Musical notation or music notation is any system used to represent visually perceived music played with instruments or sung by human voice through the use of written, printed, or produced in a manner other symbols.
The types and methods of notation vary between cultures and throughout history, and much of the information about the ancient music notation is fragmented. Even within the same time period, as in 2010, different musical styles and different cultures use different musical notation methods; for example, for professional classical music players, sheet music using staves and noteheads is the most common way of musical notation, but for country music professional country musicians, the Nashville Number System is the main method.
Symbols used include ancient symbols and modern symbols created on every medium such as symbols cut into stone, made on clay tablets, made with pens on papyrus paper or parchment or manuscript paper; printed using a printing press (ca. 1400s), computer printers (ca. 1980s) or other modern printing or copying technology.
Although many ancient cultures use symbols to represent melodies and rhythms, none are so comprehensive, and this has limited their current understanding of their music. The seeds that eventually became modern western notations were sown in medieval Europe, beginning with the Catholic church's purpose for ecclesiastical uniformity. The church begins to recite ordinary melodies so that the same singing can be used throughout the church. Notation music developed in the era of Renaissance and Baroque music. The introduction of bass (or "throughbass") notations in the Baroque era marks the beginning of the first composition based on chord progression (a key method for popular music writers in the 20th and 21st centuries). In the classical period (1750-1820) and the era of Romantic music (1820-1900), the notation continues to evolve as the development of new musical instrument technology. In contemporary classical music of the 20th and 21st centuries, music notation continues to evolve, with the introduction of graphical notation by some modern composers and usages, since the 1980s, from computer-based scorewriter programs to musical notation. The music notation has been adapted to various types of music, including classical music, popular music, and traditional music.
Video Musical notation
History
Ancient Near East
The earliest form of musical notation can be found in a pointed tablet made in Nippur, in Sumer (today Iraq), in about 2000 BC. These tablets are separate instructions for performing music, that the music is arranged in one-third harmony, and that it is written using a diatonic scale. A tablet of about 1250 BC shows a more developed form of notation. Although the interpretation of the notation system is still controversial, it is clear that the notation shows the string names on the harp, tuning described on other tablets. Although they are fragmented, this tablet represents the earliest melodies of notation found anywhere in the world.
Ancient Greek
Ancient Greek music notation was used from at least the 6th century BC to about the 4th century; some of the complete compositions and composition fragments that use this notation persist. The notation consists of symbols placed above the syllable of the text. An example of a complete composition is the epitaph of Seikilos, which dates dates from the 2nd century BC to the 1st century.
Three hymns by the Mesomedes of Crete are in the manuscript. Hymne Delphic, dated to the 2nd century BC, also uses this notation, but it is not fully preserved. Ancient Greek notation seems no longer used during the decline of the Western Roman Empire.
The Byzantine Empire
Byzantine music primarily survives as music for court ceremonies, including vocal religious music. It is not known whether it is based on the monodistic and instrumental music songs of Ancient Greece. The Greek theoretical categories play a key role in understanding and transmitting Byzantine music, especially the Damascene tradition had a powerful impact on the pre-Islamic Near East comparable to Persian music and its theoretical transfer of music in Sanskrit.
Unlike Western notation Byzantine neumes always indicate capital measures in relation to clef or capital keys (capital signatures that have been used since papyrus fragments dating back to the 6th century). Initially this key or indentation of a common melody is sufficient to show a particular melody model given in the echo, although further econetic notation of early melody notation was developed no earlier than between the 9th and 10th centuries. Like the signs of the Greek alphabet notation commanded from left to right (although its direction can be adapted as in certain Syriac texts), the rhythm question is entirely based on cheironomia, the famous melodic phrases given by the movement of the choirleaders who once existed as part of oral tradition.
Today the main difference between Western and Eastern neural is that the symbol of Eastern notation is differential rather than absolute, ie they show pitch steps (up, down or at the same step), and the musicians know to conclude correctly, starting from the scores and notes that they sing today, the correct intervals intended. These steps are symbols of their own, or better "fake devils", resembling brush strokes and colloquial language called gÃÆ'¡ntzoi ("hooks") in modern Greek.
