[Jeu de temps / Times Play 2019]

Participants and Submissions

Winners / Gagnants | Submissions / Soumissions | Events / Événements | Awards / Prix | Jury

The five Winning Works and Composers, as selected by an international jury, are featured on a dedicated page. Visit the Awards, Project Partners and Support page to get an overview of the ample prize packages offered to these winners thanks to the contributions of JTTP Project Partners. The winners’ works are also featured in a number of Events, Concerts and Radio Broadcasts during the year, thanks to the dedication of our many Media Partners in Canada and around the world.

However, an equally important component of the project is that all submissions to each edition of the annual Jeu de temps / Times Play project are presented online; through this initiative the CEC offers continued support to a large number of young and emerging composers and sound artists. A total of 30 composers / sound artists submitted recent works to the 20th edition of JTTP. You can read the programme notes and composer biographies below and can also click on the work titles to listen to the pieces.

Submissions

Diego BERMUDEZ CHAMBERLAND — Buscando la luz (10:09 / 2018)

C’est à travers le processus de création de matériaux sonores et l’édition de cette composition que j’ai approfondi mon travail sur l’articulation des sons synthétiques. Cette approche est née du désir de donner vie aux sons synthétiques et de les faire coexister dans un univers sonore non référentiel. Buscando la luz est un voyage dans les coins les plus sombres de l’esprit: à la recherche de la lumière.

It is through the process of creating sound materials and the editing of this composition, that I deepened my work on the articulation of synthetic sounds. This approach is borne of a desire to give life to synthetic sounds and have them coexist in a non-referential sound universe. Buscando la luz is a journey into the darkest corners of the mind: in search of light.

Diego Bermudez Chamberland a débuté son parcours musical en jouant de la batterie pour ensuite plonger dans la musique électronique dès son adolescence. Nourri d’une fascination pour les rythmes et d’une curiosité envers les outils numériques, il développe sa pratique lors de multiples nuits blanches. Diplômé du baccalauréat en musiques numériques de l’Université de Montréal, il consacre son temps à la découverte de nouvelles sonorités à travers ses multiples projets musicaux et au développement de son entreprise de conception sonore Slope Audio. Sa pratique musicale est inspirée de ses expériences vécues autant sur le plan humain que dans la musique. Il est influencé par tous les genres musicaux qu’il a écoutés, les gens avec lesquels il a collaboré et par ses voyages à travers le monde. Diego a entamé une maîtrise en composition électroacoustique au Conservatoire de musique de Montréal en 2019.

Diego Bermudez Chamberland developed a passion for music while playing drums and immersing himself in electronic music as a teenager. Nourished by a fascination for rhythms and a curiosity for digital tools, he developed his practice over the course of many sleepless nights. A growing passion for sound design led him to explore sound creation for video games. A graduate of the Bachelor of Digital Music at the Université de Montréal, he spends much of his waking time discovering new sounds through his many musical projects and developing his sound design company, Slope Audio. His musical practice is inspired by both human-level and musical experiences. He is influenced by all the musical genres he has listened to, the people with whom he has collaborated and his travels around the world. Diego began a master’s degree in electroacoustic composition at the Conservatoire de musique de Montréal in 2019.

Léa BOUDREAU — Quatre machines pour sauver le monde (12:20 / 2019)

En janvier 2019, de jeunes élèves de l’école Jean-Baptiste-Meilleur à Montréal ont participé à un petit remue-méninges: imaginer des machines fantastiques sous la thématique « Quatre machines pour sauver le monde ». Aucune limite, aucune autre consigne, toutes les idées étaient les bienvenues. C’est donc à partir de leurs suggestions que j’ai composé cette pièce, exprimant en son et en musique les engins pensés par les jeunes, mais également l’environnement les entourant. L’œuvre est divisée en quatre sections qui respectent les titres originaux donnés par les étudiant.e.s:

1. Une machine volante qui fonctionne à la pollution et qui la transforme en air pur.
2. Une machine-robot en forme d’animal pour sauver les animaux qui n’ont pas de maison et qui sont dans la rue.
3. Une machine pour envoyer toute la neige qui tombe ici au pôle Nord pour ne plus que ça fonde.
4. Une machine-bateau-sous-marin pour nettoyer les océans.

In January 2019, young students from Jean-Baptiste-Meilleur school in Montréal took part in a little brainstorm: to imagine fantastic machines under the theme “Quatre machines pour sauver le monde” (Four Machines to Save the World). No limit, no other instruction, all ideas were welcomed. Borrowing their suggestions, I composed this piece, expressing with sound and music the devices thought out by the youngsters but also their surrounding environment. The work is divided into four parts which respect the original titles given by the schoolchildren:

1. A flying machine functioning with pollution and turning it into fresh air.
2. An animal-shaped robot-machine to save homeless animals that live in the streets.
3. A machine to send all the snow falling here to the North Pole so it doesn’t melt anymore.
4. A machine-boat-submarine to clean the oceans.

Léa Boudreau est une compositrice et musicienne basée à Montréal. Elle entretient une relation passionnée avec le son dès l’adolescence où elle passe ses journées en ermite à écouter et à faire de la musique. Peu de choses ont vraiment changé. Elle dirige aujourd’hui sa création vers la composition et la performance où elle désire explorer les possibilités infinies et insoupçonnées des objets du quotidien et exprimer les 1000 idées qui lui passent par la tête à toute heure du jour et de la nuit. Elle remporte plusieurs prix au court des dernières années : le 3e prix dans JTTP 2019 de la Communauté électroacoustique canadienne (CEC), la 3e place de la compétition SIME (Université de Lille), le prix Marcelle (Faculté de Musique de l’Université de Montréal) en 2019 et le 3e prix Hugh Le Caine (pour les jeunes compositeurs de la Fondation SOCAN) en 2017.

