Jeu de temps / Times Play (JTTP) 2005
Abtan Freida - Alidina Hussein - Assogba Yannick - Barnett Steven - Beaudoin Samuel - Bédard Martin - Bednarczyk David - Bougaïeff Nicolas - Chang Yuli - Coughlin Jeremy - DeTar Sylvia - Duhamel James - Eddington Alex - Elezovic Ivan - Elfert Galen - Gauthier Thierry - Graff Katherine - Hindman Heather - Karneef Philip - Kumar Rathi - Lord Martin - Matthews Jesse - McCallum Andrew - Measroch Delphine - Mettlewsky Jeffrey - Samandari Farshid - Staniland Andrew - Stewart Colin - Storring Nick - Sutton Timothy - Valiquet Patrick - Wierckx Marcel - Wong Ashley - Zubot Joshua
- James Duhamel - Le Radeau
- Martin Bédard - Topographie de la noirceur
- Delphine Measroch - Machin Machine
- Samuel Beaudoin - n'importe quoi
- Ivan Elezovic - Almost there...
Kristine H. Burns
Notes - Bios
Abtan Freida – even small things break (into smaller things) 5:23 2004
This piece was written after a difficult operation to document the ensuing darkness. Many of the sounds used reference physical turmoil and disorientation. The sounds are gutteral, and meant to evoke a visceral response.
The transformation of a physical body is a solid reminder that everything must die. No matter how tiny, beautiful things are apt to disintegrate. Accepting this is part of understanding the nature of beauty. It is also the process by which change can be embraced.
Freida Abtan is a musician and artist living in Montreal, Canada. She holds a Bachelor of Mathematics (1999) from the University of Waterloo, and is currently studying digital image and sound in the fine arts at Concordia University. In September 2005 she will be starting a Master's degree in Electroacoustic Composition at the University of Montreal.
Despite all of this edjumacation, she is sometimes giddy.
The work's purpose is to push the boundaries of the hip-hop genre into entering electroacoustic music. The piece is created entirely from my voice. The drumbeat from the words “on o on, One Two”, a stereotypical hip-hop phrase, and the lyric “Johnny's got a shot gun, but he ain't strong enough to cock one” an infamous line by Dr. Dre,a hip-hop icon.
I am a nineteen-year-old, second year student at Simon Fraser University, studying political science and electroacoustic music with Barry Truax. I also produce hip-hop music under the pseudonym “E.V.”, and hope to someday have a career in music.
Cette pièce est née d’un désir d’expérimenter dans plusieurs directions. Expérimentations dans le temps et dans l’espace; tableaux réels ou imaginaires formés d’objets communs ou inventés; idées de bousculement, d’essoufflement, de chaos, de rêve, de cauchemar et de réveil brutal; hommage à des machines inventées et à une nature métamorphosée.
Samuel Beaudoin est un compositeur et artiste visuel établi à Montréal. Il poursuit actuellement ses études au baccalauréat en composition électroacoustique à l'Université de Montréal avec Robert Normandeau et Jean Piché. Samuel Beaudoin is a Montreal based composer and media artist. He is currently working towards an undergraduate degree in electroacoustic composition at Université de Montréal with Robert Normandeau and Jean Piché.
Inspiré du personnage principal du roman Note d'un veilleur de nuit de Alexandre Zinoviev, je me suis imaginé le veilleur de nuit dans une ronde irréelle en plein cœur de l'obscurité où guidé par une lumière sombre et l'écho de son pas, tout se vit de l'intérieur en chacun de ces lieux défigurés.
À la suite d'un cursus de cinq ans avec les compositeurs Yves Daoust et André Fecteau, il a obtenu le prix avec grande distinction du conservatoire de musique de Montréal en composition électroacoustique. Son intérêt pour le langage cinématographique et la phonoculture lui servira de champs d'investigation pour ses projets futurs.
Présentement, il est étudiant aux études supérieures en composition électroacoustique à l'Université de Montréal avec le compositeur Robert Normandeau. I was born in Québec in 1970... After studying instrumental composition, I turned to electroacoustics... I am currently studying at the Conservatoire de Musique de Montréal with Yves Daoust... My compositions are also in the instrumental and mixed domains, as well as the electroacoustic... The sonic universe of "pop"' from my adolescence follows me everywhere...
This piece does not involve sampling of any type.