Notes as a class of pitch or capital keys (usually memorized by capital signatures) are represented in written form only between these neumes (in a manuscript typically written in red ink). In modern notation, they serve only as an optional reminder and the direction of capital and tempo has been added, if necessary. In Papadic notation, medial signs usually mean temporary changes into other echoes.
The so-called "big signs" were once associated with cheerful signs, according to their modern interpretations understood as microtonal ornaments and pitch changes smaller than semitones, both of which are important in Byzantine chants.
Because of Chrysanthos of Madytos there are seven standard note names used for "solfÃÆ'¨ge" ( parallag? ) pÃÆ'¡, vÃÆ'º, g h ÃÆ'¡, d < soup> h ?, kÃÆ' Â ©, z?, n? , while the old practice still uses four enechemata or intonation formulas of four echoi given by the authentic, or "kyrioi" signature of capital in the ascending direction, and plagiarism or "plagioi" in the descending direction (Papadic Octoechos). With the exception of vÃÆ'º and z? they are roughly in accordance with Western solmization syllables such as re, mi, fa, sol, la, si, do . Byzantine music uses eight unnatural natural scales whose elements are identified by ? Khoi , "sound", exclusively, and therefore the absolute tone of each tone can change slightly over time, depending on ? khos is used. Byzantine notation is still used in many Orthodox Churches. Sometimes the cantors also use transcription to Western or Kievan staff notation while adding unbrushed jewelry from memory and "glide" to the natural scale of the experience, but even about the modern neum edition since Chrysanthos reform many details are known only from a tradition orally related to traditional masters and their experiences.
Near East of the 13th century
In 1252, Safi al-Din al-Urmawi developed a form of musical notation, in which rhythms are represented by geometric representations. Many subsequent rhythm experts have tried to develop graphic geometry notation. For example, a similar geometric system was published in 1987 by Kjell Gustafson, whose method represents rhythm as a two-dimensional graph.
Initial Europe
The academic and musical theorist Isidore of Seville, writing at the beginning of the seventh century, considers that "unless the voice is held by human memory, they perish, for they can not be written." By the mid-ninth century, however, the form of neumatic notation began to develop in monasteries in Europe as a mnemonic tool for the Gregorian chants, using symbols known as neumes; the earliest musical notation of this type was in Musica disciplina from Aurelian of RÃ © ÃÆ'Â'me, from about 850. There were scattered remains of the Iberian Peninsula before this time, from a type of notation known as Visigothic neumes, but some surviving fragments have not been solved. The problem with this notation is that it only shows the contours of the melody and consequently the music can not be read by someone who does not know the music.
Notation has grown quite far for notate melody, but there is still no system for rhythm notation. A mid-13th century treatise, De Mensurabili Musica , describes a set of six rhythmic modes used at the time, though it is unclear how they were formed. This rhythmic mode is all threefold and a rather limited rhythm in singing for six different repetition patterns. This is a mistake seen by the German music theorist Franco of Cologne and is summarized as part of his treatise. Ars cantus mensurabilis (measurable measurable art, or procedural notation). He suggested that individual records could have their own rhythms represented by notes. It was not until the 14th century did something like the present system of long records still emerging. The use of ordinary action (bar) became commonplace in the late 17th century.
The founder of what is now considered a standard musical statue is Guido d'Arezzo, an Italian Benedictine monk who lived from about 991 until after 1033. He taught the use of syllables based on hymns to Saint John the Baptist, which began with Queant Laxis and was written by the historian of Lombard, Paul the Deacon. The first verse is:
- Ut queant laxis
- re sonare fibris,
- Mi ra gestorum
- fa muli tuorum,
- Sol ve polluti
- la bii reatum,
- S ancte I ohannes.
