novembre 16-19 november 2018

Conférence internationale sur la pédagogie de la musique mixte International Conference on Mixed Music Pedagogy

Une conférence bilingue et une série de concerts co-organisé par / A bilingual conference and concert series co-hosted by Schulich School of Music, l’Université de Montréal, CIRMMT & Le Vivier

www.mcgill.ca/icommp-2018 BIENVENUE

La conférence internationale sur la pédagogie de la musique mixte 2018 (ICOMMP-2018) est le premier événement offrant une conférence d’orientation recherche-création ayant pour principal objet de discussion la pédagogie de la musique mixte (musique combinant des sources sonores acoustiques et électroniques). Organisée par des artistes-chercheurs et universitaires de de l’École de musique Schulich de l’Université McGill et l’Université de Montréal, cette conférence comprendra des ateliers, colloques de recherche, ainsi que des concerts présentant des artistes et conférenciers invités en provenance du Canada, des États-Unis, de France et du Portugal.

ICOMMP-2018 consistera en une conférence internationale de quatre jours réunissant à la fois des intervenant(e)s invité(e)s ainsi que d’autres sélectionné(e)s à partir d’un appel à communications ouvert. Reflétant la dimension interdisciplinaire de ce colloque, la liste des intervenant(e)s invité(e)s comprend des compositeurs(trices) (Miguel Azguime, Alain Bonardi, Bertrand Dubedout, Philippe Leroux, Pierre Michaud, Nina C. Young), des chercheurs (Guillaume Boutard, Jonathan Goldman, Robert Hasegawa), des interprètes (Guillaume Bourgogne, Jean-Michaël Lavoie, Lorraine Vaillancourt), ainsi que des experts en réalisation et interprétation en informatique musicale (Mikhail Malt, Gilbert Nouno). Les concerts, principalement interprétés par Sond’Ar-te Electric Ensemble (Portugal) ainsi que des étudiant(e)s de l’École de musique Schulich de l’Université McGill et de l’Université de Montréal, présenteront une performance nord-américaine exceptionnelle de …explosante-fixe… de Pierre Boulez ainsi que des œuvres récentes de Miguel Azguime, Bertrand Dubedout, Pierre-Luc Lecours, Pierre Michaud et Nina C. Young.

La tenue du colloque ICOMMP-2018 a été rendue possible grâce au soutien généreux de l’École de musique Schulich de l’Université McGill, du CIRMMT (Centre for Interdisciplinary Research in Music Media and Technology), le Conseil de Recherches en Sciences Humaines et Subito Music Corporation. Un remerciement particulier à Devon Wilkinson, Landon Morrison, Mylène Gioffredo, David Rafferty, Jonathan Patterson, Ensemble Amis Plus et Sond’Ar-te Electric Ensemble.

Le Vivier remercie le Conseil des arts et des lettres du Québec et le Ministère des Relations internationales et Francophonie de leurs appuis financiers. WELCOME

The International Conference on Mixed Music Pedagogy 2018 (ICOMMP-2018) is the first event of its kind: a four-day research-creation conference on the pedagogy of mixed music (music combining acoustic and electronic sound sources). Led by artist-researchers and scholars at the Schulich School of Music of McGill University and the Université de Montréal, the conference will include public workshops, research colloquia, and concerts featuring guest artists and lecturers from Canada, the United States, France, and Portugal.

ICOMMP-2018 will feature four days of presentations in French and English by international guests and presenters chosen from an open call for papers. Confirmed speakers include composers (Miguel Azguime, Alain Bonardi, Bertrand Dubedout, Bruno Gabirro, Philippe Leroux, Pierre Michaud, Nina C. Young), music scholars (Guillaume Boutard, Jonathan Goldman, Robert Hasegawa), performers (Guillaume Bourgogne, Jean-Michaël Lavoie, Lorraine Vaillancourt), and experts in music technology (Mikhail Malt, Gilbert Nouno). Three associated concerts will feature Portugal’s Sond’Ar-te Electric Ensemble plus student performers from the Schulich School of Music and Université de Montréal, including a rare North American performance of Pierre Boulez’s …explosante-fixe… and new works by Miguel Azguime, Bertrand Dubedout, Pierre-Luc Lecours, Pierre Michaud, and Nina C. Young.

ICOMMP-2018 is made possible by the generous support of the Schulich School of Music of McGill University, CIRMMT (Centre for Interdisciplinary Research in Music Media and Technology), the Social Sciences and Humanities Research Council, and Subito Music Corporation. Special thanks to Devon Wilkinson, Landon Morrison, Mylène Gioffredo, David Rafferty, Jonathan Patterson,Ensemble Amis Plus, and the Sond’Ar-te Electric Ensemble. Conférence internationale sur la pédagogie de la musique mixte * Table des matières *

Le vendredi 16 novembre 6 9h-17h45, Faculté de musique, Université de Montréal, B-421 Présentations et ateliers

Le samedi 17 novembre 9 9h30-17h45, École de musique Schulich de l’Université McGill, A-832/33 Présentations et ateliers

19h Causerie 12 19h30, École de musique Schulich de l’Université McGill, Salle Pollack Concert 1 : La beauté convulsive… live@CIRMMT avec l’Ensemble de musique contempraine de McGill

Le dimanche 18 novembre 18 10h -17h15, Faculté de musique, Université de Montréal, B-421 Présentations et ateliers

19h30, Faculté de musique, Université de Montréal, 21 Salle Claude-Champagne Concert 2 : 100% Mixte Ensemble de musique contemporaine de l’Université de Montréal

Le lundi 19 novembre 24 9h30-17h45, École de musique Schulich de l’Université McGill, A-832/33 Présentations et ateliers

19h15, Causerie, Le Gesù, Salle Custeau 28 20h00, Le Gesù, Amphithéâtre Concert 3: (ThS)inking Survival Kit Sond’Ar-te Electric Ensemble

Biographies 32 International Conference on Mixed Music Pedagogy * Table of Contents *

Friday, November 16 6 9:00-17:45, Faculté de musique, Université de Montréal, B-421 Conference presentations and workshops

Saturday, November 17 9 9:30-17:45, Schulich School of Music, McGill University, A-832/33 Conference presentations and workshops

19:00, Pre-concert lecture 12 19:30, Schulich School of Music, McGill University, Pollack Hall Concert 1: La beauté convulsive… live@CIRMMT with the McGill Contemporary Music Ensemble

Sunday, November 18 18 10:00-17:15, Faculté de musique, Université de Montréal, B-421 Conference presentations and workshops

19:30, Faculté de musique, Université de Montréal, 21 Salle Claude-Champagne Concert 2: 100% Mixte Ensemble de musique contemporaine de l’Université de Montréal

Monday, November 19 24 9:30-17:45, Schulich School of Music, McGill University, A-832/33 Conference presentations and workshops

19:15, Pre-concert lecture, Le Gesù, Salle Custeau 28 20:00, Le Gesù, Amphithéâtre Concert 3: (ThS)inking Survival Kit Sond’Ar-te Electric Ensemble

Biographies 32 VENDREDI NOVEMBRE FRIDAY 16 NOVEMBER Faculté de musique, Université de Montréal, 200, avenue Vincent-d’Indy Salle Jean-Papineau-Couture (B-421)

9:00 CAFÉ ET INSCRIPTION / COFFEE AND REGISTRATION 9:15 ACCUEIL / WELCOME 9:30 WORKSHOP Miguel Azguime with Sond’Ar-te’s soloists Filipe Quaresma (cello) and Nuno Pinto (clarinet) Composing and Performing Mixed Music 11:30 PAUSE CAFÉ / COFFEE BREAK 11:45 PRÉSENTATION / PAPER Mikhail Malt The IRCAM Cursus Pedagogy 12:15 PRÉSENTATION / PAPER Suzu Enns From Curiosity to Self-Sufficiency: Mixed Music Pedagogy and the Performer 12:45 DÉJEUNER / LUNCH 14:00 ATELIER / WORKSHOP Bertrand Dubedout Developing Listening in Mixed-Music: A Compositional and Pedagogical Challenge 16:00 PAUSE CAFÉ / COFFEE BREAK 16:15 PRÉSENTATION / PAPER Christopher Biggs, Keith Kirchoff, Adam Vidiksis, and Samuel Wells Pedagogical Methodologies of the SPLICE Institute: Refining and Extending Creative and Performance Practices Involving Electronics 16:45 PRÉSENTATION / PAPER Kit Soden Investigating the Roles of Orchestration Pedagogy and Timbre Research in the Teaching of Mixed Music 17:15 PRÉSENTATION / PAPER Philippe Leroux (conférence préenregistrée / prerecorded lecture) L’enseignement de la musique mixte : nouveaux outils - nouveaux concepts

6 RÉSUMÉS / ABSTRACTS Atelier / Workshop: Miguel Azguime with Sond’Ar-te’s soloists Filipe Quaresma (cello) and Nuno Pinto (clarinet) Composing and Performing Mixed Music

This workshop will explore some of my own works involving acoustic instruments and electronics as examples of the interaction between compositional concerns, technological strategies, orchestration, and the performing skills of specific interpreters. The examples will outline an exploratory pedagogy aimed at composers as well as performers (whether instrumentalists or “electroacoustic interpreters”).

• Mikhail Malt The IRCAM Cursus Pedagogy

This talk describes the organization of our teaching program at the IRCAM Cursus. We use a pedagogy punctuated by exercices de style combining technical goals (understanding the environment and its syntax) with creative, musical goals. The course combines technical work in class with the realization of personal musical projects.

• Suzu Enns From Curiosity to Self-Sufficiency: Mixed-Music Pedagogy and the Performer

How should we introduce mixed-music to young performers? In this lecture, I will discuss the challenges and potential solutions for developing pedagogical approaches to mixed- music performance. Although it has become increasingly common for professional performers to incorporate mixed-music into their repertory, currently there are limitations regarding its incorporation into pedagogy and education. Indeed, there is a need for intelligently designed études, studies, and repertoire that is suitable for beginner and intermediate-level musicians. In the spirit of mutually beneficial collaboration, that is at the heart of this conference, I propose holistic pedagogical methods that are specifically designed for the needs of performers. I will address the constituent elements of mixed- music study for performers, including: technology, collaboration, equipment, notation, listening, interaction, intonation, balance, analysis, and musician’s health. Throughout, I will provide examples of these pedagogical components by introducing repertoire for clarinet and electronics that is accessible for clarinetists of varying levels. Concurrently, I will demonstrate and discuss a self-sufficient approach to performing, a practice that I developed in recent years. •

Atelier / Workshop: Bertrand Dubedout Developing Listening in Mixed-Music: A Compositional and Pedagogical Challenge

The main challenge of mixed music is not one of technology or compositional technique, but rather a question of listening. Accurately hearing and understanding the diverse materials 7 of mixed music demands aural skills not covered by traditional courses in ear training or musicianship. If we accept the idea that composing is mainly a matter of developing listening and animating it in time, we must consider the constant interaction of two different modes of listening: that of instrumental music and that of acousmatic (purely electronic) music. Mixed music is the elaboration of both these modes of listening, demanding a new flexibility and diversity of listening skills. My presentation will follow a path alternating between my practice of composing and my practice of teaching, with examples from the contemporary repertoire, from my music, and from music by my students at the Toulouse Conservatory. I will also describe the curriculum of the Electroacoustic Composition program at Toulouse and its incorporation of exercises for developing listening skills.

