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Asterisks (*) denote seminal books on these subjects General Notation: Cope, Da

Asterisks (*) denote seminal books on these subjects General Notation: Cope, David. New Music Notation. Dubuque, Iowa : Kendall/Hunt Pub. Co., c1976. 122 p. Bibliography: p. 115‐122. This major work represents one of the best attempts at collecting and presenting symbols for the notation of new music. It is in two parts: Part I explains the concepts. Part II. consists of tables of symbols listing the meaning, recommended symbol, composers using this symbol (most often Cope!) and finally others. Published in 1976, this book could use a revision and updating, but still covers the bases pretty well. Does not contain effects for specific instruments, however. Heussenstamm, George. The Norton Manual of Music Notation, 1st ed. New York : W.W. Norton, c1987. 168 p. Includes index & Bibliography: p. 163‐164. A good collection of tips for standard calligraphy, tools, etc. but it is becoming quite outdated as computer generated scores are taking over. Very little attention is given to extended techniques of any special notation, and the manuscript is clear, but not of the finest quality. currently out of print. Karkoschka, Erhard. Notation in New Music; a Critical Guide to Interpretation and Realization. Translated from the German by Ruth Koenig. New York, Praeger [1972] 183 p. Translation of Das Schriftbild der Neuen Musik. This collection and discourse contains much of use to searching composers. it is organized as follows: Part One: The Essentials (discussion) Part Two: Present Practice ‐ This section contains a catalogue of symbols used in 20th century practice and categorizes them quite well into 1. Exact notation 2. Frame notation 3. Indicative notation. Part Three: Notation Examples with Explanations ‐ This section contains actual musical excerpts in which the symbols are used, including page layouts, graphic scores, etc. Unfortunately, the index is lacking. *Read, Gardner: Music Notation: A Manual of Modern Practice Crescendo Publishing, 1964; revised 1972 Taplinger Publishing Company, 1979 (2nd edition) ISBN 0800854535 Read, Gardner. 20th‐Century Microtonal Notation. New York : Greenwood Press, 1990. 198 p. Includes bibliographical references (p. [171]‐186) and index. A major work for anyone attempting to notate microtones. The number of examples can be overwhelming, and the compose will need to wade through a lot of stuff to find what he/she needs, (over 60 pages are dedicated to the notation of Quarter and Three Quarter tones alone!) Not many judgment are made, but it is comprehensive not selective. Layout is a little awkward and difficult. Risatti, Howard, New Music Vocabulary: a Guide to Notational Signs for Contemporary Music. Urbana, University of Illinois Press [1975] 219 p. Bibliography: p. [189]‐190. This work catalogs many standard and more obscure symbols. It is organized according to first general then specific for all of the standard instruments and voice!!! A good many of he "standard" symbols listed are found only in the example cited, and thus the work is more comprehensive than selective. *Stone, Kurt. Music Notation in the Twentieth Century : a Practical Guidebook, 1st ed. New York : W. W. Norton, c1980. 357 p. Includes index. Written for composers, this major work deals with specific methods of notating various musical expressions. The first part of the book deals with general procedures pertaining to all types of music and is subdivided by pitch, duration & rhythm,. The second part defines various notational devices for specific instruments, voice and electronics. It contains excellent typeset examples which will provide a basis for clear notation in manuscript. The bibliography is weak, but that is not enough to keep this from being a "first‐ stop" reference source. Orchestration/Instrumentation: *Adler, Samuel. The Study of Orchestration,1st ed. New York : Norton, c1982. 560 p. Accompanied by supplement "Enlarged music examples from The study of orchestration by Samuel Adler" (64 p.) & "Workbook for The study of orchestration"(100 p.) A major work covering the fundamentals of each orchestral instrument in a clear, well organized manner. Although it doesn't contain individual fingering charts for the various instruments it contains much in the way of suggestions for idiomatic writing as well as many good examples from the literature. This text used in conjunction with some of the other specific texts for various instruments should create a well balanced background for the composition of most works. Organized into two parts, the first deals with the individual instruments and their capabilities. The second part deals with techniques for scoring and transcribing for orchestra. The text also has a accompanying workbook, enlargement of musical examples and 5‐CD set of recordings. Berlioz, Hector, Treatise on Instrumentation, enl. and rev. by Richard Strauss, including Berlioz' essay On conducting. Tr. by Theodore Front. New York, E. F. Kalmus, c1948. 