Léa Boudreau is a composer and musician based in Montréal. She has nourished a passionate relationship with sound since her teenage years, a time when she would spend days on end as a hermit, listening and creating… oh, how little things have changed! Nowadays, she continues to create in the realms of performance and composition, driven by a desire to explore the infinite sonic possibilities of everyday objects and to express the multitude of musical ideas keeping her awake at night. She has received several awards in recent years: the 3rd prize in JTTP 2019 from the Canadian Electroacoustic Community (CEC), the 3rd place in SIME competition (Lille University), the Marcelle Prize (Faculté de Musique de l’Université de Montréal) in 2019 and the 3rd Hugh Le Caine Prize (SOCAN Foundation Awards for Young Composers) in 2017.

Simon COOVI-SIROIS — nttaoiucdr (video — 7:00 / 2019)

À l’aide du tableau de correspondances ASCII, il est possible d’associer un nombre à un caractère à afficher. Par exemple, le nombre binaire 0110 0001 (« 97 » en décimal) équivaut à la lettre « a » minuscule. Les touches d’un clavier d’ordinateur génèrent des nombres binaires. Dans nttaoiucdr, la valeur binaire produite par chaque touche est captée par un algorithme, convertie en texte à l’aide du protocole ASCII et finalement affichée à l’écran. Parallèlement, cette même valeur binaire est transformée en séquence pulsée de 0 et de 1, séquence qui sert à générer un processus sonore. Le texte ainsi créé et l’algorithme sont retransmis en temps réel à un projecteur. Le projet tente de donner accès à la complexité des opérations internes qui ont lieu entre le moment d’appui sur une touche du clavier et l’affichage d’un caractère à l’écran. Il investit la question de la traduction du langage binaire vers des langages textuels et sonores et s’intéresse aux potentielles pertes de sens induites par les multiples conversions de données.

The ASCII table is used to associate a number with a character to display. For example, the binary number 0110 0001 (“97” in decimal) equals the lowercase letter “a”. The keys on a computer keyboard generate binary numbers. In nttaoiucdr, the value produced by each key is captured by an algorithm, converted to text using the ASCII protocol and displayed on screen. Simultaneously, this same binary value is transformed into a pulsed sequence of 0 and 1, which is used to generate a sound process. The text and algorithm are retransmitted in real time to a projector. The project tries to give access to the complexity of the internal operations that take place between the moment of pressing a key on the keyboard and the display of a character on the screen. It invests the question of the translation of the binary language into text and sound languages and explores the potential loss of meaning induced by multiple data conversions.

Simon Coovi-Sirois est un artiste sonore établi à Montréal. Son travail s’intéresse principalement aux potentialités expressives et aux possibilités de structuration de la matière pouvant émerger de l’utilisation de procédés algorithmiques. Ses œuvres se déploient principalement par le son et la lumière, sous la forme de performance et d’installation. Simon poursuit présentement des études de composition au baccalauréat en Musiques numériques à l’Université de Montréal.

Piper CURTIS — Hidden Voices (3:28 / 2018)

Hidden Voices explores vocal resonance and the musicality of a gong, a primordium and the Doepfer A-100. It attempts to draw the “voice” out of some of the non-vocal sources used, intermingling these with the human voice. The piece plays with spatiality between the five channels, creating an eerie sonic space in which all is not as it sounds. Various editing techniques were used to transform the materials, although many were preserved closely from their original recordings, transformed through their re-contextualization within the structure of the piece. In the first section there is a call-and-response arrangement between the channels, particularly between the front and back left and right channels, with the centre channel emphasizing key gestures and high-frequency content extracted from the other four channels. In the second section this call and response continues on a micro-structural level, within multi-channel gestures. Where the first section is very lush, the second is sparser, foregrounding individual “voices”.

Piper Curtis is a sound artist and experimental musician based in Montreal. Their practice is an ongoing exploration of sound as environment, meditations on the sonic relationship of colour and noise, and the intersection of noise and music. Piper weaves together partially improvised, textural soundscapes to transport listeners to a world of their making.

Christophe DAIGLE — Continuum (6:00 / 2019)

À l’aide de plusieurs synthétiseurs et techniques de manipulation du son, j’ai créé Continuum. L’objectif principal de la piste est constant tout au long du morceau, mais vous amène toujours à des endroits différents. La pièce mélange des rythmes électroniques, des textures ambiantes, des rythmes « acides » et des arpèges aléatoires. Le titre de la pièce, Continuum, indique en quelque sorte la musique. Il s’agit d’un paysage sonore très lourd, de type ambiant/onirique, très synthé, qui vous semblera peut-être plutôt apaisant. Les mouvements soulignés de la pièce sont de longs paysages de rêve d’un monde oublié rempli de séquences palpitantes et de pads en perpétuelle évolution, tous assis sous des rythmes intenses et réguliers.

Continuum was created through the use of various synthesizers and sound manipulations techniques. The main focus of the track is constant throughout the piece but still brings the listener to different places. The piece blends electronic beats, ambient textures and soundscapes, acid rhythms and randomized arpeggios. The title of the piece, Continuum, sorts of hints at what the music is about. This is a very synth heavy, ambient and dream-like soundscape that one may find kind of soothing. The underlined movements of the piece are long dreamscapes of a forgotten world filled with pulsating sequences and forever evolving pads, which is all sitting right underneath intense, steady rhythms.

Marc-Antoine DOLBEC — Méli-Mélo (16:28 / 2019)

Conception sonore avec divers instruments logiciels à Ableton. Les périphériques midi sont combinés pour créer un effet midi génératif qui a produit une partie du travail. Parfois, ce ne sont que quelques petites boucles audio que j’ai créées en explorant de nouveaux plugins et Max for Live plugins. Cela combine beaucoup de fichiers audio et le titre Méli-Mélo invoque le chaos et le caractère aléatoire de sa production.

Sound design with various software instruments in Ableton. Midi devices are combined to make a generative midi effect that produced some parts of the work. Sometimes it’s just some little audio loops I made by exploring new plugins and Max for Live devices. It combine a lot of audio files and the title Méli-Mélo invokes the chaos and the randomness involved in producing it.

