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Dr Lindsay Vickery

Senior Lecturer

Contact Information Telephone: +61 8 6304 6864, Email: l.vickery@ecu.edu.au, Campus: Mount Lawley, Room: ML2.110
Staff Member Details
Telephone: +61 8 6304 6864
Email: l.vickery@ecu.edu.au
Campus: Mount Lawley  
Room: ML2.110  

 

Lindsay is a Senior Lecturer and coordinator of the Composition and Music Technology Program at the Western Australian Academy of Performing Arts.

Background

Lindsay Vickery has active as a composer and performer across Europe, the USA and Asia since 1986. His music includes works for acoustic and electronic instruments in interactive-electronic, improvised or fully notated settings, ranging from solo pieces to opera and has been commissioned by numerous groups for concert, dance and theatre. His music has been described as 'always intriguing' The Wire, 'truly an original voice and his work is one of sustained intensity that resonates in the mind long after the performance is over' and a 'master of technological wizardry' The Australian.

Vickery is a highly regarded performer on reed instruments and electronics, touring as a soloist and with ensembles in festivals including Myrkir Músiíkdagar, Audio Art, ISEA, SWR Tage für Neue Musik MATA, NWEAMO, WHATISMUSIC? and the Shanghai, Sydney, Adelaide and Perth International Arts Festivals. He was a founding member of Alea New Music Ensemble (1987-1992), Magnetic Pig (1992-2003), SQUINT (2002-) and HEDKIKR (2002-) and Decibel (2009-). He is the recipient of a Sounds Australian Award (1989), a 1995 Churchill Fellowship to study electronic music at STEIM and CNMAT (1995) and a seeding Grant by the Australian Major Festivals Initiative to conduct research at STEIM, HarvestWorks, and the University of Illinois (Champagne-Urbana) (2001).

Vickery is active as a lecturer, writer and critic and is a regular contributor to journals and conferences including Organised Sound, ICMC, NIME, TENOR, SMC EVAA and ACMC. His research interests are in fields of Screenscores, Eye-movement tracking, Interactive Music, Non-Linear Formal Structures, New Media, use of Film as a score, Poly-tempo Music, Alternate Controllers, Music Analysis and Music Culture. He has also has worked as music critic for The West Australian, Singapore Business Times and Soundscapes Magazine and written program notes for the Sydney Symphony Orchestra on the work of Arvo Pärt. He was the co-convener of the Australasian Computer Music Conference 2003 and 2016 and the International Computer Music Conference 2013.

Awards and Recognition

International and National Research Awards

  • 2001 - Seeding grant: Australian Major Festivals Initiative to conduct research at STEIM, HarvestWorks, and the University of Illinois (Champagne-Urbana)
  • 1995 - Churchill Fellowship to study electronic music at STEIM and CNMAT
  • 1989 - Sounds Australian Award

Research Areas and Interests

Extended music notation, screenscores, interactive music, nonlinear formal structures, new media, polytemporal music, alternate controllers, music analysis and music culture.

Qualifications

  • Master of Music, The University of Western Australia.
  • Doctor of Philosophy, Queensland University of Technology, 2013.

Research

Recent Research Grants

  • Curating the Performing Arts: Improvisation as a mechanism to engage diverse and local communities in arts programs.,  Perth Institute of Contemporary Arts Ltd,  Scholarships to Support Industry Engagement PhD Projects,  2017 - 2020,  $29,000.
  • Graphic Music Notation in Networked Performance Environments,  Edith Cowan University,  Australia-Germany JRC Scheme (UA-DAAD),  2015 - 2018,  $24,400.
  • Decibel commissions 7 new music compositions from visual and experimental artists ,  Australia Council for the Arts,  Australia Council for Music - New Work,  2016 - 2017,  $53,160.
  • Screening the Score: Exploring the Potentials and Limitations of Presenting Music Notation on the iPad,  Edith Cowan University,  ECU Early Career Researcher Grant - 2014,  2014 - 2016,  $20,000.
  • After Julia: 8 new works by Australian Composers to be performed by Decibel.,  Australia Council for the Arts,  Australia Council for Music - New Work,  2014,  $22,560.
  • Decibel 2013 European Tour,  Australia Council for the Arts,  International Pathways,  2013 - 2014,  $29,590.
  • Applications for networked tablet computers as interactive music readers, writers and players,  Nortel Networks,  Grant - Development - 2011,  2011 - 2013,  $18,770.

