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Upcoming Performances

Ambient Tones and Dreams
By Jason Brock
June 30, 2018, 7:00 pm to 8:30 pm
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
General $10,
North Bay artist Jason Brock performs his cycle of pieces ”expressed in Ambient Tones - Songs, Soundscapes and Dreams" using the 12 String (Grand) Chapman Stick Touchboard controlling a Roland GR-55 Guitar Synthesizer.
Jason Brock is a North Bay musician and artist focused on the unique touch-style (electric) guitar and bass instrument called the "Chapman Stick Touchboard" where he has received recognition from world renowned teachers/performers of the Chapman Stick as well as from the creator of the instrument "Emmett Chapman" (California). He began playing the Chapman Stick in 2000 after discovering it allowed him to still play music despite a work place injury that left his right arm with permanent nerve damage and a 90% bone fusion of the wrist . His first CD Medicine Stick has 21 original compositions ranging across several genres (Celtic, contemporary, light jazz, progressive, and folk). Since 2015 Jason has been researching and building his custom pedal-board with a wide range of analog and digital effects to expand the musical capabilities of the Chapman Stick in tonal palette and live performance.
'Rock' Concert for the Cave
By Stéphane Roy, Maggie Payne and Michael Obst
July 7, 2018, 7:00 pm to 8:30 pm
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
General $10,
Enjoy a concert of electronic works inspired by Crystals in honour of the new Crystal Cave museum in South River. Listen in surround sound to works by Maggi Payne, Stéphane Roy, and Michael Obst.

I. Crystal Music by Stéphane Roy
"Material substances and sound substance have never been so closely associated as in the acousmatic genre. Crystal Music, which originates in this genre, is a music of forms, colors and materials shaped by kinetic energies and perspectives in the inner space of the work. Like glasswork, the material has been expanded, moulded, transmuted in the fiery furnaces of experimentation. Like crystal, it has been worked upon by the imagination which imbues its transparency with the power of illusion.

Beyond pure matter, there still remain certain sham voices lost in factual collages, but also rhetorical phenomena of ruptures and antagonistic relationships between musical characters, strained nodes, suddenly subjugated by the whimsicality of an arabesque. The work is permeated by a bountiful style employing sound material as others use flat areas of color which they scratch with a nervous, angular graphism: it thus reveals a desire for plasticity which soon enough betrays a dramatic expression.

This work, composed largely with Bill Schottstaedt’s Common Lisp Music program, could not have been realized without the technical support and exceptional conditions I enjoyed at CCRMA (Center for Computer Research in Music and Acoustics) at Stanford University (California, USA) during the year 1992-93, as well as in the studios at the Faculty of Music of the Université de Montréal in 1994. The work was premiered on March 3, 1994 at the Chapelle historique du Bon-Pasteur in Montréal during the 15th anniversary concert of ACREQ (Association pour la création et la recherche électroacoustiques du Québec). Crystal Music was commissioned by ACREQ with support from the Canada Council [for the Arts] (CCA). I wish to thank the Faculty of Music of the Université de Montréal for having lent me its studios in order to complete the piece. Crystal Music was awarded the First Prize at the 3rd Prix international Noroit-Léonce Petitot (Arras, France, 1994). Crystal Music previously appeared on the compact disc Prix international Noroit-Léonce Petitot 1993 (NOR 3)."
II. Crystal by Maggie Payne
I composed Crystal in 1982 using a Moog IIIP synthesizer with extensive multi-tracking. Spatial location and modulation are important aspects of this work as is delicate timbral manipulation, with the harmonic spectrum in constant flux. Spatialization was created by carefully dovetailing the envelope of each sound to the sound that followed. Individual tracks were recorded to a four track Ampex 440, with the inherent spatialization retained through multiple generations of layering to and from a 12-track Scully 280, resulting in the equivalent of 26 tracks. For the video I shot crystals forming in real time using my father’s medical school microscope.
III. Crystal World by Michael Obst
The composition of the cycle of works "Kristallwelt" (crystal world) started in 1983, and with that, my investigation of the wide range of acoustic manifestations of traditional Asian percussion instruments. The compositional process and the many electronic transformations of the instrumental sounds and their overtone-spectra led to very unusual musical structures. The resulting unique sounds were comparable to various manifestations of light - such as reflections and prism-spectra - and reminded me of a novel by J. G. Ballard titled “The Crystal World". The author describes how nature's plants, animals and also humans gradually change into a crystal world. Everything "freezes" into crystals and precious stones, which, in turn, transform sunlight into an environment of countless fantastic light-spectra. The unusual paradox is the perfect harmony of the millions of refractions of light, which is at the same time responsible for the destruction of life, absolute paralysis and coldness.

