Document Type

Conference Proceeding

Publisher

Anglia Ruskin University, Cambridge, UK

School

Western Australian Academy of Performing Arts

RAS ID

23284

Comments

Originally published as: Hope,C.A., Terren, M.A. (2016). The possibilities of a line: Marking the glissando in music. Proceedings of the Second International Conference on Technologies for Music Notation and Representation TENOR 2016. 176 - 180. Original article available here

Abstract

The glissando as it is deployed in Western art music notation carries with it a number of challenges to the hegemony of traditional harmony, rhythm, and notation. The glissando embodies the smooth line, unlike the striated pitch-time space of traditional Western music, which aligns the glissando to many philosophical concepts, as well as mathematical, scientific, and architectural disciplines. Select works by Iannis Xenakis, James Tenney and Giacinto Scelsi are discussed for their development of glissandi as integral formal components, especially around the glissando’s tendency to encourage stasis. Compositional attempts to combine the nature of glissandi with drone in the author’s own work are described, providing an examination of examples of the way glissandi and related concepts can be notated formally, rather than decoratively, in musical works.

Creative Commons License

Creative Commons Attribution 3.0 License
This work is licensed under a Creative Commons Attribution 3.0 License.

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