Problems and Methods of Notation

Abstract

TODAY, in that area of our newest which claims Webern as its founder, most of the basic forces that hitherto served to create musical logic and coherence have lost their a priori position of supremacy; now elements that had been of secondary importance, or had not even been considered part of music, have become the shaping factors of a new musical language. The chief trends of this development run in two very different directions: 1) toward uncompromising exactitude and predictability; 2) toward chance. The present article constitutes a broad outline of new notational problems raised by controlled music and a sampling of notational innovations designed to solve them. It is further limited to discussing published works or works about to be published so that readers may have access to scores.

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