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13 @node Contemporary music
14 @section Contemporary music
16 From the beginning of the 20th Century there has been a massive
17 expansion of compositional style and technique. New harmonic
18 and rhythmic developments, an expansion of the pitch spectrum
19 and the development of a wide range of new instrumental
20 techniques have been accompanied by a parallel evolution and
21 expansion of musical notation. The purpose of this section is
22 to provide references and information relevant to working with
23 these new notational techniques.
26 * Pitch and harmony in contemporary music::
27 * Contemporary approaches to rhythm::
28 * Graphical notation::
29 * Contemporary scoring techniques::
30 * New instrumental techniques::
31 * Further reading and scores of interest::
35 @node Pitch and harmony in contemporary music
36 @subsection Pitch and harmony in contemporary music
38 This section highlights issues that are relevant to notating
39 pitch and harmony in contemporary music.
42 * References for pitch and harmony in contemporary music::
43 * Microtonal notation::
44 * Contemporary key signatures and harmony::
48 @node References for pitch and harmony in contemporary music
49 @unnumberedsubsubsec References for pitch and harmony in contemporary music
52 @item Standard quarter-tone notation is addressed in
53 @ref{Note names in other languages}.
55 @item Non-standard key signatures are addressed in
58 @item Contemporary practises in displaying accidentals are
59 addressed in @ref{Automatic accidentals}.
64 @node Microtonal notation
65 @unnumberedsubsubsec Microtonal notation
68 Discussion of microtones other than quarter-tones,
69 alternative notations (arrows, slash-flats), etc.
73 @node Contemporary key signatures and harmony
74 @unnumberedsubsubsec Contemporary key signatures and harmony
77 Discussion of contemporary key signatures:
78 non-standard, polytonality, etc.
82 @node Contemporary approaches to rhythm
83 @subsection Contemporary approaches to rhythm
85 This section highlights issues that are relevant to the
86 notation of rhythm in contemporary music.
89 * References for contemporary approaches to rhythm::
90 * Tuplets in contemporary music::
91 * Contemporary time signatures::
92 * Extended polymetric notation::
93 * Beams in contemporary music::
94 * Bar lines in contemporary music::
98 @node References for contemporary approaches to rhythm
99 @unnumberedsubsubsec References for contemporary approaches to rhythm
102 @item Compound time signatures are addressed in @ref{Time signature}.
104 @item Basic polymetric notation is addressed in
105 @ref{Polymetric notation}.
107 @item Feathered beams are addressed in @ref{Feathered beams}.
109 @item Mensurstriche barlines (barlines between staves only) are
110 addressed in @ref{Grouping staves}.
115 @node Tuplets in contemporary music
116 @unnumberedsubsubsec Tuplets in contemporary music
119 Extended discussion of modern tuplets, including
120 non-standard ratios, nested tuplets and customising
121 the appearance of tuplets (ratios, note values etc.)
122 Also how to provide an ossia RhythmicStaff to help
123 players break down a complicated tuplet.
127 @node Contemporary time signatures
128 @unnumberedsubsubsec Contemporary time signatures
131 Extended discussion of compound time signatures
132 including Graham P.'s work; non-standard time
133 signatures such as 7/10, 5/6; alternative
134 notations such as Orff-esque 4/note, placing a
135 single time signature across multiple staves, or
136 placing time signatures at the top of StaffGroups
137 or systems rather than in the stave.
141 @node Extended polymetric notation
142 @unnumberedsubsubsec Extended polymetric notation
145 Extended examples e.g. different instruments
146 or ensembles with independent tempi
150 @node Beams in contemporary music
151 @unnumberedsubsubsec Beams in contemporary music
154 Beaming practises, stemlets, Boulez-esque displaying
155 of beamed notes with flags
159 @node Bar lines in contemporary music
160 @unnumberedsubsubsec Bar lines in contemporary music
163 Mensurstriche barlines, tick barlines, etc.
167 @node Graphical notation
168 @subsection Graphical notation
171 @node Contemporary scoring techniques
172 @subsection Contemporary scoring techniques
175 @node New instrumental techniques
176 @subsection New instrumental techniques
179 @node Further reading and scores of interest
180 @subsection Further reading and scores of interest
182 This section suggests books, musical examples and other
183 resources useful in studying contemporary musical notation.
186 * Books and articles on contemporary musical notation::
187 * Scores and musical examples::
191 @node Books and articles on contemporary musical notation
192 @unnumberedsubsubsec Books and articles on contemporary musical notation
196 @emph{Music Notation in the Twentieth Century: A Practical Guidebook}
197 by Kurt Stone [W. W. Norton, 1980]
200 @emph{Music Notation: A Manual of Modern Practice} by Gardner Read
204 @emph{Instrumentation and Orchestration} by Alfred Blatter [Schirmer,
210 @node Scores and musical examples
211 @unnumberedsubsubsec Scores and musical examples
214 Rough list of composers whose work could be included
215 (in alphabetical order, perhaps with suggested work):
217 Pierre Boulez (Le Marteau Sans Maître?)
218 John Cage (Freeman Etudes?)
219 George Crumb (Black Angels?)
220 Brian Ferneyhough (Transit? Time & Motion Studies?)
221 Ben Johnston (extended just intonation example)
222 György Ligeti (several, including Hamburg Concerto)
223 Krzysztof Penderecki (Threnody to the Victims of Hiroshima?)
224 Karlheinz Stockhausen (Gruppen?)