Scores of complex, 20 th century, solo piano pieces can be difficult to perform and may even include elements that are physically impossible to play. This article investigates the role of music notation in the Opus Clavicembalisticum of Sorabji, which is a rather extreme case in terms of virtuosity and length. To analyze the effect of score notation on learning and performing, 9 pianists were asked to practice music fragments in 3 different score editions, namely the original Urtext edition (a 4-staff score), performance edition (same notes but organized according to an "embodied" performance viewpoint), and study edition (further simplified and with added analytical reading aids). The hypothesis was that the "embodied notation" would have an effect on study time (shorter study time) and errors (fewer errors). Objective features of the study process and performance, such as study time, error ratio and markings on the score (fingerings, hand distribution, synchronization) were compared. Subjective remarks the performers made about the scores were also analyzed. Findings indicate a significant positive influence of the score type on the study time. These results suggest that players draw on ideomotor principles, which include processes based on learned and "embodied" associations between perceived images of the scores and the motor activity that is directly associated with it.

中文翻译：

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音乐的复杂性和“体现的符号”：Clavicembalisticum（KS Sorabji）研究

数十种复杂的20世纪独奏钢琴作品可能很难演奏，甚至可能包含实际上无法演奏的元素。本文研究了音乐符号在Sorabji Opus Clavicembalisticum中的作用，就技巧和长度而言，这是一个相当极端的情况。为了分析分数符号对学习和表演的影响，要求9位钢琴家在3种不同的分数版本中练习音乐片段，分别是原始的Urtext版本（4人谱），表演版本（相同的音符，但按照“体现“性能观点”和研究版（进一步简化并增加了分析阅读工具）。假设是“体现的符号”将对学习时间（较短的学习时间）和错误（错误更少）产生影响。比较了学习过程和表现的客观特征，例如学习时间，错误率和分数标记（指，手分布，同步）。还分析了表演者对分数所做的主观评价。研究结果表明，分数类型对学习时间有明显的积极影响。这些结果表明，玩家利用意识运动原理，包括基于分数的感知图像与直接与其相关的运动活动之间的学习和“具体”关联的过程。研究结果表明，分数类型对学习时间有明显的积极影响。这些结果表明，玩家利用意识运动原理，包括基于分数的感知图像与直接与其相关的运动活动之间的学习和“具体”关联的过程。研究结果表明，分数类型对学习时间有明显的积极影响。这些结果表明，玩家利用意识运动原理，包括基于分数的感知图像与直接与其相关的运动活动之间的学习和“具体”关联的过程。