Jeu de temps / Times Play 2009 (JTTP 2009)
Results / Résultats
For JTTP 2009, the CEC collaborated with Germany's national electroacoustic association, DEGEM. Similar to the collaboration in 2003 with the UK's Sonic Arts Network (SAN), submissions from both Canada and Germany were accepted. Prizes were awarded to both the Canadian and German top-placing composers, and Cache 2009 (release planned for Spring 2010) will be a double-CD, with one CD containing selected Canadian works and the other containing selected German works.
- Olivier Girouard — Suite_04 (18:47 / 2009)
- Yota Kobayashi — Kakusei (12:05 / 2009)
- Christopher Mclean — Bébelles (8:21 / 2009)
- Guillaume Barrette — Syncrétisme (7:28 / 2009)
- Félix Lachance — Manège I (5:49 / 2009)
Germany / Allemagne
- Florian Hartlieb — Im vorderen Zimmer des hinteren Raums (12:16 / 2009)
- Oliver Peters — Transkript 18 (19:26 / 2009)
- Alexander Schubert — Nachtschatten (11:38 / 2008)
- Nicolas Wiese — Vertikalzeit (14:44 / 2008)
- Jonas Foerster — Echoes of Urban Life (5:58 / 2008)
The top 5 placing composers as selected by the international jury receive CEC or DEGEM memberships and over $6400 worth of prizes donated by our Project Partners: DVDs and CDs, books and journals. Additionally, the top 3 placing composers receive a total of $700 in cash prizes.
This year a total of 75 composers submitted their work to the project. By clicking on the names below you can read programme notes and biographies for each work submitted, and listen to all works submitted to the project.
We are extremely grateful for the continuing support of our many Project Partners, who help ensure the success of the project and help us recognize the work of the upcoming generation of composers / sound artists. Several people and institutions from Canada and abroad donate cash, recordings, books and journals for prizes awarded to the top 5 placing composers. JTTP Media Partners broadcast and diffuse works in concert from the project.
If you wish to make a donation or become a Project Partner for the next edition of JTTP, please contact the JTTP Project Manager.
This year’s international jury was made up of 38 individuals having a variety of backgrounds and experiences: composers, performers, representatives from various international bodies, radio personalities, electroacoustic educators and past JTTP Top 5 winners.
Kevin Austin (CEC)
R. Dominique Bassal
Rainer Bürck (DEGEM)
Kristine H. Burns (SEAMUS)
Elizabeth Hoffman (SEAMUS)
Fernando Lopez-Lezcano (CCRMA)
|David Ogborn (CEC)
Shawn Pinchbeck (CEC)
Laurie Radford (CEC)
Godfried-Willem Raes (LOGOS)
Ana Maria Rodriguez
Barry D. Truax
Eldad Tsabary (CEC)
Click on the composer’s name to visit their website, or click on the title to hear the work (in mp3 format).
an electronic music piece that explores illusory nature.
Aaron Acosta is a graduate from the College of Santa Fe with a BA in Sound Design in Media in 2002. This is a Self Designed major that consists of studies in Theatre, Film, and Music. Sound helps us interpret the world in a unique way with frequency, amplitude and time: he chooses to explore these realms. He is involved with electro acoustic composition as well as more traditional composition and currently resides in Winnipeg, Manitoba, Canada. Two cds called frequency, amplitude and time and wave are available from Aaron Acosta at http://www.cdbaby.com/all/benkei Subscriber: Electronic Music Foundation. Member USITT & CITT. For more info, visit: www.aaronacosta.com or http://www.myspace.com/aaronacostamusic
Portrait est une pièce rythmique
Après avoir soutenu un intérêt marqué pour la musique électronique expérimentale, Mathieu Arsenault découvre le genre électroacoustique au cégep Saint-Laurent où il suit l’enseignement de Michel Tétrault pendant deux ans. À cette période, il collabore aussi à plusieurs ensembles d’improvisations instrumentales et électroniques. Il entre à l’Université de Montréal en 2007 dans le but de définir son style et de peaufiner son écriture où il étudie avec Martin Bédard, Louis Dufort et Robert Normandeau.
After being interested in experimental electronic music for some time, Mathieu Arsenault discovers electroacoustic music at cegep Saint-Laurent through Michel Tétrault who he studied with for two years. During these two years, he also colaborated to various electronic and instrumental improvisation ensembles. In an effort to define his style and improve his writing, he enters Universite de Montreal in 2007 where he studied with Martin Bédard and Louis Dufort.
ES6 se veut une pièce sobre et contemplative où l’auteur a tenté de comparer les caractères morphologiques de divers matériaux ainsi que les plans et les espaces.
Originaire de Montréal, Devin Ashton-Beaucage a entamé son parcours académique en musique à l’école secondaire Pierre-Laporte où il a pu étudier le violon et la guitare classique. C’est au Cégep de Saint-Laurent qu’il a pu découvrir la tangente électroacoustique de la musique savante sous l’enseignement de Michel Tétreault. Ses études prendront suites en composition mixte à l’Université de Montréal où il aura bénéficié de l’apprentissage de Georges Forget, Martin Bédard, Jean-François Dessurault et Robert Normandeau en électroacoustique ainsi que celui de José Evangelista et Alain Lalonde du côté instrumental.
Devin Ashton-Beaucage grew up in Montreal where he started his academic musical studies at Pierre-Laporte high school, learning the classical guitar and violin. He discovered electroacoustic composition at the Cégep de Saint-Laurent under Michel Tétreault’s wing. He has pursued his studies within the University of Montreal’s mixed composition program where he will have been taught by Georges Forget, Martin Bédard, Jean-François Dessurault and Robert Normandeau in electroacoustics, and by José Evangelista and Alain Lalonde in instrumental composition.
Available on / Disponible sur : Cache 2009 (double-CD)
Syncrétisme est basé sur des sources sonores de nature instrumentale telles que le saxophone, le violon, le piano, le gangsa, l’ugal… Cette pièce se situe au carrefour du monde instrumental et de la musique électroacoustique avec l’idée de transformer ces sources très caractérisées en quelque chose de nouveau à l’aide des nombreuses possibilités de la manipulation sonore. En plus de combiner l’instrumental à l’électroacoustique, cette œuvre fusionne des instruments qui sont rarement associés comme, par exemple, des instruments de traditions occidentales classiques à des instruments balinais (gamelan). Syncrétisme est un jeu en perpétuelle alternance entre le réel et l’illusion…
Syncrétisme is entirely based on sound sources from acoustic instruments such as saxophone, violin, piano, gangsa and ugal… This work situates itself at the border of instrumental and electroacoustic world with the intention of transforming those characterized sources into something new by using the numerous possibilities of sound manipulation. In addition to combine instrumental with electroacoustic, this composition merges instruments that are rarely put together like, for example, instruments of occidental classical traditions with Balinese instruments (Gamelan). Syncrétisme is a world in constant alternation between reality and illusion…
Guillaume Barrette, originaire de la ville de Québec, commence sa formation musicale à l’école secondaire (concerts de groupes, orchestre d’harmonie, stage band). Il poursuit par la suite ses études postsecondaires au cégep de Sainte-Foy où il aborde les principes de la musique et des sciences de la nature dans un programme de double DEC. Durant cette période, il étudie également la guitare classique et la guitare jazz. Pour parfaire sa démarche de création, il décide d’associer ses champs d’intérêt que sont la musique, les sciences, la composition et l’informatique pour débuter un cursus en composition électroacoustique à l’Université de Montréal.
Born in Québec City, Guillaume Barrette started his musical studies in high school (group concerts, band, stage band). Later he was admitted to Cegep de Sainte-Foy where he learnt the principles of music and science in a double-DEC. During this time, he also studied classical guitar and jazz guitar. In order to perfect his creative approach, he decided to combine his interests — i.e. music, science, composition and computer science — and engaged in an electroacoustic composition programme at the Université de Montréal.
It begins with a drip.
The mind wonders, games of free association.
Imagining yourself within the changing scenery. audio-surrealism.
This piece concerns itself with surreal transformations between unrelated, yet recognizable, sound images, creating an imagined, surrealist narrative. Ironically, the initial technical challenges of creating a “believable” sonic transformation (between, for example, a glass breaking and a flock of birds) gives way to a challenge to the listening ear and mind; can the listener’s imagination project a personal narrative which will override the protests of the rational mind?
Technically, the piece was realized using various sound manipulation software including Csound and Max/Msp, while specific transformations where achieved through the use (and misuse) of computed ecological models (of phenomena such as a drip, rain, glass breaking etc.), created by the composer. The term “ecological model”, as well as much of the theoretical and practical implications of the term, were largely inspired by the work of Damien Keller.
Adam Basanta is completing a BFA in music composition at SFU, studying electroacoustic composition with Barry Truax. In his compositions, Adam tries to preserve a connection to real world phenomena while engaging with medium-specific techniques. Particular interests include semiotic frameworks for electroacoustic composition, ecological modeling, binaural phonography and found sound environments. He has collaborated with choreographers Henry Daniel, Troika Ranch (NY/Berlin), and Kinesis Dance (Vancouver). His compositions have been performed at concerts and festivals throughout North America and the UK, and have been recipients of national awards.
A given time. In a vague, shapeless space.
The landscape evolves, ambiguous.
Then, a sudden, irrational strike arrives.
As a shock wave. A given time.
Time stops. Then starts back.
A vague, waiting space.
The doubt settles down.
Far off, slowly wakes up the rustle of fear.
Animé depuis longtemps par la création musicale, c’est d’abord au Cégep de St-Laurent, avec monsieur Michel Tétreault, puis au Conservatoire de musique de Montréal, dans les classes de monsieur Yves Daoust et de Gilles Gobeil, que Pierre-Marc Beaudoin a abordé la musique électro-acoustique. Ses compositions sont issues de patientes recherches, où de larges plans sonores, souvent subtils et friables comme le verre, s’amalgament pour créer de véritables microcosmes, à la fois étranges et familiers. Il démontre par ailleurs un intérêt pour l’intéractivité et la vidéo, éléments qu’il associe à sa musique dans divers contextes (installations, théâtre, Vj/Dj). En 2007 et 2008, il s’est retrouvé parmi les lauréats du concours des jeunes compositeurs de la Fondation SOCAN pour ses pièce Du rire et de l’oubli et Exodus. On ne s’étonnera donc pas que son travail ait été retenu par divers metteurs en scène reconnus (Michel Monty, Benoît Vermeulen, Daniel Paquette, Suzanne Lantagne), puisque sa force expressive semble tout naturellement faire écho à l’univers de la scène, qui exige comme on le sait, ardeur et ouverture.
Animated for a long time by musical creation, it is at first with Michel Tétreault, then at the Conservatoire of Montreal, in the classes of Yves Daoust and Gilles Gobeil, that Pierre-Marc Beaudoin approached the electroacoustic music. His compositions arise from patients researches, where wide soundscapes mix to create real microcosms, at once strange and familiar. He also shows an interest for interactivity and video, elements which he associates with his music in diverse contexts (installations, theater, dance, Vj / Dj). In 2007 and 2008, he was among the prize-winners of the SOCAN Foundation Awards for Young Composers for his pieces Du rire et de l’oubli and Exils. We shall not thus wonder that his work was retained by several recognized theater directors (Michel Monty, Benoît Vermeulen, Daniel Paquette, Suzanne Lantagne), because its meaning strength quite naturally seems to make echo to the scene, which requires as is known, passion and opening.
Il s’agit d’une chanson marquant un nouveau tournant pour ma chanson électroacoustique. Au départ, je voulais traiter du phénomène Second Life (http://secondlife.com/whatis/) qui me fait sentir un peu inquiet à propos des nouvelles technologies, peut-être pour la première fois de ma vie. Paroles, écrites par le compositeur Vincent Bergeron et corrigées et améliorées en temps et lieu par Viveka Eriksson.
It was for a previous era
A previous trace
A previous trace
2) I could take the same
Turn down a contract not written in the norms
You lose your habits in a second life
What’s more troubling ? / Two
Losing my faith
A fear of love / Only in Second Life
Might save him
Focusing on focus groups your wife wanders
His kindness suits him
A change of mind to be analyzed
Important steps to be skipped
What’s important ?
