Lindsay Vickery

Lindsay Vickery (born 1965) is an Australian composer and performer. ^[1]

Early life and education

Lindsay Vickery was born in Perth. He studied composition with John Exton and Roger Smalley at the School of Music, University of Western Australia. He has written much ensemble and interactive electronic music, ^{[2] [3]} exploring readymades and collage (notably interrogating the work of Charlie Parker) as well as improvisation, nonlinear writing and computer-performer pieces. ^{[4] [5]} His chamber opera Rendez-vous: An Opera Noir is based on the Nouveau Roman DJINN: un trou rouge entre les pavés disjoints by French author Alain Robbe-Grillet. ^{[6] [7] [8]}

Career

His interactive electronic music often employs experimental interfaces such as the Yamaha MIBURI ^{[9] [10]} and other self-devised alternative controllers. ^{[11] [12] [13]}

He has performed on reed instruments, electronics or as a conductor in the groups alea new music ensemble, Magnetic Pig, ^[14] HEDKIKR, ^[15] SQUINT, Candied Limbs and Decibel, ^[16] and with artists such as Jon Rose (Music in the Age of Shopping, ^[17] The People’s Music), ^[18] Stelarc, Amy Knoles and Cat Hope. His works have been performed by groups such as The California Ear Unit, Topology, Clocked Out, Ensemble Scintilla Divina, the MATA Ensemble, The Collective and artists such as Michael Kieran Harvey, Ross Bolleter and Hiroshi Chu Okubo.

He has performed at the Shanghai International Arts Festival, Sydney Festival, Perth International Arts Festival, Adelaide Festival of Arts, Music at the Anthology, Totally Huge New Music Festival, Scintilla Divina Festival, Audio Art Festival, NWEAMO, REV01, BEAP, the NowNow, What is Music, The Knitting Factory, Make-it-Now, DC 8th International Dance+ Improvisation Festival, SDSU, University of Illinois, STEIM, HarvestWorks, ^[19] CEMI ^[20] and Kyoto Seika University. ^[21]

Honours and awards

Honours include a Sounds Australian Award (1989) and a Churchill Fellowship (1995) to study electronic music in the United States and Europe. ^[22]

Selected works

• Twilight's Last Gleamings (1986): in Reeds (Ed. Ross Hazeldine) Red House Editions RH943
• Savoy Trifle (1988): Alto Saxophone, Percussion and Piano
• Blackpool Tower: Elegy for John Lennon (1989): Clarinet, Guitar, Percussion and Piano
• Leo Szilard (1990): Soprano, Tenor and Baritone Saxophone, Piano, Marimba, Cello and Bass Guitar
• cyphers of the obscure gods (1991): Tenor Saxophone, Cello, Synthesizer and Percussion
• Zealous Activity (1992): in Australian Piano Miniatures (Ed. Ross Hazeldine) Red House Editions RH947
• Web of Indra (1993): Soprano Saxophone, Cello, Percussion and Keyboard
• [descent of the celestial monkey wrench] (1997), 2 Sopranos, saxophone, cello, piano and percussion
• strange tides (redraw my boundaries) (1997): solo soprano saxophone and digital delay
• Oubliette (1998): in Australian Guitar Miniatures (Ed. Ross Hazeldine) Red House Editions RH947
• whythisandnotanother? (1999): score-film, interactive audio, saxophone, cello, and KAT
• noir (1999): MIBURI, Roland 505, tenor saxophone, piano, samplers and MIDI controlled lights
• horology (1999): flute, clarinet, violin, cello, piano and marimba and percussion
• delicious ironies series (2001–): live instrument(s) and electronics
• rendez-vous: an opera noir (2001): after the Novel Djinn by Alain Robbe-Grillet. Libretto by the Composer: 2 Sopranos, Mezzo, Baritone, Boy Actor and Male Actor, Violin, Cello, Saxophone, Piano,
• Splice (2002): soloist and Max/MSP software
• invisible symmetries (2002): violin, soprano saxophone, double bass, percussion and piano
• InterXection (2002): percussion and electronics
• your sky is filled with billboards of the sky (2002): MIBURI, Max/MSP and Image-ine.
• Scan (2002): MIBURI and interactive video/sound
• Kreuz des Suedens (2003): violin and cello
• Hey Jazz Fans! (2003): solo alto saxophone and MAX/MSP
• Parallel Trajectories (2003): ensemble
• Exit Points (2003): soprano saxophone, violin, viola, double bass, piano
• éraflage (2007): flute, harp, string quartet, double bass and percussion
• Tectonic (2007), wind, brass, string, percussion and piano groups and electronics
• corridors, stairways, night and day (2009): bass clarinet and interactive electronics
• Antibody (2009): alto flute, clarinet, viola, cello, keyboard and electronics

