Vickery, L. (2013). Exploring New and Emerging Models for Nonlinear Performative Works. 
(PhD Dissertation) Department of Music and Sound Queensland University of Technology.
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Preface and Table of Contents 
(pp. i-xxiv)

This dissertation seeks to define and classify musical nonlinear structures and to explore the possibilities they might afford for the creation of new musical works. It provides a comprehensive framework for the discussion of nonlinear structure in musical works and provides a detailed overview of the rise of nonlinearity in music during the 20th century.

1. Introduction 
(pp. 1-10)

The notion of a nonlinear model in music, reflects the circumstance that disruptions, such as episodes of interruption, disjunction, fragmentation, or dislocation, may give rise to structures that may appear impossible to frame within a consistent or stable, linear form.

2. Nonlinear Musical Organisation 
(pp. 11-27)

Nonlinear events are shown to emerge through significant parametrical discontinuity at the boundaries between regions of relatively strong internal cohesion. The dissertation situates nonlinear structures in relation to linear structures and unstructured sonic phenomena and provides a means of evaluating Nonlinearity in a musical structure through the consideration of the degree to which the structure is integrated, contingent, compressible and determinate as a whole.
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3. Classifying Nonlinear Structures 
(pp. 28-70)

It is proposed that nonlinearity in music can be classified as a three dimensional space described by three continuums: the temporal continuum, encompassing sequential and multilinear forms of organization, the narrative continuum encompassing processual, game structure and developmental narrative forms and the referential continuum encompassing stylistic allusion, adaptation and quotation.

4. Compositional Techniques for Nonlinear Works 
(pp. 71-104)

The contribution of cultural, ideological, scientific and technological shifts to the emergence of nonlinearity in music is discussed and a range of compositional factors that contributed to the emergence of musical nonlinearity is examined. The evolution of notational innovations from the mobile score to the screen score is plotted and a novel framework for the discussion of these forms of musical transmission is proposed.
A computer coordinated performative model is proposed, in which a computer synchronises screening of notational information, provides temporal coordination of the performers through click-tracks or similar methods and synchronises the audio processing and synthesized elements of the work. It is proposed that such a model constitutes a highly effective means of realizing complex nonlinear structures in performance. 
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5. The Spectrogram as a tool for the analysis of Nonlinear Structure
(pp. 105-123)

The use of spectrograms of recorded musical works is proposed as a potential means of evaluating nonlinearity in a musical work through the visual representation of parametrical divergence in pitch, duration, timbre and dynamic over time. Spectral and structural analysis of repertoire works is undertaken as part of an exploration of musical nonlinearity and the compositional and performative features that characterize it.

6. Exploring Nonlinear Formal Models in my Creative Practice
(pp. 124-212)

A creative folio comprising 29 original works that explore nonlinearity is presented, discussed and categorized, utilising the proposed classifications. Spectrograms of these works are employed where appropriate to illustrate the instantiation of parametrically divergent substructures and examples of structural openness demonstrated by different performances.
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7. Conclusion 
(pp. 213-216)

8. References
(pp. 217-238)
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