Comprovisations – Improvisation Technologies for the Performing Arts

Research-Creation Workshop  ⋅  May 24-27, 2012  ⋅  Hexagram Concordia & matralab, Concordia University Montréal

Hanna Abd El Nour | LANTISS-Ulaval

Dramaturge et metteur en scène, Hanna Abd El Nour vit et travaille à Québec. Ses créations multidisciplinaires sont des œuvres d’art symboliques qui plongent le public dans une expérience festive, événementielle et interactive. L’essence de son travail théâtral réside dans le politique, le vécu collectif et la condition de l’être humain. Le corps et la performativité sont au centre de sa démarche artistique. Présentement, il prépare un doctorat en recherche création au LANTISS de l’Université Laval – où il effectue des résidences artistiques qui ont pour objectifs d’inventorier des outils technologiques et médiatiques de conception, de création et d’archivages. II bénéficie d’une bourse du FQRSC.

Michael Alcorn | Sonic Arts Research Centre (Queen's University, Belfast)

Michael Alcorn’s compositional interests lie at the intersection between instrumental, electroacoustic music and areas of new media creative practice. His music has been performed and broadcast in the UK, Europe, North and South America and the Far East. He has received commissions from the BBC, The National Symphony Orchestra of Ireland, the Nash Ensemble, Singcircle, the Smith Quartet, Darragh Morgan, the Irish Chamber Orchestra, Opera Theatre Company and the Ulster Orchestra. Michael Alcorn undertook postgraduate studies in composition with John Casken at University of Durham in the mid-1980s before joined the School of Music at Queen’s in 1989 as Composer-in-Residence. He devised and developed the Music Technology pathway at Queen’s and led the successful bid to develop the Sonic Arts Research Centre at the University. He was Director of SARC from its inception in 2001 until it joined forces with the School of Music in 2005. He is now Professor of Composition and Head of the School of Creative Arts a large school comprising the disciplines of music, film, drama and sonic arts.

Mark Applebaum | Stanford University

Mark Applebaum is Associate Professor of Composition at Stanford University where he received the 2003 Walter J. Gores Award for excellence in teaching. He was recently named the Hazy Family University Fellow in Undergraduate Education and Leland & Edith Smith Faculty Scholar. He received his Ph.D. in composition from the University of California at San Diego where he studied principally with Brian Ferneyhough. His solo, chamber, choral, orchestral, operatic, and electroacoustic work has been performed throughout the United States, Europe, Africa, South America, and Asia. Many of his recent works are characterized by challenges to the conventional boundaries of musical ontology: works for three conductors and no players, a concerto for florist and orchestra, pieces for instruments made of junk, notational specifications that appear on the faces of custom wristwatches, works for an invented sign language choreographed to sound, amplified Dadaist rituals, and a 70-foot long graphic score displayed in a museum and accompanied by no instructions for its interpretation.

Sandeep Bhagwati | Concordia University

Sandeep Bhagwati is an internationally renowned composer, theatre director and media artist. His multiple award-winning, often large-scale compositions in all genres have been performed by leading performers and orchestras at leading festivals worldwide. (World New Music Festival, at the Edinburgh, Salzburg, Stuttgart Festivals, at the Venice, Heidelberg and München Biennales, at märzmusik Berlin, Vienna Modern, Sangat Mumbai etc.) His 6 music theatres and operas have been staged at major venues (Centre Pompidou Paris, Munich, Bonn, and Darmstadt State Operas etc.). He has founded and directed interdisciplinary festivals such as A*DEvantgarde Munich (since 1991, biennial) and Klangriffe – Festival for Risky Music (2003). He has also directed long-term intercultural music exchange projects with Indian (e.g. Shubha Mudgal, Swapan Chaudhuri, Uday Bhawalkar, Dhruba Ghosh) and Chinese musicians (e.g. Wu Wei, Yeh Jiuan-Reng) and leading European and Asian Musicians (Ensemble Modern, Nieuw Ensemble, Chai Found Music Workshop Taipei). From 2000-2003 he was Professor of Composition and Multimedia at Karlsruhe Music University. Between 1995 and 2007 he also was a Research Fellow / Composer in Residence at the IRCAM Paris, ZKM Center for Art and Media Karlsruhe, Beethoven Orchestra Bonn, Institute for Electronic Music Graz and CalArts Los Angeles. Future composer residencies and guest lectureships are planned at Turku Music Academy, at the Tchaikovsky Conservatroium Moscow and at Heidelberg University. Born in Mumbai, having lived in Europe for over 30 years, he moved to Canada in 2006 as a Canada Research Chair for Inter-X Arts in the departments of Music and Theatre at Concordia University Montréal. His work has been supported by numerous foundations and cultural institutions as well as private and public sponsors worldwide.

