TY - JOUR
T1 - Expanded Percussion Notation in Recent Works by Cat Hope, Stuart James and Lindsay Vickery
AU - Vickery, Lindsay
AU - Devenish, Louise Amy
AU - James, Stuart George
AU - Hope, Cat
PY - 2017/3/4
Y1 - 2017/3/4
N2 - 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.
AB - 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.
U2 - 10.1080/07494467.2017.1371879
DO - 10.1080/07494467.2017.1371879
M3 - Article
SN - 0749-4467
VL - 36
SP - 15
EP - 35
JO - Contemporary Music Review
JF - Contemporary Music Review
IS - 1-2
ER -