"Noise at 6" traite de l'absurdité et de la proximité des émissions de nouvelles à potins (i.e. Access Hollywood, E!, Entertainment Tonight) et des véritables bulletins de nouvelles (généralement présentés à 18H). "Noise at 6" existe sous forme de mouvement indépendant, ainsi que comme mouvement dans une plus grande pièce à propos de la télévision et de l'internet.
Bougaïeff est né à Trois-Rivières en 1980. Enfant, il étudie le violon classique. Adolescent, il écrit de la musique techno et la présente dans des raves. Il travaille aujourd'hui comme compositeur pour la danse contemporaine et les jeux videos en plus de poursuivre ses propres intérêts artistiques et des études en composition électroacoustique au Conservatoire de Musique de Montréal.
"Noise at 6" is about the absurdity and the proximity of so-called entertainment news (i.e. Access Hollywood, Entertainment Tonight, E!) and the "real" news (i.e. bulletins usually aired at 6 o'clock). "Noise at 6" exists as an independant piece, but also as a movement in a larger piece about television and the internet.
Bougaïeff was born in Trois-Rivières in 1980. He studied classical violin as a child. As a teenager, he wrote techno music and presented it at rave parties. He now works as a freelance composer for video games and contemporary dance. He is also currently studying electroacoustic composition at the Conservatoire de Musique de Montréal.
Chang Yuli – toccare... penumbra 6:43 2005
recorded in concert, April 8, 2005
Hopefully, the title "toccare... penumbra" does evoke a sense of adventure, because of the association with the musical form "Toccata." Toccare means to touch or to reach; the word "penumbra" is the outer part, greyish area, of a shadow, instead of the shadow itself, which is very dark. The grey area between the electronic and live piano in this piece is supposed to be the pivotal point, resembling a mirror, where the piano tries and reach out to touch the "shadow," so to speak and to which the electronic make references.
Taiwanese by birth (1982), raised in North Vancouver, British Columbia. Moved to Montreal in 2002 and to McGill to complete an undergraduate degree in Music Composition and are coming back to McGill University in September 2005 to start a master‚s degree in composition.
What is Theta State?
o Theta State is an ongoing experiment in sound.
o Theta State music aims to generate an experience or a feeling.
o Theta State involves sounds from musical instruments (guitars, pianos, drums, clarinets, etc.) and sounds from the natural environment (water, wind, trains, cars, etc).
o Theta State music is meant to be listened to actively.
o Theta State has performed a few select shows in the past, mainly through BEAMS.
o Theta State has released one full length album (It's gonna be a great day).
o Theta State music is available online for free at thetastate.ca
o Theta State is a creative outlet free from restraints.
o Theta State music allows you to hear music again
o A variety of artists have contributed to Theta State.
o Theta State was developed as a reaction to the narrowing set of acceptable sounds that are considered to be 'good' or 'commercial'.
o Theta State music has been recorded in several provinces across Canada, in Alaska, in Mexico, and in Hawaii.
o Theta State music is most often soothing.
In creating Drei ausgedehnt Retro Brüder, I sang Frère Jacques, Brüder Jakob, and Brother John, layered them together, and reversed them. I created more tracks with Scottish smallpipes, classical guitar, claves, woodblocks, drumsticks, and clapping. These tracks I stretched using granular synthesis, shrunk, and layered to produce masses of sound. I was initially intrigued with the universality of the song and creating a different "language" with the layers.
Sylvia DeTar is majoring in music at Simon Fraser University.
Essai sur une tragédie humaine.
Un naufrage. Cent quarante-sept âmes perdues sur un radeau long d'une quinzaine de mètres et large de la moitié. Seuls, égarés dans les fantasmes de la folie, au centre de la mer qui était tout.
Une pièce en cinq sections librement inspirée par la lecture du roman 'Océan Mer' d'Alessandro Baricco ainsi que par le tableau ' Le radeau de la méduse' de Géricault, relatant tout deux le naufrage de la Méduse, le 2 juillet 1816 au nord ouest du Sénégal. Les textes sont une adaptation d'un passage du roman.
Avec la participation de Pascal Rolin dans le rôle de Savigny, de Sébastien Croteau aux cris, lamentations et chants 'death' et de Kais Demers à la clarinette basse.