Georgina Born | Oxford University

Georgina Born is Professor of Sociology, Anthropology and Music in the Faculty of Social and Political Sciences. She trained in Anthropology at University College London and uses ethnography to study cultural production, particularly television, music and IT, and knowledge systems. Her books are Uncertain Vision: Birt, Dyke and the Reinvention of the BBC (Vintage 2005), a study combining ethnography and history of the transformation of the BBC and of Britain’s public service broadcasting system in the past decade; Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde (California 1995), a critical study, again combining ethnography and cultural history, of the musical avant-garde and of music-science collaborations at Pierre Boulez’s IRCAM in Paris; and Western Music and Its Others: Difference, Representation and Appropriation in Music (California 2000, edited with David Hesmondhalgh).

Charity Chan

Born in Kitchener, Ontario, in 1982, Charity Chan has been living in Quebec for three years. She holds a B.A. in Music (Piano) from McGill’s University and is currently completing a Master’s degree in Contemporary Improvisation at Mills College, California, where she is studying under Fred Frith and Joëlle Léandre. Charity Chan has also organized the first “Free Improvisation Series” at McGill’s University (2005-2006). She is doing research on gesture, incarnation and cultural memory in improvisation. She has taken several workshops by Jean Derome, Malcolm Goldstein, The Sun Ra Arkestra and Joe McPhee. Charity has performed in Montreal, Toronto, Guelph, Victoria, Vancouver and, on a recent tour, San Francisco and the American North-West. She has played on stage with Lori Freedman, Sam Shalabi, Scott Thomson, John Heward, Fred Frith, Maggie Nichols, Joëlle Léandre and Frank Gratkowski. Charity Chan is a member of the International Society of Improvising Musicians and the American Musicological Society. She has presented her research at the Guelph Jazz Festival Colloquium (Guelph University) and the International Society for Improvised Music (Michigan University, Ann Arbor).

Maurice Charland | Concordia University

Maurice Charland completed his doctorate in Communication and Theatre arts at the University of Iowa in 1983 and is professor of rhetoric in the department of communication studies at Concordia University. As a rhetorician, he is concerned with the social and political effect of form and its place withing judgment and phronesis, improvised practical reason. His research has primarily focused on the relationship between doxa and affectivity, particularly as it relates to political identity and argument. More recently, he has turned his attention to music and its social and cultural location, is completing a BFA in jazz studies at Concordia, and is a jazz vocalist who performs occasionally in Montreal.

Marlena Corcoran

Marlena Corcoran (New York/Munich) is a writer, artist and media theorist. She is the author of the Internet fiction, "Worst Case Scenarios" (blast 5, 1996 and New York Digital Salon 5, 1997). As a member of the online theater group, the Plaintext Players, her roles have included Candide (Postmasters Gallery, NY, 1997), Herman.Melville (Venice Biennial, 1997) and Orpheus (dokumenta X). She wrote the scenario for, directed and played in "The Birth of the Christ Child," an online improvisation projected live at the Literaturhaus Muenchen in December 1999, sponsored by the Medienforum Muenchen. In June 2000 she produced and played the title role in the Plaintext Players' improvisation on "The Coronation of Poppaea" (Global Brain, Bonn). She continued as Poppaea in the August online series, "The Roman Forum," which was adapted for the live stage and performed in a seven-part series in Los Angeles. In August 2000, in the persona of her cyber-character , she performed the silent aria, , live at Lincoln Center, as part of Pauline Oliveros' and Ione's "Lunar Opera." In September 2000, she performed "stay (tuned)," a media performance at the Maximiliansforum in Munich. She presented her work briefly at the Berlin transmediale in February 2001. She will perform a new version of "stay (tuned)" and speak about this work at the intermediale and Performance Studies International conferences, respectively, in Mainz in March 2001. At the Munich Gasteig in 2001, she will perform a new electronic narrative work, "Birth Data".

Ricardo Dal Farra | Concordia University

Dr. Ricardo Dal Farra (born in Buenos Aires) has been conducting activities in the merging fields of arts, sciences and new technologies as a composer and multimedia artist, researcher, educator, performer and curator focusing mainly on electroacoustic music and new media arts for over 30 years. He is (Acting) Director of the Hexagram-Concordia Centre for Research/Creation In Media Arts and Technologies and Associate Professor at the Music Department of Concordia University, Canada; Founding Director of the Electronic Arts Experimenting and Research Centre (CEIArtE) at National University of Tres de Febrero, Argentina; and Associated Researcher at the Music, Technology and Innovation Research Centre of De Montfort University, UK. He was director of the Multimedia Communication program at the National Ministry of Education, Argentina (1996-2003); Senior Consultant at Amauta - Andean Media Arts Centre at Cusco, Peru; Researcher at UNESCO, France, for its Digi-Arts program and at The Daniel Langlois Foundation for Art, Science and Technology, Canada, where he developed the Latin American Electroacoustic Music Collection His compositions have been performed in over 40 countries and featured in 20 international recordings. During 2011 Dal Farra was Chair of the Balance-Unbalance, CLIEC and Understanding Visual Music conferences.

