Editing Musical notation (section)

==In various countries==

===Korea===
[[File:시용향악보 (時用鄕樂譜).jpg|thumb|''Jeongganbo musical notation system'']]
''Jeongganbo'' is a traditional musical notation system created during the time of [[Sejong the Great]] that was the first East Asian system to represent rhythm, pitch, and time.{{sfnp|Gnanadesikan|2011|p={{Page needed|date=October 2018}}}}<ref>{{cite web|title=Gukak|url=http://english.donga.com/List/3/all/26/251893/1|website=The DONG-A ILBO|publisher=dongA.com|access-date=20 September 2016}}</ref> Among various kinds of Korean traditional music, Jeong-gan-bo targets a particular genre, Jeong-ak ({{lang|ko|정악, 正樂}}).

Jeong-gan-bo specifies the pitch by writing the pitch's name down in a box called 'jeong-gan'. One jeong-gan is one beat each, and it can be split into two, three or more to hold half beats and quarter beats, and more.

Also, there are many markings indicating things such as ornaments. Most of these were later created by Ki-su Kim.

===India===
{{Main|Swaralipi}}
[[File:Bhat notation1.jpg|thumb|Indian music, early 20th century.]]
The [[Samaveda]] text (1200 BCE – 1000 BCE) contains notated melodies, and these are probably the world's oldest surviving ones.<ref name="brunonettle">Bruno Nettl, Ruth M. Stone, James Porter and Timothy Rice (1999), The Garland Encyclopedia of World Music, Routledge, {{ISBN|978-0824049461}}, pages 242–245</ref> The musical notation is written usually immediately above, sometimes within, the line of Samaveda text, either in syllabic or a numerical form depending on the Samavedic ''Sakha'' (school).<ref>KR Norman (1979), Sāmavedic Chant by Wayne Howard (Book Review), Modern Asian Studies, Vol. 13, No. 3, page 524;

Wayne Howard (1977), Samavedic Chant, Yale University Press, {{ISBN|978-0300019568}}</ref> The Indian scholar and musical theorist [[Pingala]] (c. 200 BCE), in his ''Chanda Sutra'', used marks indicating long and short syllables to indicate meters in Sanskrit poetry.

A rock inscription from circa 7th–8th century CE at [[Kudumiyanmalai]], Tamil Nadu contains an early example of a musical notation. It was first identified and published by archaeologist/epigraphist [[D. R. Bhandarkar]].{{sfnp|Bhandarkar|1913–1914}} Written in the Pallava-grantha script of the 7th century, it contains 38 horizontal lines of notations inscribed on a rectangular rock face (dimension of around 13 by 14 feet). Each line of the notation contains 64 characters (characters representing musical notes), written in groups of four notes. The basic characters for the seven notes, 'sa ri ga ma pa dha ni', are seen to be suffixed with the vowels a, i, u, e. For example, in the place of 'sa', any one of 'sa', 'si', 'su' or 'se' is used. Similarly, in place of ri, any one of 'ra', 'ri', 'ru' or 're' is used. Horizontal lines divide the notation into 7 sections. Each section contains 4 to 7 lines of notation, with a title indicating its musical 'mode'. These modes may have been popular at least from the 6th century CE and were incorporated into the Indian 'raga' system that developed later. But some of the unusual features seen in this notation have been given several non-conclusive interpretations by scholars.{{sfnp|Widdess|1979}}

In the notation of Indian [[rāga]], a solfege-like system called [[swara|sargam]] is used. As in Western solfege, there are names for the seven basic pitches of a major scale (Shadja, Rishabha, Gandhara, Madhyama, Panchama, Dhaivata and Nishada, usually shortened to Sa Re Ga Ma Pa Dha Ni). The tonic of any scale is named Sa, and the dominant Pa. Sa is fixed in any scale, and Pa is fixed at a fifth above it (a [[Pythagorean tuning|Pythagorean]] fifth rather than an [[Equal temperament|equal-tempered]] fifth). These two notes are known as achala swar ('fixed notes').

Each of the other five notes, Re, Ga, Ma, Dha and Ni, can take a 'regular' (shuddha) pitch, which is equivalent to its pitch in a standard major scale (thus, shuddha Re, the second degree of the scale, is a whole-step higher than Sa), or an altered pitch, either a half-step above or half-step below the shuddha pitch. Re, Ga, Dha and Ni all have altered partners that are a half-step lower (Komal-"flat") (thus, komal Re is a half-step higher than Sa).

Ma has an altered partner that is a half-step higher ({{lang|hi-Latn|teevra}}-"sharp") (thus, {{lang|hi-Latn|tivra}} Ma is an augmented fourth above Sa). Re, Ga, Ma, Dha and Ni are called {{lang|hi-Latn|vikrut swar}} ('movable notes'). In the written system of Indian notation devised by Ravi Shankar, the pitches are represented by Western letters. Capital letters are used for the achala swar, and for the higher variety of all the vikrut swar. Lowercase letters are used for the lower variety of the vikrut swar.

Other systems exist for non-twelve-tone [[equal temperament]] and non-Western music, such as the Indian ''[[Swaralipi]]''.

