Music scores are a late development in the history of printing. It was 20 years after Gutenberg’s invention of the printing press that the first printed notation was created. As royalty supported music and composers for their own enjoyment and entertainment, the use of printed music was something that was usually suppressed. Most of the scores of written music prior to the 20th century were handwritten by the composer, along with each of the individual parts.
I purchased a vibraphone last year and am very pleased with the way that it has helped my music evolve. I spend time working out cadences and progressions, experimenting with varying chordal arrangements. Because of the sustain of each note, I’m able to determine how different overtones will sound as they overlap in the structure. In addition, the instrument has a beautiful sound which people do not find offensive.
When I first started working with computers and music, personal computers were not capable of what they can do now. In order to compose music, one needed to send signals from the computer to additional pieces of equipment such as tone generators and samplers. This created an enormous number of connections and often the maintenance of the equipment took more time than the creative endeavors.
Edward Lowinsky was one of the most prominent and influential musicologists in post-World War II America. His 1946 work entitled “The Secret Chromatic Art in the Netherlands Motet” was hotly debated in its time, spurring considerable research into the issues of musica ficta, a term used in European music theory to describe pitches, whether notated or added at the time of performance, that lie outside the system of “correct” or “true” music.