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

Vickery, L. (2021). Approaches to the creation of large-scale site-specific works for ensemble and electronics,  

Picture
In 2018, the Limited Hangout: in the field project, a series of site-specific long form compositions responding to the sonic/physical environment of a chosen locale, using tools such as acoustic measurement and analysis, topographical mapping, physical structures and weather conditions of specific spaces and times.
This paper discusses works created so far for the the Limited Hangout project by Sage Pbbbt, Lindsay Vickery, Olivia Davies, Josten Myburgh, Pippin Kenworthy and Vanessa Tomlinson. These works explore a number of approaches to the creation of site-specific music and means of establishing connections and interaction between sound and site, including the use of field recordings, topographical information, transcriptions, resonant frequencies respectively to interact with site- specific locations. The paper discusses methods of synthesising big data sets, for the generation of scores for acoustic instruments and electronic audio components and approaches to creating spatial audio environments within existing ambient natural environments.

Vickery, L. (2021). Musica ex machina: integrating the sonic pallet of machines with acoustic instruments (in review).

Picture
​This paper examines the evolution of the practice of integrating pre-recorded mechanical sounds and acoustic instruments. The discussion draws a distinction between this genre and: mechanical instruments; noise making instruments; “live” mechanical sounds; recording of  machines; and instrument and tape works created using synthesis.
The practice of exploring mechanical sound as a subject for 'musical' investigation is discussed in relation to aesthetic and technological factors that assisted or inhibited the emergence of the genre. Techniques employed by composers for combining and coordinating mechanical sounds with acoustic instruments are also considered.

Vickery, L. , James, S. (2021).  Tectonic: Pannotia a telematic, interactive, generative-score

Picture
This paper describes the implementation of a telematic, interactive, generative-score work for four instrumental groups Tectonic: Pannotia. The work belongs to a series of chamber orchestra works that are named after theorised supercontinents - Tectonic: Vaalbara [2008], exploring indeterminate realtime structure and instrumental groups with independent tempi and Tectonic: Rodinia [2016], exploring networked generative scores on iPads - and ancient oceans,  Iapetus [2020] and Mirovia [2021], fixed scores in which notational approaches are developed. 

In Pannotia, geographically distant performing groups read individual parts that respond to the generative choices of all other simultaneously networked scores. In this manner the unfolding score analogises the concept of shifting Tectonic plates that “subduct”, “suture”, ”fracture” etc. at each other’s margins. Score are read on iPads in the Decibel Scoreplayer App using “Canvas Mode”, allowing an external device to send drawing commands creating and controlling graphical objects on multiple scores/parts and devices over the internet.​

This development allows for greater notational variety, specificity, and draw speed in comparison to Vaalbara (in which musical materials were limited to an A3 paper sized “mobile score”) and Rodinia (which was limited by layer drawing speed and used only relative pitch), Unlike the previous works, Pannotia is entirely generative and “conductorless”, but like Rodinia individuals  read a single part a “Performer View” while the audience watches in an “Audience View” in which all notation streams are amalgamated into a single score. This allows deflections and deformations of each stream of notation to be followed in realtime by the audience.stream of notation to be followed in realtime by the audience.

Vickery, L. ().  ​The expansion of compositional mobility in Cage’s Variations I-III

Vickery, L. and James, S. (). Temporal dissonance in Charles Ives' "Putnam's Camp”

Vickery, L.  The Influence of Surrealism on the Development of John Cage’s Techniques of Indeterminacy

Proudly powered by Weebly