Jeu de temps / Times Play
Submissions / Soumissions
Les pièces suivantes furent soumises au projet Jeu de temps / Times Play 2002 (JTTP 2002) et apparaissent avec notes de programme et biographie telles que soumises par les artistes.
The following pieces were submitted to the Jeu de temps / Times Play 2002 (JTTP 2002) Play projects and appear with biographical and programme notes as submitted by the artists.
- Jean-Michel Robert - Les enfants d'Éole
- Brett Ziegler - Graveyard Shift
- Martin Messier - Tiaré
- R. Dominique Bassal - Rites d'oiseaux pensants
- Brian Garbet - Ritual
- Dominique R. Bassal - Rites d'oiseaux pensants
- Jon Knowles - Beauty lies
- Benjamin Bourque - Du son et des oeufs
- Tomasz Krakowiak - Composition in "Appletalk" ( 2 parts : Tu and Potzaad)
- Bertrand Bry-Marfaing - Liberté Parallèle
- Martin Messier - Tiaré
- Rodrigo Caballero - Code of Remorse
- Kelly Nairn - Movement Of Time
- John Carter - Tower of Annoy
- Sebastien Paquet - Macération abrasive
- Darlene Chepil Reid - Lac Supérieur: Après Lorage
- David Paquette - Un million d'instants: 1. Le matin
- Alison Chung-Yan - Reflectschoen Suite No. 2
- Catherine Patha - Moderate or Good
- Hugo Desmeules - Outglitchin (8minex)
- Eric Paul - Lenny
- Carey Dodge - Sound for Emporter du Naufrage
- Jean-Michel Robert - Les enfants d'Éole
- Brian Garbet - Ritual
- Nyborg, Dan & Watson, Andrew - 198.3 Ashcroft Subdivision
- Terence Huang - Birth of Eternity
- Andrew Wedman - Breath
- Adis Husejnagic - Sand
- Brett Ziegler - Graveyard Shift
Supervisor: Ian Chuprun
Notes - Bios
A tropical atmospheric allegory, loosely inspired - after the fact, of course - from a distant sci-fi work by Olaf Stapledon, Star Maker, in which a telepathic community of small winged beings represents, after the pathetic failure of mankind, the quintessence of creation.
The introduction to this piece is a radio foreshadowing - and thus anguishing - of the main theme. In between comes a long spatial drift, made of concentric waves. This portion is in fact the icy though necessary crossing of a temporal vortex numbered in millions of years. The emergence within this ideal future is destabilising: this is a feverish, vaguely oriental delirium, which matches unevenly with the serene image one has of perfect utopia. Radical disorientation, even mocking and insulting, confirmed by an ending which unites biological jumble and mathematical cruelty : severed from its marks, stripped of edifying content, the listener is abandoned, all his dreams ignored, on a rocky shore
While studying music in Montreal at Concordia University, Dominique
Bassal discovers a personal resonance, brought about with the help
of Kevin Austin, with the language and techniques of electroacoustic
music. He grows passionate for the "concert of speakers"
mode of broadcasting musical works, which he perceives as a deliverance
from the exhibitionist nature of the staged performance.
Emotionally trying, an endless Road to Damascus through the universe of commercial music production, will have had no other virtue but to allow him, in recent times, to devote himself almost exclusively to electroacoustic composition.
Une allégorie à l'atmosphère humide, vaguement inspirée - après coup, bien entendu, - d'une anticipation lointaine d'Olaf Stapledon, "Créateur d'étoiles", dans laquelle une communauté télépathique de petits êtres ailés constitue, après l'échec lamentable de l'homme, la quintessence de la création.