Robert Faguy | LANTISS-Ulaval

Robert Faguy works for 30 years in the fields of multidisciplinary art. With the group ARBO CYBER, theatre (?) co-founded with Lucie Fradet, he directed more than 15 projects integrating new media on the stage. He is currently professor at the Theatre program in Laval University in Quebec city and he holds a Phd degree on the theme of integration of video in theatre with a mediologic approach. In 2005, he co-founded with Luis Thenon the LANTISS which stands for Laboratory in New Technology in Image, Sound and Scenery. LANTISS intends to be an interdisciplinary and interfacultary structure in arts (theatre, music and media arts) and sciences which forms and assists artists and designers who want to create new languages and artistic expressions involving technologies in a live context. He is the director of the current project Electronic Castelet (vimeo 19329216).

Lori Freedman

Lori Freedman is known internationally as one of the most provocative and creative performers in the field of contemporary music. Her work includes concert repertoire, improvised and electroacoustic music, and she frequently collaborates with dance, theatre and visual artists. Over 45 composers have written solo bass clarinet music for her, and since 1981 Freedman has been working with an eclectic mix of musicians including Toru Takemitsu, Iva Bittova, Helmut Lachenmann, Joélle Léandre, Mauricio Kagel, Steve Lacy, George Lewis, Richard Barrett, Frances Marie Uitti, Misha Mengleberg, Evan Parker, Mark Dresser, Suzie Ibarra, Fred Frith, Giorgio Magnanensi, Ab Baars, Joe McPhee, Barry Guy, John Oswald, Benny Sluchin, Karl-Heinz Essl, Sandeep Bhagwati, Ana Sokolović, Bernard Falaise, Martin Tétreault, Jean Derome, René Lussier, Rohan de Saram and Diane Labrosse. Her work has been recorded on 28 CDs. In 1998 Lori Freedman received the prestigious Freddie Stone Award for the “demonstration of outstanding leadership, integrity and excellence in the area of contemporary music and jazz” and at the National Jazz Awards she was nominated as Clarinetist of the Year in 2003, ’04, and ’06.

Malcolm Goldstein

Malcolm Goldstein, as composer/violinist, has been active in the presentation of new music and dance since the early 1960's, in New York City, as co-founder of the Tone Roads Ensemble and as participant in the Judson Dance Theater, the New York Festival of the Avant Garde and the Experimental Intermedia Foundation. Since then he has toured extensively throughout North America and Europe, presenting solo violin concerts and appearing as soloist with new music and dance ensembles. His "soundings" improvisations have received international acclaim for having "reinventing violin playing", extending the range of tonal/sound-texture possibilities of the instrument and revealing new dimensions of expressivity. Since the mid-1960's Goldstein has integrated structured improvisation elements into his compositions, exploring the rich sound-textures of new performance techniques within a variety of instrumental and vocal frameworks. His music has been performed at several New Music America festivals; Meet the Moderns, NYC; Pro Musica Nova, Bremen; De Ijsbreker (Amsterdam), Weiner Festwochen, Time of Music (Finland), Inventionen, Berlin; Musik der Zeit, Cologne; International Festival of Improvised Music, Neue Horizonte, Bern; Acustica International/hoerspiel festivals, West German Radio Cologne; Inventionen '89 Festival; Wittener Tage fuer Neue Kammermusik; De Ijsbreker, Amsterdam; Sound Culture '93, Tokyo; Fylkingen concert, Stockholm; Neue Horizonte and TonArt concerts, Bern; Next Wave, The Whitney Museum's Sound Art Festival, Experimental Intermedia Foundation, Real Art Ways, etc. (refer to resume for more complete listings.) In the 1990's he was director of the Ensemble for New Music of the Hessischer Rundfunk, Frankfurt. Goldstein has received grants for his music from the national Endowment of the Arts (USA), Massachusetts Council for the Arts and the Canada Council for the Atrs. He has received commissions from Westdeustcher Rundfunk, Canada Council for the Arts, most recently receiving a commission to compose a string quartet for Quatuor Bozzini, Montreal, as well as being represented on numerous CD recordings, such as Experimental Intermedia (XI), da capo, wergo, Nonsequitur/0.0.Discs, Eremite, etc.. He has written extensively on improvisation and is the author of the book: Sounding the Full Circle.

