Jeu de temps / Times Play 2000 (JTTP 2000)
Les pièces suivantes furent soumises au projet Cache 2000 et Jeu de temps 2000 Times Play et apparaissent avec notes de programme et biographie telles que soumises par les artistes. Seules les pièces d’une durée de 7 minutes et moins étaient éligibles pour la compétition, mais au moins une pièce de chaque compositeur(trice) a été jouée en concert.
The following pieces were submitted to the Cache 2000 and Jeu de temps / Times Play projects and appear with biographical and programme notes as submitted by the artists. Only works of durations shorter than seven minutes were eligible for the competitions, but at least one work by each composer below was performed in concert.
Winners / Gagnants
- Nicolas Borycki — Le diable au teint orageux
- David Berezan — Gathering
- Mathieu Marcoux — Corporation
- David Berezan — Running — Dawn: Microcosm
- Mark J. Hannesson — Burdizzo
Prix du public: Mark J. Hannesson — Burdizzo
Cache 2000 CD
Participants
David Berezan
Nicolas Borycki
Christian Bouchard
Alexandre Burton
D. Raylene Campbell
jef chippewa
Ian Chuprun
Robin Davies
Patricia Lynn Dirks
Yves Gigon
Michael Gurevich
Mark J. Hannesson
Matt Kober
Christien Ledroit
Jay Lind
Lindsay Manning
Mathieu Marcoux
Gregory Lee Newsome
Daniel Romano
Julien Roy
Michal Seta
Warren Spicer
Ian Stewart
Joshua Thorpe
Ivan Zavada
Submissions / Soumissions
David Berezan — Gathering (1999 / 5:02)
Dans Gathering (une des courtes oeuvres qui avec d’autres forment Unheard Voices, Ancient Spaces) l’auditeur s’efforce de discerner le craquement des arbres dans la forêt parmi les éruptions sonores d’un violoncelle. Lentement, un doux murmure apporte un tempo et une tension à la voix collective des immenses arbres anciens.
Gathering is one of a number of short works which together comprise my large scale acousmatic piece Unheard Voices, Ancient Spaces. Each of these works represents a particular geographic space, with it’s own unique source materials and characteristics. In Gathering, the voices of mountain trees emerge. The listener strains to discern the creaking of the trees in the forest, and over time great densities of sound are allowed to speak. Slowly, an encircling and soft murmuring builds in tempo and tension to finally, as I have attempted to suggest, the voice of the great and ancient towering trees. Instrumental sounds are used throughout these works to suggest a human presence. In each work, or space, the instruments have a unique role in the suggestion of a particular relation of humankind and nature throughout history. In Gathering, the instruments are used to texturally relate and co-exist with the naturally occuring sounds, suggesting the co-existence of nature and humans in much earlier times.
All of the naturally occuring sound sources were recorded by the composer in wilderness areas of Southern Alberta. Unheard Voices, Ancient Spaces and the works which comprise it was composed for the multi-channel diffusion of an 8-track digital source tape. This diffusion was realised at the Banff Centre for the Arts, in October, 1999, using the Richmond Audio Box, at a residency provided by New Adventures in Sound. A stereo reduction of the diffusion is presented here.
David Berezan (né en 1967 au Canada) est un compositeur de musique électroacoustique et instrumentale. Ses œuvres ont été jouées au Canada, en France, en Allemagne, au Danemark et en Grande-Bretagne. Il a étudié la composition à Calgary, Edmonton, Banff et Stanford. Il est présentement compositeur dans le programme de doctorat de l’université de Birmingham (Grande-Bretagne) et est actif au sein du Birmingham ElectroAcoustic Sound Theatre (BEAST).
David Berezan is a Calgary composer who has written music for mixed chamber ensembles, solo instruments, and digital media. A number of his works integrate the use of digital sound sources and performers on acoustic instruments, through the use of interactive computer software applications. Collaborative works with other artists include music for modern dance, audio work for web designers, and a sound and sculpture installation at the Nickel Arts Museum, Calgary. He has a particular interest in the electroacoustic genre of acousmatic music, or, cinema for the ear. Extensive travel through many regions of Europe, Russia, China, and Southeast Asia has influenced his works — in particular, recordings made in these locations have been integrated into a number of pieces. The desire to express location and landscape in his music has more recently turned to an exploration of sounds recorded in southwestern Canada.
His education includes an undergraduate degree in History and studies in Russian language and literature at the University of Calgary. Initial musical experience was formed in the late 1980’s alternative and experimental pop music scene in Calgary and Edmonton, performing with several groups. He studied jazz bass performance at Grant MacEwan Community College in Edmonton and subsequently began composing following studies with Gordon Nicholson in 1995. In 1996 he was awarded second prize in the Edmonton Composers Concert Society’s Young Composers Competition and in 1998 he attended summer workshops in computer-based sound synthesis and algorithmic composition at the Center for Computer Research in Music and Acoustics, Stanford University. A work of his appears on the 1997 CD Presence, released by the Canadian Electroacoustic Community. Currently, he is completing his Masters degree in composition at the University of Calgary, where he has studied with composers David Eagle, William Jordan, and Allan Bell.
http://www.ucalgary.ca/~berezan/UVAS1.html
David Berezan — Running — Dawn: Microcosm (1999 / 5:35)
One of several short works which together comprise Unheard Voices, Ancient Spaces, Running — Dawn: Microcosm consists of two distinct sections which both refer to common source materials and geographic spaces, but with very different resulting characteristic evocations. This work takes the listener on a journey through the rapidly moving and often violent world of running water, interrupted by moments of relative calm and percussive ostinati, and arrives in the setting of a still mountain lake environment in the early morning. While recording the materials for this piece, however, it became very apparent, very quickly, that dawn is often the most active time of the day for animals, and I represented this by contrasting very dense choruses of activity with the smooth surface of the water. Percussive instruments were used to texturally relate to the percussive nature of the fast moving water. Gongs and other pitched metallic sounds were used in the Dawn section — these were chosen for their suggestive temple-like meditative qualities, which I found to underlie the surging activity of the time.
All of the naturally occuring sound sources were recorded by the composer in wilderness areas of Southern Alberta. Unheard Voices, Ancient Spaces, and the works which comprise it, is a large scale acousmatic work which was composed for the multi-channel diffusion of an 8-track digital source tape. This diffusion was realised at the Banff Centre for the Arts, in October, 1999, using the Richmond Audio Box, at a residency provided by New Adventures in Sound. A stereo reduction of the diffusion is presented here.