L'introduction de la pièce est une préfiguration radiophonique - et donc angoissante - du thème principal. Elle est séparée de celui-ci par un long passage à blanc, fait de vagues concentriques, qui est en fait la glaciale mais nécessaire traversée d'un gouffre temporel chiffré en millions d'années. L'émergence dans ce futur idéal est déstabilisante : c'est un délire fiévreux et orientalisant, qui s'associe malaisément avec l'image sereine que l'on se fait d'une utopie. Dépaysement radical, voire moqueur et insultant, confirmé par une fin qui marie fouillis biologique et cruauté mathématique : coupé de ses repères, privé de contenu édifiant, l'auditeur est abandonné, tous rêves ignorés, sur une grève caillouteuse
Alors qu'il faisait des études musicales à l'Université Concordia, Dominique Bassal se découvre, à l'instigation de Kevin Austin, des affinités avec le vocabulaire et les techniques de l'électroacoustique. Il s'enthousiasme pour le mode acousmatique de diffusion des uvres, qu'il perçoit comme un affranchissement de l'obligation de la prestation artistique histrionique.
Un interminable chemin de Damas à travers l'univers de la production de musique commerciale, éprouvant sur le plan émotionnel, n'aura eu en fin de compte d'autre vertu que de lui permettre, depuis peu, de se consacrer presqu'exclusivement à la composition électroacoustique.
This idea of playing with time inspired me in this morning adventure that I called " Du son et des ufs". Sometimes, breakfast offers more than a simple meal
Student at Concordia University in fine arts (ea).
Liberté Parallèle est une pièce que je nai pas pu faire lors dune collaboration. Elle est exempte de toutes concessions et ajustements. Elle est donc la liberté qui nexistera pas, cette carte blanche que lon na pas eu.
Bertrand est étudiant en électroacoustique à lUniversité Concordia. Il a préalablement suivi un parcours sinueux qui le mena de la littérature au cinéma, en passant par le théâtre et la danse. Il eut une légère formation musicale avant daboutir en électroacoustique. Il jumelle présentement son programme détudes à un programme de multimédia. Bertrand a travaillé sur des bandes sonores de films, de danse et de théâtre, tant au niveau universitaire que professionnel.
Code of Remorse was composed and produced through utilization of
computer-based generative musical processes as well as digital effects
processing. The theme, which was composed using traditional Western
modes of harmony and rhythm, was then loaded into computer software
designed specifically for the authouring of generative musical compostions
and sound effects. From there, the various parts of the composition
were made to randomize and 'evolve' using a variety of algorithm-based
processes. The amount and nature of these randomizations and evolutions
were determined by the composer using the programme's user interface.
This process results in unique alterations and changes in the compositional
structure of the piece every time it is performed or played back.
The theme's tones were designed and triggered using modular software synthesis techniques and the soundscapes were constructed by digitally processing a recording of circuits being shorted.
In concert, the composition will be performed using computer and processed violin.
Rodrigo's predominantly musical background includes over 14 years
of training and performance on the violin with various symphonies,
bands, ensembles and also experience with composition, recording,
touring, writing and events production. Rodrigo also studied electroacoustic
music and recording with Steven Naylor at Dalhousie University in
Halifax. Prior to his move to Toronto in 2000, Rodrigo was composer
and bandleader for East Coast dance jazz collective Knifey Moloko
whose debut album received multiple East Coast Music Awards nominations.
As a co-founder of the Willowtree String Quartet, he appeared at
numerous civic events across the province of Nova Scotia, performing
for Her Majesty, The Queen Elizbeth in 1997. Most recently, he travelled
to the 4th International Conference and Exhibition on Generative
Art in Milan where he was invited to present the interactive musical
prototype 'Swamp' which he designed the interactive musical soundtrack
for. To date, Rodrigo has composed for film, television, dance and
new media. Rodrigo also holds a Diploma in Audio Engineering and
Multimedia Production and is a recent graduate of the Canadian Film
Centre's New Media Design Programme.
Tower of Annoy was composed using sounds that producers/engineers
typically work hard to remove from their work. The source material
for this composition is several minutes of continuous noise, as
well as a few audio artifacts. The initial phase of
this composition involved recording the following:
- 2 minutes of the studio air conditioner running at high speed.