With Graham Collier

• Bread and Circuses (Jazzprint, 2002)

References

1. Brenton Broadstock, (1995). “Sound Ideas: Australian Composers Born since 1950, Australian Music Centre ISBN   0-646-22497-2 p. 237-8”, 1995,
2. Warren Burt, “Experimental Music in Australia using Live electronics in Contemporary Music Review: Live Electronics Peter Nelson, Stephen Montague eds) Vol. 6, pt. 1 p. 159-172 (editor in Chief Nigel Osborne) Harwood Academic Publishers, p. 163”, 1991,
3. Roger Dean, Hyperimprovisation: Computer Interactive Sound Improvisation, A-R Editions, Madison, WI., p. 161”, 1993
4. Cat Hope, “Freedom and structure take on instruments and hardware, in Resonate Journal Issue 3, 15 SEP 2008”, 2008, “Source 4”, date accessed
5. Jonathan Mustard, “Invisible Symmetries: A retrospective of the work of Lindsay Vickery, in SOUND SCRIPTS: Proceedings of the Inaugural Totally Huge New Music Festival Conference 2005, Pp. 33–41 p. 33”, 2005, “Source 5”, date accessed
6. "Tura new music events : Rendezvous". Archived from the original on 4 October 2009. Retrieved 31 January 2010.
7. Andrew Beck, “Lindsay vickery: Running up and Opera Noir, in Realtime Magazine, Dec–Jan 2001, 2001, “”
8. Sarah Combes, “Opera dressed to kill, in Realtime Magazine, Feb–Mar 2002, 2002, “”,
9. Derek Slater, “The Sound of Movement, in CIO Magazine 15 July 1998, p. 24”
10. Gail Priest, “New Media Scan 2002: sound, music Looping forward: the analogue/digital dialogue”, in Realtime 51 Oct–Nov 2002”, 2002, “”
11. Jörg Piringer, “Elektronische Musik und Interaktivität: Prinzipien, Konzepte, Anwendungen, Master’s Thesis Institut fur Gestaltungs und Wirkungsforschung der Technischen Universität Wien, p. 103”, 2001, “”
12. "Noisejunk". Archived from the original on 11 August 2010. Retrieved 31 January 2010.
13. Lindsay Vickery, Cube Culture: The Alternative Controller , undated, “”
14. Andrew Beck, “Totally Huge: landscape/soundscape in Realtime 48 April–May 2002”, 2002, “”
15. Hope, C. (2008). “Cultural terrorism and anti-music: Noise music and its impact on experimental music in Australia”, in Experimental Music: Audio Explorations in Australia, (Gail Priest Editor), University of New South Wales Press; p. 63
16. Jonathan Marshall, “Machine Age Music, RealTime issue #94 Dec–Jan 2009 pg. 49”, 2009, “”
17. "The Jon Rose Web – Projects – Violin Music in the Age of Shopping". www.jonroseweb.com.
18. François Couture, “Jon Rose – The People's Music”, 2008, “”
19. "\ \ \ / / / Harvestworks \ \ \ / / / - Public Events 2001". Archived from the original on 20 July 2008. Retrieved 20 November 2008.
20. "Home | Composition". Music.unt.edu. 7 October 2019. Retrieved 11 October 2019.
21. "京都精華大学情報館 - 新世代楽器Miburiを用いたメディアパフォーマンス". Archived from the original on 22 July 2011. Retrieved 31 January 2010.
22. "Western Australia's Churchill Fellows 1990-2009 :: Churchill Fellows' Association of Western Australia". Archived from the original on 12 November 2009. Retrieved 31 January 2010.