Losing your faith only in..Second Life / “I did not evolve physically the way my brain did.” / When was today ?
When everything fake / A fear of love might save him
What’s more troubling ? / Did not appear at the right moment
I almost lost the right trace
An engagement not so clear..
A doubt in his face and an evolution in front
No place for another kind, his kindness suits him / I could persuade him tonight
A change of mind to be analyzed
Important steps were skipped
Not to be compared to anything else
You were into it for a while...
A doubt in his face
A change of mind to be analyzed / It could not happen any other way
When was today..
Think of it / It was enough for today / He was into it for a while
He thought to himself when was today / What’s more troubling ? / I meant it as a gift
I could persuade him tonight / It was for a previous era
Think of it (x2)
I meant it as a gift !
Né le 21 décembre 1979. Pour le meilleur et pour le pire, cet enfant solitaire ne savait pas trop pourquoi tous faisaient toujours la même chose ensemble. En l’espace de cinq ans, il a rapidement développé une méthode de composition personnelle. À 29 ans, il a déjà composé cinq albums de chansons très complexes.La complaisance contemplative, Vincent ne l’aime plus en musique. Il aimerait entendre des pièces plus denses et plus fièrement grotesques dans la découverte alors que les intentions de départ étaient des plus sérieuses ou alors entendre des pièces fièrement tragiques alors que le drame devait dominer la comédie.Vincent n’a jamais étudié dans le domaine à New-York ou au Québec. Pour le meilleur et pour le pire (c’est qu’ils aiment ça quand les étudiants respectent leur esthétique sonore), il compose par oreille et intuition personnelle.
Nearly everybody knows the classical hunting scene from paintings of the baroque era. That is the kind of hunting scene we are looking at. There are people in uniform, dogs, wind instruments, trees and a lot of things more to be discovered. Not very peaceful at all — and since time passes while we are looking at the picture, the scene develops the character of a surrealist “Cinéma pour les Oreilles”. The hunt is a ritual — and while observing an image of it, we observe the same procedure several times, which of course never will be the same. Hunting Scene is a “Cinéma pour les oreilles” based on simple sampling techniques featuring in some parts minimalism and anecdotal thinking. All the samples are taken from quite peaceful situations — no animal was killed or hunted for the recording. But as you see, in matters of sound the barriers between military, sport, folk-tradition, traffic and so on are not that tall. Hunting means running.
Tatjana BÖHME-MEHNER, born 1976 in Gera (East Germany), musicology and journalism studies at Leipzig University; Master and PhD degree. Specialization in electroacoustic music, music theory, music sociology, music and media. Since 2003 PostDoc research project on electroacoustic aesthetics in France and Germany. 2005/06 DAAD/MSH Research Fellowship in Paris. Cooperation with Ina-GRM, MINT-OMF (Sorbonne) and CIERA. Since 2006 associated member of MINT and CIERA. Member of DEGEM, GfM, EMS. Wide range of publications and projects, paper presentations. Giving lectures and courses at several German Universities. Recently intensifying activities as a composer (e.g. selected in FramentAzioni Competition, Udine (I), 2008 (Cowbell Etude I), selected for 8th Annual International Women’s Electroacoustic Listening Room Project (WEALR09), New Music Festival at Cal State Fullerton, 2009(Soundsounding)).
‘... to be listened to from any point in the recording, for any length of time, up to (at most) one hour, perhaps from another room, preferably while doing dishes, or quite possibly, dusting.’
Performer, composer, writer, video hack under siege at landsLide hermitage studios, subsidiary of the Bond Institute [bondinstitute.net]. Inventor of the harmonic hyper-cube [patents pending], mastermind of the ‘Disposable Music Project’ & THE FROZEN LIBRARY©. Studying & developing alternate musical devices, he constructs a multi-disciplinary project under the working title ‘PLease DO not **use Wet Paint.’
The composer invites you to close your eyes and let the music guide you on a journey. This journey is not limited by the physical boundaries of your head, and you might shrink yourself to the micro level and escape into an infinite playground (or battleground) which is yours to discover or overcome. On this micro level, you may realize that your very being, just like everything else is subject to the all too powerful and uncontrollable elements of nature. So whether you're sailing upwind a light breeze of introspection, falling into a refreshing pool of epiphany, or suddenly caught in a storm of regret, with any luck this journey will help put us in our little place and evoke a new sense of harmony in nature.
This piece gets its source material from a Tibetan singing bowl. 8 channels are preferred to fully capture the “largeness” of the piece.
Biography Peter Bowles likes to dabble into all things music. He is a recent graduate of the School of Contemporary Arts at Simon Fraser University in Vancouver, BC, where he studied acoustic and electroacoustic music composition under Owen Underhill and Barry Truax respectively. He also has a keen interest in live, interactive electroacoustic music performance and film music both of which have been enjoyed in performances and festivals by the community. Currently, he is working on an interactive piece featuring live painting, film, and electroacoustic music, where the canvas becomes a musical instrument capable of transforming its own image on the screen.
“Lights” is a piece that was originally composed as a final assignment for a course in multi-channel composition. Using primarily elongated sounds and granular processing, I attempted to create an evolving and shifting 5.1 ambient surround soundscape. This stereo mix maintains muc! h of the movement and textural elements of the surround piece, but allocates them to a pair of speakers rather than six. Sounds were generated from elongated audio recordings, processed electric guitar and software synthesis and processing using various plug-ins for the freeware software package Buzz.
Jason Boyko is a composer of electronic music, and has been for several years. He originally hails from Saskatoon, Saskatchewan and currently resides in Hull, Quebec. Just prior to living in Hull, he pursued a degree in Electroacoustic Studies at Concordia University in Montreal.
For my track Mundraum, I recorded and processed sounds of carbonated lemonade which was sparkling in my mouth. Mundraum is part of a serial of electroacoustic compositions on which I work at the moment. The topic of this compositions are the resonance chamber of the mouth and non linguistic noises which I did with my mouth, tongue and teeth.
With my development of the computer as a working tool in 1999 I began to work with audio information besides the visual ones. The computer provides the possibility to cut up noises, sounds and music, to analyse them and work with these fragments. I am especially interested in the conditions, under which they come into being, in which context they exist and what kind of effect they have got on the audience. My work begins with finding, searching or producing of acoustic material. By experimenting with the material I get various fragments, which are later combined in a composition. The composition is created in interaction with the structure of the noises and sounds. Interaction is meant as an adaptation of the composition to the structure (dynamics, timbre, pitch, tune) of the sounds and noises or the other way round the sounds are changed for compositional reasons. In my visual work I use the same method. Mostly I work with found pictures or find them with my camera. - 1972, living and working in Hamburg, Germany - 1997-2004 communication design studies at the university for applied sciences, Hamburg. - 2000-2004 specialization in audiovisual work: sound, video, photography. - 2004 launch of the label 1000füssler which releases experimental music. www.1000fussler.com co-founder of the musician-organisation verband für aktuelle musik Hamburg, www.vamh.de - 2005-06 co-organizer of a series of movie events around the topic: „sound and picture“. videoscreenings at: 2:13 festival [athen], metropolis, b-movie, infernale, s.k.a.m. kurzfilmfunk. - 2006 +2007 Participation at the project “Reise ins 21 Jahrhundert”, Composers in the Schools! - 2008 „Walze 1“ is selected for the sonorous art section of the Madrid Abierto festival for publicart and artistical-interventions. www.madridabierto.com - 2008 Exibition „kleine Versammlung mit Geistern + 1 Hund“ (1-11. May at Walk of Fame). Fotographic appropriation artproject together with artist Stefanie Becker. - 2008 Duo with Birgit Ulher (Trumpet) Discography: walze 1-8, cd / fireworks edition records nil_audio, 3”cd-r / AIC 23 ZOOMS, dvd-r + cd-r / 1000füssler every, 3”cd-r / 1000füssler 3”/1, 3”cd-r / 1000füssler heiz, track on the cd „heizung raum 318“ with S. Funck, A. Tietchens, N. Stephan / 1000füssler domichel, contribution to the compilation “Der Michel und der Dom”, CD / Grünrekorder tischbrunnen, contribution to the compilation “Verfassung”, LP / Hamburger Hörbar e.V. saturday night, mp3 / www.compostandheight.blogspot.com alugeige, mp3-single / www.plakatif.net soon: 3 harp treatments, cd / collaboration with Rhodri Davies www.gregorybuettner.de www.1000fussler.com www.myspace.com/gregorybuettner
Les forces de la nature, en fragments.
C’est à l’âge de 17 ans qu’Hugues Clément découvre la musique électronique. Après quelques projets personnelles, il crée certaines pièces pour le spectacle de danse contemporaine Sortez du cadre! en 2008, de la chorégraphe Élisabeth Desbiens. C’est à la suite de ce projet qu’il développera une grande passion pour la création pour le mouvement.
Il obtient en fin d’année 2008 la bourse Euterke offerte par la Société des Arts Technologiques. Il participe par la suite au concours A Tue-tête, pour y obtenir la deuxième place. Également en 2009, il collabore au projet Paysage Sonore de la Biennale de Montréal, ainsi qu’au festival Echo d’un fleuve (Montréal) pour y présenter Antiforme, soit une performance de musique électronique avec danseurs contemporains.
Hugues étudiera l’électroacoustique à l’Université de Montréal en dès septembre 2009.
‘wolves’ is a partially acousmatic piece in which processes of analog sampling and digital sample manipulation comprise the majority of compositional technique. The original sounds used in this composition derive entirely from recordings of indefinitely pitched analog and traditional acoustic instrumental sources. The formal intention with the piece was to extend a loosely organized A-B-A form within an electroacoustic context in which emphasis would be placed on the aural distinction and modification of layers between sections.
Sarah Davachi is currently studying philosophy and music, with a focus on electroacoustic composition, at the University of Calgary. Her pursuits in both fields often intersect and have resulted in a general interest towards abstract processes of composition and object organization within, among other things, various art forms. She is a classically trained pianist, though her compositional efforts are largely electronic based. She is also currently employed at Cantos Music Foundation in Calgary where she serves as a gallery interpreter and researcher of acoustic and electronic keyboard instruments. The application of music to specific philosophical ideas is an area in which she hopes to continue to indulge further into in t! he future.
A moody piece created for a short film in which a hired killer contemplates the action of killing before doing so.
Pierre Desmarais has received a Masters in Composition from l’Université de Montréal. His graduating composition entitled ‘Le cri, d’après Edvard Munch’ was performed by the chamber orchestra I Musici de Montréal under the direction of Yuli Turovsky. He also composed ‘Interstice’ for the choreography workshop À Suivre for Les Grands Ballets Canadiens. Of late he has composed music for the short ‘À l’aube’ by François Tremblay, which was chosen for the festival viewing Métissé Serré as part of the Festival des Films du Monde. He composed music for the video installation ‘Power Lines’ by Stephania Gambaroff, which received the pulic prize at the Toronto Urban Film Festival, and the international artistic short at the New York International Film and Video Festival. He recently composed music for the short films ‘Jusqu’au sang’, ‘Homogène’, ‘La chop’ et ‘L’impératrice, le coupable, les scribes et le bossu’, ainsi que ‘CINDY 3000’, by David Plasse and François Tremblay. These five shorts were created for the TV show Fais ça court!
De l’origami sonore où l’organisation des matériaux s’est faite de manière plastique. Ainsi, différents espaces, rythmes et timbres se recoupent dans cette oeuvre pour créer son propre univers sonore.
An origami where the sound is organise in a plastically. Therefore, different timbres, spaces and rythms are overlaping to create a distinct soundscape.
Gabriel Dufour Laperrière vit et travail à Montréal. Il a obtenu le premier prix de composition dans la catégorie Sir-Ernest-MacMillan de l’édition 2008 du Concours des Jeunes Compositeurs de la Fondation Socan. En plus de jouer de la contrebasse pour divers ensembles et projets, son travail s’étend aussi à la participation de différentes collaborations avec des artistes visuels et sonores.
