, Une publication de la CommunauteelectroacQustique,canadienne (CEC) , , Apublicationofthe Canadian Electroacousti~ Community (CEC) . . m7hW7///////ff///.H//ffffffffff///ff/ff/ff/ffff//ffff#ffffffffff////ffffffffffffff//ff///h7//////ff/ff///ff/ff/ff/ffffffA 4.5 Juin / June 1991 ISSN0838-3340 "./././j././././/././././././././././././././././././././././././././/./././/.///././//././././//./././././././/././././/./././././/.///.//./././././//././//./././././//./././././././/././/././././/././././//./././/./././././~

• • nat & deN

­• Du cbnseil / FrQm the Board ,3 - Echos IEchoes 12 Comptes rendu~ / Reviews 16 ., . »PER8PECTIVES->-> 22' P~rspectives/ Opportunities 24 • A l'antenne / On the Air 27 Calendrier / Calendar 29 • e Sons et mots / Sounds and Words 32 Contact!

nfaut prendre Ie temps: It's about time:

Le temps'd'assister aune reunion. Le temps de rencontrer Time to attend a reunion. Time to make new friends from ­ des gens d'autres villes, de cultures differentes. Il faut other cities,{)ther cultUres. Finding the tin;1.e to share ideas" 'prendre Ie temps d'ecouter ce que la coinrrmnaute a a to listen to what the community has to say. nousdire.

Le temps m~cessairepour eiltendre les sons de notre: .Time to take in the sounds of our time. Time to learn of temps, de decouvrir de nouvelles pistes, de nouvelles m!w directions and discover n.ew approaches to old approches aux problemes anciens. problems.

Le temps de bien examiner sa piacedans Ie milieu Time to examine your place in the artistic community and artistique et dans Ie paysage sqnore. Faire Ie· point. in the sonic environment. Reflexion'time. .

Le temps de »PERSPECTIVES->-> »PERSPECTIVES->-> time!

Le temps de remer-cier ceux et celles qui ant contribues a Time to thank all who contributed to our success (Contact! notre succes (les gens de Contact!, les membres du Conseil people and the various CEC Bo~rd members and de la CEC et nos employe(e)s). . employees). .

Le temps de laisser faire Ie temps; sachant qu'il aura Letting time be on your side, knowing that the future has toujours'place dans Ie futur pour les idees nouvelles et les room for new ideas and sharper minds. esprits audacieux. . . . Having little time tobe perfect, letting ~rrors go by. L~ temps de commettre des erreurs et de ne pas trop s'en faire. Taking the,time to say thank you for joining the CEC and making my position an enjoyable one. Le teinps de vous remercier de vous etre joint ala CEC et . d'avoir rendu rna tache un peu plus amusante. One year later, we still listen and are still amazed.

" Un ans plus tard,nous sqmmes toujours al'ecoute, pres a On to 5.1! etre etonnes.

A l'annee prochaine, Till next year,

Ned Bouhalassa Ned Bouhalassa President deja CEC President of the CEC

Contact! Communaute electroacoustique canadienne. (CEC) Canadian Electroacoustic Community (CEC). CP 845; Succursale Place d'Armes / Montreal (QC) / CANADA H2Y 3J2 Equipe de production / Production Team Ned Bouhalassa . Kevin Austin, Wende Bartley, Egils Bebris, N"talie Jean (graphisme / graphics), Chris Meloche, Charles de Mestral, . David Olds, Laurie Radford, Philippe Rjcher, Claude Schryer

. .' Contact! est une publication de la Communaute electroacoustique Contact! is a publication of the Canadian Elec!=rOacoustic Community cana,dienne (CEC); © 1991,. tous droits reserves--Communaute (CEC); © 1991, All Rights Rcserved--Canadian Electroacoustic Community electroacoustique canadienne (CEC), Montreal, Canada. Contact! est (CEC), Montreal, Canada. Contact! is pUblished five times per year. All publie cinq fois par aimee. Touteinfonnation imvoyee potir fins de infonnation received for publication is treated as unconditionally assigned publication est considl>ree soumise sans condition et petit egalement etre for publication and subject to Contact! unrestricted right to edit. and sujette a revision ou commentaire par Ie bureau-de redaction de Contact! comrrient. Statements, opinions and points of view expressed are thiJ8~ of Les enonces, opillions et points de vue sont ceux des auteurs et ne the writers and do not necessarily represent those of the CanadIan representent. pas necessairement .les vues de la Communaute Electroacoustic Community (CEe) or the editor. Articles may only be electroacoustique canadienne (CEC), ni de la redaction. Lea articles reproduced with the writtenpennission 'of Contactl ISSN 0838-3340. peuvent etre reproduits avec la pennission ecrite de Cont,ac(! ISSN Vol 4 No 5. Legal Deposit - 1st Quarter 1988: Bibliothequenationale du 0838-3340. VolA .No.5. DepOt legal -ler trimestre 1988 : Bibliotheque . Quebec; National Llbrary or Canada. Names of CEC members appear in nationale du Quebec; Bibliotheque nationale du Canada. Les noms des bold in the texts.. membres de la CEC apparaissent en caracteres gras dans Ie texte. .

2· CQntact!4.5 Juin /June 1991. CONSEIL D'ADMINISTRATION DE LA CEC I CEC BOARD OF DIRECTORS

President / President Ned Bouhalassa (vi, 90 - v, 93) Jean-Fran~ois Denis (vii, 86 - v, 90)

.Vice - Presidente / Vice President Wende Bartley (vi, 90 - v, 92) . Christian Calon (vi, 89 - v, 90) . Myke Roy (vii, 86 - v, 89)

Secretaire / Secretary Charles de Mestral (xL 88 - v, 92) Roxanne Du Berger(vi, 87 - ix, 88) Kevin Austin (vii, 86 - v, 87)

Tresorier / Treasurer Al Mattes (vi, 90 - v, 92) Ned Bo'uhalassa (vi, 89 - v, 90) Meg Sheppard (xi, 88 - v, 89) Michel Tetra·ult (vi, 87 -ix, 88) Rob Ablenas (vii, 86 - v, 87)

Administrateur general I/ Member - at -large I David Keane (vi, 87 - v, 93) Michel Tetrault (vii, 86 - v, 87)

Administrateur generai II I Member- at -large II . Claude Schryer (ix, 90 - v, 93) Christian Calon (vi, 90 - ix, 90) Al Mattes (i, 90 - v, 90) Oave Lind~ay (vii, 86 - xi, 89)

Memhres ex officio / Ex-officio Members Kevin Austin.(vi, 89 -v, 92) Chris Meloche (vi, 90 - v, 92) . David Olds (vi, 90 - v, 92) Bruce Pennycook (ix, 89 - v, 90)

Contactl4.4 Avril jA.pri11991 3 DU'conseillFrom the Board,

5e Assemblee g{merale des membres de la CEC 5th General Meeting of the Members of the CEC

Samedi 27 avril, 1991 Saturday, April 27th, 1991 Delta Chelsea Inn, ~3 Gerrard St West, Toronto, Delta ChlZlsea Inn, 33 GerrardSt West, Toronto e. . . PreSents: Kevin Austin, Wendy Uartley, Egils Bebris~ Present:' Kevin Austin, Wendy Bartl~y,·EgilsBebris, , Ned Bouhalassa, Gustav Ciamaga, Bruno Degazio, Ned Bo1ihalassa,' Gustav Ciamaga, Bruno D~gazio, .BentleyJarvis, David Keane, Chris Meloche, Charles BentleyJarvis, David Keane, Chris Meloche, Charles . de Mestral, John Oswald, Randy Smith. . de Mestral, JOM Oswald, Randy Smith.

,Membres du Conseil absent avec regrets : Dayid OIds, Board members unc~ble fo attend: David OIds Claude Schryer (ex-officio), Claude Schryer

1. Adoption deI'ordre du jour . Proposee : KA, apFmyee par:WE. Vote unanime. 1. Adoption of Agenda Pr()posed: KA, s~conded by: VVB. Unanimous vote. 2. Adoption du proces-verbil1 de la 4e asserrtblee generale (novembre, 1990, Montreal) , 2. Adoption ofthe minutes ofthe 4th General Meeting Corrections: (November, 1990, Montreal) -7.1 Lire "prop~sant uI\e limite de 1DOO$" pour '~acceptant Corrections: une limite de 1000$" au -7.1 Read "proposing a temporary $1 000 limit" for "accepting sujet des frais de studio; the temporary $1 000 limit" on the q~estion qf a limit to -3.c) Substituter «parce que la CEC n'avait pas d'argent» pour studio costs; '«a cause de ... -:-3.c) Substitute "because the CEC did not have the money" for Gallery»;, "due to ... Galler", , Note: A l'avenir un proces-verbal non-adoptedevrait etre Note: In the future, Minute~ before adoption. should be in~iique dans Contact! comme «procE~s-verbal propose». ,. indicated in Contact! as "proposed Minutes". Prop:KA,VVB.lJnan~ Prop: KA, sec: VVB.Urtan.

3. Mot du president 3. President's Comments NB: NB: . a) La CEC se porte tres bien considerant qu'it s'agit d'une 1. The CEC is doing very well for such a relatively new organisatiort aussi jeuile; organization; b) SVP.acheminer des suggestions a.u Conseil qui en a 2. Ple;lse send suggestions tq the Board, which always needs , toujours besoin; , input; c) Des reunions en juin au cours de »PERSPECfIVE5->-> 3. Meetings in June during »PERSPECfIVES->-> will auront pour effet de developper lesrelationsentre les : CEC, develop the relationship between theCEC... CLC, CMC and . , LCC, CMC and ACWC. ' ACVVC.. . VVB: Qu'est qui est aJ'ordre du jour de ces rencontres? VVB: VVhat is the agenda'of these meetings? NB: Des questions telles que: la representation canadienne· NB: Questions such as: Canadian representation at World 'aux]ournies mondiales de lil musique, des bulletins . .Music Days, Music Newsletters, Education, relations with the d'information, l'education, les relations avec Ie Conseil des Canada Council, liaison organisation between eXisting , Arts, une organisation de liaison entre les groupes exist~tnts, groups, Copyright, Performing Rights,... les droits d'auteur,les droits d'execution... . AM: Historically the idea of these meetings came fran K. AM: Historiquement c'est KA qui a eu l'idee de tenir ces . Austin. VVith the demise of the Canadian Music Council some reunions. Depuis la fin du Conseil canadien dela musique questions Of administrative responsability arise; KA and AM certaines question's de responsabilite administrative se went to the Canada Council and received a $3 000 budget for po)ient. KA and AM sOnt all~s au Conseil des arts et ont rec;u theJune meetings. Then consultations were held to determine un budget d.e $3 000 budget pour les rencontres de jUin. On a . the type ofagenda items just mentionned: The overall tenu des consultations par Ie suite dans Ie but de determiner purpose is to improvecommunications; trust, and develop a Ie genre d'elements d'ordre du jour que l'on vient de united voice, not to modify existing organizations. VVe must menionner. Le but general est d'ameliorer les avpid the danger of creating a 5th new organization. .. ' communications, la confiance, et de developper une voix unie, non pas'd'aboli.r des organisations existantes. II faut 4. Treasurer's Report eviter Ie dan~er de creer une 5eorganisation. AM: Submits a CEC Financial Statement 1/1/90 through 4/25/91 and refers to the budgetary document su~mittedto 4. Rapport du tresorier the last Board Meeting (16/3/91). " AM: Soumet lesetats financiers du 1/1/90 au 4/25/91 se The projected budget indicates breaking even, with no refere au document budgEitaire soumis au dernier Conseil surplus, by year's end at the end of May. ,' ..' "~ (16/3/91). An attempt will be made to hold over membershIp fee' ~ Le budget projete indique ni deficitni surplus, jusqu'a la: fin cheq~es toJune to avoid confusionas to income in respeCtive

4 Contact! 4.5 Juin IJune1991, Du conseil / From the Board

de l'anneeJiscale, fin maL financial years. AM questions new unexplained :bank charges Onessaieril de garder les cheques de cotisation des membr~s in bank statement. 99.9% ()f all invoices were seen by AM who 91-92 jusqu'au debut de juin afm d'eviter la confusion entre considers it will be unnecessary to spend money this year for les'revenus desanneees fiscales respectives, ' abookeeper since everything is in order. AM questionne de nouveaux «frais bancaires» au dernier etat AM refers tobudget planning document received at last de compte. AM a vti 99.9% des factures et il considere qu'il ne Board meeting (16/3/91): , sera pas necessaire de depenser pour une verification des CCouncil Grants: $17 OOO(operating) + ,$8 OOO(festival) + $3 Iivres cette annee puisque tout est en ordre. OOO(CCMM) = $28000. AM s~ refere au document budgetaire soumis ala dernicre It will be necessary to raise Full'Members' fees to $60 from reunion du Conseil (16/3/91): $50 (20%). This is less than the inflation rate since fees were Du ConseiI des Arts: 17 000 $ (CEC) + 8 000 $ (festival)'+ 3 000­ set. Income must be increased by new membership, Contact! $ (liaison) = 28 000 $. advertizing. II seranecessaire d'augmenter les cotisations des membres a Contact! will be pubIised in four, not five, numbers next year. 60 $ de 50 $ (20%). Ceci equivatit amoins que 1'augmentation The budget will stilI be tight. $1 500 less than requested wilI du niveau de 1'inflation depuis'que l'on a determine ces frais. be granted by the Canada CounciL II faut augmenter les revenus par des adhesions de nouveaux KA The CEC will bilI full members rather than wait for membres, de la pubIicite en Contact!, du revenu des sa1ain~s membership fees. du programme EXTRA..; , NB Thanks AM for,excellent work as treasurer. II n'yaura que quatre numeros de Contact! l'annee prochaine. PROPOSED 1991-92 BUDGET (27/4/91): Le budget sera tres serre. Le, Conseil des Arts nous a accorde Expenses: 1 500 $ de moins que notre demande. ' Contact! 8000 , KA La CEC envera une .facture annuelle aux membtes plut6t Board and travel (including CIME) 8000 que d'attendre les cotisations. , Office 6500 NB Exprime desremerciements aAM pour son excellent Employee 5000 travail comme tresorier: Festival , 3000 1991-92- Budget propose (27/4/91): Depenses: TOTAL 30500 Contact! . 8 000 ConseiI et voyages ( y compris CIME) 8 000 Income: Bureau 6500 Surplus 380 Employe 5000 Canada Council 17000 Festival 3 000 Earned 2200 Membership dues , 7300 TOTAL 30500 EXTRA 2400

Revenus: TOTAL :?9280 Surplus 380 ConseiI des a'rts 17000 Projected deficit (27-4-91) 1220 Revenus gagne~ 2200 Membres 7300 Moved: EXTRA 2400 approval of budget as submitted to the Boardadvising the Board to balance budget by years end and subject to TOTAL 29280 confirmation by Annual General Meeting in May in Montreal. Moved by: AM, seconded by: DK. Unanimous Vote. Deficit projete au 27-4-91: 1220 5. CEC Charter Changes Proposition: , I<:A: The purpose of these changes is to allow members:.to be acceptation du budget tel que soumis au ConseiI en " electeq for a two year term to the Board and leave up to the demandant aM ConseiI d'eIiminer Ie deficit projete d'ici la fin Board the decision as to who holds which position. 1J1ere was' d,e cette annee fiscale et sujet aconfirmation par l'Assemble a c:;ontradiction in the Charter on this subject. Also the generale en mai aMontreal. ' redefinition of voting members as "Full Membersll,WiIl permit bilIjng at beginning of financial year. Membership will lapse Prop: AM, DK Unan. after three years non-payment offees.' '

5. Modifications ala Charte de 1'J, CEC Proposed changes: ,. KA: Le but en est de permettre 1'election des membres du See text in 4th General Meeting Minutes inContact! 4.4, p.6., ConseiI pour une periode de deux an's et de laisser au ConseiI pointS. , Ie ~oin d'attribuer les postes au Consfil. La Charte renfermait Proposed amendment to text: read "Full Members" insteadof une contradiction ace sujet. Aussi Ie redefinition des "Permanent Members". Proposed by:KA, sec: WE. membres comme «Membres permanents» permettra la Unanimous vote. , facturation au debut de l'annee fiscale. L'adhesion d'un ,Motion tabled as amended till AGM in May. Proposed by KA. membreseraannulee apres trois annees sans cotisation,. AM: KA has accepted to become "Membership Secretary".'