Guido uses the first syllables of each line, Ut, Re, Mi, Fa, Sol, La, and Si, to read musical notation in hexachords terms; they are not names of records, and each can, depending on the context, apply to any record. In the seventeenth century, Ut was changed in most countries except France to an easy "open" syllable, Do, derived from Italian theorist Giovanni Battista Doni but derived from the word "Dominus" in Latin meaning "God"
The Catholic monks developed the first forms of modern European music notation to standardize liturgies throughout the Church around the world, and a great deal of religious music has been devised for it for centuries. This led to the immediate emergence and development of classical European music, and many of its derivatives. The Baroque style, which includes music, art, and architecture, is particularly encouraged by the post-Reform Catholic Church as forms that offer a stirring and emotional means of religious expression intended to stimulate religious zeal.
Maps Musical notation
Modern staff notation
Modern music notation is used by musicians from different genres around the world. Staff acts as a framework in which pitches are indicated by placing round notes on the staff line or between lines. The tone of a round music tone can be modified by accident. The duration (note length) is indicated by different note values, which can be indicated by notes that are only circles (whole notes) or use bars to indicate quarter and other subdivisions, and additional symbols such as dots and ties that extend the duration of the note. Notations are read from left to right, which makes the music arrangements for the right to left script difficult.
A staff (or stave, in English English) of written music generally starts with a key, indicating the position of one special note on the staff. Clef treble or G clef is initially the letter G and identifies the second line on the five line staff as G note above middle C. Clef bass or F clef indicates the position of note F below middle C. While treble and bass clef are the most widely used clefs, Other clefs are used, such as alto clef (used for viola music) and tenor clef (used for some cello and double bass music). Records that represent pitches outside the scope of five line staff can be represented using a ledger line, which provides a single note with additional lines and spaces. Some instruments use mainly one key, such as violin and flute, which uses treble clef and double bass and tuba, which use bass clef. Some instruments regularly use both clefs, such as pianos and pipe organs.
Following a key, a key sign on the staff shows the key of a song or song by determining that certain records are flat or sharp in all parts, unless otherwise indicated with an accidental added before a particular note. When sharply placed before the record, this keeps one semitone higher. When a flat is placed in front of a note, it makes a note of one semitone lower. Double sharp objects and double flats are less common, but are used. The double sharp is placed in front of the note to make it two semitones higher. A double flat is placed in front of the note to make it two semitones lower. The natural signature placed before the note keeps the note in "natural" form, meaning that any sharp or flat object that applies to the note from a key or accident is canceled. Sometimes courtesy of use is used in music that is technically unnecessary, to remind musicians of what is required by a key sign.
Following key signatures is a time sign. The timestamp usually consists of two numbers, with one of the most common being "4/4". The top "4" indicates that there are four beats per size (also called bars). The bottom "4" indicates that each tap is a quarter note. The steps of dividing the pieces into groups of beats, and timing marks determine the groups. "4/4" is often used so it is also called "general time", and it may be marked with a "C" rather than a number. Other common time signatures are "3/4" (three beats per bar, with every beat being quarter notes); "2/4" (two beats per bar, with every beat being a quarter note); "6/8" (six beats per bar, with each knock is the eighth note) and "12/8" (twelve beats per bar, with each tap being an eighth note; in practice, the eighth note is usually inserted into four group of the eighth notes. "12/8" is a time type of the combined time signature). Many other time marks exist, such as "3/8", "5/8", "5/4", "7/4", "9/8", and so on.
Many classic short pieces of music from the classical era and songs from traditional music and popular music are a one-time signature for many or all parts. Music from the era of Romantic music and then, especially contemporary classical music and rock music genres such as progressive rock and hardcore punk subgenre mathcore is one genre that uses a mixture of meters; ie, a song or piece changes from one meter to another (for example, a song can alternate between the "5/4" and "7/8" blades).
Instructions for players on things like tempo (eg, Allegro, Andante, Largo, Vif, Lent, Moda, etc.), Dynamics (loudness and tenderness) appear above or below staff. Terms that express musical expressions or "flavors" on a song or piece are indicated at the beginning of a song and at points where the mood changes (eg, "Slow March", "Fast Swing", "Medium Blues", "Fougueux", "Feierlich "," Gelassen "," Piacevole "," Con slancio ", etc.) For vocal music, the lyrics are written near melodic tones. For short pauses (breathing), retakes (retakes indicated by mark ') are added.
