Reminded by the Instruments

David Tudor (1926–1996) is remembered today in two guises: as an extraordinary pianist of postwar avant-garde music who worked closely with composers like John Cage and Karlheinz Stockhausen, influencing the development of graphic notation and indeterminacy; and as a spirited pioneer of live-electronic music who realized idiosyncratic performances based on the interaction of homemade modular instruments, inspiring an entire generation of musicians. However, the fact that Tudor himself did not talk or write much about what he was doing, combined with the esoteric nature of electronic circuits and schematics (for musicologists), has prevented any comprehensive approach to the entirety of his output which actually began with the organ and ended in visual art. As a result, Tudor has remained a puzzle of sorts in spite of his profound influence—perhaps a pertinent status for a figure who was known for his deep love of puzzles. This book sets out to solve the puzzle of David Tudor as a puzzle that David Tudor made, applying Tudor’s own methods for approaching other people’s materials to the unusually large number of materials that he himself left behind. Patching together instruments, circuits, sketches, notes, diagrams, recordings, receipts, letters, custom declaration forms, testimonies, and recollections like modular pieces of a giant puzzle, the narrative skips over the misleading binary of performer/composer to present a lively portrait of Tudor as a multi-instrumentalist who always realized his music from the nature of specific instruments.

The Nyíregyháza Model: The Teaching of Teaching Music / of Making Music

"The Music Pedagogy Workshop working within the Institute of Music at the University of Nyíregyháza has initiated several programmes related to music methodology, financed by EU funds. Within the framework of subproject entitled “Renewing the practice of teaching music in public education based on folk traditions,” digital handbooks and teachers’ books have been designed for the Grades 1 to 4 of primary schools. The present paper introduces the novel features of the material designed for Grades 1 and 2. It touches upon the issues of the relevant points in curricular regulations, the possibilities of the innovative methods of score notation and score reading, tailored to the age characteristics of students, and the new approach to teaching the musical elements connected to a selected song corpus. The basic concept in designing the material of the first two grades was the amalgamation of folk culture, including folk tales and children’s game songs, and the world around children. The elements of the knowledge of the present and the past appear side by side in the individual thematic units. Interdisciplinarity also gets emphasised. The generative and creative music activities, the tasks aimed at developing receptive competences, games, and the application of graphic notation, targeting the development of fine motor skills and music literacy, have been designed to broaden the toolkit of music pedagogy for junior schools. Keywords: digital education material, folk music, children’s songs, graphic notation, generativity"

REQUIREMENTS ANALYSIS METHOD OF INFORMATION SECURITY MANAGEMENT SYSTEMS

The process of analyzing the requirements for information security management systems is considered. The obligation to comply with the requirements of the international standard ISO/IEC 27001 is shown. This provides confidence to stakeholders in the proper management of information security risks with an acceptable level. This is due to the internal and external circumstances of influencing the goal and achieving the expected results of organizations. In addition, the identification of stakeholders, their needs and expectations from the development of information security management systems are also considered. It is established that now the main focus is on taking into account the requirements for the process of developing these systems or to ensure information security in organizations. The transformation of the needs, expectations and related constraints of stakeholders into an appropriate systemic solution has been overlooked. These limitations have been overcome through the method of analyzing the requirements for information security management systems. Its use allows, based on the needs, expectations and related constraints of stakeholders, to identify relevant statements in established syntactic forms. There is need to check each of them for correctness of formulation and compliance with the characteristics of both the individual requirement and the set of requirements. For their systematization, establishment of relations the graphic notation SysML is applied. In view of this, the requirement is considered as a stereotype of a class with properties and constraints. Relationships are used to establish relationships between requirements. Their combination is represented by a diagram in the graphical notation SysML and, as a result, allows you to specify the requirements for information security management systems. In the prospects of further research, it is planned to develop its logical structure on the basis of the proposed method.

