[PD] Musical notation object on Pd

[patko]

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" <jmmmpais at 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