In music for the ensemble, the "score" shows music for all players together, with sticks for various vertically stacked instruments and/or sounds. The conductor uses the score as he leads the orchestra, concert band, choir or other large ensemble. Individual player in the ensemble game of "section" which contains only the music played by an individual musician. Scores can be built from a complete set of sections and vice versa. The process is very tiring and time consuming when parts are copied by hand from scores, but since the development of computer scorewriter software in the 1980s, electronically stored scores can have sections that are automatically prepared by the program and are quickly and inexpensively printed using computer printer.
Variations in staff notation
- The conventions of percussion notation vary due to various percussion instruments. Percussion instruments are generally grouped into two categories: pitched (for example, glockenspiel or tubular bell) and non-pitched (for example, bass drums and snare drums). Notes of non-standard percussion instruments are less standard. The instruments speak using standard Western classical notation for tone and rhythm. In general, the notation for percussion unpitched uses five line staff, with different lines and spaces representing different drum kit instruments. Standard Western rhythmic notation is used to denote the rhythm.
- The generated bass notation comes from parts of the Baroque basso continuum. It is also used extensively in accordion notation. The bass tone of the music is conventionally denoted, along with numbers and other signs that determine the chord that harpsichordist, organist or lutenist must improvise. It does not, however, determine the exact tone of harmony, leaving it for the player to improvise.
- The lead sheet only determines melody, lyrics and harmony, using one staff with chord symbols placed above and the lyrics below. It is used to capture important elements of popular songs without specifying how songs should be organized or performed.
- Chord or "chart" charts contain little or no melodic information at all but provide detailed harmonic information about chord progression. Some chord charts also contain rhythmic information, indicated using slash notation for full taps and rhythmic notation for rhythm. This is the most commonly written type of music written by professional session musicians who play jazz or other forms of popular music and is aimed primarily at the rhythm section (usually containing piano, guitar, bass and drums).
- A simpler chord chart for a song may only contain chord changes, placed above the lyrics where they appear. Such charts rely on prior knowledge of melodies, and are used as a reminder in performances or informal group chants. Some chord charts meant for rhythm companions only contain chord progressions.
- The system of form notes was found in several church hymns, sheet music, and songbooks, especially in the southern United States. Instead of a custom elliptical record head, various note head forms are used to indicate the position of the record on a large scale. Sacred Harp is one of the most popular song books using notes.
In different countries
Korean
Jeongganbo is a unique traditional musical notation system created during the Sejong the Great period, the first East Asian system to represent rhythm, pitch, and time. Among the various types of traditional Korean music, Jeong-gan-bo targets a particular genre, Jeong-ak (??, ??).
Jeong-gan-bo notifies the field by writing the field name in a box called 'jeong-gan' (from where it comes from). One jeong-gan is one beat each, and it can be divided into two, three or more to hold half beats and quarter beats, and more. This makes it easier for readers to know the taps.
Also, there are many signs that show things like decoration. Most of this was later made by Ki-su Kim.
India
Indian musical scientist and theoretician Pingala (around 200 BC), in his book Chanda Sutra , uses a sign denoting short and long syllables to show the meter in Sanskrit poetry.
In Indian notation, a system such as a solfege called sargam is used. As in Western solfege, there are names for the seven basic tones of large scale (Shadja, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad, usually shortened Sa Re Ga Ma Pa Dha Ni). Tonic of any scale is named Sa, and the dominant Pa is fixed on any scale, and Pa is set on one fifth above it (one fifth of Pythagoras, not the same fifth one). These two notes are known as achar swar ('fixed records').
