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Abstracts and Bios

DAY ONE: Friday 8 August 2008

09:00–10:30 SESSION 1: The State of the Art

Chair: Micheline Roi (Musicworks Magazine)

Composition vs. Documentation by Tae Hong Park

This paper addresses the fine line that exists between musical composition and documentation. The issue of musical composition vs. documentation is especially an interesting topic for electroacoustic music works that focus on soundscapes and narrative strategies.

[Full article published in eContact! 11.2 — Figures canadiennes II / Canadian Figures II]

The Ghettoblaster Ensemble by Jørgen Teller

Each of the eight members of the ensemble plays a separate ghettoblaster and part. Due to the mobility and flexibility of the ensemble, concerts can take place anywhere: in concert halls, music clubs, streets, squares and parks.

Aural Training for EA by Eldad Tsabary

Like all musicians, the electroacoustic (EA) music composer/performer must be aurally skilled in order to produce and perform high quality artistic work, yet a very small number of EA-related programs worldwide provide a specialized aural training for EA.

[Full article published in eContact! 11.2 — Figures canadiennes II / Canadian Figures II]

11:00–12:00 KEYNOTE LECTURE 1

Send and Receive: Performing bodies, technology, and the social by Ellen Waterman

An exploration of questions of presence and absence of the body in its relationship to technology; the performative role of technology itself; and the ontology of “liveness” in electroacoustic music.

13:00–14:00 SESSION 2: Personal Reflections

Chair: Hilary Martin (New Adventures in Sound Art, Toronto)

The Works of “Songs of the New Erotics” by William A. Davison

A brief overview of the Songs of the New Erotics project (since 1991) with accompanying audio, video, and photographic documentation. The lecture will be largely informal and will focus on presenting various performance documents with the artist's commentary.

Unfolding : Reconciling Strangers in Music For Keyboard and Electronics by John Kameel Farah

An outline of the materials, structures, concepts and inspirations behind recent compositions, and discussion of the difficulty and advantages of finding venues and platforms for hybrid arts.

14:15–15:15 SESSION 3: The Electroacoustic Voice

Chair: Eldad Tsabary (CEC/Concordia University)

Functional Electroacoustics in Three Recent Operas by David Ogborn

In 2007–08 the greater part of my own artistic efforts went into three distinct opera projects, each of which involved electronic sound as an integral element but which took shape within the social and technical environment of the older tradition.

Mobile Gesture-Controlled Speech Synthesis for Performance by Bob Pritchard and Sidney Fels

By reconstructing and reconfiguring the original Glove-TalkII and GRASSP speech synthesis systems to be portable and wearable, the performer can now move about to enhance the performance.

[Full article published in eContact! 11.2 — Figures canadiennes II / Canadian Figures II]

15:30–16:30 SESSION 4: Soundscapes / Installations

Chair: Monica Clorey (University of Toronto)

Sympathetic Vibration (Prolongation of Sound by Reflection) by Markus Jones

One of the fundamental aims of the project employing recordings of microscopic sound is to assist both staff and students who are visually impaired, aiding them by using sound to identify their location.

[Full article published in eContact! 11.2 — Figures canadiennes II / Canadian Figures II]

Wildurban : a Multi-channel Sound Installation as Public Art by Charles Fox

Artworks in the Aneco project specifically responded to concerns about the ecology and social dynamics, with the intension of creating awareness and dialogue about the interactions between natural and constructed environments.

DAY TWO: Saturday 9 August 2008

13:00–15:00 SESSION 5: Systems and Techniques

Chair: Dennis Patrick (University of Toronto)

Demonstration: The Transformation Engine by Bruno Degazio

A software program which extends and enhances the abilities of instrumental music composers of motivic and thematic composition, and allows non-composers to experiment with sophisticated musical techniques that would otherwise be beyond their capabilities.

Wind Space Architecture and 64-Channel Sound by Steve Heimbecker

The Wind Array Cascade Machine (2003), a field-like digital sensor network that can data record the wave patterns of the wind, and the recent creation and operation of his 64-channel sound diffusion system, the Turbulence Sound Matrix (2008).

Real-time Spectral Analysis and Dispersion by Martin Ritter

A new approach to real-time extraction of spectral information from a given sound and the dispersion of its spectral components using the Max/MSP programming environment is described. This is being developed for use in realtime performance processing.

[Full article published in eContact! 11.2 — Figures canadiennes II / Canadian Figures II]

Multi-channel Presentation of Wildurban by Charles Fox

See Session 4 for details.

15:30–16:30 KEYNOTE LECTURE 2

Timbre Spatialization by Robert Normandeau

What is unique to the acousmatic medium is the possibility to fragment the spectra in the space: the whole spectrum is found only virtually in the space of the concert hall. Each point represents only a part of the ensemble.

[An interview with Normandeau related to TES08 is published in eContact! 11.2 — Figures canadiennes II / Canadian Figures II]