The central idea of "Kristallwelt 1" is anchored in the contrast between sound-points ("Klangpunkte") and sound-planes ("Klangflächen") and is derived from recordings of the Asian percussion instruments Rîn, Keysu, Mokusho, Glissando-Gong and a Javanese Rotating Sound-plate. The original instrumental attacks were almost never used in "Kristallwelt 1", thus nearly all sounds originate from the resonance of the instruments. In the sense of an "overture", it introduces the harmonic structure and motivic concept of the entire cycle, which are the connecting links between all three parts of "Kristallwelt". The harmonic progression of this part becomes brighter and richer in overtone, supporting the analogy to crystals, or the dispersion of light, and therefore, a sort of musical coldness.

"Kristallwelt 2 (Choral)" draws its sound material entirely from synthetic computer-generated sounds imitating Asian percussion instruments and a female voice. The motives, which dominated in Part 1, are now reduced and seem to be improvised. The darker "Klangfarben", and the primarily calm musical development contribute to a somewhat meditative and - due to the manipulation of the synthetic voice - surreal impression.

The composition "Interméde" (Interlude) returns to the bright, overtone-rich sound world of first part, although the musical impression of Part 2 remains. Three "Klangfarben" determine the musical development of "Kristallwelt 3" and point to the central importance of this composition within the cycle: the sound-spectra of the Asian instruments; the original attacks of the instruments; and the human voice.

Kristallwelt 1 and the Interméde were realized at Studio for electronic music of the conservatory of Cologne (Germany), Kristallwelt 2 at EMS Stockholm and Kristallwelt 3 at IRCAM.
Stéphane Roy The author of a book on electroacoustic music analysis (L’Harmattan, Paris, 2003), Stéphane Roy holds both a doctorate degree in electroacoustic composition and a PhD in musicology from the Université de Montréal where he has taught electroacoustic techniques and auditory perception for a few years. Back to Canada after spending close to five years in St Louis (Missouri, USA), he has tought music analysis at the Conservatoire de musique de Montréal. Stéphane Roy’s work has received awards from international competitions in Canada, the USA, and Europe. It has been released on a number of labels, including empreintes DIGITALes (Kaleidos, 1996; Migrations, 2003). Stéphane Roy has been invited to present his work in Europe and the Americas.
Maggie Payne is Co-Director (since 1992) of the Center for Contemporary Music at Mills College, Oakland, CA, where she teaches recording engineering, composition, and electronic music. She also freelances as a recording engineer and editor and a historical remastering engineer. Her electroacoustic works often include visual elements which she creates, including video, dance, transparencies, and film. She enjoys collaborating with other artists and has worked with video artist Ed Tannenbaum for over twenty years. She is also a flutist, and has written several works for flute as well as other acoustic instruments. She has had performances of her works throughout the Americas, Europe, Japan, and Australasia. She received six honorary mentions from Bourges, and one from Prix Ars Electronica, and was an Artist in Residence at the Exploratorium in San Francisco and the Montalvo Arts Center in Saratoga, CA. Her works are available on Aguirre, The Label, Root Strata, Lovely Music, Starkland, Innova, Music and Arts, Centaur, MMC, CRI, Digital Narcis, Frog Peak, Asphodel, and/OAR, Ubuibi, and Mills College labels.
Michael Obst is a composer, born in 1955 in Frankfurt Germany. He studied piano with Alfons and Aloys Kontarsky in Cologne, becoming active as a composer at the Studio for Electronic Music of the Cologne Musikhochschule between 1979 and 1982. Obst was a pianist in the Ensemble Modern from 1981 to 1986, and worked with Karlheinz Stockhausen as performer of electronic keyboard instruments from 1986 to 1989. Since 1996, he has been a professor of composition and electronic music in Weimar. Photo: Guido Werner, Weimar
Psychoactive Listening
By Aaron Labbé
July 14, 2018, drop in between 12 pm and 4 pm
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
Pay by donation (suggested $10)
Lounge outdoors as you listen to binaural ‘Psychoactive Music' composed by Aaron Labbé. The music you will hear will be created live through algorithmic responses to your real-time EEG data.

