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Category:The Mamas & the Papas songs
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Songs by the quartet The Mamas & the Papas.
See also: Category:The Mamas & the Papas albums.
Pages in category "The Mamas & the Papas songs"
The following 17 pages are in this category, out of 17 total. This list may not reflect recent changes (learn more).
C
California Dreamin'
Creeque Alley
D
Dancing in the Street
Dedicated to the One I Love
Do You Want to Dance
Dream a Little Dream of Me
G
Glad to Be Unhappy
Go Where You Wanna Go
I
I Call Your Name
I Saw Her Again
L
Look Through My Window
M
Monday, Monday
S
Safe in My Garden
Spanish Harlem (song)
T
Twelve Thirty (Young Girls Are Coming to the Canyon)
Twist and Shout
W
Words of Love (The Mamas & the Papas song)
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Musical notation
From Wikipedia, the free encyclopedia
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This article is about a notation for music. For the "musical" notation in mathematics, see Musical isomorphism.
"Music markup" redirects here. For the XML application, see Music Markup Language.
Hand-written musical notation by J. S. Bach (1685–1750). This is the beginning of the Prelude from the Suite for Lute in G minor BWV 995 (transcription of Cello Suite No. 5, BWV 1011).
Music notation or musical notation is any system used to visually represent aurally perceived music played with instruments or sung by the human voice through the use of written, printed, or otherwise-produced symbols, including ancient symbols or modern musical symbols and including ancient symbols cut into stone, made in clay tablets or made using a pen on papyrus, parchment or manuscript paper; printed using a printing press (ca. 1400s), a computer printer (ca. 1980s) or other printing or modern copying technology. Types and methods of notation have varied between cultures and throughout history, and much information about ancient music notation is fragmentary. Even in the same time period, such as in the 2010s, different styles of music and different cultures use different music notation methods; for example, for professional classical music performers, sheet music using staves and note heads is the most common way of notating music, but for professional country music session musicians, the Nashville Number System is the main method.
Although many ancient cultures used symbols to represent melodies and rhythms, none of them were particularly comprehensive, and this has limited today's understanding of their music. The seeds of what would eventually become modern western notation were sown in medieval Europe, starting with the Catholic church's goal for ecclesiastical uniformity. The church began notating plainchant melodies so that the same chants could be used throughout the church. Music notation developed in the Renaissance and Baroque music eras. The introduction of figured bass (or "throughbass") notation in the Baroque era marked the beginning of the first compositions based around chord progressions (a key method for popular music songwriters in the 20th and 21st century).[citation needed] In the classical period (1750–1820) and the Romantic music era (1820–1900), notation continued to develop as new musical instrument technologies were developed. In the contemporary classical music of the 20th and 21st century, music notation has continued to develop, with the introduction of graphical notation by some modern composers and the use, since the 1980s, of computer-based scorewriter programs for notating music. Music notation has been adapted to many kinds of music, including classical music, popular music, and traditional music.
Contents
[hide]
1 History
1.1 Ancient Near East
1.2 Ancient Greece
1.3 Byzantine Empire
1.4 13th-century Near East
1.5 Early Europe
2 Modern staff notation
2.1 Specialized notation conventions
3 In various countries
3.1 Korea
3.2 India
3.3 Russia
3.4 China
3.5 Japan
3.6 Indonesia
4 Other systems and practices
4.1 Cipher notation
4.2 Solfège
4.3 Letter notation
4.4 Tablature
4.5 Klavar notation
4.6 Piano-roll-based notations
4.7 Chromatic staff notations
4.8 Graphic notation
4.9 Simplified music notation
4.10 Modified stave notation
4.11 Parsons code
4.12 Braille music
4.13 Integer notation
4.14 Rap notation
5 Music notation on computer
6 Perspectives of musical notation in composition and musical performance
7 Patents
8 See also
9 Notes
10 References
11 Further reading
12 External links
History[edit]
Ancient Near East[edit]
Further information: Music of Mesopotamia and Hurrian songs
A drawing of one side of the tablet on which the Hymn to Nikkal is inscribed[1]
The earliest form of musical notation can be found in a cuneiform tablet that was created at Nippur, in Sumer (today's Iraq), in about 2000 BC. The tablet represents fragmentary instructions for performing music, that the music was composed in harmonies of thirds, and that it was written using a diatonic scale.[2] A tablet from about 1250 BC shows a more developed form of notation.[3] Although the interpretation of the notation system is still controversial, it is clear that the notation indicates the names of strings on a lyre, the tuning of which is described in other tablets.[4] Although they are fragmentary, these tablets represent the earliest notated melodies found anywhere in the world.[5]
A photograph of the original stone at Delphi containing the second of the two Delphic Hymns to Apollo. The music notation is the line of occasional symbols above the main, uninterrupted line of Greek lettering.
Ancient Greece[edit]
Further information: Musical system of ancient Greece
Ancient Greek musical notation was in use from at least the 6th century BC until approximately the 4th century AD; several complete compositions and fragments of compositions using this notation survive. The notation consists of symbols placed above text syllables. An example of a complete composition is the Seikilos epitaph, which has been variously dated between the 2nd century BC to the 1st century AD.
Three hymns by Mesomedes of Crete exist in manuscript. The Delphic Hymns, dated to the 2nd century BC, also use this notation, but they are not completely preserved. Ancient Greek notation appears to have fallen out of use around the time of the Decline of the Roman Empire.
Byzantine Empire[edit]
Further information: Byzantine music
Byzantine music notation style in a Romanian anastasimatarion, a "Book of Hymns at the Lord's Resurrection", 1823
Byzantine music has mainly survived as music for court ceremonies, including vocal religious music. It is not known if it is based on the monodic modal singing and instrumental music of Ancient Greece. Greek theoretical categories played a key role to understand and transmit Byzantine music, especially the tradition of Damascus had a strong impact on the pre-Islamic Near East comparable to Persian music and its music theoretical transfer in Sanskrit.
Unlike Western notation Byzantine neumes always indicate modal steps in relation to a clef or modal key (modal signatures which had been in use since papyrus fragments dating back to the 6th century). Originally this key or the incipit of a common melody was enough to indicate a certain melodic model given within the echos, despite ekphonetic notation further early melodic notation developed not earlier than between the 9th and the 10th century.[6] Like the Greek alphabet notational signs are ordered left to right (though the direction could be adapted like in certain Syriac manuscripts), the question of rhythm was entirely based on cheironomia, well-known melodical phrases given by gestures of the choirleaders which existed once as part of an oral tradition.
Today the main difference between Western and Eastern neumes is that Eastern notation symbols are differential rather than absolute, i.e. they indicate pitch steps (rising, falling or at the same step), and the musicians know to deduce correctly, from the score and the note they are singing presently, which correct interval is meant. These step symbols themselves, or better "phonic neumes", resemble brush strokes and are colloquially called gántzoi ("hooks") in Modern Greek.
Notes as pitch classes or modal keys (usually memorised by modal signatures) are represented in written form only between these neumes (in manuscripts usually written in red ink). In modern notation they simply serve as an optional reminder and modal and tempo directions have been added, if necessary. In Papadic notation medial signatures usually meant a temporary change into another echos.
