[Jeu de temps / Times Play 2014]

Participants and Submissions

Winners / Gagnants | Submissions / Soumissions | Events / Événements | Awards / Prix | CD Cache 2014 | Jury

By making all submissions to the annual Jeu de temps / Times Play project available publicly, the CEC offers continuing support to each and every contributing composer, not just the composers of the winning works, or those included on the Cache 2014 compilation CD. This year a total of 50 composers submitted their work to the project. Programme notes and composer biographies for each work are found below; by clicking on the titles, it is possible to listen to the works submitted to JTTP 2014.

Works submitted to JTTP are featured in a number of radio broadcasts and concerts not only during the year immediately following each edition, but also in an on-going basis, thanks to the dedication of our many Media Partners in Canada and around the world.

Submissions

Craig AALDERS — Falling Leaves (Mono No Aware) (5:53 / 2012)

Falling Leaves (Mono No Aware) is an electroacoustic/ambient composition completed over the winter of 2011-2012.

The piece begins with a crescendo of sound highlighted by two melodies looping out of sync with one another. A drifting sense of time slowing down is created as a sound collage of falling leaves is introduced. As the piece progresses, several high pitched tones slowly bleed through the mix, gradually enveloping everything, before it all fades away.

The title “Falling Leaves (Mono No Aware)” refers to the Japanese term used to describe the awareness of impermanence, or the transience of things, and a gentle sadness at their passing.

Craig Aalders is an emerging Canadian composer and sound artist based in Vancouver BC. His electroacoustic and ambient works have been performed and projected throughout Western Canada. Craig released his first album of electroacoustic / ambient music, Remnants of Late Colour, in 2013 on Pacific 70 Records.

Clinton ACKERMAN — Walking Through Fog on a Prairie Morning (10:54 / 2013)

Walking Through Fog on a Prairie Morning is a soundscape based on the experience of snowshoeing across a lake in a dense fog at dawn. The piece is an aural interpretation of the disorientation felt trying to walk when nothing is visible save for a vast white emptiness.

Clinton Ackerman grew up in smalltown Saskatchewan learning classical and jazz piano and has since completed his BFA at Simon Fraser University, majoring in music composition. While at SFU he studied electroacoustic music, acoustic composition and interdisciplinary collaboration. Interdisciplinary work is becoming a larger portion of his practice and he continues to develop music and sound for dance, film and theatre projects. He has found great enjoyment in interdisciplinary work as both a performer and composer. Outside of his collaborative projects Clinton enjoys composing for small ensembles or exploring his love of nature through soundscapes.

Nicolás ARNÁEZ — Electrofuga (9:51 / 2008)

As its name indicates, this composition reelaborates and gives a new significance to the fugue, representative music genre of the Renaissance and Baroque, but from the point of view of electronic music. Classic elements of a fugue –such as subjects, countersubjects, responses and their elaboration– are present in this composition as well, and are relatively easy to recognize. Electrofuga is written in “four voices”. Here the instruments are no longer used to reproduce the musical theme, since four speakers located in a quadraphonic manner now perform that task. The sounds that give life to this composition are notes, chords, clusters, noises from baroque musical instruments such as organ and harpsichord, as well as sine and square waves. The work’s texture goes through different stages, from a great volumetric density of frequencies and timbres to light repetitive and percussive elements. Bumpy and soft textures, pedals and chronometric densities are presented strategically to generate the composition’s form.

Nicolás Arnáez is from Mendoza, Argentina. He holds a bachelor degree in Music Composition from the National University of Cuyo, and a Masters Degree in Music Composition from the University of Alberta. His works have been played in Argentina, Canada and Brazil. Some of his pieces have been awarded in Argentina and Canada, as well as his artistic trajectory. He has composed for solo instruments, ensemble, orchestra and electroacoustic pieces, in which the space of reproduction is treated as a constructive music parameter. In Edmonton, this artist has stepped into the creation of interactive sound installations and sound projectionist performances, which have made of him an experienced sound technician in the new music and popular scene.

Guillaume BARRETTE — Résurgence (8:55 / 2012)

This work appears on Cache 2014, a compilation featuring eight JTTP 2014 works selected by the international jury for inclusion on the CD.

Composé au début de ma maîtrise en composition électroacoustique, Résurgence est une pièce combinant guitare, traitements en temps réel et bande. Elle fut composée par l’association de techniques d’écriture acousmatique à mon jeu de guitare avec expérimentations sur différentes façons de générer des sons par l’ensemble du corps de l’instrument, dans le but d’y intégrer, par la suite, différents capteurs. Elle fait partie de mon processus de recherche sur le développement d’une guitare augmentée à des fins compositionnelles réalisé tout au long de ma maîtrise.

Composed at the beginning of my master’s degree in electroacoustic composition, Résurgence is a piece combining guitar, real-time processing and tape. It was formed by the combination of acousmatic composition and my guitar playing, experimenting in different ways to generate sounds by the entire body of the instrument in order to incorporate, thereafter, different sensors. It is part of my on-going research into the development of an augmented guitar for compositional works I have been working on throughout my master’s degree.

Originaire de la ville de Québec, Guillaume Barrette complète ses études au Cégep de Sainte-Foy au programme de science nature et musique. Par la suite, pour allier ses principaux champs d’intérêt, il entame des études en composition électroacoustique à l’Université de Montréal. Récipiendaire du premier prix de la fondation SOCAN en 2010 et troisième en 2012, de même que finaliste au concours JTTP 2011 et 2009. En 2010, il a effectué un séjour en Angleterre où il a pu parfaire sa démarche artistique à l’université De Montfort. Il termine présentement une Maîtrise sous la supervision de Jean Piché par la conception d’une guitare augmentée à des fins compositionnelles.

Originally from Québec City, Guillaume Barrette completed his studies at Cégep de Sainte-Foy in Natural Sciences and Music. Afterwards, in order to combine his main interests, he undertook studies in electroacoustic composition at the Université de Montréal. Recipient of first prize in the 2010 SOCAN Foundation’s Awards for Young Composers as well as third prize in 2012, he was also a finalist in the CEC’s JTTP 2011 and 2009. In 2010, he completed an enriching séjour to pursue his artistic studies at De Montfort University in England. He is currently finishing a master’s degree with the subject of developing a hyper-guitar as a tool for composition.

Anthony BEAUCHESNE — Eclipse (2:13 / 2014)

Étude avec les traitements appris durant le cours: Transposition directe, Renversement, Volume, Panoramique, Traitement de la dynamique, Filtres, Effets temporels, Copier, couper & coller, Automatisation des paramètres

Cégep en composition et arrangement à Drummondville. Présentement à l’université de Sherbrooke en composition à l’image. Séminaire d’une session en composition électroacoustique avec Thierry Gauthier.

Gian Tenio CARLONE — La Salle de l’Esprit et du Temps (8:46 / 2014)

Vous qui tournez cette page, prenez conscience que vous frottez en un point votre index contre la cellulose du papier. De ce contact nait un échauffement infime, une explosion dans l’infiniment petit. Par ce geste, vous avez provoqué quelque chose dont vous ne connaitrez jamais toutes les conséquences. Des micros mondes sont peut-être nés, des gens y vivent. Ils pourront même se révéler plus intelligents que nous. - Nouvelle encyclopédie du savoir relatif et absolu - Bernard Werber

La Salle de l’Esprit et du Temps s’agit d’une salle située dans le sanctuaire du Tout-Puissant, dans laquelle une année correspond à un jour sur Terre.

- Dragon Ball - Akira Toriyama

You, that turns this page, be aware that you are rubbing your index against the cells of the paper. Heat is created from this contact, an explosion in the infinitely small. By this gesture, you have caused something that you will never know all the consequences. Micro worlds may be born, people may live there. They may even be smarter than us. - The Encyclopedia of Absolute and Relative Knowledge - Bernard Werber

The Room of Spirit and Time is a room located in the sanctuary of the Almighty, in which a year is equal to a day on Earth.

