Jon Silpayamanant
DOI: 10.6084/m9.figshare.22723760
Link: silpayamanant.wordpress.com/timeline-of-music-notation

This timeline of music notation is by no means complete and should be treated as a work in progress. I regularly come across a couple dozen or so music notation systems a month now, often quite by accident while doing research in other areas, and as many of those intentional [or not] searches fall into regional clusters it made more sense to start documenting them as such. This means that this Music Notation Timeline page gets updated far less frequently.

I’ll only be updating this intermittently while I focus on several other annotated text documents of the timeline (separated primarily by region) and populating the database with examples. The timeline will eventually be incorporated into a Global Music Theory resource which will include other projects like the Arabic Music Theory Bibliography (650-1650) Project, the Early Black Musicians, Composers, and Music Scholars (505-1505 CE), and the Bibliography of Slave Orchestras and Ensembles.

There are literally hundreds, if not thousands of examples from the 20th century to today, that may very well be divided into a separate project especially as a number of new notations are being developed directly as notation programs and software (see the Non-CWN Music Notation Software list for many examples).

One thing to keep in mind with music notation is Sandeep Bhagwati’s (2013a and 2013b) idea of Notational Perspective: the idea that all notations have a context-independent AND contingent features which shapes what’s stable over time and what is malleable.

Featured Image: Various music notations from all over the world; dating from the Score for the Hurrian Hymn to Nykkal discovered in Ugarit (Syria 1400 BCE) to a modern notation for visually impaired or blind readers.

PUBLISHED 2/4/2017; UPDATED 05/02/2024; (1071 entries)

BCE Music Notation (19 entries)

  1. ca. 3000 BCE Manchuria – “Singing Mask” Petroglyphs
  2. ca. 2613 to 2494 BCE Egypt [IMG] – Cheironomy is thought to date back to the Fourth Dynasty of Egypt ca. 2613 to 2494 BCE. (Gerson-Kiwi & Hiley, 2001)
  3. ca. Mid 3rd Millennium BCE Israel – A form of cheironomy is said to be continuously documented in ancient Israel from at least the middle of the 3rd millennium BCE onwards. (Gerson-Kiwi & Hiley, 2001)
  4. ca. 2600 BCE Iraq (Sumer) – A String Naming System is recorded as early as the Early Dynastic (ED) period III (2600-2334 BCE). (Dumbrill, 2019)
  5. ca. 2600 – 1900 BCE Pakistan/Afghanistan/India (Indus Valley) – Possible transmission of Harappan/Indus Valley musical terms, notation, and instruments to or from ancient Sumer via trade circuits. (Vyas, 2020)
  6. ca. 2000 – 1700 BCE Iraq (Babylonia, Larsa) [IMG] – Old Babylonian notation.
  7. ca. 1900 – 1600 BCE Iraq [IMG] – Music notation on cuneiform tablet fragment set created at Nippur, in Sumer (Iraq)
  8. ca. 1400 BCE Syria [IMG] – the Hurrian Hymns are a collection of music inscribed in cuneiform on clay tablets excavated from the ancient Amorite-Canaanite city of Ugarit (Ras Shamrah in northern Syria)
  9. ca. 1200 – 1000 BCE India [IMG] – Samaveda, Vedic Numeric Hand Notation
  10. ca. 800 – 600 BCE Spain – Possible chieronomic system used in ancient Gades and Tartessos due to Phoenician (Tyre) influence. (Ramírez, n.d.)
  11. ca. 500 – 490 BCE Greece [IMG] – Eleusis inv. 907 {Trumpet Signal). An Onomatopoeic notation painted on an epinetron. Attributed to the Sappho Painter.
  12. ca. Early 5th Century BCE Greece [IMG] – systema teleion fully elaborated
  13. ca. 433 BCE China [IMG] – inscriptions on musical instruments found in the Tomb of Marquis Yi of Zeng
  14. ca. 360 BCE Egypt (Alexandria) – Alypian notation
  15. ca. 335 BCE Greece (Athens) – Parasemantike
  16. ca. 300 BCE Greece – Aristoxenus of Tarentum condems the usage of catapycnosis.
  17. ca. 200 BCE – 200 BCE India – Nāṭya Śāstra syllabic notation for drums.
  18. ca. 200 BCE – 1 BCE Roman Egypt (Tebtunis) – Music Notation in Demotic text (Papyrus Carlsberg 589). (Emerit, 2013: 6; von Lieven, 2002: 497 – 510; 2006: 9 – 38, pl. 1-4A)
  19. ca. 100 BCE – 1 BCE China – Gupu (“drum notation”) recorded in Liji/禮記 (“Book of Rites”).

001-999 CE (53 entries)

  1. ca. 42 CE Egypt – Coptic Chant Cheironomy is thought to be a continuation of similar cheironomic practices which can be traced back to the Fourth Dynasty of Egypt ca. 2613 to 2494 BCE.
  2. ca. 1st Century CE Greece – Bacchius Senior writes a catechism of music, using vocal and instrumental notation to explain the intervals. (Williams, 1903: 250).
  3. ca. 1st – 4th Centuries CE India – Dattilam (दत्तिलम्) attributed to Dattila Muni includes syllabic and gestural notations
  4. ca. Mid to Late 2nd Century CE Syria – Use of marginal symbols such as qālâ, indicating melody or meter, used in Syriac liturgical hymns and chants. Ephrem the Syrian (ca. 306-373 CE) discusses Bardaisan’s (154-222 CE) usage of them.
  5. ca. Late 3rd Century CE Egypt (Oxyrhynchus) – Oxyrhynchus Papyri Written in Greek with Greek Vocal Notation.
  6. ca. 4th – 6th Centuries CE Greece [IMG] – Ekphonetic notation
  7. ca. 390-409 CE Roman Spain/Hispania – Quintilianus’ notation
  8. ca. 411 CE Syria (Edessa, Upper Mesopotamia) – Syriac neumes
  9. ca. 5th – 7th Centuries CE Egypt – Coptic music notation
  10. Early 6th Century CE Ostrogothic Italy – Boethius Notation, a form of letter notation used in his writing on music such as in the De institutione musica.
  11. 6th Century CE Ethiopia – neume notation attributed to St. Yared (505-571 CE)
  12. 6th Century CE Syria – Joseph (Yawsep) Hūzāyā (fl. 6th c.) is said to have created the ekphonetic system used in Syrian liturgical chants.
  13. ca. 581-618 CE China [IMG] – Fangfupu. Created by Sui Dynasty monk, Feng Zhipian. (Yuanzheng, 2014; Yale ISM, 2019)
  14. 6th – 8th Centuries Central/Inner Asia – Ayalgu, a music notation of the pre-Islamic Göktürks.
  15. 6th – 8th Century CE Egypt [IMG] – Hermoupolis Notation
  16. 6th – 8th Centuries CE India [IMG] – Brihaddeshi of Mataṅga Muni has early unenhanced Sargam
  17. 618-907 CE China – Yànlè Bànzìpǔ (唐代燕楽半字譜). Letter notation used during the Tang Dynasty.
  18. 7th Century CE  China – Longhand form of qin music notation called wenzi pu 〔文字譜〕 (literally “written notation”), said to have been created by Yongmen Zhou (雍門周) during the Warring States period. Also gongche/gonchepu (工尺譜) notation emerged around this time.
  19. 7th (ca. 672) Century CE Iberian Peninsula [IMG] – Mozarabic/Hispanic chant neumes (Visigothic Neumes).
  20. 7th – 8th Century CE India [IMG] – Musical inscription on a rock-face at Kudumiyamalai, near Pudukottai in Tamil Nadu, South India
  21. 7th – 13th Centuries CE India – various notations, including oral notations developed.
  22. Pre-747 CE Japan – Tanbiao Biwa (Pipa) Notation
  23. 773 CE Japan – Five Strings Biwa fu preserved in Kyoto Yomei Bunko
  24. 8th Century CE Armenia [IMG] – Khaz notation.
  25. 8th Century CE China – Jianzipu (abbreviated word tablature) created by Cao Rou (Yingshi, 1989: 240).
  26. 8th Century CE China – Notations for the straight-neck five-stringed pipa and the slanted-neck four-stringed pipa housed in the Syosoin museum.
  27. 8th Century CE China (Guangdong & Fujian) – Ersipu (“two-four notation”).
  28. 8th Century CE China – Zhengpu (notation for the long zither, zheng), a form of wenzi tuxing hunhepu (“mixture of word tablature and graphic notation”). (Yingshi, 1989: 240).
  29. 8th Century CE India/Tibet – Sarvadurgati Drum Notation. In the Sarvadurgati-parisodhana-tejoraja tatha-gata-arhat-samyaksambuddhasya-kalpa (translated into the Tibetan by Santigarbha (De bzhin gshegs pa dgra bcom pa yang dag par rdzogs pa’i sangs rgyas Ngan song thams cad yongs su sbyong ba gzi brjid kyi rgyal po’i rtog pa). See Ellingon (1980).
  30. Early 9th Century CE Japan – Kinka-fu vocal notation developed.
  31. 9th Century CE Northern India – Numeric notations used by the Kauthuma school for Samaveda
  32. 9th Century CE Medieval Palestine – Te’amim biblical accents to delineated pitch added to Hebrew texts by Tiberian School of Masoretes.
  33. 9th Century CE Carolingian Empire [IMG] – Daseian notation used in the anonymous musical treatises Musica enchiriadis and Scolica enchiriadis.
  34. 9th Century Switzerland [IMG] – St. Gallen Neumes
  35. 838 CE Japan – Miyamoto Nangu Biwa fu preserved in Japanese Kunaicho
  36. ca. 840-850 CE Carolingian Burgandy – Aurelian neumes
  37. Mid to Late 9th Century CE Iraq – al-Kindi’s Notation. Used in al-Kindi’s music treatises Risāla fī al-luḥūn wa-’l-nagham and Mukhtaṣar al-mūsīqī fī ta’līf al-nagham wa-ṣan ‘at al-‘ūd.
  38. 9th – 11th Century CE France – Paleo–Frankish/St Amand notation
  39. 9th – 12th Century CE Greece – Early Byzantine neumes (palaeobyzantine)
  40. 9th Century CE Francia – earliest examples of cheironomic neumes or in campo aperto neumes
  41. 9th – 10th Century France (Metz) [IMG] – Messine Neumes
  42. Late 9th Century Italy (Nonantola) [IMG] – Nonantolian Notation
  43. Late 9th – Early 10th Century Iraq/Syria/Egypt – al-Farabi’s Abjad. Used in al-Farabi’s Kitāb al-mūsīqī al-kabīr and other music treatises.
  44. ca 10th Century CE – Several attempts to invent a more satisfactory notation using alphabetical letters. (Williams, 1903: 251).
  45. ca 918-1392 CE Korea – Yukbo, a type of notation using onomatopoeia of an instrument in Gueum (口音 : mnemonics) in use during the Goryeo period (918-1392); no surviving examples of scores exist from the Goryeo period, but scores from later periods and descriptions of its earlier usage exist in music historical and theoretical literature
  46. 920 CE Japan – Shinsen Oojoo-fu, first standard collection of notation for the transverse flute. Compiled under Imperial order as an official undertaking of the state by Prince Sadayasu (870-924).
  47. 933 CE China/Xinjiang – a form of Pipa notation discovered in the Dunhuang Caves.
  48. ca. 960-1127 China [IMG] – Daoist Hymn Music Notation first appearing in the Late Northern Song Dynasty. (Yale ISM, 2019).
  49. ca. 960-1279 China – Súzìpǔ (俗字譜), “popular notation” related to Gonche notation first appearing in the Song Dynasty.
  50. 966 CE Japan – Hakuga no Fue-fu. Flute Notation used in the Shinsen gakubu (新撰楽譜) which was compiled by order of Emperor Murakami.
  51. 10th Century CE Georgia – Georgian neumes
  52. 10th Century CE Southern France/Spain [IMG] – Aquitanian Neumes
  53. 10th Century CE North Italy [IMG] – Breton Notation

1000-1499 CE (62 entries)

  1. 1027 CE Persia – Ibn Sina’s Atānīn
  2. Early 11th Century CE Italy – Beneventan neumes
  3. 11th Century CE Russia – Kondakaria Notation
  4. 11th Century CE France (Montpellier) – Montpellier Antiphony with alphabetical letters above the neumes. (Williams, 1903: 251).
  5. 11th Century CE Sicily – Seven Line and Dot notation designed to represent the seven tones of Terpander developed. (Williams, 1903: 251).
  6. 11th Century CE Russia – stolp notation for Znamenny Chant (знаменный распев).
  7. Mid-Late 11th Century France – Variant form of Notae Boethianae glosses added to a manuscript copied in France (PA 7976, Bibliothèque nationale de France). (Barrett, 2021)
  8. Late 11th Century CE Korea – Yuljabo, a type of letter notation used by the common people for the scores of wind instruments, such as the Daeguem and Piri; likely introduced to court musicians during King Yejong’s reign (1105-1122).
  9. Late 11th – Early 12th Century CE France [IMG] – Square Notation. Stylized square neumes.
  10. 1114 CE Korea – Gongcheokbo, a type of simplified letter notation developed for recording the Dang-ak (music of Tang Dynasty in China) introduced to Korea; sometimes called Sipjabo (十字譜: 10 letter notation).
  11. Early to Mid 12th Century France (Mont-Saint-Michel) – a-p Notation, a letter notation, in a copy of Horace’s works copied at the island abbey Mont-Saint-Michel. (Barrett, 2021)
  12. 12th Century CE – A notation for Triple Measure invented divided into “Perfect Measures” (3 breves) and “Imperfect Measures” (2 breves). (Williams, 1903: 252).
  13. 12th Century Japan – Sango Yoroku（三五要録）
  14. Early 12th Century CE Korea – Yakjabo (略字譜) abridged version of Gongcheokbo notation
  15. 12th Century CE Japan – Buddhist shomyo chant notations
  16. 12th Century CE China – Lülü character notation. (Yingshi, 1989: 240).
  17. 1192 CE Japan – Jinji Yoroku (So fu/ Zheng pu). Notation of 13 stringed long zither, edited by Fujiwara no moronaga
  18. Late 12th – Early 13th Century Spain/Morrocco – Joseph ben Judah ibn Aknin’s Notation used in his Hebrew translation of al-Farabi’s Kitab al-Musiqa al-Kabir.
  19. 12th – 13th Century CE India – Saṅgītasamayasāra of Pārśvadeva has syllabic drum notation
  20. 1201 CE Japan – Hosyou Fu notation for the sho.
  21. Early 13th Century CE India [IMG] – Saṅgīta ratnākara of Śārṅgadeva (1175–1247) includes syllabic drum notation
  22. Mid 12th Century CE Japan – Go-on Hakase notation attributed to Kakui (b. 1236).
  23. 1252 CE Iran – Safi al-Din al-Ormavi notation system
  24. 1274 CE Italy (Padua) – Marchettus of Padua describes red notes as showing change of mood or alteration of the normal values of notes. (Williams, 1903: 252).
  25. 1275 CE Englad (Evesham) – Walter Odington, monk of Evesham, invents the minim. (Williams, 1903: 252).
  26. 1283 CE Thailand (Sukhothai) – King Ramkhamhaeng in the early Sukhothai period creates first lexical tone mark system for notating Thai lexical tones.
  27. 1292 CE Japan – Shoko notation.
  28. 1294 CE Persia – Qutb al-Dīn al-Shīrāzī’s Adwār
  29. 13th Century CE Iran – Al-Shirāzī’s music notation in his Durrat al-Tāj.
  30. 13th Century CE China – Yintu (sound diagram) invented by Yu Zai. (Yingshi, 1989: 240).
  31. 13th – 17th Century CE China – Gélǜpǔ (格律譜) [notation of tone pattern and rhyming scheme].
  32. 1303 CE Japan – Sinsen syoteki Fu notation for sho and flute.
  33. Late 13th – Early 14th Century Ethiopia [IMG] – Ethiopian Melekket notation for Zema chants
  34. 14th Century CE – Several dozen treatises on Measured Music are written and published. (Williams, 1903: 252)
  35. 14th Century CE Vietnam – Hò Xự Xang system. Possibly adopted earlier sometime during the Lý dynasty to the Trần dynasty (11th to the 14th Century CE)
  36. 14th Century CE Japan – A rhythmic form of Go-on Hakase developed for Noh theater. Some examples survive in works by Zeami Motokiyo (世阿弥 元清) (c. 1363 – c. 1443).
  37. 1321 CE France (Paris) – Johannes de Muris uses an alphabetic notation on a 4-lined staff. (Williams, 1903: 253).
  38. 1322 CE Italy – Papal Bull to suppress semibreves and minims. (Williams, 1903: 253).
  39. 1326 CE England – Robert de Handlo indicates false music by varying the position of note stems. (Williams, 1903: 253).
  40. 1355 CE Persia – Ḥasan Kāšānī’s Adwār.
  41. ca. 1360 CE England (Robertsbridge, Sussex) [IMG] – Robertsbridge Codex. Possibly earliest existing example of a score specifically for organ/keyboard; in a form of tablature which resembles German organ tablature. (Young, 1962)
  42. Mid 14th – 15th Centuries CE Indonesia – Kidung Notation, a type of ekphonetic notation used for the ritual Kidung songs and ensembles that performed them during the Majapahit Empire.
  43. Early 15th Century CE Thailand [IMG] – Chant notation in use for recitation of Mahachat Khamluang
  44. Early 15th Century CE Korea –  Jeongganbo or Chong Gan Bo (정간보, 井間譜) traditional Korean musical notation system introduced by Sejong the Great and known as the first fully fleshed out musical notation system that allowed for full scores of ensembles.
  45. 1413 CE – The “Direct” – Used at end of stave to show first note of following stave created by Prosdoscimus de Beledmandis.
  46. 1421 CE Persia – Abd al-Qadir Maraghi’s Atānīn.
  47. 1441 CE Ottoman Empire – EBCED Notation in Ahmedoğlu Şükrüllâh’s Tercüme-i Kitab-ı Edvâr.
  48. 1450 CE Ottoman Empire – EBCED Notation in Nūr ad-Dīn ‘Abd ar-Rahmān Jāmī’s Treatise on Music.
  49. 1451 CE Ottoman Empire – EBCED Notation in Hace Abdülaziz’s Nekavetü’l Edvâr.
  50. 1453 CE Ottoman Empire – EBCED Notation in Fethullah Şirvanî’s Mecelletün fi’l-Mûsîka.
  51. 1457-1476 CE Germany (Regensburg) – Regensburg Diagram. German tablature for 5-course lute. (Boye, 1995-2023; The Lute Society, n.d.)
  52. ca. 1460 CE Germany (Brunswick) – Kassel-Wolfenbüttel Tablature System (KWTS). A 5-course lute in tablature that combines a quasi-mensural notation resembling the upper voice of organ tablature, and an alphabetic notation, parallel to organ tablature. (Boye, 1995-2023; The Lute Society, n.d.)
  53. 1464 CE Korea [IMG] – Oeumyakbo (五音略譜: 5-tone abridged notation) or Gungsang hailijibo; revised version of Jeongganbo developed by Hwang Hyo-seong and other court musicians; this revision made it possible to distinguish rhythmic meter from the rhythms of the notes Jeongganbo scores; it is also a movable Do pentatonic notation whereas Jeongganbo was a fixed Do notation; pitches can be used to designate tempi and modes and starting pitch are displayed at the beginning of the score similar to usage of key signatures in Western notation.
  54. ca. 1469-1494 CE Korea – Hapjabo was a tablature notation for the Geomungo created systemized by musicologists and master players Seong Hyeon, Park Gon, Kim Bok-geun, and others during King Seongjong’s reign.
  55. 1472 CE Japan – Kooya-ban edition of Shomyo-shuu, a collection of notation of Buddhist chant 1472 is probably the oldest example of printed music in Japan.
  56. ca. 1475 CE England – John Hothby reduces the “points” or dots from four to two in number. (Williams, 1903: 253).
  57. 1475-1500 CE Germany (Fritzlar) – Kassel Lautenkragen. A 5-course lute diagram with German keyboard tablature. (Boye, 1995-2023; The Lute Society, n.d.)
  58. 15th Century CE Aztec Empire – Aztec Syllabic Drum Notation
  59. 15th Century CE Indonesia – Notasi Gambang
  60. 15th Century CE Indonesia – Gambuh Notation; music notation used for Gambuh dance dramas.
  61. ca. 1490-1511 CE Italy (San Lorenzo in Campo?) – Pesaro Manuscript. Combined 6-course lute in French tablature; 6-course lute in Neapolitan tablature; 6-course lute in Italian tablature [sample chords only]; and lira da braccio in Italian tablature. (Boye, 1995-2023; The Lute Society, n.d.).
  62. 1494 CE Ottoman Empire – EBCED Notation in Lâdikî Mehmet’s Zeynü’l Elhan.