The so-called "great signs" were once related to cheironomic signs, according to modern interpretations they are understood as embellishments and microtonal attractions (pitch changes smaller than a semitone), both essential in Byzantine chant.[7]
Chrysanthos' Kanonion with a comparison between Ancient Greek tetraphonia (column 1), Western Solfeggio, the Papadic Parallage (ascending: column 3 and 4; descending: column 5 and 6) according to the trochos system, and his heptaphonic parallage according to the New Method (syllables in the fore-last and martyriai in the last column) (1832, p. 33)
Since Chrysanthos of Madytos there are seven standard note names used for "solfège" (parallagē) pá, vú, ghá, dhē, ké, zō, nē, while the older practice still used the four enechemata or intonation formulas of the four echoi given by the modal signatures, the authentic or "kyrioi" in ascending direction, and the plagal or "plagioi" in descending direction (Papadic Octoechos).[8] With exception of vú and zō they do roughly correspond to Western solmization syllables as re, mi, fa, sol, la, si, do. Byzantine music uses the eight natural, non-tempered scales whose elements were identified by Ēkhoi, "sounds", exclusively, and therefore the absolute pitch of each note may slightly vary each time, depending on the particular Ēkhos used. Byzantine notation is still used in many Orthodox Churches. Sometimes cantors also use transcriptions into Western or Kievan staff notation while adding non-notatable embellishment material from memory and "sliding" into the natural scales from experience, but even concerning modern neume editions since the reform of Chrysanthos a lot of details are only known from an oral tradition related to traditional masters and their experience.
13th-century Near East[edit]
In 1252, Safi al-Din al-Urmawi developed a form of musical notation, where rhythms were represented by geometric representation. Many subsequent scholars of rhythm have sought to develop graphical geometrical notations. For example, a similar geometric system was published in 1987 by Kjell Gustafson, whose method represents a rhythm as a two-dimensional graph.[9]
Early Europe[edit]
Main article: Neume
Music notation from an early 14th-century English Missal
Scholar and music theorist Isidore of Seville, writing in the early 7th century, considered that "unless sounds are held by the memory of man, they perish, because they cannot be written down."[10] By the middle of the 9th century, however, a form of neumatic notation began to develop in monasteries in Europe as a mnemonic device for Gregorian chant, using symbols known as neumes; the earliest surviving musical notation of this type is in the Musica disciplina of Aurelian of Réôme, from about 850. There are scattered survivals from the Iberian Peninsula before this time, of a type of notation known as Visigothic neumes, but its few surviving fragments have not yet been deciphered.[11] The problem with this notation was that it only showed melodic contours and consequently the music could not be read by someone who did not know the music already.
Early music notation
Notation had developed far enough to notate melody, but there was still no system for notating rhythm. A mid-13th-century treatise, De Mensurabili Musica, explains a set of six rhythmic modes that were in use at the time,[12] although it is not clear how they were formed. These rhythmic modes were all in triple time and rather limited rhythm in chant to six different repeating patterns. This was a flaw seen by German music theorist Franco of Cologne and summarised as part of his treatise Ars cantus mensurabilis (the art of measured chant, or mensural notation). He suggested that individual notes could have their own rhythms represented by the shape of the note. Not until the 14th century did something like the present system of fixed note lengths arise.[citation needed] The use of regular measures (bars) became commonplace by the end of the 17th century.[citation needed]
The founder of what is now considered the standard music stave was Guido d'Arezzo,[13] an Italian Benedictine monk who lived from about 991 until after 1033. He taught the use of solmization syllables based on a hymn to Saint John the Baptist, which begins Ut Queant Laxis and was written by the Lombard historian Paul the Deacon. The first stanza is:
Ut queant laxis
resonare fibris,
Mira gestorum
famuli tuorum,
Solve polluti
labii reatum,
Sancte Iohannes.
Guido used the first syllable of each line, Ut, Re, Mi, Fa, Sol, La, and Si, to read notated music in terms of hexachords; they were not note names, and each could, depending on context, be applied to any note. In the 17th century, Ut was changed in most countries except France to the easily singable, "open" syllable Do, said to have been taken from the name of the Italian theorist Giovanni Battista Doni, but rather Do have been taken from the word "Dominus" in Latin with the meaning " the Lord" [14]
Modern staff notation[edit]
Main article: List of musical symbols
An example of modern musical notation: Prelude, Op. 28, No. 7, by Frédéric Chopin Play (help·info)
Catholic monks developed the first forms of modern Western musical notation in order to standardize liturgy throughout the worldwide Church,[15] and an enormous body of religious music has been composed for it through the ages. This led directly to the emergence and development of European classical music, and its many derivatives. The Baroque style, which encompassed music, art, and architecture, was particularly encouraged by the post-Reformation Catholic Church as such forms offered a means of religious expression that was stirring and emotional, intended to stimulate religious fervor.[16] Modern music notation is now used by musicians of many different genres throughout the world. The staff acts as a framework upon which pitches are indicated by placing round notes on the staff lines or between the lines. The pitch of the round musical notes can be modified by accidentals. The duration (note length) is shown with different note values, which can be indicated by the note being just a circle (a whole note) or using stems to indicate quarter notes and other subdivisions, and additional symbols such as dots and ties which lengthen the duration of a note. Notation is read from left to right, which makes setting music for right-to-left scripts difficult.
A staff (or stave, in British English) of written music generally begins with a clef, which indicates the position of one particular note on the staff. The treble clef or G clef was originally a letter G and it identifies the second line up on the five line staff as the note G above middle C. The bass clef or F clef shows the position of the note F below middle C. While the treble and bass clef are the most widely used clefs, other clefs are used, such as the alto clef (used for viola music) and the tenor clef (used for some cello and double bass music). Notes representing a pitch outside of the scope of the five line staff can be represented using ledger lines, which provide a single note with additional lines and spaces. Some instruments use mainly one clef, such as violin and flute, which use treble clef and double bass and tuba, which use bass clef. Some instruments regularly use both clefs, such as piano and pipe organ.
Following the clef, the key signature on a staff indicates the key of the piece or song by specifying that certain notes are flat or sharp throughout the piece, unless otherwise indicated with accidentals added before certain notes. When a sharp is placed before a note, this makes that note one semitone higher. When a flat is placed before a note, this makes that note one semitone lower. Double sharps and double flats are less common, but they are used. A double sharp is placed before a note to make it two semitones higher. A double flat is placed before a note to make it two semitones lower. A natural sign placed before a note renders that note in its "natural" form, which means that any sharps or flats applying to that note from the key signature or from accidentals are cancelled. Sometimes a courtesy accidental is used in music where it is not technically required, to remind the musician of what pitch the key signature requires.
Following the key signature is the time signature. The time signature typically consists of two numbers, with one of the most common being "4/4". The top "4" indicates that there are four beats per measure (also called bar). The bottom "4" indicates that each of those beats are quarter notes. Measures divide the piece into groups of beats, and the time signatures specify those groupings. "4/4" is used so often that it is also called "common time", and it may be indicated with a "C" rather than numbers. Other common time signatures are "3/4" (three beats per bar, with each beat being a quarter note); "2/4" (two beats per bar, with each beat being a quarter note); "6/8" (six beats per bar, with each beat being an eighth note) and "12/8" (twelve beats per bar, with each beat being an eighth note; in practice, the eighth notes are typically put into four groups of three eighth notes. "12/8" is a compound time type of time signature). Many other time signatures exist, such as "3/8", "5/8", "5/4", "7/4", "9/8", and so on.
Many short classical music pieces from the classical era and songs from traditional music and popular music are in one time signature for much or all of the piece. Music from the Romantic music era and later, particularly contemporary classical music and rock music genres such as progressive rock and the hardcore punk subgenre mathcore are among the genres which use mixed meter; that is, songs or pieces change from one meter to another (e.g., a song could alternate between bars of "5/4" and "7/8").
Directions to the player regarding matters such as tempo (e.g., Allegro, Andante, Largo, etc.), dynamics (loudness and softness) appear above or below the staff. Terms indicating the musical expression or "feel" to a song or piece are indicated at the beginning of the piece and at any points where the mood changes (e.g., "Slow March", "Fast Swing", "Medium Blues", etc.) For vocal music, lyrics are written near the pitches of the melody. For short pauses (breaths), retakes (retakes are indicated with a ' mark) are added.
