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3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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12 @node Contemporary music
13 @section Contemporary music
15 From the beginning of the 20th Century there has been a massive
16 expansion of compositional style and technique. New harmonic
17 and rhythmic developments, an expansion of the pitch spectrum
18 and the development of a wide range of new instrumental
19 techniques have been accompanied by a parallel evolution and
20 expansion of musical notation. The purpose of this section is
21 to provide references and information relevant to working with
22 these new notational techniques.
25 * Pitch and harmony in contemporary music::
26 * Contemporary approaches to rhythm::
27 * Graphical notation::
28 * Contemporary scoring techniques::
29 * New instrumental techniques::
30 * Further reading and scores of interest::
34 @node Pitch and harmony in contemporary music
35 @subsection Pitch and harmony in contemporary music
37 This section highlights issues that are relevant to notating
38 pitch and harmony in contemporary music.
41 * References for pitch and harmony in contemporary music::
42 * Microtonal notation::
43 * Contemporary key signatures and harmony::
47 @node References for pitch and harmony in contemporary music
48 @unnumberedsubsubsec References for pitch and harmony in contemporary music
51 @item Standard quarter-tone notation is addressed in
52 @ref{Note names in other languages}.
54 @item Non-standard key signatures are addressed in
57 @item Contemporary practises in displaying accidentals are
58 addressed in @ref{Automatic accidentals}.
63 @node Microtonal notation
64 @unnumberedsubsubsec Microtonal notation
67 Discussion of microtones other than quarter-tones,
68 alternative notations (arrows, slash-flats), etc.
72 @node Contemporary key signatures and harmony
73 @unnumberedsubsubsec Contemporary key signatures and harmony
76 Discussion of contemporary key signatures:
77 non-standard, polytonality, etc.
81 @node Contemporary approaches to rhythm
82 @subsection Contemporary approaches to rhythm
84 This section highlights issues that are relevant to the
85 notation of rhythm in contemporary music.
88 * References for contemporary approaches to rhythm::
89 * Tuplets in contemporary music::
90 * Contemporary time signatures::
91 * Extended polymetric notation::
92 * Beams in contemporary music::
93 * Bar lines in contemporary music::
97 @node References for contemporary approaches to rhythm
98 @unnumberedsubsubsec References for contemporary approaches to rhythm
101 @item Compound time signatures are addressed in @ref{Time signature}.
103 @item Basic polymetric notation is addressed in
104 @ref{Polymetric notation}.
106 @item Feathered beams are addressed in @ref{Feathered beams}.
108 @item Mensurstriche barlines (barlines between staves only) are
109 addressed in @ref{Grouping staves}.
114 @node Tuplets in contemporary music
115 @unnumberedsubsubsec Tuplets in contemporary music
118 Extended discussion of modern tuplets, including
119 non-standard ratios, nested tuplets and customising
120 the appearance of tuplets (ratios, note values etc.)
121 Also how to provide an ossia RhythmicStaff to help
122 players break down a complicated tuplet.
126 @node Contemporary time signatures
127 @unnumberedsubsubsec Contemporary time signatures
130 Extended discussion of compound time signatures
131 including Graham P.'s work; non-standard time
132 signatures such as 7/10, 5/6; alternative
133 notations such as Orff-esque 4/note, placing a
134 single time signature across multiple staves, or
135 placing time signatures at the top of StaffGroups
136 or systems rather than in the stave.
140 @node Extended polymetric notation
141 @unnumberedsubsubsec Extended polymetric notation
144 Extended examples e.g. different instruments
145 or ensembles with independent tempi
149 @node Beams in contemporary music
150 @unnumberedsubsubsec Beams in contemporary music
153 Beaming practises, stemlets, Boulez-esque displaying
154 of beamed notes with flags
158 @node Bar lines in contemporary music
159 @unnumberedsubsubsec Bar lines in contemporary music
162 Mensurstriche barlines, tick barlines, etc.
166 @node Graphical notation
167 @subsection Graphical notation
170 @node Contemporary scoring techniques
171 @subsection Contemporary scoring techniques
174 @node New instrumental techniques
175 @subsection New instrumental techniques
178 @node Further reading and scores of interest
179 @subsection Further reading and scores of interest
181 This section suggests books, musical examples and other
182 resources useful in studying contemporary musical notation.
185 * Books and articles on contemporary musical notation::
186 * Scores and musical examples::
190 @node Books and articles on contemporary musical notation
191 @unnumberedsubsubsec Books and articles on contemporary musical notation
195 @emph{Music Notation in the Twentieth Century: A Practical Guidebook}
196 by Kurt Stone [W. W. Norton, 1980]
199 @emph{Music Notation: A Manual of Modern Practice} by Gardner Read
203 @emph{Instrumentation and Orchestration} by Alfred Blatter [Schirmer,
209 @node Scores and musical examples
210 @unnumberedsubsubsec Scores and musical examples
213 Rough list of composers whose work could be included
214 (in alphabetical order, perhaps with suggested work):
216 Pierre Boulez (Le Marteau Sans Maître?)
217 John Cage (Freeman Etudes?)
218 George Crumb (Black Angels?)
219 Brian Ferneyhough (Transit? Time & Motion Studies?)
220 Ben Johnston (extended just intonation example)
221 György Ligeti (several, including Hamburg Concerto)
222 Krzysztof Penderecki (Threnody to the Victims of Hiroshima?)
223 Karlheinz Stockhausen (Gruppen?)