Keith Hamel | University of British Columbia

Dr. Keith Hamel is a Professor in the School of Music, an Associate Researcher at the Institute for Computing, Information and Cognitive Systems (ICICS), a Researcher at the Media and Graphics Interdisciplinary Centre (MAGIC) and Director of the Computer Music Studio at the University of British Columbia. Dr. Hamel has been on the Faculty at UBC since 1987, and has been a Full Professor since 1997. He holds a B.Mus. from Queen's University (1981) and A.M. and Ph.D degrees from Harvard University (1984, 1985). He also studied Computer Music under the supervision of Barry Vercoe at the Massachusetts Institute of Technology between 1981 and 1984. Dr. Hamel has written both acoustic and electroacoustic music and has been awarded many prizes in both media. His works have been performed by many of the finest soloists and ensembles both in Canada and abroad. He has received commissions from IRCAM (Paris), the Ensemble Intercontemporain, Vancouver Symphony Orchestra, Vancouver New Music Ensemble, the Elektra Women's Choir, musica intima, Hammerhead Consort, Standing Wave, Hard Rubber Orchestra, as well as from outstanding performers such as flutist Robert Cram, bassoonist Jesse Read, clarinetist Jean-Guy Boisvert, saxophonist Julia Nolan, and pianist Douglas Finch. Many of his recent compositions focus on interaction between live performers and computer-controlled electronics. As a computer music researcher, Hamel is recognized as one of the foremost authorities on music notation software. He is author of the NoteWriter and NoteAbilityPro software programs which are used around the world for professional music engraving and publishing, and he has developed interactive environments for live performer and computer interaction. His research has been funded by the Canada Council, the SSHRC, a Killam Research Fellowship, and UBC Arts-IT. Dr. Keith Hamel is the former Vice-President of the International Society for Contemporary Music (ISCM), a former President of the Canadian Music Centre, and a former board member of the Canadian League of Composers. His music is published by Editions Musicales Européennes of Paris and by Cypress Press of Vancouver, and several of his compositions are available on commercial recordings.

Joane Hétu

For over 25 years, throughout an unusual career, Joane Hétu has carved her own place on the Canadian creative music scene. A woman of reason and passion, she mostly expresses her art through the voice and the alto sax, two instruments she approaches in a similar way, bringing into a unique symbiosis the flexibility of one and the urgency of the other. She is self-taught and played in the cutting-edge groups Wondeur Brass, Justine and Les Poules, whose resolutely avant-garde rock carried her throughout North America and Europe. Later she reinvented the sensual song format through the prism of musique actuelle with her own band Castor et compagnie. Since then, she has left rock music behind, but still flirts with song, particularly with the duo Nous perçons les oreilles, in which she continues to explore the narrow line between laughter and tears.

David Hornwall

David Hornwall, barytone, vocal teacher and pianist is educated at the Malmö Academy of Music (Lund University) with a Master of fine arts in opera, and a Master of education. His opera roles include the title role in Dominic Argento's "The Boor" , Sacristan in Puccini's "Tosca", Beckmesser in Wagner's "Die Meistersinger", Leporello in Mozart's "Don Giovanni". David often performs in oratorios and concerts and writes music for different dramatic projects. As a member of the ensemble Operaimprovisatörerna, David performs both as a singer and improvisation pianist in different contexts. Sara and David has worked together as opera improvisers since 2010, in performances and tours all over Sweden, as well as teaching and giving work shops in opera improvisation. David Hornwall, barytone, vocal teacher and pianist is educated at the Malmö Academy of Music (Lund University) with a Master of fine arts in opera, and a Master of education. His opera roles include the title role in Dominic Argento's "The Boor" , Sacristan in Puccini's "Tosca", Beckmesser in Wagner's "Die Meistersinger", Leporello in Mozart's "Don Giovanni". David often performs in oratorios and concerts and writes music for different dramatic projects. As a member of the ensemble Operaimprovisatörerna, David performs both as a singer and improvisation pianist in different contexts.

Benjamin Levy | IRCAM

Graduated from engineering school of electronics (ENSEA) and former student of the Conservatoire of Cergy-Pontoise in cello, Benjamin Lévy chooses very early to combine music and computer with several internships and a masters degree (ATIAM) at IRCAM. Working since 2009 with the Musical Representation team of IRCAM on the OMax improvising software, he uses as far as possible the computer as a creation and/or improvisation instrument in all kinds of project from jazz to theater.

Eric Lewis | McGill Univ./ICASP

Eric Lewis is a Professor of Philosophy at McGill University. He is the director of the McGill Center for the Critical Study of Improvisation, and the McGill site coordinator for ICASP (Improvisation, Community and Social Practice), a SSHRC MCRI. Prof. Lewis is also an improvising Brass and electronics player. He is presently completing three book manuscripts: a critical study of the video art of Sylvia Safdie, a book on the ontology of improvised music, and a book concerning improvisation and social aesthetics. Prof. Lewis is a member of Medea Electonique. The Murray Street Band, and the ratchet Orchestra.