In music for ensembles, a "score" shows music for all players together, with the staves for the different instruments and/or voices stacked vertically. The conductor uses the score while she leads an orchestra, concert band, choir or other large ensemble. Individual performers in an ensemble play from "parts" which contain only the music played by an individual musician. A score can be constructed from a complete set of parts and vice versa. The process was laborious and time consuming when parts were hand-copied from the score, but since the development of scorewriter computer software in the 1980s, a score stored electronically can have parts automatically prepared by the program and quickly and inexpensively printed out using a computer printer.
Specialized notation conventions[edit]
A lead sheet
A chord chart. Play (help·info)
Percussion notation conventions are varied because of the wide range of percussion instruments. Percussion instruments are generally grouped into two categories: pitched (e.g., glockenspiel or tubular bells) and non-pitched (e.g., bass drum and snare drum). The notation of non-pitched percussion instruments is less standardized. Pitched instruments use standard Western classical notation for the pitches and rhythms. In general, notation for unpitched percussion uses the five line staff, with different lines and spaces representing different drum kit instruments. Standard Western rhythmic notation is used to indicate the rhythm.
Figured bass notation originated in Baroque basso continuo parts. It is also used extensively in accordion notation. The bass notes of the music are conventionally notated, along with numbers and other signs that determine which chords the harpsichordist, organist or lutenist should improvise. It does not, however, specify the exact pitches of the harmony, leaving that for the performer to improvise.
A lead sheet specifies only the melody, lyrics and harmony, using one staff with chord symbols placed above and lyrics below. It is used to capture the essential elements of a popular song without specifying how the song should be arranged or performed.
A chord chart or "chart" contains little or no melodic information at all but provides detailed harmonic information about the chord progression. Some chord charts also contain rhythmic information, indicated using slash notation for full beats and rhythmic notation for rhythms. This is the most common kind of written music used by professional session musicians playing jazz or other forms of popular music and is intended primarily for the rhythm section (usually containing piano, guitar, bass and drums).
Simpler chord charts for songs may contain only the chord changes, placed above the lyrics where they occur. Such charts depend on prior knowledge of the melody, and are used as reminders in performance or informal group singing. Some chord charts intended for rhythm section accompanists contain only the chord progression.
The shape note system is found in some church hymnals, sheet music, and song books, especially in the Southern United States. Instead of the customary elliptical note head, note heads of various shapes are used to show the position of the note on the major scale. Sacred Harp is one of the most popular tune books using shape notes.
In various countries[edit]
Korea[edit]
Jeongganbo musical notation system
Jeongganbo is a unique traditional musical notation system created during the time of Sejong the Great that was the first East Asian system to represent rhythm, pitch, and time.[17][18] Among various kinds of Korean traditional music, Jeong-gan-bo targets a particular genre, Jeong-ak (정악, 正樂).
Jeong-gan-bo tells the pitch by writing the pitch's name down in a box called 'jeong-gan' (this is where the name comes from). One jeong-gan is one beat each, and it can be split into two, three or more to hold half beats and quarter beats, and more. This makes it easy for the reader to figure out the beat.
Also, there are lots of markings indicating things such as ornaments. Most of these were later created by Ki-su Kim.
India[edit]
Main article: Swaralipi
Indian music, early 20th century.
The Indian scholar and musical theorist Pingala (c. 200 BC), in his Chanda Sutra, used marks indicating long and short syllables to indicate meters in Sanskrit poetry.
In the notation of Indian rāga, a solfege-like system called sargam is used. As in Western solfege, there are names for the seven basic pitches of a major scale (Shadja, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad, usually shortened Sa Re Ga Ma Pa Dha Ni). The tonic of any scale is named Sa, and the dominant Pa. Sa is fixed in any scale, and Pa is fixed at a fifth above it (a Pythagorean fifth rather than an equal-tempered fifth). These two notes are known as achala swar ('fixed notes').
Each of the other five notes, Re, Ga, Ma, Dha and Ni, can take a 'regular' (shuddha) pitch, which is equivalent to its pitch in a standard major scale (thus, shuddha Re, the second degree of the scale, is a whole-step higher than Sa), or an altered pitch, either a half-step above or half-step below the shuddha pitch. Re, Ga, Dha and Ni all have altered partners that are a half-step lower (Komal-"flat") (thus, komal Re is a half-step higher than Sa).
Ma has an altered partner that is a half-step higher (teevra-"sharp") (thus, tivra Ma is an augmented fourth above Sa). Re, Ga, Ma, Dha and Ni are called vikrut swar ('movable notes'). In the written system of Indian notation devised by Ravi Shankar, the pitches are represented by Western letters. Capital letters are used for the achala swar, and for the higher variety of all the vikrut swar. Lowercase letters are used for the lower variety of the vikrut swar.
Other systems exist for non-twelve-tone equal temperament and non-Western music, such as the Indian Swaralipi.
Russia[edit]
Further information: Znamenny chant
An example of Znamenny notation with so-called "red marks", Russia, 1884. "Thy Cross we honour, oh Lord, and Thy holy Resurrection we praise."
A hand-drawn lubok featuring 'hook and banner notation'.
Znamenny Chant is a singing tradition used in the Russian Orthodox Church which uses a "hook and banner" notation. Znamenny Chant is unison, melismatic liturgical singing that has its own specific notation, called the stolp notation. The symbols used in the stolp notation are called kryuki (Russian: крюки, 'hooks') or znamena (Russian: знамёна, 'signs'). Often the names of the signs are used to refer to the stolp notation. Znamenny melodies are part of a system, consisting of Eight Modes (intonation structures; called glasy); the melodies are characterized by fluency and well-balancedness.(Kholopov 2003, 192) There exist several types of Znamenny Chant: the so-called Stolpovoy, Malyj (Little) and Bolshoy (Great) Znamenny Chant. Ruthenian Chant (Prostopinije) is sometimes considered a sub-division of the Znamenny Chant tradition, with the Muscovite Chant (Znamenny Chant proper) being the second branch of the same musical continuum.
Znamenny Chants are not written with notes (the so-called linear notation), but with special signs, called Znamëna (Russian for "marks", "banners") or Kryuki ("hooks"), as some shapes of these signs resemble hooks. Each sign may include the following components: a large black hook or a black stroke, several smaller black 'points' and 'commas' and lines near the hook or crossing the hook. Some signs may mean only one note, some 2 to 4 notes, and some a whole melody of more than 10 notes with a complicated rhythmic structure. The stolp notation was developed in Kievan Rus' as an East Slavic refinement of the Byzantine neumatic musical notation.
The most notable feature of this notation system is that it records transitions of the melody, rather than notes. The signs also represent a mood and a gradation of how this part of melody is to be sung (tempo, strength, devotion, meekness, etc.) Every sign has its own name and also features as a spiritual symbol. For example, there is a specific sign, called "little dove" (Russian: голубчик (golubchik)), which represents two rising sounds, but which is also a symbol of the Holy Ghost. Gradually the system became more and more complicated. This system was also ambiguous, so that almost no one, except the most trained and educated singers, could sing an unknown melody at sight. The signs only helped to reproduce the melody, not coding it in an unambiguous way. (See Byzantine Empire)
China[edit]
Main article: Chinese musical notation
Chinese Guqin notation, 1425
The earliest known examples of text referring to music in China are inscriptions on musical instruments found in the Tomb of Marquis Yi of Zeng (d. 433 B.C.). Sets of 41 chimestones and 65 bells bore lengthy inscriptions concerning pitches, scales, and transposition. The bells still sound the pitches that their inscriptions refer to. Although no notated musical compositions were found, the inscriptions indicate that the system was sufficiently advanced to allow for musical notation. Two systems of pitch nomenclature existed, one for relative pitch and one for absolute pitch. For relative pitch, a solmization system was used.[19]
Gongche notation used Chinese characters for the names of the scale.