Each of the other five records, Re, Ga, Ma, Dha and Ni, can take the 'ordinary' pitch (shuddha), which is equivalent to a pitch on a standard major scale (thus, shuddha Re, second degree of scale, step higher than Sa), or a modified pitch, either half a step above or half a step below a shuddha throw. Re, Ga, Dha and Ni have all transformed the lower half step partners (Komal- "flat") (thus, Re's comal is half a step higher than Sa).
Ma has an altered pair that is half a step higher (teevra- "sharp") (thus, Ma's tivra is the fourth enlarged above Sa). Re, Ga, Ma, Dha and Ni are called vikrut swars ('moving records'). In a written system of Indian notation designed by Ravi Shankar, the throw is represented by Western letters. Capital letters are used for swar achala, and for higher variations of all swar vikrut. Lowercase is used for lower vikrut variations.
Other systems exist for unequal twelve-tone temperaments and non-Western music, such as India Russian
Znamenny Chant is a singing tradition used in the Russian Orthodox Church using a "hook and banner" notation. Znamenny Chant is simultaneously, a melodic litural song that has its own notation, called the stolp notation. Symbols used in stolp notation are kryuki (Russian: ????? , 'hooks') or znamena (Russian: ??????? , 'sign'). Often the sign names are used to refer to stolp notation. Znamenny melodies are part of the system, consisting of Eight Mode (intonation structure; called glasy); The melody is characterized by good fluency and balance. (Kholopov 2003, 192) There are several types of Znamenny Chant: called Stolpovoy , Malyj (Small) and Bolshoy (Agung) Znamenny Chant. Ruthenian Chant (Prostopinije) is sometimes regarded as a sub-division of the Chant Znamenny tradition, with the Muscovite song (Znamenny Chant right) being the second branch of the same music circuit.
Znamenny Chants is not written with a note (called linear notation), but with special marks, called ZnamÃÆ'n na (Russian for "signs", "banners") or Kryuki ("hooks"), as some form of these signs resemble hooks. Each mark can include the following components: a large black hook or black stroke, some smaller black 'point' and 'coma' and a line near the hook or across the hook. Some signs may mean just one tone, about 2 to 4 tones, and some melodies over 10 tones with a complicated rhythmic structure. Stolp notation was developed in Kievan Rus' as a refinement of East Slavic from the notation of Byzantine Neumatic music.
The most notable feature of this notation system is that it records melody transitions, not notes. The signs also represent the atmosphere and gradations of how the melodies should be sung (tempo, strength, devotion, gentleness, etc.) Each sign has its own name and also features as a spiritual symbol. For example, there is a special sign, called a "little pigeon" (Russian: ???????? (golubchik) ), representing two rising sounds, but also a symbol of The system gradually becomes more complicated.This system is also ambiguous, so that almost no one, except the most trained and educated singers, can sing unknown melodies in front of the eyes.The only signs help reproduce the melody, not encodes it in an unambiguous way. (See the Byzantine Empire)
China
The earliest example of a text referring to music in China is an inscription on a musical instrument found in Marquis Yi's Tomb of Zeng (c 433 BC). A set of 41 smallpox and 65 bells contains long inscriptions of tone, scale, and transposition. The bells still sound the tone written by their inscription. Although no musical compositions were found, the inscription indicated that the system was advanced enough to allow for musical notation. Two pitch nomenclature systems exist, one for relative pitch and one for absolute pitch. For relative pitch, the solmization system is used.
Gongche notation uses Chinese characters for scale names.
Japanese
Japanese music is very diversified, and therefore requires a variety of notation systems. In Japanese shakuhachi music, for example, glissandos and timbres are often more significant than different pitches, while taiko notation focuses on discrete strokes.
Ryukyuan sanshin music uses kunkunshi, a kanji notation system with each character corresponding to the finger position on a particular string.
Indonesia
Notation plays a relatively small role in the oral tradition of Indonesia. However, in Java and Bali, several systems were designed beginning in the late 19th century, initially for archival purposes. The most widespread today is the notation cipher ("not number" in the broad sense) where the pitches are represented by some part of the numbers 1 to 7, with 1 corresponding to the highest notes of a certain octave, as in the Sundanese gamelan, or lowest, in Javanese gamelan practice notation.