Recent Publications (within the last five years)

Journal Articles

  • James, S., Vickery, L., (2019), REPRESENTATIONS OF DECAY IN THE WORKS OF CAT HOPE. Tempo (London, 1939): a quarterly review of modern music, 73(287), 18–32, Cambridge, UK, Cambridge University Press, DOI: 10.1017/S0040298218000608.
  • 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, Oxon, United Kingdom, Routledge, DOI: 10.1080/07494467.2017.1371879.
  • Vickery, L., (2014), The Limitations of Representing Sound and Notation on Screen. Organised Sound, 19(3), 215-227, Cambridge, UK, Cambridge University Press, DOI: 10.1017/S135577181400020X.

Conference Publications

  • Vickery, L., (2019), OME APPROACHES TO REPRESENTING SOUND WITH COLOUR AND SHAPE. Proceedings of the International Conference on Technologies for Music Notation and Representation – TENOR'18, 165-173, Concordia University, Concordia University.
  • Wyatt, A., Vickery, L., James, S., (2019), INTRODUCING THE DECIBEL SCOREPLAYER “CANVAS MODE”. Proceedings of the Australasian Computer Music Conference 2018, Perth, Western Australia , 106-113 , Edith Cowan University, The Australasian Computer Music Association .
  • Wyatt, A., Vickery, L., James, S., (2019), Unlocking the Decibel ScorePlayer. Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'19, 61--68, Melbourne, Monash University.
  • Maltman, J., Vickery, L., (2018), THE FOUNDATIONS OF SPEECH-MELODY COMPOSITION AND THE DAWN OF DIGITAL MUSIC ERA. Proceedings of the Australasian Computer Music Conference 2018, Perth, Western Australia , 30-37, Perth, The Australasian Computer Music Association .
  • O'Connor, D., Vickery, L., (2018), Towards a Notation for Trumpet Valve Rotation. Proceedings of the International Conference on Technologies for Music Notation and Representation -- TENOR'18, 71-76, Concordia University, Concordia University.
  • Vickery, L., (2017), Visualising the Sonic Environment. Do Androids Dream of Computer Music? Proceedings of the Australasian Computer Music Conference 2017, 43-50, The Australasian Computer Music Association.
  • Vickery, L., James, S., (2017), The Enduring Temporal Mystery of Ornette Coleman's Lonely Woman. Proceedings of the 2015 WA Chapter MSA Symposium on Music Performance and Analysis, 49-63, Perth, Western Australia, Western Australian Chapter of the Musicological Society of Australia, in conjunction with the Western Australian Academy of Performing Arts, Edith Cowan University.
  • James, S., Hope, C., Vickery, L., Wyatt, A., Carey, B., Fu, X., Hajdu, G., (2017), Establishing connectivity between the existing networked music notation packages Quintet.net, Decibel ScorePlayer and MaxScore. Proceedings of the Third International Conference on Technologies for Music Notation and Representation (TENOR) 2017, 171-181, A Coruña, Spain, UCD Press.
  • Vickery, L., (2016), The Role of Ring Modulation in the Formal Structure of Roger Smalley's Monody for Piano with Live Electronic Modulation. Sound Scripts Volume 5, 5(21 May 2015), 97-107, Ultimo, New South Wales, Australian Music Centre.
  • 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. Proceedings of the 2016 Annual Conference of the Australasian Computer Music Association, 81-89, online only, The Australasian Computer Music Association.
  • Vickery, L., (2016), Rhizomatic approaches to screen-based music notation. Proceedings of the 16th International Conference on New Interfaces for Musical Expression, 394-400, online only, Queensland Conservatorium Griffith University.
  • Vickery, L., (2016), Hybrid Real/Mimetic Sound Works. Tenor 2016, 19-24, Cambridge, UK, Anglia Ruskin University.
  • Vickery, L., Christiansen, B., (2016), Role-Play and Invariance: Two Aspects of Ritual in Roger Smalley’s Ceremony II. Sound Scripts Volume 5, 5(21 May 2015), 85-96, Ultimo, New South Wales, Australian Music Centre.
  • Vickery, L., James, S., (2016), Tectonic: a networked, generative and interactive, conducting environment for iPad. Proceedings of the 42nd International Computer Music Conference, 542-547, Utrecht, The Netherlands, HKU University of the Arts.
  • Vickery, L., (2015), An Approach to the Generation of Real-time Notation via Audio Analysis: The Semantics of Redaction. Looking Back, Looking Forward: Proceedings of the International Computer Music Conference 2015, 360-363, San Francisco, California, United States, International Computer Music Association.
  • Hope, C., Vickery, L., (2015), The Decibel Scoreplayer - a Digital Tool for Reading Graphic Notation. TENOR 2015: International Conference on Technologies for Music Notation and Representation, 59-69, Paris, Institut de Recherche en Musicologie.
  • Hope, C., Wyatt, A., Vickery, L., (2015), The Decibel ScorePlayer: New Developments and Improved Functionality. Proceedings of the 41st International Computer Music Conference ICMC 2015, 314-317, San Francisco, United States of America, International Computer Music Association.
  • Vickery, L., Goh, T., (2015), Music Screen-Reading: indicative results from two pilot studies. ACMC2015 - MAKE!: Proceedings of the Annual Conference of the Australasian Computer Music Association, 119-125, Australasian Computer Music Association.
  • Vickery, L., (2015), Through the eye of the needle: Compositional applications for visual/sonic interplay. ACMC2015 - MAKE!: Proceedings of the Annual Conference of the Australasian Computer Music Association, 126-133, Australasian Computer Music Association.
  • Vickery, L., (2014), Notational Semantics in Music Visualisation and Notation. Proceedings of the Australasian Computer Music Conference 2014, 101-112, ACMA.
  • Vickery, L., (2014), Exploring a Visual/Sonic Representational Continuum. Proceedings of the 40th International Computer Music Conference 2014, 1(14-20 Sep 2014), 177-184, International Computer Music Association.