METHOD OF INFORMATION SECURITY MANAGEMENT SYSTEMS FUNCTIONAL ANALYSIS

The process of functional analysis of information security management systems was considered. The relevance of their presentation with many interrelated functions with internal and external interfaces is shown. Taking this into account, the methods of functional analysis of information security management systems are analyzed. Among them, graphic notation IDEF0 is highlighted. This choice is based on the ability to display both interfaces of functions and the conditions and resources of their execution. The orientation of the graphic notation IDEF0 use is established mainly for the presentation of the international standards ISO/IEC 27k series, the display of the main stages of the information security management systems life cycle, the development of individual elements of information security management systems, in particular, risk management. These limitations have been overcome by the method of information security management systems in functional analysis. This was preceded by the definition of the theoretical foundations of this method. Its use allows to allocate their functions at both levels of the system, and levels of its structural elements (subsystems, complexes, components). To do this, define the purpose, viewpoint and establishes information security management as the main activity. It is represented by a set of hierarchically related functions that are represented by a family tree. Each function of this tree defines incoming, outgoing data, management, and mechanisms. This makes it possible to establish their consistency with the organizational structure at the “activity-system”, “process-subsystem”, “operation-module (complex)” and “action-block (component)” levels. In future studies, it is planned to define a hierarchy of functions and develop a logical structure of information security management systems based on the proposed method of functional analysis.

Project Stomp: Using Graphic Notation for Effective Multimodal Collaborative Learning

A mode is a socially and culturally shaped resource for making meaning. Examples of modes include written and oral language, visuals, audio, and gestures. In music learning, multiple modes may be used to help students develop greater musical understanding and achievement. This article details the three steps utilized in Project Stomp, a systematic pedagogical course of study that utilized multiple representational modes to engage a diverse group of secondary students in a composition- and performance-based module of study.

Musicografie van architectuur: Muziek ontwerpen, de stad horen / Musicography of Architecture: Designing Music, Hearing the City

Murat Ali Cengiz is zowel architect als jazzpianist en- componist. In dit artikel traceert hij de artistieke ontwikkeling van architecturaal ontwerp tot grafische partituren als basis voor jazzimprovisatie. Cengiz beschrijft zijn reis tussen de disciplines en belicht concepten zoals vormgrammatica, tijdlijnen versus tijd en grafische notatie. Zo ontwikkelt hij een benadering om architecturale structuren van de stad te vertalen naar grafische improvisatiescores. Murat Ali Cengiz is an architect as well as a jazz pianist and composer. In this article he traces the artistic development of architectural designs into graphic scores that form the basis for jazz improvisation. Cengiz describes his journey between the disciplines and illuminates concepts such as the grammar of form, timelines versus time and graphic notation. In this way he develops an approach for translating the architectural structures of the city into scores for graphic improvisation.

Pattern, form and silence in Amalgamations, an extended duration work

The article examines Sophie Stone's composition Amalgamations (2016), an extended duration work for solo organ. Pattern is explored in the form of both the notation and performance of the piece. The notation comprises verbal and graphic notation, with many possible combinations of instructions resulting in sustained sounds and silence. Amalgamations is non-linear and non-teleological. Tim Ingold's notion of "wayfaring" provides a way of understanding how a performer may negotiate the notation. Due to the improvisatory and aleatoric elements of the piece, each performance will be different. Numerous types of silences will result from performances of Amalgamations and the experience of these silences are different and are determined by the sounds surrounding them.

Graphic Notation, Indeterminacy and Improvisation: Implementing Choice Within a Compositional Framework

The aim of this paper is to examine the use of graphic notation in relation to improvisation and indeterminacy in practice. The paper opens with a background context around terms and ideas about improvisation and indeterminate music pioneered by composers in the 20th century. The techniques the author used in the pieces Fluttering (Brondum 2015) and Serpentine Line (Brondum 2010) are examined and discussed in informal interviews with four musicians. The paper closes with a discussion and conclusions gained from the interviews and from working with musicians in the context of using graphic notation as a bridge between improvisation and notated music. Documentation of the author’s practice and research of these methodological and aesthetical issues may be of interest to composers and musicians that work with similar techniques. It may also add to theory by developing the understanding of a composer’s own approach, and in extension, to ask questions on how to develop these theories further.