Jeu de temps / Times Play
Les pièces suivantes furent soumises au projet Cache 2001 et Jeu de temps / Times Play 2001 (JTTP 2001) et apparaissent avec notes de programme et biographie telles que soumises par les artistes. Seules les pièces d'une durée de 8 minutes et moins étaient éligibles pour la compétition.
The following pieces were submitted to the Cache 2001 and Jeu de temps / Times Play 2001 (JTTP 2001) projects and appear with biographical and programme notes as submitted by the artists. Only works of durations shorter than eight minutes were eligible for the competition.
Supervisor: Ian Chuprun
Notes — Bios
Polyèdres est inspiré de l'univers théâtrale d'Alfred Jarry. Un polyèdre se définit comme un solide limité de toutes parts par des portions de plans appelés faces. Dans l'oeuvre de Jarry, son personnage principal, le Père Ubu, utilise ce terme pour nommer ou identifier des animaux, des meubles, des individus... Dans l'oeuvre musicale présentée, le même thème sera repris : les sons soutenus agissent comme les polyèdres d'Ubu puisque ils occupent différentes fonctions dans la pièce et y sont omniprésents.
Polyèdres is inspired by the theatrical world of Alfred Jarry. A polyhedron is defined as "a solid enclosed completely by planar sections, called faces". In Jarry's play, the main character, Père Ubu, uses this term to label or identify animals, furniture, individual people. In this composition, the same theme is taken up: sustained sounds act as Ubu's polyhedra, because they serve different functions in the piece and are omnipresent.
Nicolas Basque est actuellement étudiant à l'Université Concordia en composition électroacoustique et instrumentale. Depuis 1996, il est guitariste électrique au sein de l'ensemble Kappa dirigé par Philippe Keyser. Il a remporté le Alain Award in Electroacoustics 2000.
Nicolas Basque is currently studying electroacoustic and instrumental composition at Concordia University. Since 1996, he has played electric guitar in the Kappa Ensemble, directed by Philippe Keyser. He won the 2000 "Alain Award in Electroacoustics".
Pièce en forme de tableaux...
Un survol d'une durée de 8 min 20 sec...
À travers une cartographie sonore...
...Poser le pied...
...Suivre une voie...
...Traverser des territoires occupés et inoccupés...
...Espérant trouver l'endroit au bout de la route...
Ma première 'toune' électro....
Piece in tableaux...
.. A flight lasting 8 min 20 sec...
... Across a sonic cartography...
... Put a foot down...
... Follow a path...
... Pass through occupied and unoccupied territories...
... Hoping to find the place at the end of the road...
My first electro "tune"...
Je suis né à Québec en 1970....Après des études en composition instrumentale, je bifurque vers l'électroacoustique...J'étudie présentement au conservatoire de musique de Montréal avec Yves Daoust...Mes compositions sont autant du domaine instrumental, mixte qu'électroacoustique....L'univers sonore 'pop' de mon adolescence me poursuit partout, partout, partout....
I was born in Québec in 1970... After studying instrumental composition, I turned to electroacoustics... I am currently studying at the Conservatoire de Musique de Montréal with Yves Daoust... My compositions are also in the instrumental and mixed domains, as well as the electroacoustic... The sonic universe of "pop" from my adolescence follows me everywhere...
The rich textural landscape conveyed in Anahata Nad [unstruck sound] (2000) was constructed from an exploration of 'time-frequency' and additive Fourier techniques. Both techniques were used to generate synthesized tones, as well as to manipulate recordings of an Indian droning instrument, the Tambura. The sustained resonant quality of the instrument forms the foundation for the piece and provides points of meditative departure: lyrical, floating, unraveling, calming ...
Marc Bjorknas (b. 1971) is an aspiring composer/producer with experience in music for film and live performance. He is currently studying music composition at Simon Fraser University.
thoughts, ideas and ramblings about communication, confusion and capitalism.
all sound sources are taken from interviews about collision and crashing which were collected for the multi-media performance "etching" in the spring of 2000.
Melina Bondy is a fourth year theatre and dance student at Concordia University. Still reeling and learning from the year-long collaboration "etching" from Chaos Productions that toured the summer 2000 Canadian Fringe festivals, she is now helping to create le Cirque Boheme de la Rue, a community of political artists and creative activists, otherwise known as artivists, exploring the realm of sustainable creative resistance.