- Dragon Ball - Akira Toriyama

Gian Tenio Carlone étudie au baccalauréat en musique numérique à l’Université de Montréal. À l’âge de 11 ans, il découvre son instrument de prédilection, la basse électrique. Après de nombreuses années de cours privés, il commence des études au Collège Vanier en interprétation Jazz. De plus en plus interpelé par la musique électronique, il s’inscrit à l’UdeM en 2013, tout en mettant sur pied son groupe électro-rock Plastic Talk.

Gian Tenio Carlone is currently studying electroacoustic composition at the University of Montréal. At the age of 11, he discovers the electric bass, his main instrument to date. After many years of private lessons, he starts his studies at Vanier College in the Jazz interpretation program. More and more interested by electronic music, he enrols at the Université de Montréal in 2013 while developing his electro-rock band, Plastic Talk.

Thomas V. CHRISTIE — おんしつ と 動き (4:24 / 2014)

おんしつ と 動き (Onshitsu to Ugoki) is a compositional study of timbre and space, particularly movement. The piece is made almost entirely of subtractive synthesis, with heavy influence of the modulation and manipulation of partials. Familiar sounds are also placed within the piece, but their sonic qualities are transformed into relational outcomes. Some abstract Japanese influences are prevalent in the piece, stemming from the composer’s stay in Sapporo City.

Thomas was born and raised in Medicine Hat, Alberta. During his time here, he created and participated in many musical groups, showcasing an array of genres and æsthetics. Included in his time here, Thomas helped establish youth and community-driven organizations that promote young musicians across Canada, such as the Terrific Kids Artist Collective of Medicine Hat. In 2011, he moved to Calgary to apprentice under Mark Ellestad at Hexagon Studios. During his time at the studio, he worked with world-class orchestras and musicians such as David Braid, Chris Tarry and the Calgary Philharmonic Orchestra. Thomas is currently a student of the Electroacoustic Studies Program at Concordia University (Montréal) and continues to expand and diversify his compositional styles.

Guillaume CÔTÉ — La gerçure des alentours (9:22 / 2014)

This work appears on Cache 2014, a compilation featuring eight JTTP 2014 works selected by the international jury for inclusion on the CD.

Principalement construite à partir de synthèse sonore et se basant sur la représentation péjorative du sonore dans les oeuvres littéraires abordant le Nord — concept principalement développé et mis en lumière par le chercheur Daniel Chartier — cette deuxième pièce d’un cycle dédiée à la thématique nordique et au territoire québécois s’approprie les grandes lignes de cette pensée — le son comme présence d’autrui, agression, le son terne, sourd — et tente, à travers les écrits de Marie Uguay, d’y instaurer une sensibilité humaine dans la poétique austère que souligne l’imaginaire du Nord. Merci à Markita Boies pour la narration ainsi qu’à Stephan Kovacs pour l’utilisation des écrits de Marie Uguay (Poèmes, Éditions du Boréal).

Composed almost exclusively around synthetic sounds and based on the pejorative representation of sound in literary works of the North, the second piece of my cycle themed on the North and on Quebec’s landscape underlines the sounds in the North as something alien, aggressive, unnatural, dull and poor. Through the use of the writings of Marie Uguay, the work attempts to deal with and give human sensitivity to the austere vision of the Nordic imaginary. Thanks to Markita Boies for the narration and Stephan Kovacs for the use of the writings of Marie Uguay (Poèmes, Éditions du Boréal).

Guillaume Côté est un artiste sonore privilégiant un discours musical basé sur les contrastes que permet l’art acousmatique. Sa démarche artistique repose essentiellement sur la recherche du beau dans l’imperfection des choses. Lauréat des prix SOCAN (2013) et Jeu de temps / Times Play (2013), ses pièces ont été sélectionnées dans plusieurs festivals à travers le monde tels que Electronic Music Midwest (Chicago, 2010), Musica Viva (Lisbonne, 2010), Festival Longueur d’onde (Brest, France, 2010), Noisefloor Festival (Staffordshire, UK, 2011), New Music Festival (Hilltown, Irelande, 2011), ISCM (Miami, 2011), SEAMUS (Miami, 2011) et MANCA (Nice, 2013).

Guillaume Côté is a young sound artist with a marked preference for a musical discourse based on contrasts. His artistic process essentially rests in the search for beauty in things’ imperfections. He is presently a master’s student and teaching assistant in electroacoustic composition at Université de Montréal. Laureate of SOCAN (2013) and Jeux de Temps / Times Play (2013) prizes, his works have been chosen and broadcasted in numerous festivals worldwide, including Festival Música Viva (Lisbon, 2010), Electronic Music Midwest Festival (Chicago, 2010), Festival Longueur d’ondes (Brest, France, 2010), Noisefloor Festival (Stafford, UK, 2011), SEAMUS (Miami, 2011), EMUfest (Rome, 2011, 2012) and MANCA (Nice, 2013).

Michael DEAN — #422AEF9E (9:51 / 2001)

This work appears on Cache 2014, a compilation featuring eight JTTP 2014 works selected by the international jury for inclusion on the CD.

#422AEF9E est numérique. Les artefacts de la technologie numérique sont les matières premières. Des sons d’ordinateur sont mis en avant par des traitements itératifs. La musique flirte avec la relation entre le temps et le rythme, imitant petites tranches et les fenêtres de son utilisé par les ordinateurs.

#422AEF9E is hyper-digitalism. Artefacts of digital technologies are the primary materials. Digital by-products are reinforced by iteratively exposing material to exclusively digital processes. The continuum between rhythm and tone mimics the tiny slices used in window-based processing techniques.

Basé à Montréal, Michael Dean est un artiste sonore et compositeur de musique électronique. Sa musique combine des enregistrements de machines avec des processus numériques. Il a un maîtrise dans le domaine de la technologie musique et a eu ses compositions réalisées au Canada et en Europe.

Based in Montréal, Michael Dean is a sound artist and electronic music composer. His work combines recorded machine artefacts and electromagnetic recordings with highly digital processes. Holding an MA in Music Technology, his compositions have been performed in both Canada and Europe.

Boréas est le dieu grec représentant le vent du Nord, porteur du souffle froid de l’hiver. Par extension, le thème fait référence au mythe de Déméter et Perséphone, et à la création des saisons. Dans cette deuxième vidéo, la lune envoie une étincelle au centre de la Terre pour donner naissance à une fréquence, qui doit partir à la recherche du printemps.

Boreas is the Greek god representing the North wind, carrying the cold air of winter. By extension, the theme refers to the myth of Demeter and Persephone, and the creation of the seasons. In this second video, the moon sends a spark to the center of the Earth to give birth to a frequency, which must go in search of spring.

Étudiant au baccalauréat en musiques numériques à l’Université de Montréal, avec une concentration en arts médiatiques.

Nicolas DRWESKI — Maquina de baile (10:00 / 2012)

Maquina de baile a été composé entre 2012 et 2013 avec des sons enregistrés lors de l’expédition dans la jungle amazonienne “art sonore en amazonie”. L’expédition avait pour but de confronter la musique électroacoustique à un groupe de gens non initiés aux normalisations de la mondialisation.

Acousrama est un artiste sonore Franco-canadien né à Paris en 1983. Inspiré de l’esthétique de la musique concrète, il compose une musique régit par les lois du hasard ou viennent se mélanger ordre et désodre afin de faire apparaître aux oreilles de l’auditeur une structure surprenante et parfois déroutante.

Acousrama is a French-Canadian sound artist born in Paris in 1983. Inspired by the musique concrète æsthetic, he composes a music ruled by random laws where order and disorder comes to mix in order to make appears to the listeners ears a surprising structure.

