Sul Ponticello norm. or N: Normal bowing position ST: Sul Tasto MST: Multo Sul Tasto This effect only occurs once in 1991/92. The RH finger moves up the G string shaking back and forth to produce somewhat random quiet pitches as it moves of the string, pushing into the fingerboard. Hair twist: Turn violin around, and press the bow against the back of the body of the violin, and twist the bow so that the hairs create a crunch sound. It’s not as scary as it sounds! However, if you’d rather not, you can replace this effect with a sharp staccato overbow on the G and D string behind the bridge. Note on dynamics: Generally, since many of these techniques are so quiet, your dynamics have often been left unspecified and should be assumed to be “as loud as possible without causing distortion to the desired effect” whenever using one of the quiet extended techniques (pizz screw slide, CLT, flautando bowing). Accidentals : accidentals used in this piece work like quarter tone accidentals, but, signify a somewhat less specific point (near the middle) between the two semitones. However, if you prefer to think of them as quarter tones that is fine too. These accidentals are not used in the viola part because the cents are being specified exactly. Mute: Mute all strings suddenly with palm of left hand Arrow: A gradual change from one mode of playing to the next L.H. Martellato : Quickly hammer into the string with the left hand at written pitch to produce a quiet, pizz-like effect. Score Bloodwork JAMES LOWRIE q = 606060 ... 1990 to mark the passage of time pizz., slide with tension screw 333 Violin I '' sempre pizz., slide with tension screw 333 Violin II ' ' sempre 0c 0c 'Bloodwork' rules are in effect for the whole viola part Viola col legno Cello 333 '' sempre 1991 4 pizz.
Recommended publications
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • New International Manual of Braille Music Notation by the Braille Music Subcommittee World Blind Union
    1 New International Manual Of Braille Music Notation by The Braille Music Subcommittee World Blind Union Compiled by Bettye Krolick ISBN 90 9009269 2 1996 2 Contents Preface................................................................................ 6 Official Delegates to the Saanen Conference: February 23-29, 1992 .................................................... 8 Compiler’s Notes ............................................................... 9 Part One: General Signs .......................................... 11 Purpose and General Principles ..................................... 11 I. Basic Signs ................................................................... 13 A. Notes and Rests ........................................................ 13 B. Octave Marks ............................................................. 16 II. Clefs .............................................................................. 19 III. Accidentals, Key & Time Signatures ......................... 22 A. Accidentals ................................................................ 22 B. Key & Time Signatures .............................................. 22 IV. Rhythmic Groups ....................................................... 25 V. Chords .......................................................................... 30 A. Intervals ..................................................................... 30 B. In-accords .................................................................. 34 C. Moving-notes ............................................................
    [Show full text]
  • Articulation from Wikipedia, the Free Encyclopedia
    Articulation From Wikipedia, the free encyclopedia Examples of Articulations: staccato, staccatissimo,martellato, marcato, tenuto. In music, articulation refers to the musical performance technique that affects the transition or continuity on a single note, or between multiple notes or sounds. Types of articulations There are many types of articulation, each with a different effect on how the note is played. In music notation articulation marks include the slur, phrase mark, staccato, staccatissimo, accent, sforzando, rinforzando, and legato. A different symbol, placed above or below the note (depending on its position on the staff), represents each articulation. Tenuto Hold the note in question its full length (or longer, with slight rubato), or play the note slightly louder. Marcato Indicates a short note, long chord, or medium passage to be played louder or more forcefully than surrounding music. Staccato Signifies a note of shortened duration Legato Indicates musical notes are to be played or sung smoothly and connected. Martelato Hammered or strongly marked Compound articulations[edit] Occasionally, articulations can be combined to create stylistically or technically correct sounds. For example, when staccato marks are combined with a slur, the result is portato, also known as articulated legato. Tenuto markings under a slur are called (for bowed strings) hook bows. This name is also less commonly applied to staccato or martellato (martelé) markings. Apagados (from the Spanish verb apagar, "to mute") refers to notes that are played dampened or "muted," without sustain. The term is written above or below the notes with a dotted or dashed line drawn to the end of the group of notes that are to be played dampened.
