Editing Musical notation (section)

===Indonesia===<!--[[Kepatihan notation]]'s see also links here-->
{{Main|Gamelan notation}}

Notation plays a relatively minor role in the oral traditions of [[Indonesia]]. However, in [[Java]] and [[Bali]], several systems were devised beginning at the end of the 19th century, initially for archival purposes. Today the most widespread are cipher notations ("not angka" in the broadest sense) in which the pitches are represented with some subset of the numbers 1 to 7, with 1 corresponding to either highest note of a particular octave, as in [[Sundanese script|Sundanese]] [[gamelan]], or lowest, as in the [[kepatihan notation]] of [[Java]]nese [[gamelan]].

Notes in the ranges outside the central octave are represented with one or more dots above or below the each number. For the most part, these cipher notations are mainly used to notate the skeletal melody (the [[balungan]]) and vocal parts ([[gerong]]an), although transcriptions of the elaborating instrument variations are sometimes used for analysis and teaching. Drum parts are notated with a system of symbols largely based on letters representing the vocables used to learn and remember drumming patterns; these symbols are typically laid out in a grid underneath the skeletal melody for a specific or generic piece.

The symbols used for drum notation (as well as the vocables represented) are highly variable from place to place and performer to performer. In addition to these current systems, two older notations used a kind of staff: the [[Surakarta|Solo]]nese script could capture the flexible rhythms of the [[Sindhen|pesinden]] with a squiggle on a horizontal staff, while in [[Yogyakarta]] a ladder-like vertical staff allowed notation of the balungan by dots and also included important drum strokes. In Bali, there are a few books published of [[Gamelan gender wayang]] pieces, employing alphabetical notation in the old Balinese script.

Composers and scholars both Indonesian and foreign have also mapped the [[slendro]] and [[pelog]] [[Musical tuning|tuning]] systems of gamelan onto the western staff, with and without various symbols for [[microtonal music|microtones]]. The Dutch composer [[Ton de Leeuw]] also invented a three line staff for his composition ''Gending''. However, these systems do not enjoy widespread use.

In the second half of the twentieth century, Indonesian musicians and scholars extended cipher notation to other oral traditions, and a [[diatonic and chromatic|diatonic scale]] cipher notation has become common for notating western-related genres (church hymns, popular songs, and so forth). Unlike the cipher notation for gamelan music, which uses a "fixed Do" (that is, 1 always corresponds to the same pitch, within the natural variability of gamelan tuning), Indonesian diatonic cipher notation is "moveable-Do" notation, so scores must indicate which pitch corresponds to the number 1 (for example, "1=C").

<gallery>
Image:Surakarta gamelan notation slendro.png|A short melody in slendro notated using the Surakarta method.{{sfnp|Lindsay|1992|pp=43–45}}
Image:Yogyakarta gamelan notation slendro.png|The same notated using the Yogyakarta method or 'chequered notation'.{{sfnp|Lindsay|1992|pp=43–45}}
Image:Kepatihan gamelan notation slendro.png|The same notated using Kepatihan notation.{{sfnp|Lindsay|1992|pp=43–45}}
Image:Western gamelan notation slendro.png|The same approximated using Western notation.{{sfnp|Lindsay|1992|pp=43–45}} {{audio|Western gamelan notation slendro.mid|Play}}
</gallery>