1500-1799 CE (101 entries)

  1. ca. 1501 CE Syria [IMG] – al-Ṣaydāwī’s Notation. Used by al-Ṣaydāwī in his treatise, Kitāb al-inʻām bi-maʻrifat al-anghām (“Book of Generosity on the Understanding of Melodies”).
  2. 1504 CE Ottoman Empire – EBCED Notation in Seydî’s el-Matlâ fi Beyâni el-Edvâr ve’l Makamât.
  3. 16th Century CE Iberian Peninsula – Iberian organ tablature, a cipher notation
  4. 1512 CE – Arnold Schlick publishes first printed organ tablature book. (Williams, 1903: 253).
  5. 1514 CE Sicily – Earliest Vihuela Tablature in Sicily, Lucius Marineus Siculus’ “Espitolarum Familiarum.” (Corona-Alcalde, 1992)
  6. 1529 CE Germany – Martin Agricola’s ten-line staff for the organ.
  7. 1532 CE Germany (Nuremberg) – Sebald Heyden proposal to abolish clefs and use figures or numerals.
  8. 1538 CE Spain – Italian lute tablature introduced in Spain by Narbaez. (Williams, 1903: 253).
  9. 1545 CE Italy – “Pietro Aaron, in his Lucidario, leads the revolt against the threefold value of notes.” (Williams, 1903: 253).
  10. Mid 1500s CE (Spain) – Earliest Vihuela Tablatures in Spain. (Corona-Alcalde, 1992)
  11. 1560 CE France (Lyons) – Pierre Davantes’ “Nouvelle et facile methode pour chanter chacun couplet des Psaumes sans recours au premiere” (New and easy methode of singing each verse of the Psalms without reference to the first vierse).
  12. 1572 CE Korea – earliest example of kŏmun’go notation in print.
  13. Late 16th Century CE Spain/Italy – Alfabeto notation used as an alternate to tablature notation for plucked lute family instruments.
  14. Late 16th Century Ukraine (Kiev) [IMG] – Kievan (Square or Synodal) Notation.
  15. Late 16th Century CE – Key signatures began to be used. (Williams, 1903: 253).
  16. ca. 1600 CE – “The bar-line began to come into use in the staff notation, after having been used in the tablatures for more than a century.” (Williams, 1903: 254)
  17. 1601 CE Germany – Joachim Burmeister’s “Musicae praticae sive artis canendi ratio.”
  18. ca. 1603-1867 Japan – Kosekifu, the Japanese version of Chinese Gongchepu was popularly used during the Edo Period.
  19. 1608 CE Japan – Fu ho u system hitoyogiri notation.
  20. 1612 CE Strassburg – Johann Lippius’ “Synopsis musicae novae omnino verae ataque methodicae universae, in omnis sophiae praegustum inventaie disputate et propositae omnibus philomusicis” (Synopsis of a new mu sical techniqe altogether valid, and well-constructed in its entirety; in a foretaste of all wisdom, moreover, created, publicly debated, and set forth for all music-lovers).
  21. 1613 CE Wales – Harp tablature from the Robert ap Huw manuscript (1613). The manuscript is the oldest extant source of primarily Late Medieval eisteddfod repertory that dates to 1340-1500 and was compiled by Robert ap Huw (c.1580-1665).
  22. ca. 1616 CE Italy – Two Clefs Signs to a Staff in Giralamo Frecobaldi’s organ works.
  23. Early 17th Century CE China – Guanshangzipu (“official and merchant character notation”). (Yingshi,1989: 240).
  24. 1636 CE France (Paris) – Padre Marin Mersenne’s “Expliquer une autre methode pour apprendre a chanter et a composer sans les notes ordinaires par le moyen des seules lettres” (Explanation of a different way of learning to sing and composer without the customary notes, by means of characters alone).
  25. ca. 1638 CE – “Lute books begin to show words of expression, as piano, forte, presto, adagio, together with the signs used for diminuendo and crescendo at the present day.” (Williams, 1903: 254).
  26. 1638 CE England (London) – William Braithwait’s “Scala musica cantus reularis” (Musical scale for ecclesiastical music).
  27. 1643 CE Netherlands (Haarlem) – Joan Albert Ban’s (1597–1644) notation for his volmaekte klaeuwier (perfect keyboard) in the Kort Sangh-Bericht. 18 tone just intonation system. (Rasch, 1983)
  28. 1649 CE Germany – Johann Jakob Froberger’s Keyboard staff with six lines for the right hand and seven for the left.
  29. 1650 CE Italy (Rome) – Clef Signs Usage Proposal by Athanasius Kircher.
  30. 1650 CE Ottoman Empire – Modified Graphic Staff Notation in Ali Ufki Bey’s Mecmûa-i Sâz ü Söz.
  31. 1650 CE Italy (Rome) – Athanasius Kirchner’s “Musurgia universalis sive Ars magna consoni et dissoni in X. Libros Digesta” (Universal music system, the great art of consonance and dissonance, divided into ten volumes).
  32. 1657 CE Italy (Rome) – Giovanni d’Avella’s “Rgole di musica, divisi in cinque trattati, con le quali s’insegna il canto fermo, e figurato, per vere, e facile regole. Il modo fare il contrapunto. Di comporre l’uno e l’altro canto. Di cantare alcuni canti difficili, e molte cose nuove e curiose” (Rules of music, dividd into five parts, with the same symbols for the cantus firmus and figured bass — in truth, an easy rule. Also the mannter of writing counterpoint, of composing various songs, and of singing difficult melodies and many other new and curious things).
  33. 1657 CE Belgium (Ghent) – Notae Augustinianae sive musices figure seu notae novae concinendis modulis faciliores tabulatoris organicis exhibendis aptores (Augustinian note-symbols, whether old or new notations, made easier for group singing and better adapted to clear instrumental tablatures). Proposed notation reform by Johannes van der Elst.
  34. 1660 CE Germany (Dresden) – Johannes Andreus Bontempi’s “Nova quatour vocibus componendi methodus, qua musicae artis plane nescius ad compositionem accedere potest” (A new method of notation for four voices by which one ignorant of the art of music can clearly approach the composer’s idea).
  35. 1668 CE England (London) – Two Clef Signs to a Staff in Thomas Tomkins’ “Musica deo sacra.”
  36. 1672 CE England (London) – New Clef Signs Proposal by Reverend Thomas Salmon in “An Essay to the Advancement of Musick, by Casting Away the Perplexity of Different Cliffs. And Uniting All Sorts of Musick … in One Universal Character).
  37. 1672 CE | 2215 BE Thailand – Anachak Ayuttaya (อาณาจักรอยุธยา) – Chindamani | จินดามณี, written by Phra Horathibodi | พระโหราธิบดี during the reign of King Narai the Great | สมเด็จพระนารายณ์มหาราช. A portion of this language primer outlines the use written Thai tones which different significantly from the earlier Sukhothai tone mark system.
  38. 1673 CE England (Oxford) – Thomas Salmon proposes abolishing clefs.
  39. 1679 CE France (Paris) – Jean-Jaques Souhaitty’s “Essai du chant de l’Eglise par la nouvelle methode des nombres” (Treatise on the new numerical notation for church music).
  40. 17th Century CE India – Raga-sanchara notation created by Somanatha.
  41. 1684 CE Germany (Hamburg) – Johannes Balthazar Friderici’s “musical cryptography”Cryptographie, oder Geheime schrift- mund- und wurkliche Correspondentz, welche lehr-massig verstellet eine hochschatzbare Kunst verborgene Schriften zu machen und auffzulosen” (Cryptology, indicating secret messages to solve hidden meanings in a highly esteemed art).
  42. 1688 CE France – Favier Dance Notation. A form of dance notation developed by Jean Favier and first used to notate the choreography in his A.D. Philidor’s Le mariage de la grosse Cathos (1688).
  43. 1691 CE Ottoman Empire – Alphabetic Notation in Nayî Osman Dede’s Rabt-i Tâ’birât-i Mûsikî.
  44. 1691 CE France (Paris) – Simon de La Loubère (1642-1729) publishes Du Royaume De Siam in Paris which has a transcription of a Thai song in Western Notation.
  45. 1691 CE Germany (Stuttgart) – Johann Christoph Stierlein “Trifolium musicae consistens in musica theoretica practica et poetica” (A three-octave plan based on theoretical, practical, and poetical music).
  46. Late 17th Century CE (China) – Gōngpǔ (宮譜) [song register]. A form of Qupu notation using Gongche notations for Kun opera; often appearing in collected editions.
  47. Late 17th Century CE Ottoman Empire – Alphabetic Notation in Dmitri Cantemir’s (Kantemiroğlu) Kitâbu ‘İlmi’l Mûsîkî ‘ala vechi’l. Hurûfât.
  48. 1698 CE – “Loulie teaches the modern use of the natural to contradict sharps and flats.” (Williams, 1903: 254).
  49. ca. 1700 CE – “The square and lozenge notation was rapidly giving way to the oval and round-headed notes of the present day.” (Williams, 1903: 255).
  50. 1701 CE France – Note head shape proposal in Systeme général des Intervalles des Sons, & son Application à tous les Systèmes & à tous les Instrumens de Musique by Joseph Sauveur.
  51. 1702 CE France (Paris) – New Clef Signs Proposal by Michel de Saint-Lambert in “Les principes du clavecin, contenent une explication exacte de tou ce qui concerne la tablature et le clavier. Avec des remarques necessaires pour l’intelligence de plusiers difficultees de la musique” (The Rudiments of the Harpsichord, Including a Detailed Explanation of Everything that Concerns Keyboard Tablature. Also, Necessary Comments so as to Understand various musical problems).
  52. 1707 CE Germany (Quedlinburg) – Alphabetic notation in Adreas Werckmeister’s “Musikalische Paradoxal-Discourse, oder ungemeine Vorstellungen wie die musical einen hohen und gottlichen Uhrsprung habe…” (Musical paradoxical discourses, or cuncommon ideas on how music has a lofty and divine origin).
  53. 1721 CE USA – Tufts FSLM Notation. Letter notation with dots to represent duration created by John Tufts and first published in his songbook, “An Introduction to the Singing of Psalm Tunes in a Plain and Easy Method with a Collection of Tunes in Three Parts.”
  54. 1725 CE France – Thomas Delafond suggests the exclusive use of the F or bass clef. (Southgate, 1889: 531).
  55. 1728 CE France (Paris) – Staffless Musical Notation System. Created by Demotz de la Salle in “Methode de musique selon un nouveau systeme tres-court, tres-facile et tres-sur, approuve par messiers de l’Academie royale des sciences, et par les plus habiles musiciens de Paris.”
  56. 1728 CE China – Wei Hao’s Square Notation
  57. 1734 CE Germany (Hamburg) – New Notehead Proposal. Created by Johann Mattheson in his “Kleinen Generalbassschule.”
  58. 1735 CE Germany (Hamburg) – Double Sharp. Johann Mattheson proposes modern form of the double sharp.
  59. 1736 CE France (Paris) – New Clef Signs Proposal by Michel Pignolet de Monteclair in “Nouvelle methode pour apprendre la musicque par des demonstrations faciles, suivies d’un grand nombre de lecons a une et a deux voix, avec des tables qui facilitant l’habitude des transpositions et la conaissance des differentes mesures” (New Method of Learning Music by Simple Examples, Including Numerous Exercises for One and Two Voices, and Charts Which Facilitate Ease of Transposition and Recognition of Different Cadences).
  60. 1742 CE France (Paris) – Number Music Notation detailed by Jean-Jacques Rousseau published in his “Projet Cconcernant de nouveaux signes pour la musique” (A plan concerning new musical symbols).
  61. ca. 1745 CE Ottoman Empire (Istanbul) – New Notation in Tanburi Kucuk Arut’in music treatise.
  62. ca. 1750s-1760s CE France – Embossed Notation created by blind musician and composer, Mélanie de Salignac.
  63. 1758 CE – “Adlung says that the circle with a dot, indicating triple measure, is rapidly disappearing.” (Williams, 1903: 255).
  64. Early 18th Century CE Japan – Ikada school Koto notation
  65. Early 18th Century Sweden – Siffernotskrift (Swedish “Numerical Note Writing”) is a numerical note system devised by Swedish clergyman.
  66. 18th Century CE Okinawa – Kunkunshi (工工四) of the Ryukyu Islands in Okinawa; created by Mongaku Terukina or by his student Choki Yakabi
  67. 18th Century CE Ottoman Empire – Alphabetic Notation in Abdülbâkî Nâsır Dede’s Tedkik ü Tahkik
  68. 18th Century CE Ottoman Empire – Neyzen Mustafa Kevseri’s Notation System.
  69. 18th Century CE Ottoman Empire – Tanburi Küçük Harutin’s Notation.
  70. Mid 18th Century CE Korea – earliest surviving Sijo notation
  71. Mid 18th Century CE Korea – Sup’ahyŏng Notation. Oldest book of ‘water wave style’ Kagok notation, Kajobyŏllam. (Lee, 2007: 323).
  72. Mid 18th Century CE Japan – Karifu notation of the priest Kanko (寛光).
  73. Mid 18th Century CE Ottoman Empire (Istanbul) – Petros Peloponnesios’ neume-based notation system (Olley, 2018: 155).
  74. 1764 CE France (Paris) – Roualle de Boisgelou’s new staff proposal for seven-lines up to ten or more.
  75. 1766 CE France (Paris) – New Clef Signs Proposal by M. l’abbe Joseph Lacassagne in “Reflexions sur l’usage des clefs” (Thoughts on the Use of Clef Signs).
  76. Mid-Late 18th Century CE Japan – Yamada school Koto notation.
  77. 1769 CE France – “Jacob, a Frenchman, proposes to abolish the clefs, and to use figures for notes.” (Williams, 1903: 255).
  78. 1774 CE Italy – “The treatise on Counterpoint, of Martini, published, with the old square notation, and ligatures; probably their last use, except in plainsong.” (Williams, 1903: 255).
  79. 1776 CE – “The Abbe de Cassagne proposes to abolish all clefs except G.” (Williams, 1903: 255).
  80. Mid-Late 18th Century CE – Antoine de Murat’s neume-based notation system (Olley, 2018: 155)
  81. 1785 CE USA – Dearborn Letter Notation. First published in song collection, “A Scheme for Reducing the Science of Music to a More Simple State — Especially Calculated For the Convenience of Learners,” by Benjamin Dearborn.
  82. 1785 CE France (Paris) – Francois Henri Stanislaus de l’Aulnaye’s “Memoire sur un nouveau system de notation musicale, systeme par lequel, sans le secours des portees ni d’aucue espece de clef, on peut exprimer tous les sons appreciables renfermes dans l’etendue du clavier, en representant chacun de ces sons” (Treatise on a new system of musical notation, a method by which –without the assistance of stavess or any kind of clef — One can express all the perceptible sounds of the keyboard by dipicting each one of those sounds).
  83. ca. 1786 CE France – Raised Music Notation for the blind and visually impaired created by Valentin Haüy first used at the Institute for the Young Blind.
  84. 1786 CE Germany (Berlin) – Johann Abaham Peter Schulz’s “Entwurf einer neuen und leichtverstandlichen Musiktabulator, deren man sich, in Ermangelung der Notentypen, in kritschen und theoretischen Schriften gedienen kann, und deren Zeichen in allen Buchdruckereyen vorrathig sind, ebst einem Probeexemp” (Plan of a new and easily understood notation of music which will serve if there is a lack of note types in critical and theoretical writings. These are available at all printers, and a sample follows)
  85. 1788 CE USA [IMG] – Adgate Seven Syllable Notation. First published in Andrew Adgate’s “Rudiments of Music.”
  86. 1789 CE Belgium (Brussels) – New Clef Signs Proposal by Andre Ernest Modeste Gretry in “Memoires, ou Essai sur la musique” (An Essay on Music).
  87. 1789 CE – Johannes Presbyter’s “De musica antiqua et moderna” (Concerning old and new music), Diphtherographie musicale, I.
  88. Late 18th Century Scotland – Canntaireachd (Scottish Gaelic for “chanting”) is a type of notation used for notating Scottish Highland Ceòl Mòr (“Great Music”).
  89. Late 18th Century CE England – Shape note; type of notation using shapes in the place of noteheads originating in England and becoming popular in USA, particularly in the Southern States, during the 19th century.
  90. Late 18th Century CE Ottoman Empire – Hybrid Armenian Neume System with Ottoman Pitch Names described in T‘ahmizyan, (1973: 311). See (Olley, 2018: 155).
  91. ca. 1790 CE – “The soprano clef began to be given up in favour of the G clef, for the treble part of English anthems.” (Williams, 1903: 256).
  92. 1790s CE Scotland [IMG] – Campbell Canntaireachd. Created by Colin Mòr Campbell.
  93. 1792 CE Germany (Friedland) – Johannes Rohleder’s “Chromatischen Notenschrft fur chromatische Klaviatur” (Chromatic Notation for the chromatic keyboard).
  94. 1793 CE England (London) – M.R. Patterson’s “New Notation of Music.”
  95. 1793 CE Tibet – Gung Tre Pu. Introduced to Tibet by Denzin Pailjor after three years of music study in China. (Collinge, 1996: 94)
  96. 1794 CE Ottoman Empire – Abdülbâki Nâsır Dede Notation.
  97. 1794 CE Ottoman Empire (Constantinople) – Hybrid Armenian/Greek/Middle Byzantine Neume System. Published in Grigor dpir Gapasak’alean’s “Nuagaran” (1794) and other works (ca. 1803) such as the “Girk‘ eražštakan” (Utidjian 2017: 264-265).
  98. 1794 CE Ottoman Empire (Constantinople) – Hybrid Armenian/Greek Neume System. Published in Grigor dpir Gapasak’alean’s “Nuagaran” (1794) and other works (ca. 1803) such as the “Girk‘ eražštakan” (Utidjian 2017: 265-266).
  99. 1794 CE Ottoman Empire (Constantinople) – Modified Middle Byzantine Neume System. Published in Grigor dpir Gapasak’alean’s “Nuagaran” (1794) (Utidjian 2017: 266).
  100. 1798 CE Poland – Karl Gottlieb Horstig’s “Vorschlage zu besseren Einrichtung der Singschulen in Deutschland” (Proposals to better regulate the German ecclesiastical singing schools); and “Chiffern fur Choralbucher” (Number notation for hymnals).
  101. 1799 CE France (Paris) – Michael Woldemar’s “Tableau melotachygraphique” (A Melographic chart.