- 2 minutes of an industrial fan running at high, medium, low speed.
- 1 minute of electrical hum from a guitar amplifier.
- String noise of a guitar being bumped.
- Noise of a microphone being moved while recording.
- 1 minute of a desktop computer fan.
- 1 minute of a data projector fan.
The second phase of this composition involved reshaping this recorded material into samples using .wav editing tools. To form some sounds, the long recordings of noise were time compressed several times, to produce samples of a very short length, with a very unique timbre. During each time-compression iteration filtering was performed to remove unwanted noise (such as hiss). Also at each stage effects were applied, including chorusing, ring modulation, slicing/gapping and other related processes. The envelope of each sound was also modified, to give the final sound an appropriate attack and decay.
The third phase involved loading these samples into a software sampler. First a rhythm track was composed, followed by an atmospheric backing using samples that were pitched over the keyboard.
The final phases of the composition were traditional production mixing/mix down/mastering.
The title tower of annoy comes from the name of the puzzle tower of Hanoi, where the goal is to move a stack of disk of increasing size from one post to another post without placing a larger disk on a smaller disk. This process reminded me of the wave-editing phase of this composition, where there were definite constraints on the precedence of editing the sounds. Some processing, if applied too early would yield undesirable results when the time compression was complete. Annoy comes from the nature of the source material, all of which being studio annoyances.
John Carter is a 23-year-old student from Cape Breton, Nova Scotia.
He has attended Acadia University for five years, studying computer
science and is graduating in 2002. He is currently shifting his
focus to music technology and plans to complete a bachelor of music
technology before pursuing graduate studies. Johns electronic
music interests include software synthesis, sound programming languages,
and network based MIDI interaction/collaboration.
Lake Superior is notorious for its violent storms. Lac Supérieur: Après Lorage depicts the struggles which occur between the powerful elements of the lake, during the regression of a storm: the battles between the white caps, the black sky, the large grey waves, the clarity of the ice cold water. Also, consider the competition and friction that must resolve between the creatures who live in the lakes depths. Sudden dynamic changes and intentional distortions represent this conflict.
Darlene Chepil Reid, an undergraduate music student at Lakehead
University, studies Composition with Aris Carastathis.
This piece reflects some of my forays into the art and science of sonic design. It opens with a transition from the atonal to the tonal and later proceeds with vocal and instrumental transformations carried out via CSound (a software synthesis programming language).
Alison Chung-Yan was born in Port-of-Spain, Trinidad in 1971. Classically
trained in piano performance, she also holds a degree in electrical
engineering from the University of Waterloo. She has composed music
for an independent film and is currently a composition student of
the Sonic Design program at Carleton University in Ottawa under
the direction of Michael Bussière.
After experimenting with the aries and proofing some digital gear, I had to provoke a contrasting piece using both. The processed result became coherent in its abstract juxtaposition. Outglitchin is the art of remixing softerrors.
Hugo Desmeules is a student of Electroacoustics and Digital Sound&Image
at Concordia University. Soft or hard, he eats multimedia anywares.
Composed for Megan Johnston's dance piece entitled Emporter du
(Note: This is a quadraphonic piece which has been mixed down to stereo) Megans dance was about trying to find silence and/or peace in the midst of a loud world/mind. Therefore I made the sound the loud and raunchy world Megan was fighting against. I allocated the back speakers to the audience and the front to Megan however there was much overlap. The back speakers were raunchiest in an attempt to unsettle the audience and put them in the uncomfortable world that Megan was in. The front speakers were gentler and I put in a gong unstretched and stretched as a symbol of the longed for stillness Megan was seeking.
In terms of material and process I decided the concept of less is more would be the focus of this composition. A tam-tam, basin of water and the human voice provided the sound palette. As a painter mixes colours, my goal was to combine the materials in various ways, such as submerging the tam-tam in the water, to provide variation in the timbre.