Idols of the Children is the first of a series of compositions intended for use in a multi-media performance based on the theme of 'catharsis' (i.e. emotional), which the composer intends to tour in year 2002/2003. The score upon which the composition is based was conceived in a dream experienced in November 2000. This dream was a powerful and lucid dream involving the composer and other Deep Listeners including Pauline Oliveros. In August 2000 the composer attended the advanced Deep Listening Retreat in New Mexico where some field recordings were made. The composer merged these field recordings with the score and theme/feelings experienced in the dream. The composer incorporates an understanding of Deep Listening as developed and taught by Pauline Oliveros with technical and creative skills in the use of computer interactive/stand alone music technology and music improvisation.
Raylene Campbell has been an accordionist for twenty-five years and has been active as a performer and electroacoustic composer/audio artist for six years. She has studied accordion with Joe Morelli and Antonio Peruch, and is currently studying Deep Listening with Pauline Oliveros. She has also studied electronic music with Jamie Philp and recording engineering with Clive Alcock and Colin Lay while attending Grant MacEwan Community College. Although Raylene enjoys performing traditional accordion music her creative focus is in electroacoustic music composition/performance and the exploration and creation of audio art. 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 the manipulation of sound with changing acoustic environment and the use analog and digital effects processors; the use of acoustic ecology; the use of MIDI controllers and computer interactive technology; and the development improvised performance. 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 composer/performer and often collaborates with other musicians, dancers, actors, film makers, and poets. She is a resident of the ArtsHab Pilot Project in Edmonton, and is currently involved in a collaborative project with choreographer/dancer Tania AAvarado. Tania and Raylene have presented their collaborative work in Ottawa, Edmonton and Vancouver, and are scheduled to perform at 'Tangent' in Montreal from March 1-4, 2001.
[Une parole remise en question par linstinct jette un voile diaphane sur une parole remise en question par linstinct jette un voile diaphane sur une parole remise en question par linstinct jette un voile diaphane sur une parole remise en question par linstinct jette un voile diaphane sur une parole remise en question par linstinct jette un voile diaphane sur une parole remise en question]
Cest sur le tard et par un concours de circonstances que Guillaume Coutu-Dumont commence à jouer des percussions. Son intérêt grandissant pour la musique lui fait entreprendre un second D.E.C. dans ce domaine. Ses débuts sur scène seffectuent principalement avec le groupe de funk Dübop avec qui il gagnera, en 1998, le concours lenvol musical.
Après une première année en percussions latines, au CEGEP de Saint-Laurent, sous la tutelle de Luc Boivin, Guillaume se dirige vers la composition électroacoustique dans la classe de Michel Tétrault et étudie les percussions classiques avec Jean-Guy Plante. À lautomne 2000, il étudiera la composition électroacoustique avec Robert Normandeau à luniversité de Montréal.
Sur le plan de linterprétation autant que sur celui de la composition, Guillaume cherche à développer un langage musical personnel et instinctif. Celui-ci est teinté de multiples influences provenant, entre autre, de la musique traditionnelle dici et dailleurs, du jazz, du funk, etc. Présentement il occupe une place de percussionniste et déchantillonneur au sein du groupe de techno Uncle You. Cest pour le projet Une heure volée au temps quil se joint à [iks] avec qui il collabore depuis 1999.
[A word put in question by instinct casts a diaphanous veil on a word put in question by instinct casts a diaphanous veil on a word put in question by instinct casts a diaphanous veil on a word put in question by instinct casts a diaphanous veil on a word put in question by instinct casts a diaphanous veil on a word put in question]
It was late and by a combination of circumstances that Guillaume Coutu-Dumont began to play percussion. His growing interest in music led him to undertake a second DEC in this area. His debuts on stage took place principally with the funk group Dübop, with whom he would win the competition lenvol musical in 1998.
After a year studying latin percussion at Saint-Laurent CEGEP, under the tutleage of Luc Boivin, Guillaume turned to electroacoustic composition in Michel Tetraults class, and studied classical percussion with Jean-Guy Plante. In autumn 2000, he will study electroacoustic composition with Robert Normandeau at lUniversité de Montréal.
