1. What contributions have the authors mentioned in the paper "Graphic notation, indeterminacy and improvisation: implementing choice within a compositional framework" ?
The aim of this paper is to examine the use of graphic notation in relation to improvisation and indeterminacy in practice.. The paper opens with a background context around terms and ideas about improvisation and indeterminate music pioneered by composers in the 20th century.. The techniques the author used in the pieces Fluttering ( Bröndum 2015 ) and Serpentine Line ( Bröndum 2010 ) are examined and discussed in informal interviews with four musicians.. The paper closes with a discussion and conclusions gained from the interviews and from working with musicians in the context of using graphic notation as a bridge between improvisation and notated music.. Documentation of the author ’ s practice and research of these methodological and aesthetical issues may be of interest to composers and musicians that work with similar techniques.. It may also add to theory by developing the understanding of a composer ’ s own approach, and in extension, to ask questions on how to develop these theories further.
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2. What have the authors stated for future works in "Graphic notation, indeterminacy and improvisation: implementing choice within a compositional framework" ?
It is argued by the author in the discussion that graphic notation enables the musicians a possibility for more involvement in the performance and to have contributed creatively to the end result while still giving the composer control of the end result.. In future works, further experiments with graphic notation and compositional concepts will be executed, and the author hopes to refine the personal aesthetic further.. It is also pointed out in the discussion that the aesthetic concern of the composer is to be able to compose music that is organic and that it changes over time, but at the same time can be retained around the core idea of the work.. It is also an aim to further test these techniques in practice, evaluate them and compare findings with other composers pursuing similar techniques in postmodern composition.
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