I. Psychoactive Music by Aaron Labbé
"Psychoactive Music" is an interactive music composition that results in a completely binaural/three dimensional auditory experience that infuses various personalized neurological triggers within carefully constructed music in order to evoke a "dream-like" meditative experience. In performance, users wear noise-cancelling headphones and an EEG reader and audio content is live-mixed/outputted in real-time. Live composition decisions are made algorithmically based on the user's real-time EEG data and are rendered in a carefully engineered method, designed to provide what each user needs in order to reach the targeted mental state.
Aaron Labbé is an Intermedia Artist based in Toronto, Canada. The driving-force of his work includes concepts drawn from the topics of mental health, empathy, the psyche and explorations of human consciousness. His specialities include interactive experience design, data visualization, experimental music practices, spatial sound design and autonomous systems.
World Listening Day Concert
By Victoria Fenner, Stefan Rose and Claude Schryer
July 21, 2018, 7:00 pm to 8:30 pm
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
General $10
Celebrate World Listening Day by coming to see/hear a concert of works that explore sounds from everyday life. Included will be a series of works entitled Seeing Sound by Victoria Fenner and Stefan Rose as well as simplesoundscapes by Claude Schryer.

I. No Time For Silence by Victoria Fenner & Stefan Rose
No Time for Silence is an illustrated documentary poem about rhythms of life. The gentle rhythms of nature contrasted to the militaristic lock step marches of urban life. The audio portion was commissioned by CBC Radio Ottawa's program "Out of the Blue" in 2000. Concept: Victoria Fenner Sound composer: Victoria Fenner Editing - Victoria Fenner and Stefan Rose Voices: Victoria Fenner, Andy Posthumus Images: Victoria Fenner, Stefan Rose, Edward Moll, Sean McGauhey
II. The Queen of Bees by Victoria Fenner & Stefan Rose
The Queen of Bees is a dark fantasy where shadow puppet bees compete for dominance, inspired by Penn Kemp at an audio poetry workshop that took place at Western University in London, Ontario in 2003 and that was organized by Victoria Fenner. Visual concept (shadow bees) by Edward Moll, with Fenner and Rose as shadow puppeteers. The Queen of Bees is dedicated to Penn Kemp, who inspired the title for the piece and provided the opening voice and phrase. Additional Voices: Tony Sloan, Jennifer Pittet, beekeepers Shadow Bee Concept: Edward Moll Bee Construction: Edward Moll Bee Wranglers: Stefan Rose, Victoria Fenner and Edward Moll Sound composer: Victoria Fenner Audio Re-mastering: Darren Copeland Video camera, editing and production: Stefan Rose
III. Looking for Light by Victoria Fenner & Stefan Rose
Looking for Light is based on a 2006 composition, which was one of Fenner's most musical compositions. The audio version of Looking for Light uses rain, thunder, and unconventional ways of playing the piano and was a quest to find light in dark places. When Stefan Rose was thinking of images for the video, he thought of the flower as a symbol, because flowers are always looking for light. Fenner thinks that this work is evocative of J.E.H. Macdonald's series of works "The Tangled Garden" and likes this identification with the Group of Seven. Sound Composer: Victoria Fenner Video Composer: Stefan Rose Audio remastering: Darren Copeland
IV. 9 Simplesoundscapes by Claude Schryer
9 simplesoundscapes is a 27-minute video compilation of the second iteration of simplesoundscapes featuring the episodes e74 sky, e20 rumeurs, e38 meter, e09 propelled, e57 ducks, e78 wind, e11 arrival, e77 drum and e81 rumble. The last episode is the beginning of the 3rd iteration of simplesoundscapes, which will mainly be in audio format with the occasional video.
Victoria Fenner is a Canadian audio artist who has spent the past two decades exploring the medium of sound. She has been produced many works of her own, and has developed many projects and performance events involving radio and sound artists. She also has worked for CBC Radio in many capacities, most notably as a researcher for a special series on the audio art of Quebec for the Radio One program “Outfront”.
Stefan Rose is an award-winning photographer, poet, and video artist, exploring psychogeographic themes using analog and digital formats. He received BSc. and BFA degrees from Mount Allison University. He has been NAISA’s photo/video documentarian since 2000, was 2010 City of Kitchener Artist In Residence, and lives in Waterloo, Ontario.
Claude Schryer is electroacoustic and environmental compositions focus on spiritual, artistic, and social aspects of acoustic ecology. His work is influenced by the work of Canadian composer R Murray Schafer’s and his idea of soundscapes are ongoing musical compositions. He was raised in and around the city of North Bay (Ontario) where he was active as a pianist, clarinettist, composer, hunter and fisherman with his parents Maurice and Jeannine, and his brothers Luc, Guy, Marc, and Richard. He studied composition with Owen Underhill at Wilfrid Laurier University (BA Mus, 1977-81), interdisciplinary arts and new music at The Banff Centre for the Arts (1981, 85, 93) and composition with alcides lanza at McGill University (Master Mus, 1982-89). He also studied with Denis Smalley and Luc Ferrari (1986-87).
City of Sighs
By Alexis O'Hara
July 28, 2018, 7:00 pm to 8:30 pm
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
General $10
Alexis O'Hara returns to NAISA after the success of the SQUEEEEQUE exhibition to deliver a solo performance entitled City of Sighs — in the form of a living dynamic sound sculpture, she embodies wordless stories, a meditation of fear and longing.
Alexis O'Hara The interdisciplinary art practice of Alexis O'Hara exploits allegories of the human voice via vocal & electronic improvisation, sound installation and performance. Her work is influenced by her love of the destabilizing and transformative power of humour and improvisation. The eclecticism of her work attracts international programmers from various disciplines. She has presented work in Scotland, Austria, Mexico, Germany, Belgium, France, England, Ireland, Slovenia, Australia, Finland, Denmark, Brazil, Monaco, Serbia, Switzerland, the U.S. and across Canada. She lives and works in Montreal.
Micro and Macro
By Ana Dall'Ara Majek, blablaTrains and Takuto Fukuda
August 4, 2018, 7:00 pm to 8:30 pm
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
General $10
This concert begins with a cycle of acousmatic pieces by Montreal composer Ana Dall'Ara Majek that is called Nano-Cosmos and is dedicated to insects, small arthropods and microorganisms. Following Nano-Cosmos will be an improvisational performance by Ana Dall'Ara Majek and Takuto Fukuda as their duo blablaTrains. They incorporate new musical digital instruments to explore the nature of idiomatic musical gestures and theatricality.