George Lewis | Columbia University

George Lewis is the Edwin H. Case Professor of American Music at Columbia University. The recipient of a MacArthur Fellowship in 2002, an Alpert Award in the Arts in 1999, and fellowships from the National Endowment for the Arts, Lewis studied composition with Muhal Richard Abrams at the AACM School of Music, and trombone with Dean Hey. A member of the Association for the Advancement of Creative Musicians (AACM) since 1971, Lewis's work as composer, improvisor, performer and interpreter explores electronic and computer music, computer-based multimedia installations, text-sound works, and notated and improvisative forms, and is documented on more than 140 recordings. His oral history is archived in Yale University’s collection of “Major Figures in American Music,” and his compositions and installations have been presented by the American Composers Orchestra, International Contemporary Ensemble, Boston Modern Orchestra Project, Dinosaur Annex, Wet Ink, the Turning Point Ensemble, Ensemble Erik Satie, Works and Process, the S.E.M. Ensemble, the NOW Orchestra, Deutschlandradio Kultur Berlin, Contemporary Art Museum Houston, and others, with commissions from the 2010 Vancouver Cultural Olympiad, OPUS (Paris), IRCAM, Musee des Sciences et des Industries La Villette, Harvestworks, Studio Museum in Harlem, the Glasgow Improvisers Orchestra, and others. His widely acclaimed book, A Power Stronger Than Itself: The AACM and American Experimental Music (University of Chicago Press, 2008) is a recipient of the American Book Award and the American Musicological Society’s Music in American Culture Award. Most recently, Lewis was selected by United States Artists as a 2011 USA Walker Fellow.

Aaron Liu-Rosenbaum | LANTISS-Ulaval

Composer and specialist in music technology, Aaron Liu-Rosenbaum is Director of the Certificate Program in Digital Audio and the Certificate Program in Musical Culture at Laval University, where he teaches courses in recording, digital audio production, and sound design. He received a BA in French Comparative Literature (1990, Columbia University), a BMus in Classical Composition (1994, New England Conservatory), an MA in Music Theory (1996, Columbia University), and a Ph.D. in Composition (2009, CUNY Graduate Center). In addition to playing rock guitar in the New York City circuit, he has studied composition with Robert Cogan, David del Tredici, and Tania León, and his music has been performed at venues in the United States and Paris. His interests lie in the areas of technology and pedagogy as well as popular musicology, and he has written a book on Ozzy Osbourne (Ozzy Osbourne : The Randy Rhoads Years, Cherry Lane, 2002). He is currently working on a interactive sound installation (« filtres », 2013) as part of a recherche-création project funded by Laval University.

Michael Montanaro | Concordia University

Michael is a trans-disciplinary artist who is best known for his work in the field of dance. A graduate of the Hartford Conservatory, he has performed with the Boston Ballet, Les Grands Ballet Canadiens and Le Groupe de la Place Royale where he also served as Assistant Artistic Director. In 1985 he founded Montanaro Dance, developing a reputation for using cutting edge technology to create theatrical environments for his choreography. Over its ten-year history Montanaro Dance toured both nationally and internationally. Since 1996 Michael has worked as a choreographer/collaborator on numerous projects including the Cirque du Soleil’s “Varekai”, Opéra de Montréal`s multi-media version of Carmina Burana, Centaur Theatre’s “A Winters Tale”, the documentary “Montanaro In Time”, a series of short films entitled “dances for small spaces” and Frankenstein’s Ghosts. Michael is the current chair of the Department of Contemporary Dance and a member of Hexagram, Institute for Research/Creation in Media Arts.

Gascia Ouzounian | Sonic Arts Research Centre (Queen's University, Belfast)

Gascia Ouzounian is a violinist, musicologist, and composer. She has performed with such varied ensembles as Yo-Yo Ma & the Silk Road Ensemble, Sinfonia Toronto, and Theater of Eternal Music Strings Ensemble. Her recent projects include two overnight compositions: EDEN EDEN EDEN with Chloe Griffin and Music for Sleeping & Waking Minds with Biomuse Trio and R. Luke DuBois. In the latter, four performers who wear EEG sensors generate an audiovisual environment through their neurophysiological activity over the course of one night. Gascia’s writings have been published in numerous academic journals and the book Paul DeMarinis: Buried in Noise. She is currently writing a book on the poetics and politics of space in experimental music and sonic art. Gascia studied at McGill University and UC San Diego, and is on the faculty of the School of Creative Arts at Queen’s University Belfast.

Cléo Palacio-Quintin | CIRMMT / Université de Montréal

Constantly seeking new means of expression and eager to create, the flutist-improviser-composer Cléo Palacio-Quintin (1971) takes part in many premieres as well as improvisational multidisciplinary performances, and composes instrumental and electroacoustic music for various ensembles and media works. Since 1999, she extended these explorations into the development of new instruments: the hyper-flutes. Interfaced to a computer and software by means of electronic sensors, these enhanced flutes enables her to compose novel electroacoustic soundscapes. Over the years her compositions have been performed in The Netherlands, Norway, Denmark, France, Italy, Belgium, Sweden, Switzerland, the U.K., Canada and the U.S., either by herself or various ensembles. Besides composing chamber music with electronics, she performs regularly as a soloist and improviser, especially with her duet Fiolûtröniq. She is now finishing doctoral studies in composition at the Université de Montréal, where she also teaches. She was the resident composer at the Chapelle historique du Bon-Pasteur in Montreal, from september 2009 to 2011. She is an active student-researcher at the Center for interdisciplinary research in Music Media and Technology (CIRMMT) at McGill University, where she received the Director's Interdisciplinary Excellence Prize 2008 in recognition of her having created an innovative bridge between scientific/technological and artistic domains. The Conseil québécois de la musique gave her the Prix Opus Composer of the year for the artistic season 2010-2011.