Nicolas Borycki — Le diable au teint orageux (1999 / 4:16)
Cette petite chose est la partie musicale d’un projet réunissant musique et image, le premier de la sorte. Même si la partie visuelle permet une lecture différente de l’ensemble, la musique à elle seule a déjà sa raison d’être.
Le titre fait allusion à une petite créature en mouvement, laquelle est une sorte de guide dans ce cours périple…
This small piece is the musical part from a project uniting sound and visuals, his first work of this type. Even if the visual part would admit a different reading of the whole, the music itself has its own raison d’etre.
The title alludes to a small creature in motion, which is a sort of guide on this short voyage…
Né en France en 1972, Nicolas Borycki vit au Canada depuis bientôt 8 ans. Il a commencé par étudier parallèlement la musique et les Arts Plastiques. D’abord pianiste, il s’est ensuite dirigé plus spécifiquement vers la composition. À l’Université de Montréal depuis 1995, il a obtenu un baccalauréat en composition électroacoustique en 1998, et complètera la maîtrise au printemps 2000.
Depuis plus d’un an, il se concentre davantage sur des pièces mêlant image et musique, où les parties visuelle et musicale, qu’il s’agisse de traitement ou de structure, sont considérées de manière identique.
Born in France in 1972, Nicolas Borycki has lived in Canada for almost 8 years. He began studying music and the Plastic Arts simultaneously. At first a pianist, he has since begun to specialize in composition. Attending the University of Montreal since 1995, he obtained a Bachelor’s degree in electroacoustic composition in 1998, and will complete a Masters in the spring of 2000.
For more than a year he has focused on works combining image and sound, where the visual and musical components, either in treatment or in structure, are considered in an identical manner.
Christian Bouchard — Le point de vue du parcomètre (1997 / 2:55)
C’est en allant au conservatoire que je passai tout près d’un parcomètre en fonction. Lorsque je me suis arrêté pour m’en approcher, les sons de la ville participaient à une pièce musicale, à laquelle j’étais le seul témoin, et où la pulsation était donnée par ce parcomètre chef d’orchestre. Ces choix d’évènements et leurs superpositions m’ont amené a créer une miniature utopique puisque j’ai extirpé tous les bruits masquant les belles sonorités de la vie urbaine.
Christian Bouchard — Tonicité (1997 / 4:06)
Un ventilateur comme objet inerte comportant des tensions sonores. Des camions stationnaires d’où s’envolent une mélodie de freins comme un saxophone poussé à ses limites physiques. Et, un autobus passant du repos à l’activité. Je me suis servi de cette prise de son comme matériau et canevas pour la forme. J’ai cru bon la présenter au tout début, intégralement et sans traitement, afin de créer un espèce de miroir déformant. Comme une réalité devenue fiction en transposant ce matériau cru en une matière musicale plastique et en tentant d’en faire jaillir la poésie.
A fan as inert object comprising sonic tensions. Idling trucks from which a melody of brakes flies out like a saxophone pushed to its physical limits. And, a bus passing from rest to activity. I made use of this recording as material and canvas for the form. I thought it best to present it at the very beginning, in its entirety and without treatment, with the goal of creating a type of deforming mirror. Like a reality that has become fiction by transposing this raw material into plastic musical matter, trying to make poetry emerge.
Christian Bouchard est né à Québec en 1968. Guitariste de formation, il touche à presque tous les styles musicaux. En 1996, il boucle dix années de pratique en composant et interprétant huit pièces pour guitare électrique préparée, inspirées de photographies de Stéphane Beaulieu. En 1991, il remporte la finale locale de CEGEP en spectacle avec le groupe multimédia Synopsis. De 1993 à 1995, il travaille à la réalisation d’émissions radiophoniques pour l’organisme: La bande magnétique. C’est dans leur très petit studio, qu’il effectue ses premiers essais électroacoustiques. En 1998, on lui décerne le premier prix pour Trois miniatures en suite au concours jeunes compositeurs de La Fondation SOCAN. À deux reprises en 1999, il est invité aux concerts Hautes Tensions présentées par l’ACREQ. Depuis 1996, Bouchard étudie au Conservatoire de Musique de Montréal, où il complète une maîtrise sous la supervision de Yves Daoust.
Christian Bouchard was born in Quebec in 1968. Guitarist by training, he has worked in almost every musical style. In 1996 he summed up ten years of practice by composing and performing eight pieces for prepared electric guitar, inspired by photographs by Stephane Beaulieu. In 1991, he won the local CEGEP performance final with the multimedia group Synopsis. From 1993 to 1995, he worked on the production of radio programmes for the organization La Bande Magnetique. It was in their tiny studio that he completed his first electroacoustic pieces. In 1998, he was awarded the first Prize for Troise Miniatures en Suite, in the SOCAN Young Composers’ Competition. He was twice invited in 1999 to present works in the concert series "Hautes Tensions", produced by ACREQ. Since 1996, Bouchard has been studying at the Conservatoire de Musique de Montreal, where he is completing his Masters under the supervision of Yves Daoust.
Alexandre Burton — the unknown pedestrian (2000 / 8:00)
version originale 15’ (1998), remix 8’ (2000)
"Norlander had come across a pedestrian on a public highway in the middle of a winter night. Norlander had been informed that there was a car in the ditch in the vicinity and that the unknown pedestrian was possibly the operator of that vehicle."
-- source inconnue, février 1971
(please note that "source inconnue, février 1971" should stay in French no matter the language of the program).
Montréalais dès sa naissance (1973), Alexandre Burton s’intéresse à l’Inutile. Hésitant entre art et technologie, il ne cesse de couper la poire en deux sous le couvert des musiques informatique et électroacoustique. Il fait de l’ordinateur son instrument délaissant ainsi la clarinette, outil peu pratique et assez difficile à jouer.
En plus de ses propre projects de composition, il a collaboré à divers projets locaux, notamment au conte multidisciplinaire Antennäe (Johanne Madore) et au spectacle multimédia Communion (Isabelle Choinière), avec lequel il a tourné en Europe et en Amérique du Sud. Il a été amené à participer à des conférences portant sur les arts électroniques, notamment à Paris, au Brésil et à Amos.
Ses recherches théoriques actuelles portent d’une part sur l’intégration pertinentes de senseurs dans des dispositifs médiatiques, et d’autre part sur les problèmes liés à l’écriture et à la non-linéarité de la forme sur support numérique (particulièrement dans la musique électroacoustique). Ces deux sujets se rejoignent dans la remise en question totale de l’œuvre comme objet monolithique et arrêté au profit d’une esthétique résolument (et forcément) ouverte. Il a formalisé cette pensée dans le cadre d’une maîtrise à l’Université de Montréal.