•

Christopher Biggs, Keith Kirchoff, Adam Vidiksis, Samuel Wells Pedagogical Methodologies of the SPLICE Institute: Refining and Extending Creative and Performance Practices Involving Electronics

SPLICE Institute is a week-long summer program for performers and composers to experience, explore, interpret, and create music for performers and electronics. Despite the increasing importance of mixed music (compositions involving acoustic instruments and electronics) within the contemporary music canon, there remains a dearth of classes focused on the technical aspects of its creation. This is particularly true for performers who wish to include such music in their repertoire. SPLICE Institute attempts to address this deficit with hands-on and lecture-based workshops focused on craft and creative practices. In addition to the decidedly technical aspects, community building and collaboration are prioritized. This paper will investigate the following aspects of the Institute: the impetus that resulted in its creation; the pedagogical methodologies employed for performers in contrast with those for composers; the various ways aesthetic considerations are emphasized throughout; and the evolution of these methodologies over the Institute’s four years of existence. • Kit Soden Investigating the Roles Of Orchestration Pedagogy and Timbre Research in the Teaching Of Mixed Music

Traditional orchestration, timbre perception research, and mixed music; how can these fields intersect? This paper examines the role of orchestration pedagogy and timbre research in the teaching of mixed music. How do concepts such as orchestral and instrumental register cross over to the creation of an electronic component, as well as to the combination of acoustic and acousmatic components in mixed music? For instance, while Rimsky Korsakov’s (1913) terms of juxtaposition, enclosure, and interlocking are pitch-based terms, they can be viewed from a timbral perspective and can be applied to orchestrating mixed music. Similarly, can concepts like doublings, contrapuntal contrasts, and layerings impact the creation, and the teaching, of mixed music? Current research in timbre and orchestration (McAdams and Goodchild, 2017), based on composers’ implicit use of auditory grouping processes in their orchestrations, may elucidate concepts that will help bridge the gap between the acousmatic and orchestrational pedagogies. 8 SAMEDI NOVEMBRE SATURDAY17 NOVEMBER École de musique Schulich School of Music, 555, rue Sherbrooke Ouest Seminar room A-832

9:30 MASTERCLASS Miguel Azguime with McGill composers 11:30 PAUSE CAFÉ / COFFEE BREAK 11:45 PRÉSENTATION / PAPER Gilbert Nouno Acoustic Geography, Spatialized Music Thinking 12:15 PRÉSENTATION / PAPER Bruno Gabirro Mixed Music: An Instrumental Approach 12:45 DÉJEUNER / LUNCH 14:00 ATELIER / WORKSHOP Mikhail Malt The ‘Concert Patch’: Best Practices for Composers 16:00 PAUSE CAFÉ / COFFEE BREAK 16:15 PRÉSENTATION / PAPER Julie Delisle Le timbre de la flûte traversière comme contrôleur grâce aux descripteurs acoustiques 16:45 PRÉSENTATION / PAPER Guillaume Boutard, The Potential of Cross-Self-Confrontations for Mixed Music Interpretation Pedagogical Frameworks 17:15 PRÉSENTATION / PAPER David Rafferty Mixed Music Pedagogy: Top Down, Bottom Up

École de musique Schulich School of Music, 555, rue Sherbrooke Ouest Pollack Hall

19:00 CAUSERIE / PRE-CONCERT LECTURE Jonathan Goldman with the McGill Contemporary Music Ensemble From ...explosante-fixe... to Mémoriale : themes and seams 19:30 CONCERT 1 live@CIRMMT with the McGill Contemporary Music Ensemble 21:00 RÉCEPTION POST-CONCERT RECEPTION Salle A-832

9 RÉSUMÉS / ABSTRACTS

Gilbert Nouno Acoustic Geography, Spatialized Music Thinking

I would like to take advantage of our performance of Pierre Boulez’s …explosante-fixe… on November 17 to introduce and discuss some concepts and tools that bring music and space into composition through the extension of electronics. One could call this “poetic geography of sounds” or “geographical poetics of sounds” — I will explore through some examples how the notion of space is related to sound as a creative means or strength.

• Bruno Gabirro Mixed Music: An Instrumental Approach

When I began working with electronics, my main interest was to make them part of the instrument, to be played by the performer. My main aim was not to mix, but to integrate the electronics into the instrument, a goal that I never achieved. In fact, I don’t believe it’s achievable: such plasticity given to any instrument is beyond limits, making it impossible to have a stable technique that can be developed and learned. Using my piece but I have many friends and some of them are with me, I will discuss this interplay between practice and ideas.

•

Atelier / Workshop: Mikhail Malt The ‘Concert Patch’: Best Practices for Composers

Though designing and building a concert patch (program) for a mixed music composition is a very technical task, it also depends on the artistic specifications put forth by the composer. The design and conception of the patch have a noticeable effect not only on the final concert, but also on the artistic research in the composer’s studio and the performers’ experience in rehearsals. A “good” concert patch is intended to enhance the interaction between the composer and the performer, to be a flexible tool in rehearsal, and a faithful tool in the final concert. In this workshop, I will share some standard practices used in teaching young composers at the IRCAM Cursus, and will review some patches designed by student composers attending the workshop.

•

Julie Delisle Le timbre de la flûte traversière comme contrôleur grâce aux descripteurs acoustiques

Traditionnellement, en musique mixte, l’ordinateur est souvent conçu et programmé comme une entité autonome responsable des processus électroniques, alors que le rôle des instrumentistes consiste à s’occuper de l’exécution de leur partie. Ce modèle tend toutefois à changer en faveur d’une interaction plus grande entre les deux parties. Dans cette optique, cette communication propose des moyens d’utiliser les propriétés du timbre instrumental comme moyen de contrôler d’autres processus (audio et/ou vidéo), 10 grâce au suivi des descripteurs acoustiques, notamment avec les zsa.descriptors (Malt et Jourdan, 2015). Dans cette communication, le cas de la flûte traversière sera étudié. Dix descripteurs acoustiques ont été extraits d’une série de sons représentatifs de différents types de modulations et de changements continus du timbre. Les données recueillies ont permis de caractériser de manière détaillée le timbre de la flûte et d’identifier les descripteurs dont le suivi fournit les informations les plus pertinentes dans un contexte d’interaction musicale. •

Guillaume Boutard The Potential of Cross-Self-Confrontations for Mixed Music Interpretation Pedagogical Frameworks

Building on the outcomes of several research projects on knowledge transmission for mixed music as well as electroacoustic music, this presentation will discuss the pedagogical elements revealed by their methodological frameworks. Specifically, it will discuss the case of cross-self-confrontations and its background in activity theory. These methods, used notably in work analysis and education, may benefit the idiosyncratic context of mixed music pedagogy. Cross-self-confrontations, similarly to other methods used in empirical musicology, rely on traces of the activity for collecting participants’ accounts, but contrarily to these previous methods, it relies on a view that the activity is not limited to what is done. This critical distinction places it in a developmental paradigm, rather than strictly observational, which is especially relevant to both curation and pedagogical issues. During this communication, I will present the way the methodology was implemented and adapted to the context of mixed music and several elements which emerged from the interaction between each pair of participants commenting on the traces of their activity. The goal of this presentation is to (pro)pose the fundamental theoretical and practical link between curation/preservation of mixed music and pedagogical frameworks from a social, psychological and technological perspective.

•

David Rafferty Mixed Music Pedagogy: Top Down, Bottom Up

Teaching mixed music practice is a challenging task for the composer/engineer. Building an understanding of the basics of mixed music (processes, studio techniques, programming environments) is an important step, but taking these ideas and putting them in a practical setting can lead to increased complexities that present many obstacles. Although the task can be challenging for both student and instructor, it is also very exciting to navigate the pressures of time constrained production while working through the basics of mixed music. Drawing on my background teaching Digital Composition, Advanced Digital Composition and Video Production at McGill University, my method of teaching is a top down, bottom up strategy, which is an attempt to build an understanding of the digital composition basics while considering the production demands that inevitably are imposed on the performance. This strategy is intended to ensure the student acknowledges the broader production context that the composition is contained. In my view, a solid understanding of digital composition processes, coupled with a mentality focused on production, helps ensure a solid and efficient performance. 11 .SAMEDI NOVEMBRE SATURDAY17 NOVEMBER École de musique Schulich School of Music, 555, rue Sherbrooke Ouest Salle Pollack Hall | 19 h 30

CAUSERIE / PRE-CONCERT LECTURE (à 19 h) Jonathan Goldman with the McGill Contemporary Music Ensemble From ...explosante-fixe... to Mémoriale : themes and seams

live@CIRMMT Ensemble de musique contemporaine de McGill / McGill Contemporary Music Ensemble

LA BEAUTÉ CONVULSIVE...

Guillaume Bourgogne, directeur artistique / artistic director

...explosante-fixe... Pierre Boulez Transitoire VII (1925-2016) Transitoire V Originel

Hannah Darroch, Naama Neuman, Marilène Provencher-Leduc, flûtes / flute Gilbert Nouno, électronique / electronics

First Beam Last Light Zhuosheng Jin (création mondiale / world premiere) (né en / b. 1991)

Out of Whose Womb Came the Ice* Nina C. Young (création mondiale / world premiere) (née en / b. 1984)

David Tinervia, baryton / baritone Nina C. Young, électronique / electronics

*remerciements à / special thanks to Subito Music Corporation & Brian Vandenberge, Rental Library Manager 12 ENSEMBLE CONTEMPORAINE DE MCGILL MCGILL CONTEMPORARY MUSIC ENSEMBLE

Guillaume Bourgogne, chef / conductor flûtes / flute trompettes / trumpet violoncelles / cello Hannah Darroch Duncan Campbell Emma Grant-Zypchen Ryan Esau, piccolo Martin Neuland Braden McConnell Naama Neuman Marilène Provencher-Leduc trombones contrebasses / double bass Georgia Tuthan Ryan Cass Renaud Boucher-Browning Micah Kroeker Evan Stewart hautbois / oboe Stefan Thompson Gilwon Kwack percussions / percussion Jacqueline Leclair tuba Joseph Chang Tai Yokomori Olivier Denittis Martin Daigle, timpani Eric Orosz clarinettes / clarinet violons / violin Elia Foster Morgan Bennett harpe / harp Tyler Song, si bémol / B-flat James Enns Anabel Gutierrez Orraca Jacob Struzik Adam Jeffries Emmy Tisdel piano bassons / bassoon Xueao Yang Jérémie Gates Kari Farrell Kyrian Friedenberg Zack Senick altos / viola Julien Altman guitare éléctrique / cors / horn Lauren Tyros electric guitar Rebecca Barron Antonio Seccareccia Ryan Maloney

La série de performance live@CIRMMT est rendue possible grâce à une subvention du FRQ-SC, du FRQ-NT et du bureau du vice-principal (recherche et relations internationales) de l’Université McGill.

The live@CIRMMT Performance Series is made possible by funding from the FRQ-SC, FRQ-NT and the office of the Vice-Principal (Research and International Relations) of McGill University.

