Music Reading in Digital Environments; Apps for Tablets
Abstract Reading music allows, through different processes, learnt abilities and previous experiences, for the recreation or interpretation of the musical message which had been previously coded using one of the many notation systems available. In the same way, reading music enables the experienced musician to generate musical images internally, which silently represent the coded message. The most generic processes and characteristics amongst musical reading will be analysed, along with the most common forms and applications of these reading models and the most widely used codes and notation systems. In the second part, the development and use of new tecnologies for reading music in electronic devices are described and the penetration of these tools in the musical community analysed and classified, bearing in mind the most common types and functions and the characteristics and basic functionalities of the most representative applications. Some solutions, developed in order to deal with historical problems within the reading of music, such as the turning over of the page, are also considered.
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Sloboda, J. A. (2005). Exploring the Musical Mind: Cognition, Emotion, Ability, Function (primera). Oxford: Oxford university Press.
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http://dx.doi.org/10.3758/BF03211857
Wolberg, G., & Schipper, I. (2012). Page turning solutions for musicians: a survey. Work (Reading, Mass.), 41(1), 37–52.
http://doi.org/10.3233/WOR-2012-1242
http://doi.org/10.1037/0096-1523.34.2.427
Galera, M., & Gim, T. (2012). Lectura musical y procesos cognitivos implicados Music reading: some of its cognitive processes. LEEME.Revista Electrónica Europea de Música En La Educación, 29(29), 56–82.
Gould, E. (2011). Behind Bars: the Definitive Guide to Music Notation (1st ed., p. 704). Faber Music Ltd.
Gudmundsdottir, H. R. (2010). Advances in Music Reading Research Helga Rut Gudmundsdottir, (June 2009), 1–16.
Read, G. (1982). Music notation : a manual of modern practice. (V. Gollanz, Ed.) (p. 482). London.
Schön, D., & Besson, M. (2002). Processing pitch and duration in music reading: a RT-ERP study. Neuropsychologia, 40(7), 868–78.
http://dx.doi.org/10.1016/S0028-3932(01)00170-1
Sloboda, J. A. (2005). Exploring the Musical Mind: Cognition, Emotion, Ability, Function (primera). Oxford: Oxford university Press.
Sung, H. (2013). From Paper to Pixels - Your Guide to the Digital Sheet Music Revolution. (J. Townsend, Ed.) (p. 368). KaSu Press (July 7, 2013).
Tonazzi, B. (1996). Liuto, vihuela, chitarra e strumenti similari nelle loro intavolature.con cenni sulle lor letterature (terza ediz, p. 176). Ancona, Italia: Bérben Edizioni Musicali.
Waters, A. J., Underwood, G., & Findlay, J. M. (1997). Studying expertise in music reading: use of a pattern-matching paradigm. Perception & Psychophysics, 59(4), 477–88.
http://dx.doi.org/10.3758/BF03211857
Wolberg, G., & Schipper, I. (2012). Page turning solutions for musicians: a survey. Work (Reading, Mass.), 41(1), 37–52.
http://doi.org/10.3233/WOR-2012-1242
Merchán Sánchez-jara, J. F. (2016). Music Reading in Digital Environments; Apps for Tablets. Education in The Knowledge Society, 17(1), 109–128. https://doi.org/10.14201/eks2016171109128
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