    [Show full text]
  • Glissando Harp Manual
    C A Glissando Harps Manual v 2.0 rev 2.0.0 - Nov. 12th, 2018 Welcome Thank you very much for purchasing Glissando Harps for Kontakt! We hope you’ll make the best out of these carefully crafted Virtual Instruments. A Few Words on the Sounds of Glissando Harps The two harps making up Glissando Harps, Concert and Orchestral, were sampled in two very different venues, with different instruments, players, microphone and preamp setups. This was done on purpose. To put in your hands two complementary instruments, allowing for the best sound to fit many different composing scenarios. For Concert Harp we chose a small live room. For this reason when we set up for the next chapter, Glissando Orchestral Harp, we chose a studio, Sotto Il Mare Recording Studios (near Verona in Italy), famous for their wonderful analog equipment and a resounding live room. This setup allowed us to capture more microphone perspectives than we had for Glissando Concert Harp. So, to sum up: Glissando Harps Glissando Concert Harp Small recording venue, best fit for intimate or in-your-face kind of parts; also good for characterization with additional reverbs and Efx. Three microphone channels: an AB stereo setup with a Schoeps CMC64 matched pair and a Mid-Side setup with Neumann M140 as mid and Royer R121 as side. Glissando Orchestral Harp Large recording venue, perfect when you need to position the harp in an orchestral scenario, both as accompanist and as a soloist. Eight microphone channels, combined in five “movie-city-named” nki instruments. An LCR (wide AB + central mono) with Schopes CMC64 and Soundelux U195, the mono Soundelux U195 by itself, another wide AB with ribbon AEA N22 matched pair.
    [Show full text]
  • Composers' Bridge!
    Composers’ Bridge Workbook Contents Notation Orchestration Graphic notation 4 Orchestral families 43 My graphic notation 8 Winds 45 Clefs 9 Brass 50 Percussion 53 Note lengths Strings 54 Musical equations 10 String instrument special techniques 59 Rhythm Voice: text setting 61 My rhythm 12 Voice: timbre 67 Rhythmic dictation 13 Tips for writing for voice 68 Record a rhythm and notate it 15 Ideas for instruments 70 Rhythm salad 16 Discovering instruments Rhythm fun 17 from around the world 71 Pitch Articulation and dynamics Pitch-shape game 19 Articulation 72 Name the pitches – part one 20 Dynamics 73 Name the pitches – part two 21 Score reading Accidentals Muddling through your music 74 Piano key activity 22 Accidental practice 24 Making scores and parts Enharmonics 25 The score 78 Parts 78 Intervals Common notational errors Fantasy intervals 26 and how to catch them 79 Natural half steps 27 Program notes 80 Interval number 28 Score template 82 Interval quality 29 Interval quality identification 30 Form Interval quality practice 32 Form analysis 84 Melody Rehearsal and concert My melody 33 Presenting your music in front Emotion melodies 34 of an audience 85 Listening to melodies 36 Working with performers 87 Variation and development Using the computer Things you can do with a Computer notation: Noteflight 89 musical idea 37 Sound exploration Harmony My favorite sounds 92 Harmony basics 39 Music in words and sentences 93 Ear fantasy 40 Word painting 95 Found sound improvisation 96 Counterpoint Found sound composition 97 This way and that 41 Listening journal 98 Chord game 42 Glossary 99 Welcome Dear Student and family Welcome to the Composers' Bridge! The fact that you are being given this book means that we already value you as a composer and a creative artist-in-training.
    [Show full text]
  • Hamilton's Celebrated Dictionary, Comprising an Explanation of 3,500
    B ornia lal y * :v^><< Ex Libris C. K. OGDEN THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES i4 ^}^^^D^ /^Ic J- HAMILTON'S DICTIONAIiY 3,500 MUSICAL TERMS. JOHN BISHOP. 130th EDITION. Price One Shilling. ROBERT COCKS & CO., 6, NEW BURLNGTON ST. JiJuxic Publishers to Her Most Gracious Majesty Queen Victoria, and H.R.H. the Prince of Wales. ^ P^ fHB TIME TABLE. or ^ O is e:iual to 2 or 4 P or 8 or 1 6 or 3 1 64 fi 0| j^ f 2 •°lT=2,«...4f,.8^..16|..52j si: 2?... 