1800-1899 CE (283 entries)

  1. 1801 CE USA – Shape-Note developed by William Little and William Smith based on a four-syllable or ‘fasola’ solmization and first published in The Easy Instructor; or A New Method of Teaching Sacred Harmony.
  2. 1802 CE Scotland (Glasgow) – John Austin’s “A System of Stenographic Music.”
  3. 1803 CE USA (Philadelphia, Pennsylvania) – Shape-Note system in Andrew Adgate’s “Philadelphia Harmony.”
  4. 1803-1809 CE USA – Shape-Note systems of staffless shapes published in tune books by Andrew Law.
  5. 1804-1829 CE Japan – Ro tsu re system hitoyogiri notation.
  6. 1805 CE France (Paris) – Pierre Jean Joubert de LaSalette’s “Stenographie musicale, ou maniere abregee d’ecrire la musiques a l’usage des compositeurs et des imprimeries” (Musical shorthand, an abbreviated method of writing music, for composers and printers).
  7. Early 19th Century CE France – Galin-Paris-Chevé cipher notation system.
  8. 1808 CE USA, Philadelphia – Chapin & Dickerson 7 Shape-Note Notation first published in “Music Instructor.”
  9. 1808 CE Germany (Berlin) – Johann Michael Haydn’s “[A notation proposal].”
  10. 1809 CE USA (Philadelphia, Pennsylvania) – Shape-Note System in Charles Woodward’s “Ecclesias Harmonia.”
  11. Early 19th Century CE Scotland – MacArthur family Canntaireachd.
  12. Early 19th Century CE Scotland – Fraser family Canntaireachd.
  13. 1810 CE Strassburg – Charles Guillaume Riebesthal’s “Nouvelle methode pour noter la musique et pour l’imprimer avec des caracteres mobiles” (New notational method and printing music with movable type).
  14. 1810 CE USA (Philadelphia, Pennsyvania) – Shape Note System in N. Chapin and J. Dickerson’s “The Musical Instructor.”
  15. 1811 CE Germany – Karl Christian Friedrich Krause’s “Über eine verbesserte Tonschriftsprache” (Concerning a notational improvement).
  16. 1811 CE England (London) – Samuel Rootsey’s “An attempt to simplify the notation of music, together with an account of that now in use. Illustrated by examples, both sacred and secular.”
  17. 1811 CE German (Gotha) – Johann Friedrich Christian Werneberg six-line staff proposal for teaching music in elementary schools. “Allgemeinen neuen viel einfacheren Musik-Schule” (General plan for simplifying the teaching of music).
  18. 1812 CE France (Paris) – Benoit Auste Bertini’s “Stigmatographie; ou L’art d’ecriture avec des pointes. Suivie de Melographie, nouvelle maniere de noter musique” (Stigmatography, the art of writing with dots. Based on Melographie, a new way of notating music).
  19. 1813-1815 CE Armenia (Ottoman Empire) – Hampartsum Notation created by Hampartsoum Limondjian.
  20. 1814 CE China – Baban Notation
  21. 1815 CE Germany (Gorlitz) – “Vollstandiges Altenberger Choral-Melodien-Buch in Buchstaben vierstimmung gesetzt” (Complete book of alphabetical chorale melodies in four parts, for the city of Altenburg).
  22. 1815 CE Germany (Berlin) – Numerical notation in Albrecht Ludwig Richter’s “Musikalisches Schulgesangbuch” (Song book for schools)
  23. 1818 CE France – Number Notation. Pierre Galin publishes his Exposition d’une nouvelle méthode pour l’enseignement de la musique outlining his method of number music notation which he developed from Jean-Jacques Rousseau’s proposed system. He advocated for the use of méloplaste rather than key signatures and a chronomerist a table of note values. As no full account of Galin’s methods are published, his works were later plagiarized by a former student, Aimé Paris, the brother of Nanine Paris and brother-in-law of Émile Chevé, hence the collective reference of Galin-Paris-Chevé for the number/cipher notation system.
  24. 1819 CE France – Tactile Notation using raised dots on a musical stave created by Charles Barbier.
  25. 1819 CE France – L. D. F. Dumouchel’s “Notation clavigraphique” (Keyboard graphic notation).
  26. 1819 CE USA, Greenfield, MA – Letter Notation developed by William Bull and published in his “Music Adapted to Language (Greenfield, Massachusetts: Denio and Phelps).
  27. ca. 1819 CE Austria, Vienna – Tactile Music Notation in use at the Vienna Institute for the Blind.
  28. 1819 CE Germany (Stralsund) – Friedrich Dammas’ “Ziffernchoralbuch zu allen Melodien des alten und neuen Stralsundischen Gesangbuchs” (Number notation for all melodies in the old and new Stralsund hymnals).
  29. ca. 1820-1825 CE USA – Early stages of Shaker Notation.
  30. 1821 CE Germany (Magdeburg) – Johann Friedrich Wilhelm Koch’s “Einstimmigen Choralbuch in Ziffern fur Volksschulen” (Unison choral book in number notation for primary schools).
  31. 1823 CE Germany – Number Notation published in a songbook by Gottlieb Wilhelm Bade for use with his monochord.
  32. 1824 CE France – Notation monogammique. A form of Shape-Note Notation created by Edouard Jue, a pupil of Pierre Galin, and first used in his publication La musique apprise sans maître.
  33. 1824 CE Denmark (Copenhagen) – Numerical Notation in Jens Andreas Bramsen’s “Lieder fur das fruhers und reifere Alter mit Melodien” (Songs for both younger and older children)
  34. 1824 CE Germany (Essen) – Numerical Notation in Bernhard Chrisoph Ludwig Natorp’s “Anleitung zur Unterweisung im Singen fur Lehrer in Volksschulen” (Suggestion for teaching singing in the primary schools).
  35. 1826 CE Ottoman Empire – Western Staff/Solfege adaptation of Hampartzum Notation by Guiseppe Donizetti.
  36. 1827 CE Germany (Stuttgart) – M.C.A. Klett’s “Beitrage zur Volksnote” (Contributions to “Volksnote”).
  37. 1828 CE Scotland [IMG] – MacLeod’s Canntaireachd. Neil MacLeod’s notation of Piobaireachd taught to him by John MacCrimmon.
  38. 1828 CE Turkey (Ottoman Empire, Istanbul) - Guiseppe Donizetti modifies Hampartsum Notation by creating an equivalent system using Western staff notation, solfege, and French terms for sharp and flat. (Ayangil 2010: 43; Blum 2023: 70)
  39. 1829 CE France (Paris) – Charles Lemme’s “Nouveau systeme. Nouvelle methode de musique et gamme chromatique qui abrege le travail et l’etude de la musique de onze douziemes, ou la reduit a un douzieme” (New system: a new musical method and the chromatic scale which reduces the labor and study of music by eleven-twelfths).
  40. 1829 CE France – Louis Braille’s first proposed music notation in “Procédé pour écrire les Paroles, la Musique, et le Plain-chant au moyen de points.”
  41. 1820s CE Ottoman Empire – Reformed Byzantine Ecclesiastical Notation by the Greek Ottoman Nikos Chrisantos of Madytos.
  42. 1830 CE France (Paris) – Henri Barthelemy Aigre’s “Reforme a faire dans la maniere d’ecrire la musique, au moyen de laquelle les commencants n’eprouveront plus de difficultes, soit dans la lecture, soit meme dans l’execution; par un ignorant, qui frissonne au seul nom de Bemol” (Suggested reform in the manner of notating music by means of which beginners are not intimidated by an overabundance of difficulties, either in reading or in performance; for the ignoramus who shivers at the very word flat).
  43. ca. 1830 CE Sweden – Siffernotskrift created by Johan Dillner as a notation for psalmodicon.
  44. 1830 CE Germany (Berlin) – Carl von Ziwet’s “System zur Verbesserung der Musik und zur leichteren Erlernung der selben ohne die jetzt gebauchlichen italienischen Noten” (System concerning the improvement of music and its easier learning without using Italian symbology).
  45. 1830 CE USA – Norristown Syllable Notation. Published in the “Norristown New and Much Improved Musical Teacher.”
  46. 1832 CE France – Treuille de Beaulieu’s “Resume d’un nouveau mode d’ecriture musicale” (Summary of a new musical notation).
  47. 1832 CE USA (Norristown, PA) – David Sower, Jr. 7 Shape-Note Notation in “Norristown New & Improved Music Teacher.”
  48. 1833 CE Italy (Padua) – Antonmaria Nichetti’s “Prospetto di un nuovo modo piu agevole di scrittura musicale” (Prospect of a new and more comfortable method of musical notation).
  49. 1833 CE Portugal – Francisco de Paula Martí & Ángel Ramón Martí’s “Taquigrafía de la música o Arte de escribirla sin usar del pentagrama con igual esactitud que por el método usual, pudiéndose copiar por su medio una Sonata ó una Aria mientras se toca ó canta.”
  50. 1834 CE Germany (Mainz) – Jean Marie Michel Hippolyte Prevost’s “Stenographie musicale, ou l’art de suivre l’execution musicale en ecrivant” (Musical shorthand, or the art of putting musical ideas into written form).
  51. 1835 CE France (Paris) – Numerical Notation in JacquesClaude Adolphe Mine’s “Methode d’orgue” (Organ method).
  52. 1837 CE France (Paris) – Anonymous “Nouveau systeme de notation musicale, suivi d’un essai sur la nomenclature des sons musicaux, par un ancien professeur de mathematiques” (New system of notation, including an explanation of the naming of musical sounds, by an old mathematics professor).
  53. 1938 CE France (Paris) – Francois Ange Alexandre Blein’s six-line staff proposal in “Prinipes de melodie et d’harmonie deduits de la theorie des vibrations.
  54. 1838 CE France (Paris) – Michel Eisenmenger’s “Traite sur l’art graphique et le mecanique appliques a la musique” (Treatise on graphic art and its mechanics applied to music).
  55. 1839 CE USA – Harrison’s Numeral Notation. First published in The Juvenile Numeral Singer (Cincinnati: Harrison, 1839) by Thomas Harrison; notation system patented October 26, 1839, Patent No. US1382A.
  56. ca. 1840 CE USA – Tonic Sol-Fa System developed by John Curwen.
  57. 1840 CE Italy (Milan) – Emmanuele Gambale’s “La riforma musicale riguardante un nuovo stabilimento di segni e di regole per apprendere la musica” (The musical reform concerning a recent consolidation of the symbols and rules for learning music).
  58. 1840 CE France (Paris) – Hippolyte-Raymond Colet’s “La panharmonie musicale, ou cours complet de composition theorique et pratique … avec un nouveau systeme de cles reduites a une seule cle de sol et une nouvelle maniere de chiffrer plus simple, plus logique, a l’usage des artistes, des amateurs, des ecoles de chant, des pensions, et des colleges” (Comprehensive harmony; a complete course of theoretical and practical composition using a new clef system, reduced to only the G-clef, and a new figured bass method, simpler and more logical, for professionals and begenners, singing schools and colleges).
  59. 1840 CE England (London) – Edouard Jue de Berneval’s “Music simplified, orA new method to propagate the study of music.”
  60. 1840 CE England (London) – Sarah Ann Glover publishes pamphlet advocating Tetrachordal method, eventually becoming the [Norwich] Tonic Sol-fa system (1845). (Southgate, 1889: 531)
  61. 1841 CE England (London) – Reverend John Curwen and John Spencer Curwen’s “How to Read Music and Understand It. Staff Notation and Tonic Sol-Fa.”
  62. 1841 CE Germany (Karlsruhe) – Numerical Notation in Joseph Walden’s “Gesanglehre fur Volksschulen” (Singing method for primary schools).
  63. 1842 CE France (Paris) – A. de Rambures’ “Stenographie musicale, ou mthode simplifiee pour l’enseignement la lecture et l’ecriture de la musique et du plain-chant, suivie de six grand tableaux” (Musical shorthand, a simplified method for teaching the reading and writing of instrumental music and plainchant, according to six master plans)
  64. 1842 CE France (Paris) – J.E. Miguel’s “Arithmographie musicales: methode de mesique simplifiee parl’emploi des chiffres, composer et dediee aux artistes” (Musical numerology; a simplified wy of notating with numbers, devised for and dedicated to professionals).
  65. 1842 CE France (Paris) – Jules Charles Teule’s “Exposition du systeme de l’ecriture musicale chiffree suivie d’une note sur le camparateur des tons” (Explanation of the system of number notation and an observation on the camparison of tones).
  66. 1842 CE England (London) – V.D. de Stains’ “Phonography; or, The Writing of Sounds. In two parts … Logography: or, Universal Writing of Speech; and Musicography; or, Symbological Writing of Music: With a Shorthand for Both.”
  67. 1842 CE Austria (Vienna) – Joseph Lanz’s “Das System der Musik-Schlussel auf die einfachsten Grundsatze, zuruckgefuhrt wodurch die Einheit des Schlussels un grossere Bestimmtheit Deutlichkeit und Beguenlichkeit in der Tonhohen bezeichnung erzielt wird” (System of music clefs reduced to the simplest principles whereby the unity of clefs and the greater distinction and convenience in designiating pitch is gained).
  68. 1842 CE Germany (Berlin) – Friedrich Johann von Drieberg’s “Vorschlag zu einer Vereinfachung unseres Notensystem” (Suggestion for a simplification of our notation), Allgemeine musikalische Zeitung 46, pp. 914-915.
  69. 1842 CE Italy (Milan) – Gaspare Romano’s “Notazione stenografica musicale” (Shorthand musical notation).
  70. 1843 CE – Joseph Raymondi’s two line staff proposal in “Essai de simplification musicographique, avec un precis analytique des principauw systemes de notation musicale propose depuis le sicieme siecle” (Attempt to simplify musical graphics, with an analytical survey of the principal systems of musical notation proposed since the sixth century).
  71. 1843 CE Italy (Milan) – Bartolomeo Montanello’s “Intorno allo scrivers la musical: lettera a Marco Beccafichi” (On the subject of notating music, in a letter to Marco Beccafichi).
  72. 1844 CE Italy (Milan) – Bartolomeo Montanello’s “Di un modo facile ed economico per istampare la musica,” Lettera a Giovanni Ricordi (Concerning an easy and economical method of printing music).
  73. 1844 CE England (London) – Arthur Wallbridge’s (pseud. for William Arthur Brown Lunn) “The Sequential System of Musical Notation: A Proposed New Method of Writing Music in Strict Conformity with Nature.”
  74. 1844 CE France – Méthode élémentaire de musique vocale published by Nanine Paris and her husband Émile Chevé.
  75. 1844 CE USA (Norristown, PA) – 7 Shape-Note System in B.F. White and E. King’s “The Sacred Harp.”
  76. 1845 CE USA – Day’s Numeral Notation. Created by Hartley Wood Day and first published in the “Boston Numeral Harmony.”
  77. 1845 CE England (London) – Sarah Ann Glover’s “Norwich Sol-Fa System.”
  78. 19th Century CE Mongolia [IMG] – Kluchir (lute) Tablature.
  79. 1846 CE France (Paris) – Joseph Raymondi’s “Nouveau systeme de notation musicale. Suivi du rapport fait au congres scientifique de France sur le premier essai de simplification musicographique” (New system of musical notation following the report of the French Scientific Congress on the first attempt at simplifying musical graphics).
  80. 1846 CE USA – 7 Shape-Note Notation. Created by Jesse B. Aiken and first published in The Christian Minstrel.
  81. 1846 CE USA – Van Tassel Mensural Notation. First published in “The Phonographic Harmonist,” by Reverend Truman Van Tassel
  82. 1847 CE Germany (Leipzig) – Heinrich Friedrich Wilhelm Richter (Amadeus Autodidactos) notation proposal in “Aphorismen uber Musik” (Aphorisms on music).
  83. 1847 CE USA (Cincinnati, OH) – Alexander Auld 7 Shape-Note Notation in “Ohio Harmonist.”
  84. 1848 CE USA – 7 Shape-Note System. Created by W.H. Swan and M.L. Swan and first published in their compilation “The Harp of Columbia.”
  85. 1848 CE USA (Nashville, TN) – M.L. Swan 7 Shape-Note Notation in “New Harp of Columbia.”
  86. 1849 CE USA (Pickensville, AL) [IMG] – Musical Notation. Created by Ernest von Heeringen. US Patent No. US6528A.
  87. 1849 CE USA (Warren, OH) – “Mode of making and playing tunes to produce music” patented by Adoniram F. Hunt and James S Bradish. US Patent No. US6006A.
  88. 1849 CE USA Washington D.C. – Ernst von Heeringen’s “Von Heeringen’s Celebrated Instruction Book for the Pianoforte, Containing the Principles of His Newly Invented Notation by the Name Chromatic, of Presidential System).
  89. Mid 19th Century CE Ottoman Empire – Necib Paşa proposes a national notation.
  90. Mid 19th Century CE Ottoman Empire (Constantinople) – Modified Hampartsum Notation. Aristakēs Yovhanniseanem (1812-1878) modified his teacher’s notation system by including rhythmic markings and monosyllabic names for pitches (essentially an Armenian solfege system) (Utidjian 2017: 268).
  91. Mid 19th Century Uzbekistan (Khiva) – Muhammed Sharif’s notation for the dutar.
  92. 1850 CE England (London) – William Striby’s “Universal System of Music Notation.”
  93. 1850 CE USA – Fitz and Green’s Numeral Notation. First published in “School Songs for the Million” (Boston: Fitts, Hobbs & Co.) by Asa Fitz and J.W. Green.
  94. 1850 CE USA (Bloomington, IN) – “Apparatus for Setting and Copying Music for the Blind” patent by Emanuel Marquis. US Patent No. US26361A.
  95. 1851 CE USA, Winchester, VA – J. Funk 7 Shape-Note Notation.
  96. 1851 CE USA, (New York) – F.A. Adams’ “The Octave Staff: Diatonic and Chromatic: Reducing the Different Staves to One: Furnishing an Exclusive Place for Each Tone, without Flats or Sharps.”
  97. 1852 CE USA – Blinn’s Shaker Notation. Henry C. Blinn’s “Sacred Repository of Anthems and Hymns” is the culmination of a tradition of Shaker Notation, a form of Letter Notation.
  98. 1953 CE France (Paris) – Maurice Delcamp’s “Notation musicale, pouvant remplacer les signes usuels sur le plain-chant …” (A musical notation able to replace the customary signs for plainchant).
  99. 1853 CE Germany (Munich) – August Baumgartner’s “Kurzgefasste Anleitung zur musikalischen Stenographie oder Tonzeichenkunst” (Short Introduction to musical shorthand or tone-symbol art).
  100. 1853 CE USA (Nashville, TN) – Andrew W. Johnson 7 Shape-Note Notation in “Western Psalmodist.”
  101. 1853 CE USA (New York) [IMG] – “A New System of Musical Notation: For the Use of the Blind” published; describing a tactile music notation published by Cornelius Mahoney who used the notation to teach music to students at the New York Institute for the Blind (NYIB). US Patent No. US25657A (1859).
  102. 1853 CE USA (Seneca Falls, NY) – Revolving Musical Scale patented by Samuel D. Tillman. US Patent No. US10217A.
  103. 1854 CE Germany – C. Hermann’s “Uber musikalische Stenographie” (Concerning musical shorthand), Zeitschrift fur Stenographie II, 2.
  104. 1854 CE Spain – “System for Writing Music Through Points Applicable to the Blind.” Patent by Abreu Gabriel. Spanish Patent No. ES1226H1.
  105. 1854 CE USA (Cincinnati, OH) – S. Wakefield 7 Shape-Note Notation used in “The Sacred Choral.”
  106. 1854 CE USA (Hudson, OH) – J.J. Fast 7 Shape-Note Notation used in “Die Cantica Sacra.”
  107. 1854 CE USA (Columbia, TN) – William B. Gilham 7 Shape-Note Notation used in “Aeolian Lyricist.”
  108. 1855 CE France (Paris) – Juan-Nepomuceno Adorno’s “Systeme melographique absolu” (Absolute melographic system).
  109. 1855 CE France (Paris) – Juan-Nepomuceno Adorno’s vertical staff in “Melographique, ou nouvelle notation musicale” (Melograph, a new musical notation).
  110. 1855 CE Spain (Barcelona) – Pedro Llorens y Llatchós develops a tactile music notation in use at the Municipal School of Music for the Blind in Barcelona until the end of the 19th Century.
  111. 1856 CE – Eugene Cornier’s new staff proposal in “Traite de l’art musical predede de Echelle Tricolore” (Treatise on the art of music based on the tricolored staff).
  112. 1856 CE – Julian Vidales’ “Nuevo metodo para aprender la musica por lettras” (New method of learning music by means of letters).
  113. 1856 CE Germany (Cologne) – Numerical notation in Albert Gereon Stein’s “Kolnisches Gesang- und Andachtsbuch” (Hymnal and Prayerbook for Cologne).
  114. 1856 CE Japan – Taiko-fu, drum notation.
  115. 1856 CE Spain (Madrid) – Gabriel Abreu Castaño develops a tactile music notation in use at the National School for the Deaf and Blind in Madrid.
  116. 1856 CE USA (Middletown Point, NJ) – New Musical Notation. Patented by Philetus Phillips. US Patent No. US14970A.
  117. 1856 CE USA (Rochester, NY) – “Scale for Instrumental Music” patented by Abbey S. Smith. US Patent No. US15937A.
  118. 1856 CE USA (Fredericksburg, PA) – E.D. M’Cauley 7 Shape-Note Notation used in “The Harmonia Unio.”
  119. 1857 CE USA – Fillmore Numeral Notation. First published in Augustus D. Fillmore and James H. Fillmore’s The New Nightingale (Cincinnati Applegate).
  120. 1858 CE India, West Bengal – Dandamatrik Swaralipi. Created by Kshetramohan Goswami (1813-1893). See Bhattacharyya (2020).
  121. 1858 CE UK – Curwen Hand Signs (sometimes referred to as Curwen/Glover Hand Signs). In John Curwen’s “The Standard Course of Lessons and Exercises in the Tonic Sol-fa Method.”
  122. 1859 CE Germany (Berlin) – Karl Bernhard Schumann’s “Vorschlage zu einer grundlichen Reform in der Musik durch Einfuhrung eines hochst einfachen einer nach dieses System construirten Tastatur fur das Forte-piano” (Proposals for a thorough musical reform by introducing a very simple and natural notation and a description of this system applied to the piano keyboard).
  123. 1859 CE USA (Hudson, WI) – “Machine for Registering Music.” Patented by Henry F. Bond. US Patnet No. US26244A.