Contact! 4.5 Juin / June 1991 5 Du conseil / From the Board

· Changements proposes:, " ' 6. »FERSPECfIVES->-> . Voir Ie texte'du prod~s-verbal de la 4e Assemblee generaIe KA: The festival will happen despitebudgetary restraipt in e! dans Contact! 4.4, p.6, point 5. the university. $19 500 are in the bank. $14 000 are still to be. ' Amendement proposee au texte : lire «Membres votants» au confirmed from Concordia and will permit payment of90% of lieu de «Membres permanents» members'.expenses. All will be clear by May 1st. The DOC Prop :KA, WB. Unan. , will p.rovide $10 000 mini~um. Proposition deposeejusqu'a la re~nion du mois de maL Prop BJ: Has there been any compromize on music? :KA.' , ' KA.: Five works were changed in format because of technical ,AM: KA a: accepte de travailler de fa~on systematique costs., , " comme Secretaire aux adhesions,de membres. GC: There were some problems at Banff. KA.: Each festivalis unique. Banff set a standard hard to 6. »PERSPECfIVES->-> equal. ·KA : Le festival aura lteu malgre des problemes budgetaires a . BJ: Is, the programme final? l'universite.19 500 $ sont deja assures. II reste aconfiriner 14 KA: Planning will be complete on May 15th. 000 $ de la part de Concordia et qufpermehront de couvrir JO: There is ."out of department funding" availablethat same 90% des frais des membres. Tout va se preciser d'ici Ie ler people may, not know about. maL Le DeparteI11ent des communications pourrait nous KA: This varies from one university to another. octroye!; au moin!? 10000 $. HJ: A:t-on sacrifie quelque chose au niveau de la qualite 7. Meeting of Members in theToronto Area musicale? WB: Two meetings have been held up"to now with the KA : On a dfI modifier Ie format de cinq oeuvres pour des purpose of stimulating electroacoustic activity in the Toronto. raisons techniques. A.1etter was sent using addresses from the CEC database. GC :A Banff, on. a connu des problemes semblables. Points discussed included: studio access, concert series, KA : Chaqtiefestival est unique. Banff a etabli une norme educational workshops, listening sessions... difficile aegaler. " . At the first meeting at the end ofFebruary.,18 people BJ : La programmation a-t-elle ete etablie de fa~on definitive?, atten~ed.Oth~rsexpressed interest and support was offered .KA : Elle Ie sera Ie 15 maio by York university. One co'nclusion was to arrange cut rate , JO: nexiste des fonds «hors departement» aI'insude access to commerciel studios on some reciprocalbasis. plusieurs professeurs d'universite. . , A second meeting at the end of March was a listening session. KA : Cela varie d'une universite al'autre. A tnird meeting is planned in May. AM states thCit he could find a budget for rental ofMusic 7. Reunion des membres de Toronto Gallery space. WB : On a tenu deux reunions.dansIe but de stimuler NB reminds that itis not the policy oithe CEC to produce Yaetivite eleetroacoustique dans Toronto. La base de donnees , concerts or sponsor them. . , ' da Ia CEC a sem a envoyer des lettres. Points discutees : AM We can speak of the "Toronto Caucus" for purposes of acces aux studios, series de concerts, ateliers educa.tifs, raising funds. However we should avoid regiollalization. This sessions d'ecoute... ' ,. , is whatkilled ANPAC, for example.The CEC is nota' 18 perso-nnes etaient presentes lors de la premiere reunion. "sponsor".Theseare simply meetings ofCEC members ina D'autres ont communique leur interet et l'universite deYork certain area. ' a offert son appui. Une conclusion et~it d'avoirunacces a~x BO: These are CECevents bcause a large majority ofthose •sttidios comerciaux aun taux roouit surune base reciproque. organizing and attending aremernbers~ .. , ' Aussi, une session d'ecoute a eu lieu ala fin mars. . OK At this point,thiseffort should be kept fluid. After all it is On a l'intenHon de tenir' une troisieme reunion en fin maL .not a matter of selling tickets orCDs. ·AM :Je pourait trouver Un budget pour la location d'une salle AM This is a simple and positive request. Do not make it ala Music GaIery. "-, . ' ,,' cumbersome. What is needed is mailing lists and rental of NB rappenequ'iI n'est pas <;lans la politique de la CEC de space and a request for funding under the CEC name. produire ou de commanditer des concerts. ' ' The que~tion of.studio use is harder. We have,little to offer in - AM: On peut parler du «Caucus de Toronto» pour des fins return except Contact! publicity. Notax receipts. de dema'ndes de fonds. II faut neanmoinseviter la JO We constitute a consumer group for studios. regionalisation qui a detruit ANPAC, par exemple. La CEC' CM, BJ: Th~re were similar listening sessions in London. . n'est pas un commanditaire. II nes'agit- que de'rencontres.des JO: ,In Toronto,the meetings were informal with discussion of membres de la CEC habitant un certain endroit du pays. worksin progress. ' BO : Ces eveJ;lements sont des evenements CEC puisque la majorite de ceux qui assistent et qui organisent sOnt des 8. Studio rates membres de laCEC. NB: The Canad;1 Council ;1skedfor a proposal on studio rates OK : On devrait aetuellement s'efforcer de garder ces a.ctivitl~s and e?

Contact! 4.5 Juin / June 1991 Du conseil / From the Boar,d

La question des studios est plus difficile. On n'a que peu a but thaLa temporary limit could be proposed while offrir en. reciprocite a part la publicite en Contllct! Pas de re~us information is collected. At the June meetings, members will d'imp6t. ' receive a quesHonnaire during registration. .. , JO: Nous constituons un groupe de consominateurs pour les AM: There is an ongoing discussion on the Board between studios. two positions : CM; BJ ; On a tenu des.sessions d'ecoute a London (ON}. 1) A fee scale; JO :A Toronto les rencontres etaient de nature informel et on . 2) no scale and' proposals containing detailed budget of studio a discute dework-in-progress. costs at the same time as initial applications. The .question is complex.' ' 8. Fraisde studio BJ: Which type ofstudios are being talked about? NB : Le Conseil des Arts ademande une.proposition au sujet AM: Three types: 1) home studios; 2) cooperative~nd 3), des frais de studio et s'attendjiitaquelque chose qui commercial. These facts are part of the.prior research before a ressemblerait a 1'echellede frais de commission de la LCe unified scale is arrived atfor."studio rental". To him this is .qui, incidemment, etait con~ue a l'origine comme une preferable.. recommandation minimale mais que 1'on a interprete comme OK TheOAC submitted a similar question to the CLC which 'maximum. ' refered it to theCEC, His suggestion is to have no scale and On a envoye un questionnaire aux membres. Quelques-uns have composers submit studio estiinat.es at the time of ont repondu. Le ~onseil a ecrit a JSiddall en disantque Ia submission, not afterwards as in the case offees for copying question est complexe, ql;1'idealement il faudrait etudier . parts for instrumel").tal works. Why eliminategood proposals chaque demande auxmerites, mais que temporairement on simply because they are expensive? pourrait proposer une limite en attendant de rcunir ' AM: Studio costs are analag0us to copying fees, before, not !'information necessaire. Auxrencontrcs de' juiu les membres after. We must 1:(e realistic. Onescale would help CCouncil recevront un questJonnaire a l'inscription. officers lobby for funds which are limited. Juries can not AM: Le CClnseil continue de debattre du sujet selondeuX' , always have the knowledge to evaluate varied requests. The , positions: , CCouncil needs a scale, a, rate per minute. To refuse to do this l)Uneechelle de'frais de studio; will be to shootoursclves In the foot. The CC will invent'a 2) pas d'echelleet Ie fait que chaque pemande devrait 'scale anyway. contenir un esttme dctaille, de ftais de studio au moment de la demande initiale. KA: One poinfto raise at the CC is the fact of real costing for La question'est complexe. , performance. An orchestra work also requires asubsidized BJ : II s'agit de quels types de studio? orchestra and this cost should be taken into the overall AM: Trois: 1) personels; 2) coopcratifs; 3) commerciaux. Ces picture, , . faits font partie de la recherche initiale avantd'arriver a une AM: In October JSiddall accepted a temporary proposal of a echelle tinifice pour la «location de studios». Cette approche $1000 ceiling. . est preferable selon lui. AM: A detailed questionnaire is necessary for the June DK : Le Conseil des Arts de 1'Ontario a soumis une demande meetings. ' semblable.a la LCe qui 1'a rcfcrc a la CEc. Personellemen,t il JO: Include.the number of potential performances. Ea ni.~sic prefererait que les compositeurs soumettent un 'esti:me de compares well to orchestral in this respect. frais de.studio au moment de Ia demande, pas aprcs comme NB and KA will work on it. dans Ie cas de frais de copie pour la musique instrumentale. ' Pourquoi eliininer une b,?nne soumission pOl~r la simple 9. Contllct! .raison qu'elle coi'lterait cher? ' NB: An editorial committee exists. (CSc1).ryer, LRaclford, NB, AM: ~esfraisdestudio sont sembIabIes ciux frais de copie: il FRoverselli~EC employee.) This lightens the editoris load. ' . faut soumettre un budget ~vant, pas aprcs. Vne cchelJe . They discuss the next edition and long term plans, unifiee faciliterait la recherchede fonds auprcs duConseil' advertizing, etC. One inn.-0vation is reviews. These are des Arts dont les fonds sont .limih~s. Les jury ne peuvent pas in~ended as positive presentations of works, not an occasion toujouts avoirles connaissances ncCcssaires pour J'evaluation to create acrimony and·conflicts. .. de demandes variees. II faut une echelle uniquepour Ie WB: Commends this work. The graphic presentation is much 'Conseit - un taux par minute. Refuser de la fournir serait de improved with a' differen~ artist collaborating on each 'nuire a CEC. '. number. KA-: II faut signaler au Conseillaquestion des frais NB: Next number will concentrate on »PERSPECTIVES->->. d'execufion reels. Une oeuvre pour orchestre nccessite un DK: At some point a guest editor can doa humber. orchestre subventionne et ce, fait doit etre pris en WM: Has there been feedback on the reviews? consideration. NB: Generally positive. AM ,: II faut un questionnaire detaille pour les rencontres de' DK: It would be very. useful to restablish electronic mail juin. communications to the CEC Board for communications. ' JO : Inclure lenombre total d'executions. L'6lectroacoustique se compare favorablement ala musiquc pour orchestre surce 10. Membership point. KA The Charter changes will help. NB et KA prepareront Ie questionnaite. Still neede.d: . 1) Better access to universities; , 2) to other arts cqmmunities;

COlitact! 4.5 Juin / June 1991 7 Du conseil / From the Board

9. Contact! 3) below universities? eg High Schools? , NB: Il existe mainenant un comite de redaction (CSchryer, . DK: Letters to' provincial Boards of Education would help. LRadford, NB, FRoverselli- employe-CEC.) Ceci allege la RS: Film communities arE7 ignorant of the CEC's existence. Ega.. tache du redacteur-en-chef. On discute du prochain numero LIFI' in Toronto - 450 members. 3 000 accross Canada. -." et des projets a long teime, de la publicite" etc. Contact! est en , EB: The question people ask is "What would it do for me to be . evolution constil-nte. On innove, avec des articles critiques qui amember?" sont con<;us comme des presentations positives d'ceuvres, CdeM: It would be useful to have a folder to give to hon pas comme l'occasion de creer des conflits acrimonieux. prospective members with details of advantages of , WB: Felicite les responsables du travail ainsi accompli. La membership.. presentation graphique du demier numero etait grandement NB Each.of us should find ways to'attract new members. ameIioree. NB: Le prochain numero se concentrera sur 11 Varia »PERSPECTIVES->->.' , NB Official thanks to RSmith for the use of the room, coffee DK :A un moment donne un redacteur-en-chef invite and ice and stereo sound effects. pourrait s'occuper d'un numero. WB: Y-a-t-il eu des reactions aux critiques? . 12. Next Meeting NB : Quelques-unes qui etaient generalement positives. May 25th, Montreal DK : Ce serait tres utile de retablir la communication par Annual General Meeting courtier electronique avec Ie Conseil de la CEC.

10. Adhesions de membres KA : Les lllodifications a la Charte seront utiles... Encore a realiser : 1) Meilleur acces aux etudiants d'universites; 2) Meilleur acces aux autres commUli.autes artistiques; 3) Meilleur acces avant les universih~s?'eco-Iessecondaires? DK: Il faut ecrire aux ministeres provinciaux del'edu.cation. RS : Les communautes cinematographiques ignorent . generalement notre existence. Ex: LIFI' a Toronto -: 450 membres, ,3 000 a travers le Canada. EB: Les gens demandent: «A quoi me seivirait-il d'etre membre de la CEC?,> . CdeM : Ce serait utile d'avoir un depliant a donner aux gens. inh~resses. , NB.: Chacun de nous peut trm.iver desfa<;ems d'attirer de nouveaux membres. Il suffit de fai~ l'effort de parler de l'organisation achaque concert electroacoustique.

11 VARIA NB : Remerciements officiels a RSmith pour la salle de reunion, Ie cafe, la glace et les effets sonores stereophoniques.