Notes in a range outside the octave center are represented with one or more dots above or below each number. For the most part, cipher notation is mainly used for skeletal melody notation and vocal parts, although transcription of variations of elaborating instruments is sometimes used for analysis and teaching. The drum sections are denoted by a symbol system based largely on letters that represent words used to learn and remember drum patterns; these symbols are usually arranged in a grid under the melody of the frame for a particular or generic piece.
The symbols used for the drum notation (as well as the vocabulary represented) vary widely from place to place and player to player. In addition to the existing systems, two older notations use a kind of staff: the Solonese script can capture the singer's flexible rhythm with graffiti on the horizontal staff, while in Yogyakarta, vertical ladder-like staff allow balloon notation by dots and also include a drum stroke. important. In Bali, there are several books published about the gamelan of gender puppets, using alphabet notation in the ancient Balinese script.
Composers and scholars both Indonesian and foreign have also mapped slendro and pelog tuning gamelan systems to western staff, with and without various symbols for microtons. Dutch composer Ton de Leeuw also created three line staff for his composition Gending . However, this system does not enjoy widespread use.
In the second half of the twentieth century Indonesian musicians and intellectuals expanded cipher notation to other oral traditions, and diatonic-scale cipher notation has become common to record Western-related genres (church songs, popular songs, and so on). Unlike cipher notation for gamelan music, which uses "Fixed Do" (ie, 1 always corresponds to the same tone, in natural variability of gamelan tuning), Indonesian diatonic notation notation is a "Do-Do" notation, so the score should show pitch which corresponds to the number 1 (e.g., "1 = C").
Other systems and practices
Brackets notation
In notation the tone of musical notation is written with melodic lines and parentheses. The melody line is like a staff line, except they can change the tone by writing parentheses on them. Pitch brackets increase or decrease the step scale to melody lines. The shape of the bracket (ie the angle bracket), determines the number of step scales to add. The direction of the bracket, opening or closing, determining whether to increase or decrease the scale measures. As a result of the mathematical nature of pitch bracket notation, arithmetic and algebra can be directly applied to notation. Variations of music can be mathematically generated from the theme.
Notes cipher
The cipher notation system assigns Arabic numerals to large-scale degrees has been used since at least the Iberian organism of the 16th century and includes exotic adaptations such as Siffernotskrift . The most widely used today is Chinese Jianpu , discussed in the main article. The numbers can of course also be assigned to different scale systems, as in the Java practice notation described above.
SolfÃÆ'¨ge
SolfÃÆ'¨ge is a way of assigning syllables to the name of the music scale. In order, they are today: Do Re Mi Fa Sol La Ti Do ' (for octave). The classic variations are: Do Re Mi Fa Sol La Si Do ' . The first Western system of functional names for musical notes was introduced by Guido of Arezzo (around 991 - after 1033), using the earliest syllables of the first six lines of music from the Latin hymn, Ut queant laxis. The original sequence is Ut Re Mi Fa Sol La , where each paragraph starts a higher scale note. "Ut" then becomes "Do". The equivalent syllables used in Indian music are: Sa Re Ga Ma Pa Dha Ni . See also: solfÃÆ'¨ge, sargam, Kodá¡ly signs.
Tonic sol-fa is a type of notation using the initial letters solfÃÆ'¨ge.
Font notation
The tone of the 12-tone scale can be written under the name of their letter AG, perhaps by trailing a sharp or flat symbol, like A ? or B
Tablature
Tablature was first used in the Middle Ages for organ music and later in the Renaissance for lute music. In most harp tablatures, a staff is used, but instead of pitch values, staff lines represent instrument strings. Frets to fingers are written on each line, indicated by letters or numbers. Rhythms are written separately with one or another variation of standard note values ​​that indicate the duration of the fastest moving parts. Some seem to have commented on the fact that the tablature combines in one notation system both the physical and technical requirements of the game (lines and symbols on them and in relation to each other representing actual performance actions) with the unveiling of the music itself (tablature lines taken in represents the actual horizontal of current music). In the next period, lute and guitar music is written with standard notation. Tablature drew more interest in the late 20th century for popular guitar music and other squeezed instruments, being easily transcribed and shared via the internet in ASCII format. Websites like OLGA have archives from popular text-based music tablature.