  124. 1860 CE USA (Boston, MA) – Josiah Warren’s “Written music remodeled and invested with the simplicity of an exact science.”
  125. 1860 CE Iran (Tehran) – Persian Military Band Cheironomy. Used (and possibly created by) Bosquet (or Bousquet, Boschetti) to conduct one of the earlier Persian Military Bands in Tehran. As recounted by Heinrich Ferdinand Karl Brugsch (1827-1894), a German Egyptologist, “The Iranian music band, all farmers and most of them very young (I saw some ten to twelve year old boys), played according to a curious system of notation. The notes were indicated by the fingers of the left hand and the interval between them; the music director raised his hand into the air, pointed to the finger or interval in question and then the musicians played the requested note with perfect precision.” (See Brugsch, 1862: 307; Mohammadi, 2016: 73).
  126. 1860 CE Italy (Turin) – Valentino Arno’s “Nuovo sistema di tastiera e musicografia” (New keyboard system and its notation).
  127. 1861 CE France (Lille) – Louis Albert Joseph Danel’s “Methode simplifiee pour l’enseignement populaire de la musique vocale” (Simplified method for teaching elementary vocal music).
  128. 1862 CE Germany (Leipzig) – Heinrich Joseph Vincent’s “Der Doppelstiel in Funfliniensystem” (The double-stem in the 5-line staff system), Die Einheit in der Tonwelt (The Unity of Music).
  129. 1865 CE Japan – Eikoku kotekifu “English drum and flute notation”
  130. 1865 CE Italy (Florence) – Cesare Paganini’s “Et fiat lux in caos! Nova teoria musicale verna normale, ossia radicale riforma ortografica-grammaticale degli elementi della musica” (And let there be light in darkness! Musical theory will be standardized: A radical and accurate grammatical reform of the elements of music).
  131. 1866 CE USA – John C. Clime musical staff proposal. US Patent #52.534.
  132. 1866 CE USA (Spartansburg, SC) – William Walker 7 Shape-Note Notation used in “Christian Harmony.”
  133. 1867 CE USA (Des Moines, ID) – New Music-Staff. Patented by Virgil C. Taylor. US Patent No. US71550A.
  134. 1867 CE USA – 7 Shape-Note Notation. Created by William Walker and first published in his “Christian Harmony.”
  135. 1868 CE France (Paris) – Alexis Jacob Azevedo’s “Sur un nouveau signe propose pour remplacer les trois clefs de la notation musicale” (Concerning a new sign intended to replace the three clefs of music notation).
  136. 1868 CE Germany [IMG] – Cats as notation objects in Moritz Von Schwind’s whimsical Die Katzensymphony drawing.
  137. 1868 CE UK – “Octave System of Musical Notation” published by Walter Craig.
  138. 1868 CE USA – “Improvement in Musical Notation” by Philetus Phillips, US Patent 75,572.
  139. 1868 CE USA (New York) – George S. Dwyer’s “Dwyer’s Phonographic Music.”
  140. 1869 CE USA (Singer’s Glen, Virginia) – 7 Shape Note System in Joseph Funk’s “The Harmonia Sacra.”
  141. ca. 1870s USA – James Fillmore modified the Fillmore Numerical Notation.
  142. 1870 CE Indonesia – Titilaras Ranté
  143. 1870 CE Germany – staff notation in Gustav Decher’s “Rationellen Lehrgebaude der Tonkunst” (Rational teaching course of music).
  144. 1871 CE Ottoman Empire (Constantinople) – Sharakan Notation. Created and published in multiple volumes by Yeghia Dndesian (1834-1881).
  145. 1871 CE USA (Columbus, GA) [IMG] – Fielding Wallace Acee’s “Improvement in Musical Notation” U.S. Patent No. US122096A.
  146. 1872 CE Italy (Venice) – Antonio Aloysio’s “Nuovo sistema di notazione musicale che tende a facilitare la lettura, la esecuzione e la stampa della musica a tipi mobili” (A new system of musical notation which facilitates the reading, the playing and the printing of music, using movable type).
  147. 1872 CE France (Annecy) – Maurice Depierre’s “Caracteres servant a la notation de la musique appliquee et etudiee au moyen d’un systeme nouveau de claviers” (Symbols serving music notation, applied and learned by means of a new keyboard method).
  148. 1873 CE France (Paris) – Alex. M. Seymat’s “Panorama d’un nouveau systeme de notation pour la musique et le plain-chant, ou methode stenographique de notation” (Survey of a new system of notation for instrumental music and plainchant; a method of musical shorthand).
  149. 1873 CE USA – Ebenezer P Stewart’s “Improvement in Music Notation.” U.S. Patent No. US138104A.
  150. 1873 CE USA (Cincinnati, OH) – Joseph P. Powell’s “Improvement in music-notations.” US Patent No. 141013A.
  151. 1873 CE USA (New York City, NY) – New York Point Music Notation. A form of tactile music notation created by William Bell Wait and published in “The New York System of Tangible Musical Notation and Point Writing and Printing for the Use of the Blind” and used at the  New York Institute for the Blind (NYIB).
  152. 1873-1874 CE Uzbekistan (Khiva) – Tanbur Line Notation created by Komil Xorazmiy.
  153. 1874 CE England (London) – Proposal for a new pitch notation in Sedley Taylor’s “On a Suggested Simplification of the Established Pitch-Notation.” (Taylor 1974; Hill, 1877: 94).
  154. 1874 CE India [IMG] – Urdu Script Notation for Sitar in Sadiq Ali Khan’s “Sarmaye Ishrat.”
  155. 1874 CE USA (Toledo, OH) – Notation in Fracis Kramer’s “Improvement in devices for teaching music.” US Patent No. US141013A.
  156. Late 19th Century CE Japan – Melodic Line Notations (similar to Sijo-Sŏnyulsŏn notation in Korea). See Lee, 2007: 325.
  157. Late 19th Century Korea – Yŏnŭmp’yo Notation. A form of neumatic notation for Kagok. (Lee, 2007: 327-329; Provine, Hwang, & Howard, 2001).
  158. 1875 CE England – William Pole’s “On the Graphic Method of Representing Musical Intervals. With Illustrations of the Construction of the Musical Scale”
  159. 1875 CE Germany (Munich) – Adolph Decher’s “Chromographische Darstellung der Tondichtungen” (Graphical chromatic representation of musical sound).
  160. 1875 CE – Johannes Baumann’s “Musikalische Stenographie” (Musical shorthand), Harmonie 22, p. 175.
  161. ca. 1875-1880 Uzbekistan – Tanbur Line Notation extended by Muhammad Rasul Mirzo.
  162. 1877 CE England (London) – Arthur Hill’s “On a Suggested Improvement in Staff Notation.” (Hill, 1877). [LINK]
  163. 1877 CE Germany (Munich) – Gustave Decher’s “Tonschrift fur das gleichstufige Tonsystem in ihrer Anwendung fur die chromatische Klaviatur” (Notation for the system of equal tones applied to the chromatic keyboard).
  164. 1877 CE Hungary (Martinsburg) – Leo Kuncze’s “B?D: Tonziffer-Notation fur die Neuklaviatur” (Numerical notation for the new keyboard).
  165. 1877 CE Italy (Padua) – Melchiore Balbi’s “Nuovo sistema armonico fundato sulla dividione dell’ottava in dodici semitoni equali” (New harmonic system based on the division of the octave into twelve equal semitones).
  166. 1878 CE Indonesia – Titilaras Pakualaman
  167. 1878 CE – new notation introduced in Albert Hahn’s “Vorstudie zur Notenschrift” (Introduction to notation).
  168. 1878 CE France (Paris) – Gustave Levasseur’s “Nouvelle portee musicale facilitant la lecture et ecriture de la musique” (A New Musical Staff Which Facilitates the Reading and Writing of Music).
  169. 1879 CE Strassburg – A. Gatting’s “Eine musikalische Reform resp. eine neues Notenlinien-System und ein fast durchaus neuer Tonzeichenbau” (A musical reform for a new staff system and rather new note symbols).
  170. 1879 CE Italy (Rome) – D. Agostino Micci’s “Nuovo sistema musicale” (New Musical System).
  171. 1879 CE USA (Paterson, New Jersey) – John D. Russ’ “Letter Music, or Musical Tones Expressed by Letters.”
  172. 1880 India (Kolkatta) – Kasimatrik Swaralipi. Created by Dwijendranath Tagore. (Khan, 2021)
  173. 1880 CE Italy (Rome) – Bartolomeo Grassi-Landi’s “Descrizione della nuova tastiera cromatica ed esposizione del nuove sistem di scrittura musicale” (Description of the new chromatic keyboard and explanation of the new notational system).
  174. 1880 CE USA – Hood’s Notation. Created by John J. Hood.
  175. 1881 CE Uzbekistan (Khiva) – Khorezmian Tanbur Notation first published.
  176. 1882 CE Germany – Riemann’s 12-Tone Music Notation. Created by Hugo Riemann in Die zwolfstufige Notenschrift” (Twelve-tone notation), Musikalischen Wochenblatt XIII, 52, pp. 617-619.
  177. 1883 CE France (Paris) – J. Leon Riom’s “Nouveau systeme de notation pour la musique” (New system of musical notation).
  178. 1883 CE Austria (Vienna) – Ambros System. Developed by August Ambros.
  179. 1883 CE Austria (Vienna) – August Wilhelm Ambros’ “Das System Ambros” (The Ambros system).
  180. 1883 CE USA – Welte Paper Roll. Patented by Emil Welte for use in Welte & Sons Orchestrion.
  181. 1884 CE – Julius Eduard Bennert’s “Reformen der Notenschrift” (Notational reforms).
  182. 1884 CE USA – Fillmore’s Notation. Created by J. Fillmore.
  183. 1884 CE USA – Horton’s Machine for Punching Perforated Sheet-Music. Developed and patented by Henry Horton.
  184. 1884 CE Ottoman Empire – Nota Muallimi “Notation Instructor.” Modification of Western staff notation for Ottoman classical music by Hacı Mehmet Emin Efendi (1868-1934).
  185. 1884 CE England (London) – Peter Pagi’s “Number notation: or, singing made easy> A simple system for the use of vocalists, with a scheme of abbreviated long-hand writing, designed to save space when writing words under the number-notes.”
  186. 1885 CE India – Rekhamatrik Swaralipi. Created by Pratibha Devi. (Khan, 2021).
  187. 1885 CE India – Sangkhyamatrik Swaralipi. Created by Jyotirindranath Tagore. (Khan, 2021).
  188. 1885 CE India – Akarmatrik Swaralipi. Created by Jyotirindranath Tagore. (Khan, 2021).
  189. 1885 CE USA – Gruber’s Notation. Created by J. L. Gruber.
  190. 1885 CE England (London) – J. Scott’s “Improved Staff Notation.”
  191. 1885 CE France (Paris) – Paul Bonnard’s “Notation musicale a l’aide de traits sur le clavier” (Musical notation based on the characteristics of the keyboard).
  192. 1885 CE Austria (Vienna) – Emanuel Zichy-Ferraris’ “Musikalische Stenographie” (Musical shorthand).
  193. 1885 CE Scotland (Edinburgh) – William Lundie’s “The Broad Line Staff: A New and Easy Method of Reading Music.”
  194. 1886 CE Indonesia – Titilaras Kraton Jogjakarta Jang Lama
  195. 1886 CE France (Paris) – Notation-Morven. Created by Kalo Morven.
  196. 1887 CE USA (Fredonia, Kansas) – Isaac Jackson Cogswell’s “The American System of Notation for Vocal Music, An Easy, Concise and Comprehensive Method of Notation.”
  197. 1888 CE Indonesia – Kyai Demang Gunasantika Notation for Kraton repertoire in Java.
  198. 1888 CE USA – Seward’s Letter Notation. Created by Theodore Seward.
  199. 1888 CE USA – Paul Austman’s “Musical Notation” U.S. Patent No. 393,054.
  200. 1888 CE – Austman Key Signature. Created by Paul Austman.
  201. 1888 CE France (Paris) – Henri Dupont’s “Nouvelle stenographie musicale; la stenographie-Duplove appliquee a l’ecriture musicale” (A new musical shorthand; the Duploye system applied to musical notation).
  202. 1888 CE Germany (Hamburg/Leipzig) – Christian A. B. Huth’s “Farbige noten. Vorschlag eines neuen vereinfachten Notensystems. Analogie zwischen Farben un Tonen” (Colored notes. Proposal for a new simplified notation. Analogies between color and sound).
  203. 1888 CE Austria (Vienna) – Hans Wagner’s “Vereinfachte Musiknotenschrift” (Simplified musical notation).
  204. 1888 CE Germany (Mainz) – Ernest Weigand’s “Anschauungssystem fur Klanghohe und Klangdauer” (Graphic system for pitch and duration).
  205. 1888 CE Europe – Standardized Braille Music. France, England, Denmark, and Germany.
  206. 1889 CE [IMG] – E. Globe Ellis’ “The Abolition of Musical Clefs.” (Ellis, 1889; Southgate, 1889)
  207. 1889 CE Austria (Vienna) – Hans Sacher’s “Entwurf einer Vereinfachung der Tonschrift” (Plan for the simplification of notation).
  208. 1889 CE England – Mr. Ross’ Double Flat. Published in “A New Sign for the Double Flat.”
  209. 1889 CE USA (Valley Falls, KS) – J. H. Kob’s “The Note System of Music.”
  210. 1890 CE England – Felix’s Double Flat
  211. 1890 CE England (Norwich) – Charles R. Fischer’s Double Flat negation.
  212. 1890 CE England – William E Cummings Commentary on Double Flat and its negation.
  213. 1890 CE England (Somerset) – J. Stuttaford’s Double Flat negation.
  214. 1890 CE France (Codom) – Leon Labutut’s “Methode de stenographie musicale, ou la musique rendue facile par la suppression des portees et des cles” (Method of musical shorthand; music made easy by the omission of staves and clefs).
  215. 1890 CE Germany (Hamburg) – Henry Muller-Braunau’s “Die Vereinfachung der musikalischen Notenschrift” (The simplification of musical notation).
  216. 1890 CE Germany (Leipzig) – August Wickstrom’s “Die Vereinfachung der Tonbezeichnung” (The Simplification of notation symbols).
  217. 1890 CE Indonesia – Titilaras Andha tablature notation developed in the palace of the Sultan in Yogyakarta (Titilaras Tangga in Balinese).
  218. 1890 CE Indonesia – Notasi Nada Kepatihan, developed by Raden Mas Tumenggung Wreksadiningrat, is a type of cipher musical notation for gamelan, based upon the Galin-Paris-Chevé system, imported in the nineteenth century by Christian missionaries (Titilaras Kepatihan in Balinese).
  219. 1890 CE USA – Animal Music Notation. A satirical notation proposal by Aldine S. Kieffer making fun of notation reform happening in the US.
  220. 1890 CE USA [IMG] – Music Notation. Created by B.F. Clemens. US Patent No. 438,429.
  221. 1890 CE USA (San Francisco, CA) [IMG] – Charles Clements-Kropp’s “Musical Notation.” US Patent No. 429,841.
  222. 1890 CE Wales (Portmadoc) – J. Walter Mitcherd’s “Mitcherd’s Easy System of Music. Music revolutionized. No flats or sharps.”
  223. 1891 CE England (Epsom) – Simplified Music Notation. Created by E. Raymond Turner.
  224. 1891 CE Germany (Berlin) – Hermann Schroder’s “System der neuen verbesserten und vereinfachten Tonschrift” (System of new, improved and simplified musical notation).
  225. 1891 CE Germany (Frankfurt am Main) – Ernest Weigand’s “Die unhaltbarkeit der bisherigen Tonschrift und Theorie” (The inadequacy of conventional notation and theory).
  226. 1891 CE Russia (Moscow) – Josef Brisgaloff’s “Vereinfachung der Tonschrift” (Simplification of musical notation).
  227. 1891 CE USA (Chicago, IL) – Giusepppi Napoleone Carozzi’s “Ballads and Songs, written according to an aesthetic and monotonic system and more simple notation, doing away with the incongruous signs of natural, sharp and flat.”
  228. 1891 CE USA (Philadelphia, PA) – F. Howard Miller’s “Crystal Music. A Natural and Easy System of Music which thoroughly Simplifies that Science, and without and Mystery or Complications.”
  229. 1892 CE Czechoslovakia (Brunn) – Hans Schmitt’s “Eine neue Notenschrift (A new notation).
  230. 1892 CE France (Chambray) – Tactile Notation created by L’Abbé Goupil.
  231. 1892 CE Germany – F. W. Hoeftmann’s “Neuen Notenschrift” (New Notation), Klavier-Lehrer XV, 5.
  232. 1892 CE Germany – Ludwig Latte’s “Neuen Notensystem” (New notation).
  233. 1892 CE Germany – Schmitt’s Numeric Notation. Created by Hans Schmitt.
  234. 1892 CE Germany – Justizrath Lauff’s “Uber eine neue Notenschrift” (Concerning a new notation), Klavierlehrer XV, 5.
  235. 1892 CE Poland (Warsaw) – Johann Karlowicz’s “Entwurf einer neuen Notenschrift” (Plan for a new notation).
  236. 1892 CE Switzerland – “Interchangeable sheet music for mechanical musical instruments” patent by Bruno Rueckert. Swiss Patent No. CH5010A
  237. 1892 CE Switzerland (Zurich) – Ludwig Rambach’s “System einer Musik-Stenographie” (System of musical shorthand).
  238. 1892 CE USA (Belcherville, TX) [IMG] – John W. Robberson’s “Musical Notation” U.S. Patent No. 482,442.
  239. 1893 CE England (London) – Howard Orsmond Anderton’s “[A notational proposal].”
  240. 1893 CE [IMG] – Latte Notation System. Created by Ludwig Latte.
  241. 1893 CE – Orcher’s Key Signature. Created by Levi Orcher.
  242. 1893 CE England – John Bath’s “An Improved System of Music Notation.” GB Patent No. GB189324079A. [LINK]
  243. 1893 CE USA (Boston, MA) – Levi Orser’s “The Natural Method of Writing Music.”
  244. 1894 CE England – William Sharpey Seaton’s “A New or Improved Musical Notation.” GB Patent No. GB189413641A. [LINK]
  245. 1894 CE Germany (Bremen) – Leopold Engelke’s “Neues System der Musikenschrift” (New notational system).
  246. 1894 CE Germany (Gorlitz) [IMG] – W. Paternoster’s “Notenblatt zur Benutzung beim Erlernen das Klavierspiele” (Example to be used when learning to play the piano).
  247. 1894 CE UK – A New Notation of Music. Patented by William Cooper. GB Patent No. GB189414921A.
  248. 1895 CE Mexico – Carrillo’s Numeric Notation. Created by Julián Carrillo. “Sistema General de Escritura Musical” (General system of music notation).
  249. 1895 CE England – Giuseppe Erede‘s “A New System of Musical Notation.” GB Patent No. GB189506871A. [LINK]
  250. 1896 CE – Mayerhofers’ Key Signature. Created by K. M. Mayerhofers.
  251. 1896 CE Austria (Vienna) – K. M. Mayrhofers’ “Klavierschlussel” (Keyboard clef).
  252. 1896 CE England – John Henry Thirlwell’s “Improvements in Musical Notation, and in Key Boards for Musical Instruments.” GB Patent No. GB189613459A. [LINK]
  253. 1896 CE England – Oswald Rauner’s “Improvements in Children’s Trumpets, and in Musical Notation for the same.” GB Patent No. GB189626346A. [LINK]
  254. 1896 CE England – Stefan Von Heinrich’s “Improvements in Musical Notation.” GB Patent No. GB189630057A. [LINK]
  255. 1896 CE England (London) – New staff notation in E. L. Young’s “The Keyboard System.”
  256. 1896 CE England (London) – Robert Stehle’s “Rational System of Musical Notation.”
  257. 1896 CE Germany (Warmbrunn) – E. Walter’s “Notenliniensystem” (New staff system).
  258. 1896 CE India – Notation in Nad Vinod Granth by Pannalal Goswami in Urdu and Hindi versions.
  259. 1896 CE Switzerland – Colored Music Notation. In Von Heinrich Stefan’s Swiss patent “Piece of music in colored notation.” Swiss Patent No. CH13719A.
  260. 1896 CE Switzerland – Wicki System. Created and patented by Kaspar Wicki.
  261. 1896 CE USA – Autoharp Notation Chart. Patented by W. Eschemann. US Patent No. US566388A.
  262. 1897 CE Austria (Vienna) – Edition Heinrich’s (publishing firm) “Lettern-Notation.”
  263. 1897 CE England (London) – Walter Hampton Thelwall’s “Note for Note Musical Notation.”
  264. 1897 CE England – Archibald Galbraith’s “Improvements in Musical Notation.” GB Patent No. GB189723193A. [LINK]
  265. 1897 CE England – Arthur Herbert Castle’s “Improvements in or relating to Musical Notation.” GB Patent No. GB189722449A. [LINK]
  266. 1897 CE England – Charles Curtis Guilford’s “An Improved System of Musical Notation.” GB Patent No. GB189720391A. [LINK]
  267. 1897 CE England – Stefan Von Heinrich’s “Improvements in Musical Notation.” GB Patent No. GB189700174A. [LINK]
  268. 1897 CE USA (Boston, MA) – Guilford’s Numeric Notation. Created by Charles Guilford. “Guilford Musical Shorthand”: Graphic Music.
  269. 1897 CE England (London) – Note for Note and Thelwall’s Key Signature. Created by Walter H. Thelwall.
  270. 1897 CE Indonesia – Titilaras Kraton Jogjakarta Jang Baru
  271. 1897 CE England (London) – Walter H. Thelwall’s “‘Note for Note’ Musical Notation. A New Notation Based on the True Relations of Sounds Used in Music, and Representing Those Sounds by Notes Only; Without Any Subsidiary Signs — Sharps, Flats, Naturals, etc., Used in the Old Notation.”
  272. 1897 CE England – Anton Richard Breinl’s “Improvements in or relating to Musical Instruments and Musical Notation for the same.” GB Patent No. GB189705418A [LINK].
  273. 1898 CE England – Charles Augustus Bury & Frederick Thomas Rushton’s “Device for Teaching Musical Notation and other purposes.” GB Patent No. GB189807738A. [LINK]
  274. 1897 CE England – John C. Ward’s “A Staff Notation Tonal Modulator (On Tonic Sol-fa Lines).” [LINK]
  275. 1898 CE England – Frank J. Sawyer’s “Every Staff Its Own Modulator.” [LINK]
  276. 1898 CE France (Paris) – Daniel Eyquem’s “Nouvelle methode d’ecriture musical avec application de la theorie des douze sons” (New musical notation and its application to the theory of the twelve tones).
  277. 1898 CE Germany (Berlin) – Ludwig Groll’s “Neuen Noten. Ein Funfminutensystem” (New notation: a five-minute system).
  278. 1898 CE UK – Hybrid Notation/Tablature System. Patented by Enoch Gerard Wickersham in “An Improved Device for Indicating Musical Notes and Chords.” GB Patent No. GB189811688A.
  279. 1898 CE UK – Zither Music Notation in Karl Dietrich’s patent “Improvements in and relating to Zithers.” GB Patent No. GB189811543A.
  280. 1899 CE England (Windermere) – Harry White’s “Shorthand Music: A New and Altogether Unique System of Musical Notation.”
  281. 1899 CE USA [IMG] – Music Notation. Created by Gideon L. Peterson. US Patent No. 663512A.
  282. 1899 CE USA (Chicago, IL) [IMG] – Annie L. Palmer’s “Device for teaching musical notation.” US Patent No. US618611A.
  283. 1899 CE USA (New York City, NY) – Guitar-Cittern Notation Symbols. In Fritz Petermann’s patent. US Patent No. US622822A.