I. Akheta’s Blues by Ana Dall'Ara Majek
The title of this piece refers to the cyclical and repetitive song of the Acheta domesticus, better-known as the house cricket. Its song served as a model for the construction of the piece. Akheta’s Blues is one of my most tonal acousmatic pieces. I deliberately searched for precise harmonic relationships between its sonic layers and used characteristic melodies as leitmotifs. The spatial arrangement of its sounds reflects the layout of desks in an orchestra, where each sound family has its own distinctive location. Finally, the piece explores a whole world of particles inside of renewing minimalist gestures. English translation: Stephanie Moore.
II. Diaphanous Acarina by Ana Dall'Ara Majek
An observation of the world of mites under a musical microscope as they evolve on flat surfaces. The Typhlodromus pyri are semi-transparent mites which live along the veins of vine leaves. These veins are represented sonically by long, homogenous drones and the mites are portrayed by composite objects derived from granular synthesis. The musical discourse evokes the behaviour of mites and their various methods of proliferation: swarms fluctuate between various types of invasive proliferation (in the form of aquatic textures) and destructive proliferation (distorted materials created by DC offset excess). Extreme dynamic contrasts call to mind the effect of zooming in and out with a microscope, with abrupt mechanical adjustments and characteristic focus drift. And every so often, when the field of vision is expanded, the distinctive voice of the Typhlodromus pyri can be heard. English translation: Stephanie Moore.
III. Bacillus Chorus by Ana Dall'Ara Majek
For this piece I was interested in bacteria — particularly their ability to multiply and modify their environment by working together. This led me to the idea of considering musical polyphony as a bacterial colonization in which sounds duplicate by binary fission processes, contaminate each other, form bacterial chains, and slowly alter the properties of the entire work. English translation: Stephanie Moore.
IV. Xylocopa Ransbecka by Ana Dall'Ara Majek
I had left for Place de Ransbeck in search of Rumeurs’s thirteen doors when I encountered an angry hymenopteran who fled my microphone by hiding in the cracks of a wooden beam. This is how my piece was first conceived. It features a carpenter bee and twenty doors recorded at Musiques & Recherches (Ohain, Belgium). In it, I continue my exploration of changes of scale, from a passage in human proportions featuring familiar sounds to the more abstract world of microfauna, where bacteria found in wood form wriggling masses. Between these two sizes of scale, the carpenter bee carves out wood shavings and comes buzzing around our ears. The piece is dedicated to To Annette Vande Gorne. English translation: Stephanie Moore.
V. blablaImprovisation by blablaTrains
This performance creates paths from animality to a robotic society, from heaven to hell. It seeks a dialog between nature, industrial and electronic sounds. It is also a theatrical exploration of two instruments that require a ‘choreography’ to generate sound. Click here to watch a performance they did at CIRMMT, Café résonance, Montreal.
Ana Dall'Ara Majek is a composer, sound artist and researcher living in Montréal (Québec). She is devoted to the study of how instrumental, electroacoustic and computational-thinking approaches interact in musical composition. In 2016, she obtained a doctorate in composition from the Université de Montréal, where she also taught a number of courses in the digital music section. She often collaborates with other artists as a composer, performer, and computer music programmer. She performs regularly with saxophonist Ida Toninato as part of their duo Jane/KIN, founded in 2015, and she has also collaborated on many theatre, dance and film works. She has also composed for chamber ensembles such as Quasar, Les Percussions de Strasbourg, Sixtrum, Trio Hoboken, Lunatics at Large, and TM+, among others. Passionate about electroacoustic music analysis, she has created numerous graphic scores with Acousmographe and has written analytical papers published in the eOrema journal and in François Bayle’s book Son Vitesse-lumière (Magison, 2016). In 2014, she released Air, her first album of works for instruments and electronics, on the Kohlenstoff Records label and in 2018 Nano-Cosmos, her first solo album of acousmatic pieces, was released by Empreintes digitales. English translation: Stephanie Moore.
blablaTrains is a duo formed by Takuto Fukuda playing a DIY sensor instrument, and Ana Dall’Ara-Majek playing an extended Theremin. Respectively from Japan and France, they moved to Canada to study composition and to take the train. The duo develops new ways of narrativity and musical meaning by extending idiomatic gestures to theatrics. Both composers and Max programers, they also work on pieces with instruments and electronics, installations, and multimedia projects.
Takuto Fukuda is a composer, a sound artist and a sensor instrument performer woking in the field of electroacoustic and mixed music. He has studied at Kunitachi College of Music Japan, The Royal Conservatory in The Hague in The Netherlands and the University of Music and Performing Arts Graz in Austria. His pieces have been awarded prizes at CCMC 2011 Japan, International Taiwan Electroacoustic Music Award, Musica Nova 2010 (Czech) and his work has been performed at ISCM World Music Days 2016 (Korea), NYCEMF 2014 (USA), ICMC 2012 (Slovenia), ACL Asia Music Festival (Japan) and Ai-maako 2007 (Chile) among others. He has been composing for several interdisciplinary projects in collaboration with creators in other field of arts such as contemporary dance and film. He is active as a member of Elektrichka - an electroacoustic performance group with Nick Acorne and Jonathan Carter and has composed several pieces for their self-made sensor instruments.
Sonic Spaces
By Sherry Ostapovich, Barry Truax, Pete Stollery and Jean-Phillipe Renoult & Dinah Bird
August 11, 2018, 7:00 pm to 8:30 pm
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
General $10
Sherry Ostapovich presents a new soundscape work in a program of international works that evoke impressions of interesting-sounding spaces such as factories, breweries, distilleries, canal boats and ships.

