@inproceedings{Muennich_2023b,
 abstract = {Digital music writing encodings pose challenges: They force us to question, rethink and renegotiate the concept of musical writing and notation which has shaped the historiography of music in the Latin-Western cultural sphere since its beginnings. How can digital forms of musical writing be integrated into and theoretically addressed by a concept of writing? Are writing and notation the same? What are the similarities, what the differences between historical and contemporary forms of music writing? Following a terminological clarification of the relevant concepts, this paper will approach these questions from a sign-theoretical perspective by contrasting the (non-music-specific) notation models of Nelson Goodman and Roy Harris and examining their suitability as possible descriptive models in connection with musical notation. Finally, with the concept of musical notation developed from this model, some nowadays commonly used music encoding formats (MEI, Lilypond, and MusicOWL) will briefly be considered. Ultimately, the questions raised are intended to illuminate a sub-area of that medial area of tension which the notation of music still opens up in various ways, time and again.},
 author = {Münnich, Stefan},
 title = {Zwischen Federkiel und digitaler Codierung. Musikalische Schrift als mediales Spannungsfeld},
 pages = {1},
 series = {GMTH Proceedings 2019},
 editor = {Kocher, Philippe},
 booktitle = {Notation. Schnittstelle zwischen Komposition, Interpretation und Analyse},
 year = {2023},
 doi = {10.31751/p.256}
}

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