Équipe CIRMMT / CIRMMT Team Isabelle Cossette Directrice / Director Jérémie Voix Directeur adjoint - recherche scientifique et technique / Associate Director - Scientific and Technological Research Jacqueline Bednar Administratrice de bureau / Office Administrator Julien Boissinot Responsable technique et systèmes / Technical & Systems Manager Andre Martins de Oliveira Coordinateur d’événements / Events Coordinator Yves Méthot Coordinateur électronique / Chief Electronics Coordinator Sylvain Pohu Responsable de production / Production Manager Padraig Buttnier-Schnirer Sonorisation / Live sound

Prochain concert live@CIRMMT / Next live@CIRMMT concert: 6 février 2019 à 19 h 30 / February 6, 2019 at 7:30 p.m. 13 NOTES DE PROGRAMME

…explosante-fixe… (1972-1994) « Le titre de cette œuvre, » a noté Pierre Boulez, « est une citation extraite de L’Amour fou d’André Breton qui demeure intacte dans ma mémoire, complètement isolée de son contexte, mais qui coïncide exactement avec l’idée de l’œuvre » - citation: « La beauté convulsive sera érotique-voilée, explosante-fixe, magique-circonstancielle, ou ne sera pas ». L’autre référence est, si l’on peut dire, plus musicale ; en effet, comme l’indique le sous-titre de la partition, « à la mémoire de Stravinsky », elle constitue un hommage rendu à l’auteur du Sacre du printemps au moment de sa mort, à l’initiative de la revue Tempo, non d’emblée sous la forme d’une pièce aboutie, mais d’un matériau appelé à proliférer. Une sorte de « kit », dira Boulez, annonçant six séquences musicales (six Transitoires numérotés de II à VII) gravitant autour d’un foyer central de sept sons (Originel). Et un mi bémol (Es, selon la notation allemande), « note polaire » renvoyant à la première lettre du nom de Stravinsky. Ce n’était, en 1972, que les prémisses d’un très long parcours dont la réalisation finale n’interviendra que vingt-deux ans plus tard, parcours étroitement lié aux avancées technologiques que Boulez testera au fur et à mesure et dont il mesurera les insuffisances. Première étape « pré-ircamienne » avec le choix d’un septuor instrumental (flûte, privilégiée dès le premier jour, clarinette, trompette, duo harpe-vibraphone, violon, alto, violoncelle) et la mise en service d’une nouvelle machine, baptisée le halaphone, conçue par Hans-Peter Haller - machine (malheureusement assez capricieuse) destinée à réaliser une certaine continuité entre les différents timbres instrumentaux et, grâce à six haut-parleurs, à les projeter dans l’espace. C’est cette première version d’...explosante-fixe… qui fut créée à New York le 5 janvier 1973, puis exécutée aux Rencontres internationales d’art contemporain de La Rochelle le 6 juillet 1974. Constat de l’auteur : « J’ai composé …explosante-fixe… avant l’Ircam, à une époque où, réfléchissant sur le projet de l’Ircam, j’étais allé visiter différents studios américains et européens, et c’est au studio de la Fondation Strobel de Freiburg, en Allemagne, que j’ai réalisé …explosante-fixe… Ainsi, ai-je eu l’occasion de constater que les machines ne pouvaient pas me donner, ou ne me donnaient que très partiellement ce que je leur demandais. Cette expérience m’a conforté dans l’idée de créer des machines extrêmement puissantes, capables de correspondre vraiment à la pensée musicale »… Étape suivante (entre-temps, ce fut, en 1977, la création de l’Ircam) : …explosante-fixe… pour flûte et huit instruments, dont la troisième partie, Originel, fut créée au Théâtre des Amandiers de Nanterre le 29 novembre 1985 par la flûtiste Sophie Cherrier et l’Ensemble Intercontemporain sous la direction du compositeur. Mais les révisions se succédèrent encore, lesquelles témoignent des exigences légendaires de Boulez et de son pragmatisme, jusqu’à la dernière version, créée à Paris, le 24 janvier 1994, dans le cadre du Festival d’Automne avec la participation de Sophie Cherrier à la flûte midi (Musical Instrument Digital Interface) et de l’Ensemble Intercontemporain, toujours sous la direction de Pierre Boulez ; la dédicace est devenue : « Afin d’évoquer Igor Stravinsky, de conjurer son absence ». Successivement : Transitoire VII, Interstitiel 1, Transitoire V, Interstitiel 2 et Originel. L’effectif instrumental s’est très élargi : flûte midi, deux flûtes, deux hautbois, deux clarinettes, clarinette basse, deux bassons, deux cors, deux trompettes, deux trombones, tuba, trois violons, deux altos, deux violoncelles et une contrebasse. « Je me suis privé de la percussion » … Et ont été mises en œuvre les ressources les plus avancées de la technologie informatique consistant en un système de déclenchement des séquences et des transformations en temps réel grâce à la station d’informatique musicale de l’Ircam (Sim) piloté par la flûte midi.

— Claude Samuel (2013) 14 First Beam Last Light (2018) First Beam Last Light pour quinze musiciens est écrite pour l’Ensemble de Musique Contemporaine de McGill et constitue la troisième pièce du projet Epicurus. Cette pièce exprime ma mélancolie envers les pertes historiques ainsi que les ruines culturelles. Lorsque Épicure écrit ses mémoires dans son jardin, il vit dans l’un des centres culturels les plus important au monde. Cependant, quand nous y songeons en 2018, sa vie et son influence spirituelle nous paraissent comme un grain de sable sans importance dans l’immense sablier du Temps. Des civilisations anciennes jusqu’à nos jours, des milliers d’années ont vu naître et disparaître mille autres civilisations. Le pouvoir passant toujours d’une organisation humaine à une autre, se perd sans cesse dans des conflits et des guerres. Un jour, notre planète sera absorbée par le soleil rouge en expansion. Ce moment se présentera comme le final de la grande œuvre qu’est notre histoire, un final qui mettra fin à ces déplacements de pouvoir et à ces pertes de vies perpétuelles. En considérant la vaste étendue entre le temps d’Épicure et celui de notre fin, j’imagine le moment où nous serons confrontés à la première lueur du dernier éclair de notre histoire. Tous les autres dangers s’effaceront et nous serons égaux face à la mort. La première lumière envoyée par le géant rouge sera la dernière lumière qui nous libérera pour de bon. Nous sommes libres de mourir et nous mourrons sous la lumière. Quand ce glorieux moment arrivera, véritablement, « nous ne serons pas. » — Zhuosheng Jin (Traduit par Quentin Lauvray, Henri Colombat et Guillaume Bourgogne)

Out of Whose Womb Came the Ice (2017-2018) Out of Whose Womb Came the Ice constitue un aperçu sonore et visuel d’une partie de l’Imperial Trans-Antarctic Expedition (1914-17). En août 1914, au commencement de la première guerre mondiale, l’explorateur polaire Sir Ernest Shackleton a rassemblé un équipage de 27 hommes et mis les voiles vers l’atlantique sud. Il était à la recherche du dernier prix non réclamé de l’âge héroïque de l’exploration : être les premiers à traverser le continent antarctique à pied. A l’entrée de la mer de Weddell, ils se sont heurtés à un mauvais temps exceptionnel. Se faufilant vers le sud à travers les mers de glaces, leur bateau, l’Endurance, s’est retrouvé piégé a seulement 140 kilomètres de leur destination. Après des mois d’attente à espérer que la glace se brise, le bateau se détériora et coula, laissant l’équipage échoué sur la banquise sans aucun moyen de contacter le monde extérieur. Shackleton et son équipage ont survécu à 22 mois de traversée de la banquise sur la péninsule antarctique. L’étape finale fut un trajet désespéré de 1300 kilomètres dans leur canot de sauvetage, le James Caird, dans l’espoir de rejoindre l’ile de la Géorgie du Sud. L’équipage fut secouru le 30 aout 1916 ; tout le monde a survécu. Bien que cette expédition a échoué, cela reste une des histoires les plus miraculeuse d’exploration polaire et de survie humaine. Out of Whose Womb Came the Ice s’interesse à l’expédition du moment où l’équipage quitte le port jusqu’au moment où l’Endurance se retrouve prise au piège dans la glace de la mer de Weddell. La musique vocale et orchestrale se concentre sur la perception que l’équipage a de l’Endurance en relation avec les alentours. L’Endurance endosse successivement le statut de simple navire à celui du lien avec le passé, le souvenir du monde qu’ils ont laissé derrière eux. Une fois qu’elle a coulé, ils se retrouvent réellement seuls. Les images vidéos et l’électronique offre des éléments narratifs tirés directement des documents de voyage : les extraits du journal de l’équipage et des images du photographe officiel de l’expédition, Frank Hurley. — Nina C. Young (Traduit par Bobby Lajoie et Guillaume Bourgogne)

15 PROGRAM NOTES

…explosante-fixe… (1972-1994) ‘The title of this work,’ noted Pierre Boulez, ‘is a quotation taken from André Breton’s L’Amour fou, which remains intact in my memory, completely isolated from its context, but coinciding exactly with the idea of the work’. The quotation: ‘La beauté convulsive sera érotique-voilée, explosante-fixe, magique-circonstancielle, ou ne sera pas’ (Convulsive beauty will be erotic-veiled, exploding-fixed, magic-circumstantial, or it will not be). The other reference is, if we might say so, more musical. Indeed, as indicates the score’s subtitle, ‘in memory of Stravinsky’, it constitutes an homage paid to the composer of The Rite of Spring after his death, on the initiative of Tempo magazine, not immediately in the form of a finished piece but of material called upon to proliferate. A sort of ‘kit’, Boulez would say, announcing six musical sequences (six Transitoires, numbered II to VII) gravitating round a central focus of seven notes (Originel). And an E-flat Es( in German notation), a ‘polar note’ referring to the first letter of the name Stravinsky. In 1972, these were only the beginnings of a very long journey of which the final realization would not materialize until 22 years later, a journey closely linked to technological advances that Boulez would test as time went on and of which he would measure the insufficiencies. The first ‘pre-IRCAM’ stage with the choice of an instrumental septet (flute, favoured from the very first day, clarinet, trumpet, harp-vibraphone duo, violin, viola, cello) and the putting into service of a new machine, baptized the ‘halaphone’, designed by Hans-Peter Haller – a machine (unfortunately, rather capricious) meant to provide a certain continuity between the different instrumental timbres and, thanks to six loudspeakers, project them into the space. It is this first version of...explosante-fixe… that was premiered in New York on January, 5 1973, then performed at the Rencontres Internationales d’Art Contemporain in La Rochelle on July, 6 1974. Remark by the composer: ‘I composed …explosante-fixe… before IRCAM, at a time when, thinking about the IRCAM project, I was visiting various American and European studios, and it was at the studio of the Strobel Foundation of Freiburg, Germany, that I realized …explosante-fixe… I thus had the opportunity to observe that machines could not give me, or gave me only quite partially, what I was asking of them. This experience reinforced my idea of creating extremely powerful machines capable of truly corresponding to musical thinking…’. The following step (in the meantime there was the creation of IRCAM in 1977): ...explosante-fixe… for flute and eight instruments, of which the third part, Originel, was first performed at theThéâtre des Amandiers in Nanterre on November, 29 1985 by flautist Sophie Cherrier and theEnsemble Intercontemporain under the composer’s direction. But the revisions continued to follow one another, attesting to Boulez’s legendary demanding character and pragmatism, up to the final version, first performed in Paris on January, 24 1994, in the framework of the Festival d’Automne, with the participation of Sophie Cherrier on MIDI (Musical Instrument Digital Interface) flute and the Ensemble Intercontemporain, again conducted by Pierre Boulez. The dedication had become: ‘In order to evoke Igor Stravinsky, to avert his absence’. Successively: Transitoire VII, Interstitiel 1, Transitoire V, Interstitiel 2 and Originel. The instrumental forces have been expanded considerably: MIDI flute, two flutes, two oboes, two clarinets, bass clarinet, two bassoons, two horns, two trumpets, two trombones, tuba, three violins, two violas, two cellos and double bass; ‘I deprived myself of percussion...’ And the most advanced resources of computer technology were implemented, consisting of a system triggering sequences and transformations in real time thanks to IRCAM’s musical computing station (SIM) piloted by the MIDI flute. — Claude Samuel (2013) (John Tyler Tuttle, translation) 16 First Beam Last Light (2018) Functioning as the third piece of the Epicurus Project, First Beam Last Light for fifteen musicians is written for the McGill Contemporary Ensemble. This piece expresses my personal melancholy towards all historical loss and cultural ruins. When Epicurus wrote all his thoughts in his cozy garden, he was living in one of the world’s most powerful cultural centres. However, when we recall him today in 2018, his life and his own physical and spiritual prosperities become no more than just another speck of trivial dust in time. From those ancient civilizations to now, thousands of years have passed and thousands of civilized nations have risen and fallen. Powers shifted between entities and human lives were constantly lost from the endless warfare. One day our planet will be swallowed by the enlarged red giant sun. This moment will function as the last sound of a great piece, i.e. our history, to end all these alternations of powers and the seemingly endless loss of human beings. After contemplating from Epicurus’ time to the time we will all be ended, I imagine the moment we finally face the first beam of the last light of our history. All other dangers will be gone and we will all be equal in death. The first beam sent from the red giant will be the last light for us to finally free us. We are free to die and we die in light, and when this glorious moment comes, truly, “we are not.” — Zhuosheng Jin