Equally in performance and composition, Guillaume seeks to develop a personal and instinctive musical language. This is coloured by many influences, coming from, among others, traditional music from here and elsewhere, from jazz, funk, etc. Currently he is percussionist and sampler in the techno group Uncle You. It was for the project Une heure volée au temps that he joine [iks], with whom he has collaborated since 1999.
Some of my family and friends may recognize their voices here, as a dinner table conversation was the main sound source for this piece.
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, 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 does sound design for film.
Journeyman was composed using sound-edit 16 on a MacIntosh. The composition is a journey from death to the afterlife.
Born in Montreal on March 16, 1980. First year student at Concordia University; Major in Electroacoustics
... Entierement faite sur bande analogique, cette monodie est le premier volet d'une serie a venir traitant du Rien.
Native de Mont-Saint-Hilaire, Isabelle fait ses etudes collegiales en musique au CEGEP St-Laurent. Apres un an de formation technique au CEGEP de Drummondville en Conception Sonore, elle etudie maintenant au Conservatoire de Montreal en Composition Electroacoustique avec Yves Daoust.
Entirely made on analog tape, this monody is the first part in a series to come dealing with Nothing.
A Mont-Saint-Hilaire native, Isabelle studied music at Saint-Laurent CEGEP. After one year of technical training in Sound Design at Drummondville CEGEP, she now studies at the Conservatoire de Montréal in Electroacoustic Composition with Yves Daoust.
Laissez une voix... est une étude de la voix par des sensations exprimées au-delà des mots et de la langue. Des voix françaises, anglaises, chinoises, italiennes, espagnoles... Des voix enregistrées, des voix de cinéma et de radio. Des voix qui se parlent et sécoutent. Au-delà des mots la voix charrie une émotion...
Cinéaste/vidéaste, Jean-Sébastien Durocher sintéresse rapidement à la bande sonore au cinéma, comme l'indique le sujet et le titre de son dernier vidéo "La pêche au son", réalisé en 1999. Il travaille actuellement comme concepteur et monteur sonore et étudie la composition électroacoustique au Conservatoire de Musique de Montréal depuis 1999 avec Yves Daoust.
Laissez une voix is a study of the voice through the sensations expressed beyond words and language. Voices in French, English, Chinese, Italian, Spanish Recorded voices, voices from cinema and radio. Voices which speak and listen to each other. Beyond words, the voice carries an emotion.
As a film and video artist, Jean-Sébastien Durocher quickly became interested in the sound track in film, as is evident from the subject and title of his most recent video, "La pêche au son", produced in 1999. He currently works as sound designer and editor and has been studying electroacoustic composition at the Conservatiore de Musique de Montréal since 1999 with Yves Daoust.
S'inspirant de réflexions personnelles sur les phénomènes physiques et propositions métaphysiques reliées à l'évolution, Emergence trace une fresque subjective de la conscience humaine. Puisant à la fois dans des principes physiques globaux et dans des sources personnelles de niveaux plus émotifs, son déroulement idéologique se dirige du concret (réalité imaginée) vers l'abstrait (imaginaire figuré), dans le but de questionner et de témoigner de l'expérience humaine dans ses multiples dimensions. EX5, Sound Forge, Wave Lab, Cool Edit Pro, Cakewalk, Peak. Studio personnel.
C'est premièrement par la guitare classique que Colin Gagné (b. 1979) aborde la composition, à l'âge de 12 ans. Après des études collégiales en composition avec Michel Tétrault au Cégep de St-Laurent, où il prend contact avec la musique électroacoustique, il se dirige vers l'Université de Montréal, où il étudie présentement dans ce domaine avec Jean Piché. Explorant à la fois la composition électroacoustique, mixte, instrumentale et la musique populaire, il travaille aussi sur des projets multi-disciplinaires (art visuel-musique).
Inspired by personal reflections on the physical phenomena and metaphysical propositions related to evolution, Emergence paints a subjective fresco of human consciousness. Drawing on both universal physical principles and on personal sources of a more emotional nature, its conceptual unfolding turns from a the concrete (imagined reality) to the abstract (the portrayal of the imaginary), with the aim of interrogating and bearing witness to the human experience in its many dimensions. EX5, Sound Forge, Wave Lab, Cool Edit Pro, Cakewalk, Peak. Home Studio.
