Expanded Percussion Notation in Recent Works by Cat Hope, Stuart James and Lindsay Vickery
Dados Bibliográficos
| ID | 14810232 |
|---|---|
| Autores | Lindsay Vickery (0000-0001-7369-9981, Edith Cowan University), Louise Devenish (0000-0002-0112-9389, The University of Western Australia), Stuart James (0000-0002-2649-2133), Cat Hope (0000-0001-9999-7194, Royal Academy of Music) |
| Ano | 2017 |
| Volume | 36 |
| Fascículo | 1-2 |
| Páginas | 15-35 |
| Data de publicação | 2017-03-04 |
| Peer Reviewed | Sim |
| Open Access | Não |
| Tipo | ARTICLE |
| Periódico | Contemporary Music Review (JOURNAL) |
| Identificadores do periódico | ISSN: 0749-4467 • E-ISSN: 1477-2256 |
| Editora | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/07494467.2017.1371879 |
| OpenAlex | W2765865615 |
| Idioma | EN |
| Referências citadas | 19 |
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 | Kamatayon (2015) as case studies
Aesthetics · Art · Art history · Improvisation · Linguistics · Musical · Notation · Percussion · Performance art · Performative utterance · Timbre · Visual arts · Diverse Musicological Studies · Music and Audio Processing · Music Technology and Sound Studies · Philosophy
| Velocidade de citação | historical |
|---|---|
| Altamente citado | Não |