Re-Complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the "New Complexity"

Duncan, Stuart

doi:10.1353/pnm.2010.0015

Cited by 6 publications

(1 citation statement)

References 3 publications

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“…For example, a simple rhythm can be represented with uncommon time signatures, tuplets, note groupings, rests, and phrases. There are instances where the notation can be so dense that the music becomes impossible to play accurately (Duncan, 2010 ). Oftentimes, these pieces are re-notated by the performer so that the intended sounds are preserved while simplifying the notation (Talgam, 2019 ).…”

Section: Related Workmentioning

confidence: 99%

Sticking choices in timpani sight-reading performance

Bacon,

Jackson,

Marci

et al. 2023

Front. Psychol.

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When sight-reading a score, a timpanist needs to decide in real-time which stick to use to play a specific note while interpreting the musical material. Our main point of inquiry seeks to understand which sticking patterns performers employ and how they are affected by rhythmic stability. This paper analyzes the bi-manual sequencing (i.e., sticking) patterns of 31 timpanists in a sight-reading task. We analyze their results compared to model sticking patterns common in percussion pedagogical literature. Results show that while hand dominance plays an essential role in an individual's sticking pattern, the stability of a rhythmic pattern may also dramatically influence the observed particular sticking strategies. In areas of rhythmic stability, performers largely adhered to one of two conventional sticking patterns in the literature (dominant hand lead & alternating). Where rhythmic patterns became more unstable, the performers separated into diverse sticking groups. Moreover, several performers demonstrated sticking patterns which were hybrids or an inverse of the model sticking patterns, without any impact on the success of their sight-reading abilities. Overall, no two individual performers demonstrated the same sticking pattern. In terms of percussion pedagogy, our findings suggest that performers may benefit from an awareness of the adaptability of model sticking strategies. Lastly, we make the case for further study of rhythmic stability and bi-manual sequencing by locating the difference between notational and aural complexity.

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Section: Related Workmentioning

confidence: 99%

Sticking choices in timpani sight-reading performance

Bacon,

Jackson,

Marci

et al. 2023

Front. Psychol.

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On Making Music with Heartbeats

Chew

2021

Handbook of Artificial Intelligence for Music

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Notating Deconstruction: What Can Ethnomusicological Transcription Learn from the Notational Practices of Contemporary Composers?

Warren¹

2021

J. R. Music. Assoc.

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Drawing on Jacques Derrida’s (1981) approach to deconstructing Platonic dichotomies, this article argues that any notational system is inherently structuring and should be subjected to deconstructive efforts. Further, my contention is that this deconstruction can be realized in how notation itself is used, in what I refer to as ‘deconstructive notation’. This article looks at how notation has been used by composers to deconstruct the categories of Western staff notation, opening up the ways in which music is studied as an invitation to all those engaged in notating music to make room in their work for deconstructive notational play.

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Re-Complexifying the Function(s) of Notation in the Music of Brian Ferneyhough and the "New Complexity"

Cited by 6 publications

References 3 publications

Sticking choices in timpani sight-reading performance

Sticking choices in timpani sight-reading performance

On Making Music with Heartbeats

Notating Deconstruction: What Can Ethnomusicological Transcription Learn from the Notational Practices of Contemporary Composers?

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