Upcoming Events

    TENOR 2018: CLOrk & Friends Concert

    Date: May 24, 2018

    Time: 7:00 PM

    Location: Tanna Schulich Hall, Elizabeth Wirth Music Building

    Concert featuring Concordia Laptop Orchestra (CLOrk)

    $10 at the door

    Created by Eldad Tsabary in 2010, Concordia Laptop Orchestra (CLOrk) is a versatile ensemble of laptopists and other sound makers from the Electroacoustic Studies program at Concordia‘s Department of Music. The ensemble explores diverse forms of collective music making, improvisation, and communication approaches; and has years of experience in networked and telematic performances, in interdisciplinary performance, and in developing strategies for large ensemble collective improvisation. Notable CLOrk performances include a collaboration with pop star Ariane Moffat at the Musée d’art contemporain de Montréal (MAC) and a performance in Akousma festival at Usine C.


    Realtime composition environment for improvising soloists 1999-2007. “more or less” is a computer-driven realtime composition where the musicians do not reproduce parts of a fixed score. Instead of executing a pre-fabricated text from note sheets, they are viewing mobile devices (such as smartphones or tablets) which display randomlygenerated playing instructions. During the performance the musicians can make queries to their mobile devices asking for playing instructions whenever they feel a necessity for it. Furthermore, a random-generated Haiku is created whenever a musician receives a new instruction from the computer / mobile device. This three-liner provides a puzzle that has to be “”solved”” by the musicians and which will influence the interpretation of the required structure to a great extend. The piece is based on 5 different types of musical structures (gestures) that have to be improvised by the musicians according to the description given below. As long as a certain structure is valid, the musician improvise a phrase of an indetermined length, followed by a silence which duration is free. The steady alternation between phrases (a time span filled with sound) and silences (a time span with no sound) is continued for the whole duration of one structure.

    Listening Not Guaranteed (2017), an animated screen score for laptop ensemble, thematizes human-computer interaction. The intricate score image is animated with pink lines, which performers choose whether and how to trace with the mouse. This (x,y) gesture controls various audio parameters. The sonic content of Listening Not Guaranteed explores multiple forms of sparseness: in texture and silence, in control choices, and in gesture-output relationships.

    Alexander Calder, with his mobiles, was able to go farther than capturing motion in sculpture, he was able to employ the dynamics of motion as a means of expression. Composers such as Colon Nancarrow, James Tenney, and Morton Feldman achieved similar ends, in different ways, through the medium of sound. Nancarrow, through long accelerations and decelerations brought the dynamics of motion to the forefront, unseating the dominance of melody and rhythm. Tenney, in his work “Having never
    written a note for percussion”, created musical form through the transformations in the resonance of a tam tam during a long crescendo and decrescendo. Morton Feldman in works such as “Triadic Memories”, embodied the other end of the spectrum with transformations happening at a glacial pace. Calder’s mobiles are in constant transformation yet retain their essential identity, they are always the same yet always not the same. Motion becomes the focus. The process of transformation tangible. Multiform transformations happen through the complexity of simultaneous interactions.

    The piece Hidden Motive is an exploration of a threedimensional improvised graphic score, where through the use of virtual reality and streaming technology, the musician(s) can be placed inside the score itself. Although the musician(s) experience the score through 360, VR or AR headset(s), the audience also witnesses its live creation (using the VR art application Tilt Brush) through mixed reality and projection techniques.


    CLOrk features:

    Kacey Pocius, Danile Ulmashev, Sam Donald, Anthony Caci, Robert Stiglitz, Andrei Mugur Busuioceanu & Nathaniel Bachelder St. Pierre


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    TENOR 2018 : Workshop I Georg Hajdu – Working with Maxscore

    Date: May 24, 2018

    Time: 8:00AM - 11:00 AM

    Location: A-607, Wirth Music Building, 527 Sherbrooke Street West

    This workshop is limited to 12 people. Please apply at matralab@concordia.ca

    $20 registration fee for the workshop – http://matralab.hexagram.ca/tenor2018/register

    Participants are strongly urged to bring their own computers with Max installed; an Ableton Live installation would be an additional boon. MaxScore will be installed at the beginning of the workshop; all participants will also receive a temporary JMSL license, required to run MaxScore. If you have an iPad, please bring it to demo Maxscore’s network capabilities.

    Maxscore is a notation package for Max based on the JAVA music specification language (JMSL). It consists of a “core” mxj object capable of rendering to a variety of contexts and a growing number of peripheral modules allowing MaxScore to interface with third-party technologies such Ableton Live, Mira/MiraWeb, the bach package of Max objects and the conTimbre sound library. The separation of data handling and rendering facilitates the creation of graphical scores where symbols encode actions associated with a particular musical event. Furthermore, a strong focus on networking capabilities allows its use as multi-user score editor or as a notation engine in networked music/multimedia performance environments. This workshop will give an overview of MaxScore’s functionality with hands-on experience. Each workshop participant is encouraged to bring his/her own computer and, possibly, a hand-held device such as a tablet, iPad or smartphone.

