Drawing and the score.
Paulo de Assis
Traditionally a score in Western classical music has ensured the music’s presentation and replication to an audience. Drawings as blueprints in architecture/engineering ensure that designs are translated into real structures in ways that are more or less faithful to the designer’s intention and state of the art of technical knowledge. Viewed culturally, both designer and composer are clearly flagged as originators of the work. Underpinning these traditional forms of “score” or “drawing” is the belief that both can be performed more or less literally. This belief and associated practices secure their value as artefacts to society.
DOUGLAS, A. 2013. Drawing and the score. In De Assis, P., Brooks, W. and Coessens, K. Sound and score: essays on sound, score and notation. Orpheus Institute series. Leuven: Leuven University Press [online], chapter 14, pages 206-217. Available from: https://lup.be/collections/series-orpheus-institute-series/products/100421
|Online Publication Date||Oct 1, 2013|
|Publication Date||Oct 1, 2013|
|Deposit Date||Aug 18, 2014|
|Publicly Available Date||Aug 18, 2014|
|Publisher||Leuven University Press|
|Series Title||Orpheus Institute Series|
|Book Title||Sound and score: essays on sound, score and notation|
|Chapter Number||Chapter 14|
|Keywords||Musical scores; Drawing; Musical notation; Sound|
DOUGLAS 2013 Drawing and the score
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