This thesis explores the development and application of 3D notation within the field of music, inspired by Mark Applebaum’s The Metaphysics of Notation. The research is practice- based, focusing on how traditional concepts of notation, performance, and sound representation can be reinterpreted and expanded through three-dimensional spaces. The thesis begins by establishing a theoretical foundation, examining the relationship between shapes and music, as well as the interplay between time and space in notation.Three case studies form the core of the practical exploration. The first, Time Slicing (2022), investigates the translation of visual movement across a score into physical movement within a space, where the arrangement of objects guides participants in creating temporal elements and sound. The second case study, Transcending Boundaries (2023), extends this concept to a board-based installation where marbles, moving along predefined paths, act as performers. This installation emphasizes the indeterminacy inherent in the system, with the physical properties of the materials directly influencing the sound produced. The third case study, Holder and Folder (2023), incorporates textiles and acrylic shapes to explore the role of visual imagination in music, inviting participants to imagine sound as they navigate the space.The findings suggest that 3D notation can redefine the relationships between notating, performing, and listening, offering new creative possibilities in both musical composition and performance. The thesis concludes by proposing further research into the use of different materials and shapes within 3D notation systems, as well as the evolving more consideration of the graphic composition with musical ideas in a 3D space.
| Date of Award | 14 Oct 2024 |
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| Original language | English |
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| Supervisor | Mary Bellamy (Main Supervisor) |
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