Klavar Notice
Klavarskribo (sometimes abbreviated to klavar ) is a musical notation system introduced in 1931 by the Dutch Cornelis Pot. His name means "keyboard writing" in Esperanto. This differs from conventional music notation in several ways and is intended to be easy to read. Many klavar readers come from the Netherlands.
Piano roll based notation
Some chromatic systems have been created by utilizing black and white key layouts from standard piano keyboards. The "staff" is mostly referred to as "piano roll", made by extending the black and white piano keys.
Staff notation
Over the last three centuries, hundreds of musical notation systems have been proposed as an alternative to Western traditional music notation. Many of these systems seek to improve traditional notation using "chromatic staff" in which each of the 12 field classes has its own unique place in the staff. An example is the Ailler-Brennink notation, Jacques-Daniel Rochat music notation, Dodeka, Tom Reed Twinline, Ambrose Piano Tabs Russell Ambrose , Paul Morris' Clairnote , John Keller Stave Express , and Binoer Yez AA Sotorrio Music Notice . This notation system does not require the use of standard locks, accidents, or locks. They also represent the interval relationship more consistently and accurately than traditional notation. The Music Notation Project (formerly known as the Music Notation Modernization Association) has a website with information on many of these notation systems.
Graphic notation
The term 'graphical notation' refers to the use of contemporary symbols and non-traditional texts to convey information about the performance of a work of music. Practitioners include Christian Wolff, Earle Brown, Anthony Braxton, John Cage, Morton Feldman, Krzysztof Penderecki, Cornelius Cardew, and Roger Reynolds. View Notation , edited by John Cage and Alison Knowles, ISBNÃ, 0-685-14864-5.
Simplified music notation
Simple Music Notation is an alternative form of musical notation designed to simplify vision. It is based on classical staff notation, but incorporates sharps and flattened objects into the form of a note head. Records like double sharps and double flats written in their field are actually played, but preceded by symbols called historical signs that indicate they have been diverted.
Modified Stave Notifications
Modified Stave Notation (MSN) is an alternative way of music notation for people who can not easily read ordinary music notation even if it is enlarged.
Parsons Code
The Parsons code is used to encode music so that it can be easily searched.
Brainle Music Braille
Braille Music is a complete, well-developed, and internationally accepted music notation system that has conventionally enough symbols and notations that are quite independent of the printed music notation. It is linear, similar to the print language and differs from the two-dimensional nature of the standard print music notation. For Braille music levels resembles a music markup language such as MusicXML or NIFF.
Integer notation
In an integer notation, or integer pitch model, all pitch classes and intervals between pitch classes are set using numbers 0 to 11.
Rap notation
The standard form of rap notation is the "flowchart", in which the rapper lined up their lyrics under "beat numbers". The hip-hop scholar also uses the same flowchart the rapper uses: Rap Rap and How Rap 2 books extensively use diagrams to describe rap, flam, rest triplets, rhyme schemes, run rhymes, and break the rhyme pattern, among other techniques. A similar system was used by musicologist Adam Krims in his book Rap Music and Poetics of Identity and Kyle Adams in his work on the rap stream. Since rap revolves around a powerful 4/4 beat, with certain syllables aligned with the rhythm, all notation systems have the same structure: they all have four beat numbers at the top of the diagram, so syllables can be written in-line with taps.
Music notation on computer
Many computer programs have been developed to create musical notation (called scorewriters or music notation software ). Music can also be stored in various digital file formats for purposes other than graphical notation output.
Music notation perspective in composition and music performances
According to Philip Tagg and Richard Middleton, musicology and to some extent the music practice influenced by Europe suffers from 'centricity of notation', a methodology that is tilted by the characteristics of notation.
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