Japan[edit]
Further information: Shakuhachi musical notation and Kunkunshi
Tempyō Biwa Fu 天平琵琶譜 (circa 738 AD), musical notation for Biwa. (Shōsōin, at Nara, Japan)
Japanese music is highly diversified, and therefore requires various systems of notation. In Japanese shakuhachi music, for example, glissandos and timbres are often more significant than distinct pitches, whereas taiko notation focuses on discrete strokes.
Ryukyuan sanshin music uses kunkunshi, a notation system of kanji with each character corresponding to a finger position on a particular string.
Indonesia[edit]
Main article: Gamelan notation
Notation plays a relatively minor role in the oral traditions of Indonesia. However, in Java and Bali, several systems were devised beginning at the end of the 19th century, initially for archival purposes. Today the most widespread are cipher notations ("not angka" in the broadest sense) in which the pitches are represented with some subset of the numbers 1 to 7, with 1 corresponding to either highest note of a particular octave, as in Sundanese gamelan, or lowest, as in the kepatihan notation of Javanese gamelan.
Notes in the ranges outside the central octave are represented with one or more dots above or below the each number. For the most part, these cipher notations are mainly used to notate the skeletal melody (the balungan) and vocal parts (gerongan), although transcriptions of the elaborating instrument variations are sometimes used for analysis and teaching. Drum parts are notated with a system of symbols largely based on letters representing the vocables used to learn and remember drumming patterns; these symbols are typically laid out in a grid underneath the skeletal melody for a specific or generic piece.
The symbols used for drum notation (as well as the vocables represented) are highly variable from place to place and performer to performer. In addition to these current systems, two older notations used a kind of staff: the Solonese script could capture the flexible rhythms of the pesinden with a squiggle on a horizontal staff, while in Yogyakarta a ladder-like vertical staff allowed notation of the balungan by dots and also included important drum strokes. In Bali, there are a few books published of Gamelan gender wayang pieces, employing alphabetical notation in the old Balinese script.
Composers and scholars both Indonesian and foreign have also mapped the slendro and pelog tuning systems of gamelan onto the western staff, with and without various symbols for microtones. The Dutch composer Ton de Leeuw also invented a three line staff for his composition Gending. However, these systems do not enjoy widespread use.
In the second half of the twentieth century, Indonesian musicians and scholars extended cipher notation to other oral traditions, and a diatonic scale cipher notation has become common for notating western-related genres (church hymns, popular songs, and so forth). Unlike the cipher notation for gamelan music, which uses a "fixed Do" (that is, 1 always corresponds to the same pitch, within the natural variability of gamelan tuning), Indonesian diatonic cipher notation is "moveable-Do" notation, so scores must indicate which pitch corresponds to the number 1 (for example, "1=C").
A short melody in slendro notated using the Surakarta method.[20]
The same notated using the Yogyakarta method or 'chequered notation'.[20]
The same notated using Kepatihan notation.[20]
The same approximated using Western notation.[20] Play (help·info)
Other systems and practices[edit]
Cipher notation[edit]
Main article: Numbered musical notation
Cipher notation systems assigning Arabic numerals to the major scale degrees have been used at least since the Iberian organ tablatures of the 16th-century and include such exotic adaptations as Siffernotskrift. The one most widely in use today is the Chinese Jianpu, discussed in the main article. Numerals can of course also be assigned to different scale systems, as in the Javanese kepatihan notation described above.
Solfège[edit]
Main article: Solfège
Solfège is a way of assigning syllables to names of the musical scale. In order, they are today: Do Re Mi Fa Sol La Ti Do' (for the octave). The classic variation is: Do Re Mi Fa Sol La Si Do'. The first Western system of functional names for the musical notes was introduced by Guido of Arezzo (c. 991 – after 1033), using the beginning syllables of the first six musical lines of the Latin hymn Ut queant laxis. The original sequence was Ut Re Mi Fa Sol La, where each verse started a scale note higher. "Ut" later became "Do". The equivalent syllables used in Indian music are: Sa Re Ga Ma Pa Dha Ni. See also: solfège, sargam, Kodály hand signs.
Tonic sol-fa is a type of notation using the initial letters of solfège.
Letter notation[edit]
Main article: Letter notation
The notes of the 12-tone scale can be written by their letter names A–G, possibly with a trailing sharp or flat symbol, such as A♯ or B♭.
Tablature[edit]
Main article: Tablature
Tablature was first used in the Middle Ages for organ music and later in the Renaissance for lute music.[21] In most lute tablatures, a staff is used, but instead of pitch values, the lines of the staff represent the strings of the instrument. The frets to finger are written on each line, indicated by letters or numbers. Rhythm is written separately with one or another variation of standard note values indicating the duration of the fastest moving part. Few seem to have remarked on the fact that tablature combines in one notation system both the physical and technical requirements of play (the lines and symbols on them and in relation to each other representing the actual performance actions) with the unfolding of the music itself (the lines of tablature taken horizontally represent the actual temporal unfolding of the music). In later periods, lute and guitar music was written with standard notation. Tablature caught interest again in the late 20th century for popular guitar music and other fretted instruments, being easy to transcribe and share over the internet in ASCII format. Websites like OLGA[22] have archives of text-based popular music tablature.
Klavar notation[edit]
Main article: Klavarskribo
Klavarskribo (sometimes shortened to klavar) is a music notation system that was introduced in 1931 by the Dutchman Cornelis Pot. The name means "keyboard writing" in Esperanto. It differs from conventional music notation in a number of ways and is intended to be easily readable. Many klavar readers are from the Netherlands.
Piano-roll-based notations[edit]
Some chromatic systems have been created taking advantage of the layout of black and white keys of the standard piano keyboard. The "staff" is most widely referred to as "piano roll", created by extending the black and white piano keys.
Chromatic staff notations[edit]
Over the past three centuries, hundreds of music notation systems have been proposed as alternatives to traditional western music notation. Many of these systems seek to improve upon traditional notation by using a "chromatic staff" in which each of the 12 pitch classes has its own unique place on the staff. Examples are the Ailler-Brennink notation, Jacques-Daniel Rochat's Dodeka[23] system, Tom Reed's Twinline notation, Russell Ambrose's Ambrose Piano Tabs,[24] Paul Morris' Clairnote,[25] John Keller's Express Stave, and José A. Sotorrio's Bilinear Music Notation. These notation systems do not require the use of standard key signatures, accidentals, or clef signs. They also represent interval relationships more consistently and accurately than traditional notation. The Music Notation Project (formerly known as the Music Notation Modernization Association) has a website with information on many of these notation systems.[26]
Graphic notation[edit]
Main article: Graphic notation (music)
The term 'graphic notation' refers to the contemporary use of non-traditional symbols and text to convey information about the performance of a piece of music. Practitioners include Christian Wolff, Earle Brown, Anthony Braxton, John Cage, Morton Feldman, Krzysztof Penderecki, Cornelius Cardew, and Roger Reynolds. See Notations, edited by John Cage and Alison Knowles, ISBN 0-685-14864-5.
Simplified music notation[edit]
Main article: Simplified music notation
Simplified Music Notation is an alternative form of musical notation designed to make sight-reading easier. It is based on classical staff notation, but incorporates sharps and flats into the shape of the note heads. Notes such as double sharps and double flats are written at the pitch they are actually played at, but preceded by symbols called history signs that show they have been transposed.
Modified stave notation[edit]
Main article: Modified Stave Notation
Modified Stave Notation (MSN) is an alternative way of notating music for people who cannot easily read ordinary musical notation even if it is enlarged.
Parsons code[edit]
Main article: Parsons code
Parsons code is used to encode music so that it can be easily searched.
Braille music[edit]
Main article: Braille music
Braille music is a complete, well developed, and internationally accepted musical notation system that has symbols and notational conventions quite independent of print music notation. It is linear in nature, similar to a printed language and different from the two-dimensional nature of standard printed music notation. To a degree Braille music resembles musical markup languages[27] such as MusicXML[28] or NIFF.