1900-1999 CE (345 entries)

  1. Early 1900s Japan – Jiuta Shamisen Kateishiki-Fu (Lande, 2013: 156-157)
  2. Early 1900s Japan – Min’yo Shamisen Kateishiki-Fu
  3. Early 1900s Japan – Tsugaru Shamisen Kateishiki-Fu
  4. 1900 CE France (Paris) – Pierre DeLaruelle and Louis Cossart’s “Nouvelle notation musicale” (New music notation).
  5. 1900 CE India [IMG] – Notation by Vishnu Digambar Paluskar. Inspired by Western notation sometime after meeting a bandleader.
  6. 1900 CE United Kingdom – James Bacon’s “An Improved System of Musical Notation and Keyboard for use in Conjunction therewith.” GB Patent No. GB190003039A. [LINK]
  7. 1900 CE USA (Laurens, SC) – J. B. Hill and M. W. Hill’s “The home teacher in Hill’s new notation makes music easy for students of the organ and piano.”
  8. 1900 CE Portugal (Porto) – Jose Pereira de Sampaio’s “Theorie exacte et notation finale de la musique” (Correct theory and ultimate musical notation).
  9. 1900-1907 CE Germany (Zwickau) – Non-plus-ultra Notation. Proposed by K. M. Bässler in “Das Funflinige Non-plus-ultra Notensystem” (The five-line “Non-plus-ultra” notation). One of 14 different notation systems created by Bässler.
  10. 1900-1907 CE Germany (Zwickau) – Chromatic Notation. Proposed by K. M. Bässler in “Das Chromatische Notensystem” (The chromatic notation). One of 14 different notation systems created by Bässler.
  11. 1900-1907 CE Germany (Zwickau) – Diatonic Notation with Half-Solid Noteheads. Proposed by K. M. Bässler in “Das Diatonische Notensystem mit halbgefullen Schaltnoten” (The diatonic notation with half-solid noteheads). One of 14 different notation systems created by Bässler.
  12. 1900-1907 CE Germany (Zwickau) – Five-line Staff System with Half-Step Symbols. Proposed by K. M. Bässler in “Das Funfliniensystem mit Zwischennoten” (The five-line staff system with half-step symbols). One of 14 different notation systems created by Bässler.
  13. 1900-1907 CE Germany (Zwickau) – Standard Five-line Staff System. Proposed by K. M. Bässler in “Das regulare Funfliniensystem” (The standard five-line staff system). One of 14 different notation systems created by Bässler.
  14. 1900-1907 CE Germany (Zwickau) – Diatonic Staff System with Triangular Noteheads. Proposed by K. M. Bässler in “Das Diatonische System mit dreieckigen Schaltnoten” (The diatonic staff system with triangular noteheads). One of 14 different notation systems created by Bässler.
  15. 1900-1907 CE Germany (Zwickau) – Chromatic Staff System with Round and Triangular Noteheads. Proposed by K. M. Bässler in “Das Chromatische System mit punkt und Dreiecknoten” (The chromatic staff system with round and triangular noteheads). One of 14 different notation systems created by Bässler.
  16. 1900-1907 CE Germany (Zwickau) – Ideal Round Notehead System. Proposed by K. M. Bässler in “Das Ideal-Punktnoten-System” (The round notehead system). One of 14 different notation systems created by Bässler.
  17. 1900-1907 CE Germany (Zwickau) – Diatonic-Chromatic Notation System. Proposed by K. M. Bässler in “Das Diatonische-Chromatische Notensystem” (The diatonic-chromatic notation). One of 14 different notation systems created by Bässler.
  18. 1900-1907 CE Germany (Zwickau) – Regular Dual-Notehead System. Proposed by K. M. Bässler in “Das regulare Zweinotensystem” (The regular dual-notehead system). One of 14 different notation systems created by Bässler.
  19. 1900-1907 CE Germany (Zwickau) – Twelve-Tone Notation System. Proposed by K. M. Bässler in “Zwolfstufen-Tonschrift” (Twelve-tone notation). One of 14 different notation systems created by Bässler.
  20. 1900-1907 CE Germany (Zwickau) – Regular Three-Line Staff System. Proposed by K. M. Bässler in “Das regulare Dreiliniensystem” (The regular three-line staff system). One of 14 different notation systems created by Bässler.
  21. 1900-1907 CE Germany (Zwickau) – Octave Staff System. Proposed by K. M. Bässler in “Das Octavensystem” (The octave staff system). One of 14 different notation systems created by Bässler.
  22. 1901 CE Germany – Georg Capellen’s “Vorschlag zur vereinfachung des Systems der Versetzungszeichen und Tonartvorzeichen” (Suggestion for the simplification of the system of accidentals and key signatures). in Zeitschrift der Internationalen Musik-Gesellschaft II, pp. 193; 273.
  23. 1901 CE Canada [IMG] – Music Notation. Created by Gideon L. Peterson.
  24. 1901 CE United Kingdom – Archibald Mcgoun’s “Improvements in Musical Notation and in Keyboards for Musical Instruments.” GB Patent No. GB190112087A. [LINK]
  25. 1901 CE United Kingdom – Ferdinand Pietschmann’s “Improvements in the Method and Means for Playing Musical Instruments.” GB Patent No. GB190115970A [LINK]
  26. 1901 CE United Kingdom – David Harry Shuttleworth-Brown’s “Improvements in Dance Recorders.” GB Patent No. GB190118426A [LINK]
  27. 1901 CE United Kingdom – Gideon Leslie Petersen’s “Improved System of Writing Music and Application thereof to Musical Instruments.” GB Patent No. GB190102540A. [LINK]
  28. 1901 CE USA – Johann Peter H. Adams’ “Musical Notation” U.S. Patent 682,015.
  29. 1902 CE Germany (Dresden) – Paul Riesen’s “Revolte oder Reform? Das schussellose Noten-System der Zunkunft” (Revolt or reform? The clefless notation of the future).
  30. 1902 CE Hungary (Kronstadt) – Meta Romer-Neubner’s “Quadratnoten. Ein neues vereinfachung Notensystem ohne schlussel, ohne pausen- und versetzungszeichen mit nur 12 verschiedenen, periodisch wiederkehrenden notenbildern” (A new simplified notation system without clefs, rests, and accidentals, with only 12 note-symbols recurring periodically).
  31. 1902 CE Germany (Leipzig) – Ferruccio Busoni’s “Versuch einer organischen Klaviernotenschrift” (Search for an organic keybaord notation).
  32. 1903 CE Austria (Vienna) – Hans Sacher’s “Die Wiener Notenschrift” (The Viennese Notation), “Unsere Tonschrift, kurzer Ruckblick suf deren Werdegang sowie auf die Vorschlage zu deren Verbesserung, ferner ein neuer Vorschlag fur Tonbennung und Notenschrift” (Our notation: A brief glance at its development and suggestions for its improvement; also a new proposal for naming and notating tones).
  33. 1903 CE Austria (Vienna) – Hans Wagner’s “Primavista Schrift” (Sight-reading notation).
  34. 1903 CE England – Samuel Whitfield Thackeray‘s “An Improved Keyboard Adapted for Playing Music at any Absolute Pitch and an Improved System of Musical Notation specially Adapted for use therewith and also Adapted for other Musical purposes.” GB Patent No. GB190314333A. [LINK]
  35. 1903 CE Finland (Helsinki) – Ilmari Henrik Reinold Krohn’s “Akzentzeichenschrift” (Stenographic Notation).
  36. 1903 CE USA – Laura H. Beswick’s “Musical Notation” U.S. Patent No. 733, 351.
  37. 1904 CE Argentina (La Plata) – Angel Menchaca’s “Nuevo sistema teorica-grafico de la musica. Breve, claro, cientifico y preciso en la representacion del sonido, igual para todas las voces y todos los instrumentos” (New theoretical and graphic system of music: brief, clear, scientific, and precise in the representation of sound for all voices and instruments).
  38. 1904 CE France – Keybaord Music Notation System. Created by Mark A. Mead. [LINK]
  39. 1904 CE Germany (Stettledorf) – Untitled 4-Line Notation System. Created by Johann Ailler.
  40. 1904 CE Germany (Stettledorf) – Untitled 8-Line Notation System. Created by Johan Ailler
  41. ca. 1905-1912 China – Jianpu introduced to China by (possibly) Li Shutong (1880-1942) or other Chinese students that studied in Japan.
  42. 1905 CE Denmark (Copenhagen) – Untitled 3-Line Notation System. Created by Thorwald Jerichau and first published in “Zur Notenschrift” (Concerning notation), Zeitschrift der Internationalen Musik-Gesellschaft VI, p. 330.
  43. 1905 CE Austria (Vienna) – Untitled Chromatic Notation. Created by Hans Sacher.
  44. 1905 CE Austria (Vienna) – Untitled 11-Line Notation System. Created by Hans Sacher in “Volknotenschrift” (Elementary notation).
  45. 1905 CE Austria (Vienna) – Untitled 11-Line Notation System. Created by Hans Sacher in “Entwurf Drei” (Third Notational Plan).
  46. 1905 CE Bangladesh – Akarmatrik Notation. Created by Jyotirindranath Tagore, the elder brother of Rabindranath Tagore, to notate Rabindra Sangeet.
  47. 1905 CE England [IMG] – “Improvements in and relating to Music Notation for Stringed Instruments.” Created by Max Meinl.
  48. 1905 CE USA [IMG] – Music Notation. Created by William Emmanuel Naunton.
  49. 1906 CE USA – Untitled Musical Notation. Created by Anna C. Davis. US Patent No. 828,020.
  50. 1906 CE USA – Untitled Music Notation. Created by William Emmanuel Naunton. US Patent No. 832,406.
  51. 1906 CE Uzbekistan – Muhammad Rasul Mirzo created a percussion notation to accompany Tanbur Line Notation.
  52. 1907 CE Denmark – Christian Peder Vilhelm Geisler’s “Neue Notation fur Gesangsmusik” (New notation for vocal music).
  53. 1907 CE Germany (Jauer) – Franz Diettrich-Kalkhoff’s “Eine neue, vereinfachte Notenschrift” (A new, simplified notation) in Geschichte der Notenschrift.
  54. 1907 CE Germany (Zwickau) – New notation in K. M. Bassler’s “Die neue Deutsche Tonschrift” (The New German Notation).
  55. 1907 CE France (Paris) – 3-Line Notation System. Created by Jean Hautstont in “Notation musicale Autonome, bases sur la classification des sons d’apres le nombre de leurs vibrations et l’etat actuel du developpement physiologique de l’organe de l’ouie. Suppriment toutes les difficultes de la notation diatonique et repondant aux besoin de plus en plus complexes de l’art contemporain” (Autonomous musical notation, based on the classification of sounds according to their vibration ratios and the current physiological development of the ear. Suppressing all the difficulties of diatonic notation and responding to the ever more complex needs of the contemporary art).
  56. 1907 CE Indonesia – Santiswårå Notation.
  57. 1907 CE Indonesia – Santiswårå Chieronomy.
  58. 1907 CE USA [IMG] – Music-Notation. Created by Joseph A. Shires.
  59. 1908 CE England (London) – S. E. Hunt’s “Trichrom Musical Notation. Compend of Tril-linear Staf and Chromaneumes.”
  60. 1908 CE Buffalo, NY – Piano Roll Standard. Piano Roll standardized at Buffalo Convention on December 10, 1908.
  61. 1908 CE Paris, France – Notation for Symphonie des forces mécaniques – developed by Louis Carol-Bérard (1881-1942).
  62. 1908 CE USA – New notation in Willard C. Smith’s “Sheet-Music.” US Patent No. 885,192.
  63. 1908 CE USA – Joseph A. Shires’ “Music Notation” U.S. Patent No. 881,085.
  64. 1909 CE Germany – Erich Moritz von Hornbostel’s “A Microtonal Staff Proposal.”
  65. 1909 CE Berlin, Germany – New Method of Organic Keyboard Notation – developed by Ferrucio Busoni (1866-1924).
  66. 1910 CE – Seven-tone or Twelve-tone Notation. Created by Hans Krenn in “Sieben- oder Zwolftonschrift”, Neue Musikalische Presse XIV, 10.
  67. 1910 CE Austria (Graz) – Karl Laker’s “Vereinfachung der Notenschrift und der Einfuhrung in die Musiklehre” (Simplification of notation and its instroduction into the teaching of music).
  68. 1910 CE France (Nantes) – Eugene Louis Bazin’s “Ecriture et theorie octavinale” (Notation and the octave theory).
  69. 1910 CE Germany (Nuremburg) – Gustav Neuhaus’s “Neuhaus Notensystem: Naturliches Notensystem” (Neuhaus’ notational system: The natural notational system).
  70. 1910 CE Indonesia – Gondapangrawit Kendhang Notation.
  71. 1910 CE Indonesia – Gondopangrawit Kepatihan.
  72. 1910 CE Indonesia – Trappenschrift.
  73. 1911 CE – August Unbereit’s “Ein neues Notensystem von August Unbereit” (August Unbereit’s new notation system) by Heinrich Bohl, Blatter fur Haus- und Kirchenmusik XVI, 1.
  74. 1911 CE Italy (Rome) – 7-Line Staff Notation in D. Emillo Boch’s “Sistema interzato della musics” (Insertion system of music).
  75. 1911 CE USA – Annie May Stringfield’s “Staff and Certain Key-Symbols for Musical Notation” U.S. Patent No. 1,004,215.
  76. 1912 CE Russia (Moscow) – Hand Graphs. Transcription method used by Eugenia Eduardovna Lineva (1853–1919) in The Peasant Songs of Great Russia. (Seeger, 1958: Plate 1)
  77. 1912 CE – [?] Perbandt’s “[A new notational proposal].”
  78. 1913 CE England (Spottiswoode) – Alicia Anne Scott’s “Simplex Method of Musical Notation.”
  79. 1913 CE France (Besancon) – Erman Gaudard’s “La musiques esperantiste” (Esperanto music).
  80. 1913 CE Germany (Rothemberg) – Leopold Frederic Raab’s “Stenotic-Klavierschule zumeist nach Hohman” (Stenographic keyboard system mostly based on that of Hohmann).
  81. 1913 CE Germany (Berlin-Friedenau) – Musikverlag Euphonie’s “Tastenschrift: ein neuer Weg zur Hausmusik” (A new keyboard method for amateurs).
  82. 1913 CE Germany (Berlin) – W. Fleischhauer’s notation system in “Siebentonschrift-Klavierschule” (Seven-tone keyboard method).
  83. 1913 CE Germany (Cologne) – Jeseph Graaff’s “Einzeichen-Tonschrift, eine vereinfachteverbesserte Notenschrift, mit beispielen” (A one-symbol notation; a simplified and improved notation, with examples).
  84. 1913 CE Indonesia – Djakoeb/Wignjaroemeksa Kepatihan.
  85. 1913 CE Indonesia – Djakoeb/Wignjaroemeksa Kendhang Notation.
  86. 1913 CE Iran – Persian Music Accidentals: Koron and Sori invented for use in Western Notation.
  87. 1913 CE Italy (Milan) – Enharmonic Notation – developed by Luigi Russolo (1885-1947).
  88. 1913 CE Thailand – Luang Pradit Pairoh created the modern Thai notation for Thai Classical Music which was previously transmitted aurally.
  89. 1914 CE England (London) – Duodecuple Staff in Arthur Easglefield Hull’s “Modern Harmony.”
  90. 1915 CE France (Paris) – Anne Marie Eugen d’Harcourt’s “Abreviation rationelle de la notation musicale actuelle” (Rational condensation of standard musical notation).
  91. 1915 CE Russia (Moscow) – Obukhov Notation. Created by Nikolai Obukhov while he was at the Saint Petersburg Conservatory. [Proposal for notating sharped notes]
  92. 1915 CE USA (Yuma, AZ) [IMG] – Henry Kinney’s Musical Notation. US Patent No. US1200367A.
  93. 1916 CE Japan – Chikuho Ryû notation.