Benjamin DUPLANTIE GRENIER — Terre (8:00 / 2019)

Récit d’un paysage sonore absolu oscillant littéralement entre nature et humanité. Œuvre animée par des sons guides papillonnants qui tracent le chemin à travers la forêt dense pour finir inévitablement dans un éclat plastique, humain. La ligne conductrice vibre et oscille faisant trembler avec elle l’ensemble de la pièce et révèle ainsi son essence. Comment parler d’humanité sans parler de nature et comment saisir la nature sans la tacher d’intentions?

Story of an absolute soundscape literally oscillating between nature and humanity. Work animated by fluttering guide sounds that trace the path through the dense forest to end inevitably in a plastic, human glow. The conductive line vibrates and oscillates, shaking with it the whole of the room and thus reveals its essence. How can one speak of humanity without speaking about nature and how can one grasp nature without staining it with intentions?

Benjamin Duplantie Grenier est un producteur de musique électronique montréalais. Très jeune, il découvre la possibilité de créer de la musique sur un ordinateur. Il s’implique rapidement dans des programmes de cinéma au cégep où il jouera très souvent le rôle de concepteur sonore. Il poursuit ses études à l’Université de Montréal en musique numérique où il découvre le monde de possibilités que lui offre la musique électroacoustique. Le processus qui mène à la réalisation d’une pièce acousmatique le passionne et l’inspire à travers différentes sphères de sa production. En parallèle, il est très actif dans la scène hip-hop québécoise et assure la production exécutive pour le groupe Laf à travers laquelle il se permet des productions audacieuses qui laissent entrevoir une nouvelle saveur dans le paysage musical montréalais.

Benjamin Duplantie Grenier is a Montréal-based electronic music producer. At a very young age, he discovered the possibility of creating music on a computer. He involved himself in cinema programmes at CEGEP, where he very often took on the role of sound designer. Continuing his studies at the Université de Montréal in digital music, he discovered the world of possibilities offered by electroacoustic music. The process that leads to the realization of an acousmatic piece fascinates and inspires him through different spheres of his production. In parallel, he is very active in the Québec hip-hop scene, where he oversees the executive production for the group Laf. Such activities give him the opportunity to present audacious productions that offer a glimpse of a new flavour growing in the musical landscape of Montréal.

Ilyaa GHAFOURI — Soft Corps (video — 7:30 / 2019)

Soft Corps est une vidéomusique expérimentale qui explore les diverses relations de pouvoir entre l’image et le son. Présentés sous différents degrés d’abstraction, le corps des danseurs (Milan Panet-Gigon et Abe Simon Mijnheer) devient une matière malléable de son et lumière.

Soft Corps is an experimental videomusic work that explores the numerous power structures between image and sound. Seen through different degrees of abstraction, the dancers (Milan Panet-Gigon and Abe Simon Mijnheer) go from human bodies to a malleable matter of sound and light.

ilyaa ghafouri est un compositeur montréalais qui a gradué en 2018 du programme de composition électroacoustique du Conservatoire de musique de Montréal, sous la tutelle de Louis Dufort. Ayant fait ses débuts dans le milieu du cinéma et du théâtre, il se déploie dorénavant sur la scène acousmatique. C’est en tant qu’artisan de cinéma qu’ilyaa prend ses premiers pas dans le monde de la prise de son. L’exploration du monde par le microphone est donc devenue une pierre angulaire de sa démarche; pour la collecte de sons et de modèles organisationnels, mais surtout pour l’expérience vécue in situ lors de l’enregistrement, qui est sa source première d’inspiration.

ilyaa ghafouri is a Montréal-based composer who graduated in 2018 from the Electroacoustic Composition programme at the Conservatoire de musique de Montréal. Starting out working in film and theatre, he now brings this background to the acousmatic scene. His first steps in the world of sound recording were taken in the film industry. Exploring the world via the microphone has since become the cornerstone of his artistic process — for collecting sounds and organizational models, but mostly for the ephemeral experience experienced within the act of recording, his foremost source of inspiration.

Nicola GIANNINI — Eyes Draw Circles of Light (9:18 / 2019)

Eyes Draw Circles of Light explore des aspects spécifiques de l’inconscient lorsqu’on est sur le point de s’endormir. Au moyen de la spatialisation sonore, la relation entre la psyché et le corps est évoquée. L’accent est sur ces mouvements involontaires rapides, les secousses hypniques, qui marquent ce moment. La pièce est le fruit d’une collaboration avec les artistes Elisabetta Porcinai et Alice Nardi, qui ont écrit un poème pour la pièce, et vise à trouver un équilibre entre élégance et expérimentation, féminité et masculinité. Elisabetta a interprété le texte, que a été élaboré dans le cadre de la composition. L’œuvre a été composée pour un dôme de haut-parleurs.

Eyes Draw Circles of Light explores specific aspects of the human unconscious, characterizing that brief moment when we are about to fall sleep. Through sound spatialization, a multidimensional unconscious representation was created that evokes the relationship between psyche and body. The fast and involuntary body movements, hypnic jerks, that may occur at that time have been underlined. The work is a collaboration with the artists Elisabetta Porcinai and Alice Nardi, who wrote a poem for it, and aims to find a balance between elegance and experimentation, femininity and masculinity. The text was interpreted by Elisabetta and then elaborated by the composer. The work was composed for a dome of speakers.

Nicola Giannini est un artiste sonore et un compositeur de musique électroacoustique basé à Montréal. Sa pratique s’articule autour de la musique immersive, acousmatique ou en direct. Il s’intéresse aux sons qui évoquent des matériaux physiques et des organismes vivants. Ses œuvres ont été présentées au Toronto International Electroacoustic Symposium (TIES), Cube Fest, ICMC, Nycemf (É.-U.), TEDxLondon, Sound-Image Colloquium (R.-U.), Sound Spaces (Suède), File Festival (Brésil), Museo Palazzo Strozzi, Audior, Tempo Reale (Italie), parmi d’autres. Sa pièce Eyes Draw Circles of Light a reçu une mention d’honneur au Concours 2019 de la Fundación Destellos, tandis que For Hannah a été choisie comme finaliste au concours international de composition Città di Udine 2018. Originaire d’Italie, Nicola est titulaire d’une maîtrise en composition électroacoustique du Conservatoire de Florence. Il est étudiant au doctorat à l’Université de Montréal sous la direction de Robert Normandeau et il est actuellement assistant de recherche au Groupe de recherche en immersion spatiale.

