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Performances Presented in 2008

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INTERNATIONAL DAWN CHORUS DAY CELEBRATION
Dress for the outdoors, hiking boots if you have them, no facilities available. This is an outdoor event.
May 4, 2008, 12:00 am
dawn
2700 Lakeshore Road West, Mississauga @ 4:45AM (yes that is AM) at the corner or Winston Churchill Blvd and Lakeshore Road West parking is available
FREE
New Adventures in Sound Art and the City of Mississauga, Office of Arts and Culture collaborate to launch Mississauga's first celebration of International Dawn Chorus day, a worldwide celebration of Nature's daily Miracle, the chorus of sound initiated by birds at sunrise. The environs provide the concert, Mark Cranford from the South Peel Naturalists' Club will be on-hand to help us identify the performers all of which will be recorded for later broadcast.
TRANS-LOCAL PERFORMANCE(S)
Streamed live on free103point9 Online Radio at www.free103point9.org
May 8, 2008, 8:00 pm
IndexG (Gladstone Ave.), Gallery 1313 (1313 Queen St W) & the NAISA space (103 Beaconsfield Ave)
General $5
It's a trans-local mash-up commemorating the 5th anniversary of the Deep Wireless radio art compilation CD by angelusnovus.net (Monica Clorey, Emilie LeBel, Henry Ng, David Ogborn, Jason Stanford, Chris Thornborrow, Hector Centeno, Troy Ducharme and others), ...insideAmind, Noino and more. This is a co-presentation between New Adventures in Sound Art, the Ambient Ping and angelusnovus.net.
These Trans-Local performances will be broadcast live in New York on http://www.free103point9.org.
Launch of NAISA's Toronto Artist Series
with the CEC -very limited space, must pre-register
May 23, 2008, 9:30 am to 5:00 pm
the NAISA Space
FREE
A day-long listening session devoted to the submissions of the 2008 JTTP (Jeu de Temps / Times Play). The sessions will run in (about) 90 minute blocks with time for coffee and conversation between sessions. This is an opportunity in a quiet, informal setting to listen to new work from the emerging community of Canadian sound artists.
Guerilla Radio Art Performances
May 25, 2008, 11:00 am to 2:00 pm
the Canadian New Music Network conference Edward Johnson Building, U of T, 80 Queen’s Park
Odradek (Jim Bailey, Michelangelo Iaffaldano & Andy Yue) will be performing interventions on May 25th during the CNMN conference. Bring your radio and have a listen - you might be surprised at what you hear...
Portraits in Sound 1
Streamed live on free103point9 Online Radio at www.free103point9.org
May 30, 2008, 7:00 pm
Ryerson Student Campus Centre, 55 Gould St, alumnae room
General $15, Students $10
Portraits in Sound 1 includes performances by the Deep Wireless ensemble as well as two commissioned works for CBC's Outfront by Marjorie Chan and Tristan Whiston.

Program:
I. Requiem of a Boxer by Tristan Whiston
Requiem for a Boxer follows a recently retired boxer as he returns to the gym to say a final goodbye. This is his requiem, his ‘prayer for that which is departed’, an audio composition that reveals what is often referred to in boxing as “heart”, and the heart of this one-time boxer.
II. Sound Portrait of a Violinist, two percussionists & a viewer by Chantal Dumas
A structured improvisation based on and for the four performers in this year's Deep Wireless ensemble.
III. Dogs Say What? by Marjorie Chan
In China, dogs say ‘wang wang’. In Spain, dogs say ‘guau guau’. In English, dogs say ‘woof woof’. A fun cross-cultural portrait of animal sounds from around the world.
IV. The Man Who Loved Fish by Andreas Kahre
A mad scientist presents his thesis that the world of fish is superior to the human world and that fish live in a world of continuous beauty which is not fractured by changes in consciousness as it is with humans.