Gabriel Dufour Laperrière lives and works in Montréal. He won the first of Socan’ Sir-Ernest-McMillan composition price in 2008. He plays double bass and composes but he also participates in collaborations with others artists from other field.
La 640 véhicule une vie intense. L’autoroute longe le Lac des Deux-Montagnes et la rivière des Mille-Îles, ainsi que la ville de Montréal sur toute sa longueur. Elle commence sa course à Oka où règne une atmosphère bucolique et se termine à Charlemagne ville natale de la grande fille qui chante « My Heart Will Go On ». Entre les deux extrémités on y voit Montréal dans toute sa grandeur. On y aperçoit entre autres l’Université de Montréal, l’Oratoire St-Joseph et le Stade Olympique. La nuit c’est un spectacle de lumière que la grande ville nous offre. Sur cette autostrade, tantôt c’est la frénésie des embouteillages des heures de pointe, tantôt se sont des courses effrénées de bolides, tantôt c’est le calme plat. 640 est ce qu’on y entend jour et nuit, syntonisez bien votre poste…
Étudiant au programme de musique numérique à l’Université de Montréal Certificat en informatique HEC Baccalauréat en guitare classique UQAM J’ai exploré différents genres musicaux; classique, musique du monde, jazz, funky, pop, musique traditionnelle. J’ai fait plusieurs arrangements et des adaptations ainsi que quelques compositions pour la guitare. Maintenant je sillonne le monde de l’électroacoustique.
The basic idea is to convert Mussorgsky’s music, that was inspired by pictures, back into pictures. But not regular paintings, but sonic images in the three-dimensional space. These electroacoustic pictures tell imaginary stories.
2006-2009 Research Associate at the Univercity of applied sciences Schwaebisch Hall 2004-2007 supplement study of electroacoustic composition at SeaM of FRANZ LISZT music academy Weimar and at the academy for music an theatre in Tallinn, Estonia (Prof Robin Minard - Prof. Margo Kolar). 2000-2004 study of mediadesign at Bauhaus University Weimar (Prof. Jens Geelhaar - Prof. Robin Minard) focusing on audible media. 1973 born in Bochum Germany
Available on / Disponible sur : Cache 2009 (double-CD)
Humans and machines, voices and noises — an urban soundscape. The city as a life and movement representing entity is the inspiration and starting point of my composition. No more. Out of the editing and transformation of the sound material there arises another style of sound which stands for his own and doesn’t imitate the one of a city in any way. There are some very abstract relations to an urban sound, but they appear more like holdovers that integrate in a new context and thus reach a new meaning.
Jonas Foerster was studying music for future employment in education when he discovered his interest in electroacoustic music. He has been studying Electronic Composition at ICEM / Folkwang-Musikhochschule in Essen, Germany since 2005. His current work consists of multi-channel, tape-based pieces and most recently real-time sound and image processing. Complementary to this he is also a composer for popular music productions and freelance sound designer for web media, animation and advertising. Foerster’s compositions have been performed at internationally renowned festivals and conferences such as ICMC, SMC, Musicacoustica Beijing, etc. Recently he was nominated for the Deutscher Musikautorenpreis 2009 (German Music Author Prize 2009), which is awarded by the German performance rights organisation GEMA.
Concert for glass sheets, computer, and room microphone.
For the concert Modul 2.4 three glass sheets are used instead of conventional loudspeakers to play back a composition from Patrick Franke. This composition is made of audio recordings from a Dan Flavin exhibit*. Franke selected sounds that represent a certain spatiality as they resonate with the glass sheets. As the composition is played back, Daniel Neumann records the emerging sound in the room and generates live his portion of Modul 2.4. He uses a multitrack re-recording technique in which the room functions as an architectural filter and is played as an instrument.
In this performance, the focus is on the acoustic communication within a defined media system. The limits of the system are defined, for example, by the acoustic properties of the glass sheets. Following the methods of musique concrète or tape music, the manipulation of the materials is limited. So that the piece is transparent, and tangible, Franke Neumann also don’t use effects or plugins.
*Dan Flavin - Eine Retrospektive - Pinakothek der Moderne, Munich, 2006
“Tes Régions” a commencé comme une étude d’articulation électroacoustique. L’envi m’a rapidement pris de développer une écriture qui appuyerait l’atmosphère onirique qui se dégageait de l’éxercice : des images d’un personnage en quête de l’inconnu. Je sentais la nécessité d’apporter de la tonalité pour renforcer l’émotion qui échappait du morceau.
“Tes Régions” began as an electroacoustic articulation study. Very quickly, I wanted to develop a compositional form for the dream-like atmosphere I was discovering in my work : images of a character searching for the unknown. I felt the need to introduce tonality which reinforces the emotional quality of the material.
Né en France, Tomas Furey a suivi très tôt des cours de piano classique au conservatoire municipale puis nationale de la région de Paris. Une fois ses études classiques terminées, il part pour Montréal où il y découvre l’électroacoustique, à travers lequel il commence ses propres compositions sous l’écoute du compositeur Montréalais Louis Dufort.
Tomas Furey was born in France. At a young age, he began studying piano at the “conservatoire municipale” with Mireille Phillip and then at the “conservatoire national de la région de Paris” with Billy Heidi. After obtaining his baccalauréat, he moved to Montreal where he discovered electroacoustic music. He began studying composition under the direction of Montreal composer Louis Dufort.
City of Seas est une composition libre, en trois actes, sur une cité imaginaire. Le matériau principal utilisé pour la pièce est la guitare classique.
Olivier Gagnon a complété un DEC en guitare classique et il termine présentement un baccalauréat en composition électroacoustique à l’Université de Montréal.
Passage imagé dans un paysage sonore où l’auditeur assiste au doux délire d’une errance entre le rituel religieux et le métissage culturel. Inspiré d’une scène mythique où Joe Dalton ingurgite le « curieux » remède médicinal de Plume de Serpent (réf. La Ballade des Dalton), l’ouverture de la pièce prend la forme d’un étrange mirage situé à mi-chemin entre une délicate lucidité et un fin délire. La suite ? Il vous faudra parcourir le désert pour espérer deviner ce que contenait la potion magique…
Portrayed passage within a sonorous landscape where the listener assists to the smooth delirium wandering in cross-breeding religious rituals. Inspired upon a classical cartoon scene where Joe Dalton gulps down Snake Feather’s « mysterious » remedy (ref. La Ballade des Dalton), the overture of the piece acts like a strange mirage on a delicately lucid mind. What follows ? You will have to travel through the desert to hope to know what contained the magic potion…
This work is a romantic ballad created for feedback between a speaker and microphone, a music box and a grand piano. The sounds of the music box and grand piano are voices of objects longing for each other’s affections: I captured sounds of both instruments as the music box lay on the piano’s strings, recording and enacting curious physical relationships.
Though similar, the fundamental differences in the objects result in equal parts anxiety and attraction. Pure tones of feedback function as members of a chorus, narrating the story with an all-seeing perspective.
Erin Gee is an emerging Canadian artist working in areas of video, performance, robotics and audio. Gee investigates the emotional and mythical underpinnings of science and technology as a way of exploring intimacy, liminality, and the gap between “self” and “other”. She earned a Bachelors of Music Education (2006) as well as a BFA in Visual Art (2009) from the University of Regina. In addition to being selected to participate in the upcoming 9th Annual Emerging New Media Artists exhibition at Interaccess, Toronto (2009), her work has been shown at AKA Gallery, Saskatoon (2009), FilmPop! International Video Festival, Montreal (2008), Neutral Ground Gallery, Regina (2008), and Eyelevel Gallery, Halifax (2007). She is also a founding member of holophon.ca, a Regina-based audio collective, website and concert series with a focus on audio diffusion and electroacoustic work.
Available on / Disponible sur : Cache 2009 (double-CD)
En 5 mouvements : Prélude, Allemande, Courante, Sarabande, Gavotte 1&2. Dans la tradition philosophique matérialiste qu’inaugurent Épicure et Lucrèce, les atomes chutent parallèlement dans le vide, suivant une légère diagonale. Si l’un de ces atomes dévie de sa course, il « provoque une rencontre avec l’atome voisin et de rencontre en rencontre un carambolage, et la naissance d’un monde ». (Nicolas Bourriaud dans « Esthétique relationnelle »).
Une pièce par tableaux. Divers endroits figés. L’ennui. La poésie de l’immobile. Comment actualiser la Suite de danses imposée à l’époque baroque? Bach composait des suites de six mouvements : Prélude, Allemande, Courante, Sarabande, Gavotte 1 & 2 et Gigue. Bien sûr, il y a des variantes. Ce qui m’a fasciné chez lui c’est que de son Allemagne natale, il avait accès aux partitions venant de France, d’Italie, d’Espagne et d’Angleterre.
Comment aujourd’hui, avons-nous accès au reste du monde et comment celui-ci se transcrit dans nos œuvres? C’est par l’art et la rencontre entre le réel et l’onirique que j’ai voulu exprimer mon idée de la Suite. Entre espace ou état psychologique, la musique.
A work of tableaux. Different spaces captured motionless. Ennui. Poetry of immobility. How can the dance suite imposed in the Baroque era be made contemporary? Bach composed suites in six movements: prelude, allemande, courante, sarabande, gavotte 1 & 2, and gigue. There are variations, of course. I was fascinated that from his native Germany, he had access to scores from France, Italy, Spain and England. How is our access to the world today transcribed in our work?
Through the meeting of reality and dream, I express my idea of the suite. Between spaces or psychological states, music.
Olivier Girouard fait de la musique comme on fait de la poésie, en restant attentif sur le monde et en pointant ce qu’il trouve beau. Il collabore avec des artistes de différentes disciplines notamment : la danse, l’art sonore, la vidéo et l’art visuel. Après des études en techniques d’écriture musicale et en chant à l’Université de Montréal, il a complété une maîtrise en composition électroacoustique au Conservatoire de musique de Montréal auprès de Yves Daoust, Louis Dufort et Martin Bédard. Engagé depuis plusieurs années dans la promotion et la production de concerts de musique contemporaine, Olivier Girouard s’est joint à Ekumen en 2008 pour présenter ses projets de musique. Il lance son premier disque composé des pièces pour la danse: La nuit nous déconstruit par cœur en mai 2009.
Olivier composes music as one writes poetry, being attuned to the world and highlighting the beauty. He has collaborated with artists from different disciplines including dance, sound art, video and visual art. He studied composition and voice at the Université de Montréal, and he recently finished a masters in electroacoustic composition at the Montréal conservatory, where he studied with Yves Daoust, Louis Dufort and Martin Bédard. Olivier joined the collective Ekumen in 2008, through which he presents his own work as well as promoting and producing contemporary music events. He launched his first album, La nuit nous déconstruit par cœur, a collection of pieces created for dance in May 2009.
Originally from Quebec City, Philip moved to Montreal where he now studies the art of electroacoustic music at Concordia University.
“After Years of Grey Airplanes” is a piece built from forgotten sounds - those bits edited out from other compositions, here repositioned as focal points, creating a sound world one extra step removed from the original, acoustic source, and thus one that operates solely on an internal logic. Formally, there is a strong anti-algorithmic approach to composition, wherein the composer has taken hundreds and hundreds of microedits from various parts of the piece and built the propulsive bed from jump-cuts.
This internal logic is used to remove any desire on the part of the listener to “solve” the piece - very quickly one realizes the patterns are unsolvable, and thus the formal elements can instead present a philosophical motivation, which in this case is one of violence, or “punching through”. Indeed, not literal violence, but those moments which jump out and present themselves as “incorrect”, and hopefully move the listener towards a slightly uncomfortable pla! ce.
“Airplanes” is the first movement of “Cast A Widening Circle”.
Matthew is a composer and musician living in Chicago. He holds a BFA in Music from Simon Fraser University’s School for the Contemporary Arts, and an MFA in Sound from the School of the Art Institute of Chicago. His work has been presented in festivals and exhibitions worldwide, and he maintains an extensive collaborative practice with dance, video, installation, and film. http://www.maxalexander.net
Matalist is composed entirely of bell sounds with a concentration on hyper-intensifying the overtone series of certain bells to a neutral perceivable amplitude within all frequency ranges. The piece also delves into concepts such as contrast and afterthought.
