Refereed Publications

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 Sonic Ecology: Australasian Computer Music Conference (10-11 July 2016), 81-89, Australia

ABSTRACT: ‚ÄčThis paper discusses recent works incorporating field recordings and acoustic instruments by four Western Australian composers Sam Gillies, Josten Myburgh, Michael Terren and Lindsay Vickery. In particular, the paper investigates their approaches to issues and techniques of spectral analysis, sonification, coordination of live and prerecorded elements, transcription, resynthesis, transformation and ecostructural considerations. The discussion is framed by an examination of the evolution of the practice of field recordings and acoustic instruments as a genre in light of ideological and technological advancements and impediments. The works are placed in the context of emerging digital technologies deployed in similar work by Jonathan Harvey, James O'Callaghan, Aaron Einbond, Joanna Bailie and Chaz Underriner.


Gillies, S., and McDonald, S. (2015), NOIZEMASCHIN!! : A new model of live performance in Perth, Western Australia from 2011 to the present day. Proceedings of the 2015 Totally Huge New Music Festival Conference, 5(15-24 May 2015), IN PRINT, Australia.

ABSTRACT: This paper documents the creation of the experimental concert series Noizemaschin!!, and the emergent model of live performance on which the series was built. Noizemaschin!! was created in response to the lack of a regular experimental music night in Perth, and utilised an innovative format. In an attempt to break away from the existing culture of experimental music, and experimental music performance, Noizemaschin!! billed itself as a noise gig, a departure which was reinforced by Noizemaschin!!’s unique approach to curation, format, and community engagement. With Noizemaschin!! celebrating its fourth birth-a-versary in 2015, this paper concludes with a discussion of the role we hope Noizemaschin!! will play in Perth’s experimental musical future.

 

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.

ABSTRACT: Since the advent of digital video editing and projection, multimedia persentation in the concert space is no longer exclusive to the music of stadium-sized popular music events. Increasingly, many in the field of new music are incorporating elements of mixed media presentation. Examples of this trend include performanced across the spectrum of new music such as Sensorband, Nico Muhly, Leafcutter John and more. This paper discusses the artistic and thematic accomplishments of four different approaches to audio-visual association before discussing the influences of these approaches, their incorporation or rejection, into my own work Red River.

 

Hope, C., and Gillies, S., (2011), Maifesting meaning from a performance of cruelty: Parallels in the Music 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, Australia.

ABSTRACT: This paper attempts to draw parallels between the French playwright, poet, actor and theater director Antonin Artaud's (1896-1948) philosophy of the Theater of Cruelty and the works of various musicians in both past and present forms of musical experimentalism. For Artaud, cruelty was inherent to life. Mere existence was an 'inescapably necessary pain, without which life could not continue' (Artaud, 1993, p 80). Could it be this conflict, this inherent cruelty and the need to express it that drives the various facets of experimentalism in art? Although Artaud's writings were primarily focused on the theater, the concepts that underpin them can be applied to a musical context. This essay seeks to apply such a reading to the context of experimental composers and musicians such as Americans John Cage (1932-1992), David Tudor (1954-1993) and Frenchman Edgard Varése (1906-1961), as well as the contemporary West Australian noise group Sub Ordnance, a group whose instrumentation of drum set and chainsaw suggests that parallels to Artaud's concept of cruelty may be closer to home than we might have considered. (old link)