Pédagogue, il a enseigné à l’Université de Montréal et est présentement instructeur à la faculté de Musique de l’Université McGill. Il aussi poursuit divers projet de développement industriel de logiciels musicaux et sonores dont Cecilia (qui a été lauréat en 97 à Bourges dans la catégorie Environnement de Production Musical) et les produits Zeep.com.
Montrealer since his birth (1973), Alexandre Burton’s interest has always been the positively Useless. Hesitating between arts and technology, he is constantly working under the cover of both computer science and electroacoustic musics. He made the computer his instrument, thus giving up the clarinet, somewhat limited in it’s applications (and quite hard to play).
Electroacoustic composer, he has been active in a number of projets, notably Antennäe, a multidisciplinary dance performance and Communion, a multimedia show, with whom he toured Europe, North and South America. He participated in a number of electronic arts events in Paris, Brazil and Amos, amongst others.
His current theoretical research aims at meaningfully integrating sensor systems in media setups and at thinking about the process of writing in digital non-linear structures (especially in electroacoustic music). These two topics join in a questionning of the monolithic and finished "work" of art to the benefit of an open-ended approach. He formalized his thinking in the context of a master’s degree at the Université de Montréal.
He taught at the Université de Montréal and is currently instructor at McGill University in Music Technology. In addition to his musical work, he pursues a number of software development projects, including Cecilia (which won an award at Bourges in 97 for Music Production Environment) and the Zeep.com products.
D. Raylene Campbell — Rakini-love (6:59)
Rakini-love is an electroacoustic piece composed for choreographer/dancer Tania Alvarado. Rakini is an exploration of love, passion, sex and procreation. As an audio artist my exploration of this theme involved the collection and organization of various sounds, and the composition of live, processed accordion improvisation. The collection of sounds was strongly inspired by the theme we chose. I collected the sounds of sex, the sounds associated with sex, the sounds representative of the characters of the dancers, and various other sounds that I felt would blend well with the accordion. I organized these sounds in a way that I thought would be useful and inspiring the both the dancers and to me as a performer. In composing my accordion performance it was very important for me to have real time, individual control over the effects processing parameters. Therefore I designed a system using a Quadraverb, iCube Digitizer(MIDI controller), and a selection of foot pedals and switches. This system allows me to control the parameters of the Quadraverb as I am improvising. I enjoy having the freedom to improvise with both acoustic and electronic equipment. This piece will be debutted at the National Arts Centre, Ottawa, and here in Edmonton,AB in March 2000.
Raylene has been an accordionist for twenty-four years and has been active as a performer and electroacoustic composer/audio artist for five years. She has studied accordion with Enes Upright and Joe Morelli, and is currently studying with Antonio Peruch. She has also studied electronic music with Jamie Philp and recording engineering with Clive Alcock and Colin Lay while attending Grant MacEwan Community College. She enjoys performing both traditional and electroacoustic music and is always looking for ways to bring both worlds together in her composing. Her focus in creating audio art has been to explore all the possible techniques that one can use to manipulate the sound of the accordion. She has explored manipulation of sound with changing acoustic environment; and with the use of electronic tools such as effects machines, oscillators, sequencers and the incorporation of acoustic ecology, and editing (digital and analog). This manipulation of the accordion and acoustic ecology has created a variety of sound and noise ranging from soothing ambiance to an explosive intensity that could send chills up anyone’s spine. Raylene is a fine performer and often collaborates with other musicians, dancers, actors, film makers, and poets. Raylene is currently involved in a collaborative project with choreographer/dancer Tania Alvarado. This collaborative work will be presented in Ottawa at the National Arts Center in March, 2000, and in Edmonton on March 17 & 18, 2000. Raylene can also be seen performing around Edmonton with Cafe Musique, a trio consisting of cello (Christine Hanson), flute (Bill Damur), and accordion. The trio has a versatile repertoire including French Musette, Latin (ie. tangos, rhumbas, beguines, milongas, etc.), and both traditional and classical Italian styles. Cafe Musique creates a relaxing and romantic atmosphere which is strongly reminiscent of the outdoor cafes of Europe. This trio will be adventuring up to the Arctic Circle to do an educational tour in late March, 2000. The trio will be touring with bassoonist George Zuckermann, and looks forward to experiencing the people and the beauty of Canada’s northern communities.
jef chippewa — DUO (2:41)
… le compositeur de musique instrumentale ayant un intérêt dans le potentiel sonore théoriquement illimité de l’électroacoustique… récemment concerné à développer des formes compositionnelles et une manière de composer qui concerne des problématiques spécifiques à la Nouvelle Musique [qui inclut selon lui l’électroacoustique]: par exemple, l’organisation des hauteurs de note dans des idiomes non – « mélodiques ».
Saxophone – yves charuest
sax garage + orgasme de synthèse analogue, ballade électroacoustique, construction timbrale non mélodique, dissidentenrausch… ce que le compositeur pourrait [avoir à] dire sur s- composition[s] est sans importance quand l’auditeur ne possède aucune barrière esthétique; la nature et « l’intention » d’une construction sonore dynamique ne sont limitées que par des perceptions et attentes pré-conditionnées.
the composition of DUO and the attempt to ’understand’ the musical ’potential’ of a composition using such varied sources as the alto saxophone and the aries analogue synthesizer led to an understanding of the difference between the creation of instrumental and electroacoustic music as primarily a question of interface. it was then no longer a question of composing ’electroacoustically’ (whatever that may mean!), but simply of composing.
at any point in a composition there exists a multiplicity of perspectives and manners of interpretation, not only regarding its performance and auditory experience, but even throughout the compositional process. that form which a composition ultimately assumes is but the manifestation of a series of decisions rendered by the composer, taking into account the circumstances (instrumental formation and resources, existing musical materials) as the composition is made to evolve. the essence of a single and singular composition may be expressed through virtually any musical formation (solo instrument, ensemble, electroacoustic, electroacoustic with instrument[s]) in a more or less effective manner.
this is not to suggest that the compositional act and the essence of a composition are unaffected by context (instrument[s], medium/interface, length of the composition) but to acknowledge the complexity and diversity of the interaction of those elements which contribute to the creative act. it is thus clear that there is no final and absolute musical form possible which may contain in its entirety the essence of a composition any more than the full experience and profound comprehension of a composition may be achieved in a single audition.
