| Sumario: | This paper discusses the percussion notation of Western Australian composers Lindsay Vickery, Stuart James and Cat Hope. Both the compositional and performative aspects of their notational conventions are considered in the diverse approaches they take to the specification of timbre, improvisation, and ensemble coordination. The design and interpretation of screen-based technologies, tablature gestural approaches and spectrographic notation is explored using Lindsay Vickery’sThe Miracle of the Rose(2015)InterXection(2002) andLyrebird(2014), Cat Hope’sBroken Approach(2014),Sub Aerial(2015), andTone Being(2016) and Stuart James’Kinabuhi | Kamatayon(2015) as case studies.
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