Todd Griffiths is a Concordia University fine arts student currently completing an undergrad in electroacoustic studies. Despite a fascination with acousmatic and ambient electronic composition, Todd spends much time recording avant-garde music and playing in an improvisational didgeridoo duo. While pondering a Masters degree in electronic music therapy and completing a minor in psychology, interest in sound/brain relationships are often the driving force behind imagination and expression during the compositional process. Being involved with the Montreal Sound Map project, the creation of CESSA (Concordia Electroacoustic Studies Students Association), the ÉuCuE concert series, and the Art Matters festival have all collaborated in broadening his viewpoint on sonic arts in Canada and inspired him to pursue endeavors in the field of sound.
Available on / Disponible sur : Cache 2009 (double-CD)
Im vorderen Zimmer des hinteren Raums is an interplay between electroacoustic composition and radio-play art. There are five concrete scenes (bathroom, kitchen, playground, metro, forest), the order of which makes certain narrative sense. In the intersections between the scenes, single sounds of the scenarios are alienated and musically assimilated to create surreal sound worlds. The intermixture of these sound worlds and the concrete scenes shall produce a tension between clear connotations and oneiric patterns and should lead the listener to constant questioning of what he has just heard.
Born in 1982. 2003–2006 academic studies in English Literature and Philosophy at Ruhr-Universität in Bochum, Germany. 2005–2007: private composing lessons with the composer Luís Antunes-Pena. Since 2005: member of the multimedia art-project kybernetikon ruhr (www.kybernetikon.de) 2006: scholarship of the Folkwang-Hochschule in Essen, Germany. 2008: participation in the interdisciplinary festival Feldstärke at Zeche Zollverein in Essen; participation in the international festival for electroacoustic music musicacoustica 2008 in Beijing, China. Since 2006: studies in electronic composition with Roman Pfeifer and Prof. Thomas Neuhaus at the ICEM (Institute for Computer Music and Electronic Media) of Folkwang-Hochschule in Essen. Florian Hartlieb lives and works in Bochum, Germany.
Live and work in Montreal, Canada
Hope-carriers are small “beings” of short duration. They appear and disappear. They follow each other. Sometimes they appear in clouds, dispersed in a landscape. They may be similar to one another. They create gestures, rhythms, clouds that are stratified and fragmented. They form an associative field. Practically, they are the result of contingent, structural operations on sound recordings and the selection of specific constellations. They meet on two levels of production: the machinery of creation and the machine of selection, two machines, each with its own contingencies and therefore each with its specific determination of the music. They exist in a context of pseudo-deterministic lines. But why do they need this context? Selected lines, creating some small physical phenomena. Frequencies as lines. Lines as rhythms — pulsating. A line that passes through a harmonic field. A fluctuating restlessness. A line that approaches the “hope-carriers” and shifts away. Does this context create a form? A form that does not set the goal of defining a development or of controlling contrasts. A form that only enables one to detect something, that makes it possible for one to hear the sounds as something. What is there in this case? The linear sound creates context as form, opening up the possibility of interpreting the sounds in a spatial manner. Gestures appear be to continued behind the horizon. They are liberated from their own consistent appearance in the field of vision. This makes the associative field possible, since it is no longer reduced to its given representatives.
Born in Wuppertal in 1981, lives and works in Berlin. Study of composition at the Folkwang-Hochschule in Essen between 2002 and 2005. Further studies of philosophy and computer-science in Berlin. Since 2006 studying Mediengestaltung at Bauhaus Universität Weimar, working in the “Studio für elektroakustische Musik” (SeaM) at the Musikhochschule FRANZ LISZT.
In “Go Slow Old Hero” I allow certain criteria to shape the work. Starting from an existing composition: J S Bach’s Trio Sonata 5 C-major Allegro, I introduce a radical delay to the piece, lowering the tempo to a mere 3 BPM.
Amplification and modification is applied to certain portions of the score; programming of synthesis to best represent the composition is essential. Other interventions include preparation of an excerpt (in its entirety, the piece runs at over one hour).
The notion of constraint continues to be a guiding principle; by setting up restrictions on numbers of tracks, instrumentation and other similar limitations I create systems that might compare to rules of a game; as is often the case, the most elegant rules lead to the most compelling games.
Jay Bundy Johnson AKA: Jed Bundy I am a visual artist with preferred mediums: audio-kinetic sculpture and installation. My work is shown and collected in Canada, the United States and Europe. A performing musician since the mid 70’s my love of electro-acoustic music is rekindled with the advent of VST synthesis. Education: Emily Carr Institute of Art and Design 89-93
The composition is based on sounds I recorded during a two week expedition in the Amazon rainforest at Marmori Lake, Brazil. Sounds of frogs, insects, bats, birds, river dolphins, fish, crabs and the howling monkey became part of the piece, representing the incredible biodiversity of this place. Some processing like filtering, time-stretching and granular synthesis was added, forming transitions and adding a more personal perspective.
Ludger Kisters Curriculum Vitae -born on the 03.12.1975 in Rheinbach, Germany -1997-2002 studied Composition (Diploma) with Michael Obst in Weimar -2003-2004 Postgraduate studies (Master of Music in Composition with Distinction) with Jack Body at Victoria University of Wellington, New Zealand -2004-6 Postgraduate studies in Electroacoustic Composition with Robin Minard in Weimar with a scholarship of the Land Thüringen -participation in composition summer courses at Royaumont 2004, IRCAM 2005, Acanthes 2006 and 2007, Ensemble Modern Nachwuchsforum 2006 -2006 composer-in-residence at the ICST (Institute for Computer Music and Sound Technology) Zurich -2007 composer-in-residence at Künstlerhof Schreyahn, Germany -2008 DAAD-scholarship to compose at the ICST Zurich -lives and works in Flensburg, Germany, currently working on a commission of Bayerischer Rundfunk (Bavarian Radio) -various prizes, e.g. 1st Prize in the International Composistion Competition of Bavaria 2000 in Würzburg for “Im Traum wird geschlafen”, Franz Liszt Prize 2003, Douglas Lilburn Award 2003 for “Schattenspiel”, Wellington City Council Music Prize 2003 for “Colours”, Prix Residence Bourges 2005 for “Takutaku- a story line, part II” numerous performances and radio broadcastings, e.g.: Colours for traditional Javanese instruments, Ensemble and Tape, Ensemble Gate 7 feat. Dody Satya Ekagustdiman, Wellington (New Zealand), 05.06.03 Te Raekaihau for traditional Maori-instruments (Taonga puoro) and Orchestra, Staatskapelle Weimar feat. Horomona Horo, conductor: Peter Hirsch; Weimar (Germany), 18.04.04 Sol de la Infancia for Tenor and Orchestra, Ensemble Orchestral Contemporain, conductor: Zsolt Nagy; Royaumont (France) 02.10.04 Amygdala for Orchestra and Tape, MDR-Sinfonie-Orchester, conductor: Roland Kluttig; Leipzig (Germany) 01.02.05 In between, and further for Flute, Violin and live-electronics, Carin Levine and David Alberman, Weimar 20.04.06, and Ensemble Modern at Weltmusiktage Stuttgart (Germany) 2006 Mäander for String quartet and live-electronics, Arditti quartet with IRCAM, Metz (France) 18.07.07 Fluchten for 6 dancer and live-electronics, Kunstfest Weimar (Germany) 2007 Der Taumel, 8-channel-surround-tape, Berlin 23.09.07, ZKM Karlsruhe 22.06.07, and Mantis Festival University of Manchester 03.11.07 Fantazia for Viola (Andreas Fischer) and Live-Electronics, Zurich 02.10.08
Available on / Disponible sur : Cache 2009 (double-CD)
For hexaphonic (6-channel) tape. Kakusei (Japanese for “Awakening”) is an acousmatic rendering of a dream, and the self-realizations that follow from the act of awakening. The dream world consists of two primary settings: the first is associated with aspects of ritual, with recurring horn-calls announcing new, fragmented states; the second setting is subaquatic, with traces of the ritual horns now submerged and distorted. At this point there is a noticeable reduction of event density, and the events themselves become viscous, moving with dream-like slowness. Through this darkness emerge the beginnings of self-realization, which gradually strengthen by way of an extended crescendo that finally culminates with a sudden snap back to consciousness — or perhaps it is merely another hallway to yet another dream…
Acoustic and electroacoustic composer Yota Kobayashi was born in Nagoya, Japan, in 1980. He moved to Vancouver in Canada in 2000 and studied music composition at Simon Fraser University with Barry Truax and Owen Underhill. He is currently based in Vancouver, where he works actively with film, dance, and theatre productions, while he teaches electronic music at Langara College and sound design at Stylus College of Music and Technology. In 2006, his composition Reminiscence was awarded third prize in the Prix Jeu de Temps / Times Play electroacoustic competition held by the Canadian Electroacoustic Community. In 2008, his composition Tensho — a Japanese word meaning roughly “rebirth through regression” — was awarded first prize in the international competition for electroacoustic music Musica Nova organized by the Society for Electroacoustic Music in the Czech Republic.
The track is the opening to my next album; this album will be dedicated to the poems of Robert Graves.
The song features a poem by Robert Graves (Always) as spoken word. Both clearly audible and electronically alienated.
It features an natural outdoor-ambience: a very warm and sunny day from last October, out in the pa;atialforest, close to a forest cabin. People walking knee-deep through foliage; children playing with dogs and shouting for joy; lovers cuddling on blankets in the sun. All this for the last time of the year: soon it will be cold. Winter arrives.
Born in 1959 in Giengen, Germany. I started to produce electronic music / synthesizer music in 1978. So I am dedicated to this kind of art for 30 years now. — Very little of my music has been published. — Some of the very rare published tracks have been awarded from communities within the german electronic music scene.
I am an amateur. Let me say an amateur with professional ambitions. I am not able to read the score nor do I know anything about music theory. Everything I know about producing electronic music is the result of my autodidactical efforts.
Available on / Disponible sur : Cache 2009 (double-CD)
Félix Lachance studied electroacoustic composition at Concordia University and Université de Montréal.
Hockey as always been a fascinating and inspiring sport for me. Having grown up in Montreal, the legacy of the Canadiens is undoubtedly very strong in me, as much as the several years spent on the ice practicing and dreaming about Hockey. Many of these sounds associated with hockey have a vivid and pleasant memory attached to it.
Sébastien Lavoie – Short Biography During his Classical Singing studies at Vanier College, Sebastien Lavoie discovers the work of Jean-Claude Risset and Francis Dhomont at the notable concert series « Rien à Voir ». That was the foundation that led him to study electroacoustic composition, which he is currently doing at Université de Montréal, under the guidance of Robert Normandeau. Sound explorator, Sebastien travels through the diverse avenues of noise and music in order to capture and compose the novel sounds.
Le bruit constant, stress normale des villes modernes. Retrouverons-nous le silence ou du moins un semblant de calme un jour.
Merci à la ville de Montréal pour sa source de matière sonore constante.
Etienne Legast est compositeur et guitariste. Il participe à divers groupes instrumentaux tels que Compassion Over Killing, Zarathoustra et est actuellement membre des formations, Ravachole et Roche Ovale. En tant que compositeur, il travaille auprès de vidéastes ainsi que de réalisateurs de courts-métrages et de dessins animés. Bachelier en composition électroacoustique à l’Université de Montréal, son travail est principalement orienté vers la musique mixte et le traitement en temps réel. Il affectionne particulièrement l’utilisation d’instruments traditionnels non-occidentaux, artisanaux et virtuels.
Simon Levine is a pianist and electroacoustic composer based in Montréal.
What does a portrait say about the sitter, and about the painter? What does each one renounce or invest in the process of likeness-making? Rather than a painting, this piece is more like a blurry snapshot of a mere few moments of Ian’s life as he scuffled about in the cloistered studio (or among the radiant stars of Sirius and other constellations). It is a monochrome record of shadows and murkiness, flickers and flares. Ian’s vocalizations -- by the processing of which this piece is made -- are potent and challenging. Working through them is part of my larger attempt to renegotiate concurrent, ubiquitous opposites: harsh versus ethereal, dark versus luminous, epic versus quotidian, hierarchical versus level-and-equal.