Out of Whose Womb Came the Ice (2017-2018) Out of Whose Womb Came the Ice creates a sonic and visual glimpse of a segment of the Imperial Trans-Antarctic Expedition (1914-17). In August 1914, at the onset of WWI, polar explorer Sir Ernest Shackleton gathered a crew of 27 men and set sail for the South Atlantic. They were in pursuit of the last unclaimed prize of the Heroic Age of Exploration: to be the first to cross the Antarctic continent by foot. Upon entering the Weddell Sea, they encountered unusually foul weather. Weaving south through the treacherous seas of ice, their ship, the Endurance, became trapped only 85 miles from their destination. After months of waiting for the ice to break, the ship was crushed and sank, leaving the crew stranded upon the ice floes without any means of contacting the outside world. In pursuit of survival, Shackleton and his crew endured 22 months traversing ice floes up the Antarctic Peninsula. The final leg included a deadly 800-mile open boat journey in their lifeboat, the James Caird, in hopes of reaching South Georgia Island. The crew was rescued on 30 August 1916; everyone survived. Though this expedition failed, it remains one of the most miraculous stories of polar exploration and human survival. Out of Whose Womb Came the Ice looks at the expedition from the time the crew leaves port to the trapping of the Endurance in the Weddell Sea’s pack ice. The vocal and orchestra music focuses on the crew’s perception of the Endurance in relationship to their surroundings. She goes from being simply a ship, to a lifeline and memento that connects them to the world they left behind. Once she sinks, they are truly left alone. The visuals and electronics offer narrative elements drawn directly from documents of the journey: journal entries of the crew andimages by expedition’s official photographer Frank Hurley.

— Nina C. Young

17 DIMANCHE NOVEMBRE SUNDAY 18 NOVEMBER Faculté de musique, Université de Montréal, 200, avenue Vincent-d’Indy Salle Jean-Papineau-Couture (B-421)

10:00 ATELIER / WORKSHOP Emmanuel Lizère and Suzu Enns Mixed music for young performers 13:00 DÉJEUNER / LUNCH 14:00 ATELIER / WORKSHOP Nina C. Young Mixed Music: The Intersection of Instrumental Writing and Studio Techniques 16:00 PAUSE CAFÉ / COFFEE BREAK 16:15 PRÉSENTATION / PAPER Naomi Woo Genres of Pedagogy in Mixed Music: On Nicole Lizée’s Hitchcock Études 16:45 PRÉSENTATION / PAPER Christopher Dobrian Structuring software for interactive computer music performance

Faculté de musique, Université de Montréal, 200, avenue Vincent-d’Indy Salle Claude-Champagne

19:30 CONCERT 2 Ensemble de musique contemporaine de l’Université de Montréal 21:30 RÉCEPTION POST-CONCERT RECEPTION Foyer of Salle Claude-Champagne

18 RÉSUMÉS / ABSTRACTS

Atelier / Workshop: Suzu Enns and Emmanuel Lizère Mixed Music for Young Performers

During the workshop, attendees will be introduced to mixed-music pedagogy for young performers. Primary and secondary school performers will experiment with basic electronic transformations through guided improvisational exercises. Mixed music repertoire for young performers will also be featured (Grégoire Lorieux’s Branche for violin and electronics and Electric Etudes for saxophone and electronics). The workshop will conclude with a question/answer and discussion period. Student participants include clarinetist Kira Cochrane-Pagé (École FACE), pianists Matteo Salerno, My An Vu, Béatrice Panet-Raymond, and Delphine Perrin (class of Yannick Provencher at l’Ecole des Jeunes de l’Université de Montréal), violoinist Silouane Leroux, and saxophonist Darius Zatkovic (class of Marie-Chantal Leclair at the Schulich School of Music). Technical assistance will be provided by Brice Gatinet.

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Atelier / Workshop: Nina C. Young Mixed Music: The Intersection of Instrumental Writing and Studio Techniques

Any pedagogical approach to mixed music must take into account its inherently divided nature: mixed music composition draws on quite two different traditions of composition teaching, one based on scores and traditional performance practices, the other on tape splicing, mixing boards, and the tools of the electronic music studio. Successful teaching must not only bridge this gap and link the symbolic language of the written score with the flexible sonic manipulations of the electronic studio, but also develop meaningful parallels between instrumental writing and studio production techniques, encouraging a compositional approach which allows each discipline to fluidly inform the other.

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Naomi Woo Genres of Pedagogy in Mixed Music: On Nicole Lizée’s Hitchcock Études

This proposal considers mixed music pedagogy from the perspective of performance and musicology, through the generic lens of the étude. Taking Nicole Lizée’s Hitchcock Études for piano, video, and glitch as a starting point, the paper considers what an étude might be in the context of mixed music. For whom is the étude’s training? Whose virtuosity is on display? What does that virtuosity consist of? In particular, the project draws on posthuman studies to understand the relationships between human and machine at play in these works. I also incorporate my own experience as a pianist of these works to interrogate the phenomenology of study and learning. Attention is also given to Lizée’s orchestral work Black MIDI, which pays homage to a YouTube genre in which educational piano computer games are manipulated to play notes of a superhuman speed and quantity. I suggest that a fruitful way to understand pedagogy 19 is to study musical pieces and events that explicitly allude to genres and processes of learning, questioning how pedagogy is put on display for and by performer, composer, and audience alike.

Christopher Dobrian Structuring Software for Interactive Computer Music Performance

In this presentation, I taxonomize important components of interactive music performance software, and provide ways of thinking about organizing those in a larger control structure. I summarize the techniques and best practices of building a complete interactive program suitable for running various types of computer music and media performance. I describe a general conceptual framework of program organization and compositional strategies, which can be implemented using the Max programming environment, Max for Live, or other mixed music programming environments. The goal is to help students achieve a reliable and responsive rapport between performer and computer.

20 DIMANCHE NOVEMBRE SUNDAY 18 NOVEMBER Faculté de musique, Université de Montréal, 200, avenue Vincent-d’Indy Salle Claude-Champagne

Ensemble de musique contemporaine de l’Université de Montréal l’Université de Montréal Contemporary Music Ensemble

100 % MIXTE

Jean-Michaël Lavoie, direction Benjamin Rota, assistant musical

Éclats | Violet (création) Pierre-Luc Lecours pour percussion solo et électronique (avec vidéo) (né en / b. 1983)

Huizi Wang, percussion

. . . n i e n t e . . . Pierre Michaud pour quatuor à cordes et dispositif audiovisuel (né en / b. 1974) (commande Ars Nova)

Julien Oberson, Samuel Clark, violons Victor De Coninck, alto Ariel Carrabré, violoncelle

entracte

Les cheveux de Shiva Bertrand Dubedout (né en / b. 1958)

Willemine Lecointre, flûte Geneviève D’Ortun-Décarie, saxophone Huizi Wang, percussions Jesse Plessis, piano

21 Pierre-Luc Lecours est un compositeur et artiste multidisciplinaire basé à Montréal. Sa pratique artistique s’exprime à travers plusieurs médiums et esthétiques différentes, allant de la musique à la vidéo et à la performance. Il s’inspire autant des courants de musique contemporaine instrumentale et électroacoustique, que de la musique électronique et expérimentale. Ses performances mettent en scène des objets du quotidien combiné à une instrumentation traditionnelle et une écriture musicale annotée. En tant que chercheur, il s’intéresse à l’interprétation de la musique électronique et mixte, au geste et à la gestion temporelle en composition musicale. Ses œuvres furent primées à de nombreuses reprises et son travail présenté dans plus d’une centaine d’évènements internationaux.

Compositeur et clarinettiste né au Nouveau-Brunswick (Canada), Pierre Michaud est professeur en composition à la Faculté de musique de l’Université de Montréal. Il s’intéresse particulièrement à la collaboration interprète-compositeur, à l’interdisciplinarité et aux espaces alternatifs de diffusion.

Le parcours musical de Bertrand Dubedout le mène de Bayonne, sa ville natale, à Paris au CNSMD dans la classe de Pierre Schaeffer et Guy Reibel, puis à Toulouse, où il enseigne la composition électroacoustique au Conservatoire et où il est co-directeur du studio éole, et toutes les villes et les pays du monde où sa musique l’appelle, dont Kyôto où il réside à la Villa Kujoyama, et Montréal où il développe notamment une collaboration avec le NEM. Ses œuvres, qui appartiennent tant au domaine instrumental et vocal qu’à l’acousmatique et à la musique mixte, sont publiées par Gérard Billaudot Éditeur à Paris.

