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In the history of mathematical notation, written notation is usually considered.
It is based on an oral tradition, with written notation serving only as a reading guide.
Tibetan religious music is the only Central Asian repertoire that has a long history of written notation.
In general, music in Southeast Asia is a tradition taught to each succeeding generation without the use of written notation.
It may be useful when used in tandem with some form of written notation, particularly as it can provide a record of how individual dancers interpret particular roles.
Jazz is also still a young music, with about a century of precedent, imperfectly captured on record and poorly served by written notation.
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The Zen-masterish composer John Cage is one of them, represented by written notations for a chance-generated score.
Written notations are to be found in the musical cultures of the Far East, Southeast Asia, South Asia, the Middle East, and the West.
This implementation is a proof of concept that it is possible to read and play music directly from written notations.
These songs were not recorded – the written notations were provided to Viennese citizens using a burgeoning printing industry so families (notably women) could play these songs in their homes and together recount heroic and victorious battles.
And, while there are examples of composers who were sticklers for their works to be played within the precise limits implied by the written notations, there are countless other examples of great composers who encouraged their students to go their own way – including Chopin and Liszt – and sometimes to make changes even to the notes as written.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com