Yu-Ting Lin is currently completing a Bachelor of Music at the University of Alberta.
The piece reflects the sounds that emerge from the feedback in a room. The form is deeply connected to the composition of the instrument. The instrument was specially drafted for this piece. Three microphones represent three different rooms. The first plays back the sound of the complete room. Two more are positioned in the shell of a shell. The winding room of the shell acts as a resonant filter on the signal in the room. The signal on the microphone is delayed and granular-synthetically processed, before it is send back into the room. The feedback loop is protected against override by a self-regulating mechanism. The resulting system, leaned on the works of Agostino di Scipio, can be operated on by manipulation on the frequency and the length of the grains, as on the rate of the playback. Furthermore, a small record of a pulse response is played back in various length into the room. On the one hand this excites the system, on the other hand the sound provides a contrast to the flat sound of the Larsen Tones. Every microphone feeds its own system. The three systems are more or less independent from each other. Influences between them only take place in the room, where they are all played back. The subtitle that could be translated to “strictly speaking a canon” is justified by a control-rate delay between the three systems. The control data, inserted with a Wacom-tablet, is delayed between two and eight seconds. This way, the three systems are distinguished from each other.
Björn Lindig was born 1978 in Basel (Switzerland). He received his first lessons on the piano at the age of 7. Later he changed to the guitar as his favourite instrument. After a three mounth visit in Ghana (Westafrica) he started studies in school music at The LISZT SCHOOL of Music in Weimar. Besides he attended courses of electroacoustic composition at the SeaM in Weimar. After graduation he started postgraduate studies of elector-acustic composition with Robin Minard.
Cette composition fut réalisée par manipulation numérique d’enregistrements variés de performances improvisées de trompette et violon.
Realised through digital manipulation of various recordings of simultaneously improvised trumpet and violin performances.
Étudiant à temps plein a l’Université Concordia, en troisième année d’un B.F.A. en Études électroacoustiques.
Electroacoustics student at the University of Concordia
“The Woods behind the Water Tower” is based on the myth of Lamia, in which Lamia, a mistress of Zeus, is forced to bear witness to the death of her children at the hands of a jealous and vengeful Hera. She is then prevented by the Goddess from closing her eyes and sleeping, denying her respite from her tortured mind. Her only escape is provided by a sympathetic Zeus who allows her to remove her eyes from their sockets. The psychological trauma caused by the death of her children leaves lamia broken, eventually turning her into a monster. She terrorizes towns by using an alluring whistle to lead the children of the townsfolk into the depths of forests, never to be seen again. In this interpretation, Lamia takes on a hermaphroditic sexuality, as she does in Aristophanes’ “Peace.” This quality is heightened by the prominent use of whistling, the only form of tonal human communication free from gender bias.
Theo Mathien, born in 1978 in Toronto, began composing while completing his Bachelor of Arts degree at Queen’s University. There, he studied composition with Dr. Alfred Fisher, Dr. John Burge and Dr. Kristi Allik, with whom he studied electroacoustic music for three years. Following graduation in 2001, Theo began a Bachelor of Fine Arts degree at Concordia University. He continued his studies in composition winning the school’s Alain Award in electroacoustics. After a brief hiatus in Austin, Texas where he worked for the City of Toronto as a Creative Youth Envoy, Theo returned to school to study composition with Dr. Paul Steenhuisen and Dr. Howard Bashaw at the University of Alberta. Upon completion of his degree, he took part in the National Arts Centre’s Young Composers Programme. Theo is now pursuing his Doctorate of Music with Dr. Robert Normandeau at the Université de Montréal.
Recorded to cassette tape in stereo and made digital with the same panning and output.
playing music since sixteen in bands, attended NSCAD University in 2003 and graduating in 2008 it was during this period visual art and music formed at sincere bond. Always looking for something genuine, organic, jarring and engaging. This is the art I want to present, with ease.
Available on / Disponible sur : Cache 2009 (double-CD)
Bébelles est une pièce superficielle et matérialiste. En pleine crise économique, elle présente une ode au bas-de-gamme, au pas cher, à ce qui ne sert pas longtemps, à ce qui est brisé, à ce qui désormais nous encombre. On parle des petits plaisirs qui font leur peu de bien rapidement avant de sombrer dans l’inutilité; des vieux jouets, des caméras jetables, des céllulaires, de leurs emballages, mais surtout, le cube de glace qui flotte dans mon verre de boisson gazeuse générique.
Christopher Mclean a grandi à Montréal où il a appris le piano, la guitare et la trompette. Il jouait ses premières compositions -à tendance blues — à la guitare avant de se pencher plus sérieusement au piano. Suite à une formation autant en musique classique qu’en jazz, il a développé un intérêt particulier pour l’improvisation. Christopher Mclean a été initié à l’électroacoustique au cours de ses études en composition avec Michel Tétrault au Cégep de St. Laurent. Il poursuit présentement sa formation en composition au BACC à l’Université de Montréal.
Christopher Mclean grew up in Montréal where he learned the piano, guitar and trumpet. His first compositions were bluesy and played on the guitar. He then started focussing on the piano, developing a particular interest for improvisation. Christopher Mclean was initiated to electroacoustic music during his studies in composition with Michel Tétrault at CEGEP St.Laurent. He is currently continuing his composition studies at Université de Montréal since 2008.
Luigi Monteferrante, a Canadian poet & composer from Montreal, moved to Italy after dropping out of Concordia’s Classics Program. His work has been published in: Neon, Quills Canadian Poetry Magazine, Yellow Mama, Word Slaw, poetryfriends, Poesia/Indiana Bay, kudos, Sonar4, Poet’s Ink Review, The Battered Suitcase/Vagabondage Press, Twisted Tongue, Danse Macabre, Language & Culture, Kritya, Burst Now, Motel 58, greenbeard, Glass Poetry Journal, Wow, Orbis, Faraway Journal. Short stories: Chicago Quarterly Review, Happy. First novel, At the Hearth of the Devils Lair, followed by 2000-mile book tour on a VESPA scooter through Montreal, Toronto, Chicago, Annapolis, Baltimore, NYC in 2002. Also a singer/songwriter aka McMonty, the latter’s songs have been aired on Fleet FM (NZ) and Radio 8 (Washington). GANG OF TOLSTOY is a new ensemble of experimental, electro-acoustic & contemporary classical music for the savant-garde: www.myspace.com/gangoftolstoy. GOT’s debut album released 1st May 2009. Title: No Place Like Happy. Luigi is Italy Co-Director for Summer Literary Seminars, Creative Writing Programs based in Brooklyn and Montreal, with workshops in Russia, Kenya, Lithuania, Italy; Press Officer/International Development for TEATRO ROSSETTI, the Town of Vasto’s municipal classical concert venue; member of Editorial Board of FORMA FLUENS, an International Literary Magazine, publishing fiction/non-fiction in translation to English, French, Italian. More SONGS by McMONTY can be heard at: http://radio3.cbc.ca/bands/McMonty.
sound composition based on multi-channel “bodily recording” during a walk in a rural landscape — listening as a sonic experience, pointing on an issue of corporeality of sound - Geographic factors around “40° 55’ 5” N, 8° 3’ 36” W” is very complex with hills, trees, river and so on. The complexity of the environment and the movement in the space during the walk provides rich and diverse fascinating sonic material. The continuous change of the environment at each step contains dynamic aspect. Once you discover one sound, you’re already leaving from the sound, as you move on… Walking is here a creative and active process to create a personal contact to an environment. The bodily experience can be memorized intimately by the walk. Recording is regarded as a challenge to document a physical activity (=walk) sonically with multiple listening perspectives in a simultaneous time frame, which later provide an unusual sonic space in stereo format. Multi-channel recording during a walk — membrane of microphone as “extended ear/eardrum”. Two microphones are attached on both of the artist’s feet and another on an object, which is made out of stone and wood. The object is carried between the each feet during the walk and it makes continuous sound, as it rolls/slides on the ground. The geographic elements on the surface (grass, stone, soil, water etc.) are sonically transformed by the contact with the object. The microphone, which is attached on the object very close to the ground, records the texture of the surface on the ground. This recording of detailed texture of the ground emphasizes the possibility of perceiving tactile association of the ground by the sound, when you later listen to it. The two microphones on the feet record the sounds of footsteps and the contact between the ground and the object in stereo. When you listen to the recording of the feet, the movement/panning of the object sounds like in oval form as a result. (Thus you might find the principle of our spatial perception, which relates “central perspective” from the point of ears (head), as the recorded perspectives are actually out of your head!) These bodily recording has been cut into many sequences, which contain clear spatial and tactile quality and build structure for the composition. The concept of the dramaturgy is based on the idea of “walk”, in which the environment changes continuously. From these whole thoughts and practice, the composition builds a flow of the bodily experience in the rural space.
“Nautilus” is the first in a series of works based on an electroacoustic instrument I have named the Larsen Harp. The instrument is based on two hand-built oscillators which channel audio feedback (i.e. the Larsen Effect) through various damping materials such as cork, wood, and metal springs. Due to the extremely volatile and context-specific nature of audio feedback, the instrument generates a constantly shifting array of sound textures which respond not only to the acoustic qualities of the architecture and materials around them, but also to activity in and around the installation space, as well as changes in temperature and humidity. The idea behind the instrument is deeply rooted in the idea of exploring the behavior of sound in space through homemade electronic systems, and was inspired by the work of composers such as Alvin Lucier, David Tudor, and Gordon Mumma.
The “Nautilus” composition is based on the concept of using vibration and sound as a means! of tracking and representing cyclical patterns of relative activity and inactivity, and/or stability and change which might otherwise slip beneath the perceptive radar of the unmediated sensorium. Two oscillators were suspended between the ceiling and floor of my studio space, and were left running for the duration of my regular working day. The composition is based on content from the first three recording sessions, and post-production intervention was limited to the manipulation of pan, equalization, and amplitude.
Christopher Myhr is a Halifax-based artist currently finishing his MFA in Media Arts. His practice oscillates between audio/video installation and electroacoustic composition. Myhr’s current research is centered around the application of electronics in generating emergent soundscapes, the history of drone-based music, and the relationship between sound and perception.
Fascinée depuis longtemps par l’efficacité, la pureté et la simplicité des matériaux et de l’écriture caractéristiques de Parmegiani, j’ai été tentée d’emprunter les chemins qui le menèrent à la création de ses plus grandes oeuvres, telles que De Natura Sonorum. Constituée en majeure partie de sons générés par la clarinette, l’Étude claire et nette est une étude organique sonore très influencée par les premiers courants de la musique électroacoustique.
La compositrice et guitariste électrique Émilie Payeur présente des oeuvres clairement influencées par le courant psychédélique des années 60, le surréalisme, les arts abstraits ainsi que le cinéma expérimental. À travers sa démarche créative, elle se perçoit comme étant le penchant sonore de l’artiste visuel et compte bien faire des recherches en ce sens pour transposer et adapter les techniques de création visuelle à celles de la musique électroacoustique. Elle est présentement étudiante au baccalauréat en composition électroacoustique à l’Université de Montréal. Ses oeuvres ont notamment été jouées au WEARL 2009 à Fullerton en Californie ainsi qu’au Festival Futura 2009 à Paris.
The composer and electric guitarist Émilie Payeur presents works which are clearly influenced by the psychedelic era of the 60’s, surrealism, abstract arts and also experimental cinema. By the way she is working, she perceives herself as a sound painter and wants to transpose and adapt visual art techniques to electroacoustic. She is presently studying electroacoustic composition at the University of Montreal. Her works have been played in Los Angeles and in Paris.
Available on / Disponible sur : Cache 2009 (double-CD)
The source material for this recording stems from found objects and specifically treated acoustic musical instruments such as cello, viola, conga, double bass and cymbal, as well as wood, paper, marble balls, wallpapering table and chains. Further sounds have been produced using my voice and limbs. A basic rule for my work with digital tools is to maintain the liveliness of the source material within the structure of my compositions. Yet, the newly created elements of sound differ considerably from the original recordings.
