Mclaren-notation: Difference between revisions
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<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
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===**The pragmatic approach**=== | ===**The pragmatic approach**=== | ||
The first approach stresses the importance of continuity. According to this philosophy, the most important criterion for any microtonal notation is that it must ease (insofar as is possible) the transition from a standard 19th century European 12-tone equal tempered music notation to a new microtonal notation. Microtonalists who advocate this pragmatic approach typically compose music for traditional 19th century European instruments with pitch inflections added to standard notes. Microtonalists who advocate this approach to xenharmonic notation include Ezra Sims, Johnny Reinhard, the Catler Brothers, the Netherlands Huyghens-Fokker 31-tone group, virtually all quartertone composers from the 1920s-1940s (viz., Ivan Wyschnegradsky, Alois Haba, Julian Carrillo). All of these xenharmonists typically propose variants of traditional notation using 7 standard western note-names on a standard western 5-line staff with modified or added accidentals (or other signs; + or -, for instance, or up-arrow, or down-arrow) to indicate non-12 pitches. | The first approach stresses the importance of continuity. According to this philosophy, the most important criterion for any microtonal notation is that it must ease (insofar as is possible) the transition from a standard 19th century European 12-tone equal tempered music notation to a new microtonal notation. Microtonalists who advocate this pragmatic approach typically compose music for traditional 19th century European instruments with pitch inflections added to standard notes. Microtonalists who advocate this approach to xenharmonic notation include Ezra Sims, Johnny Reinhard, the Catler Brothers, the Netherlands [[Huyghens-Fokker]] 31-tone group, virtually all quartertone composers from the 1920s-1940s (viz., Ivan Wyschnegradsky, Alois Haba, Julian Carrillo). All of these xenharmonists typically propose variants of traditional notation using 7 standard western note-names on a standard western 5-line staff with modified or added accidentals (or other signs; + or -, for instance, or up-arrow, or down-arrow) to indicate non-12 pitches. | ||
A subgroup of these "pragmatic" composers advocate using unmodified traditional western notation with a new meaning for each symbol. One of the most popular 19-tone equal notations, for instance, uses completely traditional notation but with new meanings for "sharp" and "flat:" in this case, D# is a different pitch from Eb, giving 19 discrete different pitches all told (Cb is identical to B#, and Fb is identical to E#--all other sharp/flat pairs which would be considered enharmonic in 12 tone equal temperament are considered different pitches in this notation for 19 equal). Ivor Darreg, M. Joel Mandelbaum and other composers advocated this type of notation. The other "new use" for traditional notation can be found in tablature, as typically used for digital keyboard instruments. According to this form of microtonal notation, the unmodified standard notation now indicates only the keys to be depressed by the performer--the pitches sounded will typically be radically different. | A subgroup of these "pragmatic" composers advocate using unmodified traditional western notation with a new meaning for each symbol. One of the most popular 19-tone equal notations, for instance, uses completely traditional notation but with new meanings for "sharp" and "flat:" in this case, D# is a different pitch from Eb, giving 19 discrete different pitches all told (Cb is identical to B#, and Fb is identical to E#--all other sharp/flat pairs which would be considered enharmonic in 12 tone equal temperament are considered different pitches in this notation for 19 equal). Ivor Darreg, M. Joel Mandelbaum and other composers advocated this type of notation. The other "new use" for traditional notation can be found in tablature, as typically used for digital keyboard instruments. According to this form of microtonal notation, the unmodified standard notation now indicates only the keys to be depressed by the performer--the pitches sounded will typically be radically different. | ||
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<!-- ws:start:WikiTextHeadingRule:2:&lt;h3&gt; --><h3 id="toc1"><a name="x-Approaches to microtonal notation-The pragmatic approach"></a><!-- ws:end:WikiTextHeadingRule:2 --><strong>The pragmatic approach</strong></h3> | <!-- ws:start:WikiTextHeadingRule:2:&lt;h3&gt; --><h3 id="toc1"><a name="x-Approaches to microtonal notation-The pragmatic approach"></a><!-- ws:end:WikiTextHeadingRule:2 --><strong>The pragmatic approach</strong></h3> | ||