It was first through classical guitar that Colin Gagné (b. 1979) approached composition, at the age of 12. After studying composition with Michel Tetrault at Saint-Laurent CEGEP, where he made contact with electroacoustic music, he headed to lUniversité de Montréal where he is currently studying in this area with Jean Piché. Exploring simultaneously electroacoustic, mixed and instrumental composition and popular music, he also works on multi-disciplinary projects (visual art and music).
The entire piece is derived from the mechanical sounds of my father's automatic camera, and a single melody line played by Tygh Runyan on his mother's acoustic guitar. The sounds were processed, then assembled using a program called Rainmaker (based on Eigenfeldt's Dronemaker) which automates the looping, panning, and envelope of several different sound files at once.
The title of this work is from an English translation of F. T. Maranetti's 'The Founding and Manifesto of Futurism', written in 1909. Experimenting with, and being influenced by some ideas of Futurism, I sought to create music using the sonic byproducts of modern, technical inventions and their surroundings. The sound materials for this piece were collected in and around the factories at the port of Vancouver. An orchestra of "noise intoners", extracted from this ambience, invites the listener into an abstract industrial world.
We thus approach nearer and nearer to the music of noise. - Russolo, 1913
Jonathan Herring is a student of Electroacoustic Composition at the School for the Contemporary Arts, Simon Fraser University.
"Steam, Billow" was an experiment using longer gestures. I used recordings of machinery, gongs, foghorns, bells and synthesized sounds. The results made me think of geothermal energy, old industrial machinery, sails, and wind.
Andrea Holtslander did graduate work in Communication Studies where she specialized in electroacoustic music. In addition to electroacoustic music composition she has written fiction, worked with film and video, and taught sound workshops.
seethe:// a vocal manifestation; the investigation of a physicality that must perpetually recoil itself against the threat of emotional and physical [self] destruction.
100% voice generated, seethe is a digital journey through realms of guttural lament, banshee wails and incoherent babbling. As tainted voices fuse through landscapes wrought with alienation and loathing, seethe creates a digital imprint of the power that propels the individual through states of chaotic human suffering.
seethe is a composition that explores the limitations and boundaries of an instrument both powerful and fragile, a 'weapon' capable of reaching out into the beyond and striking down all that stands in its wake.
Shawn is a student at the Ontario College of Art & Design, where he is working towards a degree in Integrated Media. Prior to his studies at OCAD, Shawn studied fashion design at the Academy of Art & Design in Toronto where he first became interested in aspects of technology, the body, human interaction and physicality. He has been developing and exhibiting his performance, sculpture and video works in various galleries and art events since Artgig3 [Dec/97].
July 11, 1990 marks the day when the Sureté Quebec began their siege on the Mohawk warriors of Khanesetake, who were blocking access to their sacred burial grounds and protesting the expansion of a 9-hole golf course that sits parallel to their land. The Quebec government responded to the native uprising by sending in first the SQ, then the army. Negotiations broke down and a crisis point was reached when the SQ began firing on the Mohawks that morning. I was just a teenager at the time, but was very affected by these events, as the overt abuses to these peoples basic human rights was occurring just a few miles away. I went to the pow-wow there the year after and walked through this heavily-contested grove of pines... walking along the trenches that were dug during the standoff. What struck me the most was the fact that the trees themselves were riddled with bullet holes and were weeping sap from a thousand wounds.
This piece is made in commemoration of this sad event in the history of Quebec and speaks for my solidarity in the clearest language I know: that of sound.
The sonic material used for the piece is almost exclusively soundscapes recorded in the forest around my hometown of Morin Heights, Quebec.
Matthew Kober is a composer with a diverse and eclectic history. In addition to producing dub and electronic music, he's also known as a folk and blues musician and has performed on stages all across Canada in the last ten years. Since coming to Concordia University in 1998, Matthew has been increasingly involved in electroacoustic composition. In the last two years his pieces have been diffused in the Oscar Peterson Concert hall as part of the Concordia Electroacoustic Concert series (ECUE), and have been featured on several Internet exhibitions on the Canadian Electroacoustic Community's website . He has also been delving into the world of composition for contemporary dance, performing the piece "We Are Animals" with choreography student Rebecca McCullough at Studio 303 and McGill's Moysey Hall in Montreal. His work and dedication to the field of electroacoustics earned him the Alain Award in Electroacoustics in 1999. Matt continues to study at Concordia with Kevin Austin, Mark Corwin and Ian Chuprun.