the auditory experience of DUO introduces the listener to a dialogue of selected perspectives found within the total potential of its musical essence, the open-endedness of which can be appreciated as an invitation for further dialogue (for example, through the interface of the interactive composition, TRIO).
the philosophical: the compositional and perceptual experience of DUO offer the potential for comprehension of musical interactions and appreciation of the correspondence of timbre and articulation types between two radically different worlds of sound production (that of the [alto] saxophone and of the analog synthesizer), instead of a lethargic experience of linear continuity, and establishment of familiarity on a superficial level. the impressive rate of new materials encountered in an audition of DUO encourage the listener beyond the realm of redundant motivic correspondance.
the structural: formal design in DUO corresponds to a multi-dimensional, time-less (in the usual sense of linear continuity) entity: a sphere through which lines of interaction and presence of materials are traced continually, creating at each successive crossing of elements an original interaction and new perspective on the composition.
the poetic: aries orgasm.
i wish to thank yves charuest for his artistic insight and criticism, and for his openness and flexibility as a performer and as a musician.
jef@newmusicnotation.com
http://music.concordia.ca/Programs/Electroacoustics/Student_Links/jef/chippewa.html
Le compositeur canadien JEF CHIPPEWA s’intéresse avant tout à rendre compte du caractère unique de chaque composition en s’efforçant de reconnaître et d’intégrer l’influence qu’exercent les caractéristiques inhérentes de l’œuvre en développement, notamment les caractéristiques que présente le médium choisi — musique de chambre ou d’ensemble, instrument solo, électroacoustique, etc. Avec dedication (pour quatuor à cordes… ou tout autre formation) et plastik (construite et « dé-construite » par 3-5 exécutants), chippewa a poussé plus loin ce paradigme compositionnel en insistant sur la nécessité, pour les interprètes, d’élaborer un « protocole de performance » unique, propre à chaque œuvre individuelle.
Bien que chippewa ait poursuivi des études « formelles » auprès d’institutions établies (Université de Montréal, Université Concordia), un travail intensif de recherches personnelles a été déterminant dans sa formation musicale.
Ses compositions ont été jouées et diffusées dans le cadre de nombreuses séries de concerts et plusieurs festivals tels que EuCuE (Montréal), Darmstadt Ferienkurse (festival de musique contemporaine, Allemagne), FUTURA (festival acousmatique, Crest, France) et l’International Sound Art Festival (Mexique).
Ian Chuprun — Whither shall ye wander? (1998 / 12:00)
A father dozes… his children play close to his thoughts… internal dialogues meet external forces. Where are they going he wonders and how?
This metaphorical piece links sound recordings of young children at play (singing, rattling and creaking their toys, shouting or making sound effects for their games) with sounds of human locomotion (a train roaring past, a car starting up, a bus depot filled with noisy students, someone walking in leaves or rocking a squeaky chair) to create a sense of reverie, dislocation, alarm, and shock. The imaginary vehicles of the children are superimposed upon the adults’ world. Play is transport.
The title’s question, which is taken from the nursery rhyme Goosey Goosey Gander, asks a dreamy question about where one might wander. The children’s songs and poems quoted refer to human transport (Row, Row, Row Your Boat, Michael Rowed His Boat Ashore, Goosey Goosey Gander), as do the onomatopoeic sounds of their play. The train, as well the other sounds of vehicular transport, act usually as powerful metaphors for human movement and motion, but in the context of this piece, their movement is neutralized so that only the idea of moving is preserved. Transport has become play.
Ian Chuprun (b. 1966, Montréal) has been formally organizing sounds since he first made his way from photography, film animation and sculpture to electroacoustics in 1989 at Concordia University in Montreal. He has since completed a MMus with Dr Jonty Harrison at the University of Birmingham (UK) and is presently teaching electroacoustics at Concordia and is working for the Canadian Electroaocustics Community (CEC).
For more info: http://www.chuprun.net
Robin Davies — Urge (6:55)
Urge is actually a virtual instrument created in the MAX/MSP programming environment. This recording is a live improvisation on that instrument performed by the composer, and recorded directly to HD. Various parameters within the instrument were adjusted in real time via MIDI. The Urge software makes use of numerous chaos algorithms which modify the timbre and frequency of the generated sounds. The Urge software is available for download at www.music.mcgill.ca/~robin.
Robin Davies was born in London, Ontario, in 1975. His musical background includes classical training on the double bass, and membership in many choirs. He received his Bachelor of Music in Computer Applications from McGill University in 1998, and is now pursuing a Masters’ in Music Technology. With a definition of music somewhere between Cage and counterpoint, Robin endeavors to create unslottable sound. When he isn’t developing music creation software, Robin sings with Christ Church Cathedral Choir in Montreal, goes raving, and teaches Multimedia courses at McGill.
Patricia Lynn Dirks — Transformations (2:21)
Transformations is an electroacoustic work created using the computer programming language Csound. It explores gradual changes from one waveform to another while incorporating filtered audio samples to further explore the transformation from prerecorded material to digital waveforms.
Patricia Lynn Dirks, (b.1972) is a Canadian composer originally from Hamilton, Ontario. In November 1999 she completed her Masters of Music, in Composition, with a special emphasis on electroacoustic music at the University of Calgary, Alberta. Patricia also holds a Bachelor of Music in Honours Composition from Wilfrid Laurier University, Waterloo, Ontario. As a composer she has won various awards for her compositions. Most of all, Patricia enjoys spending time with her young daughter and husband in their home in Kitchener, Ontario.
Yves Gigon — Cercle visqueux (1999 / 14:03)
Cercle visqueux parle de voyage et de souffle. Voyages intérieurs, paysages sonores et ambiances troubles, souffle tranquille et cycles urbains.
Dédié à Christian Zanési
Yves Gigon est un catalyseur, passionné de son, de culture et de création digitale. Pas étonnant donc qu’il soit lui-même créateur d’oeuvres digitales. Il est également impliqué dans le fonctionnement de la CEC et vient de terminer un bac en Beaux-Arts à l’Université Concordia, en électroacoustique et en digital image/sound.
Yves Gigon is a catalyst, passionate about sound, culture, and digital creation. It is not surprising then that he is himself a creator of digital works. He is also involved in the administration of the CEC, and recently completed a Bachelors degree at Concordia University in electroacoustics and digital image/sound.
http://pages.infinit.net/ygigon
Yves Gigon — Crickpet (1999 / 3:00)
Crickpet est une pièce où les sons eux-mêmes sont les éléments conducteurs. Je me suis en effet laissé guider par les différentes sonorités, sans structure préétablie, sans forme précise. En choisissant tout d’abord une série de sons, en les transformant par différentes techniques (transposition, time-stretching, synthèse granulaire, etc), puis en plaçant un premier son dans le séquenceur audio, en en ajoutant d’autres, en les déplaçant sur la "partition" (du séquenceur), en les superposant, les faisant bouger dans l’espace, jusqu’à ce que l’ensemble me plaise.
