ERIC ED395840: Tract on Panot. Part 1: Text. (In Form of a Dialogue between Master PAN and Student NOT). Part 2: Examples. (Music Examples in Both Traditional and PANOTation). Part 3: Appendices and Supplements. (Reference Materials in Both Traditional an

366 Pages·1992·9.8 MB·English

by  ERIC

DOCUMENT RESUME
SO 025 481
ED 395 840
AUTHOR
Skapski, George J.
(In Form of a Dialogue
Tract on Panot. Part 1: Text.
TITLE
between Master PAN and Student NOT). Part 2:
Examples. (Music Examples in Both Traditional and
PANOTation). Part 3: Appendices and Supplements.
(Reference Materials in Both Traditional and
PANOTation).
California State Univ., Northridge.
INSTITUTION
PUB DATE
92
NOTE
429p.
Books (010)
Descriptive (141)
PUB TYPE
Reports
MF01/PC18 Plus Postage.
EDRS PRICE
ComparaL.ve Analysis; Descriptive Writing; Higher
DESCRIPTORS
Educaticn; *Musical Composition; Music Education;
*Music Reading; *Music Techniques; Reference
Materials
*Music Notation
IDENTIFIERS
ABSTRACT
This document proposes and presents a new concept in
music notation. Consisting of three separately-bound parts, the first
part presents the rationale for the new musical notation in the form
of a dialogue between two people who discuss what the ideal musical
notation would be: the subject of unmetered durations and
articulations., the representation of the temporal parameter, the
domain of pitch and intervals, symbols for dynamics and timbre, and
some observations on analytical insights. The second part provides
numerous examples of each of the areas discussed in the dialogue. The
final part presents the 50 appendices and supplemental materials
concerning PANOTation along with traditional notation. (JAG)
**AAAAAA),AA;,AA::***:.:,**AAA;,AAAA*.:-**,:**********.******************
*
Reproductions supplied by EDRS are the best that can be made
*
from the original document.
**************************************************k********************
George J. Skapski
TRACT ON
IPANOT
PART I
TEXT
:
BEST COPY AVAILABLE
C.S.U.N
U I DEPARTMENT OF EDUCATION
PERMISSION TO REPRODUCE THIS
CMce 04 Educatmnal Resewcn ano imorovernem
MATERIAL HAS BEEN GRANTED BY
EDUCATIONAL RESOURCES INFORMATION
CENTER (ERIC)
is document has been reproduced as
lecetved from III@ person or organization
originating it
GEORGE J. SKAPSKI
r Minor cnanges nave peen macm to .mprove
,er.t)GuCI.On OUlay
Pwo3
to OP..0,13 tIlled trt 100
01 view
menl 00 not nCADILONy meOmeStnI ()MOW
TO THE EDUCATIONAL RESOURCES
OF RI posthon to policy
INFORMATION CENTER ERICI"
4E.PMarAWIMIggriTIIMORIIMMLi!
.t>
kve
,
TRACT ON PANOT
PART I
TEXT
:
( In Form of a Dialogue between Master PAN and Student NOT )
bY
George J.Skapski
*
performed in part pursuant to
This monograph is a follow-up to the experimental research
Grant for 1989-90 funded by the California State
an Academic Program Improvement
University Office of the Chancellor
The California State Univ ersity, Northridge,
1992
3
I
I
I
I
I
I
I
1
I
University
I
of the California State
© 1992 by the Trustees
with a New
monographs: PANOT: An Experiment
This tract is referring to 3
111
monographs were
Taxonomy, and PANUM. Those
Music Notation System, Sound
Grant for 1989-
Academic Program Improvement
I
developed with the support of an
Chancellor. No part of
State University Office of the
90 funded by the California
transcribed, in
reproduced, stored in a retrieval system, or
this work work may be
i
recording, or
electronic, mechanical, photocopying,
any form or by any means,
of the California
writt-rt permission of The Trustees
otherwise, without the prior
State University,
Dr. George J. Skapski, California
State University. Project Director:
I
Northridge.
I
I
ii
gratitude to William Toutant
The author wishes to express his
monograph.
the preliminary draft of this
for his kind assistance in editing of
California
colleague on the music faculty of the
Dr. Toutant is my friend and
the
is presently serving the University as
State University at Northridge. He
Associate Dean of the School of the Arts.
5
the memory of Guido of Arezzo,
+++++ T o
the pioneering music pedagogue,
on the millenary anniversary of his birth
v
1;
a
n