Nicola Giannini is a sound artist and an electroacoustic music composer based in Montréal whose practice focuses on immersive music, both acousmatic and performed. He is interested in sounds that evoke physical materials and living organisms. His works have been presented at the Toronto International Electroacoustic Symposium (TIES), Cube Fest, ICMC, Nycemf (USA), TEDxLondon, Sound-Image Colloquium (UK), Sound Spaces (Sweden), File Festival (Brazil), Palazzo Strozzi Museum, Audior and Tempo Reale (Italy), among others. His piece Eyes Draw Circles of Light received an honourable mention at the Fundación Destellos 2019 Competition, while For Hannah was chosen as a finalist in the Città di Udine 2018 International Composition Competition. Originally from Italy, Nicola holds a master’s degree in Electroacoustic Composition from the Conservatory of Florence. He is a doctoral student at the Université de Montréal under the supervision of Robert Normandeau and is presently a research assistant with the Groupe de recherche en immersion spatiale (GRIS).

Rob GILL — 2019,02,11-12:37pm — composition1 — from “knot and trre” (30:58 / 2018)

The software that created this work drives an interactive installation that has been presented in various contexts. Central to the process is a triangle mesh projected on a screen that serves as the interface through which all activity takes place. The composition process is broken into parts and distributed throughout the mesh along with sounds relating to a theme (“knot and trre” in 2018). Participants activate the mesh via touch sensors that trigger audio and visual events, generating a collective remix of the material. This activity is recorded as data to which a number of visualization and sonification processes are applied, to reveal different aspects of the recorded activity. Here, these forms of analysis are mixed in real time with the original recording. This medium is designed to reveal, store, transform and transmit collective creative activity in order to examine the living presence contained in gestures. I am gradually exploring the possibilities that self-organizing systems, non-linear dynamics and emergent phenomenon offer.

Rob Gill has been active as an artist for nearly two and a half decades. His practice embodies many disciplines and fields — audio art, computer programming, mathematics, visual art, computer animation, installation, performance — all employed in the service of a single objective: to use art as the means to study consciousness. Since receiving his BFA from Queen's University in 1996 with a specialization in painting, Rob has pursued his work as independently as possible from any form of institutional framework as an experiment in independent thought and creative activity. Rob has been exhibiting his work as interactive installations, using audience participation to form non-linear remixes of audio composition and sound work with accompanying computer animations, and to visualize and sonify the data generated by the collective response. Activism plays a crucial role in his work, which seeks to uncover the otherwise hidden prejudices, blind spots and colonialist impulses deeply embedded in our social fabric.

Mark HJORTHOY — Shuttle Deck F Breach — Origin Unknown (6:14 / 2019)

A “containment breach” received in Shuttle Deck F. Cause of breach… unknown species.

A producer, sound designer and experimental composer from Vancouver, Mark Hjorthoy has been making music most of his life, but has more recently found a home in electroacoustic and experimental composition, as well as other electronic genres such as idm, drone, trip hop and ambient.

Alexandre KLINKE — Fazenda Pasto Grande (15:00 / 2019)

Fazenda Pasto Grande is a farm located in the countryside of Sao Paulo state in Brazil — an old coffee plantation from the 19th century that was abandoned for many years until it was partially restored in the late 1990s. The piece features sounds recorded over the course of two days in March 2011. The particular soundscape of the place has very little interference of technology or people, aside from a few cars and airplanes, and the chatter of its few inhabitants. The idea of making this multi-channel piece was to transport the listener to that place, either via a realistic representation of its soundscape, or through abstracted sounds that relate to the bodily experience of being there.

Alexandre Klinke is a sound artist from Sao Paulo, Brazil, based in Vancouver. With background as a jazz and classical guitarist, he became involved with music production and electronic music composition in the year 2008. Since then he’s been creating, recording and performing music as a solo artist, while also working as a composer and sound designer for film and multimedia.

Kimia KOOCHAKZADEH YAZDI — Enigma (11:00 / 2019)

Anticipation and expectations are always a huge active part of the human psyche. As composers, we have the ability to manipulate these two parameters and make one question what they have or should be expecting from what they are hearing. This piece creates room for new assumptions in one’s mind. Enigma was commissioned by Western Front (Vancouver).

Kimia Koochakzadeh Yazdi is a Persian composer based in Vancouver. Working with instrumental and electroacoustic media, she has actively collaborated on projects written for dance performance and film in addition to concert pieces. She seeks to incorporate into her music her experiences of the cultural contexts she has been living in so far. She was recently commissioned by Western From to write for their 8.2 octophonic sound system and her piece Displacement II for bass flute, bass clarinet and live electronics was premiered by Vancouver New Music in February 2019. Koochakzadeh Yazdi is currently the artist-in-residence at Media Arts Committee while studying composition at Simon Fraser University with Sabrina Schroeder, Owen Underhill and Mauricio Pauly.

Joël LAVOIE — mvt.passive (5:04 / 2019)

Courte étude sur la passivité, un instant de distraction inconsciente dans une foule et ses réminiscences sonores.

Short study on passivity, a moment of unconscious distraction in a crowd and its sound reminiscences.

Joël Lavoie est un compositeur noise/ambient/electro de Montréal et ce, depuis qu’il a conscience. Très sensible à son environnement, sa musique allie les paysages sonores qui l’entourent à la déraison des parasites électroniques et instrumentaux. Le tout avec une intensité comparable à une rage de dents ou une balade en téléphérique. Improvisateur, performeur et artiste sonore il a aussi fait des conceptions sonores pour différents spectacles de danse, poésie et théatre. Sa musique l’a amené à jouer à Montréal, au Royaume-Uni et en France.