Integer notation[edit]
In integer notation, or the integer model of pitch, all pitch classes and intervals between pitch classes are designated using the numbers 0 through 11.
Rap notation[edit]
The standard form of rap notation is the "flow diagram", where rappers line up their lyrics underneath "beat numbers".[29] Hip-hop scholars also make use of the same flow diagrams that rappers use: the books How to Rap and How to Rap 2 extensively use the diagrams to explain rap's triplets, flams, rests, rhyme schemes, runs of rhyme, and breaking rhyme patterns, among other techniques.[30] Similar systems are used by musicologists Adam Krims in his book Rap Music and the Poetics of Identity[31] and Kyle Adams in his work on rap's flow.[32] As rap revolves around a strong 4/4 beat,[33] with certain syllables aligned to the beat, all the notational systems have a similar structure: they all have four beat numbers at the top of the diagram, so that syllables can be written in-line with the beat.[33]
Music notation on computer[edit]
Main article: Scorewriter
Many computer programs have been developed for creating music notation (called scorewriters or music notation software). Music may also be stored in various digital file formats for purposes other than graphic notation output.
Perspectives of musical notation in composition and musical performance[edit]
According to Philip Tagg and Richard Middleton, musicology and to a degree European-influenced musical practice suffer from a 'notational centricity', a methodology slanted by the characteristics of notation.[34]
Patents[edit]
Recent US 6987220 on a new color based musical notation scheme
In some countries, new musical notations can be patented. In the United States, for example, about 90 patents have been issued for new notation systems. The earliest patent, U.S. Patent 1,383 was published in 1839.
See also[edit]
List of musical symbols of modern notation.
Jewish Torah Trope Cantillation
Colored music notation
Eye movement in music reading
Guido of Arezzo, inventor of modern musical notation
History of music publishing
List of scorewriters
Mensural notation
Modal notation
Music engraving, drawing music notation for the purpose of mechanical reproduction
Music OCR, the application of optical character recognition to interpret sheet music
Neume (plainchant notation)
Pitch class
Rastrum, a five-pointed writing implement used to draw parallel staff lines across a blank piece of sheet music
Scorewriter
Semasiography
Sheet music
Time unit box system, a notation system useful for polyrhythms
Tongan music notation, a subset of standard music notation
Tonnetz
Znamenny chant
Notes[edit]
Jump up ^ Giorgio Buccellati, "Hurrian Music", associate editor and webmaster Federico A. Buccellati Urkesh website (n.p.: IIMAS, 2003).
Jump up ^ Kilmer & Civil 1986,[page needed].
Jump up ^ Kilmer 1965,[page needed].
Jump up ^ West 1994, 161–63.
Jump up ^ West 1994, 161.
Jump up ^ Today we can only the study the evolution of notation within Greek monastic chant books like those of the sticherarion and the heirmologion, while there is no authentic asmatikon and kontakarion of the Constantinopolitan cathedral rite. The earliest books which have survived, are in Slavonic translation which already show an own notation system (see Russia) used in Novgorod and Macedonia during the 12th century.
Jump up ^ See Maria Alexandru (2000) for a historical discussion of the great signs and their modern interpretations.
Jump up ^ Chrysanthos (1832) made a difference between his monosyllabic and the traditional polysyllabic parallage.
Jump up ^ Toussaint 2004, 3
Jump up ^ Isidore of Seville 2006, 95.
Jump up ^ Zapke 2007,[page needed]
Jump up ^ Christensen 2002, 628.
Jump up ^ Otten 1910.
Jump up ^ McNaught 1893, 43.
Jump up ^ Hall, Neitz, and Battani 2003, p. 100.
Jump up ^ Murray 1994, p. 45
Jump up ^ Gnanadesikan, Amalia E. The Writing Revolution: Cuneiform to the Internet. John Wiley & Sons. ISBN 9781444359855. Retrieved 20 September 2016.
Jump up ^ "Gukak". The DONG-A ILBO. dongA.com. Retrieved 20 September 2016.
Jump up ^ Bagley 2004.
^ Jump up to: a b c d Lindsay 1992, 43–45.
Jump up ^ Apel 1961, xxiii and 22.
Jump up ^ olga.net Archived 24 May 2012 at the Wayback Machine.
Jump up ^ dodeka.info
Jump up ^ ambrosepianotabs.com
Jump up ^ clairnote.org
Jump up ^ musicnotation.org
Jump up ^ musicmarkup.info
Jump up ^ emusician.com Archived 1 July 2015 at the Wayback Machine.
Jump up ^ Edwards 2009, 67.
Jump up ^ Edwards 2013, 53.
Jump up ^ Krims 2001, 59–60.
Jump up ^ Adams 2009.
^ Jump up to: a b Edwards 2009, 69.
Jump up ^ Tagg 1979, 28–32; Middleton 1990, 104–6.
References[edit]
Adams, Kyle (2009). "On the Metrical Techniques of Flow in Rap Music". Music Theory Online 5, no. 9 (October) (accessed 4 April 2014).
Alexandru, Maria (2000). Studie über die 'großen Zeichen' der byzantinischen musikalischen Notation unter besonderer Berücksichtigung der Periode vom Ende des 12. bis Anfang des 19. Jahrhunderts. Universität Kopenhagen.
Apel, Willi (1961). The Notation of Polyphonic Music, 900–1600, 5th edition, revised and with commentary. Publications of the Mediaeval Academy of America, no. 38. Cambridge, Mass.: Mediaeval Academy of America.
Bagley, Robert (2004). "The Prehistory of Chinese Music Theory". Elsley Zeitlyn Lecture on Chinese Archaeology and Culture. (Tuesday 26 October) British Academy's Autumn 2004 Lecture Programme. London: British Academy. Abstract. Accessed 30 May 2010.
Christensen, Thomas (2002). The Cambridge History of Western Music Theory. Cambridge and New York: Cambridge University Press.
Chrysanthos of Madytos (1832). Θεωρητικὸν μέγα τῆς Μουσικῆς. Triest: Michele Weis. Retrieved 11 April 2012.
Edwards, Paul (2009). How to Rap: The Art & Science of the Hip-Hop MC, with a foreword by Kool G. Rap. Chicago: Chicago Review Press.
Edwards, Paul (2013). How to Rap 2: Advanced Flow and Delivery Techniques, foreword by Gift of Gab. Chicago: Chicago Review Press.
Hall, John; Mary Jo Neitz; Marshall Battani (2003). Sociology on Culture. London: Routledge. ISBN 978-0-415-28484-4.
Isidore of Seville (2006). The Etymologies of Isidore of Seville, translated with introduction and notes by Stephen A. Barney, W. J. Lewis, J. A. Beach, and Oliver Berghof, with the collaboration of Muriel Hall. Cambridge and New York: Cambridge University Press. ISBN 978-0-521-83749-1 (cloth); ISBN 978-0-511-21969-6 (ebook) (accessed 8 September 2012).
Kilmer, Anne Draffkorn (1965). "The Strings of Musical Instruments: Their Names, Numbers, and Significance", in Studies in Honor of Benno Landsberger on His Seventy-fifth Birthday, April 21, 1965, Assyriological Studies 16, edited by Hans G. Güterbock and Thorkild Jacobsen, 261–68. Chicago, University of Chicago Press.
Kilmer, Anne Draffkorn, and Miguel Civil (1986). "Old Babylonian Musical Instructions Relating to Hymnody". Journal of Cuneiform Studies 38, no. 1:94–98.
Krims, Adam (2001). Rap Music And The Poetics Of Identity. Cambridge and New York: Cambridge University Press.
Lindsay, Jennifer (1992). Javanese Gamelan. Oxford and New York: Oxford University Press. ISBN 0-19-588582-1.
McNaught, W. G. (1893). "The History and Uses of the Sol-fa Syllables". Proceedings of the Musical Association 19 (January): 35–51. ISSN 0958-8442 (accessed 23 April 2010).