I. Still by Sherry Ostapovich
Still is an audio-visual document of living on the canals of London in a narrowboat for three months in 2014. Narrowboats travel at an average speed of 3mph and life aboard mirrors this pace. The close presence of nature to the living space allows one to become more attuned to the surroundings in and outside of the boat. The frequent shift from the small enclosed space of the narrowboat to the larger open space of the canal fosters a natural awareness of articulation of space which Still creatively captures and reflects.
II. Still Voices by Pete Stollery
Still Voices is part of a larger project called Gordon Soundscape, which is an attempt to map the sonic diversity of the former Gordon District in Aberdeenshire, Scotland. The project comprises acousmatic/soundscape concert pieces Still Voices and Fields of Silence, an interactive website (www.gordonsoundscape.net) and a sound documentary/installation (Resound).

I have become fascinated by the potential power that I have as a composer working with technology and fixed media to conserve sounds which will soon no longer exist. Workers at the Glendronach Distillery in North-East Scotland were told in 2004 that the plant was to move from coal-fired processes to a more ecological method of heating. They began to realise that the sounds they had become used to as part of their daily work – raking out the kilns, kiln doors closing, coal pouring from the back of delivery lorries – were soon to disappear for ever.

Originally, I had intended to make a few recordings of these “disappearing sounds” and use them in the sound documentary/installation part of the project. However, it became clear to me, during the visits I made to the distillery, that there were many more interesting sounds which were crying out to be used and so I decided to make an entire piece using sounds recorded from both inside and out, including rolling whisky barrels along the ground, grain milling machines and the Glendronach Burn which runs through the distillery grounds.