    Georg Hajdu was born in 1960 to Hungarian parents and grew up in Cologne where he obtained diplomas in molecular biology and musical composition from the University of Cologne and the Cologne Musikhochschule. A stipend by the German Academic Exchange Service enabled him to enter the graduate program in composition at the University of California, Berkeley in 1990, working closely with the Center for New Music and Audio Technologies (CNMAT) and eventually obtaining a Ph.D. in 1994. His teachers include Clarence Barlow and David Wessel. He also took classes with György Ligeti in Hamburg. In 1996, following residencies at IRCAM and the ZKM, Karlsruhe, he cofounded the ensemble WireWorks, a group specializing in the performance of electro-acoustic music. In 1999, he produced his full-length opera Der Sprung – Beschreibung einer Oper for which renowned author and filmmaker Thomas Brasch wrote the libretto. In May 2002, his Internet performance environment Quintet.net was employed in a Munich Biennale opera production and in the same year Georg Hajdu became professor of multimedia composition at the Hamburg University of Music and Drama (HfMT). There, in 2004, he established Germany’s first master’s program in multimedia composition and, in 2012, the center for microtonal music and multimedia (ZM4). In 2005, he co-founded the European Bridges Ensemble—an ensemble dedicated to local and wide-area network performance. In 2010, he was artist in residence with the Goethe Institute in Boston as well as visiting professor at Northeastern University, and masterminded the first conference entirely devoted to the Bohlen-Pierce scale. He was also involved in a number of large international projects such as CO-ME-DI-A—a European Culture 2007 project focussing on networked music performance and contributed to the installation of the Hochschule’s-wave-field synthesis system in 2011. In 2016, Georg Hajdu was the chair of the 13th Sound and Music Computing conference. In 2017, together with his colleague and former student Jacob Sello, he successfully applied for the highly competitive “”Innovative Hochschule”” grant which will fund a number of innovative projects at the HfMT until 2022.

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    TENOR 2018: matralab & Ensemble ILÉA Concert

    Date: May 25, 2018

    Time: 6:00-7:30 PM

    Location: Concordia Dance Blackbox, John Molson Building

    $10 at the door

    A concert by matralab and Ensemble ILÉA. matralab is a research space of inter-x art directed by Sandeep Bhagwati at Concordia University in Montréal. Ensemble ILÉA is an ensemble of variable size dedicated to experimental improvised music. Created in 2016 underthe initiative of Kevin Gironnay, Ensemble ILÉA gathers some of the finest Montréal musicians in the fields of experimental electronic and acoustic music. The result: free improvisations influenced by instinct and ornamented by sonic experimentation shaped by generative and interactive visual guiding software.


    In Adrienne Rich’s poem “Cartographies of Silence” I once read the following lines: The technologies of silence, / the rituals, the etiquette / the blurring of terms / silence not absence / of words or music or even / raw sounds. I immediately imagined a pair of musicians that would silently quarrel and dance around each
    other, sometimes tightly coordinated, sometimes in opposition. And let us experience various qualities of silence – heavy, glorious, anguished, painful, calm, absent-minded, focused… Like in a quarrel, when we seem to be out of our minds, the musicians, too, cannot control what happens to their music-making – they are almost like puppets in a sonic play, buffeted by commands from a randomly generated audio-score, and by commands from the audience, transmitted to them via the tactile body-suit score. Both scores allow the musicians to focus on their movements, their spatial relationship to each other, their situation. Like we, when we quietly quarrel, they, again and again, say the same things, play the same music, sometimes louder, sometimes softer, sometimes faster, sometimes slower, sometimes blurry, sometimes clearly. They fail to connect, then succeed, then fail again, harder. How will this claustrophobic moment end? In harmony – or in a sonic rift?

    Elinor Frey, Violoncello
    Felix Del Tredici, Bass Trombone
    Joseph A Browne, Live-Audio
    Travis West, Live-Scores

    The live generated electronic resonating body is the host to which the sounds of the percussion player attach and adapt, they penetrate into it and use it for their replication. At first the body is immune, but during the course of the piece the body stops resisting, takes in the sounds of the percussion instruments, and allows the viruses to multiply freely. It is a struggle and synthesis between two resonating bodies. Together they stay alive. Both bodies are audible. The virus series is an expedition into acoustic perception, a sounding of the responses of our brains in the span of milliseconds, a plea for the precise acoustic moment. And what do you hear?

    Percussion: Jessica Tsang
    Live electronic: Elisabeth Schimana

    Like some of my earlier pieces, Swan Song is based on transcriptions of preexisting sonic materials: speech, music and noises. For this piece I have chosen the final scene of a masterpiece of Chinese cinema called Farewell, My Concubine by Chen Kaige, a movie that had a great impact on me when it was released in 1993. The movie revolves around a complicated love story and features scenes from an eponymous Peking Opera. Life and theater blend dramatically in the final scene. The rendering of the transcribed materials by the cello and percussion, mimicking the voices and instruments of Peking opera, are accompanied by processed video from the movie as well as electronic and prerecorded sounds. The first two tracks of the master score (written with MaxScore running inside my multimedia performance environment Quintet.net) are being used for real-time part extraction and sent to the players over the network, the third and fourth tracks for the control of audio and video playback and the fifth is a click track, synchronizing the musicians to the audio and video playback.

    Elinor Frey, Violoncello
    Jessica Tsang, Percussion
    Georg Hajdu, Live Interactive Media

    In ‘Variations of Incomplete Open Cubes,’ Sol LeWitt provided instructions for the creation of physical models of the 122 variations of an open cube, with each variation representing a non-reflective version of a cube with at least one edge absent. LeWitt’s instructions are the inspiration for Study no. 38, a composition for 8 performers, each with 7 distinct sonic events. Each event node, or corner, corresponds to one of these sonic events. Because the potential sequence of events for each variation is determined by which nodes are visible, and how they are connected to one another, each variation represents a unique variation on the 7-event ‘non-theme’. A generative animated notation prescribes player actions for each variation.

    For this performance, a new combination of Ensemble ILÉA will play improvised music following a generative and interactive software seen only by the musicians on stage. Focusing the audience’s attention on the music itself, this software allows for musical directions and synchronized moments, and sometimes generates rules that improvisers can chose to observe. All the prompts displayed through this software are merely suggestions, not orders: its purpose being to suggest a “norm”. When a musician challenges a given notion, they are perceived as “abnormal”, thus unlocking new musical relations and tensions between the ensemble.

