Citations:octavating


 * 1977, Contact (Alliance Canadienne des Télécommunications de l’Entreprise), issues 18–23, page 43
 * The idea underlying this section is ‘the exploitation of non-octavating pitch-sieves (scales) and their cyclic transpositions . . . Their sonic exploitations are made either melodically or by means of stochastic distribution . . . in order to produce soundclouds of defined density.’
 * 1984, Recent Researches in American Music, volumes XI and XII: Richard A. Crawford [ed.], “The Core Repertory of Early American Psalmody”, page xvii
 * The tenor, originally written in standard G clef, is here written in octavating G clef, showing that it is to be read an octave lower than it is notated.
 * 1987, Bastiaan Blomhert, The Harmoniemusik of Die Entführung aus dem Serail by Wolfgang Amadeus Mozart: Study about Its Authenticity and Critical Edition (B. Blomhert; ISBN 9090017704, 9789090017709), page 60
 * Ob 1 = flute 1 (= octavating violin 1)
 * 1994, Recent Researches in the Music of the Classical Era, volume 39: Antonio Salieri [aut.] and Jane Schatkin Hettrick [ed.], “Mass in D Major”, preface, page xii
 * Soprano, alto, and tenor clefs used for the corresponding vocal parts in the principal and concordant sources have been changed here respectively to treble, treble, and octavating treble.
 * 1995, Recent Researches in American Music, volume 18: Stephen Jenks [aut.] and David Warren Steel [ed.], “Collected Works”, page xlviii
 * The tenor is here written in the octavating G clef, indicating that it is to be sung an octave lower than notated. The counter parts in part 1, which were originally meant to be read as though octavating, are here written at actual pitch.
 * 1995, Music of the United States of America, volume 4: Daniel Read [aut.] and Karl Kroeger [ed.], “Collected Works”, pages 221–222
 * In this edition, clefs for the treble and bass have been retained, the treble clef substituted for the alto clef in the counter, and the octavating treble clef supplied to the tenor.
 * 1997, Music of the United States of America, volume 6: Timothy Swan [aut.] and Nym Cooke [ed.], “Psalmody and Secular Songs”, page 268
 * The octavating treble clef has been used for the tenor part, indicating that it should be sung an octave lower than written.
 * 2005, David Lasocki [ed.], Musicque de Joye: Proceedings of the International Symposium on the Renaissance Flute and Recorder Consort, Utrecht 2003 (STIMU; ISBN 9072786122, 9789072786128), page 316, note 153
 * In the expanded Gamut with its octavating hexachords, all C’s, D’s, G’s, and A’s could be allotted three voces; all E’s, F’s, and B’s, only two.
 * 2011, Music of the United States of America, volume 22: Laura Ingalls Wilder [aut.] and Dale Cockrell [ed.], “The Ingalls Wilder Family Songbook”, page 343
 * I have systematically employed an octavating treble clef for tenor vocal parts.