[va]: DISContact!: track detail

<<
DISContact!

[va]

DISContact!

CEC-PeP | CEC 92CD | 1992

2xCD out of print

1. Mara Zibens: Nocturne (White Streak on Film) 2m51s cec_92cd-1.1 | 12976 |

This excerpt from a work-in-progress involves the juxtaposition of motifs from earlier compositions, and features an improvised aria by mezzo-soprano Brenda Archer.

2. Gayle Young: Flat Water 2m52s cec_92cd-1.2 | 12987 |

The title refers to a style (or preference) of canoeists who choose lakes or other non-flowing bodies of water, in contrast to the "white water" of rivers. The sounds were recorded in September, 1992, and edited with the assistance of Randy Smith using Sound Tools.

3. Wes RD Wraggett: Le jardin des larmes rouillés (1991) 2m58s cec_92cd-1.3 | 12988 |

In the dark depths, tears-rememberance gone. Dedicated to Francis Dhomont.

4. EC Woodley: A Ward Of The Government 2m43s cec_92cd-1.4 | 12989 |

A Ward Of The Government was assembled using material recorded by Pamela Harris in 1973 and other material.

5. Pascale Trudel: Alchimie (1992) 2m14s cec_92cd-1.5 | 12990 |

A mysterious creature appears to be flying outside the studio’s window. A broken machine suddenly starts running again and I can go on with my work. After many difficult transmutations, the first breath of an unknown world is heard.

Barry Truax: Song of Songs (1992) 2m57s cec_92cd-1.6 | 13192 |

oboe d’amore, English horn, and tape

6. Barry Truax: Evening (1992) 2m57s cec_92cd-1.6.6 | 12991 |

Evening is the third movement of Song of Songs which is based on texts from the Song of Solomon. Readings of these texts by Norbert Ruebsaat and Thecla Schiphorst are heard along with the voice of a monk from SS. Annunziata, a monastery in Amelia, Italy, plus recordings of a crackling fire made by Robert MacNevin for the World Soundscape Project tape collection. All sounds are processed with techniques of granulation to stretch and harmonize them such that their lyrical content is brought out. The full performance version of the work will include Lawrence Cherney playing English horn and oboe d’amore and computer graphic images by Theo Goldberg.

7. Paul Steenhuisen: Poland is not yet lost 1m08s cec_92cd-1.7 | 12992 |

This trans-avant-garde vignette is #1 in a series sonically translating the appropriated iconography of various painters — in this case, Anselm Kiefer. The 2-track original was aged and charred on a NeXT computer, re-recorded with a Calrec Soundfield (MK IV) microphone, then re-NeXT-ified.

8. Fred Semeniuk: Neanderthals in a phone booth 2m49s cec_92cd-1.8 | 12993 |

Neanderthals in a phone booth was realized in his studio at home and at the University of Calgary electronic music studio using a real-time recording of the AGT message which comes on if you leave the phone off the hook for too long. This message was digitized using the Macintosh system. Opcode’s Studio Vision and Digidesign software orchestrated the system. Flange, chorus and echo sweetening were used sparingly. The Neanderthal’s voice is a sample from Sample Cell but lengthened in duration. Letting it loop with different durations gives an echo-like fade away of the sound file. Do not play this piece backward.

9. Claude Schryer: A Soundwalk in the Rain of St. John’s, NFLD (1992) 3m00s cec_92cd-1.9 | 12994 |

sound Schryer radio producer North Montréal Letter Inter GEMS founding empreintes director DIGITALes composer Claude CEC Bay Banff Arts artistic artist administrator ACREQ July 2nd, 1992, at 2.20pm, St. John’s, Newfoundland. I am a radio artist in residence at Sound Symposium 6. I have a radio program to prepare. I walk, listen and think out loudä A Soundwalk in the Rain of St. John’s, NFLD was broadcast for the first time on July 2nd, 1992 at 3.03pm on CHMR-FM, at Memorial University, St. John’s. Special thanks to Don Wherry and Kathy Clark and to my fellow radio artists Dan Lander and Christof Migone.

10. Denis Saindon: Pentacle 2m59s cec_92cd-1.10 | 12977 |

Pentacle, for MIDI keyboard controlling a sampler and a Proteus/2 synthesizer, expresses the symbolics of the number 5. The symbol of the Word made flesh. Based on the structure of the pentagram, this music tells of the journey of human fulfilment. This electroacoustic music was conceived to be played completely live by a MIDI controller with keyboard. This excerpt is taken from the stereo recording of the version read by sequencer.