Brian Garbet was born in 1970, in Edmonton, AB. He is a 4th year
composition student student at at the School for the Contemporary
Arts, Simon Fraser University. Prior to attending SFU, he finished
a diploma in jazz studies at Vancouver Community College with guitar
being his primary instrument. Brian has composed both acoustic and
electroacoustic music for both film and theatre.
Birth of Eternity is an imagined journey through the universe's
birth and evolution -- from the Big Bang to the periods of universal
peace mixed with reoccurrences of chaotic events. As entities in
the universe follow the pattern of birth and death, they always
remain in a cycle of reincarnation or redistribution of energy.
Even the birth of the universe itself may be part of this eternal
The piece is primarily composed of transformed sounds of Gu-Zeng (Chinese zither), Baing-Zong (ancient Chinese imperial bells), and Tibetan Buddhist chanting. The composition process is guided by the I-Ching hexagram, which acts as a symbolic and conceptual basis leading to the formation of various spectral and morphological shapes and transformations.
A Taiwanese Canadian, Terence T. Huang is currently a computing
science undergraduate student at Simon Fraser University (SFU).
He has studied electroacoustic music with Martin Gotfrit, Arne Eigenfeldt,
and Barry Truax in SFU's School of Contemporary Arts. He is hoping
to pursue his interests in multimedia and computer music.
Beauty Lies is inspired by Dan Graham's notion of time phasing,
which was also a preoccupation with many 1960's minimalist artists-such
as La Monte Young and Terry Riley. The piece was produced with one
rhodes piano sample, one guitar sample and several computer malfunctions
that were ampled during the production of Beauty Lies.
I am interested in not only this time phasing technique, but also the idea of 'points of intersection' when one cell of sound intersects with another- but for only a short duration of time. This idea of 'points of intersection' can be traced back to the minimalists, but in all my work, I experience these situations everywhere-mostly on street corners when one person greets another etc. The time spent only last a short moment- but it is a vital interaction between people.
I am currently studying at the nova scotia college of art &
design obtaining my degree in fine arts-interdisplinary.
I have recorded and composed for a short time, and am active with several other groups namely the Deviance as process Band-an improvising collective of over 10 individuals, and as an electronic duo with Jeremy Stewart under the Teamwork group moniker.
I have participated in one gallery show under the Seasons Reverse name with Scott Bowering an MFA student at NSCAD. We used the eyelevelgallery window space (in Halifax, Nova Scotia)to house a sound studio; where we
produced four cd's of field recordings from around the Halifax downtown periphery.
It's a composition for Apple computer using Simple Text program acting as a "score" and Apple's Text-to-Speech program being a "performer". None of these sounds were treated in any way, there is no overdubs or effects added. My idea is to produce sound using computers own built-in capabilities.
In just a few years' activity on the Toronto free-improv scene,
percussionist Tomasz Krakowiak(pronounced Toe-mahsh Krako-vi-ak)
has established himself as one of the city's most called-uponplayers.
Sensitive, inventive, intensely musical, he has fashioned a distinctive sonic vocabulary within a framework of conventional and unconventional instrumentation, including components of the standard drum kit (never in orthodox alignment), an array of found objects, and various homemade constructions. Whether exploring the subtlest of sounds or indulging in a frenzy of clatters and metallic screeches, Krakowiak is an engaging, proficient, and versatile performer.
Before turning to drums and percussion, Krakowiak trained for thirteen years as a classical cellist at Tarnow's State School of Music in his native Poland, where he played in a chamber music orchestra and participated as a member of a string quartet ( winning European Youth Chamber Ensemble competition in Belgium ). Immigrating to Canada in 1992, he abandoned cello for the drums he'd been working at for 8 years, and applied himself to world music and free improv.