Still Voices was commissioned by Gordon Forum for the Arts, with funds provided by Aberdeenshire Council and the Scottish Arts Council. It received its first performance in one of the auction rings at the Thainstone Centre, Inverurie in November 2005. It reached the finals of the Sounds Electric '07 Electroacoustic
Music Competition in Ireland and won an Honourable Mention at Musica Nova 2007, Czech Republic.
III. Song for the Brewery by Jean-Phillipe Renoult & Dinah Bird
Song for the Brewery is a radio art piece inspired by the Beamish and Crawford brewery, Cork, Ireland. Using the built environment of the brewery as both the set and the inspiration for the installation, the piece sought to offer the public a subjective sonic portrait of the plant.
IV. Earth and Steel by Barry Truax
This soundscape composition takes the listener back to a time a century ago when large steel ships were built in enclosed slips, and rich metallic resonances rang out. These larger than life sounds reflected the sheer volume of the ships themselves that dwarfed those who were building them. However, just as the piece progresses and ends, these soundscapes now have become increasingly distant memories, only to be re-imagined in museums.

Original recordings from the World Soundscape Project Tape Collection, recorded at a shipyard in Caraquet, New Brunswick in 1973. Sound processing realized with Soundhack convolution and Chris Rolfe’s MacPod software, with spatialization created by Harmonic Functions’ TiMax2 matrix mixer, marketed by Outboard Inc (UK).

Earth and Steel was premiered at the 2013 Acoustic Ecology Symposium at the University of Kent, Chatham, UK, on the grounds of the Royal Naval Dockyards where ships and submarines were built and repaired for many centuries.

Earth and Steel is available on the Cambridge Street Records CD, The Elements and Beyond.
V. In a Queer Time and Space by Sherry Ostapovich
This work is an abstract reflection of the production of space and queer space. At a sound arts residency for LGBTQI people, the walls and surfaces of an old cement factory will be recorded using specialist microphones and unorthodox techniques. The piece will be composed for ambisonics which offers listeners an immersive experience of the site of recording as well the impressive compositional possibilities of a 3D sound experience.
Sherry Ostapovich is a sound artist whose work incorporates field recordings and multi-channel sound installations. In a society that prioritises the visual over other senses, Sherry’s work encourages people to open their ears to their surroundings and to the ‘music’ that is everywhere. Her recent work includes composing for Kaffe Matthews’ Sonic Bikes and in 2014 she was awarded a distinction for her Masters in Music from Goldsmiths University in Studio Composition (Sonic Arts).
Barry Truax is a Professor Emeritus in the School of Communication and (formerly) the School for the Contemporary Arts at Simon Fraser University where he taught courses in acoustic communication and electroacoustic composition, specializing in soundscape composition. He has worked with the World Soundscape Project, editing its Handbook for Acoustic Ecology, and has published a book Acoustic Communication dealing with all aspects of sound and technology. As a composer, Truax is best known for his work with the PODX computer music system which he has used for tape solo works and those which combine tape with live performers or computer graphics. In 1991 his work, Riverrun, was awarded the Magisterium at the International Competition of Electroacoustic Music in Bourges, France, a category open only to electroacoustic composers of 20 or more years experience. Following his retirement from SFU (Sept. 2015), he became the Edgard Varèse Guest Professor at the Technical University in Berlin (2015-16), and Guest Composer at the 2016 BEAST Festival in Birmingham, where his multi-channel soundscape compositions have been performed, as well as at several other European festivals and ISCM 2017 in Vancouver.
Pete Stollery studied composition with Jonty Harrison at the University of Birmingham, where he was one of the first members of BEAST (Birmingham ElectroAcoustic Sound Theatre) in the early 1980s. He composes music for concert hall performance, particularly acousmatic music and more recently has created work for outside the concert hall, including sound installations and internet projects. He has collaborated with practitioners from other artistic disciplines, particularly dance and sculpture and has produced music and sound design for a number of UK visitor attractions including Dynamic Earth in Edinburgh, UK, Magna in Rotherham, UK and St Patrick’s World in Downpatrick, Northern Ireland. He is Professor of Composition and Electroacoustic Music at the University of Aberdeen, Scotland, delivering courses on the creative applications of technology in music and music education to students, schoolchildren and the general public. In 1996, along with Alistair MacDonald, Robert Dow and Simon Atkinson, he established the group invisiblEARts whose aim is to perform acousmatic music throughout Scotland and to promote Scottish acousmatic music to a wider audience, both within Scotland and abroad. He is Chair of sound, a new music incubator based in northeast Scotland, which runs the soundfestiva. His music is published by the Canadian label empreintes DIGITALes.
Jean-Phillipe Renoult & Dinah Bird are radio producers and sound artists based in Paris. Together, and independently, they make radio programmes, audio publications, installations and sound tracks. Recent collaborations include Public Works, an audiovisual work (with Anne Cleary and Denis Connolly) that looks at the urban regeneration of Northern Paris.
Strings in the Digital Age
By Jordan Wyshniowsky, Karen Tanaka, Paul Dolden and Robert Normandeau
August 18, 2018, 7:00 pm to 8:30 pm
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
General $10
Cellist Jordan Wyshniowsky from the North Bay Symphony performs in a concert that reflects different ideas of 21st Century string music in the era of the digital recording studio. Included on the programme are works by world renowned composers Paul Dolden, Robert Normandeau and Karen Tanaka.