The initial idea of "From Inside and Out", came about from observing sounds that often, through their dynamic qualities, seem to "open up" from within and then release, in an outward and dynamic movement. The entire composition focuses on this concept and applies it to metallic, cyclic sound gestures, ranging from quiet sound variations to intense climatic builds. The piece was realized in Simon Fraser Universitys Electroacoustic Music Studios through a variety of audio processing and computer music techniques, including a MAX / MSP based computer algorithm which I had developed concurrently with this composition. The final result is a very dynamic and energetic sounding compositional manifestation.
Michael Konkin was born in 1975, in Surrey, B.C. He is an undergraduate music student currently at Simon Fraser University, studying with Canadian electroacoustic composer Barry Truax. His musical past includes a strong background in music and computer technology, as well as classical piano and contemporary guitar. His current compositional activities have an electroacoustic focus, with a special interest in computer-based composition and electroacoustic live performance. Michael has also composed and produced various film works, and commercial oriented electronic dance tracks.
Water is Falling transformed from one project to another from December 1998 to June 1999. At first it was an attempt to represent sensations experienced by the narrator of Jean-Paul Sartres Nausea. I could identify with the character at the time, and titled the piece Nausea/"Its Good" both to represent existential nausea, but also to express the redemption in such awareness. After a couple of overnight stints in the studio, I was relieved by speech towards the end of the piece that to me sounded like "its good." The following spring, while shooting images for a short film, I decided to make the piece the soundtrack, and titled it "water is falling". In a way existence is just that - the existing, existing. Rain is just water falling, and its beautifully tragic.
I fancy myself a Renaissance woman, and value the ideals of the spectrum rather than one strain. I would like to learn everything, and believe we are conduits that must give out as much as we take in. I paint, play music, take pictures, write sketches and articles, shoot movies, make electroacoustic pieces, and try to do as many physical activities as cerebral. While I have learned and lamented the values of the classical world, I am excited about the digital world as the computer may synthesize the spectrum that has broken down. I am working towards having a broadcast studio in my basement. Look out for The Man Productions.
A voice created on the Dx7II in an equal tempered eighth tone tuning system provides most of the body of the piece. The second source comes from the musical saw. The processed saw samples have provide the higher pitched "insect-like" sounds heard at various points in the piece. would i what was created at the electronic studios at Wilfrid Laurier University in Waterloo.
Nicole Marchesseau is completing her Masters degree at York University in Toronto. Currently she is exploring different acoustic phenomena and how they relate to, and can be used in composition. Nicole is mostly working with film soundtracks and sound installation, although acoustic music which goes beyond twelve- tone equal temperament is also of interest. Her recent teachers have included James Tenney, David Lidov, and David Mott.
Avec ou sans Parapluie est une courte pièce qui a été composée dans un cadre scolaire au cour de l'hiver 2000. Les matériaux sonores utilisés proviennent presque exclusivement de voix humaines.
La forme est très simple : A vers B, lentement. Effectivement, un peu à la manière d'une évolution naturelle, les sons primitifs du début deviennent peu à peu plus complexes. Cette évolution est ponctuée d'une transition.
Le rythme joue une place très importante dans cette uvre. En fait, il en est le principal propos. À un point tel que les sources auraient pu être remplacées par d'autres.
Cette pièce est finaliste au concours des jeunes compositeurs de Radio-Canada 2000-2001.
Martin Marier est né en 1975 à Drummondville. Il a étudié au Cégep de Drummondville d'abord en arts et lettres et ensuite en musique. Il poursuit présentement ses études en composition électroacoustique à l'Université de Montréal.
Il est très intéressé par les possibilités qu'offrent le traitement sonore en temps réel et oriente ses récentes créations dans cette direction.
Avec ou sans Parapluie is a short piece composed in a scholastic setting in the winter of 2000. The sonic materials used come almost exclusively from human voices. The form is very simple: A to B, slowly. Effectively, somewhat in the manner of a natural evolution, the primitive sounds in the beginning become progressively more complex. This evolution is punctuated by a transition.
Rhythm plays a very important role in this work. In effect, it is the main subject. To such an extent that the source sounds could have been replaced by others.
This piece was a finalist in the 2001 CBC Young Composers Competition.