As a member of the Live on Location ensemble, he participated in the Guelph Jazz Festival in 1996 and 97. His current activities include two duos, one with drummer-turntablist Mike Hansen, and another with soundsinger Paul Dutton; a quartet, AMTM; and a quintet Qunicunx, which he leads.
He has guested with the Toronto improv band CCMC and has played in numerous ad hoc ensembles around Toronto. Some musicians include: Paul Dutton, Mike Snow, Le Quan Ninh , Eugene Martynec, Liba Vilevecchia , Robin Buckley, Christoph Irmer, Phil Minton , John Oswald, Arnd Jürgensen, Maury Coles, Ronda Rindone,Eric Chenaux, Rob Clutton, Paul Newman, Rob Wannamaker, Doug Tielli, Guy LeBlanc, Nilan Perera, William Davison , Ute Volker, Bernd Koepen, BartMaris, Peter Jacquemyn, Joachim Deville and many others.
«Cette parole d'abord bredouillante qui se cherche, s'essaie à se tenir au plus près de ce qui est ressenti et en même temps pensé, ne brusquant rien, ne forçant rien, laissant affleurer le vide et l'hésitation. La quête au départ informe, sans but, sans rien d'autre qui la meuve que ce noeud à l'intérieur qu'il est impérieux de dénouer.» Michel Morin
Martin Messier a étudié la batterie avec Philippe Keyser pendant plus de trois années. Il est maintenant étudiant à l'Université de Montréal où il étudie la composition électroacoustique avec Robert Normandeau.
Text: John Festego
A combination of percussion and spoken text. The percussive element was derived from sound object recordings and attempts to avoid a typical "looped" sound (e.g. - as seen in "beats" heard in Rap music which often consist of no more than a 2 bar drum-loop). As for the spoken text, a short passage has been used throughout the piece and is presented in a variety of transformed states (using procedures such as granulation and pitch shifting). The theme of "time" is expressed in the text content as well as in the manipulaitons performed upon both it and the sound objects used to develop the rhythmic accompanyment.
I am a 4th year Communications student at Simon Fraser University
in British Columbia Canada. The focus of my studies have been in
electroacoustic sound research and production, most of which has
been under the supervison of Professor Barry Truax. Outside of academia,
I am published and active sample-based/Hip-Hop artist. My current
all-instrumental Ep release is entitled "Stuck In The 90's",
and is released on the California based "Audible Objects"
label imprint (http://www.audibleobjects.com).
Macération abrasive is a study in catachresis, a misplacement of contiguous events as basis for a new self-automated boring damn electroacoustic piece. The composer excuses himself for swearing but is on the verge of making an electronic music overdose.... take care... gotta go sample myself vomitting....
Both as a guitar player and drummer, Sébastien Paquet has
been playing in various noisy outfits for a while. Always hovering
between the drummer's seat and noisemeister, he can't stop banging
those old dirty kitchen sinks he loves so much. Actually studying
sound synthesis by himself, he's not too keen on the academy's limiting
environment for creative endeavours. He mostly gets his inspiration
from the last Disney soundtrack and the sneezing of his girlfriend.
Un million d'instants durant lesquels d'infatigables réflexions viennent se juxtaposer, un peu bêtement, au qotidien. Le matin on est encore un peu perdu et on doit tout recommencer. Le matin a été composée ici et là, au Studio D, chez moi. Merci à Jodel Poulin E. pour la voix.
David Paquette termine son baccalauréat en Communications, à l'Université Concordia, à Montréal. Auteur de nombreux travaux obscurs et inconnus, il passe son temps à s'ennuyer du vent et à courir après les sons, qui ont une fâcheuse tendance à disparaître.
Catharine Patha (Toronto, 1973) is a gallerist and filmmaker living in London (UK).
Moderate or Good tries to bring out the musicality and poetry concealed in the artificial language of weather and shipping forecasts.
