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INTRODUCTION





   During the past five centuries, the Pentagram (five-line staff) music notation as a form of representative musical ideography has been widely used in Europe and throughout the world, contributing greatly to a universal musical culture. Though still in use today, Pentagram notation has created and presented certain difficulties, due to reasons of its historical evolution with its intrinsic limitations and attendant problems. There is consequently an increasing gap between the Pentagram notation on the one hand, and the demands of advancing musical development on the other. Sensitive musicians have been aware of this problem for some time and have drawn attention to this tendency, while at the same time hoping for and seeking a new breakthrough.
   In the course of the last two centuries, there have been numerous proposals of linear music notation reform, from those of one line to those of sixteen lines, with more than 30 proposals being of six lines. All these proposals have, however, consistently disregarded a fundamental principle: thus if one seeks to completely overcome the past, it is necessary to fully retrieve its heredity. Furthermore, the general tendency has been to concentrate attention on a renewal of the form, while neglecting further research into the logic.
   In the history of music, the horizontal six lines have already been used in the early European "tablature".
   In the Yi Jing*, the "hexad" is the "cipher" of the deductive-philosophical logic and of the deeper significance contained in the divinatory diagrams. It thus concerns the formal logic and the mathematical logic, which have been the object of interesting reflections and considerable research.
   In the course of the evolution of human civilization, each thing concurs in the good of every other.
   The Hexagram (six-line staff) music notation is an innovation inspired by the foregoing considerations and developed in response to the problems indicated in the premise. With respect to the Pentagram notation, it represents the total preservation of its heredity and at the same time its complete evolution. It derives from the logic of the theoretical development of n otation, while preserving traditional knowledge and the customary rules for applying notation, at the same time it eliminates the Pentagram's present difficulties and limitations, while unifying and normalizing to the utmost its forms and rules. It thereby allows the musical ideography to unfold with great precision and versatility, while at the same time achieving perfect simplicity and functionality. The appearance of the Hexagram notation could thus facilitate today's most advanced theoretical and technical-musical demands, bringing new vigor to musical development.



* Yi Jing: I Ching — The Book of Changes, the famous philosophical canonical text of ancient China. It sums up and illustrates the form of each thing by the alternation of the Yin (negative principle in nature) and the Yang (positive principle in nature); it analyses and demonstrates the movement of each thing by the changes of symbol (the formal figure) and number (the mathematical numeral). Its system of philosophical thought and its deductive modality provide the important function of enlightening guidance in the formation of the Hexagram theory. For example: the concept of the whole, the temporal-rhythmic concept, the versatility concept, and that of the unity of opposites; the systematic thought, the idea of graduality and the idea of the periodic cycle; the theory of the center, the symmetrical figure, the principle of equilibrium, the principle of equivocality, and the principle of reciprocal complement. etc.

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