Oliver Peters (1970) lives and works in Berlin. Since the early 90s he has worked with electronic music and since 2002 he performed as EVAPORI. His compositions are mostly based on concrete sound sources: ﬁeld recordings, transformation of found footage and the use of self-made sound objects or classical instruments such as piano or cello. Together with Nicolas Wiese [-Hyph-| Peters founded the Label AIC. Since 2006 he has, amongst other projects, set music to the scientiﬁc ﬁlm E 2250 which was shown at short ﬁlm festivals in Hamburg and the Darmstadt Institute of New Music and Musical Education within the scope of Modern Music in the Context of Technology. In 2008, he contributed a composition to Satoshi Morita’s sound helmet. Recently his current release Rehearsals for Objects was broadcast on Deutschlandradio Kultur in the category Newcomer Werkstatt, a programme that introduces emerging sound artists.
In Duetto nebulex I played with the concept of the physicality of breathing and applied it to gesture, spectrums, transformation and form.
Constantin Popp, born 1980, studied composition with Robin Minard. He composed music and sound environments for dance, new media, theatre, hörspiel and concerts. His works have been commissioned by the Deutsche National Theater Weimar (“zeit zu lieben zeit zu sterben”, 2004), via-nova e.V. (“glimpses”, 2005; “zerbrechlich”, 2006; “qì”, 2007), Kunstfest-Weimar (“la comedia divina”, 2007, tma08, 2008), Schweizer Radio DRS2 (“test”, 2008) and the Deutschen Musikrat (2008). Furthermore, he was an assistant at the Digital Art Weeks of the ETH Zürich, Switzerland, and at the research project “Die Musik des Trecento” at the Friedrich-Schiller-Universtität Jena, as well as at the Studio für elektroakustische Musik an der HfM Weimar, also doing some teaching as a mentor there. In June 2007, he was presented at the “Newcomer-Forum” of Deutschland-Radio-Kultur. His composition “berührung” was published in the compilation “Komponisten aus Thüringen im Konzert” (composers of Thuringia in concert). 2008 he was doing live-electronics for the new media dance performance “Habitat”, premiered at o espaço do tempo (UA) at Montemor-o-Novo Portugal. He also colloborated, among others, with Andreas Bick, laborgras, Robin Minard, Jan Wagner and Markus Wintersberger.
I generated the tape portion for this piece using soundscape recordings of the ferry horns made on my trips to Bowen Island, BC and Staten Island, NY. These horns were edited, looped, and pitch-shifted. I found that by layering several of these loops at different pitches, a slow, undulating melody became apparent. Once I had completed the tape portion, I began hearing the trumpet solo conversing with the accompaniment. It shifts and turns with the looped ferry horns, evolving as a series of variations – each phrase interacting with the accompaniment in a different way as the ferry horns slowly revolve in and out of harmonic consonance.
The title refers to an overheard conversation on the deck of the Bowen Island ferry returning to Horseshoe Bay. A group of three couples were sitting in the warm sun of the last days of summer – enjoying the moment, yet still looking forward to the possibility of the future. I feel this is an important ideal to embrace, especially in the appreciation of music. So please – sit back, relax, enjoy this moment and look forward to the future.
Eric Powell is a soundscape composer and sonic artist working with the interrelationship between space, place and sound. This work has found him integrating immersive soundscapes, live musical composition, theatre and dance. In addition to multi-channel electroacoustic compositions, he has created sound and music for several theatrical productions and gallery installations. Eric recently completed an MFA in Contemporary Art (Electroacousitic Composition) from Simon Fraser University.
C’est au moment où l’on se croit surhumain que l’on frappe le mur du corps. C’est en bravant les côtes à vélo lors de tempêtes d’hiver que mon corps m’a forcé à prendre une pause. L’effort physique est symbolisé par la masse glaciale labourée tandis qu’une partie contrastante pique violemment le corps inspiré de séances d’acupunctures.
Charles Quevillon a fini des études en guitare classique et en composition au Cégep de St-Laurent en 2008. Il vient d’entamer l’étude de la composition électroacoustique au Conservatoire de Musique de Montréal avec Yves Daoust.
Minette is the name of the region in the southwest of Luxembourg where iron and steel industry but also iron ore mining were the main industries until the seventies. Minette is also the name of the typical iron ore in this region.
The composition is made out of the recordings an old iron ore miner gave me last year. The recordings were made by him in the seventies down under the earth in an iron ore mine.
2008 Artist in Residence Stiftung Künstlerdorf Schöppingen, Germany 2007 Art Prize Regionalverband Saarbrücken 2007 - 2008 Pupil of masterclass Prof. Christina Kubisch 2003 - 2007 Studies of audio-visual art under Prof. Christina Kubisch and Media Art under Prof. Tamás Waliczky at the Academy for Fine Arts and Design Saar, Saarbrücken, Germany Diploma 1990 – 1998 Studies of Geography at the University Saarbrücken, Germany Diploma Since 2003 Site specific sound installations Since 1996 Electroacoustic Compositions out of noises from coal and steel industries aka Schachtanlage Gegenort
Caroussel as pure audio is the third part of a 3-step concept: the first one was a quiet video made for a performance in Museumsquartier Vienna in 2006. Following step was to take the first part of this video and adding a musical composition to it. This 4-channel version was presented during the IGNM Music Festival in Konzerthaus Vienna in 2008. The next step is to present the audio as an independent piece. The name Caroussel relates to the camera movements, the images — made unintentionally — resulted from circular movements of the cameragirl. This roundabout feeling is applied the music, growing on and on, as going from the view of small segments, like instants of the movement, that develop to a complete circle.
Studied composition, aesthetics and social communication (publicity) in Brazil. Subsequently studied electro-acoustic music in Vienna. 2005 won the sponsorship award Theodor Körner Preis for the project On the phone. 2008 was an artist in residence at PACT – Zollverein (Essen, Germany), together with Julia Jadkowski and Marcel Schwald for the project Joseph_ine. Lives in Berlin where she works as a composer for instrumental and electro-acoustic music, performer and Djane. Her work gravitates within the fields of music, theater, music theater, video and multimedia performance. She is also a PhD Student on “Intermedia composing” at the Technische Universität Berlin. 2007 founded the collective KosmetiKRadio, for collaborations in multimedia projects. Organizes concerts and workshops (Metaphernwerkstatt), together with former Studiobühne Ritterstrasse (www.studiobuehne-ritterstrasse.de). Is an active member of Klangnetz Association (klangnetz.org) in Berlin and VELAK (velak.klingt.org) in Vienna.
I hold a passionate reverence for the violin as an evolved cultural archetype; in its depth, virtuosity and long history of obsession and genius lies a potency to project advanced humanized states. My work in general seeks to sublimate this heritage and re-apply it to an open futurist manifesto.
As a metaphor for the uneasy initiation of deep human-machine coupling my piece locates a violin in a symbolic landscape with an imagined advanced artificial intelligence. As they interact, each extends and probes the other as an enigma, seeking synergies, lines of cognitive parity and fleeting moments of synchrony. Unforeseen structures and momentarily visceral encounters punctuate the audio field and the twelve equally spaced divisions of the occidental octave are shaken to the floor, revealing a luminous continuum of strange and emotional tonal manifolds.
Concepts of meter and pulse are evolved at highly accelerated rates, assuming new identities as the emergent properties of complex dynamical systems. As an intelligent entity in its own right the new music consciously stands outside of itself, compressing its own entire duration into a half-second file that it includes in the composition.
This work anticipates the lucid and incognizable process of the unfolding human transcension of physical constraints. It asks the question ‘At what point would we be prepared to consider a machine conscious, and when everything, including genes, neurons and memory is abstracted as information patterns who will tell the difference?’
This piece is the first in a new line of musical thinking for me. About six months ago I started working on a self contained performance environment in MaxMSP based loosely on the principles of free improvisation, chaotic systems and just intonation. Apart from my violin all instruments in this work are software, ‘played’ by an algorithm that models the beautiful emergent patterns of shoaling fish. The vocal clusters are created from another software component I wrote, taking as its inspiration Harry Partch’s 17-Limit tonality diamond.
I plan to go deeper into more closely integrating these areas in the coming months, including a sotware realisation of my idea of ‘gravitational harmony’ (a kind of hyper-modulation system for navigating exotic relationsips between tonality systems of arbitrary complexity), swarm music, and the development a narrow artificial intelligence software layer that characterizes, applies and extends the composer ‘me’ in realtime — should keep me busy for a bit…
In 2008 I relocated to Vancouver from the UK and developed a solo performance practice that embraces acoustic and electronic sounds. Focussed on creating emotive, enigmatic and visceral musical encounters my approach invites unusual performance spaces, self-contained concerts and oblique collaborations. I studied violin at the Royal Welsh College of Music with Barry Haskey, a student of Henryk Szeryng, performing across the UK and Europe with a number of symphony and chamber ensembles. Following this I composed music for theater and contemporary dance, developing techniques for(;;;)artist-led(;;;)live scoring. This theme extended into the application of electronics and self-organizing software systems to group improvisation with new music ensembles Zillo, Vrajabumi and Syama. I’m looking forward to evolving my new performance practice, playing in galleries and enjoying the collaboration of artists who share my appetite for the unforeseen.
Snapshots is a collection of 25 electronic pieces (stereo), each piece with a duration of exactly 59 seconds. It is planned as a work in progress, finally including 59 pieces in future times. Each performance of snapshots can and should be different concerning amount and order of the pieces. The order may but need not to be chosen by random operations. Furthermore, Snapshots can also be “performed” as a kind of sound installation, maybe in a multimedial context. The very different pieces are built with synthetic and concrete sound material of various sources and their different characters reach from abstract to emotional, playful, gestural and theatrical.
Timo Ruttkamp, born in Hagen/Germany in 1980, studied composition and electronic composition with York Höller and Hans Ulrich Humpert at Hochschule für Musik in Cologne. He passed additional studies in Paris with Frédéric Durieux and at McGill University in Montréal. His honours include several scholarships and prizes for composition (e.g. Bernd-Alois-Zimmermann-Preis of the city of Cologne 2008). Timo Ruttkamp composed music for solo instruments, chamber ensembles and orchestra, for electronics (tape) and also film music for short films. His works have been conducted/performed by Johannes Kalitzke, Denys Bouliane, Deutsche Radio Philharmonie Saarbrücken/Kaiserslautern, Österreichisches Ensemble für Neue Musik (OENM), klangwerkstatt weimar and his music has been recorded/broadcasted by the German radio (WDR, SWR, SR). Timo Ruttkamp is living in Cologne.
Random Walk I is the first composition in a series of recordings, which I made during aimless walks through Berlin Neukoelln. Following the situationists’s idea of psychogeography, I use an acoustic map to explore the urban landscape. Random Walk is also a mathematical analysis to get, for example, an idea about the progression of an disoriented pedestrian. This piece explores the borderline of decision-making and indeterminacy, the need to make progress, and the thin line between pressure and necessity, between “having to” and “wanting to”. The sound of the composition seems to be never ending or never going to anywhere: a vacuum, in which one could get involved – time seems to be unreal. Reality might be there, rarely audible by the wideness of a lake, distant voices of ducks.
Heidrun Schramm is a sound and video artist and composer, based in Berlin, Germany. She holds a Master of Arts in Sound Studies from the University of Arts, Berlin, where she worked with Prof. Sabine Breitsameter and Prof. Dr. Martin Supper. She has been featured as a composer/performer and video/audio artist at a variety of festivals and exhibitions like URBAN JEALOUSY, 1st International Tehran Biennial in Istanbul, Berlin and Belgrade or at LEM Festival for Experimental Music in Barcelona. In 2008 she has composed for the theatre production of Heiner Goebbel’s “Surrogate Cities” at University of Arts, Berlin and for the Newcomer Werkstatt at Deutschland Radio Kultur.