Guy Pelletier | Concordia University

His experiences are many and varied : soloist, chamber musician and improviser. He is comfortable in all musical idioms and has played with contemporary, classical, jazz, rock and word-music groups. Mr. Pelletier has taken part in numerous premieres as well as in many tours of North America, Asia, Europe and Oceania. He has also recorded for many dozens of Canadian, American, French, as well as German radio concerts and performances in addition to more than fourthy CD's of various productions. He was a member of Montreal's Nouvel Ensemble Moderne contemporary music ensemble, for 17 years and of the woodwind quintet Pentaèdre for 14 years. He is now member of Saïd Mesnaoui's Moroccan music group and of the Traces tandem founded by himself and Julien Grégoire in 1990. He is also member of Transmission, sextet of contemporary music and plays in Expresso trio (jazz Brazilian music). Mr. Pelletier is also very active as a studio musician in Montreal and he teaches flute at Montreal's Concordia University and at Trois-Rivières College, east of Montreal. Lastly, since many years, he has taken a very serious interest in flutes from other cultures -such as the Indian bansuri, the Chinese dize, the Arabic nay and the Bolivian quena.

Nicolas Reeves | Université du Québec à Montréal (UQAM)

Nicolas Reeves was born in 1957 in Ithaca, New York. The University of Montreal granted him a bachelor's degree in architecture in 1982 and a bachelor of physics degree in 1985. Reeves did graduate work in physics in Montreal until 1986 and then went on to obtain a master of science degree in architecture at the Massachusetts Institute of Technology in 1988. He now teaches in the department of design at the Université du Québec à Montréal (UQAM) and heads the university's NXI GESTATIO laboratory for research and creation in computer science, architecture and design.

David Rosenboom | California Institute of the Arts

David Rosenboom is a composer, performer, conductor, interdisciplinary artist, author and educator, known as a pioneer in American experimental music. He has explored ideas in his work about the spontaneous evolution of musical forms, languages for improvisation, new techniques in scoring for ensembles, cross-cultural collaborations, performance art, computer music systems, interactive multi-media, compositional algorithms and extended musical interface with the human nervous system since the 1960's. Rosenboom holds the Richard Seaver Distinguished Chair in Music in The Herb Alpert School of Music at California Institute of the Arts where he has been Dean of the School of Music and Conductor of the New Century Players since 1990 and was Co-Director of the Center for Experiments in Art, Information and Technology from 1990 to 1998. He taught at Mills College from 1979 to 1990, was Professor of Music, Head of the Music Department and Director of the Center for Contemporary Music and held the Darius Milhaud Chair from 1987 to 1990. He studied at the University of Illinois, where he was later awarded the prestigious George A. Miller Professorship and has held positions in the Center for Creative and Performing Arts at the State University of New York in Buffalo, York University in Toronto, where he was Professor of Music and Interdisciplinary Studies, Bard College, Simon Fraser University, San Francisco Art Institute, California College of Arts and Crafts, Center for Advanced Musical Studies at Chosen Vale, and Ionian University in Greece. His work has been presented in many venues around the world, widely published, and recorded on a variety of labels.

Theresa Sauer | Notations 21 Project

Theresa Sauer is an author, composer, and music researcher specializing in experimental methodologies in creative communication and performance. Recently, her book, Notations 21, published by Mark Batty Publisher (2009) has garnered much attention worldwide for its innovative approach to the presentation of experimental and visual notation.Notations 21 is a modern compendium and anthology, deriving its inspiration from Cage's seminal work, Notations, Something Else Press (1969). Thousands of new composers are creating scores that are graphic in nature, liberated from the traditional staff and clef, and rival the best visual art in their aesthetic value. The modern music world did not cease its innovations in the 1960's. It profiles the work of 160+ composers from around the world, each one using a unique or graphical notation style. Notations 21 Project is an ongoing global research organization that acts as an advocate to new emerging dialects of the contemporary artist in all fields of innovative and experimental communication systems in the creative arts.

Barbara Scales | Latitude 45 Arts

Founder and President of Latitude 45 Arts since 1981, Barbara Scales has played an important role in the development of artists and music in Canada and around the world. Company represents artists in all fields of the performing arts including classical and contemporary music, dance, theatre and children’s entertainment. A lover of music and ideas, Barbara Scales holds degree in Philosophy from McGill University with a thesis in Aesthetics. She was named Canadian Arts Presenters Artist Manager/Agent of the Year in 2008-09. Latitude 45 Arts is devoted to bringing artists from around the globe to audiences everywhere. Based in Montreal, Canada, Latitude 45 Arts has associates in the USA, the UK and in Brazil.