  94. 1916 CE Netherland – “Rarjwo Sarojo” Notation – developed by Raden Mas Soerjo Poetro.
  95. 1916 CE South Africa (Johannesburg) – Notation system in the Sullivan Conservatorium of Music, Ltd. “The Sullivan System of Pianoforte Playing.”
  96. 1917 CE Spain (Madrid) – Jose Maria Guervos’ “Decagrama” (10-line staff).
  97. 1919 CE Germany (Leipzig) – Josef Achtelik’s “Vereinfachte Notenschrift” (Simplified notation).
  98. 1919 CE Ottoman Empire – Milli Nota proposed by Rauf Yekta Bey
  99. 1919 CE USA – Sidney Armor Reeve’s “Musical Notation” U.S. Patent No. 1,313,015.
  100. 1919 CE USA [IMG] – Music Notation for the Blind. Created by Carl A. Egener.
  101. 1920 CE France (Paris) – Mlle R. Fremond’s “Nouvel expose de la “Musique Fremond,” extra simplifiee” (New explanation of “Music Fremond,” further simplified).
  102. 1920 CE USA – Untitled 12 Tone Notation. Created by Edward Huntington. “A Simplified Musical Notation” in Scientific Monthly 11, pp. 278-283.
  103. 1920 CE Austria (Vienna) – Untitled 12 Tone Notation. Created by Josef Matthias Hauer and first described in Vom Wesen des Musikalischen.
  104. 1920 CE USA – Frank Taft’s “Musical Notation” U.S. Patent No. 1,356,416.
  105. ca. 1920s CE Turkey – Arel-Ezgi-Uzdilek Notation System based on a 24 note per octave scale.
  106. 1921 CE USA (Chicago, IL) – Charles Morrell’s “A System of Shorthand Notation.”
  107. 1922 CE England (London) – Francis Taylor’s “Musical Shorthand for Composers, Students of Harmony, Counterpoint, etc., easily acquired, can be writter very rapidly, is more legible than printed music).
  108. 1922 CE Japan – Shamisen Bunka-fu (Lande, 2013: 157-158)
  109. 1922 CE USA – Orlando M. Fee’s “Musical Notation” U.S. Patent 1,424,718.
  110. 1922 CE USA [IMG] – Edith A. Faunt’s “Music Notation” U.S. Patent No. 1,539,308.
  111. 1922-1932 CE Hanover, Germany – “Urlauten Notation” for the Ursonate (1922-1932) developed by Kurt Schwitters (1887-1948).
  112. Early 20th Century Iran – Morteza Mahjoubi (1900-1965) Persian Music Notation.
  113. 1923 CE Indonesia (Sunda) – Kusumadinata Cipher Notation.
  114. 1923 CE USA – Fred R. Miller’s “Sheet of Music” U.S. Patent No. 1,473,495.
  115. 1924 CE – Parson’s Numeric Notation. Created by Howard Parsons. Proposed in “A New System of Musical Notation,” The Musical Times 980, 65, pp. 900-904.
  116. 1924 CE Austria (Vienna) – New Twelve-Tone Notation proposed by Arnold Shoenberg (1874-1951).
  117. 1924 CE Germany (Leipzig) – Herbert Eimert’s “Atonale Musiklehre” (Atonal music method).
  118. 1924 CE Indonesia – Djatiswara/Lebdapradangga Kendhang Notation.
  119. 1924 CE USA (New York City, NY) – George Antheil’s “Antheilcized Notation, or Instantaneous System of Reading Music.”
  120. 1920s CE, India [IMG] – Bhatkhande Notation System created by Vishnu Narayan Bhatkhande (1860-1936).
  121. 1925 CE France (Paris) – Eugene Hyard’s “Essai d’une notation chromatique basee sur le temperament egal, suppression des dieses et des bemols, simplification de la portee, emploi normal d’une cle unique” (Attempt at a chromatic notation based on equal temperament, omission of sharps and flats, simplification of the staff, and the exclusive use of a unique clef sign).
  122. 1925 CE – Arnold Schoenberg’s “Eine neue Zwolftonschrift” (A new twelve-tone notation) in Musikblatter des Anbruch 7, 1, pp. 1-7.
  123. 1925 CE USA – William B Glisson’s “Musical Notation” U.S. Patent No. 1,551,819.
  124. ca. 1925-1929 CE Uzbekistan – Muhammad Kamil Devoni used a modified Tanbur Line Notation to record Dutar repertoire.
  125. 1926 CE Austria (Vienna) – Josef Matthias Hauer’s “Zwolftontechnik: die Lehre von der Tropen” (Twelve-tone notation; the method of tropes).
  126. 1926 CE England (Exeter) – Dom John Stephan, O. S. B., “The Isotonic Notation.”
  127. 1926 CE Germany (Rostock) – Willy Neumann’s “Notensystem ‘Rapid.'”
  128. 1926 CE Germany (Mannheim) – Ernst Toch’s “Vorschlage zur Vereinfachung der Notenschrift” (Proposals for the simplification of notation) in Musikblatter des Anbruch 8, 7, pp. 308-312.
  129. 1926 CE USA – Dora C Burgess’ “Musical Notation” U.S. Patent No. 1,594,194.
  130. 1928 CE – Hand Graphs made by mathematical reduction of a “sound wave photograph” by Milton Metfessel. Published in Phonophotography in Folk Music. (Seeger, 1958: Plate I).
  131. 1927 CE France (Paris) – Marcel Leyat’s “L’ecriture musicale Leyat” (Leyat musical notation).
  132. 1928-1931 CE Greece [IMG] – Braille Byzantine Music Notation. Created by Father Dositheos (Paraskeviades) and Stavros Stavridis.
  133. 1928 CE Indonesia, Java – Titilaras Sariswara, notation developed by Dr. Ki Hadjar Dewantara, founder of the Taman Siswa schools.
  134. 1928-1929 CE Japan – Kindō notation. A type of Kinko-ryū Honkyoku (本曲) notation developed by Miura Kindō (1875–1940) and Yamaguchi Shirō (1885-1963).
  135. 1929 CE Germany (Offenbach am Main) – Paul Koch’s “Type specimen of a new system of notation.”
  136. 1930 CE Belgium (Brussels?) – Pierre Hans’ “La notation musicale ‘continue.'” (Music notation progresses).
  137. 1930 CE Switzerland (Basel) – Piano Tablature. Created by Otto Studer in “Neno: Vereinfachtes Klavierspiel” (Neno, a simplified keyboard notation).
  138. 1930 CE USA (New York City, NY) – Henry Cowell’s “Rhythm” in New Musical Resources. Something Else Press (1969).
  139. ca. 1930s CE Iran – Morteza Mahjubi Notation System.
  140. ca. 1930s CE Turkey – Mildan Niyâzî Ayomak Notation System.
  141. ca. 1930s CE Turkey – Ali Rıfat Çağatay Notation System.
  142. ca. 1930s CE Turkey – Kemal Ilerici Notation System for a 53 note per octave scale
  143. ca 1930s CE Turkey – A. Tore and E Karadeniz Notation System for a 41 unequal division of the octave.
  144. 1931 CE England (London) – L. H. Hora’s “Simplified Musical Notation.”
  145. 1931 CE Germany – Wang Guangqi Qin Notation.
  146. 1931 CE Netherlands (Slikkerveer) – Klavarskribo created by the Dutchman Cornelis Pot (1885–1977). The name means keyboard writing in Esperonto.
  147. 1931 CE Uruguay (Montevideo) – Felix Peyrallo’s “Reforma del sistema Pentagramel” (reform of the pentagram system) in La Pluma IV, 18.
  148. 1933 CE Switzerland (St. Gallen) – Otto Marcus’ “Die chromatische Notenschrift” (The chromatic notation).
  149. 1933 CE USA (La Mesa, CA) – Virtue Notagraph developed by US composer Constance Cochnower Virtue (1905-1992) in “Virtue NotaGraph: Design for a Modern Notation.”
  150. 1934 CE France (Paris) – Marguerite Roesgen-Champion’s “L’ecriture musicale nouvelle” (New musical notation), Le Courrier Musical 7/8.
  151. 1935 CE England (London) – Charles Stewart Middlemiss’s “A New Graphic Notation for Keyboard.”
  152. 1935 CE Holland (Zwolle) – Henk Beunk’s “Notenschrift” (Notation).
  153. 1935 CE Ukraine (Kiev) – Oewaton Nadjen’s “[New musical staff].”
  154. 1936 CE USA (Pittsburgh, PA) – Douzave System developed by John Leon Acheson in “A Douzave System of Music Notation.”
  155. 1936 CE Switzerland (Basel) – Walter Kobelt’s notation in “Klavierspiel Helvetia” (Swiss Piano Method).
  156. 1937 CE USA (New York City, NY) – Notation system in J. H. Reuther’s “Reuther System of Music.”
  157. 1938 CE USA (Abingdon, VA) – 7 Shape Note System used in Ammabel Morris Buchanan’s “Folk-Hymns of America.”
  158. 1939 CE Indonesia, Bali [IMG] – Notasi Ding-Dong formalised by I Wayan Djirna and I Wayan Ruma. See Perdana, 2023.
  159. 1940s CE Korea – Sijo-Sŏnyulsŏn Notation. See Lee, 2007: 325.
  160. 1940 CE USA – Notation System in Preston Edwards’ “A Suggestion for Simplified Musical Notation,” Journal of the Acoustical Society of America 11, 3.
  161. 1940 CE USA (Wheeling, WV) – F. Kabala’s “Musical Shorthand: A System of Rapid Musical Notation.”
  162. 1940 CE – Bernard L. Bonniwell’s “Sixline Music Staff” in The Journal of Musicology 2, 1, pp. 24-26.
  163. 1941 CE Switzerland (Basel) – Otto Studer’s “Neues Notensystem” (New notation).
  164. 1941 CE USA (Philadelphia, PA) – Luis Arellano “The Arellano Musical Notation.”
  165. 1942 CE France (Paris?) – Henry-Louis Sarlit’s “[New notational proposal].”
  166. 1942 CE Indonesia – Ponotitilaras.
  167. 1942 CE USA – Tune-Dex card system introduced by Radio Show director, George Goodwin.
  168. 1944 CE – Frank Wilson Adsit’s “Modrn Music.”
  169. 1945 CE England (Huddersfield) – Reginald T. Tarrant’s “Tarrant’s Dual-Notation.”
  170. 1945 CE Hungary – Kodály Hand Signs (sometimes referred to as Kodály/Curwen Hand Signs).
  171. 1946 CE USA (Newton Centre, MA) – Mary Bacon Mason’s “Simplay: music in the modern manner.”
  172. 1947 CE England (London) – Alchanan Cohen’s “Pictorial Codes of Music of the Future.”
  173. 1947 CE England (London) – Herbert Rand’s “The Trilinear System of Musical Notation.”
  174. 1947 CE France (Lyons) – Notation musicale bilineare. Created by Ernest-Jean Chatillon in “Notation musicale bilineaire” (Bilinear notation).
  175. 1947 CE USA (El Cajon, CA) – William Alexander Mathews’ “Mathews’ Melodic Notation System.”
  176. 1948 CE Austria (Vienna) – Friedrich Weisshappel’s “Die Frage der Notenschriftreform” (The question of notation reform).
  177. 1948 CE USA (Erie, PA) – Robert H. Whitford’s “Whitfordized Music Notation.”
  178. 1948 CE USA (New York City, NY) – Notation Godjevatz developed by Velizar Godjevatz in “The New Musical Notation.”
  179. 1948 CE USA (Washington D.C.) – Floyd A. Firestone’s “Firestone Hand-Shape Notation.”
  180. 1949 CE England (Tenbury Wells) – Edgar T. Haines’ “Haynes Keyboard Notation (Advancement of Music).
  181. 1949 CE France (Marseilles) – Jean Kutahialian’s “La Sstenographie de la musique” (Musical shorthand).
  182. Mid 20th Century CE, Korea – Chŏng Kyŏngt’ae (1913-2003) credited with creating a graphic notation for Sijo repertoire.
  183. Mid to Late 20th Century CE, Korea – karaksŏn akpo (melodic line notation) developed for method books.
  184. 1950s CE Indonesia – KOKAR or Wirowijogo Kepatihan.
  185. 1950s CE Korea – Chŏng Kyŏngt’ae (1913-2003) credited with creating a graphic notation for Sijo repertoire.
  186. 1950s CE Tibet – Pu Dzi (Dab De Yang Yik or Ang Gi Yang Yik). Form of numeral notation becomes widely used. (Collinge, 1996: 94, 95).
  187. 1950 CE Belgium (Brussells) – Emile Gouverneur’s “Traite complet de stenographie musicals” (Complete treatise on musical stenography).
  188. 1950 CE Indonesia, Bali [IMG] – Modified Notasi Ding-Dong published in I Gede Madera’s “Gending Bali Merdu Sari, jilid 1 maanggé ring sekolah dasar kelas I-II.” (Madera, 1950; Perdana, 2023: 11).
  189. 1950 CE Chile (Santiago) – Manuel Godoy’s “Nuevva escritura musical grafo-analitica” (New graphic-analytical notation).
  190. 1950 CE France (Paris) – Jacques Chailley’s “Les notations musicales nouvelles” (The new musical notation).
  191. 1950 CE Germany (Lorrach) – F. Hettiger Verlag’s notation in “Klavier Selbstunterricht” (The piano self-taught).
  192. 1950 CE Germany (Wiesbaden) – Herbert Eimert’s “Lehrbuch der Zwolftonmusik” (Text on twelve-tone music).
  193. 1950 CE Indonesia, Java – Sundanese Notasi Daminatila developed by composer and music theoriest, Raden Machjar Angga Koesoemadinata. Variant of Titilaras Sariswara. (Titilaras Damina in Balinese).
  194. 1950s Korea – karaksŏn akpo (melodic line notation) developed for method books.
  195. 1951 CE – Automatic Graphs (oscillogram). Electronic-mechanical reduction written directly on paper and published in Voice of the Congo, Riverside World Folk Music Series. (Seeger, 1958: Plate III).
  196. 1951 CE USA – Seeger Melographs. Method of mechanical transcription and annotation developed and used by Charles Seeger in the 1950s (see Seeger, 1951, 1957, 1958).
  197. 1951 CE USA (San Francisco, CA) – Kahnotation developed by Stanley Kahn for tap dance.
  198. 1952 CE Thailand – Taphon Klong Phayang, a modified Taphon Notation.
  199. 1952 CE Uzbekistan [IMG] – A. Petrosyan 4-Line Doyra Notation.
  200. 1952 CE Poland – Isomorph Notation created by by Tadeusz Wójcik. “Zagodnienie racjonalizacji systemow znakowania muzycznego” (The problem of rationalizing notation systems) in Muzyka 1, 2, pp. 71-124.
  201. 1952 CE USA (MA, Boston) – Parry Hiram Moon’s “A Proposed Musical Notation” in Journal of the Franklin Institute 253, 2, pp. 125-144.
  202. 1953 CE Norway – Gurvin’s Automatic Graphs. Oscillograms made by an electronic-mechanical reduction photographed on film. Published in Photography as an Aid in Folk Music Research. (Seeger, 1958: Plate II).
  203. 1955 CE – Theodor Feige’s “Das Siebenliniensystem: Eine chromatische Notenschrift” (The seven-line staff system: A chromatic notation) in Neue Zeitschrift fur Musik 116, 3, pp. 151-154.
  204. 1955 CE Austria (Wels) – Wilhelm Keller’s “Intergralnotation” (Integrated notation) in Neue Zeitschrift fur Musik 116, 8/9, pp. 476-481.
  205. 1955 India – Omkarnath Thakur Notation. Omkarnath Thakur uses a modified notation system in his six volume Saṅgītāñjali (Thakur, 1955).
  206. 1956 CE USA (CA) – Panot Notation created by George Skapski.
  207. 1956 CE USA (NY, New York) – Arthur Hartmann’s “Anregungen zur einer Reform der Notenschrift” (Suggestion for a reform of musical notation) in Neue Zeitschrift fur Musik 117, 1/2, pp. 50-51: 118-119.
  208. 1957 CE – “A System of Symbols for Formal Analysis” published by Jan Larue. (Larue, 1957).
  209. 1957 CE – Cohen & Katz Melograph. First developed by Dalia Cohen and Ruth Torgovnik Katz to study Samaritan chant. Constructed by Israeli engineers Uri Vogel and Moshe Buchwald, employed by the physics department of the Hebrew University in Jerusalem. (Cohen & Katz, 1960).
  210. 1957 CE USA – James P. Russell’s “A Proposed System of Simplified Musical Notation” in American Music Teacher 6, 3/4, p. 6.
  211. Late 1950s CE Nashville, TN, USA – Nashville Number System created by Neal Matthews and developed by Charlie McCoy.
  212. 1958 CE Austria (Vienna) – Graphical Notation System, Greek composer Anestis Logothetis (1921-1994) starts developing his Graphical Notation System while in Vienna.