La pièce a été ensuite spatialisée sur huit canaux lors d’un atelier donné au Conservatoire de Montréal.
Il y a une infinité de possibilités avec ces divers sons. En voici une: Crickpet.
Le titre de la pièce vient de l’un des sons utilisés, un son de criquet (cricket en anglais). Comme le son a été modifié, le mot l’a été lui aussi.
Crickpet is a piece where the sounds themselves were the guiding elements. In effect, I let myself be led by the various sonorities, without a preconceived structure, without an exact form, first choosing a series of sounds, then transforming them with various techniques (transposition, time-stretching, granular synthesis, etc), and then placing an initial sound in an audio sequencer, then adding others, moving them around in the score (of the sequencer), superimposing them, making them move in space, until I found the whole pleasing.
There is an infinitude of possibilities with such a diversity of sounds. This is but one: Crickpet.
The title of the piece comes from one of the sounds used, the sound of a cricket. Since the sound was modified, the word was as well.
Michael Gurevich — Androgyn (14:31)
Donny Kennedy, soprano saxophone
Cameron Wallis, baritone saxophone
Michael Gurevich, computer
Michael Gurevich and May Orebanjo, Recording Engineers
Androgyn is an interactive piece for two saxophone players and Macintosh computer. It uses a real-time score, delivered to the performers on a video monitor, which is determined by analysis of performance data. Aspects of the performance are also used to control parameters of signal processing performed by the computer. All the pitch material is derived from a single 12-tone row, which becomes the basis of the chords over which the performers improvise. In doing so, the piece attempts to unify various traditional contrasts, such as those between art and mathematics, and male and female gender roles.
Michael Gurevich — Soft White (1999 / 6:08)
Chantale Dodier, saxophone alto
Michael Gurevich, ordinateur
Michael Gurevich et May Orebanjo, ingénieurs du son
Ceci est un enregistrement d’une pièce interactive pour saxophone alto, ordinateur Macintosh et bande digitale. Il s’agit du cadre d’un texte poétique original que produit un ensemble virtuel: l’instrumentiste, la transformation du signal par l’ordinateur et la voix enregistrée. Ces différentes parties forment un poème sonore, à la fois riche et fluide, plus grand que les mots eux-mêmes.
Chantale Dodier, alto saxophone
Michael Gurevich, computer
Michael Gurevich and May Orebanjo, Recording Engineers
This is a recording of an interactive piece for alto saxophone and Macintosh computer, using Max and MSP. It is a setting of a poetic text, creating a virtual performance ensemble involving a live instrumentalist, computer operator, digital signal processing and sound file playback of the text. This recording was produced in Clara Liechtenstein Recital Hall at McGill University in 1999.
Né en 1978 à Winnipeg (Canada), Michael Gurevich a reçu un baccalauréat en musique de l’université McGill à Montréal, où il a étudié avec, entre autres, Zack Settle et alcides lanza. Il compose une musique assistée par ordinateur qui se concentre principalement sur l’interaction entre des instruments et des ordinateurs, brisant les frontières traditionnelles de genre et de style. Il complète présentement un doctorat au Center for Computer Research in Music and Acoustics (CCRMA) à la Stanford University, se spécialisant en performance interactive et en acoustique sous-marine.
Michael Gurevich was born in 1978 in Winnipeg, Manitoba, Canada. He is presently completing his undergraduate degree in Computer Applications in Music at McGill University in Montreal. He will be attending a presently undetermined graduate school in the fall to pursue research in real-time intelligent musical instruments. Michael is an active member of the Group of the Electronic Music Studio (GEMS) at McGill, and has presented his music for GEMS, at the Canadian Electroacoustic Music Students Symposium, and for the MEDUSA concert series in Montreal.
Michael Gurevich — We Are the First (5:47)
We Are the First is partly inspired by Douglas Coupland’s book of short stories Life After God., and partly by another piece by Lindsay Manning. It uses minimal source material: a single note played on a saxophone and two phrases of text, all of which are elaborated upon electronically.
Mark J. Hannesson — Burdizzo (6:07)
Un burdizzo est l’instrument utilisé lors de la castration des taureaux. La pièce est une exploration de la violence dans le son. Elle est composée de contrastes entre des collages de masses sonores et de courtes éruptions qui dégagent une imagerie violente contenue dans un texte vocal inaudible et pseudo-subliminal.
Written for CD. Performed on April 16, 1999, Electroacoustic Music Concert, University of Alberta (Edmonton). Duration is 6 minutes, 10 seconds. The primary sound sources are from an extremely distorted and badly played electric guitar. Many of these sound files were then convoluted and mutated with human voice and/or other miscellaneous found sounds.
The structure of the piece is A B A’ B’ … The A sections are made up generally of sustained sounds, often faded in and out, while the B sections are comprised of very short sounds with sudden attacks often used in large groups of the same sound forming a sound mass.
The title of the piece comes from the tool used for the castration of bulls.
My original intention when I began this piece was to explore the idea of violence in sound. My initial intention was to use distortion and loud volumes but I soon realized that this was just one way to achieve a violence of sound. Instead I became intrigued with the idea of building sound masses often (but not always) of very small individual sounds and manipulating them over time. In order to remain true to my initial intention for the piece I experimented with sounds that would provide stark contrast to these sound mass collages as well as utilizing violent imagery in the inaudible vocal text.
Mark Hannesson a reçu son baccalauréat en musique de l’université Brandon et une maîtrise en composition de l’université d’Alberta. Il aime composer pour des instruments acoustiques ainsi que pour le média électroacoustique. Il vit et travaille présentement à Winnipeg, au Manitoba, avec sa femme, un chien et deux chats.
Mark J. Hannesson was born in 1968 in Winnipeg, Manitoba. He completed a Bachelor degree in Music at Brandon University and then continued his studies for one year at the University of Manitoba. He is presently in the second year of a Masters degree in composition at the University of Alberta where he studies under Malcolm Forsyth and Laurie Radford. This piece was written in the University of Alberta Electroacoustic Studio.