Martin Marier was born in 1975 in Drummondville. He studied at Drummondville CEGEP first in arts and letters and then in music. He is currently studying electroacoustic composition at lUniversité de Montréal. He is very interested by the possibilities afforded by real-time sound processing, and his recent works are oriented in this direction.
The composer has a strong interest in applying physical/acoustic phenomena to music creation. After having been recently diagnosed with asthma and undergone two lung surgeries, it seemed fitting to explore the timbral qualities of breath. Assmar is an attempt to explore these qualities - from comfortable to strained, clear to asthmatic. A conscious choice was made to use minimal processing to remain true to the plausibility of the situation and to allow the natural sounds of breath to speak for themselves.
David McCallum is studying physics at Queen's university and minoring in music composition.
The sounds used for this piece were either found on royalty free sample CD' s, recorded live, or synthesized in Sound Forge. I wanted to give the piece an underwater like feel. I increased the lows and mids on some of the sounds to give the piece a muddy sound; I also added some highs to simulate sounds that you might hear if you were inside a submarine. I used a series of percussions to simulate machinery that might be found on a sub. All of the sounds were heavily processed, using Sound Forge and DirectX plugins. I used Vegas Pro to set up my timelines and mixed the piece in six tracks. I exported every track separately and imported them in Samplitude. I used Samplitude for all of the panning effects, the final volume control, the equalization, and for 3D audio effects.
Payam Montazami is a Montreal based student of Digital Image and Sound.
Always Nightfall is an augmentation of a derelict space: a trail meandering alongside Winnipeg's Perimeter highway. As the twilight set in, it was often accompanied by a vague and slightly ominous vision, by a sense that an invisible microscopic struggle was trying to make itself heard to me. The piece was created with the lazy functional programming language Haskell, and the synthesis language Csound.
David Ogborn was born in Adelaide, South Australia. He holds degrees in Music Performance, Music Education, and Composition. As a composer, he has studied with Michael Matthews, David Scott, and Christos Hatzis. Research interests include Adorno's negative dialectics and the electroacoustic applications of new programming languages.
The composition Noise, draws upon the aspect of popular music as its source of inspiration. In this composition, I set out to write a piece that explores the aspect of dissonance in a non traditional manner. To accomplish this goal I made extensive use of distorted sound files. The source material of the composition was taken form a number of different sources. A number of sound files were generated from voice samples, while others were synthetic derived. One notable exception is the sound produced from a harpsichord sample, which after extensive processing became the contrasting ending gesture for the piece. The overall structure of the piece articulates a wedge shape design. The wedge is temporarily interrupted, by a brief contrasting section, which leads to the eventual climax of the piece. The climax of the work represents the point of greatest density and activity. It's temporal position occurs near the end of the piece. What follows is a discontinuous section where entries are undercut by brief injections of silences. This section functions to dissipate the energy of the climax. A further reduction is enacted by the coda. The sound quality of the coda represents a marked departure from any of the previous sound files and therefore helps to delineate this section from the previous structural divisions.
Robert Polzoni was born in 1967 in Hamilton, Ontario. Throughout his creative life, Robert has written both acoustic and electroacoustic music. He studied composition at Brock University and at Wilfrid Laurier University in Ontario, and pursued graduate studies at The University of Alberta. Robert is presently at The University of British Columbia where he is finishing his Masters degree under the supervision of Keith Hamel.
Nuit Noire, Nuit Blanche se veut une pièce évolutive où le discours se voit constamment renouvelé par l'apparition de nouveaux éléments d'écoute. Une musique pure, une nuée de textures, exploitant les hauteurs intrinsèques aux matériaux électroacoustiques (mélismes, pédales, cadences). Un souffle nocturne écho de chants séculaires, vigiles de femmes et d'hommes réconciliés.
Né à Montréal en 1978, Jean-Michel Robert étudie présentement la composition instrumentale et électroacoustique à l'Université de Montréal. Il correspond au profil type du décompositeur en émergence.
Nuit Noire, Nuit Blanche is meant to be an evolving piece where the discourse sees itself constantly renewed by the introduction of new sonic elements. A pure music, a swarm of textures, exploiting the values intrinsic to electroacoustic music (melismas, pedals, cadences). A breath at night echoes secular chants, vigils of reconciled men and women.
Born in Montreal in 1978, Jean-Michel Robert is currently studying instrumental and electroacoustic composition at lUniversité de Montréal. He corresponds to the profile of an emerging decomposer.