V. Somewhere a Voice is Calling Performance by Absolute Value of Noise, Anna Friz and Glenn Gear
Created around the 100th anniversary of Reginald Fessenden's first long-distance broadcasts of voice on radio, "Somewhere a voice is calling" is an exploration of early wirelessness, primarily on the Atlantic Ocean, from 1900 - 1907. The piece incorporates VLF (Very Low Frequency) antennas to transduce radiant signal into sound, micro-casting to a multi-channel radio array using low-power transmitters, and distressed video images to conjure echoes from the aural and visual ether. Drawing from tales of ghost ships and myths from the early days of radio that claimed the seafaring dead could be contacted via shortwave, this performance evokes an unseen world of distant voices, sea, and static. Signals emerge from the depths of noise, manifest, mutate, migrate, and decay.
PORTRAITS IN SOUND 2
followed by Space: the Vinyl Frontier Streamed live on free103point9 Online Radio at www.free103point9.org
May 31, 2008, 7:00 pm
Ryerson Student Campus Centre, 55 Gould St, alumnae room
General $15, Students $10
Portraits in Sound 2 includes performances by the Deep Wireless ensemble (see page 6) as well as two commissioned works for CBC's Outfront by Richard Marsella and Eldad Tsabary.

Program:
I. The Ugliest Sound in the World by Friendly Rich
In 1964, Dr. Ronald Gutt set out on a 10-year quest to find and capture the ugliest sound in the world. He documented his hunt with a small tape machine that the BBC recently discovered in Dr. Gutt's secret archives. The "ugliest sound" was played once by Dr. Gutt at a conference in 1977, and the entire audience was hospitalized shortly after.
II. Open C by Kathleen Kajioka
What is the difference between a viola and an onion? Nobody cries when you cut up a viola. Overshadowed by the violin and bogged down by mockery, the viola is the underdog of the orchestra. Open C is a compassionate portrait of the heart and life of this dark beauty.
III. Whole Heartiness (2008) by Eldad Tsabary
The first thing Father Joe showed me when I met him at the St. Willibrord Parish in Verdun was a large poster citing many versions of “Love your neighbor” from many religions in many languages. In the following two months I frequented the church and its hospitality centre in order to experience and learn more about how this important religious activity – loving your neighbor – is carried out on a daily basis in the close-knit St. Willibrord community. Among the countless stories of selflessness I encountered, I selected the hospitality centre – where all are welcome to spend a few hours and receive a hot meal and drinks three times a week – to represent charity and neighborly-love as an important aspect of religion and human life. Being of an Israeli background, I have always experienced an insatiable thirst for unconditional cross-religious human love, respect, and acts of charity; I have found it in the hearts and deeds of the good people of St. Willibrord Parish and composed this pi
IV. The Kindest Heart by Debashis Sinha
The kindest heart will be a live improvisation exploring the notion of kindheartedness . We are going to explore our kindest heart. we start slow, find it, enjoy it, and release it into the universe.
V. SPACE: THE VINYL FRONTIER by TradeMark G.
In 1977, NASA launched the two Voyager spacecraft to explore the outer solar system and beyond. The spacecraft also contained a message: a golden record, with 80 minutes of music, pictographic instructions on how to build a turntable, and a needle. For whom? In this performance, TradeMark G. and The Evolution Control Committee explore this ultimate desert island disc and a future race of alien DJs who try to make sense of the last record in the universe.
Opening day performances on "Synthecycletron"
By various Toronto artists
June 22, 2008, 2:00 pm
near the pier on Toronto Island
FREE
Visitors that encounter the "Synthecycletron" generate power by pedaling on stationary bicycles which in turn activate synthesizers and generate sounds connected to their movements. Stay tuned for more scheduled performances.
