we can have a few examples in here:
http://james-ingram-act-two.de/stockhausen/stockhausenScores.html particulary Xi for flûte, http://james-ingram-act-two.de/stockhausen/Xi/sxia1l.html he use exactly the same notation shown in your preview picture, thank you for showing it. Those are samples of papers written by the master, but the pieces I played at school contained also explanations about symbols used all along the scores, maybe be that's why I confused the issue by saying he used his own standard. Also, how a composer would do when he need to build his own scale, from empiric harmonic rules? Let me try to explain, music composition has evolved a certain way technically that one composer could build up a scale for each different piece he makes. How could he write scores that could be read by any genuine musician any time? ----- "João Pais" <jmmmp...@googlemail.com> a écrit : > > Can we have a view of one of these pieces written with "modern > > notation"? > > > > just to have a clue about what we are saying in here. > > I don't have the time now to look for scores with didactic examples. I > > made a small image which has the most used examples (or they wouldn't > be > in sibelius). inside the black area [only the upper row, I notice now] > are > the mostly used for 1/2 (chromatic) and 1/4-tone notation. > The accidentals with arrows can be interpreted on different ways > depending > on the composer, but in most cases mean smaller inflection than 1/4 > tone. > They can also mean a) 8th or 16th tones b) 1/4 tones (if the composer > > doesn't use many) c) unscaled deviations, like natural harmonics d) > 1/3 > tones e) something else. > But main point is, they're used quite often, even if there's no > standard > as traditional as for chromatic notation. > I guess main composers I was thinking of are Grisey, Ferneyhough, some > > Nono, and lots of young people I know (more or less personally). > For example, my old composition teacher, Spahlinger, has a system for > > 32th-tones, but that I don't find it to be a standard. > > > > I've played several pieces where composers like K. H. Stockhausen > used > > their own > > notation, not based on a standard, in fact there is no standard for > > > microtonal > > the scores I have from Stockhausen are not microtonal yet, they're > before > the Licht period. which scores are you talking about? > > > > music because: > > > > 1/ this style doesn't exist since a significant enough amount of > time. > > true, notated microtonal music is around one century old now, although > no > one play Wyschnegradsky or Hába nowadays. only from/after the 60s it > > really kicked in in a systematic way. > > > > 2/ actually many different styles of microtonal music emerge from > > different > > composers > > that uses their own notation system. > > that was more the case in the 60s-80s - and the sudden notation > expansion > happened with any kind of musical parameters, not just with pitch > notation. nowadays it's becoming slowly a standard, one symptom of it > is > that all main notation programs offer the symbols I sent. also > composers > nowadays are thinking more of 1/4 (and 1/8 tones) as part of the > tempered > scale - of course, not all. and also depending on the geographic > (cultural) location. > > > > 3/ no one (that I know) has been able to find an harmonical > relationship > > that > > would introduce a real notation system like we have in classical > music > > notation. > > don't know if I understand the problem exactly. anyway these systems > are > built upon the classical "tonal" notation system, which doesn't make > much > sense nowadays if we consider that each note is equal to each other, > > instead of having a diatonic scale. > but I don't know if I understood what you meant, and if it even is > that > important for the use of these symbols. -- Patrice Colet _______________________________________________ Pd-list@iem.at mailing list UNSUBSCRIBE and account-management -> http://lists.puredata.info/listinfo/pd-list