Joël Lavoie is a Montréal-based noise/ambient/electro music composer and has been for as long as he can remember. Very sensitive to his environment, his music allies the soundscapes that surrounds him with the unreasonableness of electronic and instrumental parasites. All of this made with the same intensity of a toothache or a promenade in a gondola. Improviser, performer and sound artist, hehas made sound conceptions for dance, poetry and theatre shows. His music has brought him to play in Montréal, the United Kingdom and France.

Andrew LUTHER — Every Second a Soul Passes On (5:52 / 2018)

Every Second a Soul Passes On was inspired by the little jingle that I always heard at my Nan’s house as a child, which was played on her clock at the top of every hour. I wrote this piece in honour of her, with the idea in mind that death is a natural part of life. Although it may be sad, death is something that everyone must cope with at some point and we must live and be content with the fact that we move closer and closer to death as each second passes.

Jon MARTIN — Walkways I — Interchange (11:12 / 2019)

Peu importe où une personne est ou ce qu’elle fait, des aspects importants et apparemment sans importance de la vie sont perdus dans les espaces entre les moments. Walkways est une série de nouvelles œuvres sonores explorant le mouvement d’intersection, la cécité perceptuelle et inattentive, et la capture cognitive.

No matter where a person is, or what they are doing, both significant and seemingly unimportant aspects of life are lost in the spaces between moments. Walkways is a series of new soundscape works that provides commentary on the phenomena and explores the intersection motion, perceptual and inattentive blindness, and cognitive capture.

Jon Martin est un musicien et compositeur canadien/britannique résidant à Lethbridge, en Alberta. Il a obtenu son master en musicologie à l’université de Lethbridge en 2017, et se vit attribuer la médaille de mérite pour excellence académique. Ses recherches examinent la relation entre le timbre, le geste et l’émotion extraite dans le son enregistré. En plus de son travail en tant que compositeur électroacoustique, Jon compose et interprète avec son groupe, The New Weather Machine, et travaille en tant que producteur de disques pour la Green Recording Company. Ses compositions ont été utilisées dans des films, à la télévision et dans des galeries d’art, dont une exposition permanente au Royal Tyrrel Museum à Drumheller, Alberta. Il s’inspire notamment du potentiel du son, du processus et de ses recherches dans le champ de la psychologie cognitive.

Jon Martin is a Canadian/British musician and composer residing in Lethbridge, Alberta. He completed his Master of Music degree at the University of Lethbridge in 2017 and was awarded the graduate Medal of Merit for academic excellence. Jon’s research examines the relationship between timbre, gesture and the elicitation of emotion in recorded sound. In addition to his work as an electroacoustic composer, Jon writes and performs with his band, The New Weather Machine, and works as a record producer at Green Recording Company. His compositions have been featured in film, television and gallery exhibitions, including a permanent exhibit at the Royal Tyrrel Museum in Drumheller, Alberta. He is inspired by sound potential, process and research in the field of cognitive psychology.

Michael MCCORMICK — EIDOLON: 01.06.2019 (8:45 / 2019)

In October 2018, German vocalist Mascha Corman asked the composer to play a duo concert with her in Switzerland, knowing very well that he was scheduled to be in Canada at the time. She wanted to be able to engage with his improvising electronics without his presence in an effort to explore the performative possibilities that lie between solo and duo settings. His response was to create EIDOLON, an algorithmic improvising programme written in the SuperCollider programming environment. In performance, EIDOLON listens to a performer’s input, analyses the current musical situation and independently makes decisions that inform the generated sounds and transformations.

Mike McCormick is an Oslo-based guitarist, laptop performer and composer originally from Yellowknife (Canada). Though his primary expression is through music performance, Mike’s creative output draws from a variety of disciplines, including conceptual and performance art, electroacoustic music, twentieth-century literature, and various notated and improvised music traditions. Besides performing regularly in ad hoc improvising and chamber ensembles, his active projects include the EIDOLON, an improvising algorithmic computer programme, the composers’ orchestra OJKOS, and his vivid depictions of human intimacy explored in the Proxemics project. In addition to composing for Proxemics, he maintains an active composing schedule with commissions from various chamber ensembles, often experimenting with the integration of improvised and strictly notated elements.

Julia MERMELSTEIN — places never kept (20:00 / 2018)

places never kept takes inspiration from four photographs by Hannah Hiscock that capture abandoned structures and landscapes at the point of deterioration. The music explores emotional and physical memories that are embedded in these spaces in contrast to how they currently exist. This is an acousmatic version of a work originally composed for a multimedia dance work that involves live electronics manipulated by dancers onstage.

Julia Mermelstein is a Toronto-based composer, originally from Halifax. Her music focuses on detailed tone colour, textures and gestural movement that reveal evocative, immersive and subtly changing soundscapes. She works extensively with electronics, blending acoustic and electronic sound worlds in seamless interactions. Her music takes influence from Buddhist philosophy, psychology and ritualistic tendencies that shape her relationship to form, stillness and sense of space. Julia’s music has been commissioned and performed by leading ensembles, including Blue Rider Ensemble, the Array Ensemble, Ensemble Arkea, Quatuor Bozzini, Toy Piano Composers Ensemble and Windermere String Quartet, among others. Her compositions have been presented at OUA Electronic Music Festival 2017 in Osaka, NAISA’s Deep Wireless Compilation, The Movement Gallery, Festival of Original Theatre and at the Open Ears Festival. Julia received a BFA specializing in Composition under Georges Dimitrov from Concordia University (Montréal) in 2013.

Pauline PATIE — Hors-Champ (7:46 / 2019)

Une trace laissée dans le sol est le passage d’une chose,
Le passage d’une chose est une trace laissée dans le sol.

Le temps emprunte la bille, l’image est manquante;
La bille emprunte le temps, l’image est changeante;
La bille empreinte du temps, l’image est absente.

Pauline Patie est née à Paris en 1995, elle est une compositrice française de musique électroacoustique. Après avoir été intermittente du spectacle en France pendant un an, elle poursuit désormais sa formation en deuxième année au département de musiques numériques de l’Université de Montréal. La ligne qui dirige ses créations est celle de l’immersion: Comment faire en sorte que l’auditeur se perde dans un paysage imaginaire, reflet singulier de sa personnalité intime et profonde?