Compositeur en électroacoustique, James Duhamel porte sa réflexion sur l'interaction entre le son et l'image, ce qui l'inspire pour la conception de ses projets. James a signé la musique de plus d'une cinquantaine de courts métrages, documentaires et films expérimentaux. Des Bourses de l'OFQJ en 2005 et 2004, du Youth Internationnal Developement Project en 2003, ainsi qu'une bourse d'aide aux représentations à l'étranger en musique du Conseil des Arts du Canada en 2002 lui permettent de faire la promotion de ses projets dans plusieurs festivals européens, dont le festival Résonance en 2004, le Sonar, ainsi qu'une tournée de festivals de films en 2003.
C'est au sein de l'ensemble Wetfish (1996-2002) que James a élaboré ses premières oeuvres, revisitant en musique les grands classiques du cinéma muet, et assurant les fonctions de compositeur, directeur artistique et chef d'orchestre. Tantôt lyrique, chaotique ou énigmatique, sa musique est un mélange déroutant d'ambiance sonore, d'improvisation collective et de traitement en temps réel.
James Duhamel poursuit présentement des études au Baccalauréat en composition électroacoustique à l'Université de Montréal. Diplômé en technique de sonorisation, il est propriétaire du studio Sushi.
The Battle of Eddington is an attempt to recreate "as inaccurately as possible" the sounds of my namesake battle, an actual event that took place in the Twelfth century near the modern Welsh border. The topic came up in a conversation that I recorded with an actor friend, and small fragments of from that recording provided most of the material for the piece, as well as guiding its form sharply away from historical accuracy.
Alex Eddington is a second-year Master's composition student at the University of Alberta, studying with Howard Bashaw and Paul Steenhuisen.
The clusters of words and syllables that we are exposed to every day introduce many possibilities for an entirely new way of communication, creating a basis for the new language. This piece is an example of the above comments based on my personal experience.
Ivan Elezovic has received his undergraduate degree at the University of Manitoba, and master degree at McGill University. He was studying with Dr. Michael Matthews, Dr. Randolph Peters, Zack Settel and Alcides Lanza. Presently, he is completing his doctoral degree in composition, music theory and electro-acoustic music at the University of Illinois studying with Dr. Guy Garnett, Dr. Erik Lund and Prof. Scott Wyatt.
Besides his teaching achievements in academia, Ivan has achieved notable performances of his acoustic and electro-acoustic compositions in North America and Europe. Internationally, he has taken part in different conferences among which the most significant are the IRCAM-Institut de Recherche et de Coordination Acoustique/Musique in Paris, France, where he studied composition with Brian Ferneyhough and Marc-André Dalbavie; and the Internationales Musikinstitut in Darmstadt, Germany, where he studied with Isabel Mundry, Tristan Murail, Robert HP Platz and Valerio Sannicandro. Recently, Ivan was awarded Atlantic Center for the Arts residency where he was chosen for Associate composer in residence studying under Master Artist Larry Austin. The residency was completed in February 2005 where he created a new DVD/Audio piece, Mediterranean-Riots-Colors.
During his time in U.S.A. he has developed and matured as both a composer and a teacher, and has consistently demonstrated a seemingly endless thirst for information, experience, and opportunity. His compositional studies have demonstrated both good craftsmanship and an interest in pursuing innovative conceptual goals. He is not set on a single style. Instead he has allowed his materials and subject matter to influence the style and method of each new work.
Nebulae is a stereo reduction of an 8 channel piece, realized primarily with software created by the composer (using Max/MSP). Through partially automated, stochastic processes of transposition and layering, the mundane, redundant waste of the quotidian soundscape is broken down and rebuilt into a galaxy of shifting, contrasting textures. A fluid path winds through towering density and careful sparseness, gentle slope and belligerent attack, and finds itself back at the beginning.
Galen Elfert is currently studying composition and electroacoustic music at the School for The Contemporary Arts at Simon Fraser University, in British Columbia. He has realized several electroacoustic works there, including a recent piece for dance, and composed music for a variety of small ensembles.
L' oeuvre "expressionniste" est conçue exclusivement à partir de sons d'oiseaux et de clavecin. Sa structure épisodique bascule en différentes ambiances et mutations. La technique d'écriture est guidée par les fragments de jeux du clavecin, performé à même la table d'harmonie, tel une harpe, une guitare ou un berimbau. Les fragments enregistrés sont rejoué et manipulé en temps-réel, à l'aide d'un échantillonneur virtuel. La déconstruction, l'esthétique surréaliste, et l'experimentation sont recherchés au détriment d'un discours musical cohérent.