Maren ELLIOTT — Playtime with Old Hag (6:59 / 2014)

“Playtime with Old Hag” is inspired by “The Hearts of the Age of Colour” (n.d), a film collage featuring footage of “The Hearts of Age” (1934) by Orson Welles, and “Rainbow Dance” (1936), “Kaleidoscope” (1935), and “Colour Flight” (1938) by Len Lye. The Welles film, entitled “The Hearts of Age” (1934), alludes to themes of sexuality, racism, and death in a nightmarish style reminiscent of German Expressionism. With fast moving, flickering & distracting colour experiments superimposed onto the Welles film, a sense of fragmentation, confusion, and disturbance is evoked. To achieve a similar effect using an auditory modality, I combined a number of longer, drone-like sounds with bursts of higher frequency activity. My title, “Playtime with Old Hag”, is a tribute to the parallels between “The Hearts of Age” and my own sound piece. “The Hearts of Age” was Orson Welles very first film, which he directed at the age of nineteen. Thus, both pieces involve experimentation by young, inexperienced creatives with oddly nightmarish results. Disturbing as they both may be, the film and accompanying music embody a process of learning, discovery, and artistic development. The imagery that guided my process can be found at: https://archive.org/details/TheHeartsOfTheAgeOfColour

Maren Elliott is a musician and visual artist from Edmonton, Alberta. With a passion for creating visual and conceptual art out of non-traditional mediums, Maren’s work has been exhibited in a number of festivals and events for emerging artists in the Edmonton area, including The Works Art and Design Festival and Nextfest. 2014 has marked her entry into the unfamiliar and exciting territory of Sound Art. Out of the studio, Maren can be found teaching violin and viola, performing in various music groups, and attempting to learn traditional West African dances.

Vincent FLINIAUX — Máodùn (6:08 / 2014)

Mot chinois, Máodùn [littéralement “Lance Bouclier”] signifie “Contradiction”, “Paradoxe”. Il vient du philosophe “Han Fei Zi” qui racontait l’histoire d’un vendeur d’armes très renommé présentant au roi, deux de ses produits: une lance capable de transpercer n’importe quelle défense et un bouclier résistant à tout arme. Fasciné par les paradoxes, j’ai décidé d’en faire le propos de ma pièce. Celle-ci tente d’expliquer l’inexplicable et elle se heurte alors à l’effroyable chaos engendré par la confrontation de deux vérités qui s’opposent. A travers cette dualité, on retrouve finalement l’essence même de la dialectique: Position, Opposition, Composition. Il semblait évident de travailler avec les “Sons Paradoxaux” de Jean Claude Risset, ici, quelque peu revisité.”

Bassiste et contrebassiste, j’ai étudié le Jazz depuis 2008, au Conservatoire de Dijon puis de Chalon sur Saône, en France. Parallèlement, en 2010, j’obtiens une Licence en Musicologie à l’Université de Bourgogne. J’intègre ensuite le cursus de Musiques Actuelles (mineure Electroacoustique) du Conservatoire de Chalon sur Saône pendant lequel je développe ma pratique et ma réflexion personnelle. En 2013, j’obtiens mon Diplôme d’Etudes Musicales. Suite à cela, je décide de continuer ma formation à Montréal pour élargir ma vision de la Musique et de l’Art en général. Je suis actuellement étudiant en Musiques Numériques à l’Université de Montréal où je tiens aussi le rôle de contrebassiste au sein du Big-Band.

Fernando Alexis FRANCO MURILLO — Qualia (10:43 / 2013)

This work appears on Cache 2014, a compilation featuring eight JTTP 2014 works selected by the international jury for inclusion on the CD.

Qualia is about the personal relationship we build with the sounds during a concert or performance. Every single person present in the concert hall will have a different experience for the same sonic event.

It is at Concordia University that Fernando Alexis Franco Murillo discovered a new form of expression with electroacoustic music. His music is inspired from personal experiences and human emotions like love, sadness and anger. He is currently completing a master’s degree in Electroacoustic Composition at the Conservatoire de Musique de Montréal under the supervision of Louis Dufort.

Gilles FRESNAIS — Les chants de la terre (12:08 / 2014)

Les quatre éléments ont été à l’origine de cette pièce. Cependant, comme souvent en musique électroacoustique, des sons me sont apparus banals et, faisant fi du projet initial, j’ai choisi ceux qui me semblaient porteurs d’espérance et qui cadraient plus avec le développement temporel de l’œuvre. J’ai donc choisi d’utiliser des objets sonores enregistrés, naturels, traités numériquement ou artificiels symbolisant la terre, le feu, l’eau et l’air, comme des percussions sur des roches et des chants d’oiseaux exotiques, des craquements, des bruits d’eau et de vent. J’ai également utilisé des sons produits par synthèse granulaire pour certains enchaînements. Pendant des périodes, trop rares, d’absence de bruits industriels, qui n’a pas expérimenté, dans la nature, la perception de différents plans sonores, particulièrement de sons très proches, comme le bruissement ou la chute d’une feuille, ou lointain, comme le chant d’un oiseau qui s’enfuit? Cet aspect paisible qui m’a toujours ravi m’a également inspiré.

Membre du GRM de 1970 à 1974, Gilles Fresnais participait aux activités du Groupe que dirigeait François Bayle, en tant qu’assistant de Guy Reibel qui enseignait aux côté de Pierre Schaeffer dans la classe de composition de musique électroacoustique et de recherches musicales au Conservatoire national de musique de Paris. Il a activement participé à la réalisation de la bande sonore et aux représentations de l’opéra de Maurice Ohana « Autodafé » à l’opéra de Lyon sous les directions conjointes de Theodor Guschlbauer et Claire Gibault en 1971. Assistant de recherche au GRM, il s’est ensuite occupé avec Jacques Lejeune des bandes sonores de films confiés au groupe dans ce qu’on appelait la « cellule de musique pour l’image ». Il a en outre effectué en 1971 une mission d’enregistrement à Bali. Un court métrage a été réalisé à cette occasion et l’OCORA a publié deux disques consacrés à la musique de cette île (trois autres disques on été publiés par EMAC-Butterfly). De plus, certaines de ses photos ont été achetées par l’agence Havas. Au Québec depuis 1974, il a participé à quelques concerts à Saint-Hyacinthe, à Québec et, en 2013, à la Nuit de la création au Musée national des beaux-arts du Québec, ainsi qu’à l’Université Laval (2012 et 2013). Certaines de ses œuvres ont été diffusées sur France Musique en 2013. Malgré quelques activités musicales, il a repris la composition en 2010 avec les nouveaux moyens audionumériques. Vox Æternam est sa première pièce aboutie réalisée avec cette technologie. Une deuxième pièce, Les chants de la terre, a été présentée en première à l’Université Laval dans le cadre du CRANcert 2014 (salle Henri-Gagnon).

Gabriel GIRARD — Burmese (12:39 / 2014)

The image that we get from meditation because of the pop-esoteric trend is one that leaves most people believed that it is filled with birds singing, creamy synthesizer and the sound of a calm stream running down the mountain. And yet, when night comes and I sit on the floor and dive into my inner universe, what I find is a reality with at its roots, chaos - and that is, more often than not. This short journey is a window on what really happens in silence. Surrounded by some of my heroes like Jack Kerouac, Allen Ginsberg, Ron Finley, John Francis, Alejandro Jodorowsky and Gwenka, I travel around a poem by the Zen poet, Li Po : « the birds have vanished into the sky, and now the last clouds drain away, we sit together the mountain and I until only, the mountains remains”

Gabriel Girard is an electroacoustic composer from Montréal. He studied under the guidance of Jean Piché (Montréal) and Michele Tadini (Italy) at the Université de Montréal, and the Conservatoire National Supérieur de Musique et de Danse in Lyon. Fascinated by Western literature, as well as Oriental philosophy and poetry, he uses his works as an opportunity to explore the link between these worlds and the act of composition. His last piece is an exploration of the reality of meditation.

Christopher GORMAN — SHIH, The Army (39:20 / 2014)

We are the city dwellers… When there is conflict, the masses are sure to rise up… Shih, the Army means mourning.

Studied Electroacoustics at Concordia University 2010–14. Currently residing in Montréal.

Matthew HILLS — Body/Mass (8:10 / 2014)

Body/Mass is a multi-channel piece for manipulated acoustic instruments, voice, and concrete sound in Missa-Brevis form (the credo, here, is omitted). It makes heavy references to the act of exercise and it’s effect on both body and mind.

Matthew Hills is a composer, engineer, sound-artist and art-pop snob living in Montréal, Québec after having failed at fitting into upright society as a classically trained guitarist and vocalist.

