Recent Research Grants
2021
- Graphic Music Notation in Networked Performance Environments, Edith Cowan University, Australia-Germany JRC Scheme (UA-DAAD), 2015 - 2018, $24,400.
- The Western Australia New Music Archive: 1970 ? today: Finding, accessing, remembering, performing., Australian Research Council, Grant - Linkage (Projects), 2012 - 2017, $985,255.
- The economic and social impacts of contemporary music in Western Australia (WAM project), Edith Cowan University, ECU Capability Enhancement Scheme, 2015 - 2016, $28,410.
- Saxology: recasting third stream music for the saxophone , Edith Cowan University, ECU Early Career Researcher Grant - 2014, 2014 - 2015, $23,560.
- Decibel 2013 European Tour, Australia Council for the Arts, International Pathways, 2013 - 2014, $29,590.
- 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.
- Applications for networked tablet computers as interactive music readers, writers and players, Nortel Networks, Grant - Development - 2011, 2011 - 2013, $18,770.
- Commissioning of Australian Composers for Decibels 2012 program, Australia Council for the Arts, Grant, 2012 - 2013, $18,060.
- The Western Australia New Music Archive: 1970 - Today: Accessing, Remembering, Performing, Edith Cowan University, ECU Industry Collaboration - Grant, 2008 - 2010, $87,800.
- The Australian Music Navigator: Research Infrastructure for Discovering, Accessing and Analysing Australia's Musical Landscape, Australian Research Council, Grant - Linkage (Infrastructure), 2009 - 2010, $480,000.
- Graphic Music Notation in Networked Performance Environments, Edith Cowan University, Australia-Germany JRC Scheme (UA-DAAD), 2015 - 2017, $24,400.
- 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.
2021
- Tsang, C. (2016).. (2021). Sound Art as ways of exploring place, Fusion 19, 102-113.
- Vickery, L. and James, S. (2020)The Decibel scoreplayer as a portable medium for spatial performance. Australasian Computer Music Conference 2021
- Vickery, L. , James, S. (2021). Tectonic: Pannotia a telematic, interactive, generative-score. NowNet Conference 2021.
- Vickery, L., (2020). Notational strategies for integrating live performers with complex sounds and environments, Tenor2020 , Hochschule für Musik und Theater, Hamburg..
- Vickery, L. (2020). Approaches to the creation of large-scale site-specific works for ensemble and electronics. Australasian Computer Music Conference 2020
- Devenish, L., & James, S. (2019). Composer-Performer Collaboration In the Development of Kinabuhi| Kamatayon For Percussion and Electronics. Sound Scripts, 6(1), 9.
- Vickery, l. And James, S. (2019). Representations of decay in the works of Cat Hope, Tempo, 73(287) January 2019 , pp. 18-32.
- Wyatt, A., Vickery, L., & James, S. (2019). Unlocking the Decibel ScorePlayer. Tenor 2019, Monash University.
- Moses, A., & Vickery, L. (2019). Sisters Akousmatica’s ‘expanded radio’practice as radical feminist broadcast. In Australasian Computer Music Conference 2019, Monash University.
- Vickery, L. (2018). Some approaches to representing sound with colour and shape. In Proceedings of the 4th International Conference on Technologies for Music Notation and Representation (pp. 165-173). Montreal, Canada: Concordia University
- Wyatt, A., Vickery, L., & James, S. (2018). The Canvas Mode: Rapid Prototyping For The Decibel Scoreplayer. In Proceedings of the Australasian Computer Music Conference (pp. 99-108).
- Maltman, J., & Vickery, L. (2018). The foundations of speech-melody composition and the dawn of the digital music era.
- O’Connor , D. and Vickery, L., (2018). Towards a Notation for Trumpet Valve Rotation. Tenor 2018 Conference, Concordia University, Montréal.
- 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. 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.
2016
- Tsang, C. (2016). Hexadecimal compositions – using hex data to sonify images of the found environment. Australasian Computer Music Conference 2016, Brisbane..
- Francis, M. (2016). From Traffic Rises: Site Specificity and the Compositional Process. Australasian Computer Music Conference 2016, Brisbane..
- James, S. (2016). A Multi-Point 2D Interface: Audio-Rate Signals for Controlling Complex Multi-Parametric Sound Synthesis. NIME2016, Griffith University, Brisbane.
- James, S. (2016). A Classification of Multi-Point Spectral Sound Shapes. Australasian Computer Music Conference 2016, Brisbane
- 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. Sonic Ecology: Australasian Computer Music Conference 2016, Brisbane
- Vickery, L., and James. S (2016). Tectonic: a Networked, Generative and Interactive, Conducting. International Computer Music Conference, Utrecht, Holland.