Roger Sinha

Roger Sinha, artistic director, choreographer and dancer, founded Sinha Dance in 1991. His inspiration stems from a deep felt and intense need to reclaim his Indian heritage and to use this tradition to shape a modern expression of his reality. His work uses the universality of the body to explore cultural harmony and dissonance, and tensions created by the collision of East and West. Beautifully expressive mudras (hand gestures) and the rhythmically complex footwork of Indian dance combine with the full body movements of modern, ballet and martial arts. Critical successes include Burning Skin (1992), Loha (2000), Thok (2002) and Apricot Trees Exist (2004). His recent creations are Zeros & Ones & Thread, which is Roger’s 3rd collaboration with Natasha Bakht. In February 2009, Roger Sinha finished a one-month tour in 5 cities in India, with 6 performances. Besides creating for Sinha Danse he co-choreographed, with Sandra Laronde, Tono. This work by Red Sky has been presented in both the summer Olympics in Beijing, the winter Olympics in Vancouver. Tono has been invited to perform at the Canadian Pavilion in Shanghai, in May 2010. He has created 2 films to date, The Barber of Bangalore (2008) and Haters n’ Baiters: The Culture Collision (2010). This film won the popular vote for the Radio Canada International Roots competition in April 2010. His most recent group piece for 6 dancers, A Matter of Life and Breath, was presented at l’Agora de la Danse of Montreal, in March 2011.

Julian Stein | Concordia University

Julian Stein is a composer and sound enthusiast currently residing and studying in Montréal. His interests lie primarily in musical applications of phonetics, bioacoustics, synchronization, and the urban environment. He is a founding member of the Concordia Electroacoustic Studies Student Association (CESSA) and co-creator of the Montreal Sound Map, an interactive Google Maps-based archive of Montreal's soundscape. He currently is a research assistant at matralab and the Topological Media Lab (Concordia University).

Eldad Tsabary | Concordia University!/profile/551

Eldad Tsabary is a composer, professor, and event organizer of electroacoustic music. He teaches electroacoustic composition and performance, aural perception, and music technology at Concordia University and Musitechnic College in Montreal. He is director of the Concordia Laptop Orchestra (CLOrk), the Canadian director of 60x60, and treasurer of the Canadian Electroacoustic Community (CEC). In the past few years he has organized dozens of electroacoustic concerts, dance shows, and multimedia shows. He co-chaired the Concordia Live and Interactive Electroacoustic Colloquium (CLIEC 2011) and Understanding Visual Music (UVM 2011), and was also among the organizers of the Balance Unbalance 2011 conference. Recent artistic highlights by Tsabary include telematic performances, comprovisations for laptop orchestra, and inter-religious works. His compositions are released on Confluencias, ERMMedia, Capstone, NAISA, Musicworks, ElektraMusic, Vibrö, VoxNovus, and JAZZIS, and published by Editions BIM. His works won prizes and mentions in CBC/NAISA Outfront, Synthese (Bourges), WPA and Kraft Media prizes, Miniaturas Electroacústicas, Madrid Abierto, ZKM, Harbourfront, and others.

Marcelo Wanderely | CIRMMT - McGill University

Marcelo Mortensen Wanderley holds a Ph.D. degree from the Université Pierre et Marie Curie (Paris VI), France, on acoustics, signal processing, and computer science applied to music. His main research interests include gestural control of sound synthesis, input device design and evaluation, and the use of sensors and actuators in digital musical instruments. Dr. Wanderley has chaired 2003 International Conference on New Interfaces for Musical Expression and co-authored the textbook “New Digital Musical Instruments: Control and Interaction Beyond the Keyboard”, A-R Editions. He is currently William Dawson Scholar and Associate Professor in Music Technology at the Schulich School of Music, McGill University, Montreal, where he directs the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT).

Robert Wechsler | Bauhaus University

Robert Wechsler is a choreographer, dancer and developer of interactive methods of performing with technology. His interest in dancing with sensors dates back to the 1970's when he used body-worn electronic devices to generate sounds through his movements on stage. He is the director of Palindrome Performance Group, a pioneering ensemble in the area of interactive and computer-assisted performances. He has a BFA in dance and an MFA in choreography from State University of New York at Purchase and New York University respectively. Between '79 and '88 he studied with Merce Cunningham and John Cage in New York. He was a Fulbright Fellow and together with Palindrome, won first prize at the Berlin Transmediale and the Dresden CynetArt competitions. In 2004 he directed England's first masters degree program in digital performance (at Doncaster College, Hull University). In 2011 he received a 100,000 Euro grant from the German government to develop a movement-into-music device for persons with disabilities, the MotionComposer. This project is based at Bauhaus University, in Weimar, Germany.