m
g

s
e
%

m
g
O
n
e
f
t

a
n

m
e

a
m

a
m

a
m
e
n

E
a
l
a
n
t
e
a
l
i

m
g

g
o

a
n
TABLE OF CONTENTS
PAGE
DAY
ix
INTRODUCTION
THE IDEAL NOTATION
FIRST:
1
12
THE UNMETERED DURATIONS AND ARTICULATIONS
SECOND:
25
THE REPRESENTATION OF THE TEMPORAL PARAMETER
THIRD:
67
THE DOMAIN OF PITCH AND INTERVALS
FOURTH:
104
NEW SYMBOLS FOR DYNAMICS AND TIMBRE
FIFTH:
131
ANALYTICAL INSIGHTS
SIXTH:
167
INDEX
INTRODUCTION
In fact,
the present music notation.
for the reform of
There is no lack of proposals
through the
for all proposals conceived
difficulty in accounting
interested writers have
significant and valuable
Gardner Read are the most
regard, contributions of
years. In this
between two
proposals usually ranks them
inevitable criticism of new
in recent years. The
reaction" to anything new
complex. The "allergic
either too simplistic or too
opposites:
do critics raise the
value judgment. Seldom
at an objective
does not help in arriving
It is an
the standard notation.
advantages of a new system over
question of the relative
advantages are
decided whenever the
which should be favorably
important consideration
should depend on
The ultimate decision
the disadvantages.
perceived as outweighing
proposed solution.
the superiority of the
is persuaded about
whether or not an individual
from trying new
prevent experimenters
complexity should not
The fear of undue
proposals in
examined the worth of new
have carefully
procedures, provided they
notation.
offered by conventional
comparison with the solutions
leave it as it is.
notation, they should
comfortable with the present
If musicians feel
they
comprehensive reform is necessary,
that either a partial or
If they are convinced
than a "sine ira
proposal asks for nothing more
about it. The present
should do something
While
the new system.
advantages arising from
examination of all the possible
et studio"
possible loss of favorite
nostalgically about a
mind, let us not worry
trying to make up our
with familiar icons;
often demand parting
terminology. Changes
symbols and familiar
the
been known to heal
After all, time has
traumatic experience.
this should not be a
human ideas and actions.
by the seemingly outrageous
deepest wounds inflicted
George J. Skapski
Northridge, California;
December 15th, 1992
9
ix
1
THE FIRST DAY
NOTATION
THE IDEAL MUSIC
Could you
with music notation.
Now, we will be concerned
Master PAN:
define for me music notation?
used for
it, is a system of symbols
Music notation, as we know
Student NOT:
sounds.
permanent recording of
definition.
reasonable and sufficient
Generally, it seems to be a
PAN:
need for
qualifications are needed. The
times, some additional
However, especially in our
what purpose does
when you will ask the question:
qualification becomes clearer
a brief
music notation serve?
anybody reading
music notation is to enable
Obviously, the purpose of
NOT:
another human being.
of sounds composed by
it to re-create the progression
Notation, thus defined, helps
Certainly, this is an acceptable answer.
PAN:
has been
diagrams created after music
all those graphs and
the performer. Therefore,
the name of music notation?
produced, do not deserve
I do not think so.
NOT:
Why?
PAN:
produced. They
for what has been already
Because, they only account
NOT:
However,
encoding or for analytical purposes.
value for the mechanical
may be of some
performer in music making.
they hardly could guide a
when trying to
obvious difficulties encountered
You have pointed the
PAN:
of some statistical
graphs or from accumulation
"ex-post" symbolical
make music from
0