22 CALENDRIER DE SAISON 2018-2019 GROUPE LE VIVIER

SEPTEMBRE JANVIER MAI RYTHMOPOLIS UNE IDÉE SINON VRAIE… ENSEMBLE HOPPER Sixtrum Quatuor Bozzini Groupe Le Vivier 6, 7 et 8 septembre 2018 24 et 25 janvier 2019, 20 h 7 mai 2019, 20 h Ateliers et exposition 12 h à 20 h JOURNÉE PORTES OUVERTES VIVIERMIX INTERNATIONAL RELÈVE Groupe Le Vivier OCTOBRE Groupe Le Vivier 8 mai 2019, 20 h 27 janvier 2019, 13 h à 17 h CATHÉDRALE-GRAFFITI VUES Quasar – quatuor de saxophones Quasar – quatuor de saxophones 4 et 5 octobre 2018, 20 h FÉVRIER 9 mai 2019, 20 h LE CHŒUR ÉLECTRONIQUE AIRS EN RÉ TOTEM ÉLECTRIQUE Innovations en concert Duo AIRS Groupe Le Vivier 7 octobre 2018, 20 h 10 février 2019, 19 h 30 10 mai 2019, 20 h UNE SOIRÉE AVEC QUÉBEC À MONTRÉAL FRANCIS DHOMONT MARS Groupe Le Vivier Réseaux des arts médiatiques 11 mai 2019, 20 h 15 octobre 2018, 20 h CONCERT VIVIER INTERUNIVERSITAIRE CONCERT POUR ORGUE Vivier InterUniversitaire Groupe Le Vivier NOVEMBRE 11 et 12 mars 2019, 20 h 12 mai 2019, 15 h SHOWCASE CINARS PHTH CHANTE PHTH XL À L Groupe Le Vivier Gabriel Dharmoo Voces Boreales 12 novembre 2018, 19 h 30 13 mars 2019, 20 h 21 mai 2019, 19 h 30 (ThS) INKING SURVIVAL KIT CATHÉDRALE – LUMIÈRE CALIBRATING FRICTION Guillaume Bourgogne Quasar – quatuor de saxophones Ensemble Paramirabo 19 novembre 2018, 20 h 14 mars 2019, 20 h 30 mai 2019, 20 h COMMUTATION OPER’ACTUEL Productions SuperMusique WORKS IN PROGRESS 2019 JUIN 22 novembre 2018, 20 h Chants Libres CATHÉDRALE – MÉTAL 16 mars 2019, 20 h et Quasar – quatuor de saxophones KALÉIDOSCOPE 17 mars 2019, 16 h Quatuor Molinari 6 juin 2019, 20 h 24 novembre 2018, 19 h 30 PAIX (MUSICALE) PERPÉTUELLE AVRIL Productions SuperMusique STYLUS PHANTASTICUS Atelier public Ensemble contemporain de 25 novembre 2018, 15 h Montréal (ECM+) 2 avril 2019, 19 h 30 DÉCEMBRE PROJET : OBJETS Architek Percussion VIVIERMIX DES CA 5 avril 2019, 20 h Groupe Le Vivier 5 décembre 2018, 17 h 30 TATOUAGE MIROIR Tour de bras et Productions TOUTE CLARTÉ M’EST OBSCURE SuperMusique Productions SuperMusique 7 avril 2019, 20 h 15 décembre 2018, 20 h ECSTASIES OF INFLUENCE Sandeep Bhagwati 16 décembre 2018, 14 h LEVIVIER.CA

23 LUNDI NOVEMBRE MONDAY 19 NOVEMBER École de musique Schulich School of Music, 555, rue Sherbrooke Ouest Seminar room A-832

9:30 ATELIER / WORKSHOP Pierre Michaud & Alain Bonardi Comparison of Tools Recently Developed at Paris 8 and Université de Montréal Favoring Collaborative Approaches in Mixed Music Pedagogy 11:30 PAUSE CAFÉ / COFFEE BREAK 11:45 PRÉSENTATION / PAPER Nataša Bogovac Biophilia de Björk – Pédagogie interdisciplinaire des musiques mixtes POP 12:15 PRÉSENTATION / PAPER Alexa Woloshyn Strategies and Challenges for Listening Guides on the Canadian Electronic Ensemble 12:45 DÉJEUNER / LUNCH 14:00 MASTERCLASS Bertrand Dubedout with McGill composers 16:00 PAUSE CAFÉ / COFFEE BREAK 16:15 PRÉSENTATION / PAPER Mathieu Lacroix Exploring Different Synchronization Methods & Their Performative and Aesthetic Consequences 16:45 PRÉSENTATION / PAPER Brice Gatinet Comment développer un cursus académique centré sur les musiques mixtes? 17:15 PRÉSENTATION / PAPER Laurie Radford To Mix or Not to Mix: Unifying the Creative Process in Composing for Instruments and Electronics

Le Gesù, 1200, rue de Bleury Amphithéâtre

19:15 PRE-CONCERT LECTURE (Salle Custeau) Miguel Azguime, Guillaume Bourgogne, Bruno Gabirro 20:00 CONCERT 3 Sond’Ar-te Electric Ensemble

24 RÉSUMÉS / ABSTRACTS

Atelier / Workshop: Pierre Michaud, Alain Bonardi Comparison of Tools Recently Developed at Paris 8 and Université de Montréal Favoring Collaborative Approaches in Mixed Music Pedagogy

In 2014-2016, a team of professors from Université de Montréal and Paris 8 obtained a CFQCU grant for the comparison of pedagogical methodologies in mixed music. In this workshop, Alain Bonardi (Paris 8) and Pierre Michaud (Université de Montréal) will present, the context in which their particular approaches to pedagogy take place and technological solutions they have developed. Pierre Michaud will focus on the role of electronics in collaborations between performers and composers and present Q-Live: software favoring heuristic approaches and preservation of electronics in mixed music. Alain Bonardi will present Kiwi, a new collaborative patching software developed at Paris 8 in the framework of the Musicoll project and the new approach of teaching patching softwares and mixed music for beginners that it enables. Both professors will then conclude and exchange with the audience.

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Nataša Bogovac Biophilia de Björk – Pédagogie interdisciplinaire des musiques mixtes POP

Quand on parle des musiques mixtes, on ne pense qu’aux pratiques musicales issues du monde académique. Néanmoins, et selon la définition, on comprend vite que d’autres musiques comme la POP y trouvent leur place. Sur l’exemple de Biophilia de Björk (2011), nous avons étudié l’impact des nouvelles technologies dans le champ de la pédagogie et la transmission musicale. Il s’agit d’un projet destiné au public scolaire, qui a pour but d’expliquer et d’initier la création musicale à travers les liens entre la musique, la nature et les sciences. Cette étude de cas analyse la conception, les moyens et ressources utilisées, la réalisation technique et pratique ainsi que des résultats obtenus de ce projet pédagogique pluriannuel. Biophilia représente un travail pionnier honorable qui mériterait d’être plus connu par la communauté universitaire, dont elle pourrait s’inspirer pour le développement de la pédagogie des musiques mixtes académiques, auprès des publics plus jeunes. •

Alexa Woloshyn Strategies and Challenges for Listening Guides on the Canadian Electronic Ensemble

Despite their name, the Canadian Electronic Ensemble (CEE) (1971– present) has frequently been a mixed media ensemble, with various members and guests contributing acoustic sounds to the CEE’s electronic sound worlds. This combination is one of many challenges in documenting, analyzing, and sharing CEE’s music. In my book manuscript on the CEE, I am including listening guides. For this presentation, I will walk through specific case studies to illustrate different approaches. The presentation addresses the challenges of balancing 25 text descriptions vs. visual representations and acoustic vs. electronic sonic material, accounting for an improvisational approach, and capturing the CEE’s performance practice. I will also be self-reflective about the challenges of doing musicological work on a type of music I do not perform or compose: how do I navigate the learning curve of electronic music making, in addition to learning software that could help with communicating my analysis (such as EAnalysis)?

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Mathieu Lacroix Exploring Different Synchronization Methods & Their Performative and Aesthetic Consequences

“What happens to the musicians and the composition; when the synchronization method of a piece is changed? Does the string quartet react differently from playing along to the tape compared to, say, a score follower that generates the material live, or if a member of the quartet must use a pedal to trigger different sections? What are the technological possibilities which respect the composer’s wishes in each composition?” These are some of the questions I have asked myself while working with other musicians and composers. This presentation will present the first case study of this author’s doctoral research in which synchronization methods for string quartet pieces are changed. This practice- based research hopes to clarify the different aesthetic and pragmatic decisions related to synchronization and musicians, as well as linking them to aesthetic decisions as a composer. •

Brice Gatinet Comment développer un cursus académique centré sur les musiques mixtes?

On observe depuis quelques années un essor des cursus académiques centrés sur la musique mixte ayant en commun un alliage multidisciplinaire développant des connaissances issu de nombreux domaines lié à la musique et au son. En prenant en compte cette constatation, quels sont les contenus et, surtout, dans quel ordre doit- on organiser les cours afin d’entretenir un lien entre apprentissage des connaissances historiques, théorique, techniques et l’activité compositionnel ? À travers une recuperation des données empirique (questionnaire, entrevue, sondage…), je propose d’approcher et d’évaluer les spécificités éducatives propres à chacun des intervenants afin d’obtenir un avis croisé des différentes étapes leur paraissant essentielles à tous cursus universitaires centrés sur les musiques mixtes. Grâce à cette recherche, j’aimerais décrire un éventail de possibilités afin que les institutions puisse mettre en place un véritable parcours dédié à l’apprentissage de cette musique, élément primordial et inévitable du son du XXIe siècle.

26 Laurie Radford To Mix or Not to Mix: Unifying the Creative Process in Composing for Instruments and Electronics

After more than sixty years of “mixed music” activity, perhaps it is time to consider whether there is actually such a genre, and rather that composers today simply approach pragmatically the affordances of a multifaceted contemporary instrumentarium from which they pick and choose, construct, deconstruct, fuse and synthesize. The practice requires that one embrace the roles of composer, notational specialist, interface/controller/sensor specialist, programmer / coder, performer-negotiator, live score designer specialist, spatial audio specialist and diffuseur, tech rider author, sound system crew negotiator, live electronics performer…and more. The mix in “mixed” music is, in fact, the admixture of all of these required skills and phases of creative production. This paper will discuss a unified, iterative approach to creating with this complex “mixture” of technologies and practices. It will explore and suggest pedagogical methods for guiding young composers in skill acquisition and project management and will draw upon the author’s compositional work for models and illustration.

27 LUNDI NOVEMBRE MONDAY 19 NOVEMBER Le Gesù, 1200, rue de Bleury Amphithéâtre

CAUSERIE / PRE-CONCERT LECTURE (à 19 h 15) Salle Custeau | Miguel Azguime, Guillaume Bourgogne, Bruno Gabirro

Sond’Ar-te Electric Ensemble

(ThS)inking Survival Kit

Guillaume Bourgogne, conductor

Trabalhos da madeira Miguel Azguime for marimba and electronics (né en / b. 1960)

but I have many friends and some of them are with me Bruno Gabirro for ensemble and electronics (né en / b. 1973)

(ThS)inking Survival Kit M. Azguime for soprano, ensemble, and electronics

Elisabeth Boudreault, soprano; Miguel Azguime, narrateur Silvia Cancela, flute;Nuno Pinto, clarinette Elsa Silva, piano; Vítor Vieira, violon; Filipe Quaresma, violoncelle Fabrice Marandola, percussions; Paula Azguime, projection sonore Perseu Mandillo, électronique; Bruno Gabirro, électronique

Le Vivier, équipe permanente Pierrette Gingras Directrice générale Gabrielle Blais-Sénéchal Adjointe à la direction générale Stéphanie Hamel Responsable des communications — Gestion de contenus web Kevin Gironnay Coordination à la production Emmanuelle Lizère Coordination artistique 28 NOTES DE PROGRAMME

Trabalhos da Madeira (2017) Trabalhos da Madeira (Travaux du/sur le Bois) est une méditation sur le bois sous forme de musique. Bien qu’abstrait parce qu’il s’agit bien de musique, son récit sous-jacent engagé, nous parle de l’extinction de bois précieux (comme le palissandre à partir duquel sont construits les marimbas de concert) et des désastreuses conséquences sociales, économiques et culturelles. Le bois est au cœur de l’histoire de la civilisation et traverse de nombreuses cultures sur toute la planète. Trabalhos da Madeira est donc aussi un voyage à l’intérieur d’un son de bois. Trabalhos da Madeira veut être le corps d’un arbre dans les forêts tropicales, veut être le bras de bûcheron, veut être sanglots d’un arbre qui saigne, veut être le rythme de l’altérité, veut être. Trabalhos da Madeira se construit comme un parcours, sans retour, par étapes successives, qui exploitent le son du bois, qui le blessent, qui le vénèrent, qui l’entaillent, qui le sculptent, ... et l’esprit du bois se prolonge au delà du corps lui-même par la technologie - l’amplification et l’électronique, qui le dématérialise et le multiplie. Trabalhos da Madeira est rituel et intermédiation. — Miguel Azguime but I have many friends, and some of them are with me (2012) Rien n’existe en soi et pour soi. C’est par le logos que toutes choses viennent à la vie et le logos est discours - toutes choses existent dans le discours et comme discours, en relation. Nous sommes en tant que nous sommes en relation avec les autres et avec toutes choses. La vérité n’est pas telle que nous la désirons mais la vérité est libre, toujours libre, car elle n’est pas relative à chacun d’entre nous, mais elle est en relation avec nous. Si nous essayons de la capturer, elle nous échappe, alors nous aurons notre propre vérité, autistique, isolée et dissociée de l’autre, du monde et de la réalité. Rien n’existe en soi et pour soi. Tout est logos. — Bruno Gabirro (Traduit par Guillaume Bourgogne)

