MUSICOLOGÍA
Dr. José María Peñalver Vilar

penalver@uji.es
Sistemas de notación
musical alternativos (II)
Una aproximación a la grafía del ritmo duracional
| Alternative systems of musical notation (II):
An approach to the spelling of rhythm durational
Resumen
    
L 

VLFD LPSOLFD XQ JUDGR GH GLÀFXOWDG FRQVL
     


PXVLFDORFFLGHQWDO6XÀQDOLGDGHVTXHHO

HÀFD]XQVLVWHPDHVSHFtÀFR\H[WHQGLGR
   

    



     
      

        
núm. 3 | 2012




< 48 MUSICOLOGÍA
     
Palabras clave
      

Abstract


      
GLIÀFXOW\ 7UDGLWLRQDO DSSURDFKHV WR PXVLF

      

DQGHIIHFWLYHDV\VWHPVSHFLÀFDQGH[WHQ
     

     

      


      
       
    
VLFDPHQWH OR SULPHUR TXH VH HQVHxD \ VH



Keywords
      

Introducción
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FyGLJRHVSHFtÀFRGHQRWDFLyQPXVLFDO






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¢,QWHUHVDQ RWURV PHGLRV GH UHSUHVHQWDFLyQ
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TXH UHHPSODFHQ \ UHQXHYHQ HQ SDUWH DO
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HO FyGLJR PXVLFDO PiV H[WHQGLGR HQ 2FFL
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núm. 3 | 2012
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sumario 49 >
 Notación alternativa
del ritmo musical  E6XPDGHSXOVDFLRQHVWHUQDULD
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Ritmo duracional o cuantitati-

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de nota

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núm. 3 | 2012

núm. 3 | 2012
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< 50 MUSICOLOGÍA sumario 51 >

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núm. 3 | 2012

núm. 3 | 2012
< 52 MUSICOLOGÍA sumario 53 >
 Las figuras de nota y silencio
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núm. 3 | 2012

núm. 3 | 2012
 /DVHPLIXVD

< 54 MUSICOLOGÍA sumario 55 >

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núm. 3 | 2012

núm. 3 | 2012
< 56 MUSICOLOGÍA sumario 57 >