Creative Arts Research Outputs

  • Vickery, L., (2018), Polytemporal and nonlinear notation delivery systems. Polytemporal and nonlinear notation delivery systems, Universidade de Aveiro, Universidade Católica Portuguesa in Portugal, Australasian Computer Music Conference, Eric Singleton Bird Sanctuary, Spectrum Project Space., Australasian Computer Music Conference, Tone List, ECU.
  • Vickery, L., Hope, C., James, S., Wyatt, A., (2016), Decibel: Deutscher Akademischer Austauschdienst/Universities Australia Exchange with Hochschule fur Musik und Theatre. Decibel DAAD/Universities Australia Exchange with HfMT (Hamburg), Hochschule fur Musik und Theatre, Decibel.
  • Vickery, L., (2016), Works exploring spectral analysis as a compositional tool. Works exploring spectral analysis as a compositional tool, WAAPA, HfMT Hamburg, Tokyo Wondersite, WAAPA, HfMT, Tokyo Wondersite.
  • Vickery, L., (2016), Works exploring Eco-Structuralism. Works exploring Eco-Structuralism, Griffith University, NIME.
  • Vickery, L., (2015), between-states. between-states, Orpheus Instituut, Ghent and Murdoch University, Orpheus Instituut.
  • Vickery, L., (2015), trash vortex. Spectral Manipulation, California Institute of the Arts, California Institute of the Arts.
  • Vickery, L., (2015), residual drift. Silent Revolution, The Firehouse Space, Brooklyn New York, The Firehouse Space.
  • Vickery, L., (2015), detritus. Þögla Byltingin | Silent Revolution, Harpa Concert Hall, Reykjavik, Myrkir Músíkdagar.
  • Vickery, L., (2015), The Miracle of the Rose. Scale Variable: Concert 2 Gesture: The Sound Collectors, PICA, Tura New Music.
  • Vickery, L., (2015), ...with the fishes... Australasian Computer Music Conference, University of Technology Sydney, The Australasian Computer Music Association.
  • Vickery, L., (2015), flitter [2015] for soprano saxophone, electric guitar, harp and independent click-tracks. Sounds Unbound: Music from Visitors, Spectrum Project Space, WAAPA.
  • Vickery, L., (2014), in nomine tenebris [2014]. Inner Space : The Giacinto Scelsi Project, Melbourne Recital Centre, New Music Network/Tura.
  • Vickery, L., (2014), Lyrebird - scoreplayer. 8 Hits, Queensland Conservatorium, Brisbane, Queensland Conservatorium.
  • Vickery, L., (2014), Incidental Music for Lorca's Blood Wedding [2014]. Blood Wedding, Roundhouse Theatre WAAPA, WAAPA.
  • Vickery, L., (2014), Sacrificial zones. Australasian Computer Music Conference 2014, Victorian College of the Arts, Australasian Computer Music Association.
  • Vickery, L., (2014), The semantics of redaction. 8 Hits, ABC Southbank Centre Brisbane, ABC Classic FM.
  • Vickery, L., (2014), Nature forms I [2014]. International Computer Music Conference, Onassis Cultural Centre, Athens, Greece, International Computer Music Association.
  • Vickery, L., (2014), Murmurs trapped in the bark [2014]. Lindsay Vickery, Skolska 28 and Club Zho, Michel Kindernay.
  • Vickery, L., Hannan, C., Yates, D., (2018), Interactions with mechanical sonic environments. Interactions with mechanical sonic environments, Old Customs House, Subiaco Theatre Centre, UTAS Conservatorium Recital Hall, Hobart, ACMC, Spectrum Project Space, Tura New Music, UTAS Conservatorium, ECU, Australasian Computer Music Conference,.
  • Vickery, L., Terren, M., Burge, R., Tomlinson, V., (2018), Artificial Environmental Recordings. Artificial Field, Queensland Conservatorium Griffith University, The Piano Mill, Willsons Downfall NSW, The Cooroora Institute Black Mountain, Qld, CoolChange Gallery, Griffith University, Clocked Out, GreyWing.
