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Vickeryresonancemanifestations
1. Resonance, Manifestations [2013]: Lindsay Vickery
Resonance Manifestations is a work for whispering choir. The text is a collage of words from three
webpages about the transit of venus: one astronomical, one astrological and one a mills and boon style
romantic story. The score is presented on a scrolling scoreplayer that is available as a standalone
application that can be played on any laptop or played from the Decibel Scoreplayer
(https://itunes.apple.com/us/app/decibel-scoreplayer/id622591851?mt=8) on iPads . Each of the six
parts indicated by a different colour. Relative pitch is indicated vertically and relative loudness by font
size. In this sense, the work draws from John Cage's Aria (1956). The choir is ideally situated around the
audience to accentuate the spatial qualities of the work.
A performance of the work by ENEKSIS under the direction of Micheal McCarthy at Shock of the New 5
April 2013, Spectrum Project Space can be viewed on YouTube at:
http://www.youtube.com/watch?feature=player_embedded&v=i-6P3Ohjf5Q
The continuous score shown is here, broken into 18 sections at 35% of its actual size.
Lindsay Vickery
Lindsay Vickery is active as a composer and performer across Europe, the USA and Asia. 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. Vickery's 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. His current compositional
preoccupations include the relationship between modes of presentation of the musical score and
musical structure, between electronic/acoustic, composed/interactive and interpretative/improvisational
approaches. He writes and presents on a range of topics, most recently on the history of the
“screenscore”, nonlinear music and the realisation of Cage’s scores. He is coordinator of Composition
and Music Technology at the Western Australian Academy of Performing Arts at Edith Cowan University
and holds an MMus (UWA) and PhD (QUT). More information at www.lindsayvickery.com/
![Resonance, Manifestations [2013]: Lindsay Vickery
Resonance Manifestations is a work for whispering choir. The text is a collage of words from three
webpages about the transit of venus: one astronomical, one astrological and one a mills and boon style
romantic story. The score is presented on a scrolling scoreplayer that is available as a standalone
application that can be played on any laptop or played from the Decibel Scoreplayer
(https://itunes.apple.com/us/app/decibel-scoreplayer/id622591851?mt=8) on iPads . Each of the six
parts indicated by a different colour. Relative pitch is indicated vertically and relative loudness by font
size. In this sense, the work draws from John Cage's Aria (1956). The choir is ideally situated around the
audience to accentuate the spatial qualities of the work.
A performance of the work by ENEKSIS under the direction of Micheal McCarthy at Shock of the New 5
April 2013, Spectrum Project Space can be viewed on YouTube at:
http://www.youtube.com/watch?feature=player_embedded&v=i-6P3Ohjf5Q
The continuous score shown is here, broken into 18 sections at 35% of its actual size.
Lindsay Vickery
Lindsay Vickery is active as a composer and performer across Europe, the USA and Asia. 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. Vickery's 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. His current compositional
preoccupations include the relationship between modes of presentation of the musical score and
musical structure, between electronic/acoustic, composed/interactive and interpretative/improvisational
approaches. He writes and presents on a range of topics, most recently on the history of the
“screenscore”, nonlinear music and the realisation of Cage’s scores. He is coordinator of Composition
and Music Technology at the Western Australian Academy of Performing Arts at Edith Cowan University
and holds an MMus (UWA) and PhD (QUT). More information at www.lindsayvickery.com/](https://image.slidesharecdn.com/vickeryresonancemanifestations-130913092143-phpapp01/85/Vickeryresonancemanifestations-1-320.jpg)
![Resonance, Manifestations [2013]: Lindsay Vickery](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)