    Ensemble ILÉA
    Charlotte Layec, bass clarinet
    Alexandra Tibbitts, harp
    Genevieve D’Ortun, saxophone
    Ana Dall’Ara-Majek, electronics
    Jeremy Chignec, flute
    Vincent Fliniaux, double bass
    Kevin Gironnay, electronics

    Two Short Pieces for Sibelius Notation Software” form part of a larger series of compositional studies for midi instruments, and notation software. Each étude in the series attempts to answer the question: What if composers stopped treating midi instruments as ersatz human performances and started treating them as a new type of performer- with their own idioms, extended techniques, and histories. Additionally, these pieces allow for visually stimulating and complex scores and license the use of score projection during performance – partly because they grow from an aesthetic that is not only rooted in that of new music, but also in audio-visual, internet-based traditions, like that of Black Midi.

    Instrumentation: Solo Macbook Air running Sibelius
    Notation Software version 8.3.0

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    TENOR 2018: Workshop II Daniele Ghisi – An Introduction to the bach family

    Date: May 25, 2018

    Time: 9:00 AM -12:00 PM

    Location: Salle De Réunion, SB-4245 UQAM Montreal

    This workshop is limited to 12 people. Please apply at matralab@concordia.ca

    $20 registration fee for the workshop – http://matralab.hexagram.ca/tenor2018/register

    The workshop will introduce you to the world of “bach”, a Max library for real-time computer-aided composition, and of its related libraries “cage” and “dada”.

    You will learn how to take advantage of bach to create and modify musical scores, and how to use them as timelines to control sound synthesis or other DSP processes. Scores can be used as symbolic buffers, to be recorded and played back. Traditional computer-aided composition processes will be presented, along with hints to more advanced capabilities (microtonality, constraint solving, quantization, meta-scores, database handling…). You will learn how to import/export data in MIDI and MusicXML format, and how to import SDIF analysis files. You will also learn the basics of how to handle bach nested lists, the hierarchical structures containing information about notation items and scores.

    If you are interested, don’t forget to bring your own laptop with a version of Max and bach installed. The bach library is free and can be downloaded from its website www.bachproject net, where you can also get more information.


    Born in Italy in 1984, Daniele Ghisi studied Composition with Stefano Gervasoni and Mathematics at the University of Milano Bicocca. He has taken part to several seminars and master-classes (IEMA Seminar in Frankfurt with the Ensemble Modern, Voix Nouvelles and Transforme in Royaumont), he has won several competitions and prizes (most recently the “F. Donatoni” prize and the “Coupleux-Lassalle” prize) and he has received several commissions (most notably from: French Ministry of Culture, Ensemble Intercontemporain, Ircam, Royaumont, Grame, Radio France, Divertimento Ensemble, Milano Musica, Vortex Ensemble, Festival PlayIt!)
    In 2009/2010 he is composer in residence at the Akademie der Künste in Berlin, in 2011/2012 he is composer in residence in Spain, member of the Académie de France à Madrid – Casa de Velázquez. In 2012 he is research composer at Ircam. In 2015 he is composer in residence with the Divertimento Ensemble in Milan. He is co-founder of the blog www.nuthing.eu, where he writes. He is the co-creator of the project “bach: automated composer’s helper”, a real-time computer-assisted composition library. In 2013-2014 he is research assistant at the Haute École de Musique in Geneva.
    His music is performed by ensemble such as Divertimento Ensemble, L’Itinéraire, Ensemble Modern, MusikFabrik, Orchestra Regionale della Toscana, and soloists such as S. Accardo, E. Calleo, F. Dillon, E. Torquati, in festivals such as Archipel, Manifeste, Biennale di Venezia, Rondò, MiTo, Agora, Saison musicale de Royaumont… In 2008/2009 and 2010/2011 he follows the Cursus en Composition et Informatique Musicale at the Ircam (Paris). His first chamber opera, La notte poco prima della foresta, has been premiered in September 2009. With the cycle of Lieder abroad he starts in 2011 his collaboration with Casa Ricordi.

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    TENOR 4th International Conference:Technologies of Notation and Representation

    Date: May 22, 2018 ― May 26, 2018

    Location: Concordia Univeristy

    This major conference engages with research and performance, planned by Sandeep Bhagwati, the team at matralab, Jean Bresson (IRCAM) and Dominique Fober (GRAME). There will be 30 cutting edge teams from around the world hosted, who all work in new notation and representation technologies, for musics new and old, for musics with and without notation. Sandeep Bhagwati will also give a talk entitled “Elaborate Audio Scores: Concepts, Affordances and Tools”. There will be four concerts with wildly differing technological scores, and two of Bhagwati’s works will be played in them, one older animated score “Rives& Dérives III” (2013) and a new one “Silence Not Absence”(2018) for bass trombone, cello, audioscores, bodysuitscores, and crowd conductors using cellphone crowd conducting software.

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    TENOR 2018: Performer Lab Concert

    Date: May 26, 2018

    Time: 11AM

    Location: Concordia Dance Blackbox, John Molson Building

    This is the outcome concert of the TENOR 2018 performer lab.

    $10 at the door

    The TENOR 2018 Performer Lab offers participants the opportunity to study innovative new approaches and devices for music notation, especially in animated, rule-based, interactive or other situational and technology-based scores. The performers explore the history and practice of such scoring as well as create interpretations of compositions chosen from the conference call. The composers of these works are present to enhance the understanding and nuances of the participants.

    The Performer Lab is facilitated by Terri Hron. Recorder player and composer Terri Hron mostly makes music in collaboration with others. Currently she performs NESTING, integrating choreographed musical, visual and embodied practices and Volière Électrique, new collaborative creations with Monty Adkins, Robert Normandeau and Hildegard Westerkamp. Other collaborators include Katelyn Clark, Camille Hesketh, François Houle, Dana Jessen, Paula Matthusen and SpaceMelt. Her works are regularly performed by ensembles and soloists in many countries. She studies ways to encourage and notate collective practices in electroacoustic music as well as the effects of multiple media on performers. She is the Executive Director of the Canadian New Music Network.

