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Sound Travels

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Sound Travels Festival of Sound Art

In a world that often focuses too much on the visual, Sound Travels brings about a refreshing change as it presents works by sound artists that extract compelling musicality and wordless dramas from everyday sounds often taken for granted. From this lush auditory experience, audiences author their own imaginary world in their mind’s eye – Darren Copeland, Artistic Director, New Adventures in Sound Art

The annual Sound Travels Festival of Sound Art includes interactive installations, performances, Youth Sound Art Workshops, the Sound Travels Intensive and the Toronto Electroacoustic Symposium.

 

Sounds Lost and Found - World Listening Day Concert
Co-presented with the Canadian Music Centre
By Fleshtone Aura, Victoria Fenner and David Jesenius
July 16, 2016, 8:00 pm
Canadian Music Centre, 20 St. Joseph Street, Toronto, ON
General $10
As part of World Listening Day, three composers and sound artists – Fleshtone Aura, Victoria Fenner and David Jesenius have been invited by NAISA and the Candian Music Centre to create multichannel soundscape pieces on the theme of Sounds Lost and Found. All of the sound materials for the pieces will be drawn from the soundscape apps/sites Found Sound and Radio Aporee.
Toronto International Electroacoustic Symposium (TIES) Concert #1
August 10, 2016, 8:00 pm

Geary Lane, 360 Geary Avenue, Toronto
General $15, Students $10, (or included with TIES registration)
The first of five concerts which include works chosen by an international jury of electroacoustic practitioners, which provide a snapshot of the latest research and exploration in sound art happening around the world.
Toronto International Electroacoustic Symposium (TIES) Concert #2
August 11, 2016, 2:30 pm

Geary Lane, 360 Geary Avenue, Toronto
General $15, Students $10, (or included with TIES registration)
The second of five concerts which include works chosen by an international jury of electroacoustic practitioners, which provide a snapshot of the latest research and exploration in sound art happening around the world.
Toronto International Electroacoustic Symposium (TIES) Concert #3
August 11, 2016, 8:00 pm

Geary Lane, 360 Geary Avenue, Toronto
General $15, Students $10, (or included with TIES registration)
The third of five concerts which include works chosen by an international jury of electroacoustic practitioners, which provide a snapshot of the latest research and exploration in sound art happening around the world.
Sound Travels Concert: Two Retrospectives: John Oswald and Paul Dolden
By John Oswald and Paul Dolden
August 12, 2016, 8:00 pm

Geary Lane, 360 Geary Avenue, Toronto
General $15, Students $10, (or included with TIES registration)
In this concert, works by John Oswald and Paul Dolden - two highly individual and distinguished Canadian artists - will trace how they approach the concept of sonic density through their original use of multi-tracking recording techniques since the 1970’s. Included will be the world premiere by Paul Dolden of Air of the Rainbow Robe and Feathered Skirt, a new work commissioned by NAISA with funding from the Canada Council for the Arts, part of his full length work Music of Another Present Era as well as his works: Below the Walls of Jericho, L’ivresse de la vitesse, and an excerpt from Who Has the Biggest Sound. Also included will be the following works by John Oswald: Vertical Time, DAB, Skindling Shade?s, and Global Wilderness.

Program:
I. Music of Another Present Era by Paul Dolden
Music of Another Present Era plays freely with our ability to imagine another time and culture. At the same time, it recognizes that this historical imagining is necessarily conditioned by our own time and place.

This work appropriates a number of ancient tuning systems to create a sense of the past within our present era.

This is not a programmatic work; instead, these stories appear in the music metaphorically. This metaphoric use of myths is so that the musical content be recognized without it being diminished or reduced.

*Part 1 and 2 commissioned by Akousma (Montreal). Entr’acte and Air of the Rainbow Robe.... were commissioned by New Adventures in Sound Art (Toronto). The Cosmic Circle Dance was commissioned by Klang Festival Montpellier France. All commissions are with the financial assistance of the Canada Council for the Arts.
II. Who can talk Faster: Crickets or Man (an excerpt from Who Has the Biggest Sound?) by Paul Dolden
In “Who Has the Biggest Sound?” our composer pursues the important questions of the day: Who has the biggest sound?, Who has the nicest melodies?, Who can play the fastest?, and Who has the most complex music? During this quest for the musical Holy Grail the composer is impeded by the sounds of nature.
III. Vertical Time (1973, restoration and revision 2012) by John Oswald
These were the ideas i set out to experience in the concocting of Vertical Time in 1973.