Kasey POCIUS — Feedback Cycles (10:19 / 2018)

Feedback Cycles explores the limits of audience perception though the use of various time scales, how various complex systems based on feedback loops react to often minuscule changes, and how these acoustic systems seem to parallel many modern-day experiences, such as sexism, homophobia and climate change, as viewed by the composer. The piece is divided in four movements and was composed as an 8-channel electroacoustic piece between September and December 2018, though it makes use of field recordings made by the composer as early as January 2017.

Originally from St. John’s (Newfoundland), audio artist Kasey Pocius grew up experimenting with audio editing and MIDI sequencing software while also pursing classical training in both viola and piano. In late 2014, Kasey began to concentrate more intensively on the creation of digital audio works. Initially the focus of this work was on more traditional tone-based works but has since quickly been realigned towards the pursuit of electroacoustic composition, notably through entering the Electroacoustic Studies programme at Concordia University in Montréal.

Jason SAUNDERS — Peering Through (14:23 / 2019)

Peering Through is a live recording of a fully improvised solo performance, recoded in my home studio in Mississauga (Ontario) in March 2019. This piece is representative of a broader, live performance practice. The aim is to integrate acoustic and synthesized sound sources into an organic and responsive live performance with the use hardware sequences, effects and loopers. No virtual instruments or pc-based effects are used. This performance process allows the composer the freedom to explore many aspects of sound, music and expression that offer the excitement of playing while providing enough technical and sonic limitations to warrant creative, real-time compositional problem-solving.

Estelle SCHORPP — Le rêve de Maneki-Neko (5:00 / 2019)

Le Maneki Neko (Le Chat qui invite) est une statue traditionnelle très répandue au Japon qui représente un chat assis, levant la patte au niveau de l’oreille. Il est un esprit de la fortune et du bonheur. Dans Le rêve de Maneki-Neko, je joue avec différents motifs de rebonds, de suspensions, de dégringolades et de rythmes. Les motifs se succèdent rapidement et linéairement au début, s’ouvrant sur des débuts d’espaces et se refermant aussitôt, pour évoluer vers une écriture plus fragmentée et mise en espace à la fin. Dans un univers artificiel et onirique, cette musique tente d’être aussi agile, joyeuse et moqueuse qu’un chat qui saute.

Maneki-Neko (The Inviting Cat) is a famous traditional Japanese statue representing a sitting cat with its paw lifted up to its ear. It is a symbol of good fortune and joy. In Le rêve de Maneki-Neko, I play with patterns of bounces, suspension and rhythm. The patterns move quickly and in a linear way at the beginning, evolving to a more fragmented and spatialized writing at the end. In an artificial and dreamlike atmosphere, this music attempts to be as agile, joyful and mocking as a cat’s pounce.

Estelle Schorpp est une artiste sonore et compositrice française basée à Montréal. Après avoir obtenu son Diplôme National Supérieur d’Arts Plastiques aux Beaux-Arts de Paris, elle poursuit son parcours en intégrant une maîtrise en composition et création sonore à l'Université de Montréal. Son travail hétéroclite touche à la fois à l’installation sonore, à la composition électroacoustique, à l’écrit et plus récemment à la performance. S’y rencontrent field recording, sons électroniques low-fi, instruments acoustiques, qui subtilement construisent des espaces hybrides où se mêlent le naturalisme et le fantastique, l’humain et le non-humain. Récemment, elle travaille sur des installations sonores auto-interactives qui s’inspire des écosystèmes naturels. Elle est également la co-fondatrice du duo électroacoustique Die Päonie. Elle a participé à plusieurs expositions collectives à Paris et Helsinki. Sa musique a été jouée et diffusée internationalement dans le cadre de festivals comme Exhibitronic et MuTeFest.

Estelle Schorpp is a French sound artist and composer based in Montréal. She received an MFA with distinctions from the École Nationale Supérieure des Beaux-Arts de Paris and is currently doing a masters in composition and sound creation at Université de Montréal with Nicolas Bernier. Her work investigates sound installation, as well as electroacoustic composition, writing and performance. She uses field recording, synthesis, low-fi, acoustic instruments to create hybrid environments exploring notions of reality and artificiality, naturalism and fantasy, human and non-human. Recently she has been developing self-generated sound installations inspired by communication techniques used by insects. She also is a composer and performer in the electronic experimental music duo with Véronique Marengère. Her work has been exhibited in collective shows in France and Finland. Her music has been heard in such international festivals as Exhibitronic and MuTeFest.

Rouzbeh SHADPEY — synapse (or why we never touch) (10:28 / 2019)

Le son est matière invisible. Il traverse frontières physiques et matériels de manière rhizomatique, traçant une arborescence relationnelle entre sujets et objets, toi et moi. Il dessine un système nerveux collectif où l’interaction se fait dans les non-interactions, la distance entre nos corps se transformant en synapse, un espace liminal d’intimité. synapse (or why we never touch) est un dessin poétique de ces propriétés physiques et métaphysiques sonores via la phase, la texture, le rythme et la forme.

Sound is invisible matter. It crosses physical boundaries in rhizomatic fashion, tracing a relational arborescence between subjects and objects, you and me. It draws a collective nervous system where interactions happen in non-interactions, transforming the distance between our bodies in synapses; spaces of liminal intimacy. synapse (or why we never touch) is a poetic depiction of these physical and metaphysical properties of sound via phase, texture, rhythm and form.

Rouzbeh Shadpey est un artiste sonore basé à Montreal. Leur musique, sous le nom d’artiste Golpesar, existe à l’intersection de la musique de club, la musique expérimentale et de la musique académique et cherche à transgresser conventions esthétiques en faveur de narration poétique. Complétant présentement son baccalauréat en musique électroacoustique à l’Université de Concordia et possédant un doctorat en medicine de l’Université de Sherbrooke, Rouzbeh est intéressé par la capacité de l’art sonore de traduire, appliquer et critiquer des concepts théoriques émanant d’un vaste champ d’étude tels la medicine, la philosophie, la cybernétique, les études queer et féministes, etc.