Union
By Rob Piilonen and Matt Miller
July 27, 2008, 2:00 pm
S t. Andrew-by-the-Lake Church, Toronto Island
Union is a portrait of the TTC subway system for flute and live electronics. Using recordings of the actual system presented in different permutations, the system is heard moving, fluctuating, and going about a typical day with Union Station treated as the center. Meanwhile, the flute represents a real time journey on the subway from Donlands station to Union. Effects and live processing weave the improvised flute into the sonic texture of the subway system, and the live and recorded components interact, ultimately coming together at the titular station.
Matt Miller is an electro-acoustic musician, composer and soundware developer. He is an active performer in Toronto's new music scene. His latest release, the vinyl album “MiMo Presents: No Exit”, is a compilation of 96 locked-grooves, co-produced with Samuel Morgenstein and featuring performances by members of AIMToronto.
Soundportraits
By Jørgen Teller
August 6, 2008
August 6, 2008 1-6pm TBA location August 8 and 9, 2008 2-6pm, St. Andrew-by-the-Lake Church
St. Andrew-by-the-Lake Church
General $10, 10 for portrait of yourself
Visitors are invited to have a soundportrait produced by Danish sound artist Jørgen Teller. After a half hour session of making sounds and responding to questions from the artist, Joergen Teller will take another 30 minutes to produce a sound portrait of each visitor that the visitor will get to take home with him or her on CD. It is advised to pre-book appointments at naisa@naisa.ca or call 416 516 7413. Selections of these Soundportraits will be featured on the August 9th performance at St Andrew by-the-Lake church.
Jørgen Teller Danish artist Jørgen Teller has a long career as an electric guitarist, vocalist, electronic musician and performer. He has released many records and performed internationally as a solo artist and in collaboration with many Danish and International artists. His past collaborators have included Rhys Chatham, Tony Conrad, Fast Forward, Jac Berrocal, Otomo Yoshihide, Morten Carlsen, Peter Ole Jørgens, Jakob Draminsky, Kim Cascone, Jakob Riis and many others. He has a prolific range of solo projects that combine his extended and alternative approaches to guitar playing and often have used unconventional spaces for listening. His project STATICTELLER will be presented at the Electric Eclectics Festival in Meaford in August 2022. His Soundportraits series of pieces combines his parallel interests in location recording, improvisation and extended guitar techniques.
Portrait Concert

By Robert Normandeau
August 8, 2008, 8:00 pm
St. Andrew-by-the-Lake Church, Toronto Island
General $10
Sound Travels renders a portrait of celebrated Quebec acousmatic artist Robert Normandeau through a concert hosted by David Ogborn featuring Normandeau's works "Rumeurs" (Place de Ransbeck), "Mémoires Vives", "Spleen", "StrinGDberg", and "Hamlet-Machine with actors".

Program:
I. Rumeurs (Place de Ransbeck) by Robert Normandeau (1987)
Premiere: September 24, 1987, Université Concordia (Montréal, Québec) To Annette Vande Gorne Rumeurs… (Rumors) — A rumor is a sound in the air. Elusive, we seek to capture it, fearing that it may concern us, that it may hold a part of shameful truth. Fleeting, it cannot be caught. As soon as it materializes, it vanishes, leaving only traces in our memories. Here, nothing is certain. Where does this sound come from? What is it made of? The piece endlessly oscillates between pure sound and meaning, without ever resolving to one or the other. The piece is at the limit between texture and image, between material and anecdote. And rumors go by, always surrounding us. Here and there, sounds reach us like faint echoes of the world. If you believe hearing things about you, why worry? After all they’re only rumors… and if you listen carefully, you may find the key. … (Place de Ransbeck) — A small square in Ohain (Belgium), home of the studio Métamorphoses d’Orphée where the piece was produc
II. Mémoires vives by Robert Normandeau (1989) 15m50s