This piece exclusively uses the General MIDI sound bank from a multitimbral, sixty-four note polyphonic synthesizer. By means of a software sequencer, sound materials are assembled and modified via MIDI parameters (continuous controllers, system exclusive messages, velocities, durations, etc.). The final result is a 500KB Standard MIDI File which will playback on any General MIDI compatible synthesizer with the afformentioned system requirements. The synthesizer output resulting from this MIDI file has been rendered as digital audio in order to ensure consistent playback across all audio systems.
Daniel Romano is a Montreal based student of composition and music technology.
In this particular piece, I am further exploring an area of interest to me, which is the synthesis of an entire and substantial piece, without using classical synthesis techniques. This piece is entirely constructed (even the bass tones) of a one second long vocal source (which is never revealed), using various processing artifacts and synthesis techniques I have developed.This piece is through-composed, but with many recurring themes. Each theme often reappears in a slightly modified fashion. The underlying rhythmic motion is constantly evolving through the use of dynamic eq and other effects, each manipulated in real-time as if musical instruments. Attention is paid to juxtaposing widely contrasted material while incorporating each element into the whole. A basic timeline of the piece:A- Introduce main theme, some tonal materialB- Energy fades, introduce contrasting soundsC- More tonal materialD- Build tonal material with modified original themeThe original (unfinished) version is just over 10 minutes, and adds another section after D, which acts as a deconstruction-type coda, where the piece is gradually taken apart and exploded sonically.
In general, I strive to give each voice a "raison dêtre", so there is no voice sitting there without being dynamic or without having a reason. I tried to get the entries, exits, and interplay between the voices to seem as if each was communicating with the others, as a group of musicians would.
Craig Sheppard was born December 7th, 1976 in Halifax, Nova Scotia. He is presently finishing a BA with major in Music at Dalhousie University in Halifax, Nova Scotia, after trying various degrees (including BSC in Physics, Computer Science, and BMus in Composition). His interests include ElectroAcoustic Composition and sound manipulation in an artistic environment, as well as how they relate to recording practices. A trumpet player among other things, Craig enjoyed some success with a project that ended up earning him a Juno award in 1999 (Best New Group, 1998). Since then, the band members have become involved in more personal projects, and Craig has returned to his studies, as well as continuing an earlier interest in ElectroAcoustic composition and recording techniques.In all his work- be it recording, composing, or playing, Craig strives for depth, complexity, and precision, while maintaining an overall sonically interesting and organic structure. He is concerned with clear and accurate expression of ideas and themes, whether concrete or abstract. Craigs workstation of choice is a Macintosh running Digital Performer.
A constructive reaction to a major change in personal environment the work reflects a personal need for stability and direction (at that time)... the work is constructed with simple and strong compositional structures designed to contain an active and dynamic narrative that at all times pursues a resolution.
This piece has something to do with having then not having and thinking about what that has done...physical things that happen in your head...
Warren Spicer: young composer/musician living in Montréal. Currently working in both acoustic and electro acoustic media.
Ian Stewart - Petroglyph (1998) 7:50
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 (Toronto, 1975) studied electroacoustic composition with David Keane and Kristi Allik at Queen's University (Kingston, Canada) and with alcides lanza and Laurie Radford at McGill University (Montreal). He completed an MSc in Number Theory (mathematics) with Henri Darmon at McGill in 1999, and is now a PhD student in electroacoustic composition under the supervision of Denis Smalley at London's City University. His work has received several awards, including a CBC Young Composers' Prize in 1997, the 1997 Maurice Dubin prize in composition, and a Prix Residence from the 1999 Bourges International Electroacoustic Music Competition. He has composed acousmatic music (for tape alone), music for live performers and tape, and music for film. His work has been performed in North America and Europe and was released by the Canadian Electroacoustic Community on the CD "Cache 2000". From 1999 to 2000 he was a member of the Group of the Electronic Music Studio in Montreal, and he is now member of London's Electronic Arts Focus.
Though built from blunt tools, Switch is sonically and conceptually complex. The piece consists of only one signal (white noise coupled with a 660 Hz sign tone) which is switched back and forth from left to right at a decreasing rate as the piece progresses. Listeners report synaesthetic responses such as tingling and hypnogogic imagery, and even believe they are hearing a different pitch in each ear. Switch is a perfect demonstration of Kantian subjectivity; he said that the human can never truly experience the objective world because his or her perceptual system distorts it.