Rouzbeh Shadpey is a sound artist based in Montreal. Navigating at the intersection of experimental, club, and academic forms of electronic music, their music under the moniker Golpesar seeks to create a fluid sonic experience which erases aesthetic boundaries in favour of poetic narration. Recurrent themes appearing in the artist’s work are sonic affects, non-linear narratives, and embodiment. In 2019, they released their debut album Khaneh on well-reputed label Dream Disk Lab as well as performing their multi-channel performance piece for post-human voices “This Voice, Suspended Between Us” at Art Matters Festival. Having completed a doctorate in Medicine at University of Sherbooke and currently finishing their BFA in Electroacoustic Music at Concordia University, Rouzbeh is interested in the capacity of sound art to poetically translate and critically reshape, with much needed dimensions of opacity, conceptual and theoretical material researched from a wide ranging field of studies such as pure sciences, media studies, philosophy, cybernetics, social studies, etc.

Kayla SHEARS — Finding Home (25:11 / 2019)

Finding Home is a multimedia, audiovisual installation that embraces “Prosthetic Reality,” denoting the presence of electronics in a space and transforming the viewer’s experience without the use of an application or device. The focal point of this installation challenges auditory and visual perceptions based around “Human Relativity,” the relationship human beings hold in relation to the space and objects or other beings around them. The movements in this piece symbolize Einstein’s Theory of Relativity by interpreting its three concepts: reality as having no “absolute” frame of reference; the speed of light being the same no matter who measures it; nothing can move faster than light. The goal is to realize that we are a collection of experiences housed in a body; and in terms of the perception of the outside world, the individual is, in this way, the centre of their universe. Finding Home takes into account the subjective and the objective; where the perception or the “location” of both physical and mental points of the observer, is everything.

Kayla Shears est une artiste multidisciplinaire aux multiples facettes qui se concentre actuellement sur la conception sonore et la création d’expériences d’installation artistique multi-immersives. Elle a déménagé à Montréal en 2009 afin de poursuivre ses études en communication et de découvrir sa passion pour la musique et les arts interactifs. Depuis lors, elle a voyagé et peaufiné son travail, transformant ses plus profondes inspirations de l’expérience humaine en quelque chose de très concret. Au cours des dernières années, elle a développé une plate-forme pour que ses talents musicaux se transforment et mûrissent, conquérant le monde des festivals et des événements. BFA à l’Université Concordia en mai 2019. Réussite du BFA à l’Université Concordia en mai 2019. Développement réussi de la recherche et du développement en collaboration. études post-universitaires.

Kayla Shears is a multi-faceted interdisciplinary artist currently focusing on sound design and creating multi-immersive art installation experiences. She moved to Montreal in 2009 to pursue her studies in Communications, and in turn discovered her passion for music and interactive arts. Since then she has travelled and fine-tuned her work, transforming her deepest inspirations from the human experience into something vividly tangible. Over the last years, she developed a firm platform for her musical talents to transform and mature, taking her all over the world performing in front of thousands of people at festivals and events. She bridges her music career to the realm of Electroacoustics and Interactive Media by completing her BFA at Concordia University in May 2019. Upon completion, she will professionally focus on expanding her talents by pursuing opportunities that develop her independent and collaborative endeavours for her artistic career and post-grad education.

Valentin STIP — 1109 (8:06 / 2018)

1109, pour cinq enceintes, s’essaie à l’expression d’un mal-être socio-politique qui s’est avéré trop complexe pour être exprimé à travers le langage. En tant que telle, la pièce s’est développée en un exercice de création et recherche sonore par le biais de la synthèse modulaire analogique. L’œuvre a été composée presque entièrement avec des sons créés sur le système Doepfer A-100 de l’Université Concordia, enregistrés sur une période de trois mois.

1109, a five-channel, fixed-media piece, attempts to sonically express socio-political thoughts and emotions that have personally proven too complex for language. As such, it was also an exercise in sound creation research using modular analogue synthesis. 1109 was composed almost exclusively with unprocessed sounds recorded with the Doepfer A-100 system at Concordia University over a three-month period.

Valentin Stip est français de naissance, mais grandit à New York. Pendant son BA en philosophie à Montréal, il découvre la musique électronique, avec laquelle il expérimentera pendant quelques années. Obsédé par le détail, il découvre petit à petit la beauté d’expérimenter avec les caractéristiques micro-temporelles du son. Ceci l’amène éventuellement à rejoindre le programme d’Électroacoustique de Concordia, qui l’aidera beaucoup à pousser cette approche, et où il complète actuellement sa dernière année d’étude. Valentin s’intéresse particulièrement à la composition, la perception et la relation que les deux procédés entretiennent, relation qu’il explore actuellement dans un effort d’allier ses acquis en métaphysique avec la recherche récente en psychoacoustique.

Born in France, Valentin Stip grew up in New York. While completing his BA in Philosophy in Montréal, he discovered electronic music and experimented with it for a few years. Through his fascination for the smallest of details he came to discover the beauty of experimenting with sound on an ever-shortening microscale. This led him to join Concordia University’s Electroacoustic Studies programme, which has greatly helped him exploit this approach, and where he is currently completing his final year of studies. Valentin is particularly interested in composition and perception, as well as the relationship forged between the two, a relationship he is currently exploring in an attempt to combine his background in metaphysics and recent research in psychoacoustics.

Roger TELLIER-CRAIG — Nulle part à trouver (17:39 / 2019)

Contradictions. Différence. Intrusion d’un certain désordre dans une situation donnée, régularisée. Perte de repères. Nulle part à trouver cherche à organiser des tensions à travers l’utilisation d’écarts et de contrastes, créant ainsi un vaste réseau relationnel. L’objectif était d’élaborer un environnement sonore riche en possibilités, qui ne saurait être facilement réduit à chaque instant donné d’une écoute, où l’apparence d’une certaine direction, d’un sens quelconque, pourrait se voir annulée ou enrichie par l’introduction de sonorités ou de comportements contraires.