Ian JARVIS — Reification (11:10 / 2014)

Where do I end and the computer begins? Reification is the initial outcome in a series of explorations that focus on the computer as a programmable instrument/system and the cyber-physical interactions that result. The instrument/system includes the audification of the laptops electromagnetic radiation through the use of an induction microphone which is processed through live coding practices and DIY digital instrument performance (arduino micro controller, induction mic, force and stretch sensor) - the result is the simultaneous combination of algorithmic processes, live coding, and physical interaction all influencing the sonic result.

frAncIs = {Ian Jarvis + technology}.sound(Toronto) frAncIs: is the illegitimate offspring of the right side of Ian’s brain and the slightly abused digital media that authenticates his life. Their interaction often results in what might be described as music and sound art.

Jeremie JONES — Schwarzwald Trio part.3 (6:20 / 2013)

Schwarzwald Forest (Allemagne, 1952). Que reste-t-il des ruines de cette petite chapelle après cet incendie qui l’a ravagé? Qu’en est-il devenu de toute cette faune grouillante d’animaux et d’oiseaux?

Schwarzwald Forest (Germany, 1952). What floats in the air after this little chapel is run down in ashes? Where lies this swarming wildlife of animals and birds?

Diplômé du Conservatoire de musique du Québec, Jeremie Jones joue maintenant dans plusieurs groupes de musique en tant que contrebassiste et bassiste de divers styles musicaux. Il a présenté des concerts au Canada, États-Unis, Angleterre, Pologne, Slovaquie, Hongrie, France, Autriche, Allemagne, Italie. Depuis 2012, il s’est tourné vers la composition.

Graduate from the Québec music conservatory, Jeremie Jones now plays with various ensembles going from classical to jazz, pop-rock and electronic music. He had the opportunity to play through Canada, USA, France, Italy, Germany, Austria, England, Poland, Slovakia and Hungria. Since 2012, he moved towards composition.

Line KATCHO — Aiguillage [Switches & Crossings] (11:06 / 2013)

This work appears on Cache 2014, a compilation featuring eight JTTP 2014 works selected by the international jury for inclusion on the CD.

Aiguillage [Switches & Crossings] s’inspire de l’ingénierie, de la mécanique, des forces et des énergies physiques sous-jacentes au fonctionnement des montagnes russes. Circuits de longs trajets sinueux déclenchés par une seule condition initiale, génératrice d’un déploiement qui se réalimente et se renouvèle en lui-même.

Aiguillage [Switches & Crossings] bases itself on the engineering, the mechanics, the forces and physical energies underlying the operation of roller coasters. Circuits of long serpentine paths are triggered by a single initial state, the origin of unfolding activity that replenishes and renews itself within itself.

Line Katcho développe son intérêt pour la musique électroacoustique lors de ses études en composition au Cegep St-Laurent, avec Michel Tétreault et Pierre-Marc Beaudoin. Elle poursuit présentement ses études en composition électroacoustique de niveau Supérieure II au Conservatoire de Musique de Montréal, sous la direction de Louis Dufort.

Line Katcho developed an interest in electroacoustic music during her studies in composition at Cegep St-Laurent with Michel Tétreault and Pierre-Marc Beaudoin. She is currently pursuing her master’s degree in electroacoustic composition at the Conservatoire de Musique de Montréal, under the direction of Louis Dufort.

Created from field recordings “Biding and Unseen” is inspired by urban environments. The sound material in “Biding and Unseen” was micro-processed via granular synthesis from recorded material initially containing sounds of the city. Micro-processing recorded material via granular synthesis emptied out the representative aspect of the recording, forming an abstracted texture, characterized by a plurality of microscopic sound events, coalescing in time-stretched patterns. As a discovered atmosphere, “Biding and Unseen” makes it possible to hear traces of the physical environment that are otherwise hidden within everyday city life. The video material features the Hudson River captured in New York. The visual representation of the river is a gesture toward the natural environment, which although unobserved in day to day human life, is ever-present and biding within the physical makeup of the city.

Anastasya Koshkin is a contemporary artist, working with language, recorded material, and cross-platform media. Her work reflects a process of documentation conjuring an exploration between physical environments and spaces of mind.

Véronique LACROIX — Marée froide (7:39 / 2014)

Marée froide est une œuvre s’inspirant des grands courants de la vie que nous parcourons tous. Ayant dû faire face à la mort trop de fois durant cette dernière année, j’ai voulu explorer un monde un peu plus noir et froid qu’à l’habitude. Ma pensée s’est ici surtout dessinée sur un plan horizontal. Cette œuvre emprunte ses idées aux mouvements de va-et-vient des marées montantes et descendantes. L’essentiel de la pièce repose donc sur de grands tableaux dans lesquels chaque petit détail fait progresser chacun des courants vers une ambiance toujours un peu plus glaciale.

«C’est l’ombre de la mort qui donne relief à la vie. » - Ingmar Bergman

Véronique Lacroix, pianiste de formation, possède depuis son plus jeune âge un intérêt prononcé pour la musique. Diplômée d’un DEC en piano classique du Cégep de Saint-Laurent, elle poursuit actuellement des études en musiques numériques à l’Université de Montréal afin d’obtenir un baccalauréat dans ce domaine en 2015. Elle peut compter à son actif plus de seize ans de pratique instrumentale au piano, huit ans de pratique au violoncelle au sein de quelques orchestres ainsi que plusieurs participations à différentes formations de comédies musicales. C’est grâce à cette formation exhaustive qu’elle peut maintenant exploiter son talent à des fins davantage compositionnelles. Parallèlement à ses passions musicales, Véronique entretient également un vif intérêt pour l’enregistrement sonore. C’est d’ailleurs dans cette avenue qu’elle compte orienter sa carrière.

Alexis LANGEVIN-TÉTRAULT — Shapeshifter (7:01 / 2014)

This work appears on Cache 2014, a compilation featuring eight JTTP 2014 works selected by the international jury for inclusion on the CD.

Pièce acousmatique axée sur le traitement qui explore les possibilités de relation entre trames et micro-montage. Inspirée de l’essai de Jean-Guy Lacroix Sociologie et transition millénariste : entre l’irraison totalitaire du capitalisme et la possibilité-nécessité de la conscientivité. Inspirée du poème Séquences de Gaston Miron : « (…) je vous magane, je vous use, je vous rends fous, je vous fais honte Vous ne m’aurez pas vous devrez m’abattre (…) les sommeils bougent, ma poitrine résonne J’ai retrouvé l’avenir »

Né à Baie-Comeau (Québec, Canada). Alexis Langevin-Tétrault est polyvalent, curieux et passionné. Touche à tout et produit beaucoup. Habitué de la scène et du studio en tant que guitariste et musicien électronique, il compose aussi les trames sonores de courts métrages et de pièces de théâtre. Sociologue défroqué, il étudie présentement la composition électroacoustique à l’université de Montréal.

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Sébastien LAVOIE — The Four Seasons: Summer (6:10 / 2012)

This work appears on Cache 2014, a compilation featuring eight JTTP 2014 works selected by the international jury for inclusion on the CD.

Mon objectif est d’offrir un sens musical aux quatre saisons, en utilisant des sons associés à chacune de celles-ci et en leur intégrant une spatialisation mettant en relief, pour chacune d’elles, les quatre points cardinaux. Vivaldi a composé Les Quatre Saisons version musique classique, moi je vais faire Les Quatre Saisons version musique acousmatique. En écoutant mes prises de son, afin de m’inspirer dans mon projet de composition, j’ai pu constater que j’avais des enregistrements provenant des quatre saisons. Alors, je me suis proposé de rassembler et classifier mes enregistrements par saisons: 1. Hiver, 2. Printemps, 3. Été, 4. Automne. L’intérêt premier de ma maîtrise est la spatialisation, alors j’ai voulu donner une priorité à l’espace pour mon projet de composition. Ainsi, par l’écriture et la localisation spatiale, j’ai incorporé les quatre points cardinaux dans mon projet. Donc, il y aura un certain focus, selon la saison, à la localisation (spatialisation) des sons dans l’espace: 1. Nord (Avant), 2. Est (Droite), 3. Sud (Arrière), 4. Ouest (Gauche) De plus, il y aura aussi une association des «quatre éléments de la nature» aux matériaux sonores choisis pour chaque saison: 1. Eau, 2. Terre, 3. Feu, 4. Air.