Matt Kober — Gaseous Porpoise (4:06)
Swirling, noxious gasses drift thickly around a desolate and bleak landscape. Giant mutated porpoise navigate the sludgy and radioactive oceans of a possible future, calling out sadly as they breach the toxic waters. A genetically modified soundscape piece.
Matthew Kober (Montréal, 1974) est un passionné de son. Ses travaux récents ont porté sur la musique pour la danse, les rapports entre le son et le texte (littérature), la vidéo d’art ainsi que l’activisme et les structures interactives son/image pour le Web. Diverses influences contribuent à façonner son travail: l’électroacoustique, la radiophonie, le paysage sonore, les techniques de montage et la réflexion sur des questions sociales.
Matt Kober — Meat (5:43)
MEAT is comprised of samples taken from a meat carving instructional video. I have pretended to expose the subtext hidden therein, using a series of digital "knives". MEAT is best listened to with a side dish of braised carrots and yams. Thanks to Mark Corwin, Kevin Austin and Ian Chuprun for their support and guidance.
Matthew Kober (Montréal 1974) is an avid and dedicated sound-nut. His recent work has explored music for dance, text/literature sound correlations, video art and activism and interactive sound/image structures for the web. His electroacoustic work has delved into radiophonics, soundscape, dub technique and social issues.
Christien Ledroit — Miasmata (5:22)
Miasmata, signifiant la libération de gaz nocifs, a été presque entièrement créée à partir de sons buccaux – respiration, voix, langue, salive et autres. Ces sons sont manipulés au travers d’une structure simple qui présente et développe différentes textures, humeurs et atmosphères.
The title, meaning the noxious release of gas or air, reflects many of the sounds contained in the piece. Most of the sounds were originally produced through the mouth, either vocal, breathing, or otherwise, then digitally manipulated. All recording, manipulation, processing and sequencing was done on a PC computer, using various audio editing software. The piece moves through a simple structure, presenting and developing several different textures, moods and atmospheres. While the title may suggest a programmatic element to the piece, and several programmatic ideas suggested themselves during the composition of this work, the piece should ultimately be approached as a pure sonic structure.
Please note that between 4:02 and 4:10 distortion can easily occur at high levels of volume when played back through mediocre speakers or headphones.
Christien Ledroit est né à London, Ontario, et habite maintenant à Montréal, Québec, où il complète sa maîtrise en musique à l’université McGill avec Jean Lesage. En 2001, il a été le récipiendaire d’un premier et deuxième prix à la compétition pour jeunes compositeurs de la SOCAN.
Christien Ledroit was born in London, Ontario, and is now residing in Montreal, Quebec, where he is enrolled in the Master of Music program at McGill University. He completed his undergraduate degree, (BMus Honours) at Queen’s University, in Kingston, Ontario in 1999, where he was the recipient of the Maurice Dubin Memorial Prize in Composition. He started composing music seriously in his first year of undergraduate studies, studying with Kristi Allik, then later David Keane, Marjan Mozetich, John Burge and Alfred Fisher. His main instrument is the violin, (he studied with Kenneth Perkins, formerly of the Orford String Quartet), and he also plays guitar. Currently he is studying composition with alcides lanza. While at Queen’s, he produced a small festival of concerts, entitled the Mosaic New Music Concert Festival, dedicated to works of Queen’s student and faculty composers. He is currently a member of GEMS, (Group of the Electronic Music Studio at McGill).
Major works to date include the Concerto for Tuba, (with strings and percussion), String Quartet #1, Prevision, for orchestra and choir, (Un)Natural (Dis)Integration for two percussionists and electroacoustics, 15 Months, for orchestra, Rapidity, for orchestra and piano, and Ideal, for chamber women’s choir, as well as several piano pieces and electroacoustic works. Future plans include a trio for flute, vibraphone and tabla, a short work for timpani and tape and a concerto for digital keyboard and orchestra.
1. flat out under these white sheets, white
2. knuckles, making it up as we go along
3. have it no other way. the perverse
4. currents leaping off your olive skin
5. would spark shadows in this city of devils
6. for months of new moons. if they could
7. take hold of you
8. lock up the technicians with their stained
9. manuals. they mistake rhythm for the click
10. of bugs feeding under the lunchroom couch
11. our universe of random collisions, explosions
12. supernova the fibres of these sheets, ink
13. splashing from the bottle across the white
14. walls, these white knuckles
14 Lines is one of a series of pieces composed by Jay Lind with text by Edmonton poet Wayne DeFehr. In this case the composer’s voice is the primary sound source. The tamboura-like sounds are extrapolations of the harmonic character of the voice reading the text. Low frequency oscillations play a significant role here and are intentionally designed to disrupt the consistency of the work. The LFO’s coexist at the boundary of pitch and modulating event. This work should be played loudly so that the sub-harmonic instances create physical and emotional tension for the listener.
"Nothing is true; everything is permitted." — Rashid al-Din Sinan
Jay Lind is currently a graduate student at Simon Fraser University where he is enrolled in a Masters of Fine Arts in Interdisciplinary Studies at the School for Contemporary Arts. He completed a BA (Music/Philosophy) at the University of Alberta in 1995 and studied composition with Howard Bashaw and electroacoustic music with Garth Hobden. Jay does not believe in the boundaries of music set forth by historical convention and corporate campaigns. Rather, he prefers to see music as one branch of the arts unto itself in a syncretic and symbiotic relationship to everything else in the universe. Currently studying under the tutelage of Martin Gotfrit and Owen Underhill, Jay is exploring issues of sound design in acoustic and electroacoustic compositional media.
Lindsay Manning — Bird’s-Eye View (1999 / 6:24)
The material used in the piece came from a soundwalk at the Biodome de Montreal in April 1999. The piece explores the interaction children have with aquatic and animal life found in three of the ecosystems at the Biodome: the Tropical Forest, the Laurentian Forest, and the St. Lawrence River.
Lindsay Manning is a Communication Studies student at Concordia University in Montreal, where she is specializing in sound production. One day, she hopes to move closer to the ocean and a warmer climate as she spent her first 18 years of life in Winnipeg, Manitoba, frozen.
Mathieu Marcoux — Corporation (1999 / 6:23)
J’ai composé cette oeuvre à partir d’une longue prise de son que j’ai fait dans un moulin à scie à Amos et aussi d’accord chanté par une chorale qui sont déduis d’un "bruit" de réfrigérateur. J’ai axé mon travail sur deux aspect du son; l’attaque et l’entretien. Attaque: verticalité, violence. Entretien: horizontalité, déconstruction, variation et polyphonie.
