Diminuendo al bottom-Clarifying the semantics of music notation by re-modeling.
Identifieur interne : 000582 ( Main/Exploration ); précédent : 000581; suivant : 000583Diminuendo al bottom-Clarifying the semantics of music notation by re-modeling.
Auteurs : Markus Lepper [Allemagne] ; Michael Oehler [Allemagne] ; Hartmuth Kinzler [Allemagne] ; Baltasar Tranc N Y Widemann [Allemagne]Source :
- PloS one [ 1932-6203 ] ; 2019.
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Abstract
One of many aspects of musical notation is that of a graphical language which strives to be totally precise, but falls short because it has been defined by historical evolution, cultural construction and de-central ramification. This article applies standard techniques for computer languages to reconstruct a precise model for the syntax and semantics of the historically grown notation systems, taking the conventional way of notating musical dynamics as a simple example. It turns out that no single such model is possible, but a multitude of incompatibles: some have fundamentally different evaluation algorithms, others only slightly different parameter settings. Musical practice is allowed to switch between these models without even noticing their existence, but science may need distinctness. This article constructs and demonstrates an extensible mathematical framework for their precise description and proposes an extensible nomenclature system as a basis for their application and discussion.
DOI: 10.1371/journal.pone.0224688
PubMed: 31756176
PubMed Central: PMC6874345
Affiliations:
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This article applies standard techniques for computer languages to reconstruct a precise model for the syntax and semantics of the historically grown notation systems, taking the conventional way of notating musical dynamics as a simple example. It turns out that no single such model is possible, but a multitude of incompatibles: some have fundamentally different evaluation algorithms, others only slightly different parameter settings. Musical practice is allowed to switch between these models without even noticing their existence, but science may need distinctness. This article constructs and demonstrates an extensible mathematical framework for their precise description and proposes an extensible nomenclature system as a basis for their application and discussion.</div></front></TEI><pubmed><MedlineCitation Status="MEDLINE" Owner="NLM"><PMID Version="1">31756176</PMID><DateCompleted><Year>2020</Year><Month>04</Month><Day>02</Day></DateCompleted><DateRevised><Year>2020</Year><Month>04</Month><Day>02</Day></DateRevised><Article PubModel="Electronic-eCollection"><Journal><ISSN IssnType="Electronic">1932-6203</ISSN><JournalIssue CitedMedium="Internet"><Volume>14</Volume><Issue>11</Issue><PubDate><Year>2019</Year></PubDate></JournalIssue><Title>PloS one</Title><ISOAbbreviation>PLoS One</ISOAbbreviation></Journal><ArticleTitle>Diminuendo al bottom-Clarifying the semantics of music notation by re-modeling.</ArticleTitle><Pagination><MedlinePgn>e0224688</MedlinePgn></Pagination><ELocationID EIdType="doi" ValidYN="Y">10.1371/journal.pone.0224688</ELocationID><Abstract><AbstractText>One of many aspects of musical notation is that of a graphical language which strives to be totally precise, but falls short because it has been defined by historical evolution, cultural construction and de-central ramification. 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The authors commercial affiliation does not alter our adherence to PLOS ONE policies on sharing data and materials.</CoiStatement></MedlineCitation><PubmedData><History><PubMedPubDate PubStatus="received"><Year>2019</Year><Month>06</Month><Day>03</Day></PubMedPubDate><PubMedPubDate PubStatus="accepted"><Year>2019</Year><Month>10</Month><Day>19</Day></PubMedPubDate><PubMedPubDate PubStatus="entrez"><Year>2019</Year><Month>11</Month><Day>23</Day><Hour>6</Hour><Minute>0</Minute></PubMedPubDate><PubMedPubDate PubStatus="pubmed"><Year>2019</Year><Month>11</Month><Day>23</Day><Hour>6</Hour><Minute>0</Minute></PubMedPubDate><PubMedPubDate PubStatus="medline"><Year>2020</Year><Month>4</Month><Day>3</Day><Hour>6</Hour><Minute>0</Minute></PubMedPubDate></History><PublicationStatus>epublish</PublicationStatus><ArticleIdList><ArticleId IdType="pubmed">31756176</ArticleId><ArticleId IdType="doi">10.1371/journal.pone.0224688</ArticleId><ArticleId IdType="pii">PONE-D-19-15694</ArticleId><ArticleId IdType="pmc">PMC6874345</ArticleId></ArticleIdList><ReferenceList><Reference><Citation>J Acoust Soc Am. 2016 Nov;140(5):3787</Citation><ArticleIdList><ArticleId IdType="pubmed">27908068</ArticleId></ArticleIdList></Reference><Reference><Citation>Percept Psychophys. 1987 Jun;41(6):525-33</Citation><ArticleIdList><ArticleId IdType="pubmed">3615149</ArticleId></ArticleIdList></Reference></ReferenceList></PubmedData></pubmed><affiliations><list><country><li>Allemagne</li></country><region><li>Basse-Saxe</li><li>Berlin</li></region><settlement><li>Berlin</li><li>Osnabrück</li></settlement></list><tree><country name="Allemagne"><region name="Berlin"><name sortKey="Lepper, Markus" sort="Lepper, Markus" uniqKey="Lepper M" first="Markus" last="Lepper">Markus Lepper</name></region><name sortKey="Kinzler, Hartmuth" sort="Kinzler, Hartmuth" uniqKey="Kinzler H" first="Hartmuth" last="Kinzler">Hartmuth Kinzler</name><name sortKey="Oehler, Michael" sort="Oehler, Michael" uniqKey="Oehler M" first="Michael" last="Oehler">Michael Oehler</name><name sortKey="Tranc N Y Widemann, Baltasar" sort="Tranc N Y Widemann, Baltasar" uniqKey="Tranc N Y Widemann B" first="Baltasar" last="Tranc N Y Widemann">Baltasar Tranc N Y Widemann</name></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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