424 p. Although over 100 years old, this timeless work is an excellent starting point for composers of orchestral music. It is full of examples by the authors and other great composers of the 19th century and provides many insights into the creation of a good blend, color and contrast within instrumental groups. Blatter, Alfred, Instrumentation/Orchestration. New York : Longman, c1980. 427 p. Longman music series Another good source of general orchestration information. Read, Gardner. Contemporary Instrumental Techniques. New York : Schirmer Books, c1976. 259 p. Includes indexes & Bibliography: p. 232‐233. This general reference work contains lists of examples of extended techniques organized into two sections, one for general techniques and one relating to specific instruments. Although it does not include the cited examples, it is a good "where to look" source. It contains a good index. Stiller, Andrew. Handbook of Instrumentation; illustrations by James Stamos. Berkeley : University of California Press, c1985. 533 p. This major work contains a good brief overview, lots of fingering charts and is most effective as a quick resource to look up specifics about each instrument. However, it doesn't contain much in the way of helps for extended techniques or guidelines for idiomatic writing. Specific Instruments Woodwinds: *Bartolozzi, Bruno. New Sounds for Woodwinds ; translated and edited by Reginald Smith Brindle, 2d ed. London ; New York : Oxford University Press, 1980. 113, [1] p. & phonodisc (2 s. : 8 in. ; 45 rpm. microgroove) in pocket. This is a work concerning flute, oboe, clarinet and bassoon, listing the techniques for producing multiphonics, harmonics and other non‐ traditional tones. It contains many fingering charts and diagrams as well as standardized notation for these techniques. A great source for realizing the full potential of these instruments. Timm, Everett L. The Woodwinds; Performance and Instructional Techniques. Boston: Allyn and Bacon, 1964. This work contains perhaps the best set of fingering charts for the flute, oboe, clarinet and bassoon. An excellent single source for composers writing for these instruments. Flute: *Dick, Robert. The Other Flute : a Performance Manual of Contemporary Techniques. New York : Oxford University Press, Music Dept., 1975.154 p. phonodisc (2 s. : 7 in. ; 33 1/3 rpm.) in pocket. "Afterlight" by Robert Dick, a demonstration piece for flute alone: 1 fold. sheet in pocket. This has become one of the definitive books on extended flute technique. It is organized into sections dealing with traditional techniques, single sounds (color, microtones, glissandi, etc.), multiple sounds, other resources (voice, percussive sounds, whisper and jet tones) and electronic modifications. The fact that the author is both a composer and a performer makes this work especially useful for understanding the full potential of this instrument.. Howell, Thomas. The Avant‐Garde Flute; a handbook for composers and flutists. Berkeley, University of California Press, 1974. 290 p. and phonodisc (2 s. 7 in. 33 1/3 rpm.) SERIES: The new instrumentation, v. 2 Intended to help composers realize the flute's full potential, this work contains extensive coverage of microtones, and extended as well as standard techniques. Perhaps its greatest asset is the appendices which contain annotated fingering charts for harmonics, multiphonics, etc., describing the resulting sound and degree of difficulty in performance. This along with "The Other Flute" gives a full coverage of the flute's capabilities. Oboe: Belinsky, Isai. Visual Fingering and Trills Charts for Oboe : Plateau Conservatory system with alternate & auxiliary fingering. I. Belinsky, c1971. 13 p. This little self‐published booklet is a handy quick‐reference to determine trill fingerings on this often confusing instrument. The huge diagrams show exact key choice. Pro Musica Nova : Studien zum Spielen neuer Musik : fur Oboe/Hautbois / herausgegeben von Heinz Holliger. Koln : Musikverlag H. Gerig, [c1980] 51 p. of music. Includes works by Wyttenbach, Shinohara, Berio et al. Foreword in German, English and French. This is a collection of etudes and solo works for oboe utilizing many extended techniques. The works are of very high quality and useful for study by composers, not only for the techniques but also for the clean, typeset notation. Goossens, Leon and Edwin Roxburgh. Oboe, 1st American ed. New York : Schirmer Books, 1977. 238 p., SERIES: Yehudi Menuhin music guides This book contains much that will not be of interest to the composer, but the final chapters on Multiphonics and Modern music are some of the best (and only) treatises on this subject uploads/Litterature/ asterisks-denote-seminal-books-on-these-subjects-general-notation.pdf