research

writing about generative scores, extended music notation, interactive music, nonlinear formal structures, new media, screenscores, polytemporal music, alternate controllers,  music analysis and music culture.

​research 2020
research 2019
research 2018
research 2017
research 2016
research 2015
research 2014
research 2013 [PhD]
research 2011-12
research 2005-2010
research 2001-2004

Recent Research Grants 
2014: Screening the Score: Exploring the Potentials and Limitations of Presenting Music Notation on the iPad,  Edith Cowan University,  ECU Early Career Researcher Grant - 2014,     2013: Decibel 2013 European Tour,  Australia Council for the Arts,  International Pathways,   2013,  
2011 - 2012: Applications for networked tablet computers as interactive music readers, writers and players,  Nortel Networks,  Grant - Development - 2011.
Vickery, L. (2020). Notational strategies for integrating live performers with complex sounds and environments, Tenor2020 , Hochschule für Musik und Theater, Hamburg.

Vickery, L. and James, S. (2020). The Decibel scoreplayer as a portable medium for spatial performance, Australasian Computer Music Conference. 

Wyatt, A., Vickery, L., & James, S. (2019). Unlocking the Decibel ScorePlayer, Tenor2019, Monash University, Melbourne.

Moses, A., and Vickery, L.  (2019).  Sisters Akousmatica’s ‘Expanded Radio’ practice As  Radical Feminist Broadcast,  ​Australasian Computer Music Conference 2019, Monash University.​

James, S., & Vickery, L. (2019). REPRESENTATIONS OF DECAY IN THE WORKS OF CAT HOPE. Tempo, 73(287), 18-32

​Vickery, L., (2018).  Some Approaches To Representing Sound With Colour And Shape. Tenor 2018 Conference, Concordia University, Montréal.

O’Connor , D. and Vickery, L., (2018). Towards a Notation for Trumpet Valve Rotation.  Tenor 2018 Conference, Concordia University, Montréal. 
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​Wyatt, A. Vickery, L. and James, S. (2018).  The Canvas Mode: Rapid Prototyping For The Decibel Scoreplayer. Australasian Computer Music Conference 2018, Perth Australia.

Maltman, J.  and Vickery, L. (2018). The Foundations of Speech Melody Composition and the dawn of digital music era, Australasian Computer Music Conference 2018, Perth Australia.

Felton A. and Vickery, L. (2018). Exploring the Interaction between Postminimalist Music and Contemporary Dance, Musicological Society of Australasia Conference 2018, Perth.

Vickery, L. and James, S. (2017). The Enduring Temporal Mystery of Ornette Coleman's Lonely Woman. Music Performance and Analysis: Proceedings of the WA Chapter MSA Symposium, University of Western Australia, Perth.

James, S., Hope, C., Vickery, L., Wyatt, A., Carey, B., Fu, X. and Hajdu, G. (2017). Establishing connectivity between the existing networked music notation packages Quintet.net, Decibel ScorePlayer and MaxScore. ​ Proc. of Tenor 2017 Conf., Univ. of A Coruña, Spain.

Vickery, L. (2017). Visualising the Sonic Environment. Australasian Computer Music Conference 2017, Adelaide, 43-50.

Vickery, L., Devenish, L., James, S., & Hope, C. (2017). Expanded percussion notation in recent works by Cat Hope, Stuart James and Lindsay Vickery. Contemporary Music Review, 36(1-2), 15-35.

Vickery, L., (2016). Hybrid Real/Mimetic Sound Works. Proc. of Tenor 2016, 19-24, Cambridge, UK.

Vickery, L., (2016). Rhizomatic approaches to screen-based music notation. Proc. of the 16th Int. Conf. on New Interfaces for Musical Expression, 394-400.

Vickery, L., (2016). The Role of Ring Modulation in the Formal Structure of Roger Smalley's Monody for Piano with Live Electronic Modulation. Sounds Scripts Proc. of the Totally Huge New Music Fest. Symposium: Western Aust. Art Music: 1970–2015, Perth, 97-107.

Vickery, L., James, S., (2016). Tectonic: a networked, generative and interactive, conducting environment for iPad. Proc. of the 42nd Int. Comp. Music Conf., Utrecht, The Netherlands, 542-547.

Christiansen, B., and Vickery, L., (2016). Role-Play and Invariance: Two Aspects of Ritual in Roger Smalley’s Ceremony II. Sounds Scripts Proc. of the Totally Huge New Music Fest. Symp.: Western Aust. Art Music: 1970–2015, Perth. 85-96.

Vickery, L., Terren, M., Gillies, S., Myburgh, J., (2016). Between the Real and the Imaginary: Ecostructural Approaches to Composing with Field Recordings and Acoustic Instruments. Proc. of Australasian Comp. Music Conf. 2016, Brisbane Australia, 81-89.

Hope, C., Vickery, L., (2015). The Decibel Scoreplayer - a Digital Tool for Reading Graphic Notation. TENOR 2015: Int. Conf. on Technologies for Music Notation and Representation, Paris, 59-69.

Hope, C., Wyatt, A., Vickery, L., (2015). The Decibel ScorePlayer: New Developments and Improved Functionality. Proc. of the 41st Int. Comp. Music Conf. ICMC 2015 , 314-317, Denton, Texas.

Vickery, L., (2015). An Approach to the Generation of Real-time Notation via Audio Analysis: The Semantics of Redaction. Looking Back, Looking Forward: Proc. of the Int. Comp. Music Conf. 2015, Denton Texas, 360-363.

Vickery, L., (2015). Through the eye of the needle: Compositional applications for visual/sonic interplay. ACMC2015 - MAKE!: Proc. of the Annual Conf. of the Australasian Comp. Music Association, 126-133.

