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

Authors/Creators

Lindsay R. Vickery, Edith Cowan UniversityFollow
Louise Devenish, Edith Cowan UniversityFollow
Stuart James, Edith Cowan UniversityFollow
Cat Hope

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.

RAS ID

25427

Document Type

Journal Article

Date of Publication

2017

School

Western Australian Academy of Performing Arts (WAAPA)

Copyright

subscription content

Publisher

Taylor and Francis

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