  • Vickery, L., Myburgh, J., Harlow, S., Davies, O., (2018), Limited Hangout: in the field Season 1. Limited Hangout: in the field Season 1, The Narrows Bridge, Herdsman Lake, UWA Underpass and Swan River foreshore, Lindsay Vickery.
  • Vickery, L., Hope, C., James, S., Devenish, L., (2017), Decibel Electronic Concerto. Electric Concerto, PICA performance Space, Perth WA., Tura New Music.
  • Hope, C., James, S., Wyatt, A., Vickery, L., Parr, T., Cahnam, N., (2016), Decibel - Cissie Tang - The Light that was Waiting. Peggy Glanville-Hicks Address: Nicole Canham - The Poetry of the Present, State Library of Western Australia Lecture Theatre, Tura New Music, Peggy Glanville Hicks Address.
  • Hope, C., Vickery, L., James, S., Wyatt, A., Parr, T., (2016), Decibel - Chance Figurations. Chance Figurations: Japan, Tokyo WonderSite, Hyongo, ICLA, Yamanashi University, Kofu, Kunitachi University, Tokyo Metropolitan University, Japan.
  • Hope, C., Vickery, L., James, S., Wyatt, A., Parr, T., Tonkin, C., Devenish, L., (2016), Intermodulations: A homage to Roger Smalley. Scale Variable New Chamber Music, Concert 1: Intermodulations, State Theatre Centre, Northbridge, WA, Tura New Music.
  • Vickery, L., James, S., Wyatt, A., Boynes, L., Hope, C., (2016), Decibel Tokyo Wonder Site Residency. Decibel: Tokyo Wonder Site Residency, Tokyo Wonder Site, Tokyo Wonder Site.
  • Hope, C., Vickery, L., Parr, T., Wyatt, A., James, S., Devenish, L., (2015), Loaded [NSFW] by Laura Jane Lowther. After Julia, Perth Institute of Contemporary Arts, Tura New Music/Difficult Listening.
  • Hope, C., Vickery, L., James, S., Parr, T., Wyatt, A., Robinson, C., (2015), Occam Ocean Hexa II. Occam: The Music of Eliane Radigue, Perth Institute of Contemporary Arts, Tura New Music.
  • Vouris, P., Vickery, L., (2014), Pallas Athena Polias by Petro Vouris. International Computer Music Conference 2014: Music with Solo Instruments I, Onassis Cultural Centre, Athens, Greece, International Computer Music Association.
  • Hope, C., Vickery, L., James, S., Devinish, L., Parr, T., Wyatt, A., (2014), The Making of The Moment of Disappearance. Buruwan, Carriageworks, Sydney, The Performance Space.
  • Hope, C., Vickery, L., James, S., Devinish, L., Parr, T., Wyatt, A., (2014), After Julia - Decibel. After Julia, Eugene Goosens Hall, Sydney, ABC Classic FM.
  • Vickery, L., Terren, M., Gillies, S., (2014), WAAPA performances : Sogno102, The Aura Implicit and Nature Forms I - Director. International Computer Music Conference 2014: Music for ensemble, Onassis Cultural Centre, Athens, Greece, International Computer Music Association.
  • Vickery, L., (2014), Sacrificial Zones. ACMC 2014: Live Diffusion Concert, Victorian College of the Arts, Founders Gallery, Australasian Computer Music Association.
  • Hope, C., Vickery, L., James, S., Parr, T., Wyatt, A., (2014), Art Calls. Art Calls, Skype.
  • Hope, C., Vickery, L., James, S., Devinish, L., Parr, T., Wyatt, A., (2014), Decibel: Free Music No. 1 and No. 2. Reading Free Music, The Percy Grainger Museum, Melbourne, The Percy Grainger Museum.
  • Vickery, L., (2014), Works for solo reeds and electronics. Vs Interpretation Festival, Skolska 28, Prague, Michal Kindernay.
  • Vickery, L., Ashley, C., Feakes, J., Smith, K., (2018), Lines of Flight (Album). Lines of Flight (Album), Gallop House Dalkeith, Tone List.
  • Vickery, L., Catherine, A., Feakes, J., Kirsten, S., (2018), Nature Forms I (Album). Nature Forms I (Album), Eric Singleton Bird Sanctuary, Bayswater, Australia, Tone List.

