Shields, C. (2016). ARISTOTLE De anima. (L. Judson,
& S. Christopher,
17
(418a26-28, 419a2-5)
18 Hamlyn, D. W. (2002). ARISTOTLE DE ANIMA BOOKS II AND III. (H. David, Επιμ., & D. W. Hamlyn, Μεταφρ.) New York, United States of America: Oxford University Press. Σελ.105
19 Shields C. , 2016, σσ. 225-226)
Labori
25 Goto, D., Gotoh, T., Minamikawa-Tachino, R., & Tamura, N. (2006). A Transcription System from MusicXML Format to Braille Music Notation. EURASIP Journal on Advances in Signal Processing, 2007 26
(2014)
27 Braille Authority of North America. (2015). Music Braille Code.
Roberston and Sagiv,(2005), Synesthesia:
Ward J.(2008). The frog who croaked blue. East Sussex, England: Routledge
A. Scriabin.
45 Kenneth Levy. On the origin of neumes. Early Music History,vol7 JSTOR, 1987, σελ.62-64
46 Rastall R., The Notation of Western Music, An introduction, London, Leeds University Press, 1997, σελ.30
47 Treitler L., The early history of music writing in the West, Journal of the American Musicological Society, Vol.35 no.2 JSTOR, 1982, σελ,244
48 Haines J., The origins of the musical staff. The musical Quarterly, Vol.91, JSTOR, 2008, σελ. 337,338
58 Burge D., Twentieth century piano music, New York, Schirmer Books, 1990, σελ. 211-212
Εικ. 2.1.8 George Crumb, «Makrokosmos», 1972
65 Adrian Frutiger: Der Mensch und seine Zeichen.
66
67 Anestis Logothetis: Zeichen als Aggregatszustand der Musik, σελ. 30
68 Henry van der Velde: Zum neuen Stil, Μόναχο, 1955
69 Dorsch: Psychologisches Wörterbuch, hg. v. Hartmut Häcker/Kurt H. Stapf, Βέρνη 1998.
70 Logothetis Anestis (1974), Zeichen
Messiaen
Messiaen,
(1953-54). Στα
Groupe de Recherches de Musique Concrète,
Corbuseir
1959,
75 Xenakis I. Achorripsis für Orchester, Partitur, Berlin: Boosey & Hawkes Bote & Bock.1986
76 Xenakis, Ι. Formalized Music: Thought and Mathematics in Music, Hillsdale, N: Pendragon Press. 1992.
Μεταστάσεις
79 Xenakis Iannis (1982), “Polytopes”, στο Jean-Pierre Leonardini, Marie Collin και Josephine Markovits (επιμ.), Festival d’automne a Paris 1972-1982, Editions Messidor/ Temps Actuels, Παρισι, σελ.218-219
(9)
•
•
•
•
• R, zuk. (1983) A music lesson, journal of architectural education.
•
• Valery, Paul. (2005)
(1912).
(2000)
• Shields, C. (2016). ARISTOTLE De anima. (L. Judson, Επιμ., & S. Christopher, Μεταφρ.) New York, United States of America: Oxford University Press.
• Hamlyn, D. W. (2002). ARISTOTLE DE ANIMA BOOKS II AND III. (H. David, Επιμ., & D. W. Hamlyn, Μεταφρ.) New York, United States of America: Oxford University Press.
• LABORI EMMANUELLE, (1995) Η
• Vilem Flusser,(2006) H Γραφή, εκδ.
• BORGES JORGE-LUIS,
•
•
• Brookes Martin (2004), Extreme Measures. The Dark Visions and Bright ideas of Francis Galton, Bloomsbury publishing, Λονδίνο.
• Roberston and Sagiv,(2005), Synesthesia: Perspectives from Cognitive Neuroscience, Oxford,
2: Some demographic and socio-cultural aspects of Synesthesia, Day Sean A.
• Wassily Kadisnky (2004),Concerning the Spiritual in Art, Kessinger Publishing, Μοντάνα
• Kandinsky, Wassily,(1981)
• Walter J. Ong,(2005)
• Rastall R.,(1997) The Notation of Western Music, An introduction, London, Leeds University Press
• Parrish C. (1978), The Notation of Medieval Music, New York, Pendragon Press,
• Cage J. (1961) Silence: Lectures and Writings, Wesleyan University Press
• Rothenberg D.,(2007), Improvisation and the image: What graphic notation is for
• Burge D. (1990, Twentieth century piano music, New York, Schirmer Books
•
•
• Wassily Kandinsky: (1973) Punkt und Linie zu Fläche, Βέρνη
• Adrian Frutiger: (2004) Der Mensch und seine Zeichen. Βιζμπάντεν,
• Anestis Logothetis(1974) Zeichen als Aggregatszustand der Musik, Jegend & Volk,
• Henry van der Velde: (1 955) Zum neuen Stil, Μόναχο
• Dorsch (1998): Psychologisches Wörterbuch, hg. v. Hartmut Häcker/Kurt H. Stapf,
OTTO BOOKS,
•
(2008)
• Xenakis I.(1986) Achorripsis für Orchester, Partitur, Berlin: Boosey & Hawkes Bote & Bock.