Thierry Gauthier compose de la musique depuis 1986. Il étudie en composition electroacoustique avec Jean Piché, à l'Université de Montréal depuis septembre 2004.
Stereo Types was composed using samples of voice and breathing. The voice samples were six stereotypical catchphrases taken from a cheerleader, a Catholic girl, a nerd, an immigrant, a misunderstood artist and a bully.
Katherine Graff is currently a third year music student at the School for the Contemporary Arts, Simon Fraser University. Katherine has had a number of pieces performed at the SFU Student Composers Concert, the WestCoast Student Composers Symposium and the Sonic Boom Music Festival. She also recently participated in the Phoenix Chamber Choir's Young Choral Composers Workshop. After graduation, Katherine plans to continue composing while pursuing a career in music.
Hindman Heather – Flow 6:36 2005 Water is a sonic organism capable of a plethora of unique sounds, both subtle and abrupt. Flow realizes a selection of these sounds in a context where the additive and free-flowing physical properties of water are synonymous with the organization of sound.
Heather Hindman holds a BMus degree in composition and theory from the University of Alberta and will be commencing graduate studies at McGill in the fall. She studied electroacoustic music with Laurie Radford and composes for both acoustic and electroacoustic mediums.
Nada Brahma attempts to explore the Hindu idea of all creation coming from and going back to the sound Om. Through the use of a wide range of textures and frequencies, this piece attempts to evoke creation as coming from one sound. The sources used to create this effect are a selection of Vedic Chant, and a short sample of Carnatic music contributed by Jazzindo.
Rathi Kumar is currently pursuing a Bachelor of Arts majoring in music at the University of Alberta. Her studies include electroacoustic composition under the direction of Dr. Paul Steenhuisen.
“Le Sentier” exprime une démarche personnelle philosophique, une réflexion sur le trajet vital de l’individu sur ce plan universel. Il est principalement une introduction sur l’oeuvre du philosophe québécois André Moreau, le Jovialisme, qui traite de sujets tels que l’Immatérialisme, l’Etre, et Dieu. Je suis fasciné par l’écoute de l’environnement sonore naturel, ainsi que par les sujets de science, philosophie, mysticisme, et ésotérisme.
Suivant des études collégiales à l’Ecole de Musique de l'Université Laval, j’ai poursuivi des études en génie électrique, obtenant une maîtrise de la UBC en 1988. En 2003, j'ai formé Parallel Dreams - Musique Cinématique, Cosmique, et Concrète - un concept basé essentiellement sur l’improvisation, explorant les multiples dimensions émotionnelles et visuelles de la musique.
“Le Sentier” expresses a personal philosophical research, a reflection on the vital path of beings on this universal plane. It is principally an introduction on the work of the Quebec philosopher André Moreau, Jovialism, which tackles topics such as Immaterialism, Being, and God. I am fascinated by the natural acoustic environment, as well as by topics such as sciences, philosophy, mysticism, and esoterism.
Following college studies at the School of Music of Laval University, I have pursued studies in electrical engineering, and got a Master’s degree from UBC in 1988. In 2003, I have launched Parallel Dreams - Cinematic, Cosmic, and Concrete Music - a concept essentially based on improvisation, exploring the mutiple emotional and visual dimensions of music.
The piece I have submitted via the mail, is one recently installed at NSCAD. It is a very minimal piece made with a very basic premise and tools. A four track rercording made simply with an analoge echounit and ring modulator, with source sound from a Birdsounds 10" vinyl record, with some uneffected TV Calibrator tones amid the more organic sounds. It is six minutes and fifty seconds in length, and intended to play constantly on repeat from its unassuming receptical. A regular "oscar-ther-grouch" style garbage can (lid is optional). The audio is to be played from a disc man out to stereo computed speakers, and adhered to the inside of the can, with a speaker on each side. It is important that the audio is at a level that is inviting rather than irritating, and that the garbage can still functions as a garbage. As the discman and speakers are hidden beneath the black plastic bag.
The simplicity of this piece is hopefully what makes it engaging, as well as insightfull.
I am a 24-year-old student at NSCAD (University) in Halifax Nova Scotia. I am a praticing artist here, using both visual art and audio art as my main source of creative output.