12. Prochaine reunion " 25 mai 1991, a Montreal. Assembleeannuelle generale

8 Contact! 4.5 Juin / June 1991 Du conseil / 'From the Board

Une liste des prix pour les frais A Price Sch~dule for Studio Costs d'enregistrementdes reuvres electroacoustique ofElectroacoustic Works

,ParDavid Keane BYDavi~ Keane

Au printemps 1990, Ie ConseH d~s Arts de l'Ontario a In the Spring of 1990, the Ontario Arts Council consute la Ligue des compositeurs canadiens au sujet approached the Canaclian League of Composers for des factures soumises, par ies compositeurs pour frais , advice on an issue that had been problematic over de studiQ, lorsd'une commimde. ,recent years: how to deal with bills submitted by compoSers for studio costs (lssociated with c~mpleting La Ligue a par lasuite appro~hela CEC afin de commissions approved by the Council. connaitre ses recorImiandations. On a fait part des propositions du CEC au CAO, au): autres conseils The League tumed to the CEC for a recommendation . provinciaux, ainsi qu'au Conseil desArts du Canada. and that recommendation was then sent to not only the Le Conseil des Arts a pour sa part indiqueque les OAC, but to all the provincial arts councils anq the' , recommandations ne presentaient pas de Solutions Canada Council. The Canada Council has indicated that ' eventuenes. On a 'donc demande au CEC de presenter the recommendation was not an adequate solution for une liste de prix graduee de frais d'enregistrement, Se their particular purposes and has therefore requested servant commemodele de la liste'cree par la Ligue des, from the CEC a graduated price schedule for'recording compositeur. Cest un probleme complexe pour lequel . costs -using as a model the.price schedule maintained Ie Conseil d'administration du C,EC n'a pas de solution by the Canadiall Leagile of Composers. Even without simple. Cest pour cette raison que ce probleme sera consideration, this matter is obviously a complicated di~ute lors de »PERSPECTIVES->-> ' , .one, and for that reason"the Board of the CEC is not' atteII\ptingto provide an easy answer. This issue will Le point de vue desconseils des arts be one of the major topics for discussion at ' ,. >>:PERSPECrIVES->->. This article presents some of ,Puisque lesfactures pour frais (I'enregistrements ne the issues thatthe problem raises. . sont soumis qu'une fois Ie projet complete, les,conseils n'ontpas su trouver Ie moyen d'anticiper ni de ' The Councils' Perspective contr6ler ces depenses. Certaines depenses sont tres onereuse et ne peuvent etre ~l1tierement couvertes par, For the councils, the obvious difficulty is that when,the la subvention. Les conseils reconnaissent la ~6gitimite cos~s are submitted only after the project has been de,ces couts qu'ilscomparent aux fraIs de copiste. completed, the council has no way of anticipating the amounts, nor of controlling. them. Needless to say~ , Par contre, tautes les depenses son.t evaluees avant que some of the costs can b,e very high and these cannot be Ie jury en arrive asa decision finale. II est donc covered in their entirety by the council, DO matter what important de mettre sur pied un systeme qui the details are. The councils do see the costs as , perffiettrait d'evah.i.er les couts de productionet dont la legitimate and to some extent comparable to the , subvention tiendrait compte. copying cOsts of instrumental/vocal works. In the latter case, those costs are estimated before the jury makes its Les frais de studio decision

Contact! 4.5 Juin / June 1991 9 Du conseillFrom the Board

offrent des hirifs preferentiels, comme dans Ie cas d'un The studio may simply be used fot:' a final nux down studio universitaire ou personel. Nous devons done (requiring tape recorders, mixers, processing devices), tenir I;ompte de l'accessibilite des ressources aux or for realizing a MIDI score on better-,

10 Contact! 4.5 Juin / June 1991 Du conseill From the Board

Nous faisons donc les tecornm:endations suivantes : The CE;C's Original Proposal

Que la tarifications soit basee selon The proposal made to the League and to the Ontario Arts Council by the CEC Board a year ago was that -:la qualite et Ie genrede studio ( ert milieu scolaire, ' composers submit an itemized costing of recording commercial ou personnel) costs as a part of their application for a commission. While it is)mportant that a distinction between - genre d'activi!e( mixage; echantillonnage etc) composer's fee and recording costs must be clearly presented, the jury will be able to weigh those costs asa - personnel technique et musiciens part of their deliberations. While many jurors may not have sufficient experience to say whether the costs are Vos idees quant ala creation d'une liste de prix sont , appropriate or not,the decisio.nas to which projects to essentielles. Devons nOlls par exemple tenir compte des fund will rely (as it always does) upon the juror's frais d'adririnistration? estimation of the musiCal wo~th of the project.

II est possible que lacreation d'une liste de prix The advantage of this approach is tha't there is every n'apporte pasune solution immediate aux problemes et i.ncentive for the applicant to keep the costs as low as qu'on demande de nouveau ala CEC de faire part de , possible, but not sol low as to make the project ses recommendations au Conseildes Arts. Nous VOllS unworkable -since there would be no point in that. . invitons anous faire part de vosidees durant The applicant will carefully control the costs rather than »PERSPECTIVES'->':> ' putting that responsibiHty on the Council staff or the jury; he/she will have to persuade the jury that th~ proposed work is worth the cost. . '

The task before the CEC at »PERSPECTIVES->-:>

If a price schedule is to be assembled, it must anticipate all possibilities for studIO cost. Those that are not anticipated will likely have to be absorbed by composers in the future. There should be a recommended average rate for various qualities and sizes of each home, institutional, commerCial, (other?) studios; rates for each of the varied types of activities thatmightbe carried on in studios; rates for the variqus ,2 types of tasks that would involve performers and/or technical personal, tates for equipment rental and for material costs. There is also the question as .to whether o the composer should be compensated for the time involved in dealing with these logistics, over and above the creative fee. Your input into this price schedule is -,..' absolutely essential. ' , ,Once a schedule is established, it is ,a certainty that no ~" council will actually be able to cover many of the budgets set out in this way. Thus, itlthe end, the CEt J- ~, will likely be asked for yet another recommendation as _0 to how the Cmada Council might deal with this C , 'problem. Ifyouh<:lve ideas on what that might be, you >~ are invited to present them at »PERSPECTIVES->->. ,'2· 8n _t:f M"

Contact! 4.5 Juin / June 1991 11 t

"Merei' Ned pqur ta lettre m'invitant a rejoindre la CEC • Thank you Ned for your recent letter inviUng me to et a partager aVeC la comrimnaute me~ idees concernant become a member of the CEC again and also asking me rna musique- un cheque de cotisation est joint a (eUe to take the chance to write about my music. Therefore, lettre. Je reconnais l'importance de ceUe organisme qui please find enclosed a cheque to renew my membership represente les interets des compositeurs . 'in the CEC. I recognize that this society is very electroacoustiques canadiens dans un cadre culturel et important in that it represents the interests of Canadian politique. Cela dit, j'aimerais partager avec la electroacoustic composers in the larger communaute certaines frustrations que je ressent cultural/political agenda. Having said this, I wouJd like envers la CEC et ce que je c0nsid~re comme etant de to convey to the community my ongoing frustratiqns mauvaises interpretations de mon travail, deux with the organization and what! perceive to be elements qui sont directement responsables cle mon incorrect interpretations of my work. For these depart de la CEC. . frustrations and misconceptions were the reasons why I left the CEC in the first place. Ces frustrations et mauvaises interpretations trouvent leur origines dans la presentation de mon ceuvr~ Below These frustrations and misconceptions were brought to the Walls of Jericho, a >convergence< (novembre 1989 a the forefront for me at the Banff [>convergence<] Banff, AB). Au-dela de la controverse entourant la performance of my piece Below the Walls.of Jericho. presentation de cette' ceuvre, je suis tres de<;u qu'une Beyond all the controversy surrounding this seule personne m'ai demande de donner rna ver~;ion de petformance, I find it extremely disappointing that onl.> ceUe histoire-la raison pour laquelle une rimsique est one person in the community has ever asked me for rrrflJi}J! jouee forte ou doucement devrait interesser une side of the story. Surely a community of creators should communaute de createurs. Ma piece fut diffusee a un be interested in the raison d'etre of playing music very niveau elevee parce que tous les techniciens a Banff loudly or very quietly. The reason for the loud avaient decide de quitter la sCille durant rna repetition. performance was that all the technicians at Banff had On melaissa donc seul a dechiffrer Ie systeme et la decided to leave the hall during my rehearsal time, . console. D'habitude, jecompare Ie niveau .sonore a la which,left me with the enormous task of figuring out console et celui que l'on retrouve dans Ie public. Si on thesignal flow and the mixing console. Usually, I m'en avis donne ia possibilite, je me serais rendu . compare the sound at the board to sound in the compte qu'il avait uneombre acoustique autour de la audience. IfI had been able to do this, I would have console: Ie niyeau d'ecoute etait 10 a "30 db plus bas found the board area to be in a sound·shadow. This que celui du reste de la salle. Cefait m'a ete confirme . meant that the overall sound pressure level (SPL) lors de discussions avec d'al,ltres personnes qui etaient around the board was anywhere from 10 to 30 dblower assises pres dela console et qui n'ont pas trouve Ie thanthe rest of the hall. This was confirmed by people's niveau de diffusion tropeleve. Bien sur, si les observations about the hall's sound and by people who techniciens avaient ete presents lors de rna repetition, sat near to me reporting that it was not loud. IfI had j'aurais ete prevenu de cette ombre et j'aurais puagir the technicians that I was 'promised I.wouldhave.been en consequence. able to learn about this sounQ shadow during re.hearsaJ and compensated accordingly. Maintenant, quand je repete d'une rnaniere adequate, j'ai tendance a diffuser rna musique trop doucement. Indeed when I get a chance to have a correct rehe~rsa11 Dans mes ceuvres recentes, j'utilise des sons tend to play my music far quieter that I use to. At other acoustiques qui ont une resonance profonde et qui ne performancesin the last two or three years people have necessitent pas l~s meme niveaux de diffusion que les complainedthat I play my music too quietly now. This sons electroniques. has a lot to do with my work these years with acoustic sounds which have a rich resonance and do not need as , much amplitude boosting as electronic synthesized I~' sounds, that I used to work with, which need boosting 12 Contact! 4.5. Juin /June 1991 Echos 1Echoes

,Je ne peux dire pourquoi lestechniciensontboycotte in orderto achieve some sort of sonic depth and rna" repetition, mais compte tenu des commentaires resonnance. qu'ils ont ernis en entran~ et en quittant la salle, j'ai bien (I,. senti qu'on les avait prevenus concernant leniveau de I can not say why the technicians boycottedmy diffusion de rna musique. Les techniciens professionels rehearsal, but given their caustic comments upon apprennent a utiliser desbouchons dans des situations, leaving and entering the hall, I feit that they had been de diffusion dangereuses(des niveaux SPL au-dela de ' worked up concerning potentially loud SPL levels in my 87 dbA pendant plus de 8, heures, dans une periode de music. Truly p'rofessionaltechnicians are trained to use ' 24 heureset avec tres peude temps pour recuperer). earplugs in potentiallydamaging situations - ie. averaged SPLleveIs of over 87 dbA for more than 8 hrs Ne sachant pas qu'une partie du publksouffrait d'un . . in a 24 hr period :vith little or no recuperation. time. trop grand niveau de SPL's et qu'ils m'avait'hue en consequence, j'ai quitte Ia salle en demandant aux Not realizing that part of the audience was suffering , critiques de se servir plutOt 'd'un stylo pour me faire frornexcessive SEL's and had booed in response to this, part de leurs opinions. En d'autres mots, j'avais passe I left the hall asking the'persistent bobers to "save your un an ,et demi de travail a temps plein pour articuler . energy'-write a review and send it to me." In other mes idees en sons, je suis d'avis que cetteCEuvre words, I had spent a year and half of full time work in 'fonctionne bien et je ne faisais que demanderaux gens order to artIculate these ideas in sound. I feel the piece is de mefaire une'critiqueconstructive: quite successful and I was asking people who were' unreceptive to give me sO,me constructive criticism. ., Ce' ne sont pas les huees qui m'ontle plus frappe mais ' plutot les commantaires des gens apres Ie concert; a It was not the booing, but the reactions I received·from part les individus quiont toujours compris et appuy~ people after the concert that really turned my stomach. rna ll1usique, laplupart des gens ont ete silencieux ou Aside from those individuals who have always ' ont choisit de m'eviter. J'ai du faire face a des reactions understood and supported my music, most people wete mechantes : les pseudo-Marxistes etaient sUr leur silent or avoided me. From others, I encountered angry 'garde, prets Haire face ades tendances fascistes. Si responses, The pseudo-Marxists whipped out their , seulement ilsavaient pris Ie temps de lire mes notes de vigilance against fascist tendencies. Had they read my programme, ils se seraient rendus compte que ' program notes, they would have realized that I was j'essayais de creer une experience transcendante OU des " trying to create a transcendental experience in which concepts de changements revolutionaires posHifs 'concepts of positive revolutionary change become as deviennent courants.'Les pseudo-feministes se sont natural as breathing. From pseud~ferilinistsI got servies de la theorie du developpementde l'enfant de superficial readings ofPiaget's theory of child ,Piaget pour insinuer que j'ctais au'stage retrograde dudevelopment, inferring that I was at some retrogressive , cri. Si ces personnes voudraient bien quitter leurs nids screaming stage. Should the~e peopie ever leave the safe' , institutionels et familiaux, ils s'etonneraient de voir a, . harbor. of their institutibns and families, they might be ,quel point la musique dans notre societe est devenue shocked that music for most people in our culture has une'experience purgative de groupe (voir la these . become a group cathartic experience (Attali's thesis in d'Attali sur Ie role deJa musique comme sacrifice -acte Noise on music as sacrificial-viQlence comes to mind). violent, dans Bruits) . , It tQuld be argued that by setting up dense sound fields Encreant d i epais champs sonores, je fai t l'equivalent in my music, I amcreatihg a group Rorschach test in d'un test Rorschach en groupe qui rend possible une which"transcendence is achievable on a group level. I transcendan'ce de groupe, J'essaye de creer une "pmposefully try to create an excessive music in which musique excessive ou les timbres, les hauteurs etks all the sounds, pitches and rhythms implode on ' ,rythmes se fondent pour devenir un enormC trou noir themseives, creating a massive musical black hole of de non-identite, offrant la possibilite de debuts blancs. , non-identity and the pote!1tial for, what is currently Ces idees sont influencees par la physique de partkules referre:d to as white beginnings. These ideas are et les sociologues post-modernes, Arthur et Marilouis.e . influenced by particle physics and post-modern social Kroker, et Jean Baudrillard. Leurs e~rits sur l'exces . theorists, such as Arthur and MariLouise Kroker and dans notre societe sont bien loind'une attitudeegolste. , Jean Baudrillard, whose writings on cultural excess are far removed from the immature selfish ego. On parle rarementde sujets esthetiques'et de critique soCiologique lors d'evenements d~ la CEC carces . memes evenements ont tendance'a favoriser ks .discussions politiques, Mis a part mon interet pour les '

Contact! 4.5 Juin / June 1991 13 .. .Echos IEchoes

~ujets sociaux, rna inusique peui etre vue dans un By contrast, points of aes~heticsand social criticism a~e contexte de tI:fl.dition musicale. Je fait de l'orchestration rarely discussed by the community because discussions etendue afin de creer des nouvelles sonorites (ou une at CECevents tend to be oriented toward pedestrian . nouveI1e morphologie) et je cherche une nouvelle political issues. Beyond these cultural issues, it is very syntaxe ou pourrait s'integrer ces sonorites. Je tiens easy to contextualize my music in terms of traditional encore asouligner que les discussipns et les . musical discourse. I am doingextenoed-€xtended' presentations de communications lors d'evenements orchestration with new tunings in order to create. a new CEC portent d'habitude sur la fabrication (de logiciels, sound (or a new morphology) and I am trying to find a d'interfaces, etc) plutot que sur des sujets importants ne~ syntax or grammar to express these sounds. Once tels que Ie langage musical et son utilisati.cm. again, the discussions and papers at CEC events tend toward tool-making (software writing, equipm~nt J'ai pu savoir grace ades sources fiables, que interfaces, etc) rather than dealing with the important . l'humiliation de ce qui s'est passe aBa!lff continue de .issues of inusicallanguage and usage. me suivre. Des gens ont critiques montravail en tant . que compositeur parce-que j'ai «quitte la salle de Through confidential personal reportage, I know that concert aBanfen disant au public d'aller Se falre ------», beyond Bal}.ff"the humiliation of fhisevent as continued ou bien que j'ai quitte la CEC «parce-que je nepouvais to haunt me. People have bad-mouthed me as a pas accepter quelques huees» ..Croyez-moi, si j'etais si composer because I "stormed out of the Banff pall and susceptible face aux huees; il y a longterrips que j'aurais told the audience to f-- off," or that.! left the CEC . quitte lamusique. Plusieurs fois, ce genre defausse· ''because I could not handle a little booing." Believe me, interpretation des faits a fait obstacle ama·carriere. Ce I would have left music years ago if booing upset me. qui est encore plus grave, c'est que la communaute .' This type of false 'inferpretation has on several occasions semble etre plus interessee afaire du comme~ageque thwarted my professional goals. More importantly, one d'encourager des echanges et commentaires positifs. has to question the basis of a community which would rather spread false gossip aboutits members than J'aimerafs aussiprofiter de ceUe occasion pour vous ~ncouragemeaningful dialogue and criticism. faire part oe mon mecontentement en ce qui a trait les systemes de diffusion mis en place lorsd'eveneinents Beyond my frustrations ,with the lack of serious,aesthetic CE"c. J'en ai assez de venir aces evenements pour and musical discourse at CEC events, I would like to . 6, entendre des systemes.de sonorisation qui ne valent , take this opportunity to voice one last'discontent of a Qf meme pas les systemes quel'on retrouve dans un technical nature; I am completely tired of coming to salon. Je suis d'avis que rna musique souffre d'etre CEC events to experience sound systems that sound diffusee en public par une sono qui n'offre pas une worse than most people's front room stereo systems. I ,bande passante adequate, qui n'a pas de. specifications feel it does my own music a disservice to be played concernant la distortion et Ie rapport bruit/signal et qui publicly on a sound system.that does not reproduce a est incapable de reproduire un son clair, naturel et full bandwith, that does-not have a decent signal to

transparent. De plus, onne m'a jamais demande mon . noise and distortIon specifications, and is not capable of . I avis concernant la disposition des haut-parleurs. On' . creating a defined, natural ano transparent sound. presume que tout Ie monde veut une presentation Moreover, I have never been consulted ala CEC event aco~smatique de leur.musique. Pour rna part, je m'en as to the physical location of those poor-quality passerais. Je fais de la musique qui demande une speakers. It is presumed that everyone wants coherence de phase et qui l.!tilisedes distances de French-style acousmatique presentation of their music. I hauteursde moins de 1/8 de ton. Ce rapport est de~ruit do not. I engineer phase coherent music involving pitch par une disposition acousmatique qUI est generalement distances as small as 1/8 tones, and thi~ is destroyed by difficile adeplacer. Vne colone stereo de haute qualite acousmatique speaker set ups, which are often inflexible est ideale pour la presentation de rna musique; . once in place. A good q1,lality; phase coherent 3 or 4 way ster~o stack would be most suitable for.my music. Voici donc quelqUE:!s-un.es des raisons qui font que je ne prendrai plus part aux futures festivals et conferences For all these reasons, I will not attend CEC de la CEC. Neal}.moins, je compte appuyer ses actions conferences/festivals in the future. However~I will . politiques avec rna cotisation annuelle. . continue to support its political agenda with my annual dues. . Plusieurs lecteur(rice)s vont sfirement etre convaincu (e)s que je suis d'avis que les membres de la CEC ne sont que des «manipul~teursde Wutons-des reactionnaires sans un brin de matiere grise~>.

