3rd Toronto Electroacoustic Symposium / 3e Symposium électroacoustique de Toronto
Keynote Lecture: Musique acousmatique : continuité ou rupture ? / Acousmatic Music: Continuity or Rupture?
In her keynote address to the 2009 Toronto Electroacoustic Symposium, Annette Vande Gorne discusses the relationship of her recent work to the classical tradition, relating the worlds of Schaeffer and Bayle to Debussy and opera.
The author describes the use of intelligent multi-agents in his software performance system, Kinetic Engine, with specific reference to his composition In Equilibrio. The system is described in relation to earlier interactive performance systems, and its goal of organized complexity.
Approaches to multi-channel spatialization based on fixed channel routing rather than panning. Two techniques are discussed: using the speaker as a point-source “instrument”, and creating spatial effects through intra-channel signal decorrelations. Includes many audio examples (stereo and multi-channel).
Drawing on M.M. Bakhtin’s concept of the chronotope, this paper discusses how the metaphoric, metonymic and figurative treatment of sound objects is used by the electroacoustic composer to create narrative.
This paper presents the software Live Ambisonic Beta created by Carey Dodge using Max/MSP 4.6.3. The software allows for quick and evocative live spatialization of multiple inputs from a recording, live, or otherwise.
An artist paper on the long-term sound art project Shadow-walks, with particular focus on its recent version in Toronto 2009. The work is based on walks with local people and combines conversations, environmental sounds and the artist’s own improvised singing.
Definitions of noise and nonsense are applied to soundscape composition, sound installation art, and “new media soundscape composition” (introduced herein); these concepts are related to the foreground, background, and distracted listening practices, and a fourth category, “directed listening”, is also introduced.
A comparative portfolio of works for laptop quartet which explore the continuum between composition and improvisation.
An account of spectral delay processing as used in music by the author and a discussion of the author’s freely available spectral delay software.
This paper sets up a conceptual framework to analyze videomusic based on perceived relative movement within intersensory gesture, supported by an analysis of the author’s work the hands of the dancer, which examines the relative movement between sound and image for its temporal affect.
A technical, analytical and historical overview of methods, systems and implications of spatialization in computer-based music. Exploring Time Delay, Dynamics, Inner Organization of the Sound and Movement as the most important indicators of spatial music. First publication of Turenas’ Lissajous figures.
Survey results offer a glimpse into what people feel the future holds for electroacoustic / computer music: is a particular technology going to have serious impact in the future? What limitations may be at play? What forces might be fueling future directions?
[HISTORICAL] Death of the Red Planet
In this 1973 article from American Cinematographer, the techniques used to create the images in the film and the electronic music composed by Barry Schrader for the film are discussed.
A report on the first year of experiences with the Regina Electroacoustic Performance Orchestra (REAPOR) — a laptop orchestra at the University of Regina — and an outline of areas for future exploration.
[COMMUNITY REPORTS] Electroacoustic Music in Melbourne by Ross Bencina and Tim Kreger
[COMMUNITY REPORTS] Electronic Music in Iran by Arshia Cont and Bob Gluck
[COMMUNITY REPORTS] Electronic Music in Israel by Bob Gluck
Works by some authors and / or artists in this issue can be heard in SONUS.ca, the CEC’s online electroacoustic jukebox:
- Kevin Austin
- Ross Bencina
- Carey Dodge
- Arne Eigenfeldt
- Navid Navab
- David Ogborn
- Pedro Rebelo
- Benjamin Thigpen
- Eldad Tsabary
- Rodney Waschka II
La CEC tient à remercier le Conseil des arts du Canada (section Lettres et édition) pour son soutien à eContact! depuis 1997, ainsi que la Fondation SOCAN pour ses subventions de fonctionnement.
The CEC thanks the Canada Council’s Writing & Publishing Section for supporting the journal since its launch in 1997, and the SOCAN Foundation for their assistance through the Core Funding Programme.