    Juan Sebastian Delgado
    Dustin Finer
    Connor Harvey-Derbyshire
    Hubert Gendron-Blais
    Karl F. Gerber
    An-Laurence Higgins
    Hanna Kim


    DECIPHERING (2017)
    Deciphering is a collaborative projectbetween Carl Ludwig Hübsch and Sebastian Adams exploring the possibilities of converting text input into notated music in real-time. It is an open ended system of Max patches that can be reworked based on the requirements of the performance situation, and combines compositional thought with improvisation and the reactions of performers. It explores the impact that text has when placed beside musical notation.

    AND THE SEA (2017, ARR. 2018)
    And the sea was composed in the BACH environment(Bach Automated Composer’s Helper, for MAX/MSP), and performed with the aid of the SmartVox web application, which delivers and synchronizes audiovisual notation to the devices of the performers (in the mp4 format) with the help of a web server. The musical atmosphere tries to depict the quiet sea mentioned in the text. The piece sets a poem by Robert Bell, in which a tension lies between the calm surface of the sea, and allusions to physical pain – which the poet presumably experienced while writing those lines:

    And the sea flattens beneath the iodine
    To be limb
    Free as before
    Thrust water
    Picks its point
    Of muscular pain
    Like electric
    While the skin begins to glow
    Is filtering
    Strange essences
    That run along the marrow of the unquiet bone

    RIVES & DÉRIVES III (2011-2015)
    Let the music wash over you and relish its sensual touch. Or: stay wide awake and be aware of every little, precious, ephemeral sound, make conceptual connections between the different time streams of a musical canon. Can any of us maintain both states at the same time – inwardness and hyper-presence, dream and analytic incisiveness ? In 2011, I drew 40 images that depict different relationships between foreground (in black) and a drone (a grey horizon line bisecting each image). These images became the graphic score of the Rives & Dérives cycle. So far, it has materialized in three different variants: Rives & Dérives I was an outdoor performance for ship sirens, cathedral bells and a dispersed choir in Montréal’s wide port area. The score was realized as a randomizable stack of postcards. Rives & Dérives II is scored for 5 choral groups: one group provides a slowly moving drone or ténor voice (replacing the ship sirens) and the other four each follow their individual on-screen rendering of my original drawings, enhanced with precise animated instructions for variable reading speeds, variable dynamics and transitions between vocal sounds. Rives & Dérives III for 5 instrument groups uses the same live-animated score, but the sound transitions are scored as a set of symbols that indicate sound qualities, to be realized on any instrument. The only condition: all instruments must allow (microtonal) glissandi. The live-animated score is generated anew before each performance, each version is therefore unique and ephemeral. As musicians sight-read the score, they are asked to acutely listen to and blend with the music coming from the drone and the other three groups. Rives & Dérives is an exercise in musical, performative and receptive paradoxes. To be listened to, ideally, with a river nearby – or tuned into the unrelenting sea inside your ear.

    EITHER (2017)
    Today it is crucial that today’s musicians be implicated in the creative process so that composers can create works that are not only highly personal, but also “belong” to the ensemble they are created for, such that even the personality and experiences of the musicians become integral parts of the work. While working on my third collaboration with Berlin-based LUX:NM ensemble, I encountered William Kentridge’s “Take Off Your Hat” (2014) during an exhibition in Berlin. The documentation of this transdisciplinary artist creating his work on a lengthy strip of rice paper struck me almost as much as the result, and helped catalyze the conception of something like this but not this and not that either (2017). Action, text and traditional notation, a preoccupation with unique musical forms that are intimately linked to their musical materials, and the personal input, feedback and involvement of the musicians throughout the creative process converge in this work for 4 musicians, composer and live-composed

    This work was commissioned with the support of the Canada Council for the Arts.

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    Ensemble SuperMusique @ TENOR Performance

    Date: May 26, 2018

    Time: 8:30 PM

    Location: Concordia Dance Blackbox, John Molson Building

    Presented by Ensemble SuperMusique

    Ensemble SuperMusique performs works by Cat Hope, Ciaran Frame, Joane Hétu & Manon De Pauw, Danielle Palardy Roger & Marta Tiesenga

    $10 at the door


    CAT HOPE (Melbourne, Australia)
    For two voices, bass flute, bass clarinet, violin, viola, guitar, bass, percussion and electronics.

    More than 30 years ago, academics started to discredit “truth” as one of the “grand narratives” which clever people could no longer bring themselves to believe in. Instead of “the truth”, which was to be rejected as naïve and/or repressive, a new intellectual orthodoxy permitted only “truths” – always plural, frequently personalised, inevitably relativised. All claims on truth are relative to the particular person making them; there is no position outside our own particulars from which to establish universal truth” (Andrew Calcutt, 2016 : https://theconversation.com/the-surprising-origins-of-post-truth-and-how-it-was-spawned-by-the-liberal-left-68929).

    Using this statement as a starting point, Pleasure Garden of Post Truth explores the concept of ‘truths’ through the sampling and reversioning of the acoustic instruments in the ensemble. The grand narrative is destroyed, a new orthodoxy created and everything you hear is relative to the people listening.

    The words sung state “Australia now ignores laws of basic #HumanRights”. This is a quote from former president of the Australian Human Rights Commission, Gillian Triggs, at an oration in 2017. She notes that “the idea of alternative facts which had credibility has created an ‘Alice in Wonderland’ world where words mean what we choose them to.”