(ThS)inking Survival Kit (2010) (ThS)inking Survival Kit est une commande du City of London Festival, avec les subsides de la Fondation Calouste Gulbenkian, en coproduction avec EGEAC (Lisbonne) et répond à sa manière au thème sous-jacent du festival, la durabilité, la biodiversité et le changement climatique, dont la question de l’eustasie (terme qui désigne le changement global du niveau des mers). La pièce se développe donc à partir de ces problèmes environnementaux que sont l’eau, la mer, les oiseaux, les animaux marins, les abeilles et même les animaux fabuleux, qui tiennent un rôle déterminant dans la construction du programme formel de l’œuvre. Des textes de sept poètes sont convoqués dans la pièce, dans d’ordre d’apparition suivant : William Shakespeare – extrait de « La tempête », James Joyce – extrait de « Musique de chambre », Paul Verlaine – « Un grand sommeil noir », Sophia de Mello Breyner Andresen – « Au fond de la mer », Fernando Pessoa – extrait de « Para Além Doutro Oceano de C. Pacheco », Luís de Camões – extraits du Livre V de « Les Luisiades », Herberto Helder – extrait de « Photomaton & Vox ». (ThS)inking Survival Kit est construit en six parties qui s’enchaînent parfaitement, six parties qui forment un hexagone (semblable à l’alvéole d’un nid d’abeille), un cycle qui se reproduit lui-même en d’autres cycles. La première partie nous présente le premier auteur, 29 Shakespeare, et avec lui différents symboles de la biodiversité. Dans la deuxième partie, ces poèmes se fondent dans un texte de James Joyce qui s’érode jusqu’à sa disparition, laissant place au langage des oiseaux et des cétacés. La troisième partie se poursuit sous l’eau, s’arrête sous le niveau de la mer et fait entendre les poèmes de Paul Verlaine et Sophia de Mello Breyner Andresen. La quatrième partie utilise de courts extraits d’un poème de Fernando Pessoa, en les réécrivant pour les faire vivre à nouveau au-dessus du niveau de l’eau. Dans la cinquième partie, nous assistons à l’inéluctable rencontre avec « Adamastor » et Luís de Camões, et c’est aussi l’occasion d’un retour à la tempête et au mouvement de la vie. Puis dans la sixième partie, où l’hexagone s’achève dans le désir d’un renouvellement perpétuel de la nature dans la multiplication sans fin d’un miroir qui fait face à un autre miroir, comme le dit le poème de Herberto Helder. Chaque texte est associé à un objet sonore au timbre unique et aux caractéristiques harmoniques qui généreront l’écriture instrumentale autant que la partie électronique, qu’elle soit faite de sons fixés ou de traitements en temps réel.

(Traduit par Guillaume Bourgogne)

PROGRAM NOTES

Trabalhos da Madeira (2017) Trabalhos da Madeira (work of/on wood) is a meditation on wood in musical form. Though necessarily abstract, its underlying narrative addresses the extinction of precious woods (such as the rosewood of which concert marimbas are built) and its disastrous social, economic, and cultural consequences. Wood is at the heart of the history of civilisation across many cultures around the planet. Trabalhos da Madeira is thus a voyage into the interior of the sound of wood. Trabalhos da Madeira seeks to be the body of a tree in the tropical forests, seeks to be the arm of the woodcutter, seeks to be the sobs of a tree that bleeds, seeks to be the rhythm of alterity, seeks to be. Trabalhos da Madeira is constructed like a journey, without return and by successive steps, which exploits the sound of wood, which wounds it, venerates it, cuts it, sculpts it… and the spirit of the wood extends beyond the physical through technology—amplification and electronics, which dematerialize and multiply it. Trabalhos da Madeira is ritual and intermediation. — Miguel Azguime but I have many friends, and some of them are with me (2012) Nothing exists in itself and for itself. It is through Logos that all things come to life and Logos is discourse—all exists in discourse and as discourse, in relation. We are in the way how we relate with others and with all things. Truth is not what we want, it is free, always free, because it is not relative to each one of us, but in relation with us. If we try to capture it, it will escape, and we will have our truth, autistic, isolated and dissociated from the other, from the world and from reality. Nothing exists in itself and by itself. All is Logos. — Bruno Gabirro 30 (ThS)inking survival kit (2010) (ThS)inking Survival Kit was commissioned by the City of London Festival with funding from the Calouste Gulbenkian Foundation in co-production with EGEAC (Lisbon) and responds in its own way to the underlying theme of the festival, more specifically sustainability, biodiversity and climate change, including the question of eustasy (a term used to describe the global change in sea level). The piece develops thus under these environmental issues with water, sea, birds, marine animals, bees, and even fantastic beings, taking a prominent role in the construction of the formal program for the work. The poems or fragments of poems used in the piece also converge in the same direction, forming the symbolic archetypes of a supra-narrative yet abstract. Texts from seven poets are used in the piece in the following order of appearance: William Shakespeare – fragment from The Tempest, James Joyce – fragment from Chamber Music, Paul Verlaine – Un grand sommeil noir / A long black sleep, Sophia de Mello Breyner Andresen – No fundo do mar / At the bottom of the sea, Fernando Pessoa - fragment from Para Além Doutro Oceano de C. Pacheco / Beyond another ocean by C. Pacheco, Luís de Camões - fragments of Book V of The Lusiads, Herberto Helder - fragment from Photomaton & Vox. (ThS)inking Survival Kit builds up into six parts which happen seamlessly between them, six parts that form a hexagon (like a honeycomb), a cycle that repeats itself in cycles. The first part presents us the first author: Shakespeare, and with him various symbols of bio-diversity; in the second part these poems fuse into a text by James Joyce which is in turn eroded until its disappearance gives place to the language of birds and cetaceans; the third part moves on underwater, under the sea and downtime, and sets the poems of Paul Verlaine and Sophia de Mello Breyner Andresen; the fourth part uses short fragments of a poem by Fernando Pessoa, rewriting them and animating them in a return to surface waters; in the fifth part is the “inevitable” encounter with the “Adamastor” and Luís de Camões, and it is also a return to the tempest and the movement of life; and in the sixth part the hexagon is complete, in the desire for perpetual renewal of nature in the endless multiplication of a mirror in front of a mirror, as says the poem by Herberto Helder. Associated with each text is a sound object of unique timbre and harmonic characteristics that will give rise to both the instrumental writing as well as the electronic part, either pre-composed or in real time. — Miguel Azguime

31 BIOGRAPHIES (par ordre alphabétique / in alphabetical order)

Miguel Azguime was born in 1960 in Lisbon. Distinguished for originality and diversity, his musical world reflects an approach that relies on his multifaceted capabilities as composer, performer and poet. This threefold activity closely reflects an almost mystical vision of music and art. Azguime has composed music for diverse formations: instrumental and/or vocal with or without electronics, tape music, sound poetry, and also music for exhibitions, sound installations, electroacoustic theatre, dance, and cinema. His compositional style embraces a language of structural rigor, on the one hand, and formal liberty, on the other. “Mosaic” and “radiant” expressivity obtained by timbral richness as well as clarity in the development of ideas are assumed, in his music, as constant and unifying factors. His works have been performed by renowned soloists, ensembles, and conductors (the Smith Quartet, California EAR Unit, BBC Singers, etc.), and are regularly presented at major festivals of contemporary music around the world (Huddersfield Contemporary Music Festival, MaerzMusik, Warsaw Autumn Festival, Nordic Music Days and Festival Synthèse, among others). The composer also regularly receives commissions from Portuguese and international music institutions.

Christopher Biggs is a composer and multimedia artist residing in Kalamazoo, MI, where he is Associate Professor of Music Composition and Technology at Western Michigan University. Biggs’ recent projects focus on integrating live instrumental performance with interactive audiovisual media. In addition to collaborating with artists in other disciplines on projects, he treats all of his works as collaborations with performing artist by working with the performers during the creative process and considering their specific skills and preferences. Biggs is a co-founder and the director of SPLICE Institute.

Nataša Bogovac détient le diplôme de pianiste interprète, un Master (Faculté de Musique à Belgrade, Serbie) et une Maîtrise en Ethnomusicologie (l’Université Paris Sorbonne). Ses recherches portaient sur la musique traditionnelle et son rôle dans la reconstruction des identités ethniques. Après plusieurs années dans l’industrie culturelle, elle retourne dans la recherche (Master puis Doctorat à l’Université Lille 3, France) en travaillant sur l’impact des nouvelles technologies en musique mixte POP, notamment sa transmission et la pédagogie musicale à travers l’utilisation des nouveaux dispositifs numériques, avec comme l’exemple phare ReacTable dans la musique de Björk. Elle a été chargée de cours (BA en Musique) pendant 2 ans et rédacteur technique de la revue scientifique Déméter du Centre d’Etudes en Arts Contemporains de l’Université Lille 3. Depuis, elle travaille dans une startup web.

Alain Bonardi is a composer, researcher, and computer music designer. He conducts his research-creation in the medium of mixed music. He holds a Maître de Conférences Habilité à Diriger des Recherches in music technology from the Music Department of Université Paris 8, and a member of the Equipe d’Accueil EA 1572 : Aesthetics, musicology, dance, and musical creation. He is an associate researcher at IRCAM, in the Analyse des Pratiques Musicales team. He has worked intensively in pedagogy through composer residencies and workshops in music technology (Vilnius Conservatory in 2008, Conservatoire de Bayonne from 2009 to 2014, and Toho Gakuen Music School in Tokyo in 2014). 32 Guillaume Boutard is an assistant professor at the Université de Montréal, École de bibliothéconomie et des sciences de l’information (EBSI) and a member of the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT). His background is in Computer Science and Geophysics and he worked as an engineer at IRCAM from 2001 to 2009. His research interests include digital curation for the performing arts, creative process documentation methodology, and data curation. He conducted multiple studies on creative processes in mixed music as well as electroacoutic and acousmatic music. His research has been funded by the Canadian Social Sciences and Humanities Research Council (SSHRC), the Fonds de Recherche du Québec - Société et Culture (FRQSC), and the French Centre National de la Recherche Scientifique (CNRS). He has published in multiple journals, including Journal of Documentation, Archival Science, Computer Music Journal and Musicae Scientae.