• Xenakis Iannis (1982), “Polytopes”, στο Jean-Pierre Leonardini, Marie Collin και Josephine Markovits (επιμ.), Festival d’automne a Paris 1972-1982, Editions Messidor/ Temps Actuels, Παρισι,
• Xenakis, Ι.(1992) Formalized Music: Thought and Mathematics in Music, Hillsdale, N: Pendragon Press.
•
(2004),
• Goto, D., Gotoh, T., Minamikawa-Tachino, R., & Tamura, N. (2006). A Transcription System from MusicXML Format to Braille Music Notation. EURASIP Journal on Advances in Signal Processing,
• Kenneth Levy. (1987) On the origin of neumes. Early Music History,vol7 JSTOR, www.jstor Kenneth Levy. (1987) On the origin of neumes. Early Music History,vol7 JSTOR, www.jstor. org/stable/853888
• Haines J., (2008) The origins of the musical staff. The musical Quarterly, Vol.91, JSTOR, www.jstor.org/stable/20534535
• Treitler L., (1982) The early history of music writing in the West, Journal of the American Musicological Society, Vol.35 no.2 JSTOR, www.jstor.org/stable/831146
• Kenneth Levy. (1987) On the origin of neumes. Early Music History,vol7 JSTOR, www.jstor.org/stable/853888
• Haines J., (2008) The origins of the musical staff. The musical Quarterly, Vol.91, JSTOR, www.jstor.org/stable/20534535
• Treitler L., (1982) The early history of music writing in the West, Journal of the American Musicological Society, Vol.35 no.2 JSTOR, www.jstor.org/stable/831146
• Braille Authority of North America. (2015). Music Braille Code. http://www.brailleauthority.org/music/Music_Braille_Code_2015.pdf
• Anestislogothetis.musicportal.gr (2012), Η
• Dart T., “Eye music”, Groove music online, Available at http://www.oxfordmusiconline.com/groovemusic/.
(online).
• Hall D. (2018) The art of visualizing music: graphic scores , 2018, available online http://davidhall.io/visualising-music-graphic-scores/
• Εικόνα 1.3: Ward J.(2008). The frog who croaked blue. East Sussex, England: Routledge
• Εικόνα 1.3.1: http://tehnisthemata.blogspot.com/2011/07/in-medias-res.html
• Εικόνα 1.3.2: http://www.gkalodiki.gr/sound_colour.php?L0=greek
• Εικόνα 2.1 : https://eranistis.net/wordpress/2018/11/04/
• Εικόνα 2.1.2 : https://www.musicportal.gr/byzantine_music_system/?lang=el
• Εικόνα 2.1.3 : Haines J., (2008) The origins of the musical staff. The musical Quarterly, Vol.91, JSTOR, www.jstor.org/stable/20534535
• Εικόνα 2.1.4 :http://www.loc.gov/resource/musemnotation.musemnotstion-100031/?sp-2
• Εικόνα 2.1.5 : Haines J., (2008) The origins of the musical staff. The musical Quarterly, Vol.91, JSTOR, www.jstor.org/stable/20534535
• Εικόνα 2.1.6: Hatter J. (2019) constructing the composer: Symbolic use of the Hexachord in compositions c1500n in composing community in late medieval music: self reference, Pedagogy and Practice
• Εικόνα 2.1.7: https://upload.wikimedia.org/wikipedia/commons/a/a4/cordier-rondeau.jpg
• Εικόνα 2.1.8 : https://www.researchgaete.net/figure/George-Crumb-makrokosmosVolume11-1973-for-amplified-piano-mort-XII-spiral-fig4-290428734
• Εικόνα2.1.9:
• https://i.pinig.com/originals/da/6f/fe/da6ffe0d3131b336269de91f6519aa2e.jpg
• Εικόνα
•
•
•
2.2.8 :Προσωπικό
2.2.9 :
• Εικόνα 2.2.10 : Προσωπικό
• Εικόνα 3.1: http://anestislogothetis.musicportal.gr/
• Εικόνα 3.1.2 :http://anestislogothetis.musicportal.gr/
• Εικόνα 3.1.3 :http://anestislogothetis.musicportal.gr/
• Εικόνα 3.1.4 :http://anestislogothetis.musicportal.gr/
• Εικόνα 3.1.5:http://anestislogothetis.musicportal.gr/
• Εικόνα 3.1.6 :http://anestislogothetis.musicportal.gr/
• Εικόνα 3.1.7 :http://anestislogothetis.musicportal.gr/
• Εικόνα 3.1.8 :http://anestislogothetis.musicportal.gr/
• Εικόνα 3.1.9 :http://anestislogothetis.musicportal.gr/
• Εικόνα 3.1.10 :http://anestislogothetis.musicportal.gr/
• Εικόνα 3.1.11 :http://anestislogothetis.musicportal.gr/
• Εικόνα 3.1.12 :http://anestislogothetis.musicportal.gr/
• Εικόνα 3.1.13 :http://anestislogothetis.musicportal.gr/
• Εικόνα 3.1.14 :http://anestislogothetis.musicportal.gr/
3.1.15 :http://anestislogothetis.musicportal.gr/
• Εικόνα 3.2 : https://www.fractalart.gr/iannis-xenakis/
• Εικόνα 3.2.1 : https://www.fractalart.gr/iannis-xenakis/
•
•
•
•