Floris Schuiling is Assistant Professor at Utrecht University. His areas of expertise are modern and contemporary music in the Netherlands, especially improvised and experimental music, and the role of technology and material culture in musical creativity,with a focus on performance practices.Emily Payne is Lecturer in Music at the University of Leeds. Her research interests include performance studies (particularly of post-war music), creativity, collaboration, embodiment, and materiality.

• Chapter One: Introduction: Notation and/as material cultureFloris Schuiling and Emily PaynePart I: Epistemologies of notationChapter Two: Was 1974 the End of Music History? Universalism, cybernetics, and the International Conference of New Musical NotationGiulia Accornero Chapter Three: Encyclopaedias and empty staves: Re-reading music in Hanne Darboven’s Quartett ›88‹Elaine Fitz GibbonChapter Four: Scoring the listener: Notation and representation in acousmatic musicPatrick Valiquet Part II: Notation and the body Chapter Five: The Deaf body beyond music: Music notation by Christine Sun KimChae-Lin KimChapter Six: Music, notation, and embodiment in early sixteenth-century Italian pictures Tim Shephard and Sanna RaninenChapter Seven: The work of notation in the visual culture of medieval devotionBeth WilliamsonPart III: Notation and social relationsChapter Eight: Jianpu simplified notation and the transnational in musical repertoires of New York’s ChinatownJoseph S. KaminskiChapter Nine: Mediating minstrelsy: Notating instrumental identity in fourteenth-century songDavid Maw Chapter Ten: Inscription, gesture, and social relations: Notation in Karnatak musicLara PearsonPart IV: Notation, instruments, and technologyChapter Eleven: Digital scores, algorithmic agents, and encoded ontologies: On the objects of musical computation Brian A. MillerChapter Twelve: Perforating the subject: The player piano rolls of Conlon NancarrowNaomi WooChapter Thirteen: Material bias: David Tudor’s realisationsYou NakaiChapter Fourteen: ‘I Feel Love’: Music mutation in the electronic age Kiene Brillenburg Wurth

Floris Schuiling is Assistant Professor at Utrecht University. His areas of expertise are modern and contemporary music in the Netherlands, especially improvised and experimental music, and the role of technology and material culture in musical creativity,with a focus on performance practices.Emily Payne is Lecturer in Music at the University of Leeds. Her research interests include performance studies (particularly of post-war music), creativity, collaboration, embodiment, and materiality.

• Chapter One: Introduction: Notation and/as material cultureFloris Schuiling and Emily PaynePart I: Epistemologies of notationChapter Two: Was 1974 the End of Music History? Universalism, cybernetics, and the International Conference of New Musical NotationGiulia Accornero Chapter Three: Encyclopaedias and empty staves: Re-reading music in Hanne Darboven’s Quartett ›88‹Elaine Fitz GibbonChapter Four: Scoring the listener: Notation and representation in acousmatic musicPatrick Valiquet Part II: Notation and the body Chapter Five: The Deaf body beyond music: Music notation by Christine Sun KimChae-Lin KimChapter Six: Music, notation, and embodiment in early sixteenth-century Italian pictures Tim Shephard and Sanna RaninenChapter Seven: The work of notation in the visual culture of medieval devotionBeth WilliamsonPart III: Notation and social relationsChapter Eight: Jianpu simplified notation and the transnational in musical repertoires of New York’s ChinatownJoseph S. KaminskiChapter Nine: Mediating minstrelsy: Notating instrumental identity in fourteenth-century songDavid Maw Chapter Ten: Inscription, gesture, and social relations: Notation in Karnatak musicLara PearsonPart IV: Notation, instruments, and technologyChapter Eleven: Digital scores, algorithmic agents, and encoded ontologies: On the objects of musical computation Brian A. MillerChapter Twelve: Perforating the subject: The player piano rolls of Conlon NancarrowNaomi WooChapter Thirteen: Material bias: David Tudor’s realisationsYou NakaiChapter Fourteen: ‘I Feel Love’: Music mutation in the electronic age Kiene Brillenburg Wurth

Floris Schuiling is Assistant Professor at Utrecht University. His areas of expertise are modern and contemporary music in the Netherlands, especially improvised and experimental music, and the role of technology and material culture in musical creativity,with a focus on performance practices.Emily Payne is Lecturer in Music at the University of Leeds. Her research interests include performance studies (particularly of post-war music), creativity, collaboration, embodiment, and materiality.

• Chapter One: Introduction: Notation and/as material cultureFloris Schuiling and Emily PaynePart I: Epistemologies of notationChapter Two: Was 1974 the End of Music History? Universalism, cybernetics, and the International Conference of New Musical NotationGiulia Accornero Chapter Three: Encyclopaedias and empty staves: Re-reading music in Hanne Darboven’s Quartett ›88‹Elaine Fitz GibbonChapter Four: Scoring the listener: Notation and representation in acousmatic musicPatrick Valiquet Part II: Notation and the body Chapter Five: The Deaf body beyond music: Music notation by Christine Sun KimChae-Lin KimChapter Six: Music, notation, and embodiment in early sixteenth-century Italian pictures Tim Shephard and Sanna RaninenChapter Seven: The work of notation in the visual culture of medieval devotionBeth WilliamsonPart III: Notation and social relationsChapter Eight: Jianpu simplified notation and the transnational in musical repertoires of New York’s ChinatownJoseph S. KaminskiChapter Nine: Mediating minstrelsy: Notating instrumental identity in fourteenth-century songDavid Maw Chapter Ten: Inscription, gesture, and social relations: Notation in Karnatak musicLara PearsonPart IV: Notation, instruments, and technologyChapter Eleven: Digital scores, algorithmic agents, and encoded ontologies: On the objects of musical computation Brian A. MillerChapter Twelve: Perforating the subject: The player piano rolls of Conlon NancarrowNaomi WooChapter Thirteen: Material bias: David Tudor’s realisationsYou NakaiChapter Fourteen: ‘I Feel Love’: Music mutation in the electronic age Kiene Brillenburg Wurth