Notes to The Story of Music: This album originated in connection with an early version of the author’s book MUSIC ACROSS TIMES AND FENCES. At that time a number of CD’s were planned, using star performers and only providing pieces not available myself. However, the music publishers charged too high fees for permission to reuse recordings to make this feasible, so the project lay idle until 2016, when the wish to provide audio for the pieces discussed in the book while reading became possible with use of Internet streaming services, either with a fixed monthly subscription or bearing with some advertisements between numbers. This changed the need for a dedicated CD to a few compositions that either had not been recorded, or where I wanted to give a substantially different interpretation. These fit on a single CD, plus a few pieces present on my earlier CD’s. Human singing was the basis for the earliest music, and subsequently, percussion instruments were added to render rhythm, by beating on wood or on the stalachite columns found in some of the caves used by humans several tens of thousand years ago. The earliest musical instruments found are flutes, notably some 35 000-38 000 years old bone flutes found in Germany, 25 000 years old flutes from France and 8000 years old flutes from China. The Geissenklösterle flute represented here uses a four-tone scale (the opening tones of the piece), limiting the melodic content and making it possible to guess on its structure in a way, that would not have been possible if the instrument had more tonal possibilities. Aerodynamic analysis of the flute and its specific placement of finger holes reveal that the four-tone scale is not a subset of any known five-tone (pentatonic) scale. The earliest written score that has been found contains the melody of a song in the Hurrian language, used 3400 years ago by the Ugarit settlement in current Syria and played on a Mesopotamian lyre. The music uses a seven-tone scale, for which a fully developed harmonic theory has been found described on Mesopotamian clay tablets and later in work by Greek scholars. The Greek scales differ from the currently employed equal-tempered scales (equidistant note spacing on a logarithmic scale) by employing simple, rational ratios between note frequencies, believed to please the human ear. Several Greek instruments are known from vase pictures. They use one of the particular 7-tone scales described by Pythagoras. The two Chinese pieces are the earliest for which a score has been found. Earlier ceremonial music from the Confucius period has been described on the bells of the Yi tomb (433 BC), but without actual scores. The first one included is a zither melody found in a Kyoto monastery scroll from about 800 (now in Tokyo National Museum), the second one is a pipa (guitar-like) melody from the Dunhuang Library (about 900), called Xichou (a place name). This melody is, as most of the Dunhuang scores, secular and to be played faster than the old ceremonial pieces. The Chinese scores as well as the later medieval melody by Perotin use a Greek-style seven-tone scale. Perotin is a leading composer from Medieval France, and the three Renaissance pieces by Bruna and Frescobaldi exhibit the beautiful new styles of music created by the Renaissance masters. Outside Europe and China, new ideas were added to the musical expression, for instance in the koto tunes from the Japanese composer Yatsuhashi Kengyo (meaning “blind”, like Bruna). Bypassing the masterpieces of European Baroque, Romanticism and Enlightenment, which you can find many other places, a small Debussy flute piece brings me to the first minimalist, Satie and thoNielsen, with his characteristic style showing even in the small piano piece played here. The next piece is the only composition known by organist Perrine Lisal (1893-1981), written for the marriage between her daughter and Daniel Taupin, who is known for creating the first large public domain Internet collection of musical scores (now part of the Petrucci Library). Bartók’s Boat Song is what he played when first visiting the USA, being asked by journalists to play “something” when he stepped down from the transatlantic ship. They thought he had composed it on the ship, but it is really from an earlier work 10 Easy pieces. The two final tracks are my own compositions, a bird song using an inverse frequency quasi-random melody creator and fractal techniques to generate accompaniment (see the 31 small fractal pieces CD) and an orchestral piece dedicated to the victims of the 2011 tsunami accident at the Fukushima Nuclear Plants. It uses a 12-tone scale and depicts the ups and downs created by the various actions taken by the emergency team of the plant operator, and it ends up with a small, optimistic melody peeking through the dumb mechanical noise from heavy plant equipment.