Contradictions. Difference. The intrusion of some kind of disorder in a stable, given situation. To be destabilized and lose your points of reference. Nulle part à trouver seeks to organize tensions through the use of differences and contrasts, creating an extensive network of relationships. The objective was to develop a sonic environment, rich in possibilities, which would not be easily reduced to any given moment in the piece, and where the appearance of any kind of direction or meaning would be either annihilated or enriched by the introduction of opposing behaviours or sounds.

Roger Tellier-Craig est un compositeur et musicien électronique basé à Montréal. Actif au sein de la scène musicale indépendante montréalaise depuis plus d’une quinzaine d’années, il est membre fondateur des groupes Fly Pan Am, Et Sans (aux côtés de Alexandre St-Onge), Set Fire to Flames, Le Révélateur (avec Sabrina Ratté) et Fousek / Hansen / Tellier-Craig. Son travail a été publié sur une panoplie de labels internationaux, dont Constellation, Locust, Alien 8, Fat Cat, Root Strata, Gneiss Things, NNA Tapes, Where To Now? et Dekorder, et présenté sur scène au Canada, en Europe, aux États- Unis et au Japon. Il a également composé de la musique pour le cinéma et la danse, travaillant avec Denis Côté, Albéric Aurtenèche, Projet EVA, Lynda Gaudreau, Dana Gingras et Sabrina Ratté. Il est titulaire d’un certificat en composition électroacoustique du Conservatoire de musique de Montréal.

Roger Tellier-Craig is an electronic musician and composer based out of Montréal. He shares an improvisation trio with Karl Fousek and Devon Hansen and is a founding member of Fly Pan Am, Et Sans (with Alexandre St-Onge), Set Fire to Flames, and Le Révélateur (with Sabrina Ratté). These projects have seen him tour extensively in Canada, Europe, the United States and Japan, as well as releasing records with Constellation, Locust, Alien 8, Fat Cat, Root Strata, Gneiss Things, NNA Tapes, Where To Now? and Dekorder. He has composed music for film and various art projects, working with Denis Côté, Albéric Aurtenèche, Projet EVA and Lynda Gaudreau, as well as providing the score to most of Sabrina Ratté’s video works. He has also worked closely with the choreographer Dana M. Gingras over the past 15 years. He holds a certificate in electroacoustic composition from the Conservatoire de Musique de Montréal.

Alexandre TESSIER — Doña_Paz (8:00 / 2019)

Doña_Paz est une pièce octophonique majoritairement ambiante. Elle met en scène le naufrage du navire portant le même nom. Les sections ou fragments sonores ayant une esthétique « noise » représentent les dernières secondes avant que l’eau s’infiltre à l’intérieur de l’habitacle, emportant le navire et ses occupants dans l’abime des eaux. Les éléments sonores de type radiophonique y représentent de manière symbolique les dernières communications effectuées du navire à la terre ferme. Cette pièce représente également la solitude qu’un individu peut ressentir devant une situation sans issue où les sentiments ressentis sont trop profonds pour être extériorisé sous forme de mots. Il en résulte l’acceptation de la situation et un calme apparent, tandis qu’en réalité l’intégralité de l’être ne voudrait que crier et se débattre, en vain.

Alexandre Tessier est un compositeur, de musique acousmatique et ambiante originaire de Montréal. Il termine en 2015 une technique d’intégration en multimédia au cégep de Maisonneuve. Il travaillera alors un an dans le milieu de la programmation web avant de se réorienter vers sa passion première en entamant un Baccalauréat en musique numérique en 2016. Depuis, Alexandre Tessier centre sa création sur l’hybridation de matériaux synthétiques et acoustiques. Il étend également la sphère de ses compétences en y incluant progressivement la vidéo et la performance. En 2019, il inclut un aspect social à sa pratique en jetant les bases de son ensemble pour accéléromètres.

Hugo TREMBLAY — fuit) seul » vers le » Seul (14:20 / 2019)

Georgios VAROUTSOS — Revisit (6:13 / 2019)

Revisit est une composition électroacoustique basée sur des mémoires photographiques. Comment pouvons-nous expérimenter soniquement un moment capturé par une photo? Avec le processus de sonification (transformation des données en son) et de synthèse par table d’ondes, Revisit explore un voyage à travers le village fantôme de Céphalonie, en Grèce. En utilisant uniquement ces images comme matériau sonique, il fournit une perception alternative des événements capturés. Permettre de nouvelles informations et expériences qui défient le moment d’une mémoire photographique. La représentation définie par les photos documentées contient l’énergie et l’émotion d’un lieu. Cependant, elle réorganise ce point de vue par le son, en attirant la curiosité et les perceptions auditives imaginatives. “Comme on dit, les photos parlent mille mots, cependant, le son vaut mille photos.”

Revisit is an electroacoustic composition based on photographic memories. How can we sonically experience a moment captured by a photo? With the process of sonification (transforming data into sound) and wavetable synthesis, Revisit explores a journey through the Ghost Town of Kefalonia, Greece. By solely using these images as sonic material, it provides an alternative perception of captured events. Allowing for new information and experiences which challenge the moment of a photographic memory. The representation set by the documented photos contains energy and emotion of a place, however, through sound it reshapes this viewpoint by enticing curiosity and imaginative auditory perceptions. “As they say, photos speak a thousand words, however, sound is worth a thousand photos.”

Georgios Varoutsos is a sound artist and performer based in Montréal. He received a Baccalaureate in the Electroacoustic Studies programme at Concordia University. Varoutsos explores the field of sound with an extensive range of projects he’s produced or worked on, and he continues to be a member of the Concordia Laptop Orchestra (CLOrk). His audio creations derive from different inspirations such as field recordings, digital recordings, amplified sound materials, digital audio processing, synthesis and experimentation of processing techniques. His signature works encompass an unorthodox depiction of audio processing in mind of engendering tension and emotional reactions.

William YOUNG — Fire Inhales With Found Rhythms (5:25 / 2018)

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