- Vickery, L. (2016). Hybrid Real/Mimetic Sound Works. Tenor 2016, 27-29 May 2016, Anglia Ruskin University, Cambridge, UK
- Vickery, L. (2016). Rhizomatic approaches to screen-based music notation. NIME2016, Griffith University, Brisbane
2015
- James, S., (2015), Spectromorphology and Spatiomorphology of Sound Shapes: audio-rate AEP and DBAP panning of spectra. Proceedings of the 41st International Computer Music Conference 2015, 278-285, United States.
- Travers, M., Hope, C., (2015), Who wants a trautonium must build one. Proceedings of the 2015 Conference of the Australasian Computer Music Association, 64-68.
- Green, L., Hope, C., Stevenson, K., Mahoney, T., (2015), Archiving the new, now, for future users yet unknown. ANZCA Conference Proceedings 2015, 11p..
- 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.
- 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.
- 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.
2014
- Hope, C., Ryan, J., (2014), Digital Arts: An Introduction to New Media. Berg New Media Series, 288, New York, USA.
- Green, L., Mahoney, T., Hope, C., Mackinney, L., (2014), Publishing an archive: A meta-narrative of (be)longing. Proceedings of the Australian and New Zealand Communication Association Annual Conference, 2014, 1-15.
- Travers, M., Hope, C., (2014), W(h)ither Trautonium?. Digital Humanities Australasia 2014 conference full proceedings, 3p.
- Vickery, L., (2014). Exploring a Visual/Sonic Representational Continuum. ICMC/SMC 2014. Athens, Greece
- Hope, C., (2014). Scoring for Music Improvisation: The Potential of Digital Graphic Notations for Improvising Ensemble. Vs Improvisation Symposium 2014. Prague, Czech.
- Vickery, L., (2014). Improvising with the Sonic Environment:. Vs Improvisation Symposium 2014. Prague, Czech.
- Vickery, L., (2014). Notational Semantics in Music Visualisation and Notation. ACMC 2014. Melbourne, Victoria
- Hope, C., James, S, Vickery, L., (2014). Sogno 102 - Harmoniously Revisioning the Composiitonal Techniques of Giacinto Scelsi. ACMC 2014. Melbourne, Victoria
- Vickery, L., (2014). Notating the Sonic Environment. EMS14. Berlin, Germany.
- Hope, C., Vickery, L., Wyatt, A. (2014). Mobilising John Cage – The design and creation of score generators for the complete John Cage Variations I – VIII. Malaysian Music Journal 2(2).
2013
- Gillies, S., Vickery, L., (2013), Reflections on the construction of meaning through immanent visual association. Proceesdings of the 2011 Totally Huge New Musical Festival Conference, 4(16-18 September 2011), 71-77, Australia.
- Kosowitz, S., Vickery, L., (2013), Retaining a sense of spontaneity in Free Jazz improvisation through music technology. Proceedings of the 2011 Totally Huge New Music Festival Conference, 4(16-18 September, 2011), 88-96, Australia.
2012
- Gillies, S., 2012. Investigating the structure of acoustic and electronic noise : an analysis of 'Volumina' by Gyorgy Ligeti and 'Canaanda' by Merzbow. Honours Thesis, Western Australian Academy of Performing Arts, Edith Cowan University.
- Hope, C., James, S., Vickery, L., (2012), New digital interactions with John Cage's Variations IV, V and VI. Australasian Computer Music Conference: 'Interactive' Conference Proceedings, 23-30, Victoria, Australia.
- Riddoch, M., 2012 On the Non-Cochlearity of the Sounds Themselves. Proceedings of the International Computer Music Conference 2012, Ljubljana Slovenia
- Smith, R. E., 2012.. Exploring the multi-generational influence of American ragtime music through the works of Charles Ives, William Walton and William Bolcom. Western Australian Academy of Performing Arts, Edith Cowan University.
- Vickery, L., Hope, C., James, S., (2012), Digital adaptions of the scores for Cage Variations I, II and III. Proceedings of the International Computer Music Conference 2012: Non-Cochlear Sound, 426-432, California, USA.
- Vickery, L., (2012), The Evolution of Notational Innovations from the Mobile Score to the Screen Score. Organised Sound, 17(2), 128-136, Cambridge, UK, DOI: 10.1017/S1355771812000052.
- Vickery, L., (2012), Adapting John Cage's Radio Music for a digital score player. Australasian Computer Music Conference: 'Interactive' Conference Proceedings, 69-77, Victoria, Australia.
2011
- Herrington, J., Vickery, L., (2011), Musical Parameter Manipulation Possibilities of a Homemade Reactable. Proceedings of the 2011 Australasian Computer Music Conference, 47-55, Auckland, New Zealand.
- Hope, C., (2011), Audible Designs., 130, Perth, WA.
- Hope, C., Tan, K., (2011), Spatialising Threads/Hallucinations: Closing the gap between installation and performance. Sound Scripts : Proceedings of the 2009 Totally Huge New Music Festival Vol. 3, 3(October 5-7 ), 43-52, Sydney, Australia.