Commission: Événements du Neuf, with support from the CCA Premiere: March 9, 1989, Salle Claude-Champagne (Montréal, Québec) Mémoires… (memories) — The fascination with requiems. Not so much for the text — to which I do not subscribe — but for a certain spirit, a kind of depth. The subject itself is demanding and composers have often offered the best of themselves for it. I have taken a path from the Gregorian Mass of the Dead, Ockeghem, de Lassus, Cererols, Mozart and Berlioz to arrive at Fauré, Ligeti and Chion. You will recognize their traces throughout the piece, as a form of homage to these individuals whom I don’t know but who talk to me through their music. … vives (Vivid) — These works are all part of me; it is me, in a way, who composed them, in a different time and place. I had certainly forgotten this, but the images progressively return. I then proceed to use my electroacoustic instruments to reinvent the ritual. I also integrate here and there, moments for which I prete
III. Spleen by Robert Normandeau (1993) 15m00s
Premiere: December 10, 1993, Journées Électro-Radio Days (Montréal, Québec) Musique et rythme [Music and Rhythm]; Mélancolie et timbre [Melancholy and Timbre]; Colère et dynamique [Anger and Dynamics]; Frustration et espace [Frustration and Space]; Délire et texture [Frenzy and Texture] Spleen is comprised solely of the voices of four adolescents, aged 16 years. The title refers to one of the most significant moods of the adolescent: this kind of sudden melancholy which surfaces for no apparent reason. This work is a sequel to a previous piece, Éclats de voix, which utilized dozens of sounds from the Dictionnaire des bruits by Jean-Claude Trait and Yvon Dulude as a sonorous base. Onomatopoetic, the material is extremely rich because it represents those instances when the sounds of human language correspond directly to the designated object or to the expression of a sentiment. The piece is divided into five sections which represent typical situations for the adolescent, and a corresp
IV. StrinGDberg by Robert Normandeau (2001-03) 18m20s
Commission: Ina-GRM Premiere: June 1, 2001, Salle Olivier Messiaen — Maison de Radio France (Paris, France) StrinDberg. Adapted from the music composed for the play Miss Julie by August Strindberg (Stockholm, Sweden, January 22, 1849-Stockholm, Sweden, May 14, 1912), staged by Brigitte Haentjens at Espace GO (Montréal) in May 2001. StrinG. The only sound sources of the piece come from two string instruments, a hurdy-gurdy and a cello. Two instruments representing two eras in the history of instrument factory: the first one belongs to a period where sonorities were rude, closer to the people, and the second one evokes the refinement of the aristocracy. Actually, the piece is made of two superimposed layers. The first one comes from a single recording of a hurdy-gurdy improvisation about a minute long. Stretched out, filtered, layered, the sound of the hurdy-gurdy, distributed in a multiphonic space, is revealed, layer by layer, throughout the duration of the piece. A second layer, m
V. Hamlet-Machine with Actors by Robert Normandeau (2003) 15m58s
Commission: VNMS Premiere: October 11, 2003, Scotia Bank Dance Centre (Vancouver, British Columbia, Canada) To Marc Béland Adapted from the music composed for the play Hamletmachine (1979) by Heiner Müller (1929-1995), staged by Brigitte Haentjens in Montreal in 2001. The actors were Marc Béland, Céline Bonnier, Annie Berthiaume, Louise de Beaumont, Gaétan Nadeau, Line Naud, Guy Triffero, and François Trudel. The music was omnipresent during the play, one hour and fifteen minutes of music. Around thirty different themes were used. For the concert version, I reworked every sound and recomposed every sequence to produce an autonomous work. For the first time in a while, I used electronic sounds in the piece. And to this musical material I added the sounds made by the actors, as recorded in three documents I shot: two rehearsals — the rehearsal building, as anyone can hear, was located in an industrial neighbourhood — and the show of the first public performance. By doing this, I have
Robert Normandeau his work is focused on acousmatic music. He creates a ‘cinema for the ear’ in which ‘meaning’ as well as ‘sound’ become the elements that elaborate his works. He has been Professor in electroacoustic music composition at Université de Montréal since 1999. Robert Normandeau is an award winner of numerous international competitions, including Ars Electronica, Bourges, Fribourg, Luigi Russolo, Métamorphoses, Musica Nova, Noroit-Léonce Petitot, Phonurgia-Nova, and Giga-Hertz (Karlsruhe, 2010).