My goal is to give musical sense to sounds related to the specific season and to spatialize them according to their cardinal direction. Vivaldi composed the Classical music version of Four Seasons, I’m proposing the electroacoustic version of the Four Seasons. Over the last four years, I’ve recorded many sounds to inspire me in my compositional projects. Since I live in Canada, I noticed that I had recordings from all four seasons. Thus, I thought it would be great to organize these sounds in relation to their related natural elements (Winter = water, Spring = earth, Summer = fire, Autumn = wind). In addition, to complement the work, composed for eight channels, I’ve incorporated the four cardinal directions to give a geographical sense to the four seasons (winter = north, spring = east, summer = south, autumn = west). So there will be a focus in each season — an attention to the (spatial) location — of the sounds in the composition.

En 2007, Sébastien amorce ses études de baccalauréat en composition électroacoustique à l’Université de Montréal. Depuis 2013, il détient une maîtrise au sujet de l’intégration de la spatialisation sur le plan de la composition acousmatique et de son interprétation en concert, sous la direction de Robert Normandeau. Au cours de sa maîtrise, il a profité d’un échange-étudiant afin d’aller en Angleterre pendant un an, à De Montfort University pour étudier avec le compositeur John Young. Sébastien se considère comme faisant partie de cette nouvelle génération d’étudiants en musique qui utilisent le « laptop » comme instrument musical. Et cet outil de composition lui permet de se développer autant sur scène que dans un studio. Ce qui lui plaît, entre autres, dans les musiques électroacoustiques, ce sont les possibilités, grâce aux technologies, de faire des alliages entre plusieurs sonorités et styles musicaux. Explorateur sonore, il parcourt les différentes avenues bruyantes et musicales afin de saisir et de composer les chemins menant vers des sons nouveaux.

In 2007, Sebastien began his electroacoustic music studies at the Université de Montréal, completing his master’s degree in 2013 on the integration of spatialization in acousmatic music and its performance in concert, under the direction of Robert Normandeau. During the course of his studies, he also benefitted from an exchange program in order to study abroad for one year at De Montfort University with the composer John Young. Sebastien regards himself as belonging to a new generation of students in music who use the laptop as musical instrument. This compositional tool allows him to develop his musical skills as much on stage as in the studio. What totally gets him into electroacoustic music is the possibility, using technologies, to generate a multitude of hybrid musical forms. Sound explorer, he travels through the diverse avenues of noise and music in order to capture and compose novel sounds.

Pierre-Luc LECOURS — Impacts discrets (9:14 / 2014)

This work appears on Cache 2014, a compilation featuring eight JTTP 2014 works selected by the international jury for inclusion on the CD.

L’horloge s’arrête
la nuit commence à peine
filtre la lumière
dérobe la quiétude

il y a des cris
personne n’est encore venu

— Guillaume Lebel, La voix meurt pleine

Le travail de cette pièce s’est articulé autour de l’idée de créer un système physique abstrait, mais cohérent, dans laquelle la musique évolue et réagit. Un système avec ses propres lois, une sorte de microcosme surréaliste où l’espace est soumis à une autre gravité et à d’autres lois physiques.

L’horloge s’arrête
la nuit commence à peine
filtre la lumière
dérobe la quiétude

il y a des cris
personne n’est encore venu

— Guillaume Lebel, La voix meurt pleine

The work on Impacts discrets revolves around the idea of creating an abstract, yet clearly articulated physical system in the midst of which the music evolves and reacts. A system with its own laws, a sort of surreal microcosm where space is subjected to another gravity and to other physical laws.

Compositeur et multi-instrumentiste, Pierre-Luc Lecours a débuté son parcours musical en tant qu’autodidacte pour ensuite entamer des études en composition électroacoustique à l’Université de Montréal. Il a participé à la composition et la production de plusieurs albums de musique et de bandes sonores de films, pièces de théâtre et applications numériques. Bien que les œuvres de Pierre-Luc Lecours couvrent un large éventail esthétique, il cherche avant tout dans ses pièces à créer un impact émotif et à faire jaillir des images, des impressions. Son travail fut primé par différents concours : Concours de composition de la fondation Destellos 2014, Concours des jeunes compositeurs de la Fondation SOCAN 2014.

Composer and multi-instrumentalist, Pierre-Luc Lecours began his musical career as a self-taught musician before studying electroacoustic composition at Université de Montréal. He has participated in the composition and production of several albums and film soundtracks, theatre and digital applications. Although his work covers a wide range of æsthetics, Lecours always aims to create emotional impact and to create successions of images with his music. In 2014, his work was prized in the Destellos Foundation Electroacoustic Compositions Competition and in the SOCAN Foundation Awards for Young Composers.

David LEDOUX — OrgadrUM (8:04 / 2014)

À partir d’enregistrements d’un Opus 1, à la chapelle Notre-Dame-de-Lourdes à Montréal, OrgadrUM se veut une expression du passé vers le présent. L’Opus 1 fut le tout premier orgue à être produit par l’usine des frères Casavant de St-Hyacinthe, ville natale du compositeur, où le grand-père de ce dernier travaillait en tant qu’harmoniste. Cette composition électroacoustique se veut donc une sorte d’hommage à l’héritage familial de l’auteur.

Originaire de St-Hyacinthe, David Ledoux habite à Montréal depuis plusieurs années. Avant d’entamer un bacc en Musiques Numériques à l’Université de Montréal, il fut batteur dans divers groupes dont SEMPRFI, avec qui il enregistra un EP intitulé Paperboat. Sa fascination pour la musique électroacoustique et la production musical le poussa à s’inscrire à l’université suite à la rupture du groupe en 2011.

Tyler LEWIS — Glimpse (5:12 / 2014)

Frozen was composed in the spring of 2014, during the last weeks of a winter that wouldn’t let go. It is an acousmatic piece done in four channels, best listened to in a front-centric fashion. Lively gestures color static drones of noise while heavily-processed sounds mingle with raw source material.

Tyler Lewis first engaged with the world of sound during his childhood, growing up near Seattle, Washington. Piano lessons, participation in choirs, and forming bands with friends all allowed for the exploration of relationships within music and sound. Currently Tyler lives and works in Montréal, attending Concordia University’s electroacoustic studies program. His compositions are detailed and precise, and some have been used to support visual artists, provide accompaniment to dance routines, sound installations, cellphone applications, and even a soundtrack for a documentary.

Yitong LIANG — No Destination (7:00 / 2014)

The piece is about my memory living in the cities filling with noise and people with deep loneliness. I think only a quote from Rainer Maria Rilke can perfectly describe my idea: ”Let everything happen to you/Beauty and terror/Just keep going/No feeling is final”

I am a current 4th year Communications student at Simon Fraser University in Burnaby BC and am interested in soundscape and music production. Recently I finished a work in at Sonic Research Studio at SFU during my project-study. In 2014 the work was presented in a soundscape concert held at SFU Woodward’s.

Enzo MARCEAU — Irezumi (7:29 / 2014)

Inscrite autant dans l’esthétique de la musique concrète que du drum and bass, Irezumi est un assemblage complexe de rythmes aléatoires, d’échantillons déconstruits et d’ondes sinusoïdales. À l’image des tatouages japonais dont elle tire son nom, les subtilités de l’oeuvre soutiennent la tradition en intégrant des éléments nouveaux et originaux, ainsi qu’une citation musicale des plus célèbres, le Amen Break.

A seamless blend of musique concrète and drum and bass, Irezumi is a well crafted mix of randomized rythmic figures, deconstructed audio samples and sine waves. Similar to the japanese tattoos from which it derives its name, the subtleties of this piece uphold tradition, while mixing in new and original elements. A short musical quotation is featured, albeit mangled and chopped up, the Amen Break.

