Stuart G James
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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

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Collaborative Research, Trans-Disciplinary Research, and Artistic Practice as Research


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/
2019devenishjames.pdf
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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
2017vickerydevenishjameshope.pdf
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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.
​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.
2014hopejamesvickeryacmc.pdf
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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.
2010hopejamestanacmc.pdf
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Digital Musicology and Music Analysis


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.
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. ​
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.

James, S. and Vickery, L. (2018). Representations of Decay in the Works of Cat Hope. Tempo 73(287).

2019jamesvickery.pdf
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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.
2016vickeryjamesmsa.pdf
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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.

Sound Synthesis


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.
2017jamesicmc.pdf
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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.
2016jamesnime.pdf
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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.
2011jameshopeacmc.pdf
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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).
2005jamesmastersthesis.pdf
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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.
2003jamesacmc.pdf
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Sound Spatialisation


James, S. (2016). A Classification of Multi-Point Spectral Sound Shapes. Proceedings of the 2016 Australasian Computer Music Conference, Brisbane, Australia.
2016jamesacmc.pdf
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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.
2016jamesicmc.pdf
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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).
2015jamesphd.pdf
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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.
2015jamesicmc.pdf
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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.
2014jamesicmc.pdf
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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.
2013jameshopeicmc.pdf
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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.
2012jameshopeacmc.pdf
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Digital Music Notation


Maujean, J-M. & James, S. (2020). 3D Spectrogram Notation: analysis, composition and performance. TENOR Conference, Hamburg, Australia. [in review]
Wyatt, A., Vickery, L. & James, S. (2019). Unlocking the Decibel ScorePlayer. TENOR Conference, Melbourne, Australia.
2019wyattvickeryjames.pdf
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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.
2018wyattvickeryjames.pdf
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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.
2017jamesetaltenor.pdf
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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.
2016hopejameswyattnime.pdf
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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.
2016vickeryjamesicmc.pdf
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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).
mmj201322.pdf
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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.
2012vickeryhopejamesicmc.pdf
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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.
2012hopejamevickeryacmc.pdf
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Teaching and Learning


James, S. (2016). In the Mirror: a metaphor for research practice and supervision. Presentation for the ECU Principle Supervisor Accreditation Program 2016.
Hope, C., Riddoch, M., & James, S. (2009). Music Technology / Technological Music. Media Art Scoping Study Symposium, 80-89, Perth, Australia.
2009hoperiddochjames.pdf
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Other


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  • Home
  • Composition and Sound Art
  • Research and Development
  • Audio Engineering