4* HAMILTON 8s CELEBRATED DICTIONARY, ooMrkiRiKo XM izpLAKATioa or 3,500 ITALIAN, FRENCH, GERMAN, ENGLISH, AMJ> OTHBK ALSO A COPIOUS LIST OF MT7SICAL CHARACTERS, 8U0H AS ARB FOUND IN THB WOWS OT Adam, Aguado, AlbreehUberger Auber, Baeh (J. S.), Baillot, Betthoven, Bellini, JJerbiguier, Bertini, Burgmuller, Biikop (John), Boehia-, Brunntr, Brieeialdi, Campagnoli, Candli, Chopin, Choron, Chaidieu, Cherubini, Cl<irke (J.y dementi, Cramer, Croisez, Cxemy, De Beriot, Diatedi, Dcehler, Donizetti, Dotzauer, Dreytehoek, Drouec, Dutsek. Fetis, Fidd, Fordt, Gabrieltky, Oivliani, Ooria, Haydn, Handd, Herald, Hert, Herzog, Hartley, Hummel, Hunt^n, Haentel, Htntelt, Kalkbrenner, Kuhe, Kuhlau, Kreutzer, Koeh, Lanner, Lafoitzky, Lafont, Ltmke, Lemoine, Liszt, l^barre, Marpurg, Mareailhou, Shyteder, Meyerbeer, Mereadante, MendeUtohn, Mosehelet. Matart, Musard, NichoUon, Nixon, Osborne, Onslow, Pacini, Pixis, Plachy. Rar'^o, Reicha, Rinck, Rosellen, Romberg (A. and B.), Rossini, Rode. 6st iau, Rieci, Reistiger, SehmiU (A.), Schubert (C), Sehulhoff. Sar, Spohr. 8f, .jss, Santo$ (D J. Dot), Thalberg, Tulou, ViotU, WMaet (W. F.). W«^ ren, WcOdtier, Webtr, Wetley (S. S.), Ac. WITH AN APPENDIX, OOKSISTIMO OF A RBPRIKT OF /OHH TIKCTOR'S " TERMINORUM MUSIC^E DIFFIlTlTORIUlh,- The First Kusical Dictionary known.
    [Show full text]
  • Ames High School Music Department Orchestra Course Level Expectations Grades 10-12 OR.PP Position/Posture OR.PP.1 Understands An
    Ames High School Music Department Orchestra Course Level Expectations Grades 10-12 OR.PP Position/Posture OR.PP.1 Understands and demonstrates appropriate playing posture without prompts OR.PP.2 Understands and demonstrates correct finger/hand position without prompts OR.AR Articulation OR.AR.1 Interprets and performs combinations of bowing at an advanced level [tie, slur, staccato, hooked bowings, loure (portato) bowing, accent, spiccato, syncopation, and legato] OR.AR.2 Interprets and performs Ricochet, Sul Ponticello, and Sul Tasto bowings at a beginning level OR.TQ Tone Quality OR.TQ.1 Produces a characteristic tone at the medium-advanced level OR.TQ.2 Defines and performs proper ensemble balance and blend at the medium-advanced level OR.RT Rhythm/Tempo OR.RT.1 Defines and performs rhythm patterns at the medium-advanced level (quarter note/rest, half note/rest, eighth note/rest, dotted eighth note, dotted half note, whole note/rest, dotted quarter note, sixteenth note) OR.RT.2 Defines and performs tempo markings at a medium-advanced level (Allegro, Moderato, Andante, Ritardando, Lento, Andantino, Maestoso, Andante Espressivo, Marziale, Rallantando, and Presto) OR.TE Technique OR.TE.1 Performs the pitches and the two-octave major scales for C, G, D, A, F, Bb, Eb; performs the pitches and the two-octave minor scales for A, E, D, G, C; performs the pitches and the one-octave chromatic scale OR.TE.2 Demonstrates and performs pizzicato, acro, and left-hand pizzicato at the medium-advanced level OR.TE.3 Demonstrates shifting at the intermediate
    [Show full text]
  • From Neumes to Notation: a Thousand Years of Passing on the Music by Charric Van Der Vliet
    From Neumes to Notation: A Thousand Years of Passing On the Music by Charric Van der Vliet Classical musicians, in the terminology of the 17th and 18th century musical historians, like to sneer at earlier music as "primitive", "rough", or "uncouth". The fact of the matter is that during the thousand years from 450 AD to about 1450 AD, Western Civilization went from no recording of music at all to a fully formed method of passing on the most intricate polyphony. That is no small achievement. It's attractive, I suppose, to assume the unthinking and barbaric nature of our ancestors, since it implies a certain smugness about "how far we've come." I've always thought that painting your ancestors as stupid was insulting both to them and to yourself. The barest outline of a thousand year journey only hints at the difficulties our medieval ancestors had to face to be musical. This is an attempt at sketching that outline. Each of the sub-headings of this lecture contains material for lifetimes of musical study. It is hoped that outlining this territory may help shape where your own interests will ultimately lie. Neumes: In the beginning, choristers needed reminders as to which way notes went. "That fifth note goes DOWN, George!" This situation was remedied by noting when the movement happened and what direction, above the text, with wavy lines. "Neume" was the adopted term for this. It's a Middle English corruption of the Greek word for breath, "pneuma." Then, to specify note's exact pitch was the next innovation.
