Expanded percussion notation in recent works by Cat Hope, Stuart James and Lindsay Vickery

Document Type

Journal Article

Publication Title

Contemporary Music Review

Publisher

Taylor and Francis

School

Western Australian Academy of Performing Arts (WAAPA)

RAS ID

25427

Comments

Vickery, L., Devenish, L., James, S., & Hope, C. (2017). Expanded Percussion Notation in Recent Works by Cat Hope, Stuart James and Lindsay Vickery. Contemporary Music Review, 36(1-2), 15-35. https://doi.org/10.1080/07494467.2017.1371879

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.

DOI

10.1080/07494467.2017.1371879

Access Rights

subscription content

Link to Full Text

Share

 
COinS