Timekeepers – Sound Artists – Drum Machines: Studies of Notation and Performance in Contemporary Music for Solo Percussionist

Abstract

Abstract What are the consequences of understanding a musical score as an ‘action plan’ – a composed set of performance instructions – rather than as a document, a transcript, or a concretization of a composer's idea and, ultimately, of a fixed musical work? This question is discussed through a consideration of four examples of contemporary percussion music – solo pieces by Karlheinz Stockhausen, Morton Feldman, David Lang, and Helmut Lachenmann. Considering the musical text in relation to the dynamics of a work's execution and performance can give us not only a ‘sound picture’ but also a kinaesthetic picture of the performer on stage. Through this shift of perspective the score comes to be viewed as a script or an agent, which then acts as both a foundation and a catalyst for the actions of the performer and his or her production of sound.

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