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

wardang [2019] for flute, clarinet, electric guitar, harp and fixed media 

Wardang is the Wadjuk Noongar word for crow. The animal takes a central role in the Noongar familial lore, along with the Mannaitch (white cockatoo) defining rules of marriage and association. The recordings in this piece were made at Mooro Katta or Mount Eliza in Kings Park Perth, and include the  three-part call typical of crows in this region and a peculiar almost "mewing" sound of a young crow. All of the electronic material was derived exclusively from this material and then assembled into an audio-collage. Instrumental parts were then added for flute, clarinet, electric guitar and harp, highlights and re-enforcing aspects of the collage.
Picture
Performance
20191212 - ,  St. Paul’s Church, Menora GreyWing

t o r b u a m m p a [2019] for flute, bass clarinet, electric guitar, harp, percussion and fixed media 

For this piece, the inauguration speeches of US presidents. Obama (2009) and Trump (2017) were edited into single words (over 4000 of them). and then placed alphabetically. It is "constraint music", more  overtly processual than political. Still, it is impossible not to compare the delivery and content of the two speeches. Perhaps most surprising are the number of words used by both presidents: not just "and" (82 occurrences) and "the" (75) but also "blood", "God" and "winter".  Given that the duration of the two speeches is over 35 minutes, a lot of space was closed up between the words and in a number of places the audio is accelerated to varying degrees.  For the most part the instrumental parts are derived directly from the audio without any attempt at extra-musical commentary. 
Picture
Picture
Picture
common and uncommon words from "60" to "issuing".
Picture
20191008 GreyWing - [ text ] Tura Soup Nights, The Sewing Room 317 Murray Street,  Wolf Lane, Perth 
20191007 GreyWing - SHOCKOFTHENEW, Sound Spectrum 2019.2 WAAPA, Edith Cowan University.
08072020 ACMC2020 Session: Listening Room 3

decompression [2019] for 144 musicians inside the St. Pauli Elbe tunnel 

Picture
​

The Old Elbe Tunnel (1911) in Hamburg is 426 m and 24 m (beneath the surface. It consists of two 6 m diameter tubes that connect central Hamburg with the docks and shipyards on the south side of the river Elbe. The work was commissioned as part of four concerts by HfMTand the Hamburg Port Authority (HPA) commemorating the re-opening of the Oströhre(East Tube) of the tunnel.
The physical dimensions of the Old Elbe Tunnel are at the foundation of decompression. Pitches in the work are derived from the first 127 harmonics of Eb0 (19.45Hz), the fundamental resonant frequency of the twin 426 m tunnels. The wavelength of Eb2  (77.78hz) is 443.55m.
The length of the tunnel also provides a fundamental tempo for the work, derived by the length of time taken by sound to move from one end to the other (roughly 1.24s) of 74.5 bpm.
Structural points in the work are built upon 11 subset harmonic series based on prime number harmonics, progressively closer to the fundamental. 
Each structural point is followed by a digression into material exploring the potential physical and psycho-acoustic properties of the vast space and ensemble including: spatial and moiré patterns, polymeters, micropolyphony and other techniques.
Picture
Picture
Picture
The 144 performers in 12 groups of 12 positioned equidistantly along the length of both tunnels. Each performer reads their part from a synchronised“webviewer” version of the scrolling score created by Georg Hajduand Rama Gottfried.
Picture
Picture
The 144 performers in 12 groups of 12 positioned equidistantly along the length of both tunnels. Each performer reads their part from a synchronised “webviewer” version of the scrolling score created by Georg Hajdu and Rama Gottfried.
Picture
Picture
Performance
​20190526 630pm SYMPHONIE IM ST. PAULI ELBTUNNEL, Hochschule fur Musik und Theatre, Hamburg 

mechanical inefficiency [2019] for flute, clarinet, electric guitar, piano and field recording of air conditioners

Picture
Performances
20190919 Outcome Unknown, GreyWing, North Perth Town Hall, 
​20190517 Shock of the New - Spectrum Project Space Western Australian Academy of Music
The work is a slowly evolving exploration of air-conditioning noise from my workplace. Field recordings of five AC units were blended and equalised to create the unfolding musical space. Quite minimal instrumental parts were added to reinforce and accentuate certain frequencies and complexes. Although it is on a far more modest scale, the work was likely influenced by my involvement in the process of Carol Robinson’s development of Éliane Radigue Occam Hexa II with Decibel New Music Ensemble. The title was contributed by engineer Adam Coffey (to whom it is dedicated) who pointed out that the beautiful sounds that machines sometime make is the result of them not operating at peak mechanical efficiency.
​

qaalup [2019] for bass clarinet (or cello) and fixed media 

qaalup derives pitch, rhythmic and formal structure from a field recording made in the Fitzgerald River National Park, on the coast between Bremer Bay and Hopetoun. The region is the largest single national park in the south-west of Western Australiaand a UNESCO designated biosphere – one of only 10 in Australia and the only one in the state. It is estimated to support 12 threatened fauna and 39 threatened flora species, and contains about 20 per cent of WA's described plant species, many of which are found nowhere else in the world. Quaalup, a homestead built in 1858 is the only property in the park.
Picture
Proudly powered by Weebly