Özet:

This study was studied to study new forms of notation applied to reflect the characteristics of newly emerging flows and species along with the music of the 20th century. The traditional notation, which has continued to develop since the beginning of the Middle Ages,ined its general structure until the 20th century, despite the change of the musical style in every period. But different methods have been tested to express the musical narrative of the modern era, and they have created a sign of question whether these searches meet the needs. Despite the many ratings proposed in the 20th century, traditional ratings are still being preferred today. 20 to understand the reasons for this. It is necessary to study the new music flows that have emerged in the century and to understand why these flow composers are opposed to the tradition in their composition concepts. By the end of the 18th century, romanticism brought all the musical accumulation it took from the classical style to its peak, and all the elements of music (harmony, rhythm, melody, form, orchestra, etc.) The boundaries are brought to a difficult level. When the chromatism of the Romantic era slowly ends, 20. The atonity of the century has begun to take its place. Especially the serialistic approaches have been the pioneer of this stream. The purpose of this work is 20. It explores the new approaches emerged in the century music and how these approaches are expressed by a note. The notes that make up the subject of the study have been identified as the most characteristic examples after the literary scan. After the analyses, the problems and difficulties experienced during the interpretation and implementation of the new rating were discussed with details. It has been found that these difficulties impose the executive great responsibilities in terms of understanding and interpretation of new music, and that this negatively affects the frequency of the executive music, and that it constitutes an obstacle to the durability and continuity of these rating practices. For the overcoming of these obstacles and the new music and notation to be a guide to subsequent composers and performers, coding and conception research on each stream and work is needed.

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