I was born on April 15th, 1980. On April 5th, 1980 my paternal twin died in my mothers womb. He was stillborn
The text composed within this piece is a from a unpublished poem by the Canadian poet Sara Peters. Andrew McCallum is a sonic artist based in Canada.
Sortant de son engourdissement, une mécanique se met en branle et prend le large.
Pièce acousmatique en deux parties avec un parti pris pour un matériel quasi non-traité; il en résulte parfois quelques bascules dans un paysage presque figuratif. Ces cassures abruptes, sans briser la progression continue du mécanisme en marche, nous font apprécier différents angles de vue d'une même image.
Étudiante à la maîtrise en composition électroacoustique à l'Université de Montréal, Delphine Measroch est particulièrement intéressée aux musiques d'application et aux arts médiatiques.
Ainsi, elle participe en tant qu'interprète ou créatrice à de multiples événements artistiques multidisciplinaires tels que Québec! New York et le Festival de Poésie de Montréal en 2001, et conçoit en 2002 la musique du spectacle Éphémérides de la troupe de mime Omnibus.
Musicienne active, elle forme aussi depuis 2004, avec Nicolas Bernier, le duo de créations vidéo-musique Millisecond Topography, lequel a déjà reçu quelques prix et mentions à l'étranger.
Saron was composed by Jeffrey Mettlewsky while studying electroacoustic composition with Barry Truax in spring, 2005 at Simon Fraser University. The piece explores the acoustic properties of sounding boards from the instruments of acoustic guitar and the Gamelan Saron Demung, which the composer also studied during the same semester at SFU.
Jeffrey Mettlewsky is a young composer from Burnaby, BC, completing a Bachelor of Fine Arts in Music. His objective is to create music with a balance between experimentation and expression, using an intuitive approach to both his acoustic and electroacoustic compositions.
Vision sated my eyes;
Life girded up my loins;
Valor flared my heart,
I'm the regal lion! #2
This miniature is depiction of human in the midst of his eternal journey, account of everlasting moment of “to be or not to be”, story of formidable instant of absolute nothingness: a joyous pompous instant, which one can only attain after seemingly lowly seconds of nothingness.
Piece begins by depicting a humble drop adoring Majestic Ocean. As drop dies in ocean starts boasting of its immortal regal station. As this flashing moment is over, one may find the drop still in adoration: boasting joyously of life in love and death in life!
Vancouver, December 2004.
#2 Rumi(Molànà jalàl-e-Ddìn), Divàn-i-Shams, tr. F. Samandari
His music reflects his interest in contemporary classical vocabulary, spectral analysis, and extended techniques. In addition his profound faith in Unity in diversity, stirred him toward integration of different ethnic music and vocabulary in his compositions. This vision directed him to collaborate with a variety of choirs and ensembles including Tehran National Symphony Orchestra, and Vancouver Intercultural Orchestra, and Laudate Singers.
for violin #3 is part of an ongoing series of pieces for violin. The piece was originally a solo piece, for solo Violin #2, premiered in October of 2001. While reviewing the recording of the performance on for solo violin #2, I was immediately inspired to create a new piece, for violin #3, with a tape part. The instrumental part remains unchanged.
For audio material, I used only the recording of for solo violin #2. This approach aided in creating an organic blend between the performer and tape.
The piece begins with the sound of applause as the performer takes the stage. The clapping quickly grows in volume as it goes through a constant series of transformations. The brief fanfare then suffers a terminal diminuendo. After a moment of silence, the performer initiates a dialogue with the tape that sets the tone for the remainder of the work. For violin #3 was awarded a prize in the 2002 SOCAN Young Composers Competition.
Andrew Staniland (b.1977, Red Deer, Canada) is a composer and guitarist. Recent commissions include works for the Amici Chamber Ensemble, the National Arts Centre Orchestra New Music Ensemble, and the Vancouver Symphony Orchestra. Andrew is currently completing his doctorate in composition at the University of Toronto, working with Christos Hatzis and Gary Kulesha.
