The ubiquity and diversity of notational practices in music suggest that notation is a significant part of human beings' musicking behaviour. However, it is difficult to address its function since the usual conception of notation in music scholarship is at odds with studying performance in the first place. This article presents a methodological outline for an ethnomusicology of music notation by investigating the musicality of notation not in terms of its representation of musical structures, but in terms of its mediation of the social and creative agency of musicians. It is suggested that, rather than detracting from musical reality, notation composes musical cultures. This constructive work is simultaneously ontological and ethical. It is described in terms of three distinct processes, namely mobilization, entextualization and remediation. In doing so, this article presents an interdisciplinary approach to a topic that has traditionally defined the disciplinary centre of music scholarship.

中文翻译：

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记谱文化：走向记谱的民族音乐学

音乐中记谱法实践的普遍性和多样性表明，记谱法是人类音乐行为的重要组成部分。然而，很难解决它的功能，因为音乐学术中通常的符号概念与首先研究演奏是不一致的。本文提出了音乐符号民族音乐学的方法论大纲，通过调查符号的音乐性，而不是根据其对音乐结构的表现，而是根据它对音乐家的社会和创造性机构的中介作用。有人建议，记谱法不是贬低音乐现实，而是构成音乐文化。这种建设性的工作同时是本体论和伦理的。它被描述为三个不同的过程，即动员、语境化和补救。