14 Contact! 4.5 Juin / June 1991 Echos / Echoes

. Je crois que malg~e Ie fait que l'atmosphere ou Ie cours· At fhis point, many readers will feel that I have been ­ . des evenementsCEC puisse porter acroire Ie contraire, high-handed by portraying CEC members as a bunchof. -plusieurs compositeur(rice)s membresde lil CEC sont ~'reactionary, mindless knob-twiddlers." I feel that extremement talentueux(euses), informe(e)s et ontune . .while thetenor or atmosphere of CEC events tends in grande competence technique. De plus, j'espere bien this direction, many CEC composers, on an individual continuer adiscuter, sur un planindividuel, avec ces basis, are exttemely talented, informed and teChnically meme membres de la CEC. . competent. Moreover; I look forward to continuing a dialogue, on an individual basis, with these members of Paul Dolden 'theCEC. - Vancouver,5-v-91 Paul Dolden - Je sais que j'aurais peut-etre du m~ pronortcer plus Vancouver,5-v-91. tot, mais je trouve que la plupart des presentations de communications lors de nos reunions nationales sont -In brief, and I apologize thatl haven't said this in the une veritable perte de temps. En supposant que nos past, I have found that most of the presentations of membres savent lire et que la documentation ecrite est papers at our national gatherings have beenan absolute disponibleavant la presentation dusujet, il n'est _waste of time. Assuining that all in attendance are vraiment pasnecessaite de nous lire lacommunication -·literate, and that the reproduction.in print of this mot pour mot. La majoritedes lectures des material is available before the preseritation, it is not .communications lors de. Bartff etaient d'une telle necessary to have the papers read verbatim to us. In lenteur qu'elles depassaient Ie temps accorde. Cette Banff, the readings were generally sO·poor as to, more situation a fait qu~ je n'ai eu qu'un tiers du temps often than not! have extended beyond the allotted time qu'on m'avais promis, etdont je comptais me servir limit. So (and this is why I even remember such a pour presenter des illustrations etde la documentation. forgettable situation a year and a half later) iny . al'appui de rna commuriication (c'est aussi ce qui fait presentation, the last one, in which I was prepared to que je me souviens encore de ce point, un an etdemi . play audio illustrations and provide supplementary -_ plus tard). Je venais de passer quelques heures a material to the paper, was truncated taa third of the entendre des lectures de textes (la seule exceptjon etant le~gth I had been originally allotted. I had just listened _ la presentation d'Alcides LanzCi, animee d'exemplesdu to acouple of hours of readings of material (relieved . repertoire de la poesie sonore) que j'avais deja only by Alcides Lanza'scolorful renditions of examples parcoutuanterieurement, en moins de la moitie du from the history of sound poetry) I had already read temps. J'espere que Ie temps qui est accorde pour la thoroughly in a fraction of that time. I am mentioning ­ presentation de communications lors de . this now, on the eve of the gathering for . »PERSPECTIVE.S~>~> sera misa meilleur profit. »PERSPECTIVES->->, in the hope that the time_ allotted for presentations can be used to greater John Oswald advantage. .- - .Toronto, 24-iv-91 John Oswald Toronto, 24-iv-91

...... ,;,.- .-- _. '~ ... ~' .

Contact! 4.5 Juin / June 1991 15 .Comptes rendus / Reviews Par Laurie Radford By La~rie Radford Halogenes Halogenes CEuvres electroacoustiques de Belkin, t>homont, CEuvres electroacoustiques de Belkin; Dhomont, ·t' Deschenes, Piche. Des~henes,Piche UMMUS Serie "Actuelles" UMMUS Serie "Actuelles" 'UMM101 UMM101

Certaines institutions scolaires et facultes de musique Educational institutions and faculties of music possess a ont une longue traditon de mettre en place et d'offrir long tradition of initiating and supporting sonic un systeme de documentation $Onore des'disciplines documents of musical disCiplines and traditional world' . musicales et de la musique tniditionelle du monde, musics that too often remain inaccessible to the general documents auxquels Ie public n'a pas souvent acces. public. The University of Montreal joins thIS tradition L'universite de Montreal fait maintenant partie de ces' with the launching of itsnew CD labelUMMUS in~titutions avec Ie lancement·de l'etiquette UMMUS (Universite de Montreal MUSique). The first four CD's (Universite de Montreal MUSique). Les quatre premiers in the UMMnS catalogue were released inMarch and disques compacts dans Ie catalogue de UMMUS ont ete . comprise three categories: "Classiques", "Tradi~ions",' lances au mois de mars et sont regroupes dans trois and "Actuelles".Along with a Baroque and . categories :.«Classiques», «Traditions», and . Rennaissance harpsichotd selection by Rejean Poirier in «Actuelles». Enplus d'un nouvel enregistrement du the "Classique" series, aselection of InUIt music and NEM, la serie «Actuelles» comprend Halogenes, un · songs in the "Traditions" series, andthe first recording disque qui presente une selectiond'ceuvres .by the NEM (Nouvel Ensemble Moderne) in the electroacoustiques de quatre compositeurs bien connus "Actuelles" series, a second recording in the "Actuelles" qui enseignent ala Faculte de musique de l'uni'versite series entitled Halogenes offers·a selection of de Montreal. . electroacoustic music by four wen-known electroacousticians who work and teachat the the La premiere ceuvre sur ce disque est Adagio I de Alan University of Montreal's Faculty of Music.. Belkin. Cette piece est en fait la premiere de quatre interludes que l'on retrouve dans Night Labyrinth · The first selection onHalogen,es isAlan Belkin'$.darkand t\0 (1988), uneceuvre en sept mouvements, pour trois .brooding Adagio I. Adagio I is the first of four Interludes Y 'musiciens qui jouent sur des claViers MIDI. L'ceuvre est from his seven movement work Night Labyrinth (1988) forinee des quatre interludes separees par trois and is for three musicians playing MIDI keyboards. The mouvements pour bande seule. Les inlerludes sont complete work includes four Intertudes separated by «une extension de la notion de musique de chambre: three more extensive movements for solo tape. The trois personnes ayant chacune leur propre personnalite interludes are "an extension of chamber music-: three musicale conversent et se confrontent en divers performers, eelch with a distinct personality, converse contextesdramatiques». and confront one another in various dramatic contexts".

Deux des ceuvres sur Halogenes sont des reflections sur Two of the works on Halogenes draw their inspiration Ie phenomene de la «lumiere». Francis Dhoinont a · from, or rather, provide areflection upon the compose Chrolfiquesde la lumiere pqur une phenomena of "light". Francis Dhomont created his .performance-installation produite par la SMCQ en Chroniques de la Lumiere for a performance/installation

1989. Heureusement, cette ceuvre a depasse produced by the SMCQ in 1989. Fortunately, m l'evenement sirigulierqu'est une installation pour se Chroniques... has outlived that one-time.event and retrouver dans Ie catalogue d'ceuvres deDhomont, · entered Dhomont'srich and vast ceuvre of acousmatic . ceuvres qui sont destinees a etre presentees en concert. works designed for concert performance. Dhomont's Ce compositeui" fait preuved'une maitrise des' masterful acousmatic diffusion techniques bring to his techniques de diffusion en acousmatklue dont il se sert concert works dimensions and dynamics vital to their en comp6siteur pour ajouter une dimension et une shape and meaning. Although this aspect of Dhomont's dynamique qui donnent formeet sens ases ceuvtes. art is obviously lacking in a stereophonic recording, his Malgre que cette partie du travail du compositeur n'est craft is no less apparent here and, in some ways, one is pas en evidence lors d'une ecoute roouite, sa maitrise drawn even more into thematerials themselves, his des materiaux est indeniable et l'auditeur est encore sonic vocabulary and boundless imagination being all plus soouit par Ie choix des materiaux, par Ie the more emphasized by the absence of a multi-speaker vocabulaire $Onore et par laforce de l'imagination du environment. Chroniques ... isin three movements, each compositeur. movement metaphoricaily investigating a d.ifferent

16. Contact! 4.5 Juin / June 1991 Comptes rendus / Reviews

Chroniques de la lumiere est en trois mouvements qui aspect of light: Miroitements (Shimmering), Artifices a.....,...·.'. represent~nt des aspects differents de la lumiere : , (Pyrotechnics) and Meteores {Meteors). An evolution ~" Miroitements, Artifices et Meteores. Uneevolution du «lent from "slow to fast, calm to'tumultuous, dark to light, au rapide mais aussidu calme au tumultueux, du . -soft to loud, from the static to the mobile, from the sombre au clair, 4u pinao au' forte, du statique au elementary to the complex" is plotted throughout the mobile, de l'eiementaire aucomplexe» determine la Ugne course of the work. The sonic pallete is rich and diiectrice de cette CEuvre. La pallette sonoie est riche et ever-changing with several haunting.fragments, like toujou~s changeante, avec pl~sieurs fragments . timeless refrains, returning to give us bearings in this. obsedants, comme,des refrains hors-temps qui expansive tableau. reviennent p.our nous diriger atravers ce tableau exparisif.» ' Marcell~.Deschenes' Lux Aeterna is a bold arid-striking voyage through a universe in the far-off (or possibly Lux Aeternade Marcelle Deschenes est un voyage not-so-far-off) future, a future brought to its knees by audacieux dans un univers futunste, un univers qui man's unquenchable thirst for progress and knowledge. tremble sous lasoif interminable qu'a l'homme pour Ie The title reveals some of the sources of the work that· progres et Ie savoir. Le titre fait r&ference adeux retraces elements from two of her multi-media work~ elements importants dans la demarche artistique de la .. (Big Bang II, 1987 and Lux, 1985): "light" as a metaphor compositeure et quel'on retrouve dans deux autresde for knowledge, a creative as well a~ a 'destructive for~e; ses CEuvres multimedia (Big Bang II, 1987 et Lux, 1985) : la and by way of extension, the. world ofscierttific ·lumiere, metaphore du savoir, une force autant creatrice exploration and discovery, the search for both que destructive; et de la ineme manicre, Ie monde dela technologicaland spiritual knowledge; and . recherche et de la decouverte scientifique, la recherche consequently the repercussions, both positive and pour Ie savoir technologique et splrituel;.et .negative, of these obsessive pursuits upon the universe. consequemment,les repercussions, positives et There are also sonic references to the liturgical . negatives de ces obsessions. Deschenes fait aussi implicanons of the title r:n the use of chorale fragments, reference al'aspect liturgique du titre par l'utilisation de. low monk-like chanting, dark pipe-organ chords,and fragments de chorales,de chaI!ts de moines, de sombres ethereal voices that drift by amidst po~ent fragments of accords d'orgites, et des voix ethen§cs qui flottent parmis - text, en route through a soundscape of industrial les textes fragmentes, en route vers un monde sonore de pulsations an~ominouslyreverberating drones. pulsa~ionsindustrielleset de bourdQnnements mena<;ants. The final work on Halogenes is Jean Piche's In Vertical Fire (1984)" a poetic romp that dances its way from its La derniere ~uvre que l'on retro,uve sur Halogenes, In sombre beginning to an exuberantly frenetic finale. Vertical Fire (1984) de Jean Piche, evolue d'un debut Twisting melodic lines weave theii w?-y petwee~ sombre yers une finale exhuberante. Les lignes fragments of whispered text and deep bass melodiques tournoyantes se frayent un chemin parmis interjections, the whole driven ahead by an incessant les textes chuchotes etles basses profo'ndes qui stream of perpetuum mobile sequences at high speed. s'interposent, Ie ·tout entraine par des sequences ahaute' vitesse de type perpetuum mobile. Halogenes offers an insight into the diverse approaches to eleetroacoustic music pursued by these four Halogenes nous pn~sente les differentes approches de composers and the variety of experience and . l'eiectroacoustique qu'ont ces quatres compositeurs, et instruction offered at the University of Montreal dernontre la variete d'experience et d'enseignementdont Faculty of Music. UMMUS is a welcome addition to the font preuve les professeurs ala.Faculte de m'usique de . growing community of organizations committed to the l'universite de Montreal. L'etiquette UMMUS s'ajoute a documentation and promotion of new music and the la communaute grandissante d'organismes qui ont electroacoustic arts. . . comme mandat de documenter et de promouvoir la musique nouvelle et les arts electroacoustiqucs. The UMMUS series of recordings is available from ·ACORN, 221 North Street, Port Perry, Ontario L9L 1B7

Contiret! 4.5 Juin / June 1991 17 Comptes rendus / Reviews'

Culture Elecfroniques 5 ,Culture Electroniques 5 Laureats du 18e Concours international de musique Prize winners of the 18th International Electroacoustic 'electrmicou?tique/Bourges1990 • Music Competition/Bourges 1990 • LDC 27805/52 LDC 27805\52 ~ CM211x2 CM21lx2

