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

References

• Adkins, M. (2008). The application of memetic analysis to electroacoustic music. Retrieved from http://www.mathewadkins.co.uk/article4/
   Google Scholar
• Bailey, D. (1993). Improvisation. Cambridge: Da Capo Press.
   Google Scholar
• Betts, C. (2010). Reading the signs: Assessing the salience of percussion symbols for use in percussion notation (Master’s thesis). University of Western Australia.
   Google Scholar
• Blackburn, M. (2011). The visual sound-shapes of spectromorphology: An illustrative guide to composition. Organised Sound, 16(1), 5–13. doi: 10.1017/S1355771810000385
   Web of Science ®Google Scholar
• Boone, G. M. (2000). Marking mensural time. Music Theory Spectrum, 22(1), 1–43. doi: 10.2307/745851
   Web of Science ®Google Scholar
• Bowles, E. A. (1991). The double, double, double beat of the thundering drum: The timpani in early music. Early Music, XIX(3), 419–436. doi: 10.1093/earlyj/XIX.3.419
   Google Scholar
• Bregman, A. (1990). Auditory scene analysis. Cambridge: MIT Press.
   Google Scholar
• Brown, E. (1986). The notation and performance of new music. The Musical Quarterly, 72(2), 180–201. doi: 10.1093/mq/LXXII.2.180
   Web of Science ®Google Scholar
• Caskel, C. (1971). Notation for percussion instruments. Translated by Vernon Martin. Percussionist, 8(3), 80–84.
   Google Scholar
• Cassidy, A. (2013). Constraint schemata, multi-axis movement modeling, and unified, multi-parametric notation for strings and voices. Search: Journal for New Music and Culture, 10. Retrieved from http://www.searchnewmusic.org/cassidy.pdf
   Google Scholar
• Clayton, M. R. (1996). Free rhythm: Ethnomusicology and the study of music without metre. Bulletin of the School of Oriental and African Studies, 59(02), 323–332. doi: 10.1017/S0041977X00031608
   Google Scholar
• DeFelice, L. (1969). Problems in percussion notation. Percussionist, 6(4), 108.
   Google Scholar
• Devenish, L. (2015). And now for the noise: Contemporary percussion in Australia, 1970-2000 (D.M.A. thesis). University of Western Australia.
   Google Scholar
• Erickson, R. (1975). Sound structure in music. Berkeley, CA: University of California Press.
   Google Scholar
• Francois, J.-C. (1992). Writing without representation, and unreadable notation. Perspectives of New Music, 30(1), 9. doi: 10.2307/833281
   Web of Science ®Google Scholar
• Giannakis, K. (2006). A comparative evaluation of auditory-visual mappings for sound visualisation. Organised Sound, 11(3), 297–307. doi: 10.1017/S1355771806001531
   Google Scholar
• Gilman, E., & Underwood, G. (2003). Restricting the field of view to investigate the perceptual spans of pianists. Visual Cognition, 10(2), 201–232. doi: 10.1080/713756679
   Web of Science ®Google Scholar
• Green-Armytage, P. (2010). A colour alphabet and the limits of colour coding. Colour: Design & Creativity, 510, 1–23.
   Google Scholar
• Grill, T., & Flexer, A. (2012). Visualization of perceptual qualities in textural sounds. Proceedings of the International Computer Music Conference (ICMC 2012), Ljubljana, Slovenia (pp. 589–596).
   Google Scholar
• Grisey, G. (2000). Did you say spectral? Contemporary Music Review, 19(3), 1–3. doi: 10.1080/07494460000640311
   Google Scholar
• Hope, C., & Terren, M. (2016). The possibilities of a line: Marking the glissando in western art music. Tenor 2016. Cambridge: Anglia Ruskin University.
   Google Scholar
• Hope, C., & Vickery, L. (2010). The aesthetics of the screen score. Createworld 2010 Griffith Brisbane.
   Google Scholar
• Hope, C., Wyatt, A., & Vickery, L. (2015). The decibel scoreplayer – a digital tool for reading graphic notation. Proceedings of TENOR, first international conference on technologies for music notation and representation 2015. Institut de Recherche en Musicologie, IReMus. Paris, France, May 2015, pp. 59–70.
   Google Scholar
• James, S. (2015). Spectromorphology and Spatiomorphology: Wave terrain synthesis as a framework for controlling Timbre Spatialisation in the frequency domain (PhD Dissertation). Western Australian Academy of Performing Arts, Edith Cowan University.
   Google Scholar
• Keislar, D., Blackwood, E., Eaton, J., Harrison, L., Johnston, B., Mandelbaum, J., & Schottstaedt, W. (1991). Six American composers on nonstandard tunings. Perspectives of New Music, 29(1), 176–211. doi: 10.2307/833076
   Web of Science ®Google Scholar
• Kojs, J. (2009). The language of action and cyber-action-based music: Theory and practice. Journal of New Music Research, 38(3), 285–294. 286. doi: 10.1080/09298210903141155
   Web of Science ®Google Scholar
• Kojs, J. (2011). Notating action-based music. Leonardo Music Journal, 21, 65–72. doi: 10.1162/LMJ_a_00063
   Web of Science ®Google Scholar
• Kostelanetz, R. (1988). Conversing with Cage. New York: Limelight.
   Google Scholar
• Lachenmann, H. (1996). Musikals existentielle Erfahrung: Schriften 1966-1995 (p. 212). Wiesbaden: Breitkopf & Hartel.