  213. 1958 CE Canada (Toronto) – Antal Maldacker’s “Chromakott: The New Musical Notation.”
  214. 1958 CE China – Cao Zheng Guzheng Notation.
  215. 1958 CE Germany (Zurich) – Equitone Notation developed by Rodney Fawcett.
  216. 1958 CE Iran – Ostad Abolhasan Saba’s One-Line Tombak Notation. (See Nasehpour & Hannafin, 2000).
  217. 1959 CE – Musical Staff created by Johannes Beyreuther.
  218. 1959 CE Zambia – Modified Staff Notation developed by Arthur M. Jones for transcription of African Music.
  219. 1959 CE South Korea – Extended Jeongganbo Notation. Created by composer, Kim Kisu, as part of his modernization project for Korean Gugak music and led up to the development of Changjak Gugak (창작국악) or “newly created traditional music” in the 1960s.
  220. 1959 CE USA (Princeton, NJ) – Thomas H. Stix’ “Proposal for a New System of Music Notation.”
  221. 1960s CE Indonesia, Bali – Modified Notasi Ding-Dong developed by Kokar (Konservasi Karawitan Bali) Balinese teachers in the 60s. See Perdana, 2023.
  222. 1960-1962 CE USA – Time Unit Box System (TUBS) created by ethnomusicologist Philip Harland at the University of California in Los Angeles to notate African rhythms.
  223. 1961 CE Germany – Walter Steffens’ “Entwurf einer abstrakte-temperierten Notenschrift” (Plan for an ideally tempered notation) in Neue Zeitschrift fur Musik 122, 9, pp. 351-355.
  224. 1961 CE – Modified Staff Notation developed by Rose Brandel for transcriptions of African music.
  225. 1961 CE – Harry Bruce Armstrong’s “Interval System of Musical Notation.”
  226. 1961 CE Italy – Bruno Bartolozzi’s “Proposal for Changes in Musical Notation” in Journal of Music Theory 5, 2, pp. 297-301.
  227. 1961 CE Austria (Vienna) – Henri Pousseur’s “Ode pour quator a cordes.”
  228. 1961 CE Germany (Stuttgart) – Carl Johannis’ “Notenschriftreform” (Notation reform).
  229. 1963 CE Iran – Amir Nasser Eftetah Tombak Notation.
  230. 1962 CE Iran – Three Line Staff Tombak Notation. Created by Ostad Abolhassan Saba (See Nasehpour & Hannafin, 2000).
  231. ca. 1962 CE Myanmar (Burma) – U Myint Maung’s Harp notation.
  232. 1962 CE USA – Marshall Bailey’s Duodecuple Notation” in American Composers Alliance Bulletin 10, 3, pp. 12-14.
  233. 1963 CE Ethiopia – Orchestra Ethiopia Melekket developed by Halim El-Dabh and Orchestra Ethiopia; blend of Western notation and Ethiopian Melekket notation.
  234. 1963 CE Germany (Berlin) – Boguslaw Schaeffer’s “Azione a due.”
  235. 1964 India – Vinayak Rao Patwardhan Notation. Vinayak Rao Patwardhan uses a modified version the notation created by his guru, Vishnu Digambar Paluskar in his seven volume published collection, Rag Vigyan (Patwardhan, 1964).
  236. 1964 CE USA – Barry S. Brook and Murray Gould’s “Notating Music with Ordinary Typewriter Characters,” Fontes Artis Musicae XI, 3, pp. 142-159.
  237. 1964 CE USA (Phoenix, AZ) – Howe-Way Music Notation. Created by Hilbert Howe. In “Howe-Way 6-3-3 Notation System.”
  238. 1964 CE – M. A. Marcelin’s “La representation graphique exacte des sons et de leurs associations” (The precise graphic representation of tones and their relationships) in Acoustica 14.
  239. 1965 CE USA (Berea, OH) – Revised Notation. Piano tablature staff (horizontal). Created by Nell Esslinger.
  240. 1965 CE USA (New York) – Andrew J. Lotz’s “The death of the alphabet; musical notation for the standard typwriters (and rapid longhand) and how to dictate the notation.”
  241. 1965 CE – Oskar Karl Walter Heim’s “Breakthrough in Music? The Need for a Simple Way to Write Music.”
  242. 1966 CE – Numbered Notation. Created by John Robbins.
  243. 1966 CE – John Robbins’ “Revelations in Music. A Bold and Thorough Rewrite of the Art of Music (Computation).
  244. 1966 CE – Carol M. Fuller’s “A Notation Based on E and G” in Journal of Research in Music Education 14, 3, pp. 193-196. (Fuller, 1966)
  245. 1966 CE – Leslie A. Osburn’s “Notation Should Be Metric and Representational” in Journal of Research in Music Education 14, 2, pp. 67-83.
  246. 1966 CE Austria (Vienna) – Luciano Berio’s “Rounds for Harpsichord.”
  247. 1966 CE Scotland (Glasgow) – James Totten’s “Totten Music Notation.”
  248. 1967 CE Hungary – Benke Lajos’ “Javaslat a tizenketfoku hangrendszer uj irasmodjara” (Recommendation for a New Way of Notating the Twelve-Tone System).
  249. 1967 CE [IMG] – Melody Graph Notation in Arnold Schoenberg’s “Fundamentals of Music Composition.”
  250. 1967 CE Hungary – Benke Lajos – “Javaslat a tizenketfoku hangrendszer uj irasmodjara” (Recommendation for a New Way of Notating the Twelve-Tone System) in Magyar zene VIII, 4, pp. 401-407.
  251. 1967 CE USA [IMG] – “Musical Notation.” Created by Helen Gregg Glenn. U.S. Patent No. 3,331,271.
  252. 1967 CE USA [IMG] – Analog System of Music Notation. Created by Donald P. Barra.
  253. 1968 CE- Drum Notation Tablature developed by Moses Serwadda and Hewitt Pantaleoni.
  254. 1968 India – Nikhil Ghosh Notation. See Ghosh, 1968. The notation was developed for use in Nikhil Ghosh’s music school (Wegner, 2004: 55), Sangit Mahabharati, which he founded in 1956.
  255. 1968 CE USA (Evanston, IL) – Musica. Created by Traugott Rohner and published in “Musica: An Improved Modern System of Music Notation.”
  256. 1968 CE USA (Chillicothe, MO) – Thomas S. Reed’s “Equalized Music Notation.”
  257. 1969 CE USA (CA) – Frank R. Denke’s “New Music Notation System.”
  258. 1970s CE Korea – Sŏnyulsŏn Kagokpo. Created by Sijo singer Chŏng Kyŏng-t’ae. (Lee, 2007: 324-326).
  259. 1970 CE – Mbira Notation. Modified CWN of Matepe mbira music by Andrew Tracey.
  260. 1970 CE – Typewriter Notation developed by Hugh Tracey to notate Chopi orchestral music.
  261. 1970 CE – Numerical Notation. Created by Christopher Crocker.
  262. 1970 CE – Hörpartitur (Audio Score). Possibly the first Audio Score was created by Rainer Wehinger of György Ligeti’s “Artikulation” (1958).
  263. 1972 CE – Graphic Notation/Tablature developed by Gerhard Kubik to notate African xylophones.
  264. 1972 CE – Kora Tablature developed by Roderic Knight to notate Kora music.
  265. 1972 CE Netherlands – 6-6 Klavar. developed by Cornelis Pot.
  266. 1972 CE Indonesia – Martopangrawit Kendhang Notation.
  267. 1972 CE Indonesia, Sumatra – Parlindungan Notation.
  268. 1972 CE USA – Donald P. Barra’s “Analog System of Music Notation.” U. S. Patent No. 3,698,277.
  269. 1972 CE USA (La Canada, CA) – The Complete Keyboard Staff. Created by Ralph Grier Cromleigh. (Cromleigh, 1977: 35).
  270. 1973 CE Israel (Tel Aviv) – Numerical Notation. Created by Yael Bukspan in “Towards a New System of Music Notation.”
  271. 1973 CE – Richard Bunger’s “Notation Format for the Piano: A Multi-Instrument” in Numus-West 3, pp. 22-26.
  272. 1973 CE – Jean-Etienne Marie’s “Sur quelques problemes de notation” (Concerning certain problems of notation) in Musique en jeu 13, pp. 36-48.
  273. 1973 CE USA – Ralph G. Cromleigh’s “Musical Notation and Actuator System” U.S. Patent No. 3, 741,066.
  274. 1974 CE – Gabriel Music Notation. Created by William Tapley.
  275. 1974 CE USA (Forestport, NY) – William Tapley’s “[An improved system of musical notation].”
  276. 1974 CE – Avique Notation. developed by Anne and Bill Collins.
  277. 1974 CE – Hass Music Notation. Created by Peter Hass.
  278. 1974 CE – Richard Bunger’s “A Musiglyph Primer” in Numus-West 5, pp. 16-32.
  279. 1975 CE – AFRICA VUWO. a phonetic notation created by Doris Green.
  280. 1975 CE – Parsons Code for Melodic Contours developed by Denys Parsons.
  281. 1975 CE – William Tapley’s “Notation Reform: Proposal for a New System.” in Contemporary Keyboard 1/2. pp. 14-15.
  282. 1975 CE Indonesia – Sumarsam Kendhang Notation.
  283. 1975 CE Indonesia – “Typewriter” Kepitahan.
  284. 1975 CE USA (Northridge, CA) – George J. Skapski’s “PANOT: ‘Universal Notation.'”
  285. 1976 CE Germany (Frankfurt-am-Main) – A-B Chromatic Notation. Albert Brennink’s chromatic notation system published in “Die Halbton-Schrift” (The Chromatic Notation: a graphical representation of music).
  286. 1976 CE Germany (Modling) – George Pum’s “Dreilinien-Notensystem” (Three-line notation system).
  287. 1977 CE – Proportional Chromatic Musical Notation. developed by Henri Carcelle.
  288. 1977 CE Papua New Guinea – Pugh-Kitingan WSN Hiriyula Transcription System.
  289. 1977 CE Papua New Guinea – Pugh-Kitingan Proportional Graph Hiriyula Transcription System.
  290. 1977 CE Papua New Guinea – Pugh-Kitingan Non-proportional Graph Hiriyula Transcription System.
  291. 1978 CE Germany (Hamburg) – Bohlen Notation
  292. 1979 CE Netherlands [IMG] – Capper Styles Whole Tone Co’s music notation in “Music notation for use with keyboard – comprises stave having parallel horizontal lines arranged in pairs.”
  293. 1980 CE – Nachum Schoffman – “A Shorthand for Atonal Music” in The Music Review 41, 4, pp. 297-301.
  294. 1980 CE USA – Gjerdingen Melograms. Method of automatic transcription developed and used by Robert O. Gjerdingen in the 1980s. (Gjerdingen, 1988).
  295. ca. 1980s CE Myanmar/Burma – Thachingyi Number Notations
  296. 1981 CE Indonesia, Sumatra – Kartomi Notation
  297. 1983 CE USA (San Diego, CA) [URL] – Allcanplay Piano Notation. Created by Mike Weinberg
  298. 1983 CE – Untitled Notation. Created by Franz Grassl.
  299. 1983 CE – Untitled Notation. Created by Klaus Lieber.
  300. 1983 CE England (London) – Untitled Notation. Created by Robert Stuckey in “Music in Cyclic Twelfths.”
  301. 1983 CE England (Oxford) – Kjell Gustafson first proposes his method to represent a rhythm as a two-dimensional graph. This would eventually become TEDAS (Temporal Elements Displayed As Squares) in 1987.
  302. 1984 CE – 0-5-7 Notation. Created by Richard Parncutt.
  303. 1984 CE USA (Port Washington, NY) – Louis Appell’s “The Novox Piano Notation.”
  304. 1985 CE – Chromatic 6-6 Notation. Created by Johannes Beyreuther.
  305. 1985 CE USA (Forestport, NY) – William Tapley’s “Gabriel Music Notation.”
  306. 1986 CE – DA Notation. Created by Rich Reed.
  307. 1986 CE – Chromatic Twinline. Created by Leo de Vries.
  308. 1986 CE – Diatonic Twinline. Created by Leo de Vries.
  309. 1986 CE – Twinline Notation. Created by Thomas Reed.
  310. 1986 Germany – Gert-Matthias Wegner Notation. Adaptation of Nikhil Ghosh Notation by ethnomusicologist, Gert-Matthias Wegner (Wenger, 2004: 55).
  311. 1986 CE Indonesia – Kepatihan Font Notation.
  312. 1987 CE – Bilinear Notation. Created by José A. Sotorrío.
  313. 1987 CE Philippines – Mayo Kulintang Tablature. Developed by Aga Mayo Butocan.
  314. 1987 CE – VW XYZ/VaWu-XeYuZe. Proposed by Robert Stuckey and Richard Parncutt.
  315. 1987 CE England (Oxford) – TEDAS (Temporal Elements Displayed As Squares). Method to represent a rhythm as a two-dimensional graph created by Kjell Gustafson, at the Phonetics Laboratory of the University of Oxford. First Proposed in 1983.
  316. 1988 CE USA [IMG] – Nomographic Music Notation. Created by James C. Rickey.
  317. 1988 CE USA [IMG] – Notation System in Philip F. Ferand’s “Method and apparatus for representing musical information as guitar fingerboards.”
  318. 1989 CE – Keyboard (or 7-5) Trigram Notation. Created by Richard Parncutt.
  319. 1990 CE – 6-6 Trigram Notation by Richard Parncutt.
  320. 1990 CE Northern India/Tibet – Tibetan Syllabic Notation. Created by Dar Zhabs ‘Jam dpal Skal ldan for use in his 3-line staff notation. (Collinge, 1996: 94, 95)
  321. 1991 CE Canada [IMG] – Graphic Scores/Notation for Sound Koans. Created by Randy Raine-Reusch.
  322. 1991 CE – Alyson Reeves Bohlen Pierce Notation.
  323. 1991 CE – C-Symmetrical Semitone Notation by Ronald Sadlier.
  324. 1992 CE – Untitled 12-Tone Notation. Created by Grace Frix.
  325. 1992 CE – ABC-Notation (Ailler-Brennink-Chromatische-Notation).
  326. 1992 CE USA [IMG] – Firestone Notation System. Created by Grace J. Frix.
  327. 1994 CE [IMG] – New Notation in Alfred George Thorne’s “An improved keyboard design and music notation.”
  328. 1995 CE – VaWu-XeYuZe (Vowels Added).
  329. 1995 CE – MUTO Notation. Created by MUTO Music Method Foundation.
  330. 1995 CE – Untitled Chromatic Notation. Created by Nicolai Dolmatov.
  331. 1995 CE Japan – Music Notation Method of Gesture-type Musical Sound Control Device. Created by Yamaha Corp. [LINK]
  332. 1996 CE – 6-6 Tetragram. Created by Richard Parncutt.
  333. 1996 CE Canada – Scratch Notation. Created by Alain Macklovitch (A-Trak). (Miyakawa, 2007: 82-84)
  334. 1997 CE – Bilinear Notation. Created by José A. Sotorrío.
  335. 1990s CE England – Modified Stave Notation (MSN)
  336. 1990s CE Netherlands – FNB Spoken Music Notation. Developed in coordination with the music department of the Dutch Federation of Libraries for the Blind (FNB).
  337. Mid 1990s Finland [IMG] – Figurenote. Developed by music therapist Kaarlo Uusitalo and music educator Markku Kaikkonen. [LINK]
  338. 1997 CE Japan [IMG] – Pitch Name Notation Method. Created by Jitsu Kitano & Happy Light Music Co., Ltd. in “Pitch name notation method, pitch name notation device, pitch numerical expression method, tonality judgment method and pitch value conversion method.”
  339. 1998 CE Pakistan [IMG] – Adaptation into Urdu of Bhatkhande Notation System by Ustad Mahfooz Khokhar
  340. 1998 CE Thailand – Worayot Suksaichon | วรยศ ศุขสายชล (1945) created notation system to adapt Thai notation to his 17TET theory of Thai tuning.
  341. 1998 CE USA [IMG] – Scale-Based Music Notation System. Created by Gerald L. Johnson, Joseph Thomas Pawlowski
  342. 1998 CE USA – Turntable Notation. Created by Jason Bellmont (DJ Radar) and first used in the composition for Turntables, “Antimatter,” and eventually used by Rael Yanez in his Concerto for Turntable.
  343. 1999 CE [IMG] – Scratch Notation. Created by DJ Raedawn Phoenix and published in “The Fundamentals.”
  344. 1999 CE Germany [IMG] – S-notation. Developed by Alexander Sonnenfeld. (Sonnenfeld & Hansen, 2016)
  345. 1999 CE Sweden [IMG] – Music Notation System. Created by Peter Bengtsson, Johan Patrik Kullbom, Johan Georg Granstroem.