Julie Delisle est candidate au doctorat (Ph.D.) en musicologie à l’Université de Montréal. Elle y a également étudié les technologies de la musique et l’informatique, après l’obtention d’un Diplôme d’artiste de la Hochschule für Musik Freiburg (Allemagne) et d’un Prix avec Grande Distinction au Conservatoire de musique de Montréal, en spécialité flûte traversière. Sa thèse de doctorat, sous la direction de Caroline Traube et Pierre Michaud, porte sur la description du timbre de la flûte d’après différentes perspectives, dont celles de la technique instrumentale, de la composition mixte, de l’acoustique et de la psychoacoustique. L’influence des technologies électroacoustiques et numériques sur l’orchestration ainsi que l’étude des techniques de jeu étendues font également partie de ses intérêts de recherche. Parallèlement à ses activités de flûtiste et de musicienne d’électronique live, Julie Delisle a aussi collaboré avec la flûtiste Eva Furrer Kunstuniversität( Graz/Klangforum Wien) et avec Richard Parncutt (Karl-Franzens-Universität Graz), lors de deux séjours de recherche en Autriche.

Christopher Dobrian is Professor of Integrated Composition, Improvisation, and Technology in the Department of Music—with a joint appointment in the Department of Informatics—at the University of California, Irvine. He is a composer of instrumental and computer music, teaches courses in composition, theory, and computer music, and directs the Music Collaboration Laboratory (ColLab), the Realtime Experimental Audio Laboratory (REALab), the Gassmann Electronic Music Studio, and the Gassmann Electronic Music Series. He conducts research on the development of artificially intelligent interactive computer systems for the cognition, composition, and improvisation of music. He has published technical and theoretical articles on interactive computer music, and is the author of the original reference documentation and tutorials for the Max, MSP, and Jitter programming environments by Cycling ’74. He holds a Ph.D. in Music Composition from the University of California, San Diego, where he studied composition with Joji Yuasa, Robert Erickson, Morton Feldman, and Bernard Rands, computer music with F. Richard Moore and George Lewis, and classical guitar with the Spanish masters Celin and Pepe Romero.

The musical career of Bertrand Dubedout led him from Bayonne, his native city, to Paris and the CNSMD in the class of Pierre Schaeffer and Guy Reibel, then to Toulouse (where he teaches electroacoustic composition at the Conservatoire and is co-director 33 of the studio éole), and all the cities and countries of the world where his music takes him, including a residency in Kyoto at the Villa Kujoyama and Montreal, where he has developed a collaboration with the Nouvel Ensemble Moderne. His works, which include instrumental and vocal pieces as well as acousmatic and mixed works, are published by Gérard Billaudot Éditeur (Paris).

Clarinetist Suzu Enns currently resides in Montreal, where she is a freelance performer, conductor, teacher, researcher, and music performance librarian. As a clarinetist, Dr. Enns is a devoted solo and chamber musician, and is in demand as a collaborator and interpreter of contemporary classical music. She is a specialist clarinet instructor and chamber music coach at École FACE, a prestigious arts school in Montreal, and is the Musical Director of several community choirs in the city, specializing in senior adult choirs. She remains active as an arts administrator, currently serving as a Performance Librarian at the Gertrude Whitley Performance Library of the Schulich School of Music. Dr. Enns is a proud recipient of the Governor General’s Academic Medal (Silver), and holds degrees from Brandon University (B.Mus.), University of Ottawa (M.Mus), and McGill University (D.Mus.). As part of her ongoing artistic research, she continues to develop self-sufficient performance and pedagogical practices for the electronic-acoustic clarinetist.

Bruno Gabirro studied violin with Gareguine Aroutiounian at Academia de Amadores de Música de Lisboa. There he also studied viola with Barbara Friedhoff and Analysis and Techniques of Composition with Eurico Carrapatoso. He studied Computer Engineering at Instituto Superior Técnico in Lisbon. In 2006 he received his Honors Degree in Composition at Escola Superior de Música de Lisboa and in 2008 the Master in Composition at Royal Academy of Music in London. Whilst in London he worked regularly with Peter Maxwell Davies. From 2003 to 2010 he worked regularly with Emmanuel Nunes in the Gulbenkian Foundation Composition Seminars in Lisbon. In 2014 he received an artistic residence in Madrid granted by Casa de Velázquez and the Ibero-American Secretary, and is now preparing his doctoral thesis on the string quartets of Luigi Nono and Emmanuel Nunes under the guidance of Paulo de Assis at Universidade Nova de Lisboa. His music is published by the Portuguese Music Research & Information Centre (www.mic.pt).

Brice Gatinet est un compositeur franco-canadien vivant actuellement à Montréal. Durant son parcours, il a évolué entre le jazz, l’improvisation, le death-métal et Chopin. Ses œuvres exhibent ces disparités musicales et démontrent un intérêt marqué pour les extrêmes. Ses œuvres portent le sceau de cette démarche où technicité, poésie et structure sont intimement liées afin de créer une dynamique personnel, fondement d’un univers sonore affranchi de contraintes. Il a étudié en musicologie à l’université de Grenoble, en jazz et en musique actuelle au conservatoire de Chambéry et a obtenu une maîtrise en composition mixte à l’Université de Montréal (Mention excellente). Il a reçu des bourses de la région Rhône-Alpes pour des études à l’étranger, par la SPEDIDAM pour les artistes de la relève, un prix d’excellence par l’Université de Montréal et une bourse d’études afin de poursuivre son doctorat à l’Université McGill sous la direction de Philippe Leroux. En 2016, il fut résident pour trois mois à la Casa Velasquez de Madrid.

Professeur agrégé de musicologie à la Faculté de musique de l’Université de Montréal depuis 2013, Jonathan Goldman a fait ses études à l’Université McGill et à l’Université 34 de Montréal. Après avoir obtenu un doctorat en musicologie de l’Université de Montréal, en 2006, sous la direction de Jean-Jacques Nattiez, il a ensuite été nommé professeur adjoint de musicologie à l’Université de Victoria entre 2007 et 2013. Sa recherche porte sur les avant-gardes musicales depuis la deuxième moitié du vingtième siècle, en particulier les manifestations régionales du modernisme dans un contexte international. À travers des objets variés (la musique post-1975 de Pierre Boulez, la conception de l’interprétation de David Tudor, les penchants « balinais » d’un groupe de compositeurs québécois comprenant Claude Vivier, les pratiques d’improvisation au CLAEM, studio de musique électronique de l’institut Di Tella à Buenos Aires, au cours des années 1960, et plus généralement le développement de la musique avec dispositifs électroniques), Jonathan Goldman s’intéresse notamment aux fonctions et aux modalités de construction du discours des musiciens. Son livre The Musical Language of Pierre Boulez (Cambridge University Press, 2011) lui a valu un Prix Opus dans la catégorie « Livre de l’année », en 2012, par le Conseil québécois de la musique, et a été recensé dans les pages des revues Tempo (R.-U.) et Dissonance/ Dissonanz (Suisse). En 2014, Jonathan Goldman a publié l’ouvrage collectif La création musicale au Québec aux Presses de l’Université de Montréal, et en 2015 est paru Texts and Beyond : The Process of Music Composition from the 19th to the 20th centuries (Bologne, UT Orpheus. En 2017, un troisième collectif, The Dawn of Musical Semiology, co-dirigé avec Jonathan Dunsby, est paru chez The University of Rochester Press. En 2018, sa traduction des Leçons de musique de Pierre Boulez (traduit en collaboration avec Jonathan Dunsby et Arnold Whittall) paraîtra chez Faber munie de sa préface.

Keith Kirchoff is a pianist, composer, conductor, concert curator, and teacher. Described as a “virtuosic tour de force” whose playing is “energetic, precise, (and) sensitive,” he works towards promoting under-recognized composers and educating audiences of the importance of new and experimental music. An active lecturer who has presented in countries throughout the world, his recital programs focus on the integration of computers and modern electronics into a traditional classical performance space. Throughout his career, Kirchoff has premiered well over 100 new works and commissioned several dozen. Together with Christopher Biggs, he founded SPLICE Institute and regularly tours and performs with the SPLICE Ensemble.

Mathieu Lacroix is a Canadian-born composer, producer and sound programmer based in the medieval capital of Norway. Early on, he decided to pursue his interests in the field of contemporary composition with an emphasis on mixed music. This meant studying composition with some of Norway’s leading composers such as Terje Bjørklund, Henning Sommerro, and Ståle Kleiberg as well as studying electronics with the likes of Øyvind Brandtsegg, Trond Engum, and Andreas Bergsland. He has also participated in workshops with several composers such as Natasha Barrett and Maja Ratkje as well as having taken formations at IRCAM. He is currently a Ph.D candidate focusing on the influence between compositional processes and electronics in mixed music. He also teaches at both the graduate and undergraduate level in classical music and music technology.

Philippe Leroux est né en 1959 à Boulogne sur Seine (France). Après des études au Conservatoire national supérieur de musique de Paris où il étudie avec Ivo Malec, Claude Ballif, Pierre Schäeffer et Olivier Messiaen, il est nommé en 1993 pensionnaire à laVilla Médicis à Rome où il séjourne jusqu’en octobre 1995. 35 Il est l’auteur de plus de quatre-vingts œuvres, pour orchestre symphonique, vocales, avec dispositifs électroniques, musique de chambre et acousmatiques. Celles-ci lui ont été commandées par de nombreuses institutions internationales parmi lesquelles le Ministère français de la Culture, le Conseil des Arts du Canada, la Fondation Koussevitzky in the Library of Congress, l’Orchestre Philharmonique de Radio-France, la Südwestfunk de Baden Baden, l’Ircam, l’Ensemble Intercontemporain, et Le Nouvel Ensemble Moderne de Montréal. Ses œuvres sont jouées et diffusées internationalement:Tonhalle Orchester Zürich, BBC Symphony Orchestra, BBC Scottish Symphony Orchestra, Philharmonia Orchestra, Philharmonie Tchèque, Orchestre Philharmonique de Lorraine, Orchestre Symphonique de Québec, RTV Orchestra Ljubljana, Croatian Radiotelevision Symphony Orchestra, et Klangforum Wien. Il a reçu de nombreux prix dont le prix Arthur Honegger de la Fondation de France pour l’ensemble de son oeuvre. En 2015, il est nommé membre de la Société Royale du Canada. Il a publié plusieurs articles sur la musique contemporaine et donné de multiples conférences et cours de composition dans les plus grandes universités et conservatoires mondiaux. De 2001 à 2006 il a enseigné la composition à l’Ircam dans le cadre du cursus d’informatique musicale. De 2007 à 2009, il a été en résidence à l’Arsenal de Metz et à l’Orchestre National de Lorraine. Depuis septembre 2011 il est professeur agrégé de composition à l’École de musique Schulich de l’Université McGill à Montréal.

Diplômée de musique et de musicologie à l’Université de Tours où elle obtient plusieurs prix, Emmanuelle Lizère passe un DU d’Art en thérapie et en Psychopédagogie à l’Université de Paris V. Depuis 2001, sa passion pour la musique contemporaine l’a conduite à créer dans le cadre du Living à Musicora des ateliers d’initiation à la musique contemporaine pour les enfants. Elle développe cette démarche à l’IRCAM, lors du festival Agora, au festival Manca à Nice ou encore à l’Abbaye de Royaumont (Oise) à travers de nombreuses thématiques (“la percussion contemporaine”, “les transformations de la voix dans la musique contemporaine”, « La musique des oiseaux”, “Edmund Campion : la musique tissée et métissée“, “György Ligeti ou les textures rythmiques“, “si l’accordéon m’était conté“, musique répétitive, musique et cinéma...) Depuis 2011 à Montréal, elle mène des activités de médiation culturelle pour des concerts de musiques nouvelles dans le cadre du Vivier, pour Accès Culture et différents ensembles musicaux spécialisés en proposant des ateliers de sensibilisations et des rencontres avec le public s’adressant à différents âges. Elle est actuellement coordinatrice artistique du Groupe le Vivier, Carrefour des Musiques nouvelles. Parallèlement, elle développe une activité de création pour le jeune public, à travers la conception et la réalisation de spectacles ou d’installations musicales incluant des dispositifs électroniques en collaboration avec différents compositeurs contemporains et institutions telles que l’Ircam, le Centre Pompidou, la SMCQ et l’Abbaye de Royaumont. Jusqu’en 2009 elle était professeur titulaire à l’École Nationale de Musique de Blanc- Mesnil (France 93).

