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Beyond Notation

Published online by Cambridge University Press:  18 December 2008

Trevor Wishart
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Abstract

What exactly is the relationship between notation and the music we hear? How has this relationship been affected by the development of first analogue and then digital recording of sound during the present century? This article looks at these issues from the point of view of a composer working with both traditional and unconventional notation and with recorded sound in the electronic music studio. The arguments present a very much condensed and simplified version of a discussion presented in the author's recently published book On Sonic Art.

Information

Type
Research Article
Information
British Journal of Music Education , Volume 2 , Issue 3 , November 1985, pp. 311 - 326
Copyright
Copyright © Cambridge University Press 1985

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References

Boulez, P. (1971) Boulez on Music Today, London: Faber & Faber.Google Scholar
Erikson, R. (1975) Sound Structures in Music. University of California Press. A citique of traditional acoustics from a contemporary musical perspective.Google Scholar
Helmholtz, H. (1954) On the Sensation of Tone. Dover. A discussion of Helmholtz' acoustic theories may be found in any elementary textbook on musical acoustics. This is an English version of the source.Google Scholar
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Tempelaars, C. A. G. M. (1977) Sound Signal Processing. Institute of Sonology, Utrecht State University, Holland. A more detailed and up-to-date discussion of the area found in Helmholtz, above.Google Scholar
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