lindsay vickery
  • lv
  • music
    • listen
    • Works by Instrumentation
    • Works by Concept
    • 2014 onwards >
      • music 2022
      • music 2021
      • music2020
      • music2019
      • music 2018
      • music 2017
      • music 2016
      • music 2015
      • music 2014
    • music 2009-2013 >
      • music 2013
      • music 2012
      • music 2011
      • music 2010
      • music 2009
    • music 1997-2008 >
      • music 2004-8
      • music 2003
      • music 2002
      • music 2001
      • music 2000
      • music 1998-9
      • music 1997
    • music 1985-1996 >
      • music 1995-6
      • music 1993-4
      • music 1991-92
      • music 1988-90
      • music 1985-87
  • writing
    • Research Projects >
      • screening the score >
        • scrolling notation
        • rhizomatic scores
      • expanded music notation
      • realtime notation
      • scoring field recordings
      • spectral analysis as a compositional tool
      • computer controlled performance environment
    • research >
      • research 2021
      • research 2020
      • research 2019
      • research 2018
      • research 2017
      • research 2016
      • research 2015
      • research 2014
      • research 2013
      • research 2011-12
      • research 2008-10
      • research 2001-04
    • teXts
    • presentations
  • performance
    • performance 2017- >
      • performance 2022
      • performance 2021
      • performance 2020
      • performance 2019
      • performance 2018
      • performance 2017
    • performance 2009-16 >
      • performance 2016
      • performance 2015
      • performance 2014
      • performance 2013
      • performance 2012
      • performance 2011
      • performance 2010
      • performance 2009
    • performance 1997-2008 >
      • performance 2005-8
      • performance 2004
      • performance 2003
      • performance 2002
      • performance 2001
      • performance 2000
      • performance 1999
      • performance 1998
      • performance 1997
    • performance 1985-1996 >
      • performance 1992-6
      • performance to 1991
    • solo performance
  • gallery
    • scoreplayerscores
    • environmental scores
    • nature forms
    • landscapes
    • graphic scores
    • schematics
    • spectrograms
    • oddities
  • POI
  • Blog
  • Blag

2017

173 [opi'lka [2017] for flute, trumpet, soprano saxophone, alto saxophone, bass clarinet, electric guitar,  prepared piano and fixed media

Picture
​In [opi’lka an improvisation for bass clarinet and electronics was used as the basis for a sort of notational improvisation to create a score. The notation is a blend of "spectromorphological" symbols (i.e. sound-shapes) with more traditional proportional notation as strict synchronisation with (elements) of the original recording. Many of the spectral complexes from the original sound-object are recreated through wind instrument multiphonics and other extended techniques. The unusual title of this work was the result of the inadverted naming of a folder on my computer.
Performances
20171006 SHOCKOFTHE NEW, Spectrum Project Space, Kirsten Smith - flute, Dan O'Connor - trumpet, Lindsay Vickery - soprano saxophone, Luis Santos - alto saxophone, Clarine Arlidge - bass clarinet, Eduardo Cossio - electric guitar, Stuart James - prepared piano. 

172 liminario  [2017] for flute, oboe, clarinet, harp, guitar and celeste.

In the last few years I have been exploring the idea of integration of instruments with the non-anthropogenic sound world of nature and machines. Liminario takes a further step in this exploration, by convolving (electronically combining the rhythm of one recording with the pitches of another) Villa-Lobos’ Sexteto Mistico with a field recording of the Amazon rainforest. The Sextet, which I had performed as a student, had always evoked a mysterious rainforest for me and the idea was to allow literal natural sounds to overgrow the mimetic sound world of the original work. The result was a kind of surreal musicbox of sounds, dominated by the irregular but repetitive calls and chirps of animals. This recording was then “spectrally orchestrated“ by directly transcribing a visual representation of the sounds, a spectrogram, into scrolling music performed by a music box of (also slightly irregular) human musicians.
Picture
Performances
20170722 GreyWing Rio 1917: Scale Variable 2, WAAPA Auditorium

171 lines of flight [2017] for clarinet and electronics

Picture
Performances
​Studio recording
20180825 Lagavulin@The Piano Mill, New South Wales
20180826 The Cooroora Institute, Queensland 
20170930 Australasian Computer music Conference 2017, Elder Conservatorium, Adelaide.
20170523 Music Department, Universidad de Aveiro, Portugal.
20170525 MOCAP, Universidad Católica Portuguesa, Portugal.
20221208 HIAS, Hamburg.
This is a nonlinear work for clarinet and synchronized electronics. It comprises 23 sections of musical material that are presented indeterminately to the performer and a coda. The scrolling-score is presented on iPad and controlled externally for a a laptop. Sound processing involves an array of delays, pitch shifts, spectral manipulation and down-sampling.The title refers to Deleuze' concept that "Multiplicities are defined by the outside: by the abstract line, the line of flight or deterritorialization according to which they change in nature and connect with other multiplicities. The plane of consistency (grid) is the outside of all multiplicities. The line of flight marks: the reality of a finite number of dimensions that the multiplicity effectively fills; the impossibility of a supplementary dimension, unless the multiplicity is transformed by the line of flight; the possibility and necessity of flattening all of the multiplicities on a single plane of consistency or exteriority, regardless of their number of dimensions."

170 escadaria do diabo [2017] for bass clarinet and electronics

In escadaria do diabo (devil's staircase) the performer reads from a scrolling score that periodically disappears - more frequently but for shorter periods of time - according to a 60 second structure. Samples of the live performance following the same structure  are delayed and sometimes transposed and then projected into the space in an decreasing spiral pattern. The score comprises six sections based on pitches derived from the harmonic series of Ab. The title is derived from the mathematical function that divides a number into an increasing number of steps (tending to infinity) of decreasing size (tending to zero). 
Performances
20170512 Shock of the New, Spectrum Project Space.
20170523 Music Department, Universidad de Aveiro, Portugal.
20170525 MOCAP, Universidad Católica Portuguesa, Portugal.
Picture

169 wellington forest [2017] for percussion trio and fixed media

Picture
In wellington forest (2017) a spectrographic representation of an accompanying field recording is combined with temporally proportional traditional and rhythmic notation. The spectrogram was produced by “threshing” the field recording to remove all but the highest amplitude sounds (in this case frog croaks) and serves as a guide to the filed recording for the performers. Pitches are indicated via “cut out” staves or a five-line stave. Beams are used to indicate emergent phrase structures and stems are placed on the left side of each square notehead to aide coordination of the performers with the scrolling score and embedded soundfile.
Performances
​
20170423 Sound Unbound Music from Visitors
20170517 Music for Our Changing Climate, LAB-14, The Carlton Connect Initiative, Melbourne.
Proudly powered by Weebly