Outdoor Guerilla Sound Art Performances Improvising Space: improvising identity
By Ellen Waterman
August 9, 2008
August 8, 9, 2008 7-8pm August 10, 2008 1-2pm
Outdoors on Toronto Island
FREE
Improvisation is a profoundly everyday activity. We are all constantly interacting with our environment, playing off of tiny shifts in perception to make choices that affect the play of movement and sound around us. Most of this dynamic activity goes unnoticed. Four improvisers (using flute, percussion, and voice) will play a series of solos, duos, and trios on Toronto Island. Each performance is a sensitive articulation of the micro-ecology of that specific moment in time/space. Building on the sensitivity to environment and sound fostered by such composer/philosophers as Pauline Oliveros and R. Murray Schafer, our musical interventions seek to cause a tiny disturbance - a startled recognition - an acute sense of aliveness.
Ellen Waterman Ellen Waterman is a dynamic flutist/vocalist and creative improviser who specializes in contemporary and experimental music. She is known for her flamboyant physical presence and wild range of vocalizations on the flute, and for her dedication to Canadian experimental music. Her performance practice intersects closely with her work as a cultural theorist and musicologist. Ellen is Associate Professor in the School of Fine Art and Music at the University of Guelph, where she leads the Contemporary Music Ensemble and teaches courses in 20th century and avant-garde music. She holds the Ph.D. in Critical Studies and Experimental Practices from the Department of Music at the University of California, San Diego. For over a decade she performed with iconic Canadian composer R. Murray Schafer on several of his Patria music/theatre projects, and her scholarly work on Schafer has been widely published. Ellen is represented on premiere recordings of works by Brian Ferneyhough (CRICD 652) and Schafer (CMCCD 8902). Her own compositions and improvisational work have been released on Radiant Dissonance Volume Two, a set of ten radio programs produced by the Canadian Society for Independent Radio Production, and on her CD Sound Crossings. As an improviser she has been fortunate to perform with such major artists as George Lewis, Miya Masaoka, Malcolm Goldstein, Susie Ibarra, Jo�lle Leandre, Jean Derome, Lori Freedman, Nicole Mitchell, Pauline Oliveros and Anne Bourne. She has performed at the Guelph Jazz Festival, the Vancouver International Jazz Festival (with VCMI), and Montreal’s The Upgrade! In 2007 she was Artist in Residence at The Art of Immersive Sound (U. of Regina). Ellen is an active member of the Association of Improvising Musicians, Toronto.
A Multitude of Portraits - Sound Travels Concert
By Ellen Waterman/James Harley, David Ogborn, Herve Birolini and Jørgen Teller and more
August 9, 2008, 8:00 pm
St. Andrew-by-the-Lake Church, Toronto Island
General $10
Saturday evening's concert will include performances by flutist Ellen Waterman in wild fruits 2, works by David Ogborn and Herve Berolini as well as the best of the soundportraits by Jøgen Teller alongside works by Sound Travels emerging artists.