The piece "Lenny" is a stereo mix of an 8 speaker diffusion piece created with short excerpts of the stand-up comedy of Lenny Bruce. These materials were lengthened using the technique of interlocking phase loops as pioneered by John Oswald at SFU in the 1970s in his unreleased composition "The Burroughs Tapes". By transferring the work-intensive process, originally done with tape, into the digital world using Max/MSP, I was able to explore further the possibilities of this technique. Lenny Bruce's voice was chosen for its richness in sonic and rhythmic variety as well as for the place that Lenny holds for his pursuit of freedom of speech.
Eric Paul is a 4th-year student of Composition at the School for
the Contemporary Arts, Simon Fraser University.
Une pièce exclusivement composée de matériaux éoliens: flûtes, vent et souffle. Le discours y est le plus fluide possibe, il se gonfle mais ne casse jamais. Les entrées et sorties de sons y sont très douces. Un dialogue fait d'appels et de mélismes éoliens illustrant la puissante fragilité du vent... le retour inéluctable au silence... La pièce est aussi un jeu de transitions très subtiles entre des sections "paysages" évocatrices et des passages introspectifs ; à la manière de l'esprit glissant lentement de l'objet de sa contemplation à la rêverie. "Les enfants d'Éoles" est une musique du calme pianissimo nécessitant une écoute attentive afin de saisir le murmure des enfants du vent.
Né à Montréal en 1978, Jean-Michel Robert étudie présentement la compositon instrumentale et électroacoustique à l'Université de Montréal.
The Ashcroft Subdivision is a stretch of track which comprises
the main artery of all Western bound train traffic travelling down
the Fraser River valley in British Columbia. A particularly dangerous
subdivision due to an often unpredictable mountain climate and raging
river, trains usually over a mile in length carry their cargo downhill
over a vast network of bridges in the valley towards port in Vancouver.
On a calm night, the pounding of the diesel engines coupled with
the numerous freight cars and singing rail can be heard for miles
echoing down the valley, constantly building and morphing with the
natural surroundings until all one hears is the massive train passing.
This piece is composed entirely of feedback generated through various outboard units. The evolving contours and textures of the individual feedback loops are used to compose the flow of the soundscape. Recorded as a live stereo take, improvisation plays a large part in the final output.
Dan Nyborg and Andrew Watson have developed their compositional
technique over the past two years. They both live in Montréal.
Breath was realized in the electroacoustic studio of McGill University in May 1999. It is comprised of a collection of sounds recorded with many different levels of recording quality (from portable cassette to studio recorded DAT). The sounds were collected from three sources: random street noise, found objects, and studio recorded voice. Breath is a piece that juxtaposes tension and release. The ebb and flow of my life as it swings from chaos to stability. Tense, relax. Breath in breath out. Wax on, wax off.
Andrew Wedman has studied music since the age of six. After completing
an ARCT in piano performance and a Music Diploma from Capilano College,
he studied piano, theory and electroacoustic composition at McGill
University and in 1999 moved to Toronto. Since then he has been
involved in many music projects in the electronic music community
in Toronto and has co-founded Lautmaschine, a record label dedicated
to local experimental music. Andrew has performed his electronic
music in Toronto, Montreal, and New York, with The Music Gallery,
e-tonal music series, Technot and Stained Productions. Andrew's
music has had numerous broadcasts on local and national radio, such
as CIUT, and CBC.
Prepare to be led gingerly yet steadfastly as long dormant cogs bestir themselves anew. In this imaginational work, nocturnal stillness is disrupted as the listener is invited to take a fleeting tour through a relinquished factory that, although forgotten, is very much alive. Curiously enough, the sounds in this piece are derived from the sounds of a tape machine performing its various usual tasks.
Brett is concurrently completing undergraduate programs in music and computing science at Simon Fraser University. An award-winning actor, singer, and instrumentalist, Brett is pleased to be approaching music from yet another perspective as a composer. He has performed many genres of music in a variety of venues as a keyboardist and saxophonist, and recently co-produced and performed on a locally-distributed album.
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.