I. The Song of Songs by Karen Tanaka
The title comes from the Song of Solomon of the Old Testament, which is a beautiful song of love. It begins as follows:

The song of songs, which is Solomon's.
Let him kiss me with the kisses of his mouth: for thy love is better than wine.
Because of the savour of thy good ointments thy name is as ointment poured forth,
therefore do the virgins love thee.

I have attempted to project this sensual song of love onto the sound of cello and computer. My intention was to weave color and scent into the sound while blending the ancient story and today's technology. The sound of cello is consistently gentle and tender.

This work was commissioned by Yutaka Fujishima and the Xebec Hall. It was first performed by Ryoichi Fujimori in Mito, Japan, on 10th November 1996.
II. StrinGDberg by Robert Normandeau
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, made from the cello, gives the work its rhythm and brings, at the end, a more dramatic quality. It is a deep listening work that penetrates into the sound.
III. Physics of Seduction. Invocation #3 by Paul Dolden
What compositional strategy can the contemporary artist use in order to produce a subversive charge in the face of a world drained of substance, meaning, value and difference? One approach is to use the materials of repression and extend their logic to such an extreme or excess that they implode from within. By using an extreme amount of ‘ordinary’ musical sounds and gestures, their reality becomes more real than real. In other words, the sounds escape the networks of meaning and association which have built up the reality of our world. In addition, with an extreme or excess of sounds, it is possible for speed to become faster than fast and thus for everything to become instantaneous. In this condition linear time and temporal reality are transcended. This compositional strategy, involving an escalation to extremes, means that the materials themselves disappear as they implode inward and take on new appearances. The realm of seduction involves the strategies of appearances. As a contemporary composer, all that I can hope for is that I have provided the physics, or the interaction of motion and energy, for your own seduction.
Jordan Wyshniowsky is principal cellist with the North Bay Symphony and is a strings instructor with the Symphony String School. He has studied with former Sudbury Symphony and North Bay Symphony conductor, Metro Kozak, and with National Arts Centre Orchestra cellists Amanda Forsyth and Margaret Munro Tobolowska. He is active in performing and recording music in the North Bay area. Recent projects have included performing with the Almaguin Strings and Hidden Roots Collective. He has recently released a recording of instrumentals called 'Jordan Music', featuring cello, guitar, and keyboards.
Karen Tanaka is acclaimed as one of the leading living composers from Japan. She has composed extensively for both instrumental and electronics media. "Her music is delicate and emotive, beautifully crafted, showing a refined ear for both detail and large organic shapes...", The New Grove Dictionary of Music and Musicians. Her recent works, such as The Song of Songs, Night Bird and Metal Strings, develop new directions in her musical language using the latest technology and reflecting different aspects of contemporary culture. In recent years, Karen Tanaka's love of nature and concern for the environment has influenced many of her works. She is co-artistic director of the Yatsugatake Kogen Music Festival, previously directed by Toru Takemitsu. Her music is published by Chester Music in London (Music Sales), Schott Music New York (PSNY), and Editions BIM in Switzerland.
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 recieves 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
Robert Normandeau His work as a composer is mainly devoted to acousmatic music, his compositions employ esthetical criteria whereby he creates a ‘cinema for the ear’ in which ‘meaning’ as well as ‘sound’ become the elements that elaborate his works. More recently Robert Normandeau has composed a cycle of works of immersive multiphonic music for dome of loudspeakers. Along with concert music he has composed, for a period of twenty years, incidental music especially for the theatre. He has received three Prix Opus from the Conseil québécois de la musique (CQM). Robert Normandeau is an award winner of numerous international competitions, including Ars Electronica, Bourges, Métamorphoses, Musica Nova Prague, Noroit-Léonce Petitot, Arras and Giga-Hertz (Karlsruhe, 2010).
Modular Tribute
August 25, 2018, 7:00 pm to 8:30 pm
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
General $10
A concert reflecting on the anti-digital retro movement of analog modular synths featuring performance by ACCRETION.of.PLANETESIMALS (aka Andrew Farnsworth from Burks Falls) and a tribute to the late Richard Lainhart.
ACCRETION.of.PLANETESIMALS Writing short songs from a small room, ACCRETION.of.PLANETESIMALS tells the same transitory story as the universe: of floating bits smashed together, of objects formed in isolation, only to break apart again and drift as dust. A.of.P is Andrew Farnsworth, a municipal clerk living in Burk's Falls, Ontario. His music is more stream of consciousness than planned parenthood, and the same could be said for his future as a contributing musician - at best it will be judged a fortuitous mistake. The brevity of his songs is justified by the attention span of his audience, namely himself.
Reflections of a Drummer
By Richard C. Windeyer and Cameron McKittrick
September 1, 2018, 7:00 pm to 8:30 pm
NAISA North Media Arts Centre, 106 Ottawa Ave, South River
General $10
How does a drummer perceive the world of sound? Elements of new media and radio storytelling are combined by Richard C. Windeyer with guest Cameron McKittrick in order to create a portrait of a drummer's perception of sound.