Further reading

• Broadstock, Brenton, (1995). Sound Ideas: Australian Composers Born since 1950, Australian Music Centre ISBN   0-646-22497-2 ISBN   978-0646224978 pp. 237–8
• Burt, W. (1991). “Experimental Music in Australia using live electronics” in New instruments for the performance of electronic music (Ed. Nelson P. and Montague, P.), CRC Press/Taylor and Francis: London.
• Burtt, J., Lavers, K., and Vickery, L. (2004). “Representations of recombinant memory in interactive performance works”, in Proceedings of Qi + Complexity Consciousness reframed Conference 2004, Beijing China.
• Dean, R.T., (2003). Hyperimprovisation : Computer Interactive Sound Improvisation, A-R Editions, Madison, WI. P. 161
• Hope, C. (2008). “Cultural terrorism and anti-music: Noise music and its impact on experimental music in Australia”, in Experimental Music: Audio Explorations in Australia, (Gail Priest Editor), University of New South Wales Press; p. 63
• Lieberman, D., (2006). “Game Enhanced Music Manuscript”, in GRAPHITE '06: Proceedings of the 4th International Conference on Computer Graphics and Interactive Techniques in Australasia and * South East Asia, ACM Press, Melbourne, Australia, pp. 245 – 250.
• MacQueen, B. (ed.)(1993). “Lindsay Vickery”, in Lowdown magazine Volume 16 No. 3 (JUNE)
• Mustard, J. (2002). “Correlating Movement In Space To The Parameters Of Sound” in Proceedings of the 2002 Australasian Computer Music Conference.
• Mustard, J. (2005). “Invisible Symmetries: A retrospective of the work of Lindsay Vickery”, in SOUND SCRIPTS: Proceedings of the Inaugural Totally Huge New Music Festival Conference 2005, pp. 33–41
• Mustard, J. (2005). “Invisible Symmetries: A retrospective of the work of Lindsay Vickery”, in SOUND SCRIPTS: Proceedings of the Inaugural Totally Huge New Music Festival Conference 2005, pp. 33–41 p. 33
• Robbe-Grillet, A., 1981–85. DJINN: un trou rouge entre les pavés disjoints. Paris, Les Éditions de Minuit
• Slater, D. (1998). “The Sound of Movement”, in CIO Magazine 15 July 1998
• Vickery, L. (1991). “Two Pieces and an Overview”, in New Music Articles 9 (Guest Ed. Ross Bolleter).
• Vickery, L. (2001). “The Western Edge: some recent electronic music from Western Australia”, in Organised Sound issue 6/1 Music Technology in Australasia/South East Asia (Ed. Leigh Landy and Tony Myatt), Cambridge University Press.
• Vickery, L. (2002). “The RoboSax Project (1991–2001): forms of performer/machine interaction in works by Jonathan Mustard and Lindsay Vickery”, in Proceedings of the Australian Computer Music Conference 2002, RMIT Melbourne.
• Vickery, L. (2002). “The Yamaha MIBURI MIDI jump suit as a controller for STEIM’s Interactive Video software Image/ine”, in Proceedings of the Australian Computer Music Conference 2002, RMIT Melbourne.
• Vickery, L. (2003). “Non-linear structures for real-time interactive musical works”, in Proceedings of the Australasian Computer Music Conference 2003, WAAPA, Edith Cowan University Perth.
• Vickery, L. (2004). “Interactive control of higher order musical structures”, in Proceedings of the Australasian Computer Music Conference 2004, Victoria University, Wellington New Zealand.
• Vickery, L. (2005). “Western Electric: a survey of recent Western Australian Electronic Music”, in SOUND SCRIPTS: Proceedings of the Inaugural Totally Huge New Music Festival Conference 2005, pp. 24–32
• Willett, A. (2006). Rendez-vous: an Opera Noir, Honours Thesis, Edith Cowan University

External links

• Beck, Andrew. (2002). “Totally Huge: landscape/soundscape” in Realtime 48 April–May 2002
• Piringer, Jörg. (2001). Elektronische Musik und Interaktivität: Prinzipien, Konzepte, Anwendungen, Master’s Thesis, Institut fur Gestaltungs und Wirkungsforschung der Technischen Universität Wien, p. 103
• Priest, Gail. (2002). New Media Scan 2002: “sound, music Looping forward: the analogue/digital dialogue”, in Realtime 51 Oct–Nov 2002
• Vickery, Lindsay Cube Culture: The Alternative Controller