21st Century CE (144 entries)

  1. 2000 CE – Helmholtz-Ellis Just Intonation Pitch Notation.
  2. 2000 CE [IMG] – Turtablist Transcription Method (TTM). Created by John Carluccio, Ethan Imboden, and Raymond Pirtle. [LINK]
  3. 2000 CE Australia [IMG] – New keybaord representation/notation in Leigh Lachlan McIntoshin’s “Data recording and retrieval, sheet music, music keyboard tablature and method of teaching music.”
  4. 2000 CE Canada [IMG] – Variable Musical Notation. Created by Bradley J. Naples, Herbert P. Snow, Thomas Zack, John Paquette, Robert Ferry.
  5. 2001 CE – Sagittal Microtonal Notation. Created by George D. Secor and David C. Keenan.
  6. 2001 CE Australia [IMG] – Multi-Colored Musical Notations. Created by Byron K. Varme.
  7. 2001 CE USA [IMG] – Morris Powley Tone Note Scale in “Music tone identification method related with apparatus, notation, and instruments.” US Patent US20020117043A1.
  8. 2002 CE USA [IMG] – Graphic Color Music Notation for Students. Created by Jane Ellen Holcombe. US Patent US20040007118A1.
  9. 2002 CE [IMG] – Extended Staff System in Justo Manuel Gonzalez Sanchez-Fabres’s “Set of templates for the a-440 music notation system.”
  10. 2002 CE Canada [IMG] – Staff for Music Notation. Created by Clayton Mitchell.
  11. 2002 CE Greece – Proportional Music Notation. [LINK]
  12. 2002 CE – Chronotonic Chains. Ludger Hofmann-Engl develops his two-dimensional rhythm representation system.
  13. 2002 CE UK – Music Notation System. Created by Montaigue Deiven C. [LINK]
  14. 2002 CE USA [IMG] – Chromatic Music Notation System. Created by David C. Bonham.
  15. 2002 CE USA [IMG][IMG] – Music Notation System. Created by Jack Marius Jarrett, Lori Jarrett, Ramasubramaniyam Sethuraman, Rangarajan Krishnaswami, Anand Shankar Krishnamoorthi.
  16. 2003 CE Australia [IMG] – Colored Music Notation System and Method of Colorizing Music Notation. Created by Victor Mair Hyman, David Kestenbaum.
  17. 2003 CE Europe [IMG] – “Method for transforming usual music notation into a notation for the left-handed.” Created by Gèza Losò, Monika Losò.
  18. 2003 CE Japan [IMG] – Music Notation System. Created by Jack Jarrett, Marius Jarrett, Laurice Raman, Lamas Brahmanyam.
  19. 2003 CE USA [IMG] – Music Notation System. Created by Marilyn Forster.
  20. 2003 CE USA [IMG] – Do-Re-Mi System of Music Notation Shorthand. Created by John Underwood and published in a book of the same name by Dorrance Publishing.
  21. 2004 CE – Mark Gould’s variant of Equiton Music Notation. initially created by by Rodney Fawcett.
  22. 2004 CE – Extended Helmholtz-Ellis JI Pitch Notation
  23. 2004 CE [IMG] – Isomorphic Solfa Music Notation created by James Lee Plamondon & Ronald Frank Gorow.
  24. 2004 CE [IMG] – Morpheus Music Notation System. Created by Mark Patrick Egan. US Patent No. 20080127810A1.
  25. 2004 CE Japan [IMG] – Music Notation for Folk Music. Created by Yasuhiro Kodama (康宏 兒玉).
  26. 2004 CE Japan [IMG] – Music Notation. Created by Aiichiro Harashima (愛一郎 原島).
  27. 2005 CE – Express Stave, Original Version by John Keller
  28. 2005 CE – Thumline Notation. Created by Jim Plamondon.
  29. 2005 CE [IMG] – Easy Learn Music Notation System. Created by Eugene J. Bakke.
  30. 2005 CE – Anandi Notation. One of three notation systems designed by Nicolas Magriel as Macintosh fonts to render North Indian (Hindustani) music. Anandi is a form of sargam notation. See Magriel (2005: 127-128).
  31. 2005 CE – Anandisankhya Notation. One of three notation systems designed by Nicolas Magriel as Macintosh fonts to render North Indian (Hindustani) music. Anandisankhya was designed as an exact translation of sargam into numerical notation. See Magriel (2005: 127-128).
  32. 2005 CE – Amrit Notation. One of three notation systems designed by Nicolas Magriel as Macintosh fonts to render North Indian (Hindustani) music. Amrit was designed to match transliteration of Hindi words. See Magriel (2005: 127-128).
  33. 2006 CE – Using Finale with Alternative Music Notation Systems. John Keller
  34. 2006 CE [IMG] – Clairnote DN. Created by Paul Morris
  35. 2006 CE – Black Triangle Twinline. Created by Doug Keislar
  36. 2006 CE – Black-Oval Twinline. Created by Paul Morris
  37. 2006 CE – Klavar, Mirck Version. Created by Jean de Buur.
  38. 2006 CE – Notation used by Adrian Egger and Moussa Héma in “Die Stimme des Balafon.”
  39. 2006 CE [IMG] – Music Notation System and Method. Created by Andrew Joseph Weitz.
  40. 2006 CE USA [IMG] – Music Notation. Created by Nathalie Reverdin.
  41. 2007 CE – New Integrative Kagok Notation (NIKN). Created by In-suk Lee.
  42. 2007 CE [IMG] – Method of Representing Rhythm in Music Notation. Created by Devra L. Robledo.
  43. 2007 CE [IMG] – Music Notation System. Created by James S. Johnston.
  44. 2007 CE UK [IMG] – Notation System in Sotorrio Jose A’s “New music notation system and keyboard instrument.”
  45. 2007 CE UK – Color Coded Music Notation. Created by Terence B. [LINK]
  46. 2008 CE [IMG] – Method and System for Music Notation. Created by Victor Mataele.
  47. 2008 CE [IMG] – Music Notation System. Created by Matthew Rebstock.
  48. 2008 CE [IMG] – Music Notation System. Created by Spencer Saburo Tashima. US Patent No. 20090266223A1.
  49. 2008 CE [IMG] – System of Coloured Keys and Notation for Music Instruction. Created by Setu Parikh, Glenn Fernandes, Robin Fernandes, David Aashish, David Charmaine.
  50. 2008 CE USA [IMG] – Steel Pan Music Notation System. Created by Beverley I. Charles.
  51. 2009 CE – Numbered Notes. Created by Jason MacCoy
  52. 2009 CE – TwinNote Music Notation. Created by Paul Morris
  53. 2009 CE – I-Accord Music Notation. Created by Saieb Khalil
  54. 2008 CE [IMG] – Music Notation. Created by Erik M. Rosen. US Patent No. US20100186575A1.
  55. 2009 CE – Numbered Notes, Notes-Only Version. Created by Jason MacCoy
  56. 2009 CE – Numbered Notes, Numbers-Only Version. Created by Jason MacCoy
  57. 2009 CE – Chromatic Lyre Notation. Created by Jan Braunstein
  58. 2009 CE – TwinNote TD. Created by Paul Morris
  59. 2009 CE – Express Stave: Pianoforte Notation. Created by John Keller
  60. 2009 CE – Express Stave, 6-6 Jazz Font. Created by John Keller.
  61. 2009 CE [IMG] – Aclef Accompaniment Notation. Created by John Goldsmith, Warren Targett.
  62. 2009 CE [IMG] – Music Notation System. Created by Michael Saxby.
  63. 2009 CE [IMG] – “Notation System for Music, Displaying Pitches in Color on a Keyboard Chart and Having Rhythmic Values Indicated by the Vertical Length of Said Pitches.” Created by Noah Ernest Epstein.
  64. 2009 CE China [IMG] – General Music Notation for Positioning Scales and Notes Together. Created by Wang Yinxuan, Wang Juanjuan, Wang Jinjin.
  65. 2009-2011 CE India (Tamil Nadu) – Carnatic Braille Music Notation. Created by Dr. Gayatri Sankaran.
  66. 2010 CE – Express Stave, Tricolor Version. Created by John Keller
  67. 2010 CE – ChromaTonnetz. Created by Joe Austin.
  68. 2011 CE [IMG] – Hmong Qeej Tablature created by Chia Vang.
  69. 2011 CE [IMG] – Acid Pattern Sheet for the Roland TB-303. Created by Dan Gendreau. [LINK] (Davis, 2022: 9)
  70. 2011 CE – Slantnote. Created created by David Zethmayr
  71. 2011 CE – Chromatic Pairs. Created by Fernando Terra
  72. 2011 CE – Lautus Notation. Created by Bruce Allen Dickey
  73. 2011 CE – Chromatic Nydana. Created by Dan Lindgren
  74. 2011 CE – Musicolinguistic Graphs. Created by Mahesh Radhakrishnan to analyze Carnatic Niraval. (Radhakrishnan, 2011)
  75. 2011 CE China [IMG] – Zhang Shuhan’s (張書瀚) Notation Proposal. [LINK]
  76. 2011 CE – Gamaka Box Notation System. Created by Vinayakam Ramesh and first published in Sruti Magazine.
  77. 2012 CE – Klavar, Dekker Version. Created by Antoon Dekker.
  78. 2012 CE Japan [IMG] – Piano Roll Notation. Created by Norihiko Murase (範彦 村瀬).
  79. 2012 CE West Malaysia – Pugh-Kitingan WN Songkogungan Transcription System.
  80. 2012 CE West Malaysia – Pugh-Kitingan WN Songkogungan Music/Dance Transcription System.
  81. 2013 CE – Hummingbird Notation. Created by Blake West
  82. 2013 CE [IMG] – 3jcn Music Notation. Created by Thomas Nguyen.
  83. 2013 CE [IMG] – Music Notation System. Created by Blake West, Michael Sall.
  84. 2013 CE Belgium [IMG] – NOTUS Music Notation. Created by Erwin Clauws.
  85. 2013 CE Canada [IMG] – Music Notation System for Guitar Fretboard. Created by Mark Vandendool.
  86. 2013 CE Estonia – Motion Graphic Notation. Created by Christian M. Fischer.
  87. 2013 CE Papua New Guinea – BenaBena Iconic Music Representation
  88. 2014 CE [IMG] – Berry Musical Music Notation Symbols. Created by Carol Caldwell-Edmonds and Shannon Edmonds.
  89. 2014 CE [IMG] – Music Notation System for Two Dimensional Keyboard. Created by Lewis Neal Cohen.
  90. 2014 CE – AxLoMaFi. Created by Jai Park
  91. 2015 CE [IMG] – Alex Couch’s Piano Tab notation. [LINK]
  92. 2015 CE – Dozenal Conventional Music Notation (DCMN). Created by Christian Pörksen/Robert Elisabeth Key
  93. 2015 CE – Corpus Musicae Ottomanicae Transcriptions
  94. 2015 CE Canada [IMG] – Music Notation System. Created by Christian A. Bideau Olivera.
  95. 2015 CE Turkey – Turkish Folk Music Phonetic Notation System/TFMPNS. Created by Gonca Demir. (Demir, 2015; 2017).
  96. 2016 CE – Global Notation developed by Andrew Killick
  97. 2016 CE [IMG] – Color Coded Music Notation System. Created by A/L Abdul Aziz Ansari.
  98. 2016 CE China [IMG] – Interactive Dynamic Color Form and Meaning Music Notation Method. Created by Wei Gang, Yang Cui, Cao Yan, Guangzhou Fengpu Information Technology Co ltd.
  99. 2016 CE Estonia – Musical Motion Graphics. Created by Christian M. Fischer.
  100. 2016 CE UK [IMG] – Transposable Music Notation System. Created by Vaughan Gill Peter.
  101. 2016 CE USA [IMG] – Music Shaper. Created by Mark Strachan.
  102. 2016 CE USA [IMG] – Piano Music Notation. Created by Nathan Kelsey.
  103. 2017 CE [IMG] – Emoji-Go Music Notation created by Keven M. Thompson.
  104. 2017 CE – DS66 Music Notation. Created by Paul Morris.
  105. 2017 CE [IMG] – Music Notation and Charting Method. Created by Christopher M. Keeney.
  106. 2017 CE [IMG] – Music Notation System. Created by Zachary Ray Tolan. US Patent No. US20170236443A1.
  107. 2017 CE [IMG] – String Quartet Tablature. Created by Vin Cecil Nearfellow.
  108. 2017 CE – Trilinear Notation. Created by José A. Sotorrio.
  109. 2017 CE – Parallel Square Premusic. Created by u/PSPremusic. [LINK][ARCHIVED]
  110. 2017 CE UK – Music Notation System. Created by Wu Yong. [LINK]
  111. 2017 UK [IMG] – Universal Indian Drum Notation. Tabla drum notation created by Kuljit Bhamra and Keda Music.
  112. 2017 CE USA [IMG] – Music Notation System for Piano. Created by Sean Campbell.
  113. 2017 CE USA [IMG] – Play By Number Music Notation System. Created by Carl Edward Johnson.
  114. 2018 CE – Clairnote SN. Created by Paul Morris.
  115. 2018 CE China [IMG] – Method and Apparatus for Colored Music Notation. Created by Zi Hao Qiu, Christopher Dong Cheng Qiu, Tang Yin.
  116. 2018 CE Germany [IMG] – “Method for the Chromatic Notation of Music, Music Notation System, Notation Device and Computer Program Product.” Created by Anmelder Gleich, Lukas Brandt.
  117. 2018 CE [IMG] – Sang Lee’s Music Notation system (SALEMN). Created by Sang C. Lee.
  118. 2018, December 16 CE – “Key/Mode Agnostic” Music Notation System. Created by John Moriarty (u/AD1AD). [LINK][ARCHIVED][VIDEO]
  119. 2019 CE [IMG] – Music Notation Using a Disproportionate Correlated Scale. Created by Benjamin Barnett Spratling, IV.
  120. 2019 CE [IMG] – Stringed instrument pitch location notation method. Created by Tyler Robert Billman. WIPO (PCT) No. WO2021050101A1.
  121. 2019 CE USA [IMG] – The Chop Notation Project. Created by Casey Driessen with Oriol Saña. [LINK]
  122. 2020 CE [IMG] – Alex Couch’s Updated Piano Tablature. [LINK]
  123. 2020 CE [IMG] – Symmetric Dodecaphonic Harmony Music Notation System. Created by Yaodong Chen.
  124. 2020 CE [IMG] – Symmetric Twelve-Tone Sound Music Score System. Created by Yaodong Chen.
  125. 2020 CE Indonesia – Kridhamardawa Font Notation.
  126. 2020 CE Turkey – Makam Notation System based on the Harmonic Series proposed by Süleyman Hakan Görener
  127. 2020 CE USA [IMG] – Music Notation System. Created by Jianxun Zhou.
  128. 2020 CE USA [IMG] – Music Notation System. Created by Juan Manuel Picossi Goñi. US Patent No. US11081093B1.
  129. 2020 CE USA [IMG] – Solfaphone. Created by William H.T. La.
  130. 2020, August 14 CE – New Triangle Notation. Created by u/mierecat. [LINK][ARCHIVED]
  131. 2021 CE [IMG] – DAMONN Music Notation System. Created by Dan Pirasak Sikangwan, Krisna Sikangwan.
  132. 2021 CE China [IMG] – Buddhism Music Score Recording Method. Created by Liu Zhizhi, Han Baoqiang, Xiao Jing
  133. 2022 CE [IMG] – “Guitar Open Lines” Notation. Developed by Alex Knauth.
  134. 2022 CE [IMG] – Plain Music Notation system. Created by Panchuli.
  135. 2023 CE [IMG] – String Quartet Tablature. Created by Bil Smith.
  136. 2023 CE Belgium [IMG] – NOTUS Stradella Bass Accordion Notation. Created by Erwin Clauws
  137. 2023, October 24 CE – New Note Naming System. Created by u/imfeelinreddity. [LINK][ARCHIVED]
  138. 2023, October 30 CE – Number/Syllable Hybrid System. Created by u/Marvinkmooneyoz. [LINK][ARCHIVED]
  139. 2023, November 05 CE – Vertical Tie for Alearezzo. Created by u/VerbotenPublish (Anthony Mountjoy). [LINK][ARCHIVED]
  140. 2023, December 25 CE – Counternote. Created by u/integerdivision. [LINK][ARCHIVED]
  141. 2024, March 12 CE – Stradella Bass Accordion Svaras. Created by Kiran Karkera [LINK]
  142. 2024, April 16 CE – Octave Staff. Created by u/KiloHurts (CLeJack). [LINK][ARCHIVED]
  143. 2024, April 16 CE – Alpha Notation. Created by u/KiloHurts (CLeJack). [LINK][ARCHIVED]
  144. 2024, April 22 CE – Modified Staff Line System. Created by u/Ancient-Ad6806 [LINK][ARCHIVED]

UNCERTAIN, INDETERMINATE DATING (64)

  1. Africa, ? (?) – A form of Tactile Notation used by drummers to beat out rhythms on the shoulders of student drummers. (Ellingson, 1980: 154).
  2. Asia, Central Asia (Uzbekistan) – Doira Drum Syllables.
  3. Asia, East Asia (Japan) – Kuchi shōga. Music notation for Japanese drums such as taiko and the tsuzumi.
  4. Asia, East Asia (Korea) – Sondongjak (hand signs). Used in Kagok (가곡) singing. (Lee, 2007: 207-267)
  5. Asia, East Asia (Tibet) – Tibetan Cheironomy. (Ellingson, 1980: 154).
  6. Asia, South Asia (North India) – Bol. Hindustani percussion syllable langauge/notation used for the the tabla or pakhavaj.
  7. Asia, South Asia (North India) – Padhant. Hindustani percussion syllable performance.
  8. Asia, South Asia (South India) – Konnakol. Carnatic percussion syllable performance.
  9. Asia, South Asia (South India) – Solkattu. Spoken percussion syllables and Hand gestures.
  10. Asia, South Asia (Bhutan) – Bhutanese Hand Signs. Used to show melodic contours.
  11. Asia, South Asia (India) – Krīya (hand gestures): Used by vocalists to show the tāla.
  12. Asia, South Asia (India) – Mudra (hand gestures): Used to indicate scalar and melodic figures in Indian Vedic Chant. (Ellingson, 1980: 154).
  13. Asia, South Asia (India) – Ome Swarlipi. Indian Classical Music Notation system created by Ragini Trivedi. See Trivedi, 2021.
  14. Asia, South Asia (Nepal) – Newar Hand Movements: Used to direct the performance of rhythmic cycles. (Ellingson, 1980: 154).
  15. Asia, South Asia (Nepal) – “In cases such as the Sinhalese and Newar music for circumambulation of a stupa or other religious structure, the architecture provides a set of prescriptions that determine essential characteristics of the music.” (Ellingson, 1980: 154).
  16. Asia, South Asia (Nepal) – Indo-Newar Mantra-Boli: System of drum-language in which ritual linguistic messages are ‘voiced’ by drums and other instruments in structured compositions conceived and evaluated in musical as well as linguistic terms. (Ellingson, 1980: 154).
  17. Asia, South Asia (Sri Lanka) – “In cases such as the Sinhalese and Newar music for circumambulation of a stupa or other religious structure, the architecture provides a set of prescriptions that determine essential characteristics of the music.” (Ellingson, 1980: 154).
  18. Asia, Southeast Asia (Bali) – Gupekan Notation. A notation use for Balinese hand-drumming, especially the kendang. (Perdana, 2023: 4-5)
  19. Asia, Southeast Asia (Bali) – Kidung Pélog Baro Notation. A pentatonic scale notation system used in Kidung songs. (Sumardika, 2019: 189)
  20. Asia, Southeast Asia (Bali) – Kidung Pélog Pangembek and Slendro Alit Notation. A pentatonic scale notation system used in Kidung songs. (Sumardika, 2019: 189)
  21. Asia, Southeast Asia (Bali) – Kidung Pélog Selisir Notation. A pentatonic scale notation system used in Kidung songs. (Perdana, 2023: 8; Sumardika, 2019: 189)
  22. Asia, Southeast Asia (Bali) – Kidung Pélog Sunaren Notation. A pentatonic scale notation system used in Kidung songs. (Perdana, 2023: 8; Sumardika, 2019: 189)
  23. Asia, Southeast Asia (Bali) – Kidung Pélog Tembung Notation. A pentatonic scale notation system used in Kidung songs. (Sumardika, 2019: 189)
  24. Asia, Southeast Asia (Bali) – Kidung Saih Pitu Notation. A heptatonic scale notation system used in Kidung songs. (Perdana, 2023: 8; Sumardika, 2019: 189)
  25. Asia, Southeast Asia (Bali) – Kidung Slendro Ageng Notation. A pentatonic scale notation system used in Kidung songs. (Sumardika, 2019: 189)
  26. Asia, Southeast Asia (Bali) [IMG] – Notasi Gambang variant in a lontar manuscript, Gambang Gita Gagrantangan, Perpustakaan Dokbud Provinsi Bali. (Perdana, 2023: 9).
  27. Asia, Southeast Asia (Bali) – Notasi Gambang variant in a manuscript housed in the Perpustakaan Nasional Republik Indonesia. (Perdana, 2023: 10-11).
  28. Asia, Southeast Asia (Bali) – Notasi Gambang variants described in Perdana (2023: 11).
  29. Asia, Southeast Asia (Bali) – Notasi Gambang symbols described in Perdana (2023: 11-12).
  30. Asia, Southeast Asia (Bali) – Notasi Gambang variant described in Rai (2022). (Perdana, 2023: 11).
  31. Asia, Southeast Asia (Bali) – Notasi Gambang variant described in Sumardika (2019: 188-189).
  32. Asia, Southeast Asia (Bali) – Tebola Village Notasi Gambang. One of many regional variants of Notasi Gambang found in Bali. (Hood, 2016: 60-62; Perdana, 2023: 7-8).
  33. Asia, Southeast Asia (Cambodia) – Pinpeat Notation. (Triple K Angkor Writers, 2024).
  34. Asia, Southeast Asia (Cambodia) – Kbach Notation. (Triple K Angkor Writers, 2024).
  35. Asia, Southeast Asia (Java) – Javanese Hand Gestures: Used represent gong pitches. (Ellingson, 1980: 154).
  36. Asia, Southeast Asia (Java) – Kendhang Cangkem/Kendhang Mulut/Kendhang Secara Lisan.
  37. Asia, Southeast Asia (Java) – Notasi Gambang variant in a manuscript housed in the Perpustakaan Nasional Republik Indonesia. (Perdana, 2023: 10-11).
  38. Asia, Southeast Asia (Java) – Nut Ranté Type 2
  39. Asia, Southeast Asia (Java) – Nut Ranté Type 3
  40. Asia, Southeast Asia (Java) – Romo Kawindro/Bambang Sri Atmojo Kendhang Notation
  41. Asia, Southeast Asia (Java) – Suryaputra Staff Notation
  42. Asia, Southeast Asia (Java) – Widyåswårå Notation (type 1)
  43. Asia, Southeast Asia (Java) – Widyåswårå Notation (type 2)
  44. Asia, Southeast Asia (Java) – Kendhang Notation Yogyakarta Sultanate palace.
  45. Asia, Southeast Asia (Java) – Kendhang Notation Conservatory and Academy of Gamelan Performing Arts at Surakarta.
  46. Asia, Southeast Asia (Philippines) – Drum Notation for the Iloilo Dinagyang Festival. (Threatening Music Notation, 2023).
  47. Asia, Southeast Asia (Vietnam) – Ca Trù Notation (Nguyễn Hồng Vinh & Trần Văn Hữu, 2023: 120; Wettermark & Håkan, 2016: 309).
  48. Asia, Southeast Asia (Vietnam) – Cung Solmization (Nguyen, 2018: 16, 20, 21)
  49. Asia, Southeast Asia (Vietnam) – Đàn Đáy Notation (Wettermark & Håkan, 2016: 309).
  50. Asia, Southeast Asia (Vietnam) – Đàn Tranh Tablature (Trân & Nguyen, 2001).
  51. Asia, Southeast Asia (Vietnam) – Ghi-ta Phím Lõm Numbering System (Nguyen, 2018: 36)
  52. Asia, Southeast Asia (Vietnam) – Modern Vietnamese Music Notation (Trân & Nguyen, 2001)
  53. Asia, Southeast Asia (Vietnam) – Phách Notation (Nguyễn Hồng Vinh & Trần Văn Hữu, 2023: 120; Wettermark & Håkan, 2016: 309).
  54. Asia, Southeast Asia (Vietnam) – Ty Bà Tablature (Trân & Nguyen, 2001)
  55. Asia, Southeast Asia (Vietnam) – Vọng Cổ Hò Solmization (Nguyen, 2018: 35, 58, 70)
  56. Asia, West Asia (Turkey) – The Gultekin Oransay Notation method, proposed in Musiki Istilahati (The Music Reform).
  57. Asia, West Asia (Turkey) – Ekrem Zeki Un Notation.
  58. Europe, ? (?) – Gregorian Cheironomy.
  59. Europe, Belgium – Meerens method; modifies clef signs. (Southgate, 1889: 531)
  60. Europe, France [IMG] – Éliane Radigue’s Notation for the ARP 2500. (Davis, 2022: 11).
  61. Europe, Netherlands [IMG] – Paul Nas’s Box Notation for balafon and djembe.
  62. Europe, Spain – Flamenco Zapateado Notation. A type of dance notation used for Flamenco zapateado (foot-stomping).
  63. Europe, UK – Tablature! Tabla notation system created by Kuljit Bhamra.
  64. Oceania, Melanesia (Solomon Islands) – Lau Charcoal Notation: “Walter Ivens notes for the Lau of the Solomon Islands that: “In singing, a low note is called bulu (black), and a high note kwao (white). These names are taken from charcoal marks made on a plank to indicate the tune: the heavy down-strokes being ‘black,’ and light up-strokes ‘white.’” (Merriam, 1964: 96-97).

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