Mikhail Malt is a researcher in the Musical Representations team of IRCAM, a teacher of Computer Music Design (within the IRCAM Department of Pedagogy), Associate Research Director at Sorbonne University, and a composer. He has both a scientific and musical background (engineering, composition and conducting) and his research focuses mainly on the theme of computer-assisted composition and musical formalization. 36 Since his arrival at IRCAM (October 1990 as a student and 1992 as a research compos- er), his activities have combined research and teaching, especially in the composition and computer music curriculum. Currently, his work is developing on three axes: modeling and musical representation: the study of the expressivity of formal models in computer-assisted composition, in real-time generative music, and in the modeling of open works; the development of interfaces and tools for computer-assisted composition; musical analysis and computer-assisted musi- cal performance and creation.

Composer and clarinettist born in New Brunswick, Canada, Pierre Michaud is Associate Professor in composition at the Université de Montréal Music Faculty. He is particularly interested in mixed music, composer-performer collaboration, interdisciplinarity, and alternative performance spaces. He holds a doctorate degree in composition from the Université de Montréal Music Faculty with complimentary studies at the Jan Levoslav Bella Conservatory in Slovakia, Université de Moncton, Mount Allison University, and IRCAM in Paris. Heard in concert series and festivals across Canada, Central America, Asia, and Europe, his works have been performed by Ars Nova, Sixtrum, the Bozzini Quartet, Chants libres, SMCQ, Susan Narucki, the Shanghai Symphony, the Winnipeg Symphony, the CBC Radio Orchestra, the Bratislava Chamber Soloists amongst others. His research has been funded by the Fonds de recherche du Québec : société et culture (FRQSC), Conseil franco-québécois de coopération universitaire (CFQCU) and Observatoire interdisciplinaire de création et de recherche en musique (OICRM).

Gilbert Nouno, composer, sound artist, performer, and researcher based in Paris. He received the Rome Prize Fellowship from the Académie de France à Rome Villa Médicis in 2011 and the Kyoto Villa Kujoyama Fellowship from Cultures France in 2007. His music draws inspiration from visual art and design, spanning notated and improvised forms. Gilbert Nouno is currently professor of composition and sonic arts at the Royal College of Music in London and invited lecturer at Bern University of the Arts (Switzerland), and he was DAAD guest professor during 2016 and 2017 at Detmold University (Germany). He holds Masters and Ph.D degrees in computer music and artificial intelligence and is carrying out research on responsive design for multimedia performances. As an interdisciplinary artist he explores synesthesia beyond music with emergent art fields. His concepts of work and production take advantage of generative languages, data mining processes and algorithms for digital crafting. Gilbert Nouno has been a long- time collaborator with Jonathan Harvey and with Pierre Boulez (especially for his well- known pieces with electronics), and he performs with numerous and various artists such as George Benjamin, Michael Barenboim, jazz saxophonist Steve Coleman, flutist Malik Mezzadri, and choreographer Susan Buirge. He recently wrote Deejay for string quartet and electronics (recorded on VOLTS by the Tana String Quartet), Iwona—an electronic operetta, and Street Music for trio and live electronics.

Laurie Radford composes music for diverse combinations of instruments, electroacoustic media, and performers in interaction with computer-controlled signal processing of sound and image. His music fuses timbral and spatial characteristics of instruments and voices with mediated sound and image in a sonic art that is rhythmically visceral, formally exploratory and sonically engaging. His music has been performed throughout 37 North America and Europe by Le Nouvel Ensemble Modern, Aventa Ensemble, New Music Concerts, Trio Fibonacci, Ensemble Transmission, Earplay, the Penderecki, Bozzini and Molinari String Quartets, and the Winnipeg, Calgary, Edmonton, and Montreal Symphony Orchestras and is available on empreintes DIGITALes, McGill Records, PeP Recordings, Clef Records, Eclectra Records, Centrediscs, and Fidelio Audiophile Recordings. Radford has taught composition and sonic arts at McGill University, Concordia University, Bishop’s University, University of Alberta, City University (London, Enlgand), and is presently an Associate Professor at the University of Calgary.

David Rafferty graduated from Mount Allison University with a B.A. in philosophy (2000). In 2009-2010, he studied at the Royal College of Music (London, England) where he graduated and received the special Cobbett and Hurlestone prize for composition. Presently, he is a doctoral candidate at McGill University (2013 - present) where he has received a graduate excellence fellowship. His composition teachers have been Brian Cherney, Jonathan Cole, and Kwon Eunsil. Until 2018 he has worked with his colleague, George Massenburg (sound engineer) at the Schulich School of Music teaching/managing video production and producing all of the live webcasts. David has also taught courses in digital composition in the digital composition studio at Schulich. Over the years, David has worked in many mediums for composition, he has acted as music producer/producer of a short filmYin (2004-5). and in 2009, co-directed/music producer/producer of a short film G7MW. He has had performances in Korea, England, Poland, and Canada both in acoustic and mixed music and digital media. He has had performances with Modern Ensemble, Ossian Ensemble, Contemporary Flutist Carla Rees, Contemporary Music Ensemble (McGill), and is a member of Oneness Interdisciplinary Group.

Kit Vaughan Soden is a composer, researcher, and music educator based in Montreal, QC, Canada. He is currently pursuing a Ph.D in composition at the Schulich School of Music, where he has studied with John Rea, Philippe Leroux, and Stephen McAdams. Kit’s composition and research interests delve into the exploration of the relationships between timbre and expressivity in music, in particular the use of orchestration to enhance the dramaturgy of a composition.

Adam Vidiksis is a composer, conductor, percussionist, improviser, and technologist based in Philadelphia whose interests span from historically informed performance to the cutting edge of digital audio processing. Often drawing from both acoustic and electronic sounds, his music has been heard in concert halls and venues around the world. He is a founding faculty member in composition and performance at the SPLICE Institute. His work with the SPLICE Ensemble, formed from the performance faculty of the institute, has been featured at national conferences and major venues around the world. Dr. Vidiksis is an Assistant Professor of Music Technology and Composition at Temple University.

Samuel Wells is a composer, performer, and music technologist based in New York City. As an advocate for new and exciting music, he actively commissions and performs contemporary works. Sam has performed throughout the United States, as well as in Canada and France. He has also been a guest artist/composer at universities throughout North America, including Western Michigan University, Western University of Ontario, and Northern Arizona University. Sam is a member of Arcus Collective, Kludge, and SPLICE Ensemble. Sam has performed regularly with the Owensboro (KY) Symphony Orchestra, and the Colorado MahlerFest Orchestra. 38 Alexa Woloshyn is Assistant Professor of Musicology at Carnegie Mellon University. Her research focuses on how electronic, physiological, and socio-cultural technologies mediate the creation and consumption of musical practices in both art and popular musics. Current research projects examine performance practice in live electronic music and Indigenous musicians’ use of mediating technologies to construct and interrogate notions of ‘modern’ Indigeneity, including Tanya Tagaq and A Tribe Called Red. Her work has been published in Circuits: musiques contemporains, eContact!, The American Indian Culture and Research Journal, TEMPO, and Journal of Popular Music Studies. She has an essay in the forthcoming edited anthology entitled Hearing the Political in Popular Music: Queer and Feminist Interventions, eds. Susan Fast and Craig Jennex (Routledge).

Naomi Woo is a pianist, conductor, and researcher, currently pursuing a Ph.D in Musicology at Clare College as a Gates Cambridge Scholar. She has performed widely in Canada, the UK, and the US, where her debut in Carnegie Hall was praised as an “elegant performance” in the New York Times. Especially interested in contemporary music, Naomi has conducted the world premieres of orchestral, operatic, and vocal works by Susie Self, Emily Cooley, Ellis Ludwig-Leone, Stephen Feigenbaum, and David Leigh. She placed second in the 2016 Eckhardt-Gramatté, and was awarded the Prix Hélène-Roberge for the best performance of a Canadian work in 2015. Alongside interdisciplinary artist Sasha Amaya, she runs tick tock, a collaboration for sonic and choreographic performance. Naomi has previously studied mathematics & philosophy, piano performance, and musicology at Yale and Université de Montréal. www.naomiwoo.com

New York-based composer Nina C. Young (b. 1984) writes music characterized by an acute sensitivity to tone color, manifested in aural images of vibrant, arresting immediacy. Her experience in the electronic music studio informs her acoustic work, which takes as its given not melody and harmony, but sound itself, continuously metamorphosing from one state to another. Her unique musical voice draws equally from elements of the classical canon, modernism, spectralism, American experimentalism, minimalism, electronic music, and popular idioms. Her projects strive to create unique sonic environments that can be appreciated by a wide variety of audiences while challenging stylistic boundaries, auditory perception, and notions of temporality. A graduate of McGill and MIT, Nina completed her DMA at Columbia University where she was an active participant at the Columbia Computer Music Center. Nina is an Assistant Professor of Composition and Director of Electronic Music at UT Austin, and a Visiting Composer at the Peabody Institute. She serves as Co-Artistic Director of NY-based new music sinfonietta Ensemble Échappé, a visiting artist at Arts Letters & Numbers, and board member of Qubit’s Harlem pop-up-venue Project-Q. Peermusic Classical publishes her compositions.

39 LIEU Les événements de la conférence se dérouleront à l’Université McGill, l’Université de Mon- tréal ainsi qu’à l’amphithéâtre du Gesù situé dans le centre-ville. Veuillez trouver ci-des- sous toutes les informations concernant les lieux and les dates.

École de musique Schulich, l’Université McGill, 555, rue Sherbrooke Ouest (sortie de métro McGill, Ligne verte) • Salle de séminaire / Seminar room A-832 • Salle Pollack Hall

Faculté de musique, Université de Montréal, 200, avenue Vincent-d’Indy (sortie de métro Édouard-Montpetit, Ligne bleue) • Salle Jean-Papineau-Couture, B-421 • Salle Claude-Champagne

Le Gesù, 1200, rue de Bleury, Amphithéâtre (sortie de métro Place des Arts, Ligne verte)

Afin d’effectuer les aller-retours entre le campus de l’Université McGill et celui de l’Université de Montréal, vous pouvez soit prendre le bus 129 soit prendre le métro en combinant différentes lignes (verte, orange et bleue).

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VENUES The conference events will take place at McGill University and Université de Montréal, as well as the Amphithéâtre du Gesù downtown. Please see below for venue info and dates.

Schulich School of Music, McGill University, 555 Sherbrooke St. W. (located near McGill metro station on the Green Line) • Seminar room A-832 • Pollack Hall

Faculté de musique, Université de Montréal, 200 Vincent-d’Indy Avenue (located near Édouard-Montpetit metro station on the Blue Line) • Salle Jean-Papineau-Couture, B-421 • Salle Claude-Champagne

Le Gesù, 1200 Bleury St., Amphithéâtre (located near Place des Arts metro station on the Green Line)

For traveling back and forth between McGill University and Université de Montréal campuses, you can either take the 129 bus or a combination of metro lines (green-orange-blue)