Research
Research publications, presentations, and dissertations are categorised according to the research areas of:
- collaborative research, trans-disciplinary research, and artistic practice as research
- digital musicology and music analysis
- sound synthesis
- sound spatialisation
- digital music notation
- teaching and learning
Development
Collaborative Research, Trans-Disciplinary Research, and Artistic Practice as Research
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Devenish, L & James, S. (2019). Composer-Performer Collaboration in the Development of Kinabuhi | Kamatayon for Percussion and Electronics. Soundscripts 6(1). Retrieved from https://ro.ecu.edu.au/soundscripts/vol6/iss1/9/
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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. Retrieved from https://www.tandfonline.com/doi/full/10.1080/07494467.2017.1371879
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Devenish, L., & James, S. (2016). Greater Than The Sum of Its Parts: Balinese Gamelan Instruments, Electronics and Composer-Performer Collaboration. Presentation at the Musicology Australia MSA Conference, Adelaide, Australia.
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Hope, C., James, S., & Vickery, L. (2014). Sogno 102: Working with the Compositional Techniques of Giacinto Scelsi. Proceedings of the 2014 Australasian Computer Music Conference.
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Hope, C. James, S., & Tan, K. (2010). When Lines Become Bits: Engaging Digital Technology to Perform works by Alvin Lucier. Proceedings of the 2010 Australasian Computer Music Conference, Canberra, Australia.
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Digital Musicology and Music Analysis
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James, S. (2021). A Reconsideration of John Cage's Variations I-VIII (1958-1967) in the Twenty-First Century. Actions | Remarks: John Cage's Variations and the expansion of the score, sonic materials, space, and the environment (191-235). Mode.
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James, S. (2020). Pushing the Envelope: multichannel tape, analog synthesis, and quadraphonic sound in Smalley's 'Dijeridu' (1974).
Research presented at the 2016 Musicology Australia MSA Conference, Adelaide, Australia. |
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Seah, T., James, S., & Sleptsova, A. (2020). Lost in Time: revealing approaches to rubato and dynamics in recordings of Russian pianists at the turn of the century. HPI Conference.
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James, S. and Vickery, L. (2018). Representations of Decay in the Works of Cat Hope. Tempo 73(287). |
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Vickery, L & James, S. (2016). The Enduring Temporal Mystery of Ornette Coleman's Lonely Woman. Proceedings of the 2015 WA Chapter of MSA Symposium on Music Performance and Analysis.
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Hope, C., & James, S. (2016). Zeitebenen: Realising Roger Smalley's European past in Australia. Presentation at the Musicology Australia MSA Conference, Adelaide, Australia.
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Sound Synthesis
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James, S. (2017). A Novel Approach to Timbre Morphology: modulating timbre spaces using low dimensional audio rate control. Proceedings of the 2017 International Computer Music Conference.
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James, S. (2016). A Multi-Point 2D Interface: Audio-Rate Signals for Controlling Complex Multi-Parametric Sound Synthesis. Proceedings of the 2016 New Interfaces for Musical Expression, Brisbane, Australia.
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James, S. & Hope, C. (2011). Multidimensional Data Sets: Traversing Sound Synthesis, Sound Scultpture, and Scored Composition. Proceedings of the 2011 Australasian Computer Music Conference, Auckland, New Zealand.
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James, S. (2005). Developing a Flexible and Expressive Realtime Polyphonic Wave Terrain Synthesis Instrument based on a Visual and Multidimensional Methodology (Masters Thesis, Edith Cowan University).
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James, S. (2003). Possibilities for Dynamical Wave Terrain Synthesis. Proceedings of the 2003 Australasian Computer Music Conference 'Converging Technologies,' Perth, Australia.
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Sound Spatialisation
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James, S. (2016). A Classification of Multi-Point Spectral Sound Shapes. Proceedings of the 2016 Australasian Computer Music Conference, Brisbane, Australia.
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James, S. (2016). Multi-Point Nonlinear Spatial Distribution of Effects across the Soundfield. Proceedings of the 2016 International Computer Music Conference, Utrecht, Holland.
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James, S. (2015). Spectromorphology and Spatiomorphology: Wave Terrain Synthesis as a Framework for Controlling Timbre Spatialisation in the Frequency-Domain (PhD Exegesis, Edith Cowan University).
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James, S. (2015). Spectromorphology and Spatiomorphology of Sound Shapes: audio-rate AEP and DBAP panning of spectra. Proceedings of the 2015 International Computer Music Conference, Denton, Texas.
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James, S. (2014). Sound Shapes and Spatial Texture: Frequency-Space Morphology. Proceedings of the 2014 International Computer Music Conference, Athens, Greece.
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James, S. & Hope, C. (2013). 2D and 3D Timbral Spatialisation: spatial motion, immersiveness, and notions of space. Proceedings of the 2013 International Computer Music Conference, Perth, Australia.
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James, S. & Hope, C. (2012). From Autonomous to Performative Control of Timbral Spatialisation. Proceedings of the 2012 Australasian Computer Music Conference, Brisbane, Australia.
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Digital Music Notation
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Maujean, J-M. & James, S. (2020). 3D Spectrogram Notation: analysis, composition and performance. TENOR Conference, Hamburg, Australia. [in review]
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Wyatt, A., Vickery, L. & James, S. (2019). Unlocking the Decibel ScorePlayer. TENOR Conference, Melbourne, Australia.
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Wyatt, A., Vickery, L. & James, S. (2018). The Canvas Mode: Rapid Prototyping for the Decibel ScorePlayer. The Australasian Computer Music Conference.
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James, S., Hope, C., Vickery, L., Wyatt, A., Carey, B., Fu, X., & Hajdu, G. (2017). Establishing connectivity between the existing networked music notation packages Quintet.net, Decibel ScorePlayer, and MaxScore. Tenor Conference, Spain.
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Hope, C., James, S., & Wyatt, A. (2016). Headline grabs for music: The development of an iPad score generator. Proceedings of the 2016 New Interfaces for Musical Expression, Brisbane, Australia.
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Vickery, L. & James, S. (2016). Tectonic: a Networked, Generative and Interactive, Conducting Environment for iPad. Proceedings of the 2016 International Computer Music Conference, Utrecht, Holland.
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Hope, C., Vickery, L., Wyatt, A., & James, S. (2013). Mobilising John Cage: The Design and Creation of Score Generators for the Complete John Cage Variations I–VIII. Malaysian Music Journal 2(2).
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Hope, C., Vickery, L. & James, S. (2012). Digital Adaptions of the Scores for Cage Variations I, II, and III. Proceedings of the 2012 International Computer Music Conference, Lubjiana, Slovenia.
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Hope, C., James, S., & Vickery, L. (2012). New Digital Interactions with John Cage's Variations IV, V and VI. Proceedings of the 2012 Australasian Computer Music Conference, Brisbane, Australia.
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Teaching and Learning
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James, S. (2016). In the Mirror: a metaphor for research practice and supervision. Presentation for the ECU Principle Supervisor Accreditation Program 2016.
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Hope, C., Riddoch, M., & James, S. (2009). Music Technology / Technological Music. Media Art Scoping Study Symposium, 80-89, Perth, Australia.
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