Josh Thorpe is a composer, artist, writer, and project developer living in Toronto. He holds a BFA and an MA in music composition and interdisciplinary art. Previous projects include a two-hour show at the Music Gallery, a hundred-page thesis on Dada, Fluxus, Nihilism and Zen, and numerous freelance articles on experimental art and music. Regarding Josh's electroacoustic piece Happy Birthday Candle Choir, James Tenney said, "It's the most irritating thing I've ever heard!"
The city is perfect for skateboarding. Skateboarders traverse handrails, stairs, and streets. The city is well used. The soundspace that skateboarders inhabit is a rich one, full of clicks, clacks, and grinds. Complex rhythmic gestures are formed from well executed tricks. Skateboards become percussion instruments. The structure of this piece is based on the most fundamental skateboard trick, the olie. An olie lasts about one second.
Stefan Udell is a 4th year composition student at Simon Fraser University. He is currently completing a directed study in composition using Max/MSP for real-time signal processing in performance. His professors include Barry Truax and Arne Eigenfeldt.
Contradiction à laquelle aboutit, dans certains cas, le raisonnement abstrait. Création réalisée malgré moi, qui m'a donné l'occasion d'évoluer face au pouvoir que l'on a de sculpter la matière sonore afin de communiquer une émotion quelquonque. Positive, néfaste ou rien du tout. Ici, plutôt un essais pour valider le prototype de traitement sonore avec lequel je m1obstine tant.
Principalement, jai programmé un module avec Csound permettant d1employer la variabilté de la boucle audio dans le temps. La variation de la cellule répétitive regénère constamment un nouveau matériel sonore en temps réel. J1ai extrait quelques passages de mes compositions instrumentales de l1année dernière et j1ai recréé un paradoxe par rapport au contenu original. Cette abstraction trouve son sens dans la coda qui neutralise les paradoxes antécédants.
Contradiction which may lead to abstract reasoning. This composition emerged by itself, and triggered an evolutive process that made me discover the rich possibilities one has to sculpt sonic material and generate emotions. Positive, negative or no emotions at all. Hence, this paradox tries to validate a sound processing prototype with which I am always in confrontation.
Mainly, I programmed a module in Csound to vary an audio loop in real time. This variation of a repetitive cell constantly regenerates new material. I used some excerpts from my own instrumental compositions to recreate a paradox with respect to the original material. This abstraction finds its meaning in the final coda that neutralizes the previous paradox.
Né à Montéal en 1972, Ivan Zavada a d1abord 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'ont mené à continuer ses études à l'École Polytechnique et en Mathématiques à l1Université Concordia. À la recherche d1une corrélation entre les sciences et la création musicale, il décide alors d1étudier la composition électroacoustique avec le professeur Jean Piché à la Faculté de Musique de l1Université de Montréal. Il a réalisé plusieures 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. Il est présentement étudiant à la Faculté des Études Supérieures de l'Université de Montréal en composition électroacoustique et aussi chargé de cours à la Faculté de Musique dans le domaine de l'informatique musicale et de la théorie électroacoustique.
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 l1Université 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. He is currently pursuing graduate studies at Université de Montréal in electroacoustic composition as well as teaching computer music applications and electroacoustic theory at the undergraduate level
Jeu de temps / Times Play (JTTP) est rendu possible grâce à une association stimulant la recherche et la créativité canadienne en électroacoustique établie avec l’université Concordia en 1986. La CEC reconnaît également le support du Conseil des Arts du Canada, qui a investi l’année dernière 20,1 millions dans les lettres et l’édition dans l’ensemble du Canada. Merci aussi aux membres de la CEC, qui ont aimablement fourni de l’aide financière au projet, et à PeP pour son aide constante à la production.
Jeu de temps / Times Play (JTTP) is made possible thanks to a partnership fostering research and creativity in Canadian electroacoustics established with Concordia University in 1986. The CEC also gratefully acknowledges the support of the Canada Council for the Arts, which last year invested $20.1 million in writing and publishing throughout Canada. Thanks are also due to CEC Members, who have graciously provided further financial support to the project, and to the PeP team for continued production assistance.