This research expanded the author's practice-based investigation of techniques for interchanging data between visual and sonic media using performative and machine processes. The research involved the creation and performance of works exploring spectral analysis (drawing on the work of Barry Truax, Tristan Murail, and others) as a compositional tool: unhorbares wird horbar [2013] and in nomine tenebris [2014] for Decibel, between-states [2014] and residual drift [2014] for Kirsten Smith, Remnants [2016] for Zubin Kanga and Decibel, and Kuroinami [2016], composed for Biwa player Mitsuaki Matsumoto and Decibel.
The works developed means of transcribing electronic sounds created by the composer using analysis of their spectral components to create a variety of scores, synchronised audio processing control and MIDI data for disklavier. Software to resonify graphical images was also created in conjunction with these works. The works innovatively combine traditional, gestural and spectrographic notation investigating techniques for conveying continuous pitch, dynamic and timbral information to performers.
The works were performed in New York (The Firehouse Space), Tokyo Wonder Site Residency, Hamburg (DAAD Residency), Palermo (Curva Minore Festival), Melbourne Recital Centre and Perth. The research formed the basis for related papers in the journal Organised Sound, and TENOR, International and Australasian Computer Music conferences.
The works developed means of transcribing electronic sounds created by the composer using analysis of their spectral components to create a variety of scores, synchronised audio processing control and MIDI data for disklavier. Software to resonify graphical images was also created in conjunction with these works. The works innovatively combine traditional, gestural and spectrographic notation investigating techniques for conveying continuous pitch, dynamic and timbral information to performers.
The works were performed in New York (The Firehouse Space), Tokyo Wonder Site Residency, Hamburg (DAAD Residency), Palermo (Curva Minore Festival), Melbourne Recital Centre and Perth. The research formed the basis for related papers in the journal Organised Sound, and TENOR, International and Australasian Computer Music conferences.
Publications
Vickery, L. (2015). Through the Eye of the Needle: Compositional Applications for Visual/Sonic Interplay. Australasian Computer Music Conference, University of Technology Sydney, Aus.
Vickery, L. (2014). Exploring a Visual/Sonic Representational Continuum, International Computer Music Conference, Athens, Greece.
Vickery, L. (2015). Through the Eye of the Needle: Compositional Applications for Visual/Sonic Interplay. Australasian Computer Music Conference, University of Technology Sydney, Aus.
Vickery, L. (2014). Exploring a Visual/Sonic Representational Continuum, International Computer Music Conference, Athens, Greece.