===Russia===
{{further|Znamenny chant}}
[[File:Example of hooks and banners notation.PNG|thumb|right|An example of Znamenny notation with so-called "red marks", Russia, 1884. "Thy [[Crucifixion of Jesus|Cross]] we honour, oh Lord, and Thy holy Resurrection we praise."]]
[[File:Kryuki.jpg|thumb|Hand-drawn [[lubok]] featuring 'hook and banner notation']]
Znamenny Chant is a singing tradition used in the [[Russian Orthodox Church]] which uses a "hook and banner" notation. Znamenny Chant is [[unison]], [[melisma]]tic [[liturgy|liturgical]] singing that has its own specific notation, called the ''stolp'' notation. The symbols used in the stolp notation are called ''{{Transliteration|ru|kryuki|links=no}}'' ({{langx|ru|крюки|links=no}}, 'hooks') or ''{{Transliteration|ru|znamyona}}'' ({{langx|ru|знамёна|links=no}}, 'banners'). Often the names of the signs are used to refer to the stolp notation. Znamenny melodies are part of a system, consisting of Eight Modes (intonation structures; called glasy); the melodies are characterized by fluency and well-balancedness.{{sfn|Kholopov|2003|loc=192}} There exist several types of Znamenny Chant: the so-called ''Stolpovoy'', ''Malyj'' (Little) and ''Bolshoy'' (Great) Znamenny Chant. Ruthenian Chant ([[Prostopinije]]) is sometimes considered a sub-division of the Znamenny Chant tradition, with the [[Grand Duchy of Moscow|Muscovite]] Chant (Znamenny Chant proper) being the second branch of the same musical continuum.

Znamenny Chants are not written with notes (the so-called linear notation), but with special signs, called ''Znamëna'' (Russian for "marks", "banners") or ''Kryuki'' ("hooks"), as some shapes of these signs resemble hooks. Each sign may include the following components: a large black hook or a black stroke, several smaller black 'points' and 'commas' and lines near the hook or crossing the hook. Some signs may mean only one note, some 2 to 4 notes, and some a whole melody of more than 10 notes with a complicated rhythmic structure. The stolp notation was developed in [[Kievan Rus']] as an [[East Slavs|East Slavic]] refinement of the [[Byzantine music|Byzantine]] [[neumatic]] musical notation.

The most notable feature of this notation system is that it records transitions of the melody, rather than [[Musical note|note]]s. The signs also represent a mood and a gradation of how this part of melody is to be sung (tempo, strength, devotion, meekness, etc.) Every sign has its own name and also features as a spiritual symbol. For example, there is a specific sign, called "little dove" (Russian: голубчик ''(golubchik)''), which represents two rising sounds, but which is also a symbol of the [[Holy Ghost]]. Gradually the system became more and more complicated. This system was also ambiguous, so that almost no one, except the most trained and educated singers, could sing an unknown melody at sight. The signs only helped to reproduce the melody, not coding it in an unambiguous way.
(See [[#Byzantine Empire|Byzantine Empire]])

===China===
{{Main|Chinese musical notation}}

[[File:Qinnotation.png|thumb|Chinese [[Guqin notation]], 1425]]
The earliest known examples of text referring to music in China are inscriptions on musical instruments found in the Tomb of [[Marquess|Marquis]] Yi of Zeng (d. 433 B.C.). Sets of 41 chimestones and 65 bells bore lengthy inscriptions concerning pitches, scales, and transposition. The bells still sound the pitches that their inscriptions refer to. Although no notated musical compositions were found, the inscriptions indicate that the system was sufficiently advanced to allow for musical notation. Two systems of pitch nomenclature existed, one for relative pitch and one for absolute pitch. For relative pitch, a [[solmization]] system was used.{{sfnp|Bagley|2004}}

[[Gongche notation]] used Chinese characters for the names of the scale.

===Japan===
{{further|Shakuhachi musical notation|Kunkunshi}}
[[File:Tempyo Biwa Fu.jpg|thumb|''Tempyō Biwa Fu'' {{lang|ja|天平琵琶譜}} (circa 738 AD), musical notation for [[Biwa]]. ([[Shōsōin]], at Nara, Japan)]]
Japanese music is highly diversified, and therefore requires various systems of notation. In Japanese [[shakuhachi]] music, for example, glissandos and timbres are often more significant than distinct pitches, whereas [[taiko]] notation focuses on discrete strokes.

[[Ryukyu Islands|Ryukyuan]] [[sanshin]] music uses [[kunkunshi]], a notation system of [[kanji]] with each character corresponding to a finger position on a particular string.

===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>

=== Judea ===
{{Main|Hebrew cantillation}}
[[File:Example of biblical Hebrew trope.svg|thumb|Example of biblical Hebrew Trope]]
Ancient Jewish texts include a series of marks assigning musical cantillation notes. Known in Hebrew as Ta'amim and Yiddish as Trope, there are records of these marks from the 6th and 7th centuries, having been passed down as a tradition for Jewish prayers and texts. Traditionally a series of marks written above and around the accompanying Hebrew texts, Trope marks represent a short musical motif. Throughout the Jewish diaspora there are variations in the accompanying melodies. There are three main systems of Hebrew cantillation: The Babylonian System, The Palestinian System, and the Tiberian System.