    THALLUS (2017)

    What does lichen have to do with music? Walking through the tundra in the Arctic Circle, I was struck by the beauty and complexity of the communities of lichen beneath my feet. In many ways, it strikes me as a natural notation which we are now unable to read. It has structure, community, networks and it changes, both temporally and from location to location. For decades, scientists have used lichen as an environmental indicator – a ‘sensor’ for pollution, warming and cooling that doesn’t use batteries. I have set out to find what musical interpretation and performance can bring to a natural indictor such a lichen, and what may be uncovered about the Arctic environment in the process.
    Thallus is a generative music notation system based on lichen in the Arctic Circle. It provides a means to ‘perform’ the many diverse communities of lichen found underfoot in the environment of Kilpisjärvi in Northern Lapland, Finland. Scores are generated on a per-performer basis, and are based on the synthesis of traditional notation with lichen samples from the environment. Thallus was created with the driving principle of consistent interpretation that allows for sonic comparisons of Arctic lichen, and thus a window into changing Arctic environments through sonification. A survey of current research led to a greater desire for retaining integrity and consistency in performer interpretation within the field of graphic notation and sonification of natural data. Graphic scores are typically associated with a semi-improvised tradition of score reading. Seeking a greater amount of consistency and ensemble integrity for a graphic notation system, Thallus introduces a semi-structured framework, generating sheet music based on performer input on a per-performer basis.

    D’UN GESTE DE LA MAIN (2013)
    In 2013, Joane Hétu approached Manon De Pauw to collaborate on an animated score. Together, they created D’un geste de la main (With one movement of the hand) for Ensemble SuperMusique’s concert Machination. The animated score D’un geste de la main is composed of manipulations of coloured acetates (translucent gels used in theatre lighting) on the surface of a light table. While the audience perceives one continuous movement, the piece is actually a montage of multiple gestures performed before the camera. This chromatic and geometric étude could have been executed using solely digital means, but this was not the case. This work subscribes to research of “”performative images””, where the body is present, though sometimes very subtly, in the formal construction of the piece.
    From this original animated score, Hétu proposed a musical reading wherein the principal parameter consisted of “”playing the image””, with each part (divided into 10 equal sections) distributed to one of 10 musicians. For this new version in 2018, Hétu and De Pauw are revisiting the score and its interpretation. Does the animated score boil down to playing the image? How does the image bring something different to the music, distinct from pure improvisation? Without explicitly answering these questions, Hétu and De Pauw have added and elongated moments free of image, in order to encourage and facilitate moments of unstructured improvisation so that these two worlds can coexist, flowing between structured and unstructured playing. Beyond these considerations, D’uN
    geste de la main is a work that arises from a symbiosis between the animated score, the musical parameters outlined therein, and Ensemble SuperMusique.

    Tinnitus is the perception of sound within the human ear in the absence of corresponding external sound; in its subjective form, it can only be heard by the affected person. These perceived sounds are what I call “”ghost sounds””: they are both familiar and persistent. This composition attempts to both classify and share with other musicians and listeners a few of these “”ghosts””.
    This piece was commissioned by Productions Plateforme with support from FIMAV and Fonds de recherche et création de Productions SuperMusique.

    VÍK Í MÝRDAL (2017)
    Based off of an aerial view of Vík, a town on the southern coast of Iceland, this piece recreates Vik’s topography using five distinct animated symbols (assets) to populate the screen. Each asset contains different meanings and is assigned unique musical functions over time for different instrument groupings over the course of the piece. Instrument groupings are mainly coordinated according to timbral textures and modes of sound production. Specific pitch content is initially derived from spectral analyses of field recordings taken on location and then elaborated to relate to the visual representation. This piece operates under the belief that the outcome of improvisatory dynamics of groups acting as single/cooperating populations mimics the contingent relationships of weather, erosion, and proliferation of plant life that affect a landscape’s identity. The value of displacing and transforming information across differing modes of interpreting / comprehending to reach new representational outcomes is explored as an extension of this belief.

    Ensemble Supermusique:

    Joane Hétu, voice / alto sax.
    Cléo Palacio-Quintin, flutes
    Philippe Lauzier, bass clarinet
    Ida Toninato, voice / baryton sax.
    Guido Del Fabbro, violin
    Jennifer Thiessen, viola
    Bernard Falaise, electric guitar
    Pierre-Yves Martel, electric bass
    Isaiah Ceccarelli, drums
    Maxime Corbeil-Perron, electronics
    Ensemble leaders: Joane Hétu, Cléo Palacio-Quintin, Danielle Palardy Roger

    Ensemble SuperMusique features key composer-performers from Montreal’s long-standing and renowned Musique Actuelle scene, featuring contemporary music-making that synthesizes composition and improvisation as well as acoustic and electronic instrumentation. Founded in 1998, the ensemble is currently directed by Joane Hétu and Danielle Palardy Roger, and comprises various personnel depending on the project, with each performer drawing on their skills and vocabulary as an improviser in the execution of the ensemble’s repertoire. The ensemble performs works by its members, commissions pieces by a range of contemporary composers, and plays ‘classics’ from the history of graphic and aleatoric composition. In addition to self-producing events in Montréal and on tour, Ensemble SuperMusique has performed at major events including the Festival International de Musique Actuelle Victoriaville (FIMAV), the Guelph Jazz Festival, and the Toronto Music Gallery X-Avant Festival. The ensemble’s work has been featured on eleven recordings on the Ambiances Magnétiques label, including its most recents discs, Les porteuses d’Ô (recorded live during the premiere at Le Vivier in May 2017) and Résistances, by Jean Derome (2017).