Murray, Chris (1994). Dictionary of the Arts. New York: Facts on File. ISBN 978-0-8160-3205-1.
Otten, J. (1910). "Guido of Arezzo". The Catholic Encyclopedia. New York: Robert Appleton Company. Retrieved May 30, 2010 from New Advent.
Paolo, Tortiglione (2012). Semiography and Semiology of Contemporary Music. Milan: Rugginenti. ISBN 978-88-7665-616-3
Schneider, Albrecht (1987). "Musik, Sound, Sprache, Schrift: Transkription und Notation in der Vergleichenden Musikwissenschaft und Musikethnologie". Zeitschrift für Semiotik 9, nos. 3–4:317–43.
Sotorrio, José A. (1997). Bilinear Music Notation: A New Notation System for the Modern Musician.[full citation needed]Spectral Music. ISBN 978-0-9548498-2-5.
Tagg, Philip (1979). Kojak—50 Seconds of Television Music: Toward the Analysis of Affect in Popular Music. Skrifter från Musikvetenskapliga Institutionen, Göteborg 2. Göteborg: Musikvetenskapliga Institutionen, Göteborgs Universitet. ISBN 91-7222-235-2 (Rev. translation of "Kojak—50 sekunders tv-musik")
Touma, Habib Hassan (1996). The Music of the Arabs, new expanded edition, translated by Laurie Schwartz. With accompanying CD recording. Portland, Oregon: Amadeus Press. ISBN 0-931340-88-8
Toussaint, Godfried (2004). A Comparison of Rhythmic Similarity Measures (PDF). Technical Report SOCS-TR-2004.6. Montréal: School of Computer Science, McGill University. Archived from the original (PDF) on 9 February 2013.
West, M[artin]. L[itchfield]. (1994). "The Babylonian Musical Notation and the Hurrian Melodic Texts". Music & Letters 75, no. 2. (May): 161–179
Williams, Charles Francis Abdy (1903). "The Story of Notation." New York: Charles Scribner's Sons.
Zapke, Susana (ed.) (2007). Hispania Vetus: Musical-Liturgical Manuscripts from Visigothic Origins to the Franco-Roman Transition (9th–12th Centuries), with a foreword by Anscario M Mundó. Bilbao: Fundación BBVA. ISBN 978-84-96515-50-5
Further reading[edit]
Hall, Rachael (2005). Math for Poets and Drummers. Saint Joseph's University.
Gayou, Évelyne. "Transcrire les musiques électroacoustiques." eContact! 12.4—Perspectives on the Electroacoustic Work / Perspectives sur l'œuvre électroacoustique (August 2010). Montréal: CEC. (in French)
Gould, Elaine (2011). "Behind Bars – The Definitive Guide to Music Notation". London: Faber Music.
Karakayali, Nedim (2010). "Two Assemblages of Cultural Transmission: Musicians, Political Actors and Educational Techniques in the Ottoman Empire and Western Europe". Journal of Historical Sociology 23, no. 3:343–71.
Lieberman, David (2006). Game Enhanced Music Manuscript. In GRAPHITE '06: Proceedings of the 4th International Conference on Computer Graphics and Interactive Techniques in Australasia and South East Asia, Kuala Lumpur (Malaysia), 29 November–2 December 2006, edited by Y Tina Lee, Siti Mariyam Shamsuddin, Diego Gutierrez, and Norhaida Mohd Suaib, 245–50. New York: ACM Press. ISBN 1-59593-564-9
Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0-335-15275-9.
Read, Gardner (1978). Modern Rhythmic Notation. Victor Gollance Ltd.
Read, Gardner (1987). Source Book of Proposed Music Notation Reforms. Greenwood Press.
Reisenweaver, Anna (2012). "Guido of Arezzo and His Influence on Music Learning", Musical Offerings: Vol. 3: No. 1, Article 4. Available at http://digitalcommons.cedarville.edu/musicalofferings/vol3/iss1/4.
Savas, Savas I. (1965). Byzantine Music in Theory and Practice (PDF). Boston: Hercules. ISBN 0-916586-24-3. Retrieved 27 January 2013.
Stone, Kurt (1980). Music Notation in the Twentieth Century: A Practical Guidebook. W. W. Norton & Company.
Strayer, Hope R. (2013) "From Neumes to Notes: The Evolution of Music Notation," Musical Offerings: Vol. 4: No. 1, Article 1. Available at: http://digitalcommons.cedarville.edu/musicalofferings/vol4/iss1/1
External links[edit]
Wikibooks has a book on the topic of: Music:Music Notation Systems
Wikimedia Commons has media related to Musical notation.
Byzantine Music Notation. Contains a Guide to Byzantine Music Notation (neumes).
CCARH—Center for Computer Assisted Research in the Humanities Information on Stanford University Course on music representation. Links page shows examples of different notations.
Music Markup Language. XML-based language for music notation.
Synopsis of Musical Notation Encyclopedias (An index from topics of CWN into the books of Gould, Vinci, Wanske, Stone and Read.)
Byrd, Don. "Extremes of Conventional Musical Notation."
Gehrkens, Karl Wilson Music Notation and Terminology. Project Gutenberg.
Gilbert, Nina. "Glossary of U.S. and British English musical terms." Posted 17 June 1998; updated 7 September 2000.
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text:
Messi–Ronaldo rivalry
From Wikipedia, the free encyclopedia
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Cristiano Ronaldo and Lionel Messi before an international friendly between Argentina and Portugal in Geneva, Switzerland, 9 February 2011
This article is part of a series about
Lionel Messi
Argentine professional footballer
International goals
Career achievements
Comparisons to Cristiano Ronaldo
Films
Messi (2014)
Messi (2017)
v
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This article is part of a series about
Cristiano Ronaldo
Portuguese professional footballer
International goals
Career achievements
Comparisons to Lionel Messi
Namesakes
Cristiano Ronaldo Campus Futebol
Cristiano Ronaldo International Airport
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Cristiano Ronaldo: The World at His Feet
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The Messi–Ronaldo rivalry is a football rivalry between fans of Argentinian forward Lionel Messi and Portuguese forward Cristiano Ronaldo and supposedly between the athletes themselves. Having won a combined ten Ballon d'Or/FIFA Ballon d'Or awards (5 each), both are widely regarded not only as the two best players of their generation, but also regarded by many as the greatest of all time. Both players have regularly broken the 50 goal barrier in a single season and have scored over 600 goals each in their careers for club and country.[1][2] Sports journalists and pundits regularly argue the individual merits of both players in an attempt to establish who they believe is the best player in modern football.[3][4][5][6][7] It has been compared to past global sports rivalries such as the Muhammad Ali–Joe Frazier rivalry in boxing, the Björn Borg–John McEnroe rivalry in tennis and the Ayrton Senna–Alain Prost rivalry in Formula One motor racing.[8][9][10]
Some commentators choose to analyse the differing physiques and playing styles of the two[11] while part of the debate revolves around the contrasting personalities of the two players: Ronaldo is sometimes described as someone of temperamental character while Messi is portrayed with reserved character.[12][13][14][15] It could be the case that this is why Messi is considered trustworthier and more likable by the public,[16] even though Ronaldo improved his reputation since 2013.[17]
At club level, Messi and Ronaldo represented rivals FC Barcelona and Real Madrid C.F., the two players facing each other at least twice every season in the world's most popular regular-season club game, El Clásico (among the most viewed annual sporting events), until Ronaldo's transfer to Italian club Juventus F.C. in 2018.[18][19] Off the field, they are the face of two rival sportswear manufacturers, Messi of Adidas and Ronaldo of Nike, which are also the kit suppliers of their national teams and the opposite for their clubs.[20][21][22] The two highest paid players in football, Messi and Ronaldo are among the world's best paid sports' stars in combined income from salaries, bonuses and off-field earnings. In 2018, Messi edged Ronaldo on Forbes list of the best-paid athletes, earning $111 million, with Ronaldo next at $108 million.[23] They have the two biggest social media followings in the world among sportspeople with a combined 211 million Facebook fans in 2016, Ronaldo having 122 million and Messi 89 million.[24] Combining Facebook, Instagram, and Twitter, Ronaldo has 321 million followers and Messi 181 million, though Messi does not have a Twitter account.[25][26]
Contents
1 History
2 Relationship between Messi and Ronaldo
3 Awards and records
4 Player statistics
5 Head-to-head
5.1 Results
6 References
7 External links
History[edit]
It's only the media, the press, who wants us to be at loggerheads but I've never fought with Cristiano.
