Expanded Percussion Notation in Recent Works by Cat Hope, Stuart James and Lindsay Vickery

Lindsay Vickery, Louise Amy Devenish, Stuart George James, Cat Hope

Research output: Contribution to journalArticle

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 | Kamatayon (2015) as case studies.
Original languageEnglish
Pages (from-to)15-35
JournalContemporary Music Review
Volume36
Issue number1-2
DOIs
Publication statusPublished - 2017

    Fingerprint

Cite this