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, ACMI, 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

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. http://www.tura.com.au/events/special/rendezvous/rendezvous.html
  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. http://noisejunk.eu/index.php?page=instruments&instrument_id=264
  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. http://www.jonroseweb.com/f_projects_shopping.html
  18. François Couture, “Jon Rose - The People's Music”, 2008, “
  19. http://www.harvestworks.org/cms/index.php/Presentations/Public-Events-2001.html
  20. http://music.unt.edu/comp/category/semester/spring06?page=4
  21. http://johokan.kyoto-seika.ac.jp/modules/contents/index.php?content_id=94
  22. http://www.churchillfellowswa.org.au/wafellows2.html

Additional reading

External links

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