Musical Notation in the West (Cambridge Introductions to Music)

Cover\nHalf-title page\nTitle page\nCopyright page\nDedication\nContents\nList of\rFigures\nList of\rTables\nList of\rMusical Examples\nPreface\n1\rIntroduction: Musical Notation as a Symbolic Language\n2\rPlainsong and the Origins of Musical Notation in the West\n	The Earliest Neumes\n	The Earliest Neumes: Directionality\n	The Earliest Neumes: Grouping and Ligation\n	The Earliest Neumes: Melodic Nuances\n	The Earliest Neumes: A Common Ancestor and Its Dissemination\n	Pitch\n	Later Chant Notation\nInterlude 1: The Problem with Pitch\n3\rPolyphony and Rhythmic Notation\n	The Rhythmic Modes\n	The Rhythmic Modes: Proprietas et perfectio\n	The Rhythmic Modes: Opposite Propriety and the Plica, Fractio et collectio, Individual Notes and Rests\n	Six Modes or Two?\n	Mensural Notation: Lambertus and Franco\n	The ars noua\n	Coloration and Proportion\n	Developments of the Fifteenth and Sixteenth Centuries\n	The Transition to Modern Rhythmic Notation in the Sixteenth and Seventeenth Centuries\n	Rests and Note Names\nInterlude 2: Rhythm and Metre\n4\rThe Transition to the Modern Era: Instrumental Music and Performing Indications\n	Keyboard Tablatures\n	Lute Tablatures\n	The Adoption of Vocal Notation by Instrumentalists\n	Figured Bass Notation\n	Idiosyncratic Notation for Instruments\n	Accidentals, Mode, Key and Signatures\n	Dynamics, Tempo and Expression\nInterlude 3: The Score\n5\rNotational Nuance in the Twentieth Century and the Motives for Notational Innovation\n	Performing Techniques\n	Rhythm\n	Pitch\n	Aleatoric Notation\n	The Tension between Composition and Performance, and Notational Innovation\nCoda: The Meaning of Musical Literacy\nBibliography\nIndex