@c -*- coding: utf-8; mode: texinfo; -*-
@ignore
    Translation of GIT committish: FILL-IN-HEAD-COMMITTISH

    When revising a translation, copy the HEAD committish of the
    version that you are working on.  For details, see the Contributors'
    Guide, node Updating translation committishes..
@end ignore

@c \version "2.16.0"


@node Contemporary music
@section Contemporary music

From the beginning of the 20th Century there has been a massive
expansion of compositional style and technique.  New harmonic
and rhythmic developments, an expansion of the pitch spectrum
and the development of a wide range of new instrumental
techniques have been accompanied by a parallel evolution and
expansion of musical notation.  The purpose of this section is
to provide references and information relevant to working with
these new notational techniques.

@menu
* Pitch and harmony in contemporary music::
* Contemporary approaches to rhythm::
* Graphical notation::
* Contemporary scoring techniques::
* New instrumental techniques::
* Further reading and scores of interest::
@end menu


@node Pitch and harmony in contemporary music
@subsection Pitch and harmony in contemporary music

This section highlights issues that are relevant to notating
pitch and harmony in contemporary music.

@menu
* References for pitch and harmony in contemporary music::
* Microtonal notation::
* Contemporary key signatures and harmony::
@end menu


@node References for pitch and harmony in contemporary music
@unnumberedsubsubsec References for pitch and harmony in contemporary music

@itemize
@item Standard quarter tone notation is addressed in
@ref{Note names in other languages}.

@item Non-standard key signatures are addressed in
@ref{Key signature}.

@item Contemporary practises in displaying accidentals are
addressed in @ref{Automatic accidentals}.

@end itemize


@node Microtonal notation
@unnumberedsubsubsec Microtonal notation

@ignore
    Discussion of microtones other than quarter tones,
    alternative notations (arrows, slash-flats), etc.
@end ignore


@node Contemporary key signatures and harmony
@unnumberedsubsubsec Contemporary key signatures and harmony

@ignore
    Discussion of contemporary key signatures:
    non-standard, polytonality, etc.
@end ignore


@node Contemporary approaches to rhythm
@subsection Contemporary approaches to rhythm

This section highlights issues that are relevant to the
notation of rhythm in contemporary music.

@menu
* References for contemporary approaches to rhythm::
* Tuplets in contemporary music::
* Contemporary time signatures::
* Extended polymetric notation::
* Beams in contemporary music::
* Bar lines in contemporary music::
@end menu


@node References for contemporary approaches to rhythm
@unnumberedsubsubsec References for contemporary approaches to rhythm

@itemize
@item Compound time signatures are addressed in @ref{Time signature}.

@item Basic polymetric notation is addressed in
@ref{Polymetric notation}.

@item Feathered beams are addressed in @ref{Feathered beams}.

@item Mensurstriche bar lines (bar lines between staves only) are
addressed in @ref{Grouping staves}.

@end itemize


@node Tuplets in contemporary music
@unnumberedsubsubsec Tuplets in contemporary music

@ignore
    Extended discussion of modern tuplets, including
    non-standard ratios, nested tuplets and customising
    the appearance of tuplets (ratios, note values, etc.)
    Also how to provide an ossia RhythmicStaff to help
    players break down a complicated tuplet.
@end ignore


@node Contemporary time signatures
@unnumberedsubsubsec Contemporary time signatures

@ignore
    Extended discussion of compound time signatures
    including Graham P.'s work; non-standard time
    signatures such as 7/10, 5/6; alternative
    notations such as Orff-esque 4/note, placing a
    single time signature across multiple staves, or
    placing time signatures at the top of StaffGroups
    or systems rather than in the staff.
@end ignore


@node Extended polymetric notation
@unnumberedsubsubsec Extended polymetric notation

@ignore
    Extended examples e.g., different instruments
    or ensembles with independent tempi
@end ignore


@node Beams in contemporary music
@unnumberedsubsubsec Beams in contemporary music

@ignore
    Beaming practises, stemlets, Boulez-esque displaying
    of beamed notes with flags
@end ignore


@node Bar lines in contemporary music
@unnumberedsubsubsec Bar lines in contemporary music

@ignore
    Mensurstriche bar lines, tick bar lines, etc.
@end ignore


@node Graphical notation
@subsection Graphical notation

@cindex duration line
@cindex note continuation
@cindex line, to indicate duration
@cindex continuation, of notes

@funindex \-

Rhythmic items may be continued by a duration line, which gets represented by a
@code{DurationLine} grob.
Possible styles are @code{'beam}, @code{'line}, @code{'dashed-line},
@code{'dotted-line}, @code{'zigzag}, @code{'trill} and @code{'none}.
The duration line may end with a hook (beam-style only) or an arrow.

@lilypond[quote,verbatim]
\layout {
  \context {
    \Voice
    \consists Duration_line_engraver
    \omit Stem
    \omit Flag
    \omit Beam
    \override NoteHead.duration-log = 2
  }
}

{
  a'1\- s2 r
  \once \override DurationLine.style = #'line
  a'1\- s2 r
  \once \override DurationLine.style = #'dashed-line
  \once \override DurationLine.dash-period = 2
  a'1\- s2 r
  \once \override DurationLine.style = #'dotted-line
  \once \override DurationLine.dash-period = 1
  \once \override DurationLine.bound-details.right.padding = 1
  a'1\- s2 r
  \once \override DurationLine.thickness = 2
  \once \override DurationLine.style = #'zigzag
  a'1\- s2 r
  \once \override DurationLine.style = #'trill
  a'1\- s2 r
  \once \override DurationLine.style = #'none
  a'1\- s2 r
  \once \override DurationLine.bound-details.right.end-style = #'arrow
  a'1\- s2 r
  \override DurationLine.bound-details.right.end-style = #'hook
  a'1\- s2 r
  \override DurationLine.details.hook-direction = #DOWN
  a'1\- s2 r
  \bar "|."
}
@end lilypond


@node Contemporary scoring techniques
@subsection Contemporary scoring techniques


@node New instrumental techniques
@subsection New instrumental techniques


@node Further reading and scores of interest
@subsection Further reading and scores of interest

This section suggests books, musical examples and other
resources useful in studying contemporary musical notation.

@menu
* Books and articles on contemporary musical notation::
* Scores and musical examples::
@end menu


@node Books and articles on contemporary musical notation
@unnumberedsubsubsec Books and articles on contemporary musical notation

@itemize
@item
@emph{Music Notation in the Twentieth Century: A Practical Guidebook}
by Kurt Stone [W. W. Norton, 1980]

@item
@emph{Music Notation: A Manual of Modern Practice} by Gardner Read
[Taplinger, 1979]

@item
@emph{Instrumentation and Orchestration} by Alfred Blatter [Schirmer,
2nd ed. 1997]

@end itemize


@node Scores and musical examples
@unnumberedsubsubsec Scores and musical examples

@ignore
    Rough list of composers whose work could be included
    (in alphabetical order, perhaps with suggested work):

        Pierre Boulez (Le Marteau Sans Maître?)
        John Cage (Freeman Etudes?)
        George Crumb (Black Angels?)
        Brian Ferneyhough (Transit?  Time & Motion Studies?)
        Ben Johnston (extended just intonation example)
        György Ligeti (several, including Hamburg Concerto)
        Krzysztof Penderecki (Threnody to the Victims of Hiroshima?)
        Karlheinz Stockhausen (Gruppen?)
@end ignore