Le concours international de musique ~eConcours International de Musique electroacoustique de Bourges en est asa 1ge imnee. Par Electroacoustiqueih Bourges, France is presently in its Ie biais de concerts,de diffusions radiophoniques, de 19th year. Throughconcerts, radio distribution, studio residences dans des studios, et de prix, ce festival a fait residencies, and prizes, it haspromoted the plus en ce qui a trait ala promotion de la communaute international electroacoustic music community more .' electroacoustique internationale que n'importe quel . than any other organization in the world. Since the autre organisme au monde. Afin d'elargir sOn champ mid-1980's, as a part of its'ongoing activities o~ d'activite et pour poursuivre son travail de promotion and di:;;semination of electroacoustic music,' propagation, Ie festival aproduitet distribue, depuis Ie it has'produced and distributed recordings of the debut des annees 80, des enregistrements d'CEuvres winning compositions from each year's competition. laureates. Ces enregistrementssont d'une grande These recordings are a'valuable source for composers, valeur pour les cOrnpositeur(e)s, musicologues, musicologist.s, radio broadcasters, connoisseurs, and diffuseur(e)s radiophonique, connaisseur(e)s, et tous anyone wishing to know, the present state of ceux qui s'interessent al'etat Cle sante de . electroacoustics (of course as heard through the ears of l'electroa~otistiqiJ.e international (ou du moins ce qu'en the Bourges juries!). The most recent CD available pense les juryde Bourg~s). Le plusrecent includes works by the Laureates of 1990's 18th enregistrement reunit des CEuvres primees lors du 18e InternatiOnal Competition, as well as a flashback to .Concours in,ternational (1990)et des'CEuvres qui ont ete prize winning works from bygone years in a'section couronnees.durant les annees 70, regr,?upeesdans une called Coda Memoire/Memoir 1973-74-75. section qui s'intitule Coda MemoireJMemoir 1973-74-75. The first of two CD's in this compilation includes a On retrouve Below the Walls of Jericho, une CEuvre du work by Canada's Paul Dolden, Below the Walls of canadien Paul Dolden sur Ie premier des deux d'isques Jericho, which won 1st Prize in the Electroacoustic 4i compacts: Cette CEuvre a remporte Ie Prem,ier, prix dans Music category for 1990 (see Contact! 4.4 fora review la categorie electroacoustique en 1990 (voirContact! 4.4 of this work). The 2nd prize in the same category is pour Ie cornpte-rendu de cette CEuvre), Le2e prix dans represented here by Italy's Carmelo Saiita with'his cette meme categorie s'est vu attribuee al'italien somewhat disjointed yet intriguing La Maga 0 el angel de Carmelo Saiita, pour son CEuvre quelque peu disjolnte la Noche. Also on the first disc is a: work by Kjell mais non peu interessante, La Maga 0el angel de lei Johnsen from Norway whose work Mura-lki for flute Noche. Sur.ce meme disque figure imssiune CEuvre and tape won 2n<:I prize in the Music for Performer(s) pour flute et'bande, Mura-Iki, du norvegien Kjell and Tape category. Mura-lki is an impressive work in Johnsen qui a remporte Ie 2e prix dans la categorie its integration of a multitude of contemporary flute mixte. Mura-lki est une ceuvre impresskmante dans son techniques (brilliantly performed by Norwegian . integration d'une multitude de techniques flautist Sissel Doium), computer-generated materials contemporaines pour la·flute (jouee brillament par Ie based on the very same flute sounds, and a large and flutiste norvegien Sissel Dorilm) avec des materiaux engaging musical.form. geJ\eres par ordinateur et bases sur ces memes sonorites. . A WOnderful performance of Robert Rowe's work Flood Gate for Violin, Piano andInteractive Computer is Le pre~er disque contient allssi une interpretation included on the first dist. Flood Gate was awarded 1st marquante de Flood Gate de Robert Rowe, CEuvre pour prize in the Li.ve Electroacoustic Music category and violon, piano et ordinateur interactif. Cet,te CEuvre, qui admirably d~splays.a closely-knit structure and . a merite fl,Rowe Ie Premier prix dans la categorie interchange of matenals and roles between the . electro,acoustique en direct, est conslruite de maniere computer and the violin and piano, played here tres serre et comprend un echange interessant de respectively by Nancy Cirillo and Sandra Herbert. One materiaux et de roles entrel'ordinateur et Ie violon et other work appea~s on the first CD, Frances White's .piano, joues par Nancy Cirillo et Sandra Herbert. La Valdrada, award 1st prize iIi the Electroacoustic derniere CEuvre sur ce premier disque Valdrada, de Program Music category. Valdrada is an atmospheric Frances White, qui s'est merite Ie Premierprix dans la portrayal of an excerpt from Italo Calvino's book Le categorie aprogramme, traduit en son un extraitde Le Citta invisibili. The text, rather thanbeingliterally

18 Contact! 4.5 Juin / June 1991 'Comptes rendus .I Rev,iews

Citta invisibili de Halo Calvino. Le texte n'est pas .presented, is used as the underlying structural and presente de fa<;on litteral mais sert plutot de base timbral element of the work, filtered consonants structurale et comme timbre premier: des consonnes providing the rhythmicpulsation of the opening section; servent de pulsation rytluniquedans la premiere vowel timbres appearing in the central part, and the , section; des voyelles sont utili~ees dans la partie filtered consonants accompanying the song~like vowel centrale: les deux phonemes sont reunis dans la sounds in the final ~ction. Calvino's image of an , derniere section. Dans Valdrada. l'imagerie de Calvino, illusory city above and below the waters of a lake visited d'une cite imaginaire situee au dessus et au fond diun by Marco Polo are translated in Valdrada bythe lac qui fut visitepar Marco Polo, est traduite al'aide de prevailing palette of liquid-like computer-generated timJ:>res et de materiauxgeneres parordinateur qui timbres and materials. 'rappellent I'eau. . Another work by the American composer Frances Le deuxieme disque debute avec une autre CEuvre du White, Still Life With Piano for piano and tape (sharing compositeur americain Frances White, Still Life With the 2nd prize in the Music for Performer(s) and T~pe) Piano, pour bande et piano (2e prix ex-equo dans la begins the second CD. As the title suggests,the tape categorie mixte). Tel qu'on peut Ie deviner par son tilfe materials provide an almost staticweb of softly (nature marte et piano), Ie materiel sur bande sert de undulating sounds over which the piano presents a toile presque fixe, avec ses timbres ondulants, sparse and reflective soliloquy.The two media at times commente par Ie .piano dans un soliloque espace. Au form two.disengaged streams of sound and intent, the,n depart, deux filets d~ sons et d'intention, les deux converge in similar modes of intensity and direction to media se rejoignent en intensite et direction. ' ~reate a convincing, if enigmatic musical statement.

La derniere CEuvre du conCOUfS de1990 que l'on The final work from the 1990 competition included here retrouve dans ce receuil est Cumulos du compositeur is Cumulos by Argentina's Gabriel Valverde (2nd prize argentiri Gabriel Valverde (2e prix dans la categorie a 'in the Electroacoustic Prograpl Muslc category). C1,lmulos programme). Le compositeur s'estbase sur des . is based on astronomic observations of galactic observation astronomiques de cumulus galactiques cumulus. Valverde balances the distribution of energy pour eql,lilibrer la repartition de l'energie et de la and dynamics in his workto parallel the homogeneity of dynamique de cette CEuvre d'une maniere qui rappelle .the cumulus phenomena. The result is a series of sound l'homogeneite du pMnomene du cumulus. -, events and evolutio,ns with differentcharacteristics that. cumulatively (more or less?) create an homogeneous On retrouve aussi dans ce double compact un aj6ut music work. interessant: quatres CEuvres gagnantes dans les trois premiers concours de Bourges (l973-74~75). Malgre Ie An interesting addition to the compilation is the fait que ce~ CEuvres aient ete crees il y a plus de 15 ans; inclusion of four works from the first three years of the et malgre Ie fait que la technologie de cette periode se Bourges competition 1973-74-75. Although these works fait entendrepar Ie manque dequalite des were created 15 years ago ormore, and despite the fact ,enregistrements et par les procedes de manipulations that the technologies of the time are evident in the utilisees, ces

LE PAYSAGE SQNORE THE TUNING OF THE WORLD CONFERENCE INTERl\IATIONALE SUR L'ECOLOGIE SONORE BANFF INTERNATIONAL CONFERENCE .ON ACOUSTIC ECOLOGY

Abu!l993. August 1993 Banff Centre for the Arts . The Banff Centre for the Arts

L'ecologie sanore questionne la relation entre Ie son et Acoustic ecology is concerned with the relationship l'environnement, relation dont les premieres etudes between sound and the environment. Perhaps the first detaillees ont ete effectuees:n y·a presque 25 ans;a detailed study ofthis relationship was that undertaken l'universite Simon Fraser, dans Ie cadre du World by The World Soundscape Project at Simon Fraser .Sotindscape Project: . :University nearly 25 years ago.

Le titre de notre conference fete lesoixantieme .We have borrowed the title "The Tuning of the World" ariniversaire de R Murray Schafer, ~uteUl~ du livre «The for our 1993 conference from thewell-known book byR . Tuning of the World» (U Paysage sanare) et fondateur Murray -Schafer, founder of the World S6undscape duWorld Soundscape Project. . Project, asa tribute to him on his 60th birthday.

Par Ie biais de cette The BanffCentre is conference, Ie Banff proposing a· _ . Centre propose conference devoted 4"¥i d'etudier la place to "tuning" the· . de lienvironnement acoustic . sonore dans la : 'environment in the complexite de notre complex monde "c0!ltemporary contemporain. Quel· world. What is the est l'equilibre entre proper balance les sons de la between nahiral, nature, des , humanand-,· humains et de la technological. technologie? De sounds? In what queile maniere nos ways are our attitudes envers la attitudes to .creation dessons et . soundmaking.and l'ecoute ont~lles evoluees? Quel esHe role des medias. listening changing? What effects do the media have in dans l'environnement sanore contemporain? Quel est Ie the modern soundscapes? What particUlar role does role de la musique dans Ie developpementde l'¢coute? music play in shaping sensory awarepess? How do . Coml)lent nos conceptionsde l'espace et du temps, du attitudes and habits toward soundmaking and listen,ing bruitset du silence, de la societe et de la affect our concepts of space and time, of noise and communication sont-ellesaff~ctees par notre attitude silence, society and communication? Is it 'possible to. envers la creation sonare et l'ecoute?·Pouvons-nous develop principles of acoustic design for environments d~velopper des principes de design acoustique pO\Jr les . of the future and if so wh~t can we learn from the past, environnements du futur et si cela est possible, que .. from othercultures, or from technologi<;al pouvons-nous apprendre du passe, des autres cultures. developments taking place today? et des developpements technologiques d'aujourd'hui?

20 Contact! 4.5 Juin /June 199T Evenements / Events

De nombreux experts en matieres diverses seront Lead;ing experts will be invited from many disciplines invites d'un peu partout dans Ie monde afin qu'il(elIe)s and many countries to pool their ideas and knowledge partagentleurs idees et leurs decouvertes de fa<;on a in an interdisciplinary quest to understand the pouvoir rnieux.comprendre les principes de l'ecologie , principles of acoustic ecology andreveal the elusive sonore et de montrer Ie chernin a suivre pour rendre un Tuning of the World. The conference will be specific, , equilibre au paysage sofwre. Les sujets traites lors de but will be addressed to thewidest possible audience in cette conference,specifiques de nature, seront presentes , arder that the principles of soundscape awareness may au grand public afin d'assurer que les principes de be understood by people of all ages and cultures. l'ouverture vers Ie paysage sonoreserontt:ompris par des gens de tout age, The background setting for the conference is Banff National Park, designated by UNESCO as a World LeParc national de Banff, tine reserve UNESCO et Ie . Heritage Site, and Canada's first national Park. The host premier,pare national canadien, servira de decor pour is The Banff Centre for Continuing Education, a centre cette conf~rence, tandis que Ie Banff Centre for for advanced study and conferences in ~he arts and Continuing Education en sera l'hOte. L'annee 1993 a ete management. 1993 has,been designated as a year for designee par Ie Banff Centre camme l'a'nnee des projets eiwironmental projects at The Banff Centre, including a environnementaux est on y tiendra de nombreux wide range of other performances, exhibitions, evenements specianx, expositions, presen~ations visuels screenings and special events. et autres. For more information,'please contact: c/o Director of Pour plus d'informations, contactez : c/o Director of 'Program Development / The Banff Centre for the Arts. Program Development / The Banff Centre for the Arts / PO BOX 1020 / Banff AB / TOL oeo / (403) 762-6290, / PO BOX 1020 / Banff AB/ TO~ oeo / (403) 762-6290, FAX: (403) 762-6699, E-mail:[email protected] Telecopieur: (403) 762-6699, E-mail: [email protected]

.; " .---_.

Contact! 4.5 Juin'/ June 1991 .21 Evenements / Events

Journees eleCtroacoustiques CEC 1?91 C'oncordia 1991 CEC Electroacoustic Days

Concert n° 1 3 .. vi 1991 Concert n° 4 6- vi 1991 8PM 3:30 PM

R Thibeault Electro Weiss . EMadan Caniapiscau GMiChel' Rebound GGinader' Dreamscape P Steenh~isen . Wire CMeloche End Game FKoustrup Three Women/Trois Femmes The First Sea CKish Midnight European 'Sound? MMatthews MZibenS .Riddle of Numen R Windeyer Chez elle .' R Trithlar Black it Stood As Night APaivio Oo-.wee C Piche' Dors-tu? B Holland WalkAbout

Concert n° 2 4 - vi 1991 8PM Concert n° 5 6- vi 1991 8PM JWiniarz Ricochet WPollard The Sounds of Childhood E Bebris 'LRT YPotvin Trim Assassin B Truax Pacific Dragon HLe Caine' Dripsody RN ormandeau Bede DDion Sonaxe JTenney Phases . TBrady Dead of Winter, B Pennycook PraescioIV PTrudel La lumiere fugitive. D Saindon .. L'oiseaux Rouge S Pinchbeck Penetration B Golden Pink Pleasure B Degazio . Crash

.Concert n° 3, 5- vi 1991 ,8PM Concert n° 6 7- vi 1991 '3:30 PM

A Lanza arghanum IV-'1991 PDjwa Imaginary Music H Westerkarnp KitsBeach Soundwalk . M.5tecky Triptych G Gobeil La ou vont les nuages. , S Laforest . Piece #3 S Barroso En Febrero Mueren las Flores IF Denis Quatre images' MMaguire Twenty-four Keys to World A Eigenfeldt Sound Bytes Domination C Lassonde Sentes aux abfmes des sens PHannan Harmonia WBartley Ocean of Ages Revealed J Piche musiques virtuelles Ijr ,(...joies et perils du dompteur)

22 Contact! 4.5 Juin / June 1991

" ' Evenements I Events

Concert n° 7 8~ vi 1991 Mixer I console 8PM -TAC Scorpion II, 24 x 8 X 2, wi 8 x 8 matrix .

