|dc.contributor.author||Wimbish III, Russell||
|dc.description.abstract||This thesis examines practitioner perspectives on graphic scores and applies
the findings compositionally. Since first appearing in the 1950’s, graphic
scores’ idiosyncratic musical notations and methods of performance have
presented musicians with unique conceptual and performative challenges.
However, a lack of scholarly research and pedagogical representation has
resulted in a dearth of knowledge on how to assess, compose and perform
graphic works. This research addresses this deficiency by exploring methods
of interpreting graphic notation, the role of improvisation in performance, and
how composers and performers attempt to effectively communicate
compositional and performative goals. In doing so, this thesis provides
crucial insights into contemporary musical practice, the nature of creativity,
and how social processes impact on musical performance.
The first objective of this research was to collect information on how
musicians have created and performed compositions that use graphic
notation. To collect data, I conducted interviews with musicians
professionally acknowledged as exemplary performers of new music. I then
analysed the data qualitatively using interpretive phenomenological analysis.
This methodology allowed a detailed examination of the research
participants’ individual approaches to graphic composition and how
performance environment and personal history have influenced their
methods of engagement.
In addition to the written thesis, this research applied the data towards the
creation of seven original graphic compositions. This process allowed me to
explore the data in praxis as well as in theory. By using the data to inform the
creation of these works, this thesis presents these pieces as evidence-based
composition, as they have derived directly from the analysis.
This research shows that graphic composition is a diverse and
heterogeneous field that is defined more by social practices than by a formal
codification of practice. These findings also demonstrate that graphic scores
have democratised the compositional process by distributing creative agency
between the composer and the improvising performer. Lastly, this study
reveals that interpersonal relationships and social interactions are crucial to
the process of composing and performing graphic scores.
The conclusions of this thesis contribute much to the study of graphic
composition. These findings are also significant to research within the fields
of contemporary concert music, improvisation, musical pedagogy, musical
communication and research into contemporary performance practice.||en
|dc.publisher||The University of Edinburgh||en
|dc.relation.hasversion||Wimbish, R. (2020). ‘Is this your composition, or is this some sort of collaboration?’ Examining a professional musician’s attitude towards graphic composition. Music & Practice, 6. Retrieved from https://www.musicandpractice.org/volume-6/examining-a professional-musicians-attitude-towards-graphic-composition||en
|dc.subject||non-traditional musical notations||en
|dc.subject||graphic score performance||en
|dc.subject||graphic score composition||en
|dc.title||From sight to sound: exploring creativity, improvisation and interactivity in graphic composition and performance||en
|dc.type||Thesis or Dissertation||en
|dc.type.qualificationname||PhD Doctor of Philosophy||en