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    Improvisation: Philosophical Re-Scriptions

    Date: July 12, 2018 ― July 13, 2018

    Location: Maschinenhaus der Kulturbrauerei, Berlin

    Improvisation: Philosophical Re-Scriptions is a conference organized by Sandeep Bhagwati (matralab, Concordia University) and Dieter Mersch (Institute for Critical Theory, Zurich Hochschule der Künste). For two days, we will bring together 25 improvising musicians and philosophers interested in improvisation to discuss questions about the existential roles and conditions of improvisation. Every now and then, the talking will be contextualized by live-improvisation.

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    International Summer Course for New Music

    Date: July 17, 2018 ― July 18, 2018

    Time: 1:00-5:00

    Location: Darmstadt

    Matralab will be presenting two research-creation projects at this oldest and most renowned summer meeting/festival of the international new music community:
    The body:suit:score project and the Native Alien project. We will present matralab research with posters, games and demos on both afternoons in the central lobby of the Schader-Stiftung, and musicians and visitors can actually try out the soft- and hardwares. Several pieces of Sandeep Bhagwati’s using these technologies will be performed, always at 14h and 16h, some of them with audience interaction.

    More Info...

Past Events

» TENOR 2018: Int’l Conference on Technologies for Music Notation & Representation - 22.05.18

» Apply to the Tenor 2018 Performer Lab - 22.05.18

» TENOR 4th International Conference:Technologies of Notation and Representation - 22.05.18

» Canadian New Music Network FORUM - 17.05.18

» Journal Issue Launch CIRCUIT: Musiques Contemporaines 28.1 - 15.05.18

» Between Traces and Writing : EC2 Focus Days - 15.05.18

» Circuit Musiques Contemporaines (28.1) Launch - 15.05.18

» ACFAS Congrès de l’Association francophone pour le savoir, Université de Chicoutimi - 10.05.18

» ACFAS Congrès de l’Association francophone pour le savoir, Université de Chicoutimi - 08.05.18

» TENOR 2018: Call for Papers / Posters - 15.12.17

» TURBULENZEN Symposium: New Roots for New Music - 10.12.17

» TURBULENZEN Festival – Ensemble Extrakte - 09.12.17

» ARRAYMUSiC presents the music of Wilhelm Killmayer and Sandeep Bhagwati - 22.11.17

» Jean-François Laporte & Ben Thigpen - 17.11.17

» TENOR 2018: Call for Musical Works using Situative Scores - 15.11.17

» ALVIN Reflections & Refractions Around the Work of Alvin Lucier - 12.11.17

» Jen Reimer & Max Stein at Lisboa Soa - 14.09.17

» Niemandslandhymnen - 18.05.17

» World Premiere: Niemandslandhymnen - 18.05.17

» matralab explore – M P I v H+ - 12.04.17


» Matralab explore Alain Joule - 14.03.17

» matralab explore : Jean-François Laporte & Benjamin Thigpen - 01.03.17

» Sounding The City - 25.11.16

» :body:suit:score Mini Symposium - 13.11.16

» Ludwig & Mae - 08.11.16

» matralab explore : Jeremy Dutcher - 02.11.16

» Dieter Mack : Contemporary Music in Indonesia - 21.09.16

» matralab explore : Dieter Mack Artist Talk - 21.09.16

» Practices of Everyday Life at Ars Electronica - 08.09.16

» TURF - 30.04.16

» CRYSTAL INTERFACE @ matrabox - 08.04.16

» matralab explore : Jen Reimer & Max Stein – from Urban Ruins to the Gallery - 30.03.16

» Colloque-Laboratoire de rechereche-création - 17.03.16

» Amir Amiri : The Chromatic Santur - 16.03.16

» Listening Session : Dhvani Sutras - 12.03.16

» matralab explore : Terri Hron’s Portrait Collection - 09.03.16

» Dieter Mack : Contemporary Music in Indonesia - 08.03.16

» ECHOLOT - 03.03.16

» matralab explore : Klaus Janek & Milena Kipfmüller - 02.03.16

» Native Alien presented at TransCultural Exchange - 25.02.16

» Glocale Klänge Installieren – Trans-traditionelle Musik im Museumskontext - 19.02.16

» matralab explore : Joel Mason - 17.02.16

» matralab explore 2016: NIEMANDSLAND-HYMNEN - 27.01.16

» Situational Scores for Comprovisation (Sandeep Bhagwati) - 20.01.16

» Creative Research in Comprovisation (Sandeep Bhagwati) - 19.01.16

» Inter-Traditional Urban Music: Talk @ CNMN Forum Ottawa - 15.01.16

» Question Animals (Aaron Finbloom) - 09.01.16

» “A Few Silences” + “Exegetical Reading Machine” (Aaron Finbloom) - 08.01.16

» Poems and Tunings – Ensemble Extrakte (World premiere) - 13.12.15

» Musicking the Body Electric. Körperpartituren für wandernde Musiker. - 26.11.15

» Dhvani Sutras – Ensemble Sangeet Prayog Pune (World premiere) - 16.11.15

» Musicking the Body Electric @ International Symposium LTM21 (McGill) - 06.11.15

» Musicking the Body Electric: The First Year Compositions - 04.11.15

» “fleeting feelings … nine fragments from musica comprovisata…” World Premiere - 16.10.15

» Music Without Reasonable Hope - 13.10.15

» The Ville Étrange Project - 10.10.15

» NATIVE ALIEN in Berlin - 02.10.15

» Comprovisation Systems: Lecture-Concert - 01.10.15

» Uncovering Space: A Symposium - 20.09.15

» Writing the Unforeseen. How to improvise through scores. - 16.09.15

» Webern Clockwork: 12h Durational Performance - 15.09.15

» Sandeep Bhagwati in Berlin: ENSEMBLE EXTRAKTE – SUTRAS & CATALOGUES - 17.06.15

» Ludwig Berger presents “YOU WILL HAVE BEEN HERE” @ matrabox - 12.06.15

» matralab Artist in Residence: Ludwig Berger - 08.06.15

» matralab explore vii: Marie-Hélène Breault, Guy Pelletier & Terri Hron - 16.03.15