The discourse in Corporation proceeds along two axes. The first is amplitude variation, which is found in three forms: absent, regular, and irregular. The second axis is that of the harmonic content of the materials, divided into two principal categories: industrial materials- inharmonic, and the human voice- harmonic. I would like to thank Louis Lavigueur and the choir of the Conservatoire de Musique de Montreal for their beautiful sound recordings. And I wish to thank Laurent Marcoux for the visits to the sawmills in the Amossoise region.
MATHIEU MARCOUX (1975) a grandi en Abitibi. Suite à des études au Conservatoire de musique de Montréal en composition électroacoustique avec Yves Daoust et instrumental avec Serge Provost, il poursuit sa formation avec Ake Parmerud à la Musikhˆgskolan de Göteborg. Marcoux a été finaliste aux concours de Bourges (2001), Radio-Canada (2001), YESA-CEC (2000) et de la fondation SOCAN (1999).
Mathieu Marcoux (1975) studied electroacoustic composition with Yves Daoust and instrumental composition with Serge Provost at the Conservatoire de Musique de Montreal. In 1998, he receieved a grant from the OFQJ that allowed him to attend the IRCAM summer academy. In 1999, he was awarded the second prize in the SOCAN competition for young composers, for "Corporation". In the same year, his works were presented in the "Elektra" concerts, presented by ACREQ, and in "Rien a Voir", produced by Reseaux. Mathieu Marcoux was finalist in the CBC Young Composers’ Competition and received a mention in the Bourges International Electroacoustic Music Competition in the residence category.
Gregory Lee Newsome — Purity (7:00)
When the blackbird flew out of sight,
it marked the edge
of one of many circles.
Wallace Stevens, from "Thirteen Ways of Looking at a Blackbird"
Gregory Lee Newsome was born in 1969. His earliest musical influences were television programs for children and The Beatles. After playing piano for a number of years he became a bassist, later touring throughout North America playing jazz and popular music in clubs. He has composed in numerous genres, including chamber, choral, electroacoustic, orchestral, and vocal, and is currently completing a Master of Music in Composition at the University of British Columbia. He recently fulfilled a commission from Vancouver Pro Musica, and is currently working on an electroacoustic work to be premiered at the Sonic Boom Festival in April of 2000.
Daniel Romano — Chaffinch (1999 / 3:01)
The bird song of a European species is used as a sound source. The melodic underpinnings of the bird song are isolated with a piano, which mimics the properties of these melodic fragments.
Daniel Romano — Cosmos (1999 / 6:15)
Cosmos est une pièce multi-sectionnelle qui explore des degrés changeants de texture. Sa grande dynamique joue un rôle vital dans la construction des sommets climatiques.
Cosmos is a multi sectional piece that explores varying degrees of texture. Its broad dynamic plays a vital role in constructing oncoming climactic peaks.
Daniel Romano est étudiant en composition et technologie musicale habitant Montréal (Canada).
Daniel Romano is a Montreal based student of composition and music technology.
Julien Roy — Rémanence (1999 / 7:00)
Rémanence Remix (7:05)
Un lieu connu, emprunté jour après jour devient très vite le centre d’un abandon lunatique. Rémanence est une illustration ludique du vide qui entoure certains gestes récurcifs. À ceux qui marchent le corps guidé par la communion de plusieurs solitudes.
A familiar place, visited day after day, quickly becomes the centre of reckless abanbdon. Remanence is a playful illustration of the emptiness inherent in certain recursive gestures. For those who walk guided by the communion of many solitudes. Remanence was diffused in DIALOGUES99 (a new media event in Edinburgh, Scotland).
Tout en poursuivant des études en composition électroacoustique à l’Université de Montréal, Julien Roy est un jeune percussionniste venant des arts visuels et de la musique pop. De l’ improvisation au performances inter-diciplinaire en passant par le travail de studio, Il s’amuse a créer des liens entre différents pôles de création (musique, arts visuels). Dernièrement, sa musique a été jouée dans la série «Haute Tention» 1999 et 2000 produit par l’ACREQ et à l’événement RIEN À VOIR dans le cadre du concert des jeunes compositeurs. Il travail présentement sur l’inter-relations entre la vidéo et musique électroacoustique.
Julien Roy (Montreal, 1975) is a young composer with a background in the visual arts and pop music. He likes to travel between improvisation and work in the studio. Recently, his music was played in the concert series "Hautes Tensions 1999" and "Hautes Tensions 2000", produced by ACREQ, and in Rien a Voir (produced by Reseaux) in the concert of young composers. He has been heard performing with the improvised music ensemble Creaction, notably on Radio-Canada and CIBL. He is currently working on the relationship between video and electroacoustic music.
Michal Seta — Surface-I- (6:51)
Surface-I- is a first part of a composition project exploring application of mathematical theories about three and four dimensional objects and surfaces as applied to sound synthesis. Formulas for terrain mapping have been applied to "traditional" techniques of synthetic sound generation such as amplitude and frequency modulation. The "arrangement" of these sounds was based on purely aesthetic decisions, although algorithmic generation of material was very tempting. The perception of this synthetic and imaginary slandscape(*) is left up to the listener.
(*) slandscape is a word created by fusing landscape with soundscape.
Michal Seta is a composer/performer interested mainly in human-machine interaction. His works include tape solo compositions, music for solo performer or small ensemble with computer interaction and multimedia interactive works designed especialy for the internet. Since 1997 he has been an active member of g.e.m.s. (Group of the Electronic Music Studio) at McGill University for which he curated a number of concerts. His is currently exploring multidisciplinary art in the domain of live performance and CD-ROM/internet delivery.
Warren Spicer — The Singing of a Speaking Summer Swelter(1999 / 6:58)
Composé durant l’automne de 1999 suivant un été de chaleur minimale, cette pièce explore la « nature imaginée » de la chaleur comme elle existait dans ma mémoire après en avoir été privée durant la seule saison où elle existe à l’état naturel.
The Singing of a Speaking Summer Swelter. Composed in the fall of 1999 after experiencing a summer of minimal heat, this piece explores the "imagined nature" of heat as it existed in my memory after being deprived of it during the only season that produces such natural warmth.
Warren Spicer: né et élevé à Halifax (Nouvelle-Écosse). Il vit présentement à Montréal où il termine une majeure en composition à l’université Concordia. Il compose des œuvres instrumentales et électroacoustiques et souhaite continuer à faire de la musique quelque part près d’un océan.
Warren Spicer: Born and raised in Halifax N-S. Is currently living in Montreal in pursuit of a composition major at Concordia University (Music Department). He is currently composing both instrumental and electro-acoustic works, and plans to continue making music hopefully somewhere closer to an ocean.