Available on / Disponible sur : Cache 2009 (double-CD)
Nachtschatten is a tape piece based on instrumental and electronic sound material. It’s part of a cycle of narrative pieces describing a fictional space or line of events. It uses remains of romantic phrases distorted and replaced by microtonal, noise-based and frequency-altering effects. The idea was on the one hand to create an orchestral acousmatic machinery in contrast to well-known tape music stylistics and on the other hand to break with the common slowly upbuilding of density patterns.
Nachtschatten was produced during a residency at the ZKM, Karlsruhe in late 2008. In 2009, the composer won a residency prize in the Bourges competition for this piece.
Alexander Schubert, geboren 1979 in Bremen, beschäftigt sich mit der Schnittstelle zwischen elektronischer und akustischer Musik. Er hat sowohl Tape-Musik, elektroakustische Musik als auch Mixed-Media-Werke komponiert. Der Entwurf von Software-Setups und die Bearbeitung und Manipulation von Instrumenten ist nicht selten Ausgangspunkt für Kompositionen (z.B. „Weapon of Choice“). Ein anhaltender Fokus ist die Kombination von notierter und improvisierter Musik — der Wunsch aus beiden Formen die positiven Elemente zu vereinen. Als Improvisator spielt er z.B. in dem Quartett „Ember“ (Sax, dr, p, elec) das sich klanglich zwischen Free Jazz und Kammermusik bewegt. Schubert kuratiert ein Festival für zeitgenössische Elektronik in Leipzig und betreibt das Label Ahornfelder. 2009 wurde er mit einem Bourges-Residenzpreis ausgezeichnet.
Alexander Schubert, born in 1979 in Bremen, tries to explore cross-genre interfaces between acoustic and electronic music. He has written tape music, electroacoustic music and mixed media works. He’s interested in the design of software setups and manipulation / design of instruments for an intuitive handling in an improvised context (see Weapon of Choice). A permanent focus of his work is the combination of notated and improvised music — both in æsthetics and structure. He plays in the group Ember (saxophone, drums, piano, electronics) which mainly realises minimal, poly-rhythmic pieces that are a mix of free jazz and contemporary chamber music. But he also tries to combine the liveliness and energy of the improvised music with the structures of composed music. Alexander Schubert curates the music festival contemporary electronic music in Leipzig and runs the publishing company Ahornfelder-Verlag for experimental audio and book releases. In 2009 he was awarded a Bourges residency prize.
Theatre… a place of huge spaces and hidden rooms, of illusions, transformations and metamorphoses, of o! dd professions and strange machines, of long traditions and new inventions, of creativity… erm, not if one, as a sound engineer, has to work with uninspired directors using the same three noises of thunder, bells and shots over and over again, always in the same manner, as directors in the past centuries already did. So my piece is an attempt to show how sound could be in modern theatre, it is an autobiographical sketch of my professional life and a hommage to my collegues working behind, below and above the stage, contributing to the Gesamtkunstwerk, too.
Sound engineering and composition studies with Prof. Martin Christoph Redle at the University of Music in Detmold, electronic music studies at music colleges in Bremen and Hamburg, advanced studies in electronic music with Prof. Ipke Starke, at the University of Music and Theatre in Leipzig, from 2005–07 freelance sound engineer at several recording studios, since 2007 sound engineer at the Theatre of Anhalt in Dessau.
À partir du microson (son très court) comme élément constructif de base, bits nous présente des textures sonores contrastées sur l’horizontal et le vertical. Des son isolés très courts cohabitent avec des denses trames ou séquences dans lesquelles le microson perd son identité.
Microsound (or very short sound) is undoubtedly the basic building block of the piece. From this tiny sound elements, asynchronous sequences and dense sound textures are deployed, these basically iterative textures will further form contrasting strata. bits can be seen as a journey through our perception of different time scales, where a very short isolated sound can be as meaningful to us as a complex microsound sequence or a dense cloud.
Né en Uruguay où il étudie composition, violon et guitare, Leonardo Secco s’installe en 2005 à Montréal et termine en 2007 un Bac en composition mixte à la faculté de musique de l’Université de Montréal. Actuellement, il y poursuit une maîtrise en composition électroacoustique sous la direction de Robert Normandeau, en plus d’être chargé de cours à l’atelier de composition électroacoustique dans le programme de mineur en musiques numériques. En 2008 il a été gagnant du Fonds des Bourses de l’Université de Montréal.
Leonardo Secco was born in Montevideo (Uruguay) in 1966, were he studied composition, violin and sound synthesis. He lives in Montreal since 2005. In 2007 he obtained a degree (Bac) in mixed composition at University of Montreal. In 2008 he won a grant from the Fonds de Bourses de l’Université de Montréal. Presently, at the same university, he’s completing a master’s degree in electroacoustic composition with Robert Normandeau as well as teaching composition within the Musiques Numeriques program.
A friend of mine came across a dance project which was inspired from 4.48 Psychosis by Sarah Kane (1971–99) and forwarded the choreography to me with Kane’s play text “4.48 Psychosis” to be set to music. My aim was to get an insight into the inner world of the writer. I searched for her moods at the time of writing her work. I proceeded to set them musically and have attempted to portray the mental and emotional changes on various levels throughout the process of scenic narrative in combination with the choreographic movements.
Sarah Kane was an English playwright whose works deal with the themes of redemptive love, sexual desire, pain, torture ( both physical and psychological ) and death.
On page reference 4.48 Psychosis, there are neither characters nor any indication of how many actors are required. The text is laid out following the conventions of a modernist poem, rather than those of a play. This is a deliberate attempt to suggest the experience of psychological collapse, and, in particular what happens to a person’s mind when they suffer a psychotic breakdown; a process where the barriers which distinguish reality and various forms of imagination disappear. In 4.48 Psychosis, the boundaries of normality between waking life and dreams, oneself and the outside world, are deliberately collapsed.
Suite d’oppositions est une étude commandée par Yves Daoust, sur le thème de la ligne et du point. C’est un travail sur le potentiel du matériau sonore, à mi-chemin entre le référentiel et l’abstrait.
Suite d’oppositions is a study commissioned by Yves Daoust, on the theme of line and point. It is a work on the potential of sounds, half-way between referential and abstract.
Ayant fait ses débuts en musique en chantant des contines avec sa grand-mère et en jouant des claves chez les sœurs vers l’âge de deux ans, c’est à quatre ans qu’elle se met plus sérieusement au violon. Lorsqu’elle atteint l’âge de neuf ans, le piano l’emporte, pour finalement succomber à la trompette, qui, à force de ne pas lui inspirer le désir d’interprétation, la mène tout droit vers la composition, où elle apprend à connaître l’électroacoustique avec Michel Tétreault au cégep de Saint-Laurent, en parallèle avec son double DEC Lettres et Musique. Elle se tient occupée depuis lors, et, tout en étant escrimeuse de niveau national, étudie maintenant en électroacoustique au Conservatoire de musique de Montréal avec Yves Daoust.
Learning music through her grandmother’s nursery rhymes and playing claves at an Italian religious daycare center at the age of around two, it is at the age of four that she learns with more serious how to play the violin. When she becomes nine years old, the piano takes the stage, finally to succumb to the trumpet, which, finally not inspiring her interpretation, brings her straight to composition. That is where she gets to know about electroacoustic music wih Michel Tétreault at the cégep de Saint-Laurent, whilst completing a double DEC “Literature and Music”. Since then, she keeps busy, being a national fencer and studying electroacoustic at the Conservatoire de musique de Montréal with Yves Daoust.
‘Ion’ is the third in a series of works composed for NAISA, together with ‘Nexus’ and ‘Flux’ they form a triptych of sonically and motivically related works. This present version of this work is a stereo mix down of the original incarnation, a spatially composed and performed composition comprising 4 stereo stem! s (whose spatial trajectories are composed and controlled in performance). The work is a tightly woven fusion of rarefied electronic sounds with referential sonorities composed into a psychologically intense, visceral, immediate narrative of ephemeral sonic metaphors within a turbulent, complex texture of constantly evolving musical gestures.
Jason Stanford (b.1976) has composed works for all manner of forces. His catalog includes works for solo, vocal, chamber, live electronic and electro-acoustic music, a number of works for symphony orchestra, and even some music for animation and video games. His works have been performed in Canada and the United States by many great soloists and ensembles including: The U of T faculty woodwind quintet, The Avenue Winds Quintet, guitarist Rob MacDonald, bassoonist Charles Moenke, and most recently by the TorQ Percussion Quartet Jason Stanford holds a Doctor of Music from the University of Toronto where his principal teacher was Christos Hatzis, and he holds both a Bachelor (Hon.) and Master of Music in Composition from The University of Western Ontario, where his teachers included Omar Daniel, Peter Paul Koprowski, and David Myska. Jason is the executive board chair of the Toronto-based Composer/Musicians collective AngelusNovus.net an ensemble dedicated to regular performances of contemporary music composed and performed by its various members. Recent concerts have included new works by Jason for live electronics consisting of multi-channel surround audio spatialization, and digital video projection. More recent endevors have been with New Adventures in Sound Art, for whom his last three major electroacoustic works have been written for and performed by, in 12 to 16-channel true 3D surround sound in realtime.
This piece is a literal interpretation of Erik Satie’s “Dapheneo,” featuring sounds of cracked walnuts, trees, and both unprocessed and synthetic birds. Synthesized elements were composed in S.P.E.A.R. and matched to the rhythms of natural sounds.
Julian Stein is an undergraduate student in the Electroacoustic Studies program at Concordia University. His interests reside primarily in soundscape studies and structural elements in composition. He is a founding member of the Concordia Electroacoustic Studies Student Association (CESSA), and the Montreal Sound Map.
This piece consists of processed field recordings from different environments around Montreal including Chinatown, Square-Victoria metro station, a trip to the bank, and other locations. All sounds were recorded with binaural microphones and have been processed with SuperCollider and arranged in Ardour.
Maxwell Stein studies electroacoustic composition at Concordia University in Montreal. He is most interested in investigating urban soundscapes through compositions using minimally processed field recordings. Stein is a founding member of the Concordia Electroacoustic Studies Student Association where he helps to organize workshops, concerts, and other sound related projects. Springing from interests in phonography and acoustic ecology, he recently created an ongoing project called the Montreal Sound Map. The Montreal Sound Map is an interactive google-maps based repository of sound recordings uploaded by inhabitants and visitors from various locations around the city .
The base material for this composition is the sound of the Bell of St. Peter, the big bell of the Cologne Cathedral, which is supposed to be the largest free-swinging bell in the world. According to an analysis of the audio-spectrum of St. Peter’s Bell the composer Strothmann electronically synthezised the sound of the bell and derivated various new sounds. These sounds were arranged to an atmospheric musical picture of the Cologne Cathedral. The listener can find visual impressions of the outside and inside of Cologne Cathedral translated into sound. He also may be remainded of the different spiritual and historical occasions the Bell of St. Peter has been heard until now (e.g. the end of World War II, the reunion of Germany). Nowadays the Bell of St. Peter’s is ringing only on high religious holidays.
Christiane Strothmann (*1976), first made her Master‘s Degree in philology at Ruhr-University Bochum, Germany. But from childhood on she was also into music. As a result of her widespread musical activities she became known inside Germany as the pop-artist Rya (F.A.M.E-Recordings, Munich), but soon interrupted her beginning carrier for the possibility to learn more about electronic sound synthesis and sound design. Now she is a composer-student in the second year at ICEM (Institute for Computer Music and Electronic Medias) in Essen (Germany).
Tombak is an iranian Percussion Instrument, capable of performing very complex rhythms. My piece tries to discover new playing techniques for the Tombak, which usually aren’t playable on this Instrument. (Such as Pitch Changes, sustained Notes, Accords, to name a few) The basic idea of the Compositon is a conversation between 3 different Tombak (low, middle and high register). Each of the 3 Instruments has its own character.