» “UPHONIAS: SOUNDS AND FUTURE ENVIRONMENTS” Symposium @ Fine Arts Black Box - 06.03.15

» “Let This Sound Slowly Dissipate” World Premiere @ La Cinémathèque québécoise - 06.03.15

» Uphonias: LIVE STREAM - 06.03.15

» “17 Miyagi Haikus” Canadian Premiere @ Chapelle Historique du Bon Pasteur - 04.03.15

» Navid Navab’s “Practices of Everyday Life | Cooking” @ Agora Hydro-Québec - 02.03.15

» Totem Contemporary Productions: “L’air du temps” @ Fine Arts Black Box - 01.03.15

» Mise-En-Musique Outcome Concert with Julian Klein @ Espace Cercle Carré - 01.03.15

» Mise-En-Musique Workshop with Julian Klein @ Concordia Music Department - 26.02.15

» matralab explore vi: matralab presents Julian Klein - 25.02.15

» Adam Basanta’s “The sound of empty space” Installation @ Galerie B312 - 19.02.15

» Call for Posters: “UPHONIAS – Sounds and Future Environments” - 01.02.15

» matralab explore v: WORK IN PROCESS / PROCESS IN WORK - 14.01.15

» Sandeep Bhagwati: Limits, Renewals and Other Alien Music @ Espace Cercle Carré - 08.12.14


» matralab explore iii: IN THE MIDST OF THE CREATIVE PROCESS - 05.11.14

» Native Alien Recording Session @ Concordia - 31.10.14


» matralab explore ii: ALTERNATE PRACTICES - 15.10.14

» Quelques arbres seulement- performance at matrabox - 20.06.14

» SUTRA – Erlangen - 05.05.14

» Volume 3: Threads - 16.04.14

» «habiter le contemporain_not built for that» - 13.04.14

» Envisioning the Practice: Montréal International Symposium on Curating the Performing Arts - 10.04.14

» Noiseborder Ensemble meets matralab, University of Windsor - 29.03.14

» Cultural Identity and Post-exoticism in New Music: Round Table and Concert - 25.03.14

» Conversation on The Future of Music in Digital and Global Societies - 25.03.14

» Lecture Series on Western Art Music seen from the Perspective of Indian Music - 24.02.14

» Ensemble Extrakte - 16.02.14

» Museum für Asiatische Kunst Berlin - 26.01.14

» INTACT Project and Polizone - 22.01.14

» Moritz Ernst will play Sandeep Bhagwati’s piece Stele I - 09.01.14

» Bargemusic Festival New York - 02.01.14

» Hanoi New Music Festival - 07.12.13


» Chantale Laplante & Julian Stein @ Galerie 3 points, Belgo Building - 09.11.13


» Katie-Marie Germain & Lenka Novakova @ Circuit-Est - 05.11.13

» Radio Oscillations & Music for Lamps @ Sala Rosa - 04.11.13

» Cornelius Pöpel & Doug Van Nort presentation at matrabox - 23.10.13

» Cornelius Pöpel talk at matralab - 23.10.13

» Cyneart Residency @matrabox- informal presentation - 17.10.13

» A Farewell to the Millennium of Scores? - 15.10.13

» Cornelius Pöpel presents his research at CIRMMT - 08.10.13

» Limits & Renewals at the Goethe Institut - 05.10.13

» Native Alien @matrabox - 03.10.13

» Sound Development City - 20.09.13

» O V A L – Lenka Novakova & Otso Lähdeoja - 13.09.13

» Art Spin, Toronto - 29.08.13

» Souterrain Artist Residency in Berlin, Germany - 06.08.13

» Music for Lamps @ Electric Eclectics Festival - 04.08.13

» In Between the Light and Darkness - 03.08.13

» In between the Light and Darkness @ Hospital Kuks (Czech Republic) - 01.08.13

» Music For Lamps @ Sounds Like Audio Festival (Saskatoon) - 26.07.13

» Music for Lamps @ VIVO Media Arts Centre (Vancouver) - 19.07.13

» Re-Collect 5à7 @ matrabox - 10.07.13

» Re-Collect @ matrabox - 23.06.13

» “Nirgun Bhajan” @ A•Devantgarde Festival (Munich) - 21.06.13

» Mythos Athe 425 / Stundenplan @ Athenaeum and Stadeum (Stade) - 15.06.13

» 425th Anniversary Event @ the Athenaeum Stade - 15.06.13

» Nothing Specific @ Goethe Institut - 14.06.13

» Rivers and Skies @ WKP Kennedy Art Gallery - 12.06.13

» “Imagining the Other’s Voice” Lecture (Part II) @ University of Arts - 28.05.13

» “Imagining the Other’s Voice” Lecture (Part I) @ University of Arts - 21.05.13

» “why sing why cry” @ Goddard Centre (New York) - 15.05.13

» “Making Music Glocally” Lecture @ ZKM (Karlsruhe) - 08.05.13

» “How does The New emerge?” Lecture @ Hochschule Ansbach - 07.05.13

» Nes Artist Residency in Skagaströnd, Iceland - 01.05.13

» Cumulonimbus @ matrabox (Elektra) - 01.05.13

» “Atish-e-Zaban” Seminar @ University of Arts (Berlin) - 30.04.13

» Interactive Scores Presentation @ Partitions Dynamiques (Lyon) - 29.04.13

» Sandeep Bhagwati @ MUMUTH (Graz) - 26.04.13

» Native Alien in Graz - 21.04.13

» Artist Residency @ Banff Centre - 20.04.13

» Workshop w/ Continuum Ensemble Toronto & Subtle Technologies Festival - 12.04.13

