| dc.description.abstract | This research explores the concept of musical gesture as it relates to graphic notation, in three 20th-century, solo percussion works: Composed Improvisation for snare drum alone by John Cage (1987), The King of Denmark by Morton Feldman (1964), and ¿Corporel by Vinko Globokar (1985). All three of these pieces feature various aspects of graphic notation. Composed Improvisation features a text-based event score, which was realized according to Cage's instructions, then recorded and transcribed. The King of Denmark features a grid-based numeric notation system, where one grid equates to one unit of time. In order to conduct an analysis of this piece, it was necessary to provide an in-depth formal structure of the piece through Feldman's use of density and register. ¿Corporel features a synthesis of text-based and symbolic graphic notation. In addition, this piece features extensive use and notation of physical gestures. These analyses yield interesting results as to the relationship between the graphic notation and musical gesture. Four musical gestures are defined herein: introductory, ascending, descending, and cadential. In addition, two physical gestures are defined: concurrent and independent. When mapped on a micro-level and macro-level plane, a gestural hierarchy emerges from each piece. The hierarchy (introductory, ascending, descending, and cadential, in each piece) shows a strong motivic development centered on form. The research shows that the graphic notation used by the composers in their respective pieces was necessary and purposeful in order to convey a sense of musical gesture to the performer while at the same time maintaining a sense of freedom for the performer. | |
