This research used computer-controlled notation to explore the creation of novel nonlinear musical structures. Three methods were investigated: the alternation of permutated and sequential passages of music (Improbable Games, Cities Sunk, Abstract Clouds); fixed structural axes with permutated interstitial materials (reconstruction of a shifting path); the successive deletion of musical materials (Ghosts of Departed Quantitites).The software-based scores permutate and coordinate passages of music notation to create consistent structures with indeterminate contents. A robust system for networking multiple computers was developed to syncronise elements including multiple performers, instruments, audio processing at click tracks in these works. This led indirectly to the development of the Decibel Scoreplayer's adoption of the bonjour protocol and directly to the development of the scoreplayer's "Canvas Mode".The works have been released on the CDs Luminosity: Musical Treasures from UWA (Cities Sunk) and Decibel: Stasis Ecstatic (2012) (Ghosts); performed in Berlin (WABE), Rottenberg and Biberach (SWR New Music Days), Palermo (Curva Minore), Ljubliana (ICMC), Auckland (ACMC), Otago (MSA), Sydney (New Music Network), Brisbane (Createworld), Canberra (ACMC, Peking Spring), Perth State Theatre Centre and Albany Entertainment Centre; and performed by Mark Gasser, Catherine Cahill, Shaun Lee, Emily Green-Armytage and Decibel. The research formed the basis for papers at the TENOR and Australasian Computer Music conferences.
Publications
Vickery, L., (2011). The possibilities of novel formal structures through Comp. controlled live performance. Proc. of the Australasian Comp. Music Association, Auckland, New Zealand. 112-117.
Vickery, L., (2010). Mobile Scores and Click-Tracks: Teaching Old Dogs. Proc. of the Australasian Comp. Music Conf. 2010. Aust. National Univ., Canberra. 63-70.
Burtt, J., Katie Lavers, K. and Vickery, L., (2004). Representations of recombinant memory in interactive performance works, Proc. of Consciousness Reframed Conf. 2004, Beijing.
Vickery, L., (2004). Interactive control of higher order musical structures, Proc. of the Australasian Comp. Music Conf. 2004 Victoria Univ., Wellington.
Vickery, L., (2003). Non-linear structures for real-time interactive musical works, Proc. of the Australasian Comp. Music Conf. 2003, WAAPA, Perth.
Vickery, L., (2011). The possibilities of novel formal structures through Comp. controlled live performance. Proc. of the Australasian Comp. Music Association, Auckland, New Zealand. 112-117.
Vickery, L., (2010). Mobile Scores and Click-Tracks: Teaching Old Dogs. Proc. of the Australasian Comp. Music Conf. 2010. Aust. National Univ., Canberra. 63-70.
Burtt, J., Katie Lavers, K. and Vickery, L., (2004). Representations of recombinant memory in interactive performance works, Proc. of Consciousness Reframed Conf. 2004, Beijing.
Vickery, L., (2004). Interactive control of higher order musical structures, Proc. of the Australasian Comp. Music Conf. 2004 Victoria Univ., Wellington.
Vickery, L., (2003). Non-linear structures for real-time interactive musical works, Proc. of the Australasian Comp. Music Conf. 2003, WAAPA, Perth.