- Hope, C., (2011), Processes in composition and performance leading to performance. Proceedings of the Australasian Computer Music Conference 2011, 55-59, Victoria, Australia.
- Hope, C., Vickery, L., (2011), Visualising the Score: Screening Scores in Realtime Performance. Interactive Media: Proceedings of the Diegetic Life Form II: Creative Arts Practice and New Media Scholarship, 7(3-5 Sept), 13p., Murdoch University, Western Australia.
- Hope, C., Vickery, L., (2011), Screen Scores: New Media Music Manuscripts. Proceedings of the International Computer Music Conference, 224-230, Huddersfield, UK.
- Hope, C., (2011), New Possibilities for Electroacoustic Music Performance. < Prossime distanze > Atti del XVIII CIM - Colloquio di Informatica Musicale, 27-31, Torino, Italy.
- Hope, C., Gillies, S., (2011), Manifesting meaning from a performance of cruelty: Parallels in the Musical Experimentalism of Antonin Artaud and Sub Ordnance. Sound Scripts : Proceedings of the 2009 Totally Huge New Music Festival Vol. 3, 3(October 5-7 ), 31-36, Sydney, NSW.
- James, S., Hope, C., (2011), Multidimensional Data Sets: Traversing Sound Synthesis, Sound Sculpture and Scored Composition. Proceedings of the Australasian Computer Music Conference 2011, 60-66, Auckland, New Zealand.
- Marshall, J.W. (2011). Sonic pleasure, absence and the history of the self: an alternative approach to the Criticism of Sound Art. Sound Scripts Vol. 3 (2011), Proceedings of the 2009 Totally Huge New Music Conference
- Tan, K. and Hope, C. (2011) Spatialising Threads/Hallucinations: Closing the gap between installation and performance. Sound Scripts Vol. 3 (2011), Proceedings of the 2009 Totally Huge New Music Conference
- De Groot, C. (2011). Scoring Ménilmontant – new world soundscapes with French impressionist cinema.. Sound Scripts Vol. 3 (2011), Proceedings of the 2009 Totally Huge New Music Conference
- Riddoch, M., 2011 ORGANICISM IN LIVE ELECTROACOUSTIC MUSIC. Australasian Computer Music Conference 2011 in Auckland NZVickery, L., (2011), Screening the Score. Audible Designs, 85-99, Perth.
- Vickery, L., (2011), The possibilities of novel formal structures through computer controlled live performance. Proceedings of the Australasian Computer Music Conference 2011, 112-117, School of Music University of Auckland, New Zealand.
- Vickery, L., (2011), The Evaluation of Nonlinear Musical Structures. Sound Scripts : Proceedings of the 2009 Totally Huge New Music Festival Vol. 3, 3(30-31 Oct 2009), 74-84, Perth.
2010
Hope, C., (2010), Vibrating Performance: Experiencing Music through Vibration in the Work of Abe Sada. Australasian Drama Studies, April(56), 170-181, St. Lucia, Qld.
Hope, C., James, S., Tan, K., (2010), When Lines Become Bits - Engaging Digital Technology to perform works by Alvin Lucier. Engagement: Proceedings of the Australasian Computer Music Conference 2010, 29-36, Canberra, Australia.
Hope, C., and Vickery, L. 2010. Screen Scores: New Media Music Manuscripts, Griffith University, Createworld 2010 Brisbane
Riddoch, M., 2010 Musical Networks in Experimental Electronic Performance AUC CreateWorld 2010, Griffith University, Brisbane
Vickery, L., (2010), Mobile Scores and Click-Tracks: Teaching Old Dogs. Engagement: Proceedings of the Australasian Computer Music Conference 2010, 63-70, Canberra.
Hope, C., James, S., Tan, K., (2010), When Lines Become Bits - Engaging Digital Technology to perform works by Alvin Lucier. Engagement: Proceedings of the Australasian Computer Music Conference 2010, 29-36, Canberra, Australia.
Hope, C., and Vickery, L. 2010. Screen Scores: New Media Music Manuscripts, Griffith University, Createworld 2010 Brisbane
Riddoch, M., 2010 Musical Networks in Experimental Electronic Performance AUC CreateWorld 2010, Griffith University, Brisbane
Vickery, L., (2010), Mobile Scores and Click-Tracks: Teaching Old Dogs. Engagement: Proceedings of the Australasian Computer Music Conference 2010, 63-70, Canberra.
2009
- Hope, C., (2009), Cultural Terrorism and anti music: Noise music and its impact on experimental music in Australia. Experimental Music: Audio explorations in Australia, 57-74, Sydney, Australia.
- Hope, C., (2009), Infrasonic Music. Leonardo Music Journal, 19(2009), 51-56, Cambridge, MA, USA.