Research Student Supervision

Principal Supervisor

  • Master of Arts (Creative Arts),  THE USE OF MEDITATION TECHNIQUES AS CREATIVE TOOLS TO ENCOURAGE PARTICIPATION IN INTERACTIVE MUSIC SYSTEMS.
  • Master of Arts (Performing Arts),  THE APPLICATION OF KONOKOL TO GUITAR IMPROVISATION AND COMPOSITION
  • Doctor of Philosophy,  THE GRAIN OF THE DIGITAL AUDIO WORKSTATIION

Co-principal Supervisor

  • Master of Arts (Performing Arts),  TOWARDS AN INTERACTIVE ENVIRONMENT FOR THE PERFORMANCE OF DUBSTEP MUSIC.

Associate Supervisor

  • Doctor of Philosophy,  A DIGITAL RESOURCE FOR NAVIGATING EXTENDED TECHNIQUES ON BASS CLARINET
  • Doctor of Philosophy,  BRIDGING THE GREAT DIVIDE: AN EXPLORATION OF POSTMODERNISM IN THE GUITAR MUSIC OF NIGEL WESTLAKE
  • Doctor of Philosophy,  MUSIC IN SITE: INTEGRATING ELEMENTS OF SITE-SPECIFICITY INTO COMPOSITION
  • Doctor of Philosophy,  BEYOND THE WALL. AN OPERA FOR CHILDREN IN 2 ACTS. -AND- TOWARD A MORE ENGAGING OPERATIC GENRE FOR CHILDREN. AN EXEGESIS.
  • Doctor of Philosophy,  SPECTROMORPHOLOGY AND SPATIOMORPHOLOGY: WAVE TERRAIN SYNTHESIS AS A FRAMEWORK FOR CONTROLLING TIMBRE SPATIALISATION IN THE FREQUENCY DOMAIN
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