D L'Esperance Sur deux fles de K.B: Speakers, Amplifiers I haut-parleurs; amplification BRoy Incursions Nocturnes 16 (8 pairs) . R Komorous Anatomy of Melancholy - Meyer SOOR Series wJ 518 Subwoofer ' MTremblay L'argenLtoujoursl"argent 600 watts (continuous) I channel L Fortin Musique pour cordes, cimbales et - JBt Custom Cabinets, 110 watts (2 pairs) ~yntheHseur . - ALTEC Custom, 110 watts (2 pairs) . MRodrigue' Crystaux liquides - B&W 801, Bryston B.3 (100 watts) (double as FDhomont Novars . recording monitors) . - Yamaha SM 15H wedges, Sony TX ,110 watts (2 pairs)' 8~ Concert n° 8 vi 1991 Recorders I Enregistreuses 3:30 PM - PanaSonic SV-3500 DAT, Tascam BR20, Tascam TSR 8; Tascam 112 MKII D Scheidt A Digital Eclogue - 4 channels DBX noise reduction I reduction de D Keane. Saxopihonics . bruit 4 pistes DBX' . F Roverselli 2F' B Jarvis SuperiQr Mother Miqophones R Smith Ruptures - AKG C414, C426, C 451, D202,D224, C Schryer Vagues d'exces BLee' -:- SHURE SM58, SM8l, SM85, SM87, La verita fora -Sony ECM23F, RealisticPZM

8~ Processing / traitements Concert n° 9 vi 1991 ~ Yamaha SPX 1000,SPX 90 8PM - 4: Delta Graph EQlO D McIntosh Made to SCI~le . G Ciamaga VU J Kamevaar .Send PDostie Corpus Sonorous D Copeland Siren Songs DEagle Tract?;S .. CCMC Piece

Altec

JBL

Onstage Seating E1edroacouslic Projection configuralion

Contact! 4.5 Juin / June 1991 23 r· ...., ., ., ••.• .- ..t'. . . • to. '. , i ,.1 •• "" •.• .~',. t~ .. ,.-, , :- , . ...•.,," , I.y: r, •••• , ~ .' H...... ~. .. r i . •. _ '0, _ ...-..:.,·.'\U ~; ..'_ ... j.; ~ .; •••u",,';- .~ •• ) , ...... ~ ,. 'J ~ •.• " ".~., ~ ~ . ,1...... ""'-. .. , ", .. -,. . 't ~ • ", '-.. .. ". .. ,...... -..4,,'M. ',••.,~."" •• • ••41 ~__, ....--r' : .~ •.. I~.-; " ".,t,....".· .; It..-•••~ L...... a../' ,·••·.I.I·.~ " ~~fr~ ....,.." ·'lo.. • 2®Concours international ATARI '-t ...... " . ..,.. . , oInternational [!BfC~1 ATARI Competition ,to ' "Ii '... ~ ...... Da~e limite d'inscription I Ciosing date: Ie OCTOBRE1991 / OCTOBER 1st, '91 ot:'" ...... '. I' '1 te~u. ·.. oils so.mmesheureux de vou.s annonc:erla e de lasecon.deooition du concours intern.ationalde mini.atures electroacous­ ...... -.. Ntiques, organiseconjointeinentparI'ACREQetPRIM Video, aveclacollaboration delaSocieteRadio-Canada (!eSeaU MF, :",1....·.., .-...." ernissionMusiqueactuelle): . _ . • ;.; .....'...... «t' .... . Nousinnovons cetteannee en creantune ~econde categorie: I'ElectrO'-Video Clip (musiqueHectroacqustiqueetimage.video)". ,~ .... ~f ~o. 'l.oc!ro';"'~ri' min"'~~.· ·.e arepleas.. edto announce our second edition this international "'I"'titioo 6f ,co- prodl;lced "'r-"':'" ...... ,,, . byACREQ and PRIM; in collaboration with Societe Radio-CanadaFM, within the ~

Bulletin de participation ala pagesuivaI1te Appliqtion for",lon the nextpage Perspectives I Opportunities

~--,.------:------:-----'---~ 'BULLETIN DE PARTICIPATION • APPLICATION FORM: , " . "I Les supports (boitiers et bobines) doivent "tre anonymes. N'y inscrire que Ie titre .I I et Ies specifications techniques: vitesse de der0u!ement, sens !Ie defilement , ,I 1 The boxe. and lapes musl be anonymus. Please iTlClude li/le and lechnical specijicatiollS : I I lape ,speed, lape out OT h;ad out. "

, Nom/Name Oeuvres proposees / Submitted works' I 'l Adresse/AddreSs A) CategorieI Category l Titre I Title I Specifications' Duree{Duration

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Faire parvenir 11 I Send to: Association pourIa Creation et Ia Recherche tlectrOacoustiqUl~s du Quebec C.P. 416, succ. Outreniont,Quebec Canada, H2V 4N3 I L ------~------~

SYSTEME DE DIFFUSION DE LA SALLE DE CONCERT DE CONCORDIA CONCERT HALL SOUND PROJECTION SYSTEM '

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Contact! 4.5 Juin / June 1991 25 · Perspectives I Opportunities

-Le concours Stockholm Electronic Arts Award -The Stockholm Electronic Arts Awardis a retients des ceuvres dans deux categories: ceuvres competition for works of two categories: Electroacousti~\ electroacollstiques (bande seule); ceuvres . ' works (t~pe alone); Video with electroacoustic music. A. '. electroacoustiques avec video. Le premier prix de first prize of $ 1,800 US will be awarded in each chaque categorie est de 1,800 $ DS. Ouvert aux category. Competitors may be of anynationaiityand' compositeurs'de tout age et nationalite, ceux-ei sont age; No competitor may enter P10re than one work in' pries de ne soumenr~ qu'une seule ceuvre. La date each category. Entries must be received by tne Swedish limite de reception est Ie 10 jujn 1991. Le droit d'entree National Concert Institue no later than June 10th, 1991. est de SEK 140 (25 $ US) et devrait etretransfere dansle The entry f~e is SEK 140 ($ 25 US) arid should be paid to compte de transfer du Swedish National Concert the Swedish National Concert Institute's, bank transfer Instih!-te, N° 861-0453, avec l'indication suivante : service # 861-0453, mar,ked «Electronic Arts Awilrd». «Electronic Arts Award». Les laureats seront annonces The winners ~ill be announced during the XIIIth . lors du vingt-troisieme Stockholm Electronic Music Stockholm Electronic Music ,Festival. The members of Festival. Les jury est compose de Jean-Claude Risset, , the juryare : Jean Claude,Risset, D~nnis Smalley, Georg Dennis Smalley, Georg Katzer, Jan W Morthenson et Katzer, Jan W Morthenson and Tommy Zwedberg.'The Tommy Zwedberg. Les organisateurs se re~ervent1e organisers reserve the right to perform any entry in droit de presenter en concert et de'radiodiffuser les concerts ahd / or broadcasts in'conjunction with the Ceuvres re<;ues. Vous devez joindre avotre soumission , festival. Entries should be sent in with a completed un formulaire dument rempli (contactez la CEC pour entry form [available from the CEC] and the entry fee en obtenir unecopie) et Ie droit d'entree. Le nom de entry fee, bl1tthe competitor's name should not appear l',auteur ne doit en aucune fa<;on apparaitre sur la ' on the tape of the box containing it. For more bande ou Ie boltier. Pour plus d'inforrnation, contactez : information contact: The StockholrnElectronic Arts The Stockholm Electronic Arts Award / Svenska " Award! Svenska Rikskonserter/Box 1225/ S-11182 . Rikskonserter / Box 1225 / g.:.111 82 Stockholm, Stockholm, Sweden Sweden

. , ' . - Under the title "AForum ofYoung Composers", a - La Westdeutscher Rundfunk, en collaboration avec la competition for composers will be held by the Fondation pourl'art et la culture del'etat federal du ' Westdeutscher Rundfunk in co-operation with the a NorthRhine-:Wes.tphalia, presente un concours de' Foundation of Art and Culture of the Federal State of ... composition intitule «A FOrulIl of Young Composers». North Rhine-Westphalia. Various composition styles Les ceuvres de tout genre sont retermes, ycompris are possible, including electroacoustics. Prize money l'electroacoustique et des prix totalisant 40,OOODM sont totalling DM 40,000, is available. The prize-winning offerts. Les' ceuvres seIectionnees par un jury seront pieces, chosen by a jury, are to be pr~miered at concer-ts presentees en creation dans des concerts aCologne, in Cologne, Dresden and Leipzig in October1992. ·Dresden et Leipzig, en octobre 1992. Quelques ' Alongside chamber ensembles, the radio orchestras of orchestres de chambres ainsi que les orchestres d'e la Cologne and Leipzig will be takingpart. The "A Forum radio de Cologne etde Leipzig prendront part acet of Young Composers" will be a test"-bed for the new , evenement. La date limite'de reception des CEuvres est kinds of experience'gained in the new unrestricted Ie ler decembre 1991. Pour plus d'inforrnation, freedom of musical life in unified Germany. Entries contactez: Westdeutscher Rundfunk / Abteilung Neue should be received by December 1, 1991. Contact : Musik / Forum junger Komponisten Westdeutscher Rundfunk / Abteilung NeueM"usik / " Postfach 10 1950/5000 K61n 1 / Germany Forum junger Komponisten ' Postfach 101950 / 5000 KOln 1 / Germany - Le Prix Noroit - Leori~e Petitot est ouvert aux compositeurs fran<;ais et etrangers n'atteignant pas 40 ' -The Noroit - Leonce Petito prize is open to French. 'ans dans l'annee du concours. Les ceuvres con<;ues sur and foreign composers who have not reached the age of support d'enregistrement en vue de la projection 40 in the year of the competition. The works'should be' ·sonore, devront reIever du genre musical of the acousmatic type. Electroacoustic works which . acousmatique. Ne pourront concourir les ceuvres include live elements of voice, instruments, electroacoustiques comportimtdes elements , synthesizers, etc, shall not be considered. Onlyone d'execution en direct: voix, instruments, synthetiseurs, work may be submitted; 8 to 20 minutes in length. etc.II ne peut etre presente qu!une ceuvre, sa duree se . Entries'should reach the Norait address by September situant entre 8 et :Wminutes. Date limite: 14 septembre 14,1991. Please contact the CEC to obtain anentry form. 1991. Contactez la CEC pour obtenir Ie fotrnulaire ;~~~~~~ions thatdo not include this formwill be . _ d'inscription quidoit etre annexe atoute sOumission.

26 Contact! 4.5 Juin / June 1991 Transfigured Night Sons d'esprit Host/animateur: David Olds Animateurs/hosts: Ned Bouhalassa, CKLN-FM 88.1 . Laurie C Radford, Claude Schryer Mondays 22hOO - 02hOO CKUT 90,3 FM Radio McGill Toronto, ON Jeudi,20h30-22hOO David Olds, Transfigured Night/CKLN-FM/380 Montreal, Quebec Victoria St./Toronto, ON/M5B lW7 Ned Bouhalassa, Sons d'esprit / CKUT Radio' McGill / 3480, rue McTavish / Montreal, QC / Canada Transfigured Night is a program :which explores the. H3A lX9 . world of Concert Music in the 20th century, from the · traditional repertoire to the avant-garde, from the turn Sons d'esprit est une emission de radio bilingue et of the century to the present day, with a strong interdisciplinaire qui traite des arts sonores, en forme emphasis on electroacoustics and experimentation. d'entrevues, de performances et de diffusion d'reuvres ,pre..,enregistrees. II ne s'agit pas d'une emission , ll-iii-91 technologique. Al'avenir, les aniinateurs souhaitent • Lichtbogen - Kaija Saariaho (Fin~and) presenter des performances en direct, descommandes • Ocean ofAges Revealed - Wende Bartley de creations radiophoniqes, ainsi que des diffusions de • Is my cat a rock and roller? - Piotr A Grella.Wolland/Canada) · • SolarsystemIess - Robert Del Buono (Canada) . concerts en direct. • Searching for Altron - Robert Del Buono (Canada) • Wire - Paul Steenhuisen Sons d'esprit (sound ofmind) isa bilingual, . • Trois visages de Liege - Henri Pousseur (Belgique) interdisciplinary radio program about the sonic arts, which ·• Presque rien avec filles - Luc Ferrari (France) broadcasts live interviews, performances and pre-recorded • Quatres images- Jean-Franllois Denis material. This is not a shollJ about technology. Future plans . • L'inconsolable - Monique Savoie/Claude Schryer· for the program include live radio art performance, • En paisant dans Ie jour,.. Pierre Dostie commissioning of new electroacoustic works for radio and • On going on - Javier Alvarez (Mexico). live concert broadcast. . • Traits suspendus - Paul Mefano (France) Ii Gradiva :- Paul Mefano (France) 91-iv-ll 1&-iii-91 . Musique contemporaine japonaise • (Inter) Play - Alistair MacDonald (England) 91-iv-18 ·'Psalm - Larry Lake . Invite: Yves Daoust 25-iii-91 • Quatuor - Yves. Daoust • La Fiesta - Sergio Barroso • Petite musique sentimentale -Yves Daoust ·• Stealthe Thunder - Jean Piche l-iv-91 . • II etait une fois - Yves Daoust. • Fantaisie -Yves Daoust • Stravinsky -John Oswald •L'entrevue - Yves Daoust • Strathoven - Luc: Ferrari (FranCe) 91-iv-25 8"iv-91 • Wire - Paul BA Steenhuisen • Still Life with Piano - Frances White (USA) Barry Truax • Mobile - Engeniusz Rudnik • The Blind Man - Mario Rodrigue • Petite symphonie intuitive pour un paysage de printemps - Luc • Cristaux Iiquides - Ferrari (France) • Paysages sonores : Promenade en cal£che dans le Vieux-Montreal - Claude Schryer ~ John Free Multiplication W Piano - 91-v-02 ' · .; Le SoleiI et l'ae,ier - Alain Thibault ~ Paysages sonore$ : CamfSt-Louis - Claude Schryer • Apocalypsis cum figuris -'Konrad Boehmer (Netherlands) 15-iv-91 • Jardin secret I - Saija Saariaho • Deux improvisations sur Mallarmi ~ Pierre BoulEiz • E.L.V.I.S, - Alain Thibault. 91-v-09 . • Scamqi - Henri Pousseur (Belgique) • Mura-Iki- Kjell Joht\sen (Norvege) • Triptych - Mike Stecky Emmanuel Madan 22-iv-91 , • Can'tapiscau - i· Joan Labarbara - Erien · • There - Ushio Torikai (Japan) • Paysages sonores : Rue Prince-Arthur -Claude Schryer • Batman - John Zorn • Eclat - Pierre Boulez Contact! 4.5 Juiri I June 1991 27 A l'antenne I On the Air

• The First Sea -l\'Iichael Matthews • Liquid Crystals -Jan Ja~lepp • Symphonie pianissimo fUr Grosserer Orchestra - Alfred • Wire - PaUl Steenhuisen Schnitke 91-v-16 . Perspectives of New Music • La Fiesta - Sergio Barroso Host/animateur: Egils Bebris • Multiples- PIerre Boulez ·CIUT-FM89.5 '' • Ruptures - Randy Smith 91~v-23 Thursdays 23hOO - OOhOO , Toroi"lto, ON • Dedans.dehors - Bernard Parmegiani • Mi bemol - Yves Daoust Egils.Bebris,Perspectives of New Music, CIUT-PM, 91 • Memoires vives - Robert Normandeau St George St, Toronto, ON, M5S 2E8 • Siren Songs - Darren Copeland . . ., • Endgame - Chris Meloche Perspectives of Ne':VMusic is a progra,m of 20th century • Dragon -BarryTruax . ,classical music and electroacoustics. Submissions . invited. Please include durations and program ~otes.. New Directions Hosts/ariimateurs: Herb Bayley, Chris Meloche 28-ii-91 CHRW-FM (Radio Western) • Synchronisms #5 - Mario Davidovsky(USA) Mondays 19hoo - 21hOO • La disparation - Christian Calon London, ON 7-iii-91 ~ Chris Meloche, New Directions, P.O. Box .1403, Stn. A, • Leviathan William Schottstaedt (USA) London, ON, N6A 5M2 . • Minuitcachi - Laurie Radford •A Kindred Spirit -Claude Schryer . .' 30-iii-91 NewDirections debuted iT). 1984 under the direction of ~ Mambo ala Braque - Javier AlvareZ (Mexico) founding host Herb Bayley. While often pidgeon-holed' • Rhythmic Voodoo - Leslie Barber (Canada) q.s a jazz programit was never intended as such. The • The Warriors -' Leslie Barber (Canada) ND quarterly states, "New Directions strives to be an · •. La Fiesta.: Sergio Barroso innovative centre for the diffusion of contemporary 4-iv-91 sounds, thoughts and visions." Since the addition:of · Sound excerpts from Computer Music Journal (Charles: composer Chris Meloche as a regular'co-host and Sullivan, Chris Chaffe) . ll-iv.:91 contributor to the show, there has been an expanaed ·• Cumulos - Gabriel Valverde (Argentina)' ct·· profile of contemporary cJassical and electroacoustic • Floodgate -Robert Rowe (USA) music. The two hour, prime time forma.t lends itself.to 18-iv-91 . many (often multi-part) features (Le. on Stockhausen, • Guararia repano - Jose Vincente AS1:lar (Chile) Coleman, Victoriavilie Festival, etc.). Regular features 25-iv-91 such as th~ In'ternational Scene and the Canadian Guest: Ushio Torikai (Japan) ConI!ection feature cqntemporary musicacquired from • Sei - Ushio Torikai . around the world indudingmany offerings from the • Shamarria - Ushio Torikai Canadian Music Centre andthe CEC.' • There - Ushio Torikai '. Go Where - Ushio Torikai 2-v-9l l1-iii-9i " Radio Possibilities Week edition • Mobile - Eugeniusz.Rudnik (Poland) ''The Sounds go 'round: Radio Without Recordings" • Norm, n' George - Daniel Scheidt Featuring readings of writings by R Murray&:haffer, Peter 9-v-91 ~ 100 of the World's most beautiful melodies, #31- Nicolas Michael Bamel; Eric Tamni, etc. I .' Collins ., . 1S,iii-91 Textu~es Toronto guitarist Lloyd Garoer, plus newCD release "Radio ;, - Hugh Le Caine .Wave Surfer" by Holger Czukay • Interphone - Michel Decoust (France) 6-v-9i • Minuit " Christian Calon The Canadian Connection '. Steal the Thunder - Jean PicM ,• Understanding Media - Glass Orchestra • Upon Hearing the First Koto in Spring - Gustav Ciamaga • Psamba - Gustav Ciamaga " • 3 Excursions and a C;;oda - Gustav Ciamaga • HPSCD - Gustav Ciamaga • For P - Gustav Ciamaga • Pour M- Gustav Ciamaga • Instrument.Flying - John Celona

