Mohammad you raise a very interesting question. Certainly the notation used in the west is far from perfect, though it has perpetrated other cultures, imposed its rules on them, and proven at least to itself that it is superior. In this maybe it is bound up in its Euro-centric world view.

But I am at the moment looking to develop a system of notation for untuned percussion that facilitates a fuller expression of its musical voice. The rhythmic structure is traditional western but the notes and related articulations are a big departure from convention.

Yet even this perhaps could undergo more radical change. Do you have any thoughts about the directions that technology could take?

Dear Dr Ryszard Pusz

Thanks very much for your valuable comments on this issue. Western notation may continue its life as a medium between composers and performers in Western music context but for the purpose of music analysis and indeed representing non western music future may be far different from now.

Dear Professor Mohammad

That is a fascinating distinction. Here in Australia, and I suspect elsewhere, we are seeing young people composing at the computer and at times complaining to performers that they want it much faster because the computer can play it that fast.

But with non-western instruments my observation has been that in some cultures, tuned instruments that have quarter-tone tunings are more complex than western equivalents, but the untuned (percussion) instruments are generally simpler and have simple playing directions. So could the two areas develop differently?

I am also interested to know if in Iran the darbouka (derabucca) has a more intricate notation. I have developed my own method of playing it in a western context (https://www.youtube.com/watch?v=yDkZsfmIcAc), but would like to know more about its traditions. In Oman, where I taught for several years it was not well developed.

I agree. developments are happening.

I think maybe, in not classical-genres of music. In classical musical, all the tradition and art of the pass is there and I hope it will prevail.

"Tradition" is a prop that is held on to until it is no longer useful. If change doesn't occur, the world stops, and it stops to our detriment. Arnold Schoenberg was once told that a soloist would need six fingers to perform his latest concerto. Schoenberg's reply? "I can wait." And Walter Bagehot said "One of the greatest pains to human nature is the pain of a new idea. It...makes you think that after all, your favorite notions may be wrong, your firmest beliefs ill-founded....Naturally, therefore, common men hate a new idea, and are disposed more or less to ill-treat the original man who brings it."

Great point Ryszard!

Technology interacts with life, in so far musical notation evolves from one époque to the other one. The so-called western musical notation has changed abruptly in the XXth century, and certainly it will continue to develop, following the general tendency of evolution. What is important for me, and I guess perhaps for other composers, is to consider notation totally dependent from a music reality, and not separate both as the traditional Harmonic theory did. No matter the technological source, music should remain a human expression!