Welcome to the CEC
Canadian Electroacoustic Community (CEC)
As the first electronic music studios in Canada were being conceived, their directors didn’t consult a catalogue and order commercially produced instruments and gear — they headed to Ottawa to meet Hugh Le Caine, whose pioneering electronic instrument designs played an important role in the formation of early generations of electronic music composers in Canada. (January 2016)
New site for eContact!
The brand new website for eContact! is live and now on its own domain!
Yves Gigon has made Herculean efforts over the past year on a massive upgrade to the eContact! website and we are very proud to finally release the site publicly. The journal and the rest of the CEC’s website are seamlessly integrated and many new and improved features will make your visit more enjoyable, fruitful and memorable, including:
- a superb new look;
- a fluid layout that adapts to viewing on desktops, laptops, tablets, smartphones;
- tools for easy sharing on social media.
Please make sure to update your bookmarks for eContact! and JTTP pages and issues — and of course to share them with friends and colleagues, and post them on Facebook, Twitter and elsewhere!
Call for Contributions
In discussing “media-specific music,” we consider situations (practices, pieces) where the media of music in their qualities and limitations are addressed as a subject of æsthetic practice. Here, music resists translation into another media since its very essence is bound to its means of creation, performance or distribution. Deadline for submissions: 1 March 2016.
Open and ongoing call for contributions to the CEC’s electroacoustic Jukebox.
The eighth edition of the Toronto International Electroacoustic Symposium welcomed Pauline Oliveros as Keynote Speaker. Two dozen composers, performers, researchers and institutions presented recent work and reflections on instrument and technology development, technologies and accessibility, notation, compositional praxis, sound art and more. (September 2015)
Recent works by young and/or emerging composers and sound artists from or living in Canada are featured in the 15th edition of Jeu de temps / Times Play, coordinated annually by the CEC since 2000. JTTP 2014 events included a special concert in the 21st Dias de Música Electroacústica in Seia, Portugal. (September 2014)
Guest Editor: Karin Weissenbrunner
The ephemeral and varied character of subversion in musical creation makes it a challenging, complex concept to clearly define and illustrate. In this issue it is approached and reflected upon via a range of experimental practices with turntables, tapes and other devices, fringe genres, sound sculptures and alternative models of music distribution. (March 2015)
The seventh edition of TES brought together researchers and practitioners from diverse backgrounds to share and discuss their interrogations of the many diverse aspects of EA practices — from laptop orchestras to software development to interactive performance practices. TES 2013 co-presenters CEC and NAISA were pleased to welcome Francis Dhomont as keynote speaker. (October 2014)
- eContact! 17.4 — Analogue and Modular Synthesis: Resurgence and Evolution (February 2016) | Guest Editor: Richard Scott
- eContact! 18.1 — JTTP 2015: Jeu de temps / Times Play (February 2016)
- eContact! 18.2 — TIES 2015: 9th Toronto International Electroacoustic Symposium (March 2016)