» Space Behind the Looking Glass @ matrabox - 11.04.13

» Keynote & Workshop on Ensemble Comprovisation @ University of Applied Sciences Ansbach - 26.03.13

» IF Ensemble: Indian Tour - 25.03.13

» Sound Spatialization Workshop @ matrabox - 06.03.13

» matralab @ Goethe-Institut: Villes LuminoSoniques – LuminoSoniCities - 03.03.13

» HALU (urge) @ M-theatre (Seoul) - 27.02.13


» Atish-e-Zaban @ Festival Montréal Nouvelles Musiques - 24.02.13

» “warnings written on the wind” @ Festival Soundscape East Asia - 09.02.13

» ENSEMBLE EXTRAKTE @ Jazzfest Neukölln - 27.01.13

» Music for 12 Domestic Lamps @ Café Zosha - 14.01.13

» “sound unsound” @ Chapelle historique - 14.12.12

» “Ashok Ranade Memorial Lecture” in Mumbai - 06.12.12

» Jen Reimer + Max Stein + Adam Basanta @ Wellington Tunnel: Nov 15, 2012 - 15.11.12

» The Burning Skies of Bogota @ MAI, Nov 9-10 - 09.11.12

» World Premiere: Traces&Shadows II - 04.11.12

» River / Rivière - 27.10.12

» “Room Dynamics” by Adam Basanta @ NAISA Space (Toronto) - 27.10.12

» “Room Dynamics” performances by Adam Basanta, Julian Stein and Max Stein - 27.10.12

» matralab Informal Internal Study Day 2012 - 22.10.12

» [Dé]-territorialité – mémoire des déplacements - 12.10.12

» Homing in on Aesthetic Wisdom: Workshop facilitated by Devora Neumark and Ju-Pong Lin - 05.10.12

» Research-Creation@matralab Lecture in Ghent - 03.10.12

» “Atish-e-Zaban” – Premiere radio broadcast - 17.09.12

» “On Stars, Sounds, Kisses and Translations” @ Archives Sonores et Voix Radio - 14.09.12

» Archives Sonores et Voix Radio - 13.09.12

» Linda Bouchard, artist in residence – Murderous Little World - 08.08.12

» Comprovisations – Improvisation Technologies in the Performing Arts - 24.05.12

» matralab @ IMPROTECH conference, New York City - 18.05.12

» Natie Alien research presentation – Dhruba Ghosh - 13.03.12

» Explorations of Shadows and Echoes: Racines Éphémères, Gestes Déplacées and Lamentations - 12.03.12

» Racines Éphémères Exhibition - 06.03.12

» Symphonies Portuaires 2012 – Rives & Dérives (concert ii) - 04.03.12

» Symphonies Portuaires 2012 – Rives & Dérives (concert i) - 26.02.12

» Limits & Renewals @ Eclat Festival Stuttgart - 10.02.12

» Canadian New Music Forum 2012, Simon Fraser University, Vancouver - 20.01.12

» matralab @ Western Front Vancouver - 20.01.12

» Transience @ matrabox (Montreal, 2011) - 19.12.11

» Wu Wei in residence @ matralab - 10.12.11

» Libretto Workshop @ the State Opera of Karlsruhe (Germany) - 04.12.11

» Paper on Comprovisation at “(Re)thinking Improvisation” conference Malmö - 29.11.11

» Transience @ Inter Arts Centre Malmö (Malmö, 2011) - 27.11.11

» Rohan de Saram (London, UK) in residence @ matralab - 18.11.11

» Oiseaux d’Ailleurs (Montréal 2011) - 22.03.11

» “The Role of Comprovisation in the Works of the Budapest New Music Studio (1975-1983) and Examples of Its Applications in Composition Instruction Today” - 22.02.11

» monochrom (Montréal 2011) - 18.02.11

» Alien Lands (Montréal 2011) - 18.02.11

» Nil Nisi Nive (Montréal 2011) - 18.02.11

» “How To Write Music” - 01.02.11

» jaali, (Stuttgart 2010) - 18.11.10

» Atish-e-Zaban (Stuttgart 2010) - 07.10.10

» Nexus (Montréal 2010) - 30.05.10

» “Are Forests Better Concert Halls?” - 17.03.10

» Scardanelli Sonata (Montréal 2010) - 06.02.10

» “Music and Time” - 01.10.09

» Anahata (Montréal 2009) - 20.05.09

» Transience for Flute and Violia de gamba (Montréal 2009) - 08.05.09

» Stele III for String Orchestra (Turku 2009) - 28.04.09

» wald-forest (Montréal 2009) - 05.03.09

» Stele I Ectoplasm (Montréal 2009) - 29.01.09

» Racines Éphémères (Vienna 2008) - 15.11.08

» Transience for Koto and Recorder, (Nürnberg 2008) - 24.08.08

» DISTRIBUTED NARRATIVES part 3 - 27.03.08

» DISTRIBUTED NARRATIVES part 2 - 11.03.08

» DISTRIBUTED NARRATIVES part 1 - 03.03.08

» Interdisciplinary Art – Practices, Methods, Categories IV - 07.02.08

» Interdisciplinary Art – Practices, Methods, Categories III - 22.01.08

» Interdisciplinary Art – Practices, Methods, Categories II - 15.01.08

» Interdisciplinary Art – Practices, Methods, Categories I - 08.01.08

» Vineland Stelae, (Los Angeles 2007) - 01.11.07

» Exactly the same only a little better - 16.06.07

» Stele III for String Quartet (Montréal 2007) - 21.04.07

» Per / Son / Alia (Montréal 2007) - 27.03.07

» Atish-e-Zaban, (Stuttgart 2006) - 26.07.06

» Inside a Native Land (Berlin 2005) - 12.03.05