The first approach stresses the importance of continuity. According to this philosophy, the most important criterion for any microtonal notation is that it must ease (insofar as is possible) the transition from a standard 19th century European 12-tone equal tempered music notation to a new microtonal notation. Microtonalists who advocate this pragmatic approach typically compose music for traditional 19th century European instruments with pitch inflections added to standard notes. Microtonalists who advocate this approach to xenharmonic notation include Ezra Sims, Johnny Reinhard, the Catler Brothers, the Netherlands Huyghens-Fokker 31-tone group, virtually all quartertone composers from the 1920s-1940s (viz., Ivan Wyschnegradsky, Alois Haba, Julian Carrillo). All of these xenharmonists typically propose variants of traditional notation using 7 standard western note-names on a standard western 5-line staff with modified or added accidentals (or other signs; + or -, for instance, or up-arrow, or down-arrow) to indicate non-12 pitches.<br /> | The first approach stresses the importance of continuity. According to this philosophy, the most important criterion for any microtonal notation is that it must ease (insofar as is possible) the transition from a standard 19th century European 12-tone equal tempered music notation to a new microtonal notation. Microtonalists who advocate this pragmatic approach typically compose music for traditional 19th century European instruments with pitch inflections added to standard notes. Microtonalists who advocate this approach to xenharmonic notation include Ezra Sims, Johnny Reinhard, the Catler Brothers, the Netherlands <a class="wiki_link" href="/Huyghens-Fokker">Huyghens-Fokker</a> 31-tone group, virtually all quartertone composers from the 1920s-1940s (viz., Ivan Wyschnegradsky, Alois Haba, Julian Carrillo). All of these xenharmonists typically propose variants of traditional notation using 7 standard western note-names on a standard western 5-line staff with modified or added accidentals (or other signs; + or -, for instance, or up-arrow, or down-arrow) to indicate non-12 pitches.<br /> | ||
<br /> | <br /> | ||
A subgroup of these &quot;pragmatic&quot; composers advocate using unmodified traditional western notation with a new meaning for each symbol. One of the most popular 19-tone equal notations, for instance, uses completely traditional notation but with new meanings for &quot;sharp&quot; and &quot;flat:&quot; in this case, D# is a different pitch from Eb, giving 19 discrete different pitches all told (Cb is identical to B#, and Fb is identical to E#--all other sharp/flat pairs which would be considered enharmonic in 12 tone equal temperament are considered different pitches in this notation for 19 equal). Ivor Darreg, M. Joel Mandelbaum and other composers advocated this type of notation. The other &quot;new use&quot; for traditional notation can be found in tablature, as typically used for digital keyboard instruments. According to this form of microtonal notation, the unmodified standard notation now indicates only the keys to be depressed by the performer--the pitches sounded will typically be radically different.<br /> | A subgroup of these &quot;pragmatic&quot; composers advocate using unmodified traditional western notation with a new meaning for each symbol. One of the most popular 19-tone equal notations, for instance, uses completely traditional notation but with new meanings for &quot;sharp&quot; and &quot;flat:&quot; in this case, D# is a different pitch from Eb, giving 19 discrete different pitches all told (Cb is identical to B#, and Fb is identical to E#--all other sharp/flat pairs which would be considered enharmonic in 12 tone equal temperament are considered different pitches in this notation for 19 equal). Ivor Darreg, M. Joel Mandelbaum and other composers advocated this type of notation. The other &quot;new use&quot; for traditional notation can be found in tablature, as typically used for digital keyboard instruments. According to this form of microtonal notation, the unmodified standard notation now indicates only the keys to be depressed by the performer--the pitches sounded will typically be radically different.<br /> | ||
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--mclaren<br /> | --mclaren<br /> | ||
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<em>fetched 8/10/06 from <!-- ws:start:WikiTextUrlRule: | <em>fetched 8/10/06 from <!-- ws:start:WikiTextUrlRule:61:http://www.microtonal.freeservers.com/mclaren/post194.html --><a class="wiki_link_ext" href="http://www.microtonal.freeservers.com/mclaren/post194.html" rel="nofollow">http://www.microtonal.freeservers.com/mclaren/post194.html</a><!-- ws:end:WikiTextUrlRule:61 --></em></body></html></pre></div> | ||