Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
When revising a translation, copy the HEAD committish of the
- version that you are working on. See TRANSLATION for details.
+ version that you are working on. For details, see the Contributors'
+ Guide, node Updating translation committishes..
@end ignore
-@c \version "2.13.4"
+@c \version "2.16.0"
@node Contemporary music
these new notational techniques.
@menu
-* Pitches and harmony in contemporary music::
+* Pitch and harmony in contemporary music::
* Contemporary approaches to rhythm::
* Graphical notation::
* Contemporary scoring techniques::
* New instrumental techniques::
+* Further reading and scores of interest::
@end menu
-@node Pitches and harmony in contemporary music
-@subsection Pitches and harmony in contemporary music
+@node Pitch and harmony in contemporary music
+@subsection Pitch and harmony in contemporary music
+
+This section highlights issues that are relevant to notating
+pitch and harmony in contemporary music.
+
+@menu
+* References for pitch and harmony in contemporary music::
+* Microtonal notation::
+* Contemporary key signatures and harmony::
+@end menu
+
+
+@node References for pitch and harmony in contemporary music
+@unnumberedsubsubsec References for pitch and harmony in contemporary music
+
+@itemize
+@item Standard quarter-tone notation is addressed in
+@ref{Note names in other languages}.
+
+@item Non-standard key signatures are addressed in
+@ref{Key signature}.
+
+@item Contemporary practises in displaying accidentals are
+addressed in @ref{Automatic accidentals}.
+
+@end itemize
+
+
+@node Microtonal notation
+@unnumberedsubsubsec Microtonal notation
+
+@ignore
+ Discussion of microtones other than quarter-tones,
+ alternative notations (arrows, slash-flats), etc.
+@end ignore
+
+
+@node Contemporary key signatures and harmony
+@unnumberedsubsubsec Contemporary key signatures and harmony
+
+@ignore
+ Discussion of contemporary key signatures:
+ non-standard, polytonality, etc.
+@end ignore
@node Contemporary approaches to rhythm
@subsection Contemporary approaches to rhythm
+This section highlights issues that are relevant to the
+notation of rhythm in contemporary music.
+
+@menu
+* References for contemporary approaches to rhythm::
+* Tuplets in contemporary music::
+* Contemporary time signatures::
+* Extended polymetric notation::
+* Beams in contemporary music::
+* Bar lines in contemporary music::
+@end menu
+
+
+@node References for contemporary approaches to rhythm
+@unnumberedsubsubsec References for contemporary approaches to rhythm
+
+@itemize
+@item Compound time signatures are addressed in @ref{Time signature}.
+
+@item Basic polymetric notation is addressed in
+@ref{Polymetric notation}.
+
+@item Feathered beams are addressed in @ref{Feathered beams}.
+
+@item Mensurstriche bar lines (bar lines between staves only) are
+addressed in @ref{Grouping staves}.
+
+@end itemize
+
+
+@node Tuplets in contemporary music
+@unnumberedsubsubsec Tuplets in contemporary music
+
+@ignore
+ Extended discussion of modern tuplets, including
+ non-standard ratios, nested tuplets and customising
+ the appearance of tuplets (ratios, note values etc.)
+ Also how to provide an ossia RhythmicStaff to help
+ players break down a complicated tuplet.
+@end ignore
+
+
+@node Contemporary time signatures
+@unnumberedsubsubsec Contemporary time signatures
+
+@ignore
+ Extended discussion of compound time signatures
+ including Graham P.'s work; non-standard time
+ signatures such as 7/10, 5/6; alternative
+ notations such as Orff-esque 4/note, placing a
+ single time signature across multiple staves, or
+ placing time signatures at the top of StaffGroups
+ or systems rather than in the stave.
+@end ignore
+
+
+@node Extended polymetric notation
+@unnumberedsubsubsec Extended polymetric notation
+
+@ignore
+ Extended examples e.g., different instruments
+ or ensembles with independent tempi
+@end ignore
+
+
+@node Beams in contemporary music
+@unnumberedsubsubsec Beams in contemporary music
+
+@ignore
+ Beaming practises, stemlets, Boulez-esque displaying
+ of beamed notes with flags
+@end ignore
+
+
+@node Bar lines in contemporary music
+@unnumberedsubsubsec Bar lines in contemporary music
+
+@ignore
+ Mensurstriche barlines, tick barlines, etc.
+@end ignore
+
@node Graphical notation
@subsection Graphical notation
@node New instrumental techniques
@subsection New instrumental techniques
+
+@node Further reading and scores of interest
+@subsection Further reading and scores of interest
+
+This section suggests books, musical examples and other
+resources useful in studying contemporary musical notation.
+
+@menu
+* Books and articles on contemporary musical notation::
+* Scores and musical examples::
+@end menu
+
+
+@node Books and articles on contemporary musical notation
+@unnumberedsubsubsec Books and articles on contemporary musical notation
+
+@itemize
+@item
+@emph{Music Notation in the Twentieth Century: A Practical Guidebook}
+by Kurt Stone [W. W. Norton, 1980]
+
+@item
+@emph{Music Notation: A Manual of Modern Practice} by Gardner Read
+[Taplinger, 1979]
+
+@item
+@emph{Instrumentation and Orchestration} by Alfred Blatter [Schirmer,
+2nd ed. 1997]
+
+@end itemize
+
+
+@node Scores and musical examples
+@unnumberedsubsubsec Scores and musical examples
+
+@ignore
+ Rough list of composers whose work could be included
+ (in alphabetical order, perhaps with suggested work):
+
+ Pierre Boulez (Le Marteau Sans Maître?)
+ John Cage (Freeman Etudes?)
+ George Crumb (Black Angels?)
+ Brian Ferneyhough (Transit? Time & Motion Studies?)
+ Ben Johnston (extended just intonation example)
+ György Ligeti (several, including Hamburg Concerto)
+ Krzysztof Penderecki (Threnody to the Victims of Hiroshima?)
+ Karlheinz Stockhausen (Gruppen?)
+@end ignore
+
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