   Google Scholar
• Lambert, J. W. (1983). Multiple percussion performance problems as illustrated in five different works composed by Stockhausen, Smith Brindle, Colgrass, Dahl, and Kraft between 1959 and 1967. DMA, The University of Oklahoma.
   Google Scholar
• McCarty, F. (1980). Symbols for percussion notation. Percussive Notes: Research Edition; Percussionist, 18(1), 8–19.
   Google Scholar
• Moody, D. L. (2009). The “physics” of notations: Towards a scientific basis for constructing visual notations in software engineering. IEEE Transactions On Software Engineering, 35(5), 756–779. doi: 10.1109/TSE.2009.67
   Web of Science ®Google Scholar
• O'Connor, G. (1966). Prevailing trends in contemporary percussion notation. Percussionist, 3(4), 61–74.
   Google Scholar
• Palombini, C. (1993). Machine songs V: Pierre Schaeffer: From research into noises to experimental music. Computer Music Journal, 17(3), 14–19. doi: 10.2307/3680939
   Web of Science ®Google Scholar
• Pasoulas, A. (2011). Temporal associations, semantic content and source bonding. Organised Sound, 16(1), 63–68. doi: 10.1017/S1355771810000440
   Web of Science ®Google Scholar
• Percussive Arts Society. (1973). Standardization of percussion notation. Lawton: Percussive Arts Society.
   Google Scholar
• Picking, R. (1997). Reading music from screens vs paper. Behaviour and Information Technology, 162, 72–78. doi: 10.1080/014492997119914
   Web of Science ®Google Scholar
• Poullin, J. (1957). The application of recording techniques to the production of new musical materials and forms. Applications to ‘musique concrete’. National research council of Canada technical translation TT-646, translated by D. A. Sinclair from the original in L’Onde Électrique 34, no. 324 (1954): 282–91. Ottawa: National Research Council of Canada.
   Google Scholar
• Ramachandran, V. S., & Hubbard, E. M. (2001). Synaesthesia — A window into perception, thought and language. Journal of Consciousness Studies, 8(12), 3–34.
   Web of Science ®Google Scholar
• Reed, H., & Leach, T. (1969). Scoring for percussion: And the instruments of the percussion section. Englewood Cliffs, NJ: Prentice Hall.
   Google Scholar
• Reydellet, Jean de. (1996). Pierre schaeffer, 1910-1995: The founder of ‘musique concrete’. Computer Music Journal, 20(2) (Summer), 10–11.
   Web of Science ®Google Scholar
• Russolo, L. (1967). The art of noise (futurist manifesto 1913). ( Michael Tencer, Ed.; Robert Filliou, Trans.). New York, NY: Something Else Press.
   Google Scholar
• Schick, S. (2006). The percussionist’s Art: Same Bed, different dreams (1st ed.). New York, NY: University of Rochester Press.
   Google Scholar
• Smith, A. (2005). An examination of notation in selected repertoire for multiple percussion (Doctoral dissertation). Columbus, OH: The Ohio State University.
   Google Scholar
• Stanicek, P. (2009). Color scheme designer. Retrieved from http://colorschemedesigner.com
   Google Scholar
• Tanzi, D. (2011). Extra-musical meanings and spectromorphology. Organised Sound, 16(1), 36–41. doi: 10.1017/S1355771810000415
   Web of Science ®Google Scholar
• Thoreson, L. (2010). Form-building patterns and metaphorical meaning. Organised Sound, 15(2), 82–95. doi: 10.1017/S1355771810000075
   Web of Science ®Google Scholar
• Tufte, E. 1990. Envisioning information. Cheshire, CT: Graphics Press.
   Google Scholar
• Williams, B. M. (2001). Stockhausen: “Nr. 9 Zyklus”. Percussive Notes, 39(3), 60–60.
   Google Scholar
• Wyatt, A., Hope, C., & Vickery, L. (2013). Animated notation on the iPad (Or: Music stands just weren’t designed to support laptops). IDEA: International computer music conference, pp. 201–207.
   Google Scholar
• Scores Cited
   Google Scholar
• Bussotti, S. (1959). 7 fogli, No. 2 “coeur pour batteur”. London: Universal Edition.
   Google Scholar
• Cage, J. (1962). Variations III. New York, NY: Henmar Press.
   Google Scholar
• Genet, J. (1946). The miracle of the rose. London: Penguin.
   Google Scholar
• Hope, C. (2009). Wolf at Harp. Composer’s Manuscript.
   Google Scholar
• Hope, C. (2012). Miss Fortune X. Composer’s Manuscript.
   Google Scholar
• Hope, C. (2014). Broken Approach. Composer’s Manuscript.
   Google Scholar
• Hope, C. (2015). Sub Aerial. Composer’s Manuscript.
   Google Scholar
• Hope, C. (2016). Tone Being. Composer’s Manuscript.
   Google Scholar
• Kagel, M. (1965). Pas de Cinq. London: Universal Edition.
   Google Scholar
• Scelsi, G. (1968). Okanagon. Paris: Editions Salabert.
   Google Scholar
• Stockhausen, K. (1959). Zyklus. London: Universal.
   Google Scholar
• Stockhausen, K. (1964). Mikrophonie I. London: Universal.
   Google Scholar
• Stravinsky, I. (1918). Histoire du Soldat. London: Chester Music.
   Google Scholar
• Vickery, L. (2002). InterXection. Composer’s Manuscript.
   Google Scholar
• Vickery, L. (2014). Lyrebird. Composer’s Manuscript.
   Google Scholar
• Vickery, L. (2015). The Miracle of the Rose. Composer’s Manuscript.
   Google Scholar