—Messi addresses his perceived rivalry with Ronaldo[27]
I like to see all good players, and Messi is one of them. He is a player, I really enjoy seeing him on the pitch, and all the great players.
—Ronaldo talks about Messi in an interview with Fox Sports Argentina[28]
In 2007, Ronaldo and Messi finished as runners-up to A.C. Milan's Kaká in both the Ballon d'Or, an award rewarded to the player voted as the best in the world by an international panel of sports journalists; and the FIFA World Player of the Year, an award voted for by coaches and captains of international teams. In an interview that year, Messi was quoted as saying "Cristiano Ronaldo is an extraordinary player and it would be brilliant to be in the same team as him".[29][30]
They first played in a game together when Manchester United were drawn to play Barcelona in the 2007–08 UEFA Champions League semi-finals and were immediately pitted as major rivals.[31][32][33] Ronaldo missed a penalty in the first leg,[34] but United eventually advanced to the final via a Paul Scholes goal.[35] At the end of the year, Ronaldo was awarded the Ballon d'Or and vowed that he would win the award again.[36][37]
The 2009 UEFA Champions League Final was contested between Manchester United and Barcelona on 27 May 2009 at Stadio Olimpico in Rome, Italy. The match, described as a "dream clash",[38] was again hyped as the latest battle between the two, this time to settle who was the best player in the world;[39][40] Ronaldo claimed he was the better of the two[41] while Messi's club-mate Xavi sided with him.[42] United manager Alex Ferguson was more diplomatic, praising both players as being amongst the world's elite talents.[43][44] Messi, playing in a central role he was unaccustomed to so he would avoid a direct battle with United left-back Patrice Evra,[45] scored Barcelona's second in a 2–0 victory with a header in the 70th minute.[46] Meanwhile, Ronaldo was subdued for much of the game despite some early chances to score and his frustration eventually showed when he was booked for a rash tackle on Carles Puyol.[47][48]
Relationship between Messi and Ronaldo[edit]
In a 2015 interview, Ronaldo commented on the rivalry by saying that "I think we push each other sometimes in the competition, this is why the competition is so high"[49] while Ronaldo's manager during his time at Manchester United Alex Ferguson opined that "I don't think the rivalry against each other bothers them. I think they have their own personal pride in terms of wanting to be the best".[50] Messi has denied any rivalry, saying that it was "only the media, the press, who wants us to be at loggerheads but I've never fought with Cristiano".[51]
However, it is widely argued and documented that there's an atmosphere of tension between the duo, with Guillem Balagué claiming in Messi that Ronaldo refers to the Argentine counterpart as "motherfucker" behind his back,[52][53] and Luca Caioli saying in his book, Ronaldo: The Obsession for Perfection, that according to his sources, Ronaldo heats up when watching Messi play.[54] In response to claims that he and Messi do not get on well on a personal level, Ronaldo commented: "We don't have a relationship outside the world of football, just as we don't with a lot of other players", before adding that in years to come he hopes they can laugh about it together, stating: "We have to look on this rivalry with a positive spirit, because it's a good thing".[55] On 13 November 2014, Ronaldo also threatened to take legal action over the remarks made by Balagué.[56]
Awards and records[edit]
Throughout the existence of the rivalry, the pair have dominated awards ceremonies and broken a multitude of goalscoring records for both club and country, feats which have been described as "incredible", "ridiculous" and "remarkable".[57][58][59] The rivalry itself has been described as one about records and reputation of the players, rather than one based in loathing.[60][61]
Ronaldo is the UEFA Champions League all-time top goalscorer while Messi is second. The two had broken each other's record over the course of 2015 after Messi surpassed the previous record holder Raúl in November 2014.[62] Ronaldo opened a gap in the 2015–16 season when he became the first player to score double figures in the group stage of the Champions League, setting the record at 11 goals.[63] They are the first two players to score 100 goals in UEFA Champions League history.[64]
Player statistics[edit]
Club statistics
As of 10 July 2018
Lionel Messi
Season
League
Cup
Europe
Other
Total
Apps
Goals
Apps
Goals
Apps
Goals
Apps
Goals
Apps
Goals
2004–05 7 1 1 0 1 0 0 0 9 1
2005–06 17 6 2 1 6 1 0 0 25 8
2006–07 26 14 2 2 5 1 3 0 36 17
2007–08 28 10 3 0 9 6 0 0 40 16
2008–09 31 23 8 6 12 9 0 0 51 38
2009–10 35 34 3 1 11 8 4 4 53 47
2010–11 33 31 7 7 13 12 2 3 55 53
2011–12 37 50 7 3 11 14 5 6 60 73
2012–13 32 46 5 4 11 8 2 2 50 60
2013–14 31 28 6 5 7 8 2 0 46 41
2014–15 38 43 6 5 13 10 0 0 57 58
2015–16 33 26 5 5 7 6 4 4 49 41
2016–17 34 37 7 5 9 11 2 1 52 54
2017–18 36 34 6 4 10 6 2 1 54 45
Total
418
383
68
48
125
100
26
21
637
552
Cristiano Ronaldo
Season
League
Cup
Europe
Other
Total
Apps
Goals
Apps
Goals
Apps
Goals
Apps
Goals
Apps
Goals
2002–03 25 3 3 2 3 0 0 0 31 5
2003–04 29 4 6 2 5 0 0 0 40 6
2004–05 33 5 9 4 8 0 0 0 50 9
2005–06 33 9 6 2 8 1 0 0 47 12
2006–07 34 17 8 3 11 3 0 0 53 23
2007–08 34 31 3 3 11 8 1 0 49 42
2008–09 33 18 6 3 12 4 2 1 53 26
2009–10 29 26 0 0 6 7 0 0 35 33
2010–11 34 40 8 7 12 6 0 0 54 53
2011–12 38 46 5 3 10 10 2 1 55 60
2012–13 34 34 7 7 12 12 2 2 55 55
2013–14 30 31 6 3 11 17 0 0 47 51
2014–15 35 48 2 1 12 10 5 2 54 61
2015–16 36 35 0 0 12 16 0 0 48 51
2016–17 29 25 2 1 13 12 2 4 46 42
2017–18 27 26 0 0 13 15 4 3 44 44
Total
513
398
71
41
159
121
18
13
761
573
International statistics
As of 27 March 2018
Lionel Messi[65]
Season
Tournament
Qualifiers
Friendlies
Total
Apps
Goals
Apps
Goals
Apps
Goals
Apps
Goals
2005–06 3 1 3 0 4 1 10 2
2006–07 6 2 0 0 4 2 10 4
2007–08 0 0 6 2 4 1 10 3
2008–09 0 0 8 2 1 1 9 3
2009–10 5 0 4 0 2 1 11 1
2010–11 4 0 0 0 7 4 11 4
2011–12 0 0 4 3 5 7 9 9
2012–13 0 0 8 5 4 4 12 9
2013–14 7 4 1 2 3 1 11 7
2014–15 6 1 0 0 4 3 10 4
2015–16 5 5 2 1 3 3 10 9
2016–17 0 0 4 3 1 0 5 3
2017–18 4 1 5 3 0 0 9 4
Total
36
13
44
21
42
27
128
65
Cristiano Ronaldo[66]
Season
Tournament
Qualifiers
Friendlies
Total
Apps
Goals
Apps
Goals
Apps
Goals
Apps
Goals
2003–04 6 2 0 0 7 0 13 2
2004–05 0 0 8 7 2 0 10 7
2005–06 6 1 4 0 5 2 15 3
2006–07 0 0 6 5 2 0 8 5
2007–08 3 1 7 3 2 0 12 4
2008–09 0 0 4 0 3 1 7 1
2009–10 4 1 3 0 4 0 11 1
2010–11 0 0 3 2 2 1 5 3
2011–12 5 3 5 5 4 1 14 9
2012–13 0 0 6 1 3 3 9 4
2013–14 3 1 4 7 3 3 10 11
2014–15 0 0 4 5 2 0 6 5
2015–16 7 3 2 0 4 3 13 6
2016–17 4 2 5 11 1 1 10 14
2017–18 4 4 4 4 2 2 10 10
Total
38
14
65
50
46
17
154
85
Head-to-head[edit]
In recent years, it has been said that the rivalry between Real Madrid and Barcelona has been "encapsulated" by the individual rivalry between Ronaldo and Messi,[67][68] with neither player ever participating in a goalless El Clásico.[69]
See also: List of El Clásico matches
Legend
Final
Semi-final
No.
