Unit 1-2: Notational Systems

Lesson Objectives

By the end of this lesson, students will be able to:

Describe the applications of different notational systems in their ability to express the elements of music.
Explain the difference between descriptive and prescriptive notation.
Create a graphic score and evaluate the effectiveness of the notation.

Preparation for Class

Read:

Stephanie Acevedo, "Notation Primer"
David Hall, "Graphic Notation: A Brief History of Visualising Music"
(Optional: For a quick review of pitch notation basics, see "Pitch" (Summary) in Turek's Today's Musician, pp. 647–653.)

Watch

Music Notation is More Complicated than You Think
(Sounds Good, 16 mins)

Explore

Flip through the images of score excerpts below. Pick a few that intrigue you and look up some information about the composer and the piece. See if you can find a recording.

Now, listen to performances of a few of the pieces below aligned with the graphic notation.

Cathy Berberian, “Stripsody” (1966)

John Cage, “Aria” (1958)

Helmut Lachenmann, “Guero” (1970)

Melissa Vargas Franco, “La Guardavoces” (2009) (Score here)

Iannis Xenakis, “Pitchoprakta” (1956)

Clara Claus & Bryce Dessner, “Graphic Score” (2013)

Roman Haubenstock-Ramati, “Alone” (1965)

Earle Brown, “4 Systems” (1954)

George Crumb, “Eleven Echos of Autumn: Echo 1” (1965)

Pre-Class Assignment

Need to get set up with Auralia & Musition? Here's how.

Assignment 1-2

In-Class Activities

Discussion

Why Notate? What is the purpose of music notation? Can you think of any musical styles or cultures that don't use music notation?
Descriptive vs. Prescriptive Notation: What is the difference between descriptive and prescriptive notation? Rainer Wehinger's score for György Ligeti's electronic composition Artikulation (1958) is a great example of a descriptive score (watch the score along with the music here.) What is the purpose of a score like this if it isn't for performance?

The Limitations of Notation: Every type of music notation privileges certain musical parameters over others. Which parameters are privileged in standard Western notation? What are some of the limitations of this system? What kinds of cultural assumptions are built in?
- - Working in groups or together as a class, select a few of the contemporary graphic scores in the section above. Watch the score along with the music. Consider the same question: Which musical parameters are captured in the notation and which are not? Why do you think the composer chose that type of notation?
Global Notation Systems: Ethnomusicologists have developed special notation systems capturing different musical parameters in notation. Consider this example from a Hopi Buffalo Dance (1:06–1:16). What are some of the elements in this music that would be difficult to accurately describe with standard Western notation?

Activities

Create a Graphic Score: In groups, select a song that everyone in the group is familiar with and try to notate it graphically using the graphic scores above as an examples. Keep your song selection a secret so that only your group knows. Then, either 1) swap with another group and try to perform each others' pieces or 2) work together as a class to try to determine the song that was notated. How effective was your notation in communicating the sounds you wanted your performer(s) to create?

Explore Different Types of Notation: Split up into groups. Each group picks a few different type of notation to learn more about, then reports back to the class. (Hit Google and do some searching!) What kind of information does the notation communicate and how? Who used this notation and when? Is it for a specific instrument or purpose? (Is it prescriptive or descriptive?) Can you figure out roughly how it works? (Here's a link to the slides.)

Unit 1-2 Music Notation Examples

Repertoire for Practice

Select one of the graphic scores from Expanding the Canon here.

NEXT STEP

Unit 2: Scales & Pitch Collections

Want to learn more?

Check out one of these readings:

Killick, Andrew. “Global notation as a tool for cross-cultural and comparative music analysis.” Analytical Approaches to World Music 8, no. 2 (2020): 235–279. [Link]

Warren, Matthew. “Notating Deconstruction: What Can Ethnomusicological Transcription Learn from the Notational Practices of Contemporary Composers?.” Journal of the Royal Musical Association 146, no. 2 (2021): 283-314. [Link]

“Gamelan Cipher Notation” from Javanese Gamelam

Grupe, Gerd. “Notating African Music: Issues and Concepts.” The World of Music 47, no. 2 (2005), pp. 87–103.

Or, learn about braille music notation in this video with Kate Risdon.

Or, follow along with Kunkunshi notation in this video
(This is the traditional notation system used to record music in the Ryukyu Islands in Japan.)