Plongé dans un univers musical dès un très jeune âge, Enzo Marceau a étudié la batterie comme instrument principal et a poursuivi sa formation au collégial en interprétation jazz. Initié à l’environnement du studio d’enregistrement, il décide de parfaire ses connaissances en complétant une AEC en Sonorisation et Enregistrement où il découvrira la composition électroacoustique par l’intermédiaire des cours de Gilles Gobeil. Ce vaste univers pique son intérêt et il s’inscrit ainsi à l’Université de Montréal où il développera ses techniques d’écriture et son style singulier sous la tutelle de Georges Forget, Martin Bédard et Robert Normandeau.

Immersed in a word of music from a very young age, Enzo Marceau will take up the drums as his primary instrument, pursuing a cursus in jazz studies at college. Having been introduced to the recording studio environnment, he will hone his knowledge by completing an AEC in Sound Engineering where he will discover electroacoustical composition under the guidance of Gilles Gobeil. His curiosity sparked by the infinite possibilities, he signs up to Université de Montréal where he will develop his style and refine his technique with none other than Georges Forget, Martin Bédard and Robert Normandeau.

Nathan MARSH — Darkness Falls (6:30 / 2013)

Darkness Falls is a stereo electroacoustic piece that was created using personally recorded samples from only two sound sources: a piece of paper, and human breath. The piece strikes a balance between sonically manipulated abstract sound and distinctly human-made sound, the latter of which serves to entrench the listener in a particular fantasy world. The humanity of the breathing sounds force the listener to infer meaning from the otherwise abstract sample sounds which serve as the backbone of the piece.

Nathan Marsh is an emerging composer based in Vancouver. He is currently studying Electroacoustic Music at SFU Contemporary Arts, and has studied electroacoustic composition and acoustic communication with Barry Truax, and acoustic composition with David MacIntyre and Janet Danielson. His musical interests lie in the inherent emotional connections that listeners establish with music. It is amazing that even from abstract electronic sounds, one can derive sensation and feeling relevant to the human condition. This phenomenon says much about the communicational capacity of music, something that Nathan seeks to explore in his compositional work.

Jon MARTIN — Garden Window (22:32 / 2013)

Garden Window is a long format electro-acoustic work that is based on very specific and very general experiences I had while travelling in Japan. As I began developing my language ability and cultural understanding, I inevitably became able to differentiate between the core and surface level differences between Canadian and Japanese culture. This realization was most evident in a large underground tunnel in the City of Sapporo, where a typical pedestrian walkway is interjected with performance spaces, vendors, cafes, artwork, stores, as well as entrances and exits that caused the individual people in the tunnel to always be changing. Although it simply people going about their everyday lives, the drastic change between the familiar and unfamiliar created a very specific and unique sensation as I made my daily walk through the tunnel. My ear would catch a few words or phrases I recognized, yet as quickly as it has passed, the feeling of confusion would return. Each trip through was akin to submerging one’s head underwater. It began with a slow immersion into the depths below the streets and trains, a prolonged period of blur and confusion while in the tunnel, and finally the return of clarity upon reaching the exit. Once I had returned to Canada, I was talking with a friend and found that I was having difficultly conveying exactly what made the experience so special and decided to compose Garden Window. Garden Window features pieces of sound and ideas that I had been collecting during my visit, and attempts to recreate the feeling my experience in the tunnel through a juxtaposition of the familiar with the unfamiliar and an exploration of associative sound gestures.

Jon Martin is a composer and performing musician from Lethbridge, Alberta. During his time at the University of Lethbridge earning a BMus, he developed a strong interest in working in the long-form electroacoustic composition format, while also writing and performing with his band, The New Weather Machine. His work has been featured in areas ranging from film score to a 12-channel permanent exhibit at the Royal Tyrrell Museum in Drumheller, Alberta, and often incorporates elements of psychology, layering and texture, narrative, electroacoustics, acoustic sound manipulation and environment / field recordings. Inspired by the potential of new sound structures, innovation in the creative processes, travel and the inherent potential that exists in everyday life, Jon continues to compose building on the ideas of many forward thinking 20th-century composers like Penderecki, Stockhausen, Cage and Eno.

Joseph MCDONALD — The 4th & 5th Degree (10:57 / 2012)

I like to meditate. This piece was certainly found in that space. It came together very naturally. I began exploring both Lydian (the 4th degree) and Mixolydian (the 5th degree) and this work came to be. It was very much influenced by Steve Reich and John Mclaughlin. I took a minimalist approach then began to improvise on my acoustic guitar over a very simple structure. It really was an enjoyable process composing and recording this piece. I hope you can find some enjoyment yourself!

Joseph McDonald is composer, singer / songwriter, producer and multi-instrumentalist based out of Ottawa, Ontario. He has performed in many different musical projects ranging from electronica to jazz. His most current focus is his work with, The Ramblin’ Valley Band, a multi-genre group he co-founded. Be sure to keep your eyes and ears open for this rising Canadian artist.

Jamie MCMILLAN — serene (journey though a vast and empty) wasteland (5:00 / 2010)

Digital Composition

Jamie McMillan completed his BFA in Integrated Media, On-Screen Media and Digital Media Studies at OCAD University. He works in audio and video, as well as in animation, graphic design, illustration, and web design. In addition to creating visual/interactive art, his other artistic outlets include experimental music and writing. Throughout his work, Jamie tries to evoke questions of reality by exploring themes such as futurism as well as the psychology of perception in human beings. Jamie organizes the OCADU Augmented Cinema Film Festival, a film festival for the OCADU Community. The goal of the festival is to showcase student work to the city of Toronto film industry and film community involved at OCADU.

Gabriel MESSIER — 62 (6:31 / 2014)

L’élément central de la pièce est donc le discours de John F. Kennedy. Tout le discours fut retravaillé, de façon à enlever toute référence à l’Union Soviétique et à Cuba. Nous sentons que le discours contient des éléments critiques, mais aucun pays n’est véritablement nommé, afin de donner un caractère neutre à la pièce.

Gabriel Messier est un étudiant au programme de musique numérique à l’Université de Montréal depuis 2013. Avant d’entamer des études universitaires, il était étudiant à l’Institut Trébas, où il a complété le programme de traitement de sons et conception sonore en 2012. C’est cependant à l’Université de Montréal qu’il découvre la musique électroacoustique et c’est dans le cadre des cours de Sylvain Pohu et de Nicolas Bernier qu’il composa ses deux premières pièces. Sa deuxième pièce, 62, composée dans le cours de Nicolas Bernier, fut sélectionné pour faire partie d’une série de concerts donnés à l’Université de Montréal, eBuzz. Aux termes de ses études, il aimerait faire la conception sonore pour les jeux vidéo, le cinéma et/ou la télévision.

Elise MILANI — Castling At Bow (2:53 / 2014)

Castling at Bow evokes a delicate sense of wanting, followed by a sudden urgency that forgoes timidity in favour of graceful assertiveness. It is the first track on Elise’s debut EP ‘Deviance’.

Elise Milani is a multi-instrumentalist, sound artist and feminist. She recently completed her undergraduate degree at McMaster University in Communication Studies and Multimedia. Originally trained classically on the double bass, Elise has dived into the world of electroacoustic sound design since studying with Dr. David Ogborn. She is one of the senior members of the Cybernetic Orchestra, joining in January 2011, and was selected as the first recipient of the annual Chin Chin Award in Electroacoustic Studies / Sound Art (2012).

Ali NADER ESFAHANI — Sonances of the Bizarre (4:20 / 2014)

Sonances of the Bizarre is an acousmatic rendition of a large-scale interactive electroacoustic piece inspired by traditional Iranian professions. To gather the raw sonic material of this piece, I traveled to Iran to collect field recordings of the genuine soundscapes and sound-objects of old Iranian professions that are unfortunately on the edge of extinction. In the abstract soundscape of this short composition you will hear sound-objects found in carpet weaving workshops, or the squeaky sounds of reed pens on glossy papers used in Persian calligraphy. You will also hear the resonant sound of plucking a stringed bow-shaped tool in cotton fluffing, teacups and saucers buzzing and sliding in a teahouse, as well as the polyrhythmic metallic soundscape of a coppersmithing bazaar.