Ian Stewart — Magellan (1996 / 9:37)
Cette pièce a été composée pour célébrer le cinquantième anniversaire de la naissance de la musique concrète. Des sons types caractérisant les origines de cette musique (grincement de portes, trains, etc.) apparaissent de façon atavique, s’opposant structurellement aux sons types contemporains (construits par synthèse granulaire, inversion spectrale, etc.) dans un drame sonore condensé vers la fin duquel les deux pôles atteindront une sorte de symbiose. J’aimerais remercier Laurie Radford pour avoir fourni quelques enregistrements originaux des sons utilisés dans cette pièce.
Magellan is a collage of materials from some of my earlier work, slowed down and hyperextended beyond recognition. What were once brief phrases and isolated gestures appear here as central organizational features, magnified to reveal hidden structures and forms that were inaudible before. 2nd Prize, electroacoustic category, 1997 CBC Young Composers’ Competition.
Ian Stewart (Toronto, 1975) est étudiant au doctorat en composition électroacoustique avec Denis Smalley à la London’s City University. Son œuvre a été récipiendaire de prix provenant de la CBC, de la CEC et de la compétition de musique électroacoustique de Bourges. Il est membre du conseil d’administration du London’s Electronic Arts Focus.
Ian Stewart (Toronto, Canada, 1975), began studying electroacoustic composition in 1995 with David Keane. He has since studied with Kristi Allik, alcides lanza, and Laurie Radford. He has received several awards for his work, including a Prix Residence from the 1999 Bourges (France) Competition for Petroglyph, a Second Prize in the 1997 CBC Young Composers’ Competition for Magellan, and the 1997 Maurice Dubin prize in composition. His work has been broadcast nationally on the CBC and has been presented in concerts at the National Arts Centre in Ottawa and Oscar Peterson Hall in Montreal. In the coming year, his work will be performed at the 2000 Bourges Festival of Electroacoustic Music, and in May he will be the invited guest composer of the Centre for Advanced Research in Technology and the Humanities in Seattle, Washington. He will also be premiering a piece for guitar and tape in Pollack Hall in Montreal in March (a collaboration with Ariel Santana), and will be composing the soundtrack for the Canadian feature film Gaunt. He has recently completed his Masters in mathematics (Number Theory) at McGill University, studying with Henri Darmon, and is hoping to begin doctoral work in electroacoustic composition next year in Britain.
Ian Stewart — Petroglyph (1998 / 7:40)
Petroglyph is built up almost entirely from transformations of two brief recordings of acoustic instruments: one bowed note on a cello, and one second of drumming. The nature of the sounds suggested a structure for the piece. Since I was using two instruments, one traditionally melodic, the other rhythmic, at brief "points of collision" in the piece the materials cohere in controlled melodic or rhythmic organization. But the most part of the piece is a meditation on these sounds, which are dissected and extended by imbuing them with rapid modulations. Structural tension could then be created or dissipated by, for example, varying modulation rates, or by superimposing sounds with different rates of modulation. Prix Residence, 1999 Bourges International Electroacoustic Music Competition.
Ian Stewart — Surveillance (1998 / 2:41)
This piece was composed to celebrate the fiftieth anniversary of the birth of musique concrete. Sound-types characteristic of the music’s origins (creaking doors, trains, and the like) appear atavistically, structurally opposed to contemporary sound-types (constructed with granular synthesis, spectral inversion, etc) in a condensed sonic drama, with the two poles in the end achieving a sort of symbiosis. I would like to thank Laurie Radford for providing some of the original sound recordings used in the piece.
Joshua Thorpe — the piano and mr. tse (11:36)
this piece is similar to work of maciunas, paik, and corner, except that rather than literally destroying or deconstructing an instrument, the material here comes entirely from a commonplace practice: the regulation of a piano who’s "touch" had become poor. the piano and mr. tse is the very-slightly-altered document of one instance of this process. the only changes i have made to the original recording are to edit out chatter and any tunes he played to test the touch.
b. 1975. Vancouver/Toronto: composer, writer, interdisciplinary artist. BFA: Simon Fraser University, 1998, with David MacIntyre and Barry Truax. MA, presently York University with James Tenney. Concert music, improvisation, performance art.
Ivan Zavada — Relation Diplomatik (6:48)
En quête d’hybridation de diverses images sonores représentant l’état d’esprit de l’initiateur, ce voyage impromptu vous invite à transcender la jonction de l’acoustique et de l’électronique via des mélanges de musique traditionnelle, techno et électroacoustique.
In quest of a hybridation of diverse sonic images, which represent the state of mind of the initiator, this impromptu voyage invites you to transcend the junction of the acoustic and the electronic, via mixtures of traditional, techno and electroacoustic music.
Né à Montréal en 1972, Ivan Zavada a d’abord étudié le violon avec le professeur Claude Hamel. De 1985 à 1991, il poursuivit ses études musicales au Conservatoire de Musique du Québec à Montréal, avec Johanne Arel. Simultanément, son intérêt pour les sciences pures l’a mené à continuer ses études à l’École Polytechnique et en Mathématiques à l’Université Concordia. À la recherche d’une corrélation entre les sciences et la création musicale, il décide alors d’étudier la composition électroacoustique avec le professeur Jean Piché à la Faculté de Musique de l’Université de Montréal. Il a réalisé plusieurs trames sonores de films documentaires, entre autres "Freedom Had A Price" (ONF) ainsi que des courts et longs métrages. À titre de violoniste et de compositeur il a également participé à plusieurs enregistrements et concerts de chansonniers et groupes de musiques traditionnelles variées.
Born in Montreal in 1972, Ivan Zavada first studied violin with professor Claude Hamel. From 1985 to 1991, he pursued his music studies at the Conservatoire de Musique du Québec à Montreal, with Johanne Arel. Simultaneously, his interest for pure and applied sciences lead him toward studies at École Polytechnique and Mathematics at Concordia University. Searching for a correlation between sciences and musical creation, he then decided to study electroacoustic composition with professor Jean Piché at the Faculté de Musique de l’Université de Montréal. He created several soundtracks for documentary film, such as "Freedom Had A Price" (ONF) as well as short and feature films. As violonist and composer he also participated in several concerts and recordings with "chansonniers" and various traditional music ensembles.
Thanks to Électroacoustiques
université Concordia university Electroacoustics
for co-sponsoring special concerts for this project.
Thanks to the Webcast Group IITS, Concordia University for webcasting the February 17th, 2000 concert.
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