-  An idea of black noise.

-  A mediation from the pure simplicity of a single sine tone to the pure complexity of white noise.

-  An aural tapestry intended to compliment visual fields generated from television snow.

-  A mass or cloud of sound that one could move around or through, thus hearing different perspectives of a continuous presence.

The final sonic environment is achieved through many things, including thick and busy white noise with thousands of sine tones, changing the playback speed of an accumulation of these tones, a swarm of sweeping pitches, a mass of very short blips of pitches, and coloured variations of the sounds.

In the end i never finalized a composite mix of Vertical Time back then, preferring to have it sound different each playback with the staggering starts of unsynchronized tapes and synth. Almost 40 years later now i've reassembled these parts, recreating some portions which weren't recorded at the time.

The structure of Vertical Time is based on the banana split sundaes that were (and still are) available at Dairy Queen ice cream stands: three varied peaks and a unifying throughline (the split stereo banana).

*With the help of Chris Muir and John Abram, and the encouragement of Barry Truax.
IV. Skindling Shadés by John Oswald
Co-incidentally the composer was gathering recordings of incendiary sounds at the same time choreographers Paula Ravitz and Denise Fujiwara were working on a solo of combustible images, while using, as rehearsal music, a recording of Igor Stravinsky's The Firebird. The co-choreographers asked John Oswald to make a replacement to The Firebird and he had no intention to imitate Stravinsky.

In addition to actual fire recordings, there are similar sounds (the moving of air, the escaping of gases, the fracture of timber), tromp l'orielle and heat noise swarms. The composer refers to a swarm as a massive overdubbing of a single sound source.
V. DAB by John Oswald
From “BAD RELATIONS: plunderography, pop and weird in DAB.”
The source for DAB is entirely the Jackson/Jones/Swedien pop song 'Bad' (Epic EK 40600 DIDP 70643). The transformations come from a limited pallet, which excludes timbral signal processing (filtering, modulation, supplementary synthesis, etc.) pitch shifting, delay reverberation and add-on musicianship. What is left is location in time. Fractional portions of the original music, varying in duration from about 25 milliseconds to phonemes and sonemes, to phrase fragments, have been superimposed and re-juxtaposed in 3 specified sections without pause: Revised, a bridge, and Homogenized.

DAB varies between a general similarity to its source material and abstraction. It also mediates between pop/rock predictability, the rhythmic idiosyncrasy available to improvisers, and the timbral meditations found in the electroacoustic genre. Totally mechanical routines have been applied to the realizations of musicians who have the studio time to seek perfection. Perfection has been messed with by improvisation. Very popular music meets its extremities.
John Oswald is best known as the the creator of the music genre Plunderphonics, an appropriative form of recording studio creation which he began to develop in the late sixties. This has got him in trouble with, and also generated invitations from major record labels and musical icons. Meanwhile, in the ’90’s he began, with several commissions from the Kronos Quartet, to compose scores, in what he calls the Rascali Klepitoire, for classical musicians and orchestras, including b9 (2012-13), a half hour condensation of all Beethoven’s Symphonies. He also improvises on the saxophone in various settings, dances, and is a visual media artist and chronosopher, best known for the series Stillnessence. He’s a Canadian Governor General’s Media Artist Laureate. His multifaceted sonic clock, A Time To Hear For Here, is a permanent environment at the Royal Ontario Museum in Toronto. In 2016 he’ll be in residence in California, and Umbria, presenting a concert in total darkness as part of 21C at Koerner Hall in Toronto, and, with Scott Thomson, filling Parc Fontaine in Montreal with performance.
Paul Dolden begins his career at age 16 as a professional electric guitarist, violinist and cellist. Excited by the possibilities offered by recording technologies, Paul Dolden turns to contemporary modes of production and dissemination in the creation of his music. Now the winner of over twenty international awards, Mr. Dolden receives steady commissions from ensembles and soloists throughout the world. In a career spanning over thirty years, Mr. Dolden has perfected his unique approach to audio technology, using it as a platform from which to launch or capture otherwise impossible musical performances.
Toronto International Electroacoustic Symposium (TIES) Concert #4
August 13, 2016, 2:30 pm