Iranian composer and music teacher Ali Nader Esfahani started learning music informally at an early age. He did undergraduate work in physics at Sharif University of Technology, then decided to devote his time to music and completed a graduate program in composition at Tehran University of Art. In 2008, he moved to Canada and is currently a PhD candidate in composition and a Killam Scholar at the University of Calgary. He has written music for soloists, chamber ensembles, orchestras and electroacoustic medium.

Ofer PELZ — The Movement of the Mass (7:15 / 2010)

In this work, all the sounds are recorded from acoustic instruments. The music played by the instruments is partly improvised and partly written. The recordings were treated by electronic manipulations, and superposed layer above layer to create an important sound mass. I wanted the perception of the auditor to move from line (of instrument) to another, and to the whole sound mass in a free manner. By the double meaning of the title, I intend to give a general social and political critique of the individual facing the movement of the mass.

Ofer Pelz est né à Haifa (Israël) en 1978 et vit à Montréal. Compositeur, il a remporté de nombreux prix nationaux et internationaux. Sa musique est jouée aussi bien en France qu’en Italie, en Allemagne, en Corée du Sud, au Pays-Bas ou en Israël par des ensembles tels que Ensemble Meitar, Ensemble Cairn, The Israel Contemporary Players, Quatuor Ardeo, El Perro Andaluz,Nouvelle Ensemble Modern. Pelz a travaillé par ailleurs avec de nombreux réalisateurs et chorégraphes, notamment avec le choréographe François Raffinot. Ofer Pelz a effectué ses études supérieures à l’Académie de Musique et de Danse de Jérusalem. Il a perfectionné ses études de Composition et Composition électroacoustique au Conservatoire de Blanc-Mesnil avec Philippe Leroux, Thierry Blondau et Gilles Racot, ainsi qu’une année de formation au CNSM de Paris. Actuellement, il est doctorant en Musique à l’Université de Montréal supervisé par Ana Sokolovic, Caroline Traube et Robert Normandeau.

Ofer Pelz currently lives in Montréal and is working toward a Doctorate in music at the Université de Montréal. He received a Masters with excellence in composition and music theory from the Jerusalem Academy of Music and Dance. Subsequently, he moved to Paris for three years to participate in music technology and instrumental composition courses at the Conservatory of Blanc-Mesnil, the Paris Conservatory and IRCAM. The music of Ofer Pelz has been performed in many important festivals around the world such as: Zeitkunst Festival — Radialsystem (Berlin) and Centre Pompidou (Paris), Israel Festival (Jerusalem), Nuova Consonanza (Rome), Heidelberger Biennale für Neue Musik (Heildelberg), ACMF Festival (Tongyoung, South Korea), MATA Festival (NYC) and by major ensembles including Meitar Ensemble, Cairn Ensemble, The Israel Contemporary Players, Ardeo String Quartet, El Perro Andaluz, Le Nouvelle Ensemble Modern, Architeck percussion quartet. Pelz has collaborated with the French choreographer François Raffinot among others. Awards include the 2008 and 2012 ACUM prizes, the Chana Idor Avni first prize (Israel, 2007), Kauffmann Award (France, 2008), second prize at the Asian Composer league young composers competition (South Korea, 2009), Ernst Von Siemens Grant (Germany, 2010) and more.

Sophie PÉRIARD — Mexico : histoire de prison (6:10 / 2014)

Pièce créée à partir d’échantillons enregistrés lors d’un séjour au Mexique l’hiver dernier et au cours duquel des amies furent arrêtées par les autorités mexicaine. C’est l’histoire d’un voyage, avec ses départs, ses attentes et ses recommencements.

Sophie Périard est multi-instrumentiste, artiste de performance et d’art visuel, ainsi que parolière. Sa pratique en musiques électroacoustiques a débuté en 2011 de façon autodidacte et l’a amenée à poursuivre au sein de l’Université de Montréal dans le cadre de la Majeure en musiques numériques, programme d’étude duquel elle est toujours étudiante actuellement.

Jason RULE — Maisonneuve (8:33 / 2014)

Maisonneuve was created in December 2013 as a project for Dr. David Ogborn at McMaster University in Hamilton, Ontario. The entire piece is made from transformed samples of police scanner audio from the Service de police de la Ville de Montréal. This is a stereo piece that was originally conceived and performed as an octophonic installation at the HAVN gallery in Hamilton, for Art Crawl. It starts off very ambient but eventually resolves itself into a steady rhythm, starting from the center and panning clockwise around the space.

Born in Toronto to an English mother and American father, I am an audio / visual artist working with live-coding, acousmatic composition, DJing and video art, with a focus on creating a decayed æsthetic using found sound / footage and microsampling. I’ve also been a member of the Cybernetic Orchestra at McMaster University, under David Ogborn, where I have contributed to the second album, Shift, and have performed with the group in Hamilton, Toronto, Montréal and Karlsruhe. I live in New York and will be creating more works, especially live-coded pieces, and exploring the electroacoustic community here.

Une création en cinq mouvements, d’une minute chacun. En collaboration avec la photographe Alex Robichaud, la souche de chaque mouvement a été enregistrée au même endroit et à l’instant précis où la photographie était prise. Dans chaque cas, l’image sert de point de repere esthtétique pour la composition : guidant ainsi le procédé de collecte et d’arrangement du son à travers le champ de l’enregistrement. Distance, caractere, isolation et symétrie sont explorés. --- 2 chaînes (stéréo) accompagnées d’une vidéo.

A piece in five movements, each one minute long. In working with photographer Alex Robichaud, the primary source material for each movement was recorded in the exact moment and location in which the accompanying photograph was taken. In each case, the photograph serves as an aesthetic benchmark for composition - guiding the process by which sounds are arranged and collected beyond the field recording stage. Distance, character, isolation and symmetry are explored. --- 2 channels (stereo) accompanied by video.

Eric Seguin est un etudiant en musique. Ses gestes sonores sont pleins d’allusions au media de toutes formes et cherche å créer un environment commun pour consommateurs. En prenant son inspiration de la méthode populaire et éviter le purgatoire du style, Eric Seguin explore les extrêmes. Tout est utilisable.

Eric Seguin is a student of music. His pieces contain allusions to media of all kinds, seek to create a shared headspace for consumers of all kinds. Drawing from the cleanest of popular forms and straying from sonic purgatory, Eric Seguin explores extremes. All is fair game.

Jordie SHIER — Hysteresis (4:09 / 2014)

Hysteresis explores the idea of evolution and movement based on a prior state. An initial condition is presented and feedback takes care of the rest. Sometimes the system appears as if it will explode, or decay into nothingness, but with an adequate amount of randomness injected, a new and unpredictable state always presents itself.

Jordie is a student of Music & Computer Science at the University of Victoria. He grew up in Calgary, Alberta playing piano, drums & percussion. In his first year of University, while studying Chemical Engineering at Queens, he discovered the software program Ableton Live and began creating electronic dance music, fascinated with the possibilities of new sonic realms it opened up. Feeling the need to explore music more seriously he took three years off school to produce and perform live electronic music in Calgary in a group called Napoleon Skywalker which featured Jordie performing with Ableton and Carson Gant on acoustic drums. Wanting to further his musical skills and technical knowledge he commenced the combined Music & Computer Science program in Victoria in 2012. He is most interested in exploring techniques that open up new worlds of sound using acoustics and electronics. Over the last couple years at UVic Jordie has enjoyed long hours of experimentation with the in house Buchla synthesizer. He is also studying composition through which he has written pieces for experimental interfaces such as the EROSS Hyper Trumpet as well as more recently becoming interested in Spectral composition techniques, recently writing a piece in this style for an ensemble with quadraphonic tape.

Maximilien SIMARD-POIRIER — Slipstream (7:18 / 2013)

J’ai toujours eu une passion pour la conception sonore. Après mon vécu professionnel dans ce domaine, beaucoup de ma composition en découle. Voici “Slipstream”, une pièce qui incarne bien ma passion.