Tahriri, Madjid (*1981 Tehran) is an iranian composer. In early years he took piano, music theory and composition lessons. He obtained a Bachelor’s degree of Arts (Piano, Musicology) from the Azad University,Tehran in 2004 and was pianist in the iranian „Melal- Orchestra“. Since 2006 he is studying instrumental and electronic composition at the „Folkwang-Hochschule Essen“, Germany with Prof. Dirk Reith, Prof. Günter Steinke and Prof. Thomas Neuhaus. Madjid Tahriris music is performed at international Festivals, such as Fadjr Musik Festival -Tehran 2002, Festival Musica Acoustica Peking 2008, Festival Champs Libres– Straßbourg (France) 2008, JSEM/MSJ Electroacoustic Festival- Nagoya (Japan) 2009. In 2009 he was selected for the interdisciplinary competition and workshop „operare 09“ in Berlin (Germany). In the same year Madjid Tahriri obtained the Folkwang Price in the category composition. His compositions have been published at Hermes- Verlag (Trio-1, 2007) and on several recordings. Madjid Tahriri is one of the founders of the „Iranian Society of Contemporary Composers“ (ISCC). The aim of this society is to raise the acceptance of contemporary music in Iran through concerts, articles and lectures.
C’est à l’intérieur de nos convictions les plus profondes que l’on retrouve l’essence de notre faiblesse. Comme si nous n’étions qu’une caricature de nous-même.
It is inside our deepest convictions that we meet our true weakness. Just like a parody of ourselves.
« De velours et d’acier » is an acousmatic piece that has its origins in my taste for rock music. Its title, « Of velvet and steel » in French, is, by its many level of interpretations, a brief representation of the whole piece. The beginning of this project resides in the multitrack recording of a metalcore band by an acousmatic composer. Rapidly, the harsh guitars, screaming voices and tight drums convinced me of the immense acousmatic potential of all this material.
C’est dès son plus jeune âge que Dominic Thibault éprouve une mystérieuse attirance pour la musique. Après s’être attardé durant quelques années aux touches blanches et noires du piano, il s’intéresse à la guitare et à son côté rebelle. C’est d’ailleurs cette passion pour la six cordes qui le guide au cégep Saint-Laurent, lieu où il découvre, grâce à Michel Tétreault, la composition et la création sonore. En 2005, Dominic Thibault entreprend un baccalauréat en composition électroacoustique à l’Université de Montréal avec, comme professeurs, Robert Normandeau et Jean Piché. Son intérêt pour les musiques acousmatiques et mixtes, la programmation musicale et le phénomène de spatialisation le pousse à composer une musique nouvelle.
Il travaille à l’heure actuelle sur de nombreux projets artistiques dont une pièce mixte pour le groupe jazz [iks], un projet multimédia avec l’artiste visuel Paul-Antoine Gauvreau en plus de se consacrer à l’art acousmatique. Au cours de l’année 2007, il a remporté les concours V Concurso Internacional De Miniaturas Electroacústicas du ministère de la culture d’Andalousie et Jeux de Temps / Times Play pour sa pièce « Nuit noire, Nuit grise ». Depuis peu, il s’intéresse, dans le cadre d’une maîtrise en composition, à l’influence du rock sur ses processus de création en musique acousmatique.
Dominic Thibault has always been drawn to music. After studying piano during his youth, he turned to guitar. His passion for this instrument lead him to the Cégep Saint-Laurent where he soon discovered composition and sound design while studying with Michel Tétreault. In 2005, Dominic Thibault began a Bachelor degree in electroacoustic composition at the Université de Montréal, under the tutelage of Robert Normandeau and Jean Piché. His interest in acousmatic music, mixed music and musical programming lead him to seek new means of musical expression. Dominic Thibault is currently working on a variety of artistic projects including a series of mixed music pieces with Jocsan Rivera and multimedia installations in collaboration with the visual artist Paul-Antoine Gauvreau, as well as continuing his work in acousmatic art. He is also highly involved in his cultural community. He is the secretary of the CÉCO (Cercle des étudiants compositeurs de l’Université de Montréal) and the technical representative of the International Laboratory for Brain, Music and Sound Research (BRAMS) studio. During 2007, Dominic Thibault’s piece “Nuit noire, nuit grise” was the winning entry in both the V Concurso Internacional De Miniaturas Electroacústicas competition organized by the Cultural Ministry of Andalucia and JTTP 2007 (Jeu de Temps / Time Play) organized by the Canadian Electroacoustic Community. Dominic Thibault is now beginning a Masters Degree at the Université de Montréal, focussing on the influence of rock music in the compositional processes of his acousmatic music.
Shepherd Sun is the second work in the “Metamorphasis” series. It continues on gestures and techniques developed in “Breaking Waves”. While retaining the atmospheric qualities of its predecessor it has a more structured form.
Born in Ontario in Peterborough’s surrounding area, Tai became interested in music and sound through playing drums. Later, he took interest in guitar and began to write original songs and started gigging at local venues in Peterborough. During highschool Tai focused on visual art in the PCVS arts program. Tai is now in the fine arts program at Concordia University majoring in electroacoustics. Soon to graduate, he has worked in sound for theatre and film and has composed countless original songs and electroacoustic works, many of these under his alias Fuurthur. Tai is striving to develop his own style, under this alias, which blends music with electroacoustic compositional techniques, soundscape and gestures.
Dry Rivers is my attempt to encapsulate the feel of desolation represented in Canyons. Deserts also provided great inspiration since most of the imagery relates to them. Coated with sporadic shamanistic apparitions, the piece moves from a swamp-like semi-s! oundscape to an ancient incantation.
Born and raised in Mexico, Julio Torres began his musical studies at the Conservatorio de las Rosas in Morelia, Michoacan, Mexico. Later on, he attended the Victoria Conservatory of Music where he studied with Stephen Brown and Wes Wragett. Since 2006 he has been pursuing a Bachelor of Fine Arts in Composition at SFU under the supervision of Owen Underhill and Barry Truax.
Available on / Disponible sur : Cache 2009 (double-CD)
Vertical Time is exclusively derived from recordings of conventional string instruments (violin, viola, violoncello, double bass). The title implies an idea of time passing in the form of a downward spiral. The non-linear and shifting, overlapping method of (glissando-driven) recurrence, is aimed at dissolving the perception of linear time, without the use of static or endless repetition. This idea of a vertical time came to my mind as self-observation while surfing the internet. A routine web user tends to do several things at the same time, and thus wants to submerge profoundly into different information sources, archives, forums and communication channels, often in a rapidly jumping manner. this often leads to iteration loops. This desire to deepen different thoughts / activities simultaneously, has a bizarre effect on subjective perception of passing time, and on the perception of focus and distraction. At the end of the day, however, 24 hours have gone by as usual.
Nicolas Wiese was born in Itzehoe, Germany in 1976. He is a visual artist, sound artist and graphic designer. In 2005, Wiese graduated at the Design Faculty of HAW Hamburg. Apart from that, he studied Experimental Sound Design at the University of Arts in Berlin, and Sociology and Philosophy at the University of Hamburg. Between 2002 and 2006, Wiese was actively involved in numerous exhibition and concert projects in the young experimental scene in Hamburg, as an organizer, curator and participating artist. In this period, some international and interdisciplinary collaborations were started. Since 2006, he lives and works in Berlin-Neukölln. His sound works are being released by labels and organisations around the world since 2003. Performances, installations and screenings have taken place in festivals, museums, project spaces, public areas and clubs around Germany, Switzerland, the Netherlands, Belgium, plus Napoli, Istanbul, Belgrade, Kelowna (Canada), and Kalamata (Greece).
7-Dimensional rewind boh selekta etc. This piece was composed at my home studio and at Concordia University in Montreal, Quebec. The only source material used is the “Amen” breakbeat and some simple sine tones.
Electroacoustics Student from Concordia University and EDM DJ.
The listener is guided through evolving imaginary landscapes where the gray area between synthesized and natural sound is explored. Electronic gestures and textures mimic and harmonize with the sounds of bustling cities, temples, and rainforests of Southeast Asia. Technology is not used to infringe upon ecological and cultural soundscapes, but instead accentuates their musical and ephemeral nature.
Basé à Montréal, Nimalan Yoganathan est un compositeur et artiste sonore. Il se sert d’outils analogiques et numériques ainsi que de l’instrumentation acoustique modifiée, afin de découvrir les similitudes entre les idiomes de la musiques hip-hop et dub et de l’électroacoustique. Il crée des oeuvres électroniques texturées, embelies de bourdons méditatifs, chemins de bande qui tourbillonnent, battements organiques émoussés et le glitch occasionnel ou l’éclat de bruit. Nimalan possède un baccalauréat en génie électrique de l’université McGill et poursuit actuellement un deuxième baccalauréat en musique électroacoustique à l’université Concordia. Il performe et enregistre regulièrement ses collaborations avec des artistes de jazz actuel, noise et improvise des scènes locales.
Nimalan Yoganathan is a Montréal-based sound artist and composer who uses analog and digital electronics, as well as processed acoustic instrumentation to draw similarities between hip-hop, dub, and electroacoustic idioms. He creates dense soundscapes flourished with meditative drones, blunted organic beats, and the occasional glitch or burst of noise. Currently, he is focused on integrating field recordings into his compositions from his travels through Southeast Asia to demonstrate the inherent musicality of its environments. In Nimalan’s works, electronic gestures and textures harmonize with nature by mimicking its intricate timbral and rhythmic qualities. Nimalan is presently studying Electroacoustic Music at Concordia University and has completed a Bachelors Degree in Electrical Engineering from McGill University. He also performs and records with various local free-jazz, noise, and improvisational musicians.
This composition was made while studying at the Institute of Sonology, Den Haag, NL, in connection with my research of rhythm and electronic music. Through this research, it became clear that rhythm was very different than pattern, and when speaking of rhythm in regards to electronic music, it was necessary to redefine : Rhythm is a dynamic structure built from irregularity, correlative states, creating structural tension with a static form. I encountered the writings of Gilles Deleuze and Felix Guattari. Their concept of “smooth and striated” spaces engaged my imagination and furthered my exploration of what rhythm can mean in the realm of digital sound. “the striated is that which intertwines fixed and variable elements, produces an order and succession of distinct forms, and organizes horizontal and vertical planes. The smooth is the continuous variation, continuous development of form; it is the fusion of vertical and horizontal planes in favor of the production of properly rhythmic values, the pure act of the drawing a diagonal across the vertical and horizontal. (Deleuze and Guattari, 1980).
In search of a smooth and striated musical space, these electronic sounds were arranged by layering tiny, parallel rhythmic variables, and letting clouds form with multiple layers of these tiny metrical units. This combination of micro metered rhythm, parametrical rhythm, and extremes of high and low frequencies, are arranged into an overall rhythmic form. Most of the sound sources have been derived from the sound of breaking glass.
Andrea Young is a vocal performer of contemporary concert music, and a composer of acoustic and electroacoustic music. In 2001 Andrea Young completed an Undergraduate Degree in both Vocal Performance and Composition from the University of Victoria, BC, Canada. Voice and composition teachers include Susan Young, Christopher Butterfield, and John Celona. Long Term Residencies at the Banff Center of the Arts 2003 and 2004 led to the creation and performance of Azari-Cortège, for orchestra and santur with performer Amir Amiri. Performances of this work were given by Vancouver Symphony Orchestra conductor Bramwell Tovey, and Calgary Philharmonic Orchestra conductor Rosemary Thomson. Andrea Young completed a Masters Degree in Sonology from The Royal Conservatory, The Hague, Netherlands in 2007 with teachers Paul Berg and Kees Tazelaar. Pink Noise by composer Hector Bravo Benard was performed at the Muziekgebouw aan ‘T IJ, Amsterdam, Netherlands, and her electroacoustic composition ‘T Tijnk 2007 was performed at the ZKM Center for Art and Media, Karlsruhe, Germany. Returning to Canada in 2007 led a Canada Council Grant for the creation of Voice/wire:1, a collection of new works for voice and electronics. The resulting performance was given in Victoria in February 2009. Recently, she has participated in the Composers Kitchen with Quatuor Bozzini, Montréal, and presented a new work for Brief Encounters with the Tomorrow Collective, Vancouver. Andrea Young continues to pursue the collection, creation, and presentation of new compositions that include the use of electronics.
Project Team / Équipe de projet
Project Managers — jef chippewa & Yves Gigon
Web Site — Yves Gigon
Translation — jef chippewa
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. 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. 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.