Andrew has been described as a composer whose "striking musical ideas are perfectly complemented by his superb compositional technique. " will emerge as one of the most individual voices in this country" (National Arts Centre Press Release, November 2002). He has received several awards for his work, including three prizes in the SOCAN young composers competition, the 2004 Karen Keiser Prize in Canadian Music, and the 2004 Toronto Emerging Artist Award. In 2002-2003 Andrew was affiliate composer with the National Arts Centre Orchestra. Upcoming projects include a residency at the CCMIX in Paris to realize the electronic component of a new mixed media work for the Nouvel Ensemble Modern in 2006.
Recently, I’ve been interested in the issue of criminal behaviour, and in how our society deals with it. My piece, From Lynch Mobs to Courthouses, doesn’t provide any solutions to the deep flaws in our judicial system, but it does raise some questions (…which is always a good starting point).
Colin Stewart is graduating this spring from Simon Fraser University with a B.Sc. in Computing Science. He is currently working on a novel.
"Igneous" uses prepared cello as its source. It was named for the aural experience of the piece, evoking at once sleek obsidian, rough granite edges, bubbling magma and volcanic eruption. The basic sound was also treated in such a way--and to such an extent--that it was akin to making sonic magma to be reshaped, and cooled.
Nick Storring studied at Wilfrid Laurier University, where he nurtured two main interests: electroacoustics and improvisation. His work has been featured at the Open Ears Festival, and at Maison-de-Culture-NDG. He regularly performs in various improvising groups on cello and/ or computer.
"A study in chance processing techniques based solely on DSP error and alternate data access and buffering methods."
I am a composer of electroacoustic and instrumental music, occasionally experimenting with video. I'm taking a Major in Electroacoustic Studies at Concordia University.
fldlab is a three-part composition comprised entirely of data gleaned from peer-to-peer file-sharing networks. I attempted to treat the files as randomly-accessible databases, manipulating the data using global algorithms rather than cutting and splicing in the manner of traditional tape or dance musics. Finally, the resulting three sections of the piece were replaced on the network under their original titles, to be downloaded by unsuspecting users. The titles of the sections are: "Je T'aime, Moi Non Plus", "Angel Baby", and "Surf's Up".
Patrick Valiquet studied piano at McGill University and is now based in Vancouver, where he is active as a composer and improviser. His electro-acoustic work is primarily available on-line at sites such as notype.com, archive.org and microsound.org and is entirely open-source.
Entropy, from the Greek word trope, meaning "transformation", is defined as "the degree of disorder or chaos in any physical system." In common modern usage, the word is usually used to describe the degradation of order into chaos. The sounds and video images in the Entropic series were made using algorithms inherently entropic: fractal noise generators, feedback loops and recursive algorithms.
Marcel Wierckx (b.1970)
Marcel Wierckx studied instrumental and electronic music composition in Canada (Winnipeg and Montréal) before moving to the Netherlands in 1999. Since then he has been active as a sound and video artist as well as composing instrumental and electronic music for concert, film, theater and dance.
A stereo piece for Electronic Sounds and Solo Violin. The piece is a study on the relationship of a live performer and pre-composed electronic audio. It is set up to be performed live in a concert situation with a score for the performer.
Josh Zubot is currently studying Electroacoustic music at Concordia University in Montreal QC. He composes music in different genres including Contemporary Classical, Jazz, Experimental Electronica etc. with the notion of combining the styles. When Josh is not busy going to school or composing he moves between Calgary and Montreal performing in various jazz, contemporary, electronic, improv and various other types of music using the violin and laptop.
Project Manager - Ian Chuprun
Web Administration - Yves Gigon
Project Consultation - PeP (Productions electro Productions)
Jeu de temps / Times Play (JTTP) est rendu possible grâce à une association stimulant la recherche et la créativité canadienne en électroacoustique établie avec l’université Concordia en 1986. La CEC reconnaît également le support du Conseil des Arts du Canada, qui a investi l’année dernière 20,1 millions dans les lettres et l’édition dans l’ensemble du Canada. Merci aussi à la Fondation SOCAN et aux membres de la CEC, qui ont aimablement fourni de l’aide financière au projet, et à PeP pour son aide constante à la production.
Jeu de temps / Times Play (JTTP) is made possible thanks to a partnership fostering research and creativity in Canadian electroacoustics established with Concordia University in 1986. The CEC also gratefully acknowledges the support of the Canada Council for the Arts, which last year invested $20.1 million in writing and publishing throughout Canada. Thanks are also due to SOCAN Foundation and CEC Members, who have graciously provided further financial support to the project, and to the PeP team for continued production assistance.