Geary Lane, 360 Geary Avenue, Toronto
General $15, Students $10, (or included with TIES registration)
The fourth of five concerts which include works chosen by an international jury of electroacoustic practitioners, which provide a snapshot of the latest research and exploration in sound art happening around the world.
Toronto International Electroacoustic Symposium (TIES) Concert #5
August 13, 2016, 8:00 pm

Geary Lane, 360 Geary Avenue, Toronto
General $15, Students $10, (or included with TIES registration)
The last of five concerts which include works chosen by an international jury of electroacoustic practitioners, which provide a snapshot of the latest research and exploration in sound art happening around the world.
Synthecycletron
By Barry Prophet
Open 24/7 July to October
Between the pier and the boardwalk on Centre Island
FREE
Synthecycletron was commissioned in 2006 by New Adventures in Sound Art and has been a Toronto Island favourite amongst Toronto cyclists and visitors ever since. It is an interactive installation where the public generates power by pedalling on stationary bicycles which in turn activate synthesizers and generate sounds connected to the pedalling movement.
Site Specific Installations at Warbler’s Roost
By Yves Daoust, BARFFF, Christine Charette and Darren Copeland
July 29, 2016 to July 31, 2016
10 am - 5 pm
Warbler’s Roost located in the forest behind the Inn, 3785D Eagle Lake Rd, South River, ON
General $PWYC
Darren Copeland's new installation Hidden Sounds will be included on the Artscape Studio Tour organized by the Almaguin Highlands Arts Council. Enjoy a northern summer visit to Warbler’s Roost and also experience outdoor sound installations presented by NAISA by Yves Daoust, BARFFF and Christine Charette.
Darren Copeland has been active as a sound artist since 1985 and is the founding Artistic Director of New Adventures in Sound Art. Copeland's sound art practice focuses on multichannel spatialization for live performance, fixed media composition, soundscape, radio art and sound installation. He studied electroacoustic composition under Barry Truax at Simon Fraser University and Dr. Jonty Harrison at University of Birmingham. Copeland incorporates both abstract and referential sound materials in his fixed media compositions, and many of these works are published on the empreintes DIGITALes label. His radio art works engage in the associative qualities of environmental sounds in relation to spoken text and have been commissioned for public radio across Europe and North America. His sound installations include gallery and site-specific works which examine the relationship of sound and place.
‘Birth and Death Frequencies’ from A Time to Hear for Here (2007)
Co-presented with the Canadian Music Centre
By John Oswald
August 8, 2016 to August 26, 2016
Mon to Thurs, 9 AM to 5 PM & Fri, 9 AM to 1 PM
Canadian Music Centre, 20 St. Joseph Street, Toronto, ON
FREE
The Birth and Death Frequencies is a component from John Oswald's site-specific sound installation for the Crystal at the Royal Ontario Museum. Using the high frequency characteristics of directional speakers this component from the expansive reflection on time, space and Canadian identity gave the illusion of sounds whispering into the ear of the visitor. Although magical and mysterious, it was also rarely heard as it was situated in a remote part of the Crystal. For the month of August, the Birth and Death Frequencies will be heard anew where they will receive special focus in the composer’s lounge of the Canadian Music Centre.
John Oswald is best known as the the creator of the music genre Plunderphonics, an appropriative form of recording studio creation which he began to develop in the late sixties. This has got him in trouble with, and also generated invitations from major record labels and musical icons. Meanwhile, in the ’90’s he began, with several commissions from the Kronos Quartet, to compose scores, in what he calls the Rascali Klepitoire, for classical musicians and orchestras, including b9 (2012-13), a half hour condensation of all Beethoven’s Symphonies. He also improvises on the saxophone in various settings, dances, and is a visual media artist and chronosopher, best known for the series Stillnessence. He’s a Canadian Governor General’s Media Artist Laureate. His multifaceted sonic clock, A Time To Hear For Here, is a permanent environment at the Royal Ontario Museum in Toronto. In 2016 he’ll be in residence in California, and Umbria, presenting a concert in total darkness as part of 21C at Koerner Hall in Toronto, and, with Scott Thomson, filling Parc Fontaine in Montreal with performance.
Sound Travels Soundscape Intensive Weekend
Register at https://naisa.ca/education/register/
August 19, 2016 to August 21, 2016
Workshops begin at 6pm Friday evening, all day on Saturday and Sunday.
Warbler’s Roost, 3785D Eagle Lake Rd, South River, ON
General $75
Soundscape and DIY workshops led by NAISA staff. Workshops begin at 6pm Friday evening and continue throughout the day on Saturday and Sunday.