Program:
I. wild fruits 2: like a ragged flock, like pulverized jade by James Harley and Ellen Waterman
Wild Fruits 2 is a hybrid, both composition and improvisation, both pre-recorded and live, both fixed and mutable. It is a collaboration in which both partners have complete autonomy over their contributions, necessitating a high degree of trust. Amplified flute sounds are put under a sonic microscope, spun reverberating around a multi-speaker scenario, but in other ways are left untouched. The flute/voice acoustically mimics recorded and digitally manipulated signals. Real time spatialization blurs the line between acoustically and electronically rendered sounds (which is which?) in a cyborg piece that spins a utopic myth of pristine nature in the full realization of its absence. Recordings made in both “urban” and “natural” environments are transformed through digital manipulation into a raw and wild presence. Harley’s compositional sub-text provides inspiration for my improvisation; it is a series of excerpts from Annie Dillard’s hymn to nature: Pilgrim at Tinker Creek. “In Septem
II. Second Nature by David Ogborn
Toronto's Tommy Thompson Park is a manmade spit that snakes its way from where Leslie Street meets Lake Ontario to a lighthouse out beyond the Toronto islands. This work is based on field recordings made in the park, a location I first discovered in 2001, sometime during my first year living in Toronto. It became a place towards which I gravitated - not just as a place to escape the bustle of the city, but as a heightened example of what one might call "second nature" - nature as a construct of mankind, as a reflection of mankind's activity. This soundscape composition was created during an August 2005 residency with Toronto's Sound Travels (New Adventures in Sound Art). Special thanks to Darren Copeland, Yves Daoust, Charlie Fox, and the InterAccess gallery for their assistance in the creation of this piece.
III. Trame by Herve Berolini
Trame is an attempt to make a musical portrait of "Boulogne sur Mer" (North of France). Like an electric wave the listener progresses between the fish cases, the noisy freezers, and the workers of the Port of Boulogne.
IV. Soundportrait by Jørgen Teller / best of the Toronto portraits
Selections of the Soundportraits created over the course of the week will be featured on this August 9th performance at St Andrew by-the-Lake church. Soundportraits are produced by Danish sound artist Jørgen Teller after a half hour session of a person making sounds and responding to questions from the artist.
David Ogborn is a creator and producer who combines the traditional performing arts with electronic media. Recent highlights include Metropolis (New Wave Festival 2007), Opera On The Rocks (Toronto Star’s 2008 list of “boffo opera”), and Emergence (robot and guitar, 2009). In 2010, the interactive video sculpture Waterfall (commissioned by the Canadian Wildlife Federation and created with David Clark, Kim Morgan, and Rachelle Viader Knowles) was featured in Whistler, BC at the 2010 Olympic Games. Ogborn teaches audio production and physical computing at McMaster University, directs the Cybernetic Orchestra http://www.youtube.com/watch?v=M-G-zp5wjNU and is the President of the Canadian Electroacoustic Community (CEC).
Hervé Birolini Hervé Birolini studied electroacoustic composition at the Centre Européen de Recherche Musicale (CERM) from 1990 to 1993. He went on to complete a postgraduate diploma in audiovisual production, before joining the Paris-based GRM (Groupe de Recherches Musicales) in 1994 as chief sound engineer for the Multiphonie and Présences électroniques concert series. This involvement would ultimately inspire him to start writing his own music in 2000.
Sounding Ariadne's Thread
Performed by The Labyrinth Singers Ensemble
By Wende Bartley
August 10, 2008, 2:00 pm
St. Andrew-by-the-Lake Church, Toronto Island Site-Specific performance for labyrinth
General $10
Sounding Ariadne's Thread is an electroacoustic choral work for 20 singers to be performed while walking the Chartres Cathedral labyrinth pattern. "Ariadne" is known in Cretan & Minoan mythology as 'the Lady of the Labyrinth', and her rituals are associated with ceremonial dance. The performers in this composition will be walking specific patterns that highlight the geometric and rhythmic relationships of the Chartres Pattern, created in the 1200's in medieval Europe. Both the choral music and the electroacoustic source material are based on vocal improvisations by Wende Bartley and soundscape recordings made at various Minoan ancient temple & cave sites in Crete.
Wende Bartley Wende Bartley is a Toronto-based composer writing in a variety of forms. Her current work is focused on an investigation into sound and voice as vibrational energy. She is creating a series of pieces based on recordings made at various ancient sites in Greece, Malta, and England.
Afternoon concert
By the Element Choir
August 30, 2008, 2:00 pm
St. Andrew-by-the-Lake Church, Toronto Island
General $10