Sara Wilén | Malmö Academy of Music, Lund University

Sara Wilén, soprano, and Phd candidate in artistic research, studied at the Malmö Academy of Music (Lund University) in Sweden, with a Master of Fine Arts in 2003. Her opera roles include Violetta in La Traviata (Verdi), Mozart roles as Fiordiligi in Così fan tutte, Pamina in The Magic Flute, and Donna Elvira in Don Giovanni, as well as contemporary operas and music theatre works. Earlier engagements include oratorios by Bach, Händel, Pärt and Saint-Saëns and a substantial art song and chamber music repertoire, e.g. works by Barber, Debussy, Dowland, Karpen, Schönberg, Strauss and Wolf. In the ensembles Operaimprovisatörerna (The Opera improvisers) and Impromans, Sara has performed in theatres, opera companies, schools, festivals, broadcast and tv. Sara frequently performs in different contexts, including as well art song and opera improvisation, as art song and opera repertoire. In November 2009, Sara entered the PhD programme in artistic research at the Malmö Academy of Music (Lund University) with the project: "Opera in process- The possibilites and challenges of opera improvisation". Sara teaches opera improvisation at the Malmö Academy of Music since 2005. Sara and David has worked together as opera improvisers since 2010, in performances and tours all over Sweden, as well as teaching and giving work shops in opera improvisation.

Gerhard E. Winkler

Gerhard E. Winkler (Salzburg, 1959) studied composition at Hochschule Mozarteum (Helmut Eder) and Musicology, Philosophy and Psychology at the Universities of Salzburg and Vienna (dissertation on Penderecki and sound-composition in the 20th Century). He has been artist in residence at the Experimentalstudio of the SWR, Freiburg (1989- several occasions); at IRCAM/Centre Pompidou, Paris (1993; 1999), at the Center for Arts and Media-Technology, ZKM, Karlsruhe (1994/95); at the Music Department of UCSD - University of California, San Diego (1999). Having awarded several prizes and distinctions, he has been working in the field of live-electronics and computer music since 1987. He has been developing the concepts of “Real-Time Score” and “Musical Autopoiesis”, which he implemented along the composition of several interactive pieces for musicians and computer, including solo pieces, ensemble pieces (e.g. KOMA, 1995/96 for string quartet and computer, premiered by the Arditti Quartet) and fully-staged operas (Heptameron, 1998-2002, commissioned by the Munich Biennale, including specially-developed sensor technology on stage). After his multimedia piece Terra incognita (2004, Donaueschingen) he has been working again on purely instrumental pieces; amog his recent works for instruments and interactive electronics are Poren (2007/08, orchestra), Bikini. Atoll (2009, clarinet, piano and percussion), Hybrid VIII. PiA-nimaux (2010) and the Black Mirrors cycle. Several of his works have been released on CD (Col Legno, ORF, Sumtone). His writings have been published a.o. on Sound and music computing conference proceedings (Paris, 2004), New Musik and Aesthetics in the 21st Century, vol.4 (Hofheim, 2006), and Contemporary Music Review (29/1, 2010).

Sha Xin Wei | Concordia University

Sha Xin Wei, Ph.D., is Canada Research Chair in media arts and sciences, and Associate Professor of Fine Arts at Concordia University in Montréal, Canada. He directs the Topological Media Lab, an atelier-laboratory for the study of gesture and materiality from computational and phenomenological perspectives. Sha studies process and morphogenesis by creating responsive environments for ethico-aesthetic improvisation. Sha Xin Wei was trained in mathematics at Harvard and Stanford Universities, and worked more than 12 years in the fields of scientific computation, mathematical modeling and the visualization of scientific data and geometric structures. He has been faculty or visiting scholar at Harvard University, MIT, Stanford University, Georgia Tech, and the University of Aberdeen. Sha’s art research includes the TGarden responsive environments, Hubbub speech-sensitive urban surfaces the WYSIWYG gesture-sensitive sounding tapestry, Ouija performance-installations, and the IL Y A video membrane. Dr. Sha is an editor of the journal, AI and Society; the Rodopi Press book series: Experimental Practices in Art, Science, and Philosophy; FibreCulture, and the International Journal of Creative Interfaces and Computer Graphics. His publications include the essays in Configurations, Ubicomp, Modern Drama, AI and Society, RFEA, and Theory, Culture, and Society. Sha's current book, entitled Poiesis and Enchantment in Topological Matter, is under review at MIT Press. Biography of Sha Xin Wei, Ph.D.

Günter Zöller | LMU München

Professor Zöller is a leading German scholar with an extensive international reputation and long-established academic ties to North America and the Montreal academic community in particular. After his studies in Germany, France and the United States, he taught philosophy at the University of Iowa, where he was promoted to full professor and departmental chair (1996). While at Iowa, he held visiting positions at Princeton, Harvard and Oxford. In 1999, he returned to his native Germany to take up his present position in Munich. Between 2000 and 2002, he served as the equivalent of associate dean of the Faculty of Philosophy and chair of the department of philosophy. He has served on many committees and is widely published with two sole-authored books, some 27 edited volumes, more than 20 translations and over 230 articles. Despite these many activities, he has maintained a prominent profile on the international scene and recently conducted a series of seminars in Venice, Italy and was a visiting professor at Seoul National University, South Korea (2010).

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