28 Contact! 4.5 Jliin / June 1991 . Cycle Acousmatique 1991 (13eme annee) " Radio France, INA·GRM »PERSPECTIVES->->,Journees electroacoustiques Paris, France CEC Electroacoustic Days 91-v-24 . Concordia University • Jamais l'aube ne Jut si douce - Giroudon (1989) Montreal, Quebec • La Disparition - Christian Calon (1988) 91.:.vi-Q3/08 • L'Arbre et cretera;. Alain Savouret (1971) .• Variations-Sonate;. Michel Chion (1990) " . Young Composers' • Artemisia (ler volet) - Yvo Malec (l991> creation ArrayMusic • Cantdte pour elIe .. Yvo Malec (1966) TheMusic Gallery, Toronto • Vive$, Noires, Mi-Teintes - Tosi (1991) creation 91-vi-Q9 • Le Grand travelling - Michel Redolfi"(199l> creation Workshop andconcert Pitt Gallery Who is Trying to Electrocute Us? Vancouver, British-'Columbia Tangente 91-v-19 Montreal, Quebec : Works by Hildegard Westerkamp and others.

91-x...07 . . " Choregraphies de Holly Small, interpretees par Music Gallery presents Hope Lee & David Eagle Maxime Heppner et Katherine Duncanson, sur la " Music Gallery musique deIohn Oswald et l'ensemble ArrayMusic. . Toronto (Ontario) 91-v-ll International Computer Music Con.ference, ICMC 91 Works by Hope Lee and David Eagle Computer :t:v1usicA~sociation,Faculte de Musique de l'universite McGill " " Propos com.nlutatifs et aleatoires Montreal, Quebec Musiques Itinerahtes Mi Ltee/Bar-Theatre Les Loges 91-:)(-16/20 Montreal, Quebec 91-v-l0/11 Evenement theatral multidisciplinaire . • Tafetas - Michel Robidas Continuum presents "L'argent... toujours l'argentl" • Le Magicien dd'eIectricite (d'apres John DosPassos)­ Music Gallery Luc Bourbonnais Toronto (Ontario) • Tu m'(! .. .), court circuit pour violon seul - Silvio 30-v-91 Palmieri Works by Mark Hand, Chris Harman, Marc • Des AIentours, suivi de Fragments Sud - Jean-Noel Tremblay, Omar Daniel, Wende Bartley Bilodeau . " • Balle - Luc Bourbonnais International Congress on Women in Music • Soliloque - Serge Arcuri Vredenburg Music Center • «So» tout court - Pascal~ Desgranges Utrecht, Holland • Ce tas de miroirs brises - Michelle Boudreau 91-v-30 • MELBOAC - Hope Lee Contemporary music Annelie de Man, clavecin 1 harpsichord. Center for ContemporyArts, Polish section of the ISCM Pitt Gallery Warsaw and Crakow, Polland Vancouver, British-'Columbia 91-v-l0 (. ..). 91-v-24/25 CEuvres de / works by Jacek Grudzien, David Keane, • First Order Beating - Paul Dolden and Andrew "Franc;ois Rose, Godfried Willem Raes, Ton Bruynel. Czink . Vivienne Spiteri, clavecin 1 harpsichord

Contact! 4.5 Juin / June 1991 29 Calendrier / Calendar

University of British-Columbia 91-v-10 .Ocean and Dragon from 'Pacific - Barry Truax and Thea Goldberg

EuCuE concerts, Series 9; [13] and [14] . ConcQrdia Universtiy Montreal, Quebec 91~v-07 . . Concert desetudiants en electroacoustique 91-v-08 . . . Vancouver Pro Musica "H~ar No Evil" Festival Concert Inter-institutions (universite McGill, Firehall.Arts C~ntre universite de Montreal et Conservatoire de Quebec) Vancouver, British:.columbia 91~iv-19/20 Concerts Electroacoustiques Works by / ceuvres de Paul Dolderi FacuIte de musique del'universite de Montreal Montreal, Quebec EuCuE concerts, Series 9; [11] and [12]. 91-v-06 Concordia Universi.ty Concerts de find'annee Montreal; Quebec . .. ' 91-iv-17 Electroacoustique.mixte . • This Thing Called Key - Hugh Le Caine Fylkingen (Stockholm), Suede • Ombre - Daniel Leduc . . 91-v- 06 au 09 • Jeu - Robert Normandeau (Euvr~s de / works by Erik MikCiel Karlsson, • Worm Songs - Susan Frikberg , Stephane Volet, Cort Lippe, Bengt Hambraeus. .• Poi:" John, Rimmer . Vivienne·Spiteri, clavecin / harpsichord • Black ltStood As Night - Richard Ttuhlar 91-iv-18 . BradyworkslDuo Electro-Live! , Music Gallery • Nautilus - David Keanee Toronto (Ontario) • Timbre Maps - John Wiggins 91-v-2 ,. • Improvisation and Poem -John Mill,er Works by Tim Brady, David Keane, Paul Dolden • (Turkish Delight) - Claude Rivest· (Premiere) . • Dans uncoin - Claude Schryer Avec / with Charles Dallaire, clarinette; Jqhn Miller

CEE presents Falling Angels <' etClaude Rivest. ' Music Gallery Toronto (Ontario) L'Europe Acousmatique 'Live 91 91-iv-26 . G.M.VL, Villa Gillet . Works by Ushio. Torikai, James Montgomery, . I . Lyon, France Dreaming of Beauty. 91-iv-16 .Espagne: Concert propose et,mis en forme par Trois contes d'Oiphee Francisco Luque.

. PluraMuses, Espace libre II Angleterre: Concert propose et mis en'forme par Montreal, Quebec Stephen Montague PluraMuses, Obscure (. . 91-iv-20

Quebec, Quebec. II L'Acoustigloo du G.M.V:L.· 91-iv-26/27 91-iv-16au 20 91-iv-29 'I Presentation de l'operamuItidisciplinaire de Bernard Something old, something new, something borrowed, Bonnier. ' something blue ' MiarrU, USA. ,Joseph Petrie 91-iv-14 ACREQ, Bar-Theatre Les Loges 'Sergio Barroso - synthesizers "Montreal, Quebec .• La Fiesta - Sergio Barroso 91c.iv-24/25 • 24 Keys to World Domination - Michael Maguire ._. . Works by lceuvres de Daoust, HatCh, Hatzis, • El Reposa del Fuego - Jo~n Oliver ..

30 Contact! 4;'5 Juin I June 1991 Calendrier / Calendar

• Trajectoires .. Jean-Franl;;ois Denis • Klang - Jonty Harrison • Miroirs - Micheline Coulombe Saint-Marcoux • Up! - Justice Olsson Premiere of a work by alcides lanza .Repulse:' Ake Parmerud , .. Douze melodies acousmatiques - Denis Dufour Sound Pressure at the Rivoli • Profil - desir - Christian Zanesi Toronto (Ontario) 13-iv-91 , 'Francis Dhomont, 1989

New works by Martin Bresnickl Martin ArnoldI Universite'de Montreal

Glenn Buhrl David Keanel Alain Thibault. " Montreal (Quebec) 91-iii-17 Pierre Henry en ~oncert • Chroniques de la lumiere - Francis Dhomont

, Les Marquisatsl Collectif & Cie • Novars - Francis Dhomont Anneg (Haute-Savoie}1 France • Espace/Es~ape - Francis Dhomont 91-iv-12 • Le Livredes morts egyptien - Pierre Henry (1990) Sonic Lab University of Victoria Recital Hall

• Le Voyage .. Pjerre Henry (l962) Victoria,. British-Columbia. "~.;- 91-iii-15 ', The Vancouver Connection" • 'Chiaroscuro - Francis Dhomont

Toronto" (Ontario) " 91-iii-30 Section japonaise de la Societe Intemationalede • La Fiesta -Sergio Barroso Musique Contemporaine .24 Keys to World Domination"- Michael Maguire ,Tokyo, Japon • E'Reposo del Fuego - John Oliver 91-iii-14 Sergio Barroso - synthesizers " .M€teores -Francis Dhomont .0 Voix blanche - Gilles Gobeil University of Calgary Calgary, Alberta Lumina 91-iii-'22 University of Calgary .La Fiesta - Sergio Barroso Calgary.. Alberta • 24 Keys to World Domina.tiori -Mic.hael Maguire 91-iv-13 o. In a Mirror 01 Light - Hope Lee Serie Clair de Terre 2 "• Luminous Voices - David Eagle ACREQ multi:-image projections by Robert Mulder. Victor Montreal (Quebec) Coelho, director. 9t-iii-2() «Proliferations», carte, blanche aPenis Smalley ElectroacoustiC Music • Norfolk Flintl 1."Introduction to the Stonel 2. Neolitica, Faculty of music, university of Toronto 3. Canto - ~odolfo Caesar ' "Toronto, Ontario'. ' • .nouvelle ceuvre - Sten.-Qlof Hellstrom 91-iil-l0 • Wind Chtmes - Denis Smalley " • Apres J- Gustav Ciamaga ' • Octuor -Ho:r:acdo Vaggione .. • VU - Gustav Ciamaga ' • Citi - Eugene Martynec " MIDI-ensemble de la Societe de musique ,• I\gitato [Ergo Sum] - John Duesenberry contemporaine du Quebec" • Bambokro -Dennis Patrick " SMCQ • Heat Noise - Bruno Degazio Montreal (Quebec) , • You kota my head - Dennis Patrick 91-iii-19 • If it ain't baroque, don't fax it! - Hugh Orr • E.L.VJ.S. - Alain Thibault .0 PRAESCIO IV - Bruce Pennycook ,

.• Apple Jam - John Rea ' 0 • Nepas brocherl plier au mutiler - Mike Roy 2nd Annual Raqio Possibilities Week

• Chrismas Day :- I;zvanMartha CHRW-FMI London (Ontario>

- . . . 91-iii-l0/17 0

Eurakousma 91 A celebration of Radio Artl including lectures and Universitede Montreal performances broadcast live from the Forest City Montreal (Quebec) Gallery. Organized by Tim McLaughlin (host of

91-iii~17 o Dreamscapes). '

Contact! 4.5 Juin / June 1991 31 ,Sons-Sounds

Quatre reportages radiophoniques des Journees Darren Copeland electroacoustiques CEC t989, >convergence< Cassettes Four Rtuiiophonic Reports on the 1989 CEC Electroacoustic Days, i'Mahje's Outlook" >convergence< . Equally Different / 2581 Vista Bay Roa9 / Vidoria, BC / 1 par Chanta:I Dumas de Montreal (Quebec) enfran<;ais Canada V8P 3Gl (60') "The Three Faces" 2 Pilr Robert Nonnandeau de Montreal (Quebec) en John Doe Recording / PO Box 664, Station F/ Toronto, fran<;ais (60') ON / Canada M4Y 2N6 3 by David Olds from Toronto (Ontario) in English (60') "Living It Out In the Dead Air Space;i ($5) . 4 by Hildegard Westerkamp from Vancouver (British Darren Copeland / 1588 SpringRoad / Mississauga, ON Columbia) in English (120') / Canada LS} 1N3 '_"',' sur/on5 cassettes (C60, Cr(2) (18$) "Operation-Research Manufacture" (Darren Copeland, .. CEC / CP 845, Succursale Place d'Armes / Montreal, David Edwards, Gerard Leckey, John Marriott) QC/ Canada H2Y 3J2 ' Sound of Pig / PO Box 150022, Van aront Station / Brooklyn, NY./ USA 11215. , ,' Sergio Barroso '1nsaneMusic for Insane People Vol 22" compilation with '«New Music for Digftal Keypoard/Musique nouvelle pour The Face in Movement by Darren Copeland chivier·numerique» (SNE-556-CD): Sergio Barroso ­ Insane M].lsic Contact I Alain Neffe / 2 Gra.nd Rue / Canzona; John Oliver - El Reposo del Fuego; Jean-Fran"ois 6190:rrazegnies / BELGIQUE Denis - Trajedoires; Sergio, Barroso - Soledad (CND$22/US$18) . Paul Dolden IREME Electronic Music Studio / 253 East 16th Aven~e / "Th,eThreashold of Deafening Silence~' Musique de/music , Vancouver, BC / Canada V5T 2T5 by Paul Dolden (~D - 21$) "" Paul Dolden / 3123 Daybreak Avenue {Port Coquitlam, Christian Calon . BC / Canada V3C 2G5 «Ligne de vie: redts electriques » (CD): Portrait d'un visiteur;La disparition; Minuit (18$ [Quebec + 9%] + 2,50 John Free poste/postage) "This is Not Iggy Pop" (cassette) ($11) DIFFUSION i MeDIA 4487, rue Adam / Montreal, QC / static/interference / 176 Spadiha Road / Toronto, ONI Canada HIV 1T9 Canada M5R 2Y8

Collectif & Cie , Brent Holland « COII1pilation musiques electroacoustiques » (CD): "Electroacot.tstic Music, for Film and the Performing Arts" Bernard Donzel-Gargand - Chroniques; Philippe (cassette): The End ofthe Wa.rf; Watereycles (for Tyler and Moenne-Loccoz - Traces, chutes... etc.; Joseph Raguin- 3~ Gerald); L'homme de la nuit; Cont~ct!; Soldier ofFortune; 337 (Colledif & Cie, Annecy, France); Pete Ehrnrooth - Le Things that GoBump in the Night (9$ + 2$ poste/postage) reve du corniste;'Raine Boesch - ***; Nicolas Sordet cLaurian Brent Holland / CP 664, Succursale NDG / Montreal, (AMEG, Geneve, Suisse) , QC / Canada H4A 3R1 Collectif & Cie / 11, avenue des Vieux Moulins / 74000 Annecy / FRANCE