    [Show full text]
  • Instruments of the Orchestra
    INSTRUMENTS OF THE ORCHESTRA String Family WHAT: Wooden, hollow-bodied instruments strung with metal strings across a bridge. WHERE: Find this family in the front of the orchestra and along the right side. HOW: Sound is produced by a vibrating string that is bowed with a bow made of horse tail hair. The air then resonates in the hollow body. Other playing techniques include pizzicato (plucking the strings), col legno (playing with the wooden part of the bow), and double-stopping (bowing two strings at once). WHY: Composers use these instruments for their singing quality and depth of sound. HOW MANY: There are four sizes of stringed instruments: violin, viola, cello and bass. A total of forty-four are used in full orchestras. The string family is the largest family in the orchestra, accounting for over half of the total number of musicians on stage. The string instruments all have carved, hollow, wooden bodies with four strings running from top to bottom. The instruments have basically the same shape but vary in size, from the smaller VIOLINS and VIOLAS, which are played by being held firmly under the chin and either bowed or plucked, to the larger CELLOS and BASSES, which stand on the floor, supported by a long rod called an end pin. The cello is always played in a seated position, while the bass is so large that a musician must stand or sit on a very high stool in order to play it. These stringed instruments developed from an older instrument called the viol, which had six strings.
    [Show full text]
  • Course Syllabus
    Course Name: Music Fundamentals Instructor Name: Course Number: MUS-102 Course Department: Music Course Term: Last Revised by Department: Spring 2021 Total Semester Hour(s) Credit: 3 Total Contact Hours per Semester: Lecture: 45 Lab: Clinical: Internship/Practicum: Catalog Description: This course is an introduction to music theory and the fundamental principles of traditional music, including melody, rhythm, harmony, basic skills and vocabulary. Emphasis is on music reading, application, notation, keytime signatures and aural training. This course is for majors and non-majors with limited background in music fundamentals or as preparation for music major theory courses. Previous background and instruction for music majors. No prerequisites for non-majors. Credit for Prior Learning: There are no Credit for Prior Learning opportunities for this course. Textbook(s) Required: No standard required text. Purchase of materials for future reference as assigned by instructor Access Code: NA Materials Required: Instrument, Solos, books, study (etude) materials. Suggested Materials: Metronome and tuner. Courses Fees: None Institutional Outcomes: Critical Thinking: The ability to dissect a multitude of incoming information, sorting the pertinent from the irrelevant, in order to analyze, evaluate, synthesize, or apply the information to a defendable conclusion. Effective Communication: Information, thoughts, feelings, attitudes, or beliefs transferred either verbally or nonverbally through a medium in which the intended meaning is clearly and correctly understood by the recipient with the expectation of feedback. Personal Responsibility: Initiative to consistently meet or exceed stated expectations over time. Department Outcomes: 1. Students will analyze diverse perspective in arts and humanities. 2. Students will examine cultural similarities and differences relevant to arts and humanities.
    [Show full text]
  • Music Braille Code, 2015
    MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................
    [Show full text]
  • Plainchant Tradition*
    Some Observations on the "Germanic" Plainchant Tradition* By Alexander Blachly Anyone examining the various notational systems according to which medieval scribes committed the plainchant repertory to written form must be impressed both by the obvious relatedness of the systems and by their differences. There are three main categories: the neumatic notations from the ninth, tenth, and eleventh centuries (written without a staff and incapable, therefore, of indicating precise pitches);1 the quadratic nota­ tion in use in Italy, Spain, France, and England-the "Romanic" lands­ from the twelfth century on (this is the "traditional" plainchant notation, written usually on a four-line staff and found also in most twentieth­ century printed books, e.g., Liber usualis, Antiphonale monasticum, Graduale Romanum); and the several types of Germanic notation that use a staff but retain many of the features of their neumatic ancestors. The second and third categories descended from the first. The staffless neumatic notations that transmit the Gregorian repertory in ninth-, tenth-, and eleventh-century sources, though unlike one another in some important respects, have long been recognized as transmitting the same corpus of melodies. Indeed, the high degree of concordance between manuscripts that are widely separated by time and place is one of the most remarkable aspects the plainchant tradition. As the oldest method of notating chant we know,2 neumatic notation compels detailed study; and the degree to which the neumatic manuscripts agree not only • I would like to thank Kenneth Levy, Alejandro Plan chart, and Norman Smith for reading this article prior to publication and for making useful suggestions for its improve­ ment.
    [Show full text]