Abstract
AbstractThis article looks at a creative trajectory in my recent work, an ongoing exploration of how the coordination of and precise interaction between performers in music-performance can be considered a primary compositional parameter (and perhaps compositional material in its own right). This investigation began with a survey of performer interactions in Olivier Messiaen'sQuatuor pour la fin du tempsand older music of my own. This led to an interest in the entanglement of ‘instrumental theatre’ and compositional scenarios in which performer behaviours, in relation to coordination and interaction, contribute idiosyncratically (i.e. outside of the more typical interpretation/improvisation models) to the music.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