I have always had a passion for sound design. After a few years of working in the industry, a lot of my composition is inspired by my time spent working. Here is “Slipstream”, a piece that represents well my passion.

Après quelques années d’études cinématographiques, j’ai décidé d’entreprendre des études en son. Durant mon séjour à l’Université Concordia ainsi qu’à l’Université de Montréal, je me suis retrouvé a travailler en conception sonore pour de la publicité. Récemment j’ai entrepris le défis de la conception sonore pour jeu vidéo ainsi qu’à l’édition sonore pour la télévision.

After a few years studying film, i decided to study sound. During my studies at Concordia University and the Université de Montréal, I have found myself working in post-production for film and commercials. Recently I have ventured into the world of video game sound as well as sound editing for television.

Guided by a belief that the electronics products would be an integral part of everyday life in every office and in every home, Terry Gou founded Hon Hai Precision Industry Company Ltd, the anchor company of Hon Hai / Foxconn Technology Group in 1974 with US$7,500, a devotion in integrating expertise for mechanical and electrical parts and an uncommon concept to provide the lowest “total cost” solution to increase the affordability of electronics products for all mankind. FOXCONN FREQUENCY (no.1) looks to disrupt the concert music tradition by exploring the musical and thematic consequence of presenting and examining performing bodies and instruments in new ways. The piece specifically calls for Chinese performers to operate three samplers that trigger cheap piano samples to sound in the structure of a (more expensive) grand piano. The actions to trigger these sounds are simple, but the resulting sounds scale in complexity, density, and length. In this way, the work effort and labour is de-coupled from the sound (and, eventually, re-coupled).

Remy Siu ( 蕭逸南 ) is an emerging composer based in Vancouver, BC. He studied at SFU Contemporary Arts with David MacIntyre, Owen Underhill, Janet Danielson, Jeffrey Ryan, Arne Eigenfeldt, and Barry Truax. He has also studied with Rodney Sharman, Ken Ueno, Claus-Steffan Mahnkopf, Suzanne Farrin, and Detlef Heusinger. His work has been performed by the Vancouver Symphony Orchestra, the Victoria Symphony, the Turning Point Ensemble, the Erato Ensemble, Musica Intima, and Quatuor Bozzini. He also composes and performs with Dissonant Disco (a Vancouver music collective) and Hong Kong Exile (an interdisciplinary art collective). Currently, he works on the staff of “Sound of Dragon Society,” a non-profit focused on asian music while “preserving heritage, [and] seeking innovation.” He has worked with Henry Daniel, Steven Hill, Rob Kitsos, and MACHiNENOiSY, among others in the Vancouver arts community. In 2012, he was artist-in-residence at the New Westminster River Market. He has produced two sold-out shows: ASCENSION (string quintet + dance) and Attacca 2012. He was featured in the Georgia Straight 2012 Fall Arts Preview. The Vancouver Sun described his music as “characterized by vibrant, driving rhythms and brash sonorities.” The Globe and Mail called his music “dark… [and] cacophonous.” He is interested in (excess—fragility), (cheapness—spirituality), (empathy—consequence) and humour.

Scott STENEKER — Miniature Objects i (19:29 / 2014)

The intent behind this piece is that it would be listened to actively. That the listener would engage with the sounds to discover them more intimately. Through repetition and gradual change the nuances of each sound are to be explored and revealed. The theoretical basis of this work is found in Pierre Schaeffer’s concepts of reduced listening, sound objects, and the acousmatic experience. Every sound contained in the piece was collected as field recordings of acoustic, environmental sounds. These were then abstracted through digital manipulation.

Scott Steneker is an Alberta-born musician and composer. He is primarily involved in the creation of sonic art, scoring for film, and, under the pseudonym Soucier, he creates experimental electronica.

Louis THOMPSON-AMADEI — Typhlotic Impressions (5:18 / 2014)

Typhlotic Impressions is an Acousmatic piece intended for standard ITU 5.1 configuration playback. The composition is built upon entirely original recordings of traditional and non-traditional instruments. A rich medley of harmonic and inharmonic sonic items are demonstrated as both distinct and blended throughout, using precisely shaped articulations and gestures that immerse the listener by manipulating anticipation. Motifs that vary delicately each time resounded are revealed throughout and act as the compositional pillars of the piece. The conceptual aspect of Typhlotic Impressions stems from the composer’s evocation of ‘blind wandering’, where the aural sense acts as the primary sense of perception and interpretation of time and space.

Louis Thompson-Amadei studies Electroacoustics at Concordia University in Montréal and will graduate in the spring of 2015. His intention is to remain at Concordia and continue to study composition. His interest in sound, and the auditory sense, is not limited to any single branch of the study. He has training in Suzuki School piano, percussion, including vibraphone, and he has also studied West African drumming in Ghana. He is geared towards compositional practice that blends Jazz, contemporary genres beyond mainstream culture and everything that surrounds the Electroacoustic tradition. In the future he aspires to compose for animation, television and film.

Marie-Claude TREMBLAY — Anabiose (6:48 / 2014)

Cette pièce parle d’une de nos plus communes transitions…
Peu importe l’heure où cela se produit, sortir du sommeil est un passage. Facile pour certain, brutale pour d’autre, la phase du réveil est une traversée quotidienne, une danse à notre rythme propre pour basculer dans le réel, le retour à nos obligations.

Tout de suite après avoir ouvert les yeux, il y a nos actes machinaux, presque réflexifs, à qui l’on ne porte pas d’attention, ou si peu, car ils vont de soi.

Je me demande, dans ces instants d’accoutumance, entre le l’éveil et l’activité lucide, où va une part de notre conscience? On se laisse bercer par ce trajet inscrit dans nos corps, par ces mouvements que l’on a répétés mille fois. Dans quel univers se glissent les sons produits par nos automatismes, ses sons négligés, dilués dans la routine? Existent-ils encore? Leurs résonnances nous influencent-elles tout de même?

Étudiante en musique numérique à l’Université de Montréal, Marie-Claude Tremblay est diplômée du Conservatoire d’art dramatique de Québec. Elle est aussi auteure-compositrice-interprète et travaille à la création d’un deuxième album sous le nom Micoe.

Michael YOUNG — From a Meteor (5:22 / 2014)

This composition was intended to use the typical structure of the construction of a story arc to convey the moods and emotions of a protagonist on an adventure. The material used to realize this work was primarily mouth based sounds with some breathing, hand rubbing, and footsteps. I worked with audio recorded in a 96000 Hz sampling rate because I knew that in this piece I would be pitching sounds down more than three octaves. Some of the mouth sounds included pops, vocal fry, and sounds common to beat boxing. I wanted to use mouth sounds so as to keep with the theme of a story being told. Just as stories in audio from are spoken, this piece used extracted and processed sound objects recorded from the mouth. The structure of the composition consists of five through composed parts, each corresponding to a stage in the structure of a story being: introduction, rising action, climax, falling action, and resolution. I was inspired by the use of binaural beats in the use of dream therapy and I incorporated this in to the piece. To accent and embellish the focal point of each part I used a pair of sine waves on either side to create an oscillation. The oscillation in the first half of the piece is eight cycles per second. The reason why I chose this is because these waves have been shown to aid in producing a dream state when administered to a sleeping person. In the latter half of the piece a slower two-cycle oscillation is used which corresponds to deep dreamless sleep. These low sounds add presence to their corresponding sections. Some intentional clipping and distortion effects were applied to some sounds using the bit crusher plug-in.

Currently studies mathematics and computer science at the University of Calgary. Began working with electroacoustic music in the Fall of 2013 in Dr. David Eagle’s sonic arts class. Has been playing guitar for seven years and has been teaching guitar part time at a lesson studio for two years. Plays and sings in a local rock group called Young Mike. Has been recording rock music for five years.

William YOUNG — Endangered Landscape (10:49 / 2014)

While composing ‘Endangered Landscape’ I was interested in themes of ecological destruction, technological development, desolation, and ‘the sinister’.

Bill Young is a composer, songwriter, and performer from the Cowichan Valley and Vancouver BC. He has his BFA from SFU, where he studied under Barry Truax.