I. Rehearsing Silence by Richard C. Windeyer
Rehearsing Silence” is part audio essay, part medical portraiture, part data sonification, part prosthetic design sketch. It proposes a binaurally-encoded, audio-based approach to portraiture that frames and compresses the gradual and inevitable diminishment of auditory perception as a consequence of aging and neurologically collapsing bodies. This design sketch stems, in part, from ongoing research focused on developing instruments and tools to support multi-sensory (non-visual) data analytics, and a continuing interest in how the effects of aging and sensory impairment manifest themselves as perceptual artifacts within an artistic practice (Claude Monet painted through cataracts, Beethoven composed through tinnitus, etc.)

**NOTE: This audio portrait contains simulations of high frequency tinnitus tones and frequency-based hearing loss which are different in each ear. If you currently suffer from tinnitus, listening to this portrait may exacerbate your symptoms if listened to at high volume levels.**
II. Hulaboom by Richard C.Windeyer
In Hulaboom the audio signal is fed through digital processing software via binaural microphones worn by the drummer. This enables the drummer to influence the mix of acoustic kit instruments to be processed – including the degree of sonic detail and relative strength of the signal as it enters the processing chains – by adjusting their physical proximity to the kit (i.e., head related transfer functions).

A collection of household ‘foley’ sounds (stored in a granular synthesis engine) are activated by an acoustic MIDI trigger mounted on the kick drum. This offers the possibility of using drum velocity values to trigger looped and often unmetered textures which the drummer can then play in counterpoint with.

The current ‘soundscape’ of this kit borrows from traditional ‘dub’ processing techniques (echo, feedback, band-pass filters coupled with envelope followers, ‘spring’ reverbs), yet also attempts to infuse each instance of a dub echo with different sonic information, such as discreet ‘foley’ sounds, voices or harmonic ‘augmentations’ generated by a vocoder.

Gated ‘ghost tracks’ are also revealed through changes in the drummer’s loudness levels. In this demonstration, the ‘ghost track’ is an archival interview recording of early jazz drummer Warren ‘Baby’ Dodds for the Folkways album “Baby Dodds – Talking And Drum Solos” (Folkways Records – FJ 2290, 1951)
III. In Silent Time by Richard C. Windeyer
In Silent Time is a sonic portrait of two contrasting personalities – an extroverted Uncle who played drums in a 1920’s silent movie house, and a shy nephew who used drumming as a means of escape. In this family portrait, drumming and silence become an unspoken inheritance. Composed in loving memory of Margaret and John (‘Pete’) Windeyer. In Silent Time was jointly commissioned by CBC Out Front and New Adventures in Sound Art and premiered in 2004.
IV. Ecstatic figures, persistent ground by Richard C. Windeyer & Cameron McKittrick
Windeyer and McKittrick have a long collaboration history through a variety of projects in Guelph, Kitchener and Toronto including the multi-disciplinary collective Finger. In this performance they explore improvisation with music technology as a form of conversation.
Richard C. Windeyer Trained in electroacoustic music composition, sound design and percussion, Richard C. Windeyer is currently a PhD candidate at the Centre for Drama, Theatre and Performance Studies and the Knowledge Media Design Institute at the University of Toronto. His dissertation research explores the integration of intermedial performance practices with information design and informatics. He has also worked as a sound design researcher with the Digital Dramaturgy Lab (University of Toronto), the Perceptual Artifacts Lab (OCADU), and the Biomedical Simulation Lab (University of Toronto), and is currently Audio Research Engineer with Surgical Safety Technologies. Previously, Richard taught music technology and electroacoustic composition at Wilfrid Laurier University. Other artistic collaborations include the Open Ears Festival, Bluemouth Inc. performance collective, and Finger (with Cameron McKittrick).