Date
Competition
Home team
Away team
Score
Goals scored by the duo
1 23 April 2008 Champions League Barcelona Manchester United 0–0
2 29 April 2008 Champions League Manchester United Barcelona 1–0
3 27 May 2009 Champions League Barcelona Manchester United 2-0 Messi ( 70')
4 29 November 2009 La Liga Barcelona Real Madrid 1–0
5 10 April 2010 La Liga Real Madrid Barcelona 0–2 Messi ( 33')
6 29 November 2010 La Liga Barcelona Real Madrid 5–0
7 9 February 2011 Friendly Argentina Portugal 2–1 Ronaldo ( 53'), Messi ( 83' (pen.))
8 16 April 2011 La Liga Real Madrid Barcelona 1–1 Messi ( 51' (pen.)), Ronaldo ( 81' (pen.))
9 20 April 2011 Copa del Rey Real Madrid Barcelona 1–0 (a.e.t.) Ronaldo ( 103')
10 27 April 2011 Champions League Real Madrid Barcelona 0–2 Messi ( 76', 87')
11 3 May 2011 Champions League Barcelona Real Madrid 1–1
12 14 August 2011 Supercopa de España Real Madrid Barcelona 2–2 Messi ( 45')
13 17 August 2011 Supercopa de España Barcelona Real Madrid 3–2 Ronaldo ( 20'), Messi ( 53', 88')
14 10 December 2011 La Liga Real Madrid Barcelona 1–3
15 18 January 2012 Copa del Rey Real Madrid Barcelona 1–2 Ronaldo ( 11')
16 25 January 2012 Copa del Rey Barcelona Real Madrid 2–2 Ronaldo ( 68')
17 21 April 2012 La Liga Barcelona Real Madrid 1–2 Ronaldo ( 73')
18 23 August 2012 Supercopa de España Barcelona Real Madrid 3–2 Ronaldo ( 55'), Messi ( 70' (pen.))
19 29 August 2012 Supercopa de España Real Madrid Barcelona 2–1 Ronaldo ( 19'), Messi ( 45')
20 7 October 2012 La Liga Barcelona Real Madrid 2–2 Ronaldo ( 23', 66'), Messi ( 31', 61')
21 30 January 2013 Copa del Rey Real Madrid Barcelona 1–1
22 26 February 2013 Copa del Rey Barcelona Real Madrid 1–3 Ronaldo ( 12', 57')
23 2 March 2013 La Liga Real Madrid Barcelona 2–1 Messi ( 18')
24 26 October 2013 La Liga Barcelona Real Madrid 2–1
25 23 March 2014 La Liga Real Madrid Barcelona 3–4 Messi ( 42', 65' (pen.), 84' (pen.)), Ronaldo ( 55' (pen.))
26 25 October 2014 La Liga Real Madrid Barcelona 3–1 Ronaldo ( 35' (pen.))
27 18 November 2014 Friendly Argentina Portugal 0–1
28 22 March 2015 La Liga Barcelona Real Madrid 2–1 Ronaldo ( 31')
29 21 November 2015 La Liga Real Madrid Barcelona 0–4
30 2 April 2016 La Liga Barcelona Real Madrid 1–2 Ronaldo ( 85')
31 3 December 2016 La Liga Barcelona Real Madrid 1–1
32 23 April 2017 La Liga Real Madrid Barcelona 2–3 Messi ( 33', 90+2')
33 13 August 2017 Supercopa de España Barcelona Real Madrid 1–3 Messi ( 77' (pen.)), Ronaldo ( 80')
34 23 December 2017 La Liga Real Madrid Barcelona 0–3 Messi ( 64' (pen.))
35 6 May 2018 La Liga Barcelona Real Madrid 2–2 Ronaldo ( 14'), Messi ( 52')
Results[edit]
Competition
Games played
Messi wins
Draws
Ronaldo wins
Messi goals
Ronaldo goals
La Liga
18 10 4 4 12 9
Champions League
5 2 2 1 3 0
Copa del Rey
5 1 2 2 0 5
Supercopa de España
5 2 1 2 6 4
Friendly
2 1 0 1 1 1
Total official matches
35
16
9
10
22
19
Last updated 6 May 2018
References[edit]
Notes
Citations
Jump up ^ "Lionel Messi hails 400 goals for Barcelona and Argentina". BBC. 28 September 2014. Retrieved 1 October 2014.
Jump up ^ "Cristiano Ronaldo reaches 400-goal milestone and dedicates achievement to Eusébio after Real Madrid win". The Daily Telegraph. 7 January 2014. Retrieved 1 October 2014.
Jump up ^ Smith, Ben (20 April 2012). "Barcelona's Messi v Real Madrid's Ronaldo". BBC. Retrieved 13 October 2014.
Jump up ^ Rice, Simon (10 April 2013). "Lionel Messi v Cristiano Ronaldo – world's greatest players locked in new battle". The Independent. Retrieved 13 October 2014.
Jump up ^ Mendes, Chris (24 June 2014). "Cristiano Ronaldo's personal duel with Lionel Messi is affecting his performances for Portugal". The Telegraph. Retrieved 30 September 2014.
Jump up ^ Hughes, Rob (8 October 2012). "Messi and Ronaldo: 2 Stars in Their Own Universe". The New York Times. Retrieved 19 November 2014.
Jump up ^ Marcotti, Gabriele (18 March 2012). "The Phenomenon of Messi and Ronaldo". The Wall Street Journal. Retrieved 19 November 2014.
Jump up ^ Hunter, Graham (28 November 2010). "The game's best rivalry". ESPN. Retrieved 30 September 2014.
Jump up ^ "Messi v Ronaldo". Sky Sports. 17 October 2011. Archived from the original on 6 October 2014.
Jump up ^ "The Special Two". The Times. 21 December 2012. Retrieved 13 October 2014. (Subscription required (help)).
Jump up ^ Hughes, Rob (13 September 2011). "Ronaldo May Look Like the Best, but There Is Someone Better". The New York Times. Retrieved 30 September 2014.
Jump up ^ Hayward, Paul (26 May 2009). "Cristiano Ronaldo versus Lionel Messi pits showman against shy man". The Guardian. Retrieved 30 September 2014.
Jump up ^ Lewis, Tim (24 November 2013). "Cristiano Ronaldo: he's got a god-given talent – and he knows it". The Guardian. Retrieved 30 September 2014.
Jump up ^ Calvin, Michael (15 June 2014). "Crunch time for Lionel Messi and Cristiano Ronaldo". The Independent. Retrieved 30 September 2014.
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