refereed papers 2005-10

Mobile Scores and Click-Tracks: 
Teaching Old Dogs
 Lindsay Vickery
ACMC 2010 ANU Canberra

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This paper reconsiders the paper score as a medium for presentation of mobile score works. The precedents leading to the development of mobile form in music are discussed. The form and modes of realisation of a range of works by Earle Brown, Karlheinz Stockhausen, Iannis Xenakis, John Zorn, Mauricio Kagel, Charles Ives and Denis Smalley are examined. The potential for computers to provide a more ‘natural’ medium for mobile scores is explored.
 A number of computer-based solutions to the realisation of mobile scores are proposed in regard to: the single page mobile score, the multi-page mobile score, the mobile graphical score, the polytempo score and works that include pre-recorded sound and/or live electronics. Solutions including the on-screen scrolling score, the on- screen timer, the computer controlled click-track and networked multiple computers are proposed. The potential to control musical parameters such as formal structure, tempo, meter and dynamics are explored, as well as the ability to represent “free” pitch and rhythm.
2010vicmobilescores.pdf
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The Aesthetics of the Screen-Score
 Cat Hope and Lindsay Vickery
Createworld 2010 Griffith Brisbane

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This paper examines the screening of music notations and the impact of this configuration in a live music performance situation. Before the development of graphical computing, Traditional music notation, was rarely shared with the anyone other than other musicians, composers and analysts; let alone displayed during the performance. However, some composers experiment with scores and their visual presence in performance by employing automated ‘score-players’ or actual films specifically developed to be interpreted by musicians. This paper raises some questions and possibilities for this new way of sharing musical qualities of composition and performance.

2010hopevicaestheticsscreenscore.pdf
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The Evaluation of Nonlinear Musical Structures
 Lindsay Vickery
THNMF Conference 2009 ECU Perth

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Our experience of time through music is diverse and often irregular. In Western and non-Western music, composers have explored the idea of exploiting this relationship to create structures that destabilize, fragment and even suspend time.
A definition of Nonlinear Structure is proposed based upon evaluation of the level of integration, contingency, compressibility and determinacy of a work. Exemplar works by composers Earle Brown, Béla Bartók, Olivier Messiaen and Brian Eno are discussed.

2009vicevaluationofnl.pdf
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Freedom and structure take on instruments and hardware
Cat Hope with Lindsay Vickery
Resonate Magazine 2008

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After a performance of Lindsay Vickery's recent works at a Tura New Music Scale Variable event, tectonic, at the Art Gallery of Western Australia on the 21st of June 2008, Cat Hope and Lindsay Vickery talk about what makes music interesting, relevant and personal.
2008hopevicfreedomandstructure.pdf
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Western Electric: a survey of recent Western Australian Electronic Music
Lindsay Vickery
THNMF Conference 2005 ECU

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This paper surveys developments in recent Western Australian electronic music through the work of a number of representative artists in a range of internationally recognised genres. The article follows specific cases of practitioners in the fields of Sound Art (Alan Lamb and Hannah Clemen), Live and Interactive Electronics (Jonathan Mustard and Lindsay Vickery) and Noise/Lo Fi Electronics (Cat Hope and Petro Vouris) and Glitch/Electronica (Dave Miller and Matt Rösner).
2005vicwesternelectric.pdf
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