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• Chapter One: Introduction: Notation and/as material culture Floris Schuiling and Emily Payne Part I: Epistemologies of notation Chapter Two: Was 1974 the End of Music History? Universalism, cybernetics, and the International Conference of New Musical Notation Giulia Accornero Chapter Three: Encyclopaedias and empty staves: Re-reading music in Hanne Darboven's Quartett >88< Elaine Fitz Gibbon Chapter Four: Scoring the listener: Notation and representation in acousmatic music Patrick Valiquet Part II: Notation and the body Chapter Five: The Deaf body beyond music: Music notation by Christine Sun Kim Chae-Lin Kim Chapter Six: Music, notation, and embodiment in early sixteenth-century Italian pictures Tim Shephard and Sanna Raninen Chapter Seven: The work of notation in the visual culture of medieval devotion Beth Williamson Part III: Notation and social relations Chapter Eight: Jianpu simplified notation and the transnational in musical repertoires of New York's Chinatown Joseph S. Kaminski Chapter Nine: Mediating minstrelsy: Notating instrumental identity in fourteenth-century song David Maw Chapter Ten: Inscription, gesture, and social relations: Notation in Karnatak music Lara Pearson Part IV: Notation, instruments, and technology Chapter Eleven: Digital scores, algorithmic agents, and encoded ontologies: On the objects of musical computation Brian A. Miller Chapter Twelve: Perforating the subject: The player piano rolls of Conlon Nancarrow Naomi Woo Chapter Thirteen: Material bias: David Tudor's realisations You Nakai Chapter Fourteen: 'I Feel Love': Music mutation in the electronic age Kiene Brillenburg Wurth.
• (source: Nielsen Book Data)

- Offers a diverse snapshot of current studies of music notation as material culture, encompassing a wide range of methodological approaches - Broad historical and regional/stylistic scope, covering material from the middle ages to the present.
(source: Nielsen Book Data)

Most of the extended instrumental playing techniques, as well as electroacoustic music in general, are still deprived of a conventional method of notation. In order to facilitate the utilization of these unconventional musical elements, a coherent and consistent notation system is developed in this work. Numerous extended techniques for playing string instruments, wind instruments, percussion instruments, keyboard instruments and vocal techniques are therefore systematically explained and previous methods of notation discussed.

• Part I: On the Role of Grammar in Verbal Notation
• Context
• Register
• Processes
• Tense
• Modality
• Mood
• Voice
• Circumstances
• Part II: Scores, Writings and Commentaries
• Robert Ashley
• G. Douglas Barrett
• Antoine Beuger
• George Brecht
• Gavin Bryars
• John Cage
• Cornelius Cardew
• Philip Corner
• Bill Drummond
• Ken Friedman
• Malcolm Goldstein
• Daniel Goode
• Lawrence Halprin
• Tom Johnson
• Seth Kim-Cohen
• Bengt af Klintberg
• Alison Knowles
• Takehisa Kosugi
• Joseph Kudirka
• Sol LeWitt
• Annea Lockwood
• Alvin Lucier
• George Maciunas
• Benedict Mason
• Kenneth Maue
• Pauline Oliveros
• Michael Parsons
• Ben Patterson
• Michael Pisaro
• Frederic Rzewski
• Erik Satie
• Craig Shepard
• Kunsu Shim
• Mieko (Chieko) Shiomi
• Hugh Shrapnel
• Howard Skempton
• Mark So
• Karlheinz Stockhausen
• Jennifer Walshe
• Manfred Werder
• John White
• Michael Winter
• Christian Wolff
• Daniel Wolf
• Amnon Wolman
• Sources
• Bibliography.
• (source: Nielsen Book Data)

This is an outstanding collection of text scores from key composers and artists, as well as original essays and interviews offering guidance and lucid analysis. "Word Events" focuses on an approach to notation that uses the written word, as opposed to symbols, to convey information to whoever chooses to interpret the notation. Verbal notation is commonly used in experimental music, as well as related areas of arts practice involving performance or object making. Practitioners point to a number of reasons for using it: notation with written words is accessible to a wide range of people, including those who cannot read traditional Western stave notation; it can express temporal relationships between elements of a composition in a flexible way; it makes association with other writing contexts, such as poetry, prose, instructions, recipes, koans and aphorisms; it can express ideas with great precision; it can express generalities; it can determine many different types of relationships between the scorer and reader; and, it can express ideas and concepts as well as providing prescriptions for action. The aim of this book is to present a broad range of perspectives on how and why scorers use verbal notation.
(source: Nielsen Book Data)

• Section I - General Conventions: Ground Rules
• Chords - Dotted notes - Ties
• Accidentals and Key Signatures
• Dynamics and Articulation
• Grace Notes, Arpeggiated Chords, Trills, Glissandos and Vibrato
• Metre
• Tuplets
• Repeat Signs
• Section II - Idiomatic Notation: Woodwind and Brass
• Percussion
• Keyboard
• Harp
• Classical Guitar
• Strings
• Vocal Music
• Section III - Layout and Presentation: Preparing Materials
• Score Layout
• Part Preparation
• Electroacoustic Music
• Freedom and Choice.
• (source: Nielsen Book Data)

Behind Bars is the indispensable reference book for composers, arrangers, teachers and students of composition, editors, and music processors. In the most thorough and painstakingly researched book to be published since the 1980s, specialist music editor Elaine Gould provides a comprehensive grounding in notational principles. Behind Bars covers everything from basic rules, conventions and themes to complex instrumental techniques, empowering the reader to prepare music with total clarity and precision. With the advent of computer technology, it has never been more important for musicians to have ready access to principles of best practice in this dynamic field, and this timely book will support the endeavours of software users and devotees of hand-copying alike. The author's understanding of, and passion for, her subject has resulted in a book that is not only practical but also compellingly readable. Supported by 1,500 music examples of published scores from Bach to Xenakis, this seminal and all-encompassing guide encourages new standards of excellence and accuracy.
(source: Nielsen Book Data)

From this concise textbook, a student may learn, step by step, how to prepare any kind of music manuscript; composers and copyists can use it for reference.
(source: Nielsen Book Data)