Vickery, L., Tomlinson, V., & Griswold, E. (2025). The unseen, the unheard and the imagined: A survey of recent works exploring text and the voice. In J. Halton (Ed.), VOX: Cartographies of Voice and Power (pp. 65–80). The Metamorphosis Project.

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This article discusses a set of recent works performed by the New Music Ensemble GreyWing, that explore voice and text as the primary means to achieve unique performative approaches and situations. This approach draws from practices that emerged from the Post-War Avant Garde in music and visual art including Text Scores, Instructive scores and Conceptual music. The works, by Jennifer Walshe, Cathy van Eck, d’Heudières, and the three authors, primarily engage with the voice as a medium to navigate concerns of creativity, identity, gender, memory and technology through a diverse range of textual and verbal strategies. 
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Vickery, L., & Wyatt, A. (2025). The effectiveness of the Decibel Scoreplayer Canvas Mode as a medium for telematic performance [Conference presentation]. NOWNET Arts Conference 2025: Eastern Hemisphere Network Arts in Contemporary Culture, Perth, Australia.

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This presentation discusses the affordances and effectiveness of the Decibel Scoreplayer's "Canvas Mode" as a medium for the distribution of co-located, synchronised scores. It traces the development of concepts for a distributed score,  Tectonic Pannotia, that combines text and graphic prompts to  drive a quasi-improvised performance exploring a “middle-ground” improvised/ structured compositional approach, combining relative performer freedom  with the sort of coordination and rapid sectional changes more typical of traditionally scored music
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Pedersen, C., Vickery, L., James, S., Rapp, M., Tomlinson, V.,  Griswold, E. (2025). 
Comparing Text Score strategies for on-line music making [Conference presentation]. NOWNET Arts Conference 2025: Eastern Hemisphere Network Arts in Contemporary Culture, Perth, Australia.

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This project explored and evaluated a number of Text Score-based strategies for creating telematic music performances. The Text Score has been employed by Art music composers for nearly 75 years and has developed a rich and diverse practice. Virginia Anderson (2013) has however, proposed two distinct categories of text scores: instructional scores in which actionable process or sounding results are prescribed, and the more open “allusive, (ambiguous or conceptual)” scores which do not specify precise outcomes. The former is exemplified in Pauline Oliveros work The Tuning Meditation (1971) in which the composer outlines a process of imagining, listening, performing and tuning. The latter practice is associated with works such as George Brecht’s “word-based prompt”, Word Event (1961) which consists simply of the text “• EXIT”. There is of course not necessarily a clear demarcation between these two categories, many works such as Stockhausen’s Aus den sieben Tagen (1968), blend instruction and ambiguity. The practitioner/researchers, based in Perth, Australia and Singapore explored both prescribed and open approaches through the performance of a set of individually and collaboratively authored compositions for a telematic ensemble of trumpet, bass clarinet, cello, piano, percussion and electronics. This paper describes the outcomes and evaluates their strengths and weaknesses as approaches for creating music in an distributed online environment in which synchronisation and latency are significant factors. The analysis of the resulting recordings follows a methodology developed by Craig Pedersen for his PhD research. The analysis combines a more traditional “vector-based” analysis of evident sonic parameters – silence, pitch, timbre, register, dynamics etc - with each player’s personal reflection on their approach and performative choices. ​
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