Abstract
This paper discusses the percussion notation of Western Australian composers Lindsay Vickery, Stuart James and Cat Hope. Both the compositional and performative aspects of their notational conventions are considered in the diverse approaches they take to the specification of timbre, improvisation, and ensemble coordination. The design and interpretation of screen-based technologies, tablature gestural approaches and spectrographic notation is explored using Lindsay Vickery’s The Miracle of the Rose (2015) InterXection (2002) and Lyrebird (2014), Cat Hope’s Broken Approach (2014), Sub Aerial (2015), and Tone Being (2016) and Stuart James’ Kinabuhi
Original language | English |
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Pages (from-to) | 15-35 |
Number of pages | 21 |
Journal | Contemporary Music Review |
Volume | 36 |
Issue number | 1-2 |
DOIs | |
Publication status | Published - 4 Mar 2017 |
Keywords
- Gestural Notation
- Musical Co-ordination
- Notation
- Percussion
- Screen Score
- Tablature