32 Contact! 4.5 Juin / June 1991 Sons etmots I Sounds and Words'

Michael Horwood Robert Nonnandeau "Motility" (cassette) ($10.95) "Lieux ino'uls"(CD): Jeu; Memoires vives; Rumeurs (Place- de "Vokes New and Old" (cassette)(SOP 250): Microduet No?; Ransbeck); Matrecnka; Le cap d~ la tourmente (18$ [Quel;>ec + Exit to Your Left; Can't Get Out; The Pattern; Fugue for Sam; 9%] + 2,50 poste/postage) . ' Tantrum IV ($8) , , DIFFUSION i MeDIA 4487, rue Adam / Montreal, QC "Piece percussionique no 5" (LP) (Opus One 61) ($14.95) I Canada HIV IT9, Canadian Music Centre Distribution Services I 20 St "Portrait musical, serie 6/Musical Portrait, Series VI" ,. Joseph Street I Toronto~ON / M4Y IJ9 Rumeurs (Place de Ransbeck); Matrechka (cassette,gratuit) Centre de musique canadienne/Canadian Music Centre janJarvlepp "Soundtracks of the Imagination" cassette: Joseph Petric Liquid Crystals, Sunrise, Sunset, Guitar Piece, Flotation, . "gems" (CD)(CONA-3); Works by/CEuvres de : Daniel Cadenza, Morning Music, Afternoon Music ($11.98-0ntario Foley, Bengt Hambraeus>Peter Hatch, Christos Hatzis, $12.82, tax inchided/taxe incluse) Richard Romiti; Toshio Hosokawa ($20)' Jarvlepp Productions / Box 2684, Station D/ Ottawa, Canadian Music Centre Distribution Services /20St ON I CanCl;da KIP 5W7 . Joseph Street I Toronto, ON / M4Y IJ9

Jan Jarvlepp, John Winiarz Sound Pressure "Chronogrammes" cassette: '~Sound Pressure" (c~ssette) Works byICEuvres de : Evan (J J) Harpsichord Piece, Buoyancy, Evening Music for Carillon, Ziproyn; David Lang, Martin Bresnick, Bruno Degazio, Night Music for Carilon; (J W) Night Flower, Le Parcours du David Mott, FredericRzew5ki Jour ($11.98-0ntario $12.82, $11.98-Quebec $13.06, tax Sound Pressure /148 Ellsworth Avenue / Toronto, ON included/taxe inc1use) IM6G2K8

, David Kean'e Stephen Rieck "Aurora" (LP) ; La Aurora Estrellada; Elektronikus lvfozaik; Cassettes La Cascade Enchantee ($13.50)' "Hard Reality" ($10) Cambridge St,reet Records / 4346 CambridgeSt / "The Walls Have Eyes" ($10) Burnaby, BC I CanadaV5C IH4 ;; "R'tapz a #3761" ($10) "Tap-wrms" ($10) AlcidesLanza Cassettes Full Circle Music Specialties I PO BOX 6512, 'Station D/ "Tapeworks I": Exercise I; Penetrations I; Ekphonesis IV; Out London, ON I Canada N5W 5S5 of... ($10)' 'Tapeworks IT"; Arghanum III; Arghanum IV; Two times too; Claude Schryer KromopIasticos ($10.90) "Portrait musical, serie 6/Musical Portrait, Series VI" "Vocal Works I": Penetrations VII; Ekphonesis V ($8) . Plusieurs bonsoirs; Dans un coin; Overture, 1504; A Kindred Bande/Tape ?pirit; On the Edge; A Digital Edogue [with Daniel Schiedt} arghanum III ($20); arghanum IV ($20) (c:assette, gnituit) .. PartitionsI Scores Centre de musique canadienne/Canadian Music Centre arghanum 1($12); arghanum II ($15); sensors III ($12); sensors IV ($8, bit: $20); sensors V ($15); sel:lsors vI($12); eidesis IV Vivienne Spiteri ' '" ($15); ek.ponesis VI ($12, bit: $20); ektenes I ($10); ektenes II ' .. "NewMusic for Barpsicnord from Canada a,nd The ($8); guitar concerto ($20); modulos III ($15, blt:$20); Netherlands/Musique actuelle du Canada et des modulos IV ($10, bit: $20); interferences ill ($8, bit: $20); Pays-Bas" (SNE-542-CD~; Works by/CEuvres de: Hengt , interferences IV ($8); bour-drones ($20); Hambraeus, Louis Andries,sen, Hope Lee; Micheline Coulombe.5aint-Marcoux, Ton de Leeuw, Tim Brady ($22) Editions Shelan Publications 16351, avenue Trans-Island I. Vivienne Spiteri c/o LIPPE I !RCAM, 31 rue St Merri I' Montreal, QC!Canada H3W 3B7 75004 Paris / FRANCE .

Robin Minard Alain Thibault «Portrait musical, serie 6/Musical Portrait, Series VI» "Volt" (CD): ELVIS (Electro-lux, vertige illimiU synthetiqu~);' Music for Quiet Spaces; «qu'ilm'en souvienne...» (ca~sette, OUT; Volt; Le solei! et l'ader; Concerto pour piano MIDI (18$ gratuit) . ' ' [Quebec + 9%] + 2,50 poste/postage) Centre de musique cimadienne/Canadian Music Centre .DIFFUSION i MeDIA 4487, rue Adam / Montreal, QC I Canada HlV 1T9 . e'" Contact! 4.5 Juin / June 1991 33 Sons et mots/Sounds and Words

Barry Truax 'chris wind "Digital Soundscapes"(CD): The Blind Man; Aerial; Wave Cassettes .' ., _ Edge; SolatEllipse; Riverrun (CND$24/US$19) "Sampler" ($7) • "Sequence of Earlier Heaven" (LP): East Wind, Nightwatch; "The Art ofJuxtaposition" ($8) Wave Edge; Solar Ellipse ($13.50) "Pacer 3 (music to run to)" ($7) Cambridge Street Records / 4346 Cambridge St / "Pacer 5 (music torun to)" ($7) Burnaby, BC / Canada V5C IH4 "Rocks and Trees",($7.50) . "Synthetic Chamber" ($7) Richard Truhlar chris wind / RR1 / Sundridge~ ON / Canada PCA lZ0 Unqerwhich AUdiographics Cassettes #10: "Growling in the R09fBeams"($7.50) John'Winiarz #12: "Paper Sky"($8.50) "Solos"cassette: #14: "Kali's Alphabet"($8.50)' Musique tiutour d.e l'epitaphe de Seikilos, Mikrotonos, Ricochet. #25: ':Europe after the Rain"($8.50) ($11.98-Quebec$13.06 taxe incluse/tax included) #30: "The Face of Another"($8.50) Les Productions Studio Fonoto / CP 1204,Succursa1e B #35: "Audiotholcigy 2: Electroacoustics" ($8.50) / Montrea.l, QC / Canada H3B 3K9 with TEKST (K Potts, G Frew, M Zibens, etal.) , #9: "Avatamsaka's Wave Packet"($8.50) #15: "Unexpected Passage"($8.50) Mots-Words #17: "Infinite Anatom.ies"($8.50) #21: ''MoVing Human Coils"($8.50) GUIDE Diffusion! (book/livre, 194 p) With other composers Programmes des concerts et actes des Journees "Predatory Intermissions" (with M Chocholak) electroacoustiques CEC 1988/Concert Progra~sand "House Taken bver" (with M Zibens) Proceedings of the, 1988 CEC Electroacoustic Days, Underwhich Editions / PO Box 262, Adelaine St Station directeur/ editor: Jean-Fran~ois Denis ($10) / Toronto, ON / Canada M5C 2J4 GUIDE >convergence< (book/livre, 198 p) . Programmes des concerts et a<;tes desJournees Hildegard Westerkamp electroacoustiques CEC i 989/ Concert Programs and Cassettes Proceedings of the 1989'CEC Electroacoustic Days, "Fantasie for Horns" ($6.50) dirceEctceu/r/cped8it405r:SJean-Fr.anl·~poils DednlA'S ($10)/ M I I A,' "Walk/Whisper/Street" ($8) , ,uccursa e ace -" rmes ontrea , , .., "Cordillera/Zone of Silence" ($9) QC/ Canada H2)' 3J2 "Vojces for the Wilderness" ($9.50) "Harbour Sym.phony" ($6) , J ean-Ftan~ois Denis Inside the Soundscape / 685 West 19th Ave / Vancouver, "Q/Resonance" (book/livre,196 p) , BC / Canada V5Z 1W9 Concordia Electrqacoustic Composer's GroupTape Collection/Magnetotheque du Groupe electroacoustique de Concordia (plus de 7000euvres cataloguees; note,s de, programmes, biographies/more than700 works cataloged; program notes, biographies) ($13) . "Q/Resonance, Addendum" Concordia Electroacoustic Composers' Group Tape C91Iection/Magnetotheque du Groupe electroacoustique de Concordia (book/livre, June 1989,66 p) ($7) Electroacoustics / Departmentof Music RF-31O / ' Concordhi University / Montreal, QC / Canada H4B' lR6

David K.eane' "Tape Music Composition" (book/livre) Oxford University Press / 79 WynfordDr / Don Mills, ON /Canada

Barry Truax "Handbook for Acoustic Ecologi' (book/livre) ($12) , Barry Truax) Dept of Communications / Simon Fraser University / Burnaby, BC / Canada V5A 156

34 Contact! 4.5 Juin /Jurie 1991 Membres1990-91/1990-91 Members

Patron / Patron Stu-Shepherd ~ Toronto Mrs T LeCaine - Ottawa Randal'A Smith - Toronto Michel Tetreault - Montreal • Membres Jwnoraires / Honorary Members Marc Tremblay - Montreal Istvan Anhalt - Kingston, Barry Truax - Burnaby Gustav Ciamaga - Toronto Richard Truhlar - Toronto Francis Dhomont - Montr~al John Winian - Montreal . Bengt Hambraeus - Apple Hill . Wes Wraggett- Mississauga' Otto JoaChim - Montreal Gayle Young - Grimsby Alcides Lanza - Montreal Mara Zibens - Toronto

Membres de la CEC / C,EC Members Etudiants / Students Kristi Allik - Kingston ,Yves Bertin _FRANCE Kevin Austin -'Montreal Bernard Bonnier - Lauzon Sergio Barroso - Vancouver Steve ~alder - Pierrefonds ' Wende Bartley - Toronto ' Susan Frykberg - NEW'ZEALAND Egils Bebris - Toronto James Harley - Montreal Pa\J.I Bendzsa - St John's Brent Holland - Montreal Ginette Bertrand - Saint-Jerome, Monique Jean - Montreal Pierre Bouchard - Montreal David Leip - St-'Catherines Ned Bouhalassa - Montrei'll Scott McBride - Newmarket Eric Brown -North Vancouver .Paul Morris - Edmonton Christian Calon - FRANCE Dan Oppenheim - USA L~ri Clarke';Montreal Claire Piche - Montreal 'Robert Coburn - Victoria Jocelyn Poitras - Montreal Darren Copeland - Mississauga Yves Potvin:' Montreal Mark Corwin - Montreal Philippe Richer - Montreal Pierre De Gagne - Montreal Frederic Roverselli - Montreal Bruno Degazio -Toronto Jodi Spooner - Edmon'ton Jean-Fran~ois Denis - Montreal Paul Steenhuiseri - NETHERLANDS Pierre Dostie·-'Montreal • David Eagle - Calgary Individu / Individual Luc Fortin - Montreal Sterling Beckwitl1- Willowdale John Free - Toronto Martha Carter - Montreal Gilles Gobeil ~ Montreal Denis Dion - Notre-Dame-de-Lourdes Michel Gonneville - Montreal Chantal Dumas -Montreal Martin GoHrit - Vancouver Gerhard Ginader - Brandon Shawn Hill - Montreal Barbara Golden - USA BenfleyJarvis-London Franc;ois Guerin - Montreal David Keane - Scarborough Peter Hatch - Waterloo Claude Lassonde"' Montreal Michael Horwood - Bramalea Brent Lee - Calg;J.ry Jan Jarvlepp - Ottawa Denis L'Esperance - Montreal John Kamevaai - Toronto Dave Lindsay - Toronto Dr Elaine Keillor - Ottawa Michael Maguire"' Toronto Gary Kulesha -Toronto . Al Mattes -Toronto Raymond Lalioerte - Ile-des-Sceurs Michael Matthews -Winnipeg Piette Olivier - Montreal Chris Meloche - London John Oswald - Toronto Charles de Mestral- Montreal Vivienne Spiteri- FRANCE Robin Minard - GERMANY MJ Sunny Zank - Saskatoon , Jim Montgomery - Toronto Rosemary S Mountain - Victoria Institutions / Institutions Robert Nonnandeau -' Montreal Banff Centre - Banff David Olds - Toronto .College de musique Sainte-'Croix - Saint-Laurent Bruce Pennycook - Montreal Concordi,a University _Montreal .,

Sal Porretta - Toronto Queen's School of musk - Kingston <' , Bob Pritchard - Vancouver Universite de Montreal - Montreal Laurie Radford -Montreal University of Western Ontario - London Gi'sele Ricard - Cap Rouge Robert Rosen - Canmore ' Organisations / Organizations " Stephane Roy - Montreal SOCAN - Montreal Claude Schryer- Montreal CHRW Radio - London

Contact! 4.5 Ju'in / June 1991 35 / . Communaute electroacoustique canadrenne (CEC) . Canadian Electrobcoustic Com.munity (CEe) . CP 845, SuccursalePlace d'Armes I Montreal (Quebec) I CANADA H2Y 3J2 '.,' The CEC is called upon by government and other groups in :Canada to speak for the .w.hole electroacoustic' arts community: become part of this voice. Le gouvernemelit et autres.organisations canadiennes font appel a la CEC afin de . prendre connaissance des besoins de notre cOIpmunaute : joignez-vous a nos rangs. . .

Affiliation - Membership ·CEC JL~ .~JL = 1L ~ ®~ o Je veux devenir "membre (votant) ,de la Cbmmunaute ~lectroacop.stiquecanadienne (CEC) pour la periode du ler juin 1991 et se terminant Ie 31 mai 1992. Ci-joint 60 $ pour rna cotisation annuelle. .' , . Iwish,to become a (voting) mem,ber ofthe Canadian Electroacoustic Community (CEC) for the period starting June 1st, 1991 andendingMciy 31st,. 1992. Please find enclosed $60 for my annual membership.

Nom-Name

Adresse- Address

.' Code postal" Postal Code

Telephone ~ Phone (_) __..:...-c...--,-_

o Renouvellement - Renewal 0 Nouve,au membre" New member .Ci-inclus (cheque ou mandat-poste) $ CAN Find included (check or money order)

. . .' " , . ,I ~~~~~~~~~~~';.~""'~~~\\~~~':.~':.~~~':.~~~~\\":.~:"~~~~~~\t~~~~:~~~~~::::.~~~~~~~~::~~~~~~~:::.~~~~~~~~~~~\\\\~\\':.~~~~~~~~~~':.~:::~:::.~~~~\\~~:..~~~::..~~\"':.~~\\~::..:.;.~~\':.~~~~~:..~~~':.~~\~~~I 0, Je veux devenjr membre associe' (non-vdtant) de Ia Communaute electroacoustique canadienri~.(CEC) pour Ia periode du 1er juiri 1991 et se terminant IE! 31 mai 1992, en tant que: I I l!Jishto become an assoCi(lte member (non-voting) ofthe Canadian Electroacoustic Community (CEC) for the period starting June ~st, .1991 and ending May 31st, 1992, in the following category:

o individu:" Individual 45 $ o.,etudiant - Student 25 $ o instjtution' (education) - Institutional (educational) 50 $ , 0 orgallisation abut non Iucratif- Organizational (non-profit) 50 $ . 1 o entreprise - Commercial' . . ', . .. 60'$

I"es niembres et membres associes de Ia CEC ne residant pas au Canada doivent ajouter 10 $ (ftaisde poste) aux taux ci-haut mentionnes." ," . CEC,Members and Associate members living outside Canada should add $10 (postage) to the membership ·1 rates.

€tranger - Foreign o +10$ 1

...... ~.

,I 36 .