Vickery, L., Goh, T., (2015). Music Screen-Reading: indicative results from two pilot studies. ACMC2015 - MAKE!: Proc. of the Annual Conf. of the Australasian Comp. Music Association, 119-125.
Vickery, L., (2014). Exploring a Visual/Sonic Representational Continuum. Proc. of the 40th Int. Comp. Music Conf. 2014, 1(14-20 Sep 2014). 177-184.

Vickery, L., (2014). Notational Semantics in Music Visualisation and Notation. Proc. of the Australasian Comp. Music Conf. 2014, 101-112.

Vickery, L., (2014). The Limitations of Representing Sound and Notation on Screen. Organised Sound, 19(3). Cambridge, UK. 215-227.

​Hope, C., Vickery, L., Wyatt, A., James, S., (2014). Mobilising John Cage: The Design and Creation of Score Generators for the Complete John Cage Variations I-VIII. Malaysian Music Journal, 2. 34-45.

Gillies, S., Vickery, L., (2013). Reflections on the construction of meaning through immanent visual association. SoundScripts Proc. of the 2011 Totally Huge New Musical Fest. Conf.. 71-77, Australia.
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Kosowitz, S., Vickery, L., (2013). Retaining a sense of spontaneity in Free Jazz improvisation through music technology. SoundScripts Proc. of the 2011 Totally Huge New Music Fest. Conf., Australia, 88-96.

Vickery, L., (2012). The Evolution of Notational Innovations from the Mobile Score to the Screen Score. Organised Sound. 17(2): 128-136.

Vickery, L., Hope,C.A., James,S.G. (2012). Digital adaptions of the scores for Cage Variations I, II and III. Proc. of the Int. Comp. Music Conf.. Ljubljana, Slovenia. 426-432.

Hope,C.A., James,S.G., Vickery, L., (2012). New digital interactions with John Cage’s Variations IV, V and VI. Australasian Comp. Music Conf. 2012, Griffith Univ., Brisbane, Australia. 23-30.

Vickery, L., (2012). Adapting John Cage’s Radio Music for a digital score player. Australasian Comp. Music Conf. 2012. Australasian Comp. Music Conf. 2012, Griffith Univ., Brisbane, Australia. 69-77.

Herrington,J., Vickery, L., (2011). Musical Parameter Manipulation Possibilities of a Homemade Reactable. Organic Sounds in Live Electroacoustic Music. John Coulter. Auckland, New Zealand. Australasian Comp. Music Association. 47-55.

Vickery, L., (2011). Screening the Score. Audible Designs. Cat Hope. Perth, Pica Press. 85-99.
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Hope,C.A., Vickery, L., (2011). Screen Scores: New Media Music Manuscripts. Proc. of the Int. Comp. Music Conf. 2011, Huddersfield, UK. 224-230.

Hope,C.A., Vickery, L., (2011). Visualising the Score: Screening Scores in Realtime Performance. Proc. of the Diegetic Life Form II: Creative Arts Practice and New Media Scholarship Conf., Murdoch Univ., Western Australia. Murdoch Univ., 7: 13.

Vickery, L., (2011). The possibilities of novel formal structures through Comp. controlled live performance. Proc. of the Australasian Comp. Music Association, Auckland, New Zealand. 112-117.

Vickery, L., (2010). Mobile Scores and Click-Tracks: Teaching Old Dogs. Proc. of the Australasian Comp. Music Conf. 2010. Aust. National Univ., Canberra. 63-70.

Hope, C., Vickery, L., (2010). The Aesthetics of the Screen Score. Proc. of the Createworld Conf. 2010, Griffith Univ., Brisbane.

Vickery, L., (2009). The Evaluation of Nonlinear Musical Structures. Sound Scripts : Proc. of the 2009 Totally Huge New Music Fest. Vol. 3, 3(30-31 Oct 2009). 74-84, Perth.

Vickery, L., (2006). Western Electric: a survey of recent Western Aust. Electronic Music. Sound Scripts: Proc. of the 2005 Totally Huge New Music Fest. Vol. 1, (Oct 2005). 24-32, Perth.

Vickery, L., (2004). The Problem of Objectivity and the Artistic Conception of the Participant Observer, Proc. of the Creative Connections Symposium, WAAPA, Edith Cowan Univ. Perth.

Burtt, J., Katie Lavers, K. and Vickery, L., (2004). Representations of recombinant memory in interactive performance works, Proc. of Consciousness Reframed Conf. 2004, Beijing.

Vickery, L., (2004). Interactive control of higher order musical structures, Proc. of the Australasian Comp. Music Conf. 2004 Victoria Univ., Wellington. 

​Vickery, L., (2004). Nine Aspects of Beauty Appropriation, Proc. of Beauty: Cover or Remix Conf., WAAPA, Perth. 

Vickery, L., (2003). Non-linear structures for real-time interactive musical works, Proc. of the Australasian Comp. Music Conf. 2003, WAAPA, Perth. 

Vickery, L., (2002). The RoboSax Project (1991-2001): forms of performer/machine interaction in works by Jonathan Mustard and Lindsay Vickery, Proc. of the Aust. Comp. Music Conf. 2002, RMIT, Melbourne.

Vickery, L., (2002). The Yamaha MIBURI MIDI jump suit as a controller for STEIM's Interactive Video software Image/ine, Proc. of the Aust. Comp. Music Conf. 2002, RMIT, Melbourne.
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Vickery, L., (2001). The Western Edge: some recent electronic music from Western Australia, in Organised Sound 6(1). Cambridge Univ. Press. ​