chaut (c. 1300 – 1370).
 Score-like notation appears as early as the Musica enchiriadis and Scholia enchiriadis (c. 850 CE).
 This does not suppose the “rise to supremacy” of Western music over other forms of music from around the globe, or hope to imply that Western music is intrinsically better than other musics. It only goes to suggest that precise coordination in time of, say, 1000 performers, such as one might hear in Mahler’s 8th Symphony, was certainly aided by the ability to precisely notate massively polyphonic musical information in accord to temporal delineations. Without such an innovation in notation, highly complex musics requiring great rhythmic precision among many performers, such as in Elliott Carter’s Double Concerto, might have not been feasible.
 Such as practice was popular at the beginning of electronic music’s history. Given the historical importance to a composer’s posterity and the expectation from the musical public to “see a score” which embodied the composer’s process and vision, some electronic piece composed with not need for a performer were still notated (as best as they could be) with a score, essentially serving the purpose of Augenmusik in its purest form. Composer’s who participated in this “Augenmusik” process include Karlheinz Stockhausen and Conlon Nancarrow, that latter of whom, composing almost exclusively for the player piano, had no technical need for a score but was asked to create such artifacts for posterity, publication, and theoretical study.
 Many music have also arises that only concern themselves with the creation of music as wave files, removed in all ways from biological audiation except for perhaps the a priori composition of the piece in the human mind - and even some attempt to remove this aspect with artificially intelligent composers. Some composers who have been made this their compositional focus, to greater and lesser extents, include Herbert Brün, Milton Babbitt, Karlheinz Stockhausen, Paul Lansky, and Paul Koonce, among many others.
 The Kepler Golden Record
Brün, Herbert. When Music Resists Meaning: The Major Writings of Herbert Brün. Middletown, Conn: Wesleyan University Press, 2004
_____. "On Anticommunication." In Words and Spaces: An Anthology of Twentieth Century Musical Experiments in Language and Sonic Environments, ed. Stuart Saunders Smith, 33-48. Rowman & Littlefield, MD: University Press of America, 1989.
Key, Jordan Alexander. Piobaireachd: The Origins of the Traditional Music of the Great Highland Bagpipes of Scotland as It Relates to Early Harp Music and Liturgical Chant from the British Isles. Master's thesis, The College of Wooster, 2013. Wooster: College of Wooster, OH.