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      • From the origin of neumes in the ninth century to the rhythmic developments of the Ars Nova period in the fourteenth century, the evolution of music notation progressed as series of innovations that worked alongside oral traditions to meet the musical demands of each period.
      digitalcommons.cedarville.edu/cgi/viewcontent.cgi?article=1031&context=musicalofferings
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  2. In the contemporary classical music of the 20th and 21st centuries, music notation has continued to develop, with the introduction of graphical notation by some modern composers and the use, since the 1980s, of computer-based scorewriter programs for notating music.

  3. Aug 7, 2024 · Throughout the 1600s, music notation continued to evolve according to the music of Renaissance and Baroque composers. And when instrumental music overtook vocal music as the most popular genre, a change in notation was needed.

  4. In the medieval church, plainchant was the principal music of the mass, and prior to the development of notation, clergy learned the many different melodies that were sung during the liturgical year by listening, practicing, and remembering.

  5. A carved tombstone dating back to 100 AD contains the earliest known example of a complete, notated song, with lyrics and music. It is known as the Seikilos Epitaph. The Ancient Greeks labelled the notes of Pythagoras’ scale with letters from the Greek alphabet.

    • When did music notation change?1
    • When did music notation change?2
    • When did music notation change?3
    • When did music notation change?4
    • When did music notation change?5
    • Overview
    • General principles of Western staff notation
    • Pitch and duration
    • Tempo and duration
    • Accidentals
    • Auxiliary signs

    musical notation, visual record of heard or imagined musical sound, or a set of visual instructions for performance of music. It usually takes written or printed form and is a conscious, comparatively laborious process. Its use is occasioned by one of two motives: as an aid to memory or as communication. By extension of the former, it helps the shaping of a composition to a level of sophistication that is impossible in a purely oral tradition. By extension of the latter, it serves as a means of preserving music (although incompletely and imperfectly) over long periods of time, facilitates performance by others, and presents music in a form suitable for study and analysis.

    The primary elements of musical sound are pitch, or the location of musical sound on the scale (hence interval, or distance, between notes); duration (hence rhythm, metre, tempo); timbre or tone colour; and volume (hence stress, attack). In practice, no notation can handle all of these elements with precision. Most cope with a selection of them in varying degrees of refinement. Some handle only a single pattern—e.g., a melody, a rhythm; others handle several simultaneous patterns.

    The position of staff notation as the first notational system to be described in this article acknowledges its international acceptance in the 20th century. As an indirect result of colonization, of missionary activity, and of ethnomusicological research—not because of any innate superiority—it has become a common language among many musical cultur...

    Staff notation, as it has developed, is essentially a graph. Its vertical axis is pitch, and its horizontal axis is time, and note heads are dots plotting the graph’s curve. The five horizontal lines of a musical staff function like horizontal rulings of graph paper, bar lines like vertical rulings. In practice, the system is far more complex and sophisticated than this. The vertical axis of pitch operates to represent melodic contour in music for a single instrument or voice, but, when several staves are combined to form a score, the principle breaks down, each staff being a self-contained vertical system. Representation of time (duration) by horizontal spacing is used only in a very limited way. It is in reality made almost redundant because the symbol for a note gives the necessary information itself: not its absolute duration but its duration in relation to the notes around it. These symbols are as follows; each has half the duration of its neighbour to the left:

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    The tempo mark is a sign that lies outside the staff. It appears above and may be a precise fixing of one duration (“♩ = 120 MM” means that the quarter note lasts 1/120 of a minute, or one-half second), or it may be an approximate verbal indication setting tempo by reference to accepted conventions (allegro, or quickly; moderato, or moderate speed; etc.).

    Staff notation is well adapted to two fundamental aspects of Western music: harmony and rhythm. For harmony, note symbols can easily be placed vertically together on a single stem, and these notes need not be all of the same duration; or more than one stem may be used to indicate multiple melodic lines in the musical texture. For rhythm, the existence of an underlying regular pulse, or stress, must be indicated. This is achieved by two devices: the bar line and the time signature. The bar line primarily indicates a point of main stress. Bar lines are usually equally spaced as to duration, though there are numerous exceptions. A time signature indicates, first, the duration of the space between two bar lines (a measure, or bar); and, second, the subsidiary stress patterns within that space. A supplementary system for indicating stress is the device of linking successive notes together by beaming, or stroking. Two eighth notes may be linked together as shown in (a); four sixteenth notes (b); or a mixed group of values (c):

    Staff notation rests firmly on the Western system of scales, within which all notes are assumed to be natural unless accidentals precede them or a key signature is in use. An accidental (♭, or flat; ♯, or sharp) is a temporary lowering or raising of pitch by a semitone; a key signature is the use of the same signs on a more permanent basis, valid t...

    Timbre and volume are specified through a variety of additional signs: symbols such as 𝆓 (stress) and 𝆒 (increase in volume), and verbal instructions (frequently in Italian) such as forte (loud) and col legno (with the wood of the bow) placed above or below the staff wherever space permits. Additional symbols may also provide information about pitch and duration: the dot for staccato, the fermata, or hold sign (𝄐), the phrase mark, indications of amount of vibrato, and so forth. Other verbal instructions indicate the general manner of performance (pesante, “heavy”; cantabile, “songlike”; etc.) or expression (con dolore, “with suffering”; giocoso, “playfully”; etc.). Further, there are for each type of instrument certain technical signs, as for bowing, breathing, tonguing, or use of mutes.

    Other auxiliary signs are a kind of shorthand. Most important are symbols indicating notes not shown on the staff. An ornament sign may call for additional notes to be played within the value of a note. It may even delay the sounding of the main note. The precise meaning of such an ornament varies from one style of music to another and must be interpreted according to the conventions governing a particular style.

  6. Mar 26, 2023 · Ancient Civilizations and Early Notation Systems. Mesopotamia. The first evidence of music notation can be traced back to the ancient Sumerians in Mesopotamia around 2000 BCE. These early notations used cuneiform writing on clay tablets to represent musical compositions.

  7. Oct 3, 2024 · The bar line as a measure of metre arose first in 15th-century tablatures (notation showing playing position rather than pitch, as for lute). Barring entered staff notation in the 17th century, but regularly spaced barring became a practice only in the 18th century.

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