- Hope, C., (2009), The Wonderment of the Bleak: Sculpting the Static. Art Monthly Australia, 225(November 2009), 45-47, Canberra, Australia.
- Hope, C., Riddoch, M., James, S., (2009), Music Technology/Technological Music. Media Art Scoping Study Symposium, 80-89, Perth.
- Hope, C., (2009), The Bottom end of cinema: low frequency effects in soundtrack composition. Sound scripts : proceedings of the 2007 Totally Huge New Music Festival conference, 2(April 2007), 74-78, Sydney, Australia
- Marshall, J. (2009). Freezing the Music and Fetishising the Subject: The audiovisual dramaturgy of Michel van der Aa. Sound Scripts Vol. 2 (2009), Proceedings of the 2007 Totally Huge New Music Conference
- Marshall, J. W. (2009). Flatness, Ornamentality and the Sonic Image: Puncturing flânerie and postcolonial memorialisation in the work of David Chesworth and Sonia Leber. Sound Scripts Vol. 2 (2009), Proceedings of the 2007 Totally Huge New Music Conference
- Norelli, C. N. (2009). Suburban Dread: The music of Angelo Badalamenti in the films of David Lynch. Sound Scripts Vol. 2 (2009), Proceedings of the 2007 Totally Huge New Music Conference
2008
- Hope, C., (2008), The Possibility of Infrasonic Music. Proceedings Low Frequency 2008: 13th International conference on Low Frequency Noise and Vibration and its Control, 67 - 79, Tokyo, Japan.
2007
2006
- Mustard, J. (2006). The integrated sound, space and movement environment : The uses of analogue and digital technologies to correlate topographical and gestural movement with sound. Master of Arts (Creative Arts) Thesis, Western Australian Academy of Performing Arts, Edith Cowan University.
2005
- Clemen, H. (2005). The use of principles and techniques derived from meditation for the design and creation of co-participatory musical systems. Master of Arts (Creative Arts) Thesis, Western Australian Academy of Performing Arts, Edith Cowan University.
- Hope, C. (2005). Sound Art / Mobile Art, SOUND SCRIPTS: Proceedings of the Inaugural Totally Huge New Music Festival Conference.
- Hope, C. and Marshall, J., (2005).Introduction: A New Historicism? Sound, music and ruined pianos., SOUND SCRIPTS: Proceedings of the Inaugural Totally Huge New Music Festival Conference.
- James, S. 2005. Developing a flexible and expressive realtime polyphonic wave terrain synthesis instrument based on a visual and multidimensional methodology. Master of Arts (Creative Arts) Thesis, Western Australian Academy of Performing Arts, Edith Cowan University.
- Vickery, L. 2005 Western Electric: a survey of recent Western Australian Electronic Music SOUND SCRIPTS: Proceedings of the Inaugural Totally Huge New Music Festival Conference
2004
- Burtt, J., Lavers, K., and Vickery, L. (2004). Representations of recombinant memory in interactive performance works. Proceedings of Qi + Complexity Consciousness reframed Conference, Beijing China.
- Trifkovic, N. (2004). Balkan as a metaphor in the film composition of Goran Bregovic. Master of Arts (Creative Arts) Thesis, Western Australian Academy of Performing Arts, Edith Cowan University.
- Vickery, L. 2004 The Problem of Objectivity and the Artistic Conception of the Participant Observer Proceedings of the Creative Connections Symposium, WAAPA, Edith Cowan University Perth
- Vickery, L. 2004 Nine aspects of appropriation Proceedings of the Cover or Remix Symposium, WAAPA, Edith Cowan University Perth.
- Vickery, L. 2004 Interactive control of higher order musical structures Proceedings of the Australasian Computer Music Conference, Victoria University, Wellington New Zealand.
2003
- Vickery, L. 2003 Non-linear structures for real-time interactive musical works Proceedings of the Australasian Computer Music Conference, WAAPA, Edith Cowan University Perth.
2002
- Vickery, L. 2002. The RoboSax Project (1991-2001): forms of performer/machine interaction in works by Jonathan Mustard and Lindsay Vickery. Proceedings of the Australian Computer Music Conference, RMIT Melbourne.
- Vickery, L. 2002. The Yamaha MIBURI MIDI jump suit as a controller for STEIM’s Interactive Video software Image/ine. Proceedings of the Australian Computer Music Conference, RMIT Melbourne.
2001
- Vickery, L. 2001 The Western Edge: some recent electronic music from Western Australia Organised Sound issue 6/1 Music Technology in Australasia/South East Asia (Ed. Leigh Landy and Tony Myatt), Cambridge University Press.
2000
- Vickery, L. (2000). An Analysis of Karlheinz Stockhausen's Traum-Formel, (and 2) MMus Dissertation, University of Western Australia