11. Stéphane Roy: Mimetismo (1992) 2m56s cec_92cd-1.11 | 14306 |

Commission: Arturo Parra , with support from the CCA

guitar, and tape
Arturo Parra, guitar

To Arturo Parra

Imitation is the basis of this work. Imitation of an acoustic source by an electronic source opens the interior space of this work - a space composed of multiple networks and internal reinjections, of abstract compositional games between pure structural entities. The acoustic and electronic components of Mimetismo interact and imitate each other, at times they blend with a sonic material in constant evolution. In this work, the guitar abandons its traditionnal role of soloist and its timbres are mixed with unpredictable materials. This work is a commission from guitarist Arturo Parra, with support from the Canada Council.

[92]

The electronic materials of Mimetismo were generated with the assistance of the SYTER system during a period of work at the Groupe de recherches musicales (GRM) in Paris, as well as in the composer’s studio; the work was completed in the studios of the Faculty of Music of the Université de Montréal. Mimetismo, a mixed work, composed with the collaboration of guitarist Arturo Parra, was commissioned by the latter with the assistance of the Canada Council [for the Arts]. Mimetismo received First Prize in the 14th International Luigi Russolo Competition (Varese, Italy, 1992) as well as a Mention at the Prix Ars Electronica competition (Linz, Austria, 1992). Mimetismo was included, in 1993, on the compact disc Presence One (DIV 2) produced by Divided (Chicago, USA).

12. Frédéric Roverselli: Silence, j’écoute 2m21s cec_92cd-1.12 | 12979 |

13. Robert J Rosen: Signal Hill 2m52s cec_92cd-1.13 | 12980 |

Signal Hill was inspired by sound walks in the high winds on Signal Hill, Newfoundland at the time of the fisheries’ closure. Airplane credit: Claude Schryer.

14. Bob Pritchard: Twisted Mirror, Shattered Dream 1m38s cec_92cd-1.14 | 12981 |

Remnants of impressions, rags of emotions, a harshness of experience. Onamatopoetic feelingsä Twisted Mirror, Shattered Dream was composed on a NeXT computer in the UBC Computer Music Studio using SoundWorks and Csound for recording, synthesis, processing, and re-processing.

15. Claire Piché: Qui suis-je? (1991) 2m01s cec_92cd-1.15 | 12982 |

Qui suis-je? is an enigmatic electro-acoustic clip, based on a totally fictional scenario. A man sentenced to death is led from the cell of an old underground prison to the public square where he is to be executed.

16. Jamie Philp: Victories Over Us (1991) 3m04s cec_92cd-1.16 | 12983 |

This is an excerpt from a composition for an installation presented at the 1991 Works Festival with Modern Dance Artist Brian Webb and visual artist Blair Brennan. The work started as improvisations using Laurie Spiegle’s Music Mouse and MIDI Paint. I used many sources of inspiration for the harmonic component: sound chords, mystic chords, quartal harmony and ethnic scales. On top of these short improvisations I built up parts on a variety of instruments including electric guitar, nose flutes, voice and zube tube, which added to the human quality of the piece. The text portions were selected from Evangelist surmons taken out of context. The work received an ARIA (Alberta Recording Industry Association) award in 1992.

17. Robert Normandeau: Éclats de voix (1991) 2m53s cec_92cd-1.17 | 14207 |

Commission: CKUT FM, with support from the CCA

Premiere: September 26, 1991, CKUT FM (Montréal, Québec)

Jeu et rythme [Play and Rhythm]; Tendresse et timbre [Tenderness and Timbre]; Colère et dynamique [Anger and Dynamics]; Tristesse et espace [Sadness and Space]; Joie et texture [Joy and Texture]

To Martine Blain

The primary visual imagery of the title (Bursts of Voices), the fragmentation of the voice into little shatters, is augmented by the connotation of anger — a child’s sudden anger which appears like a tornado, to disappear just as quickly. The voice is of an 11-year-old child who wholeheartedly joined in the game of recording dozens of sounds from the Dictionnaire des bruits by Jean-Claude Trait and Yvon Dulude. The work is divided into five sections which represent childhood ‘states’ and a corresponding sonorous parameter. These different sections are presented one after the other in concert, or separately when broadcast on radio.

Éclats de voix was produced at the composer’s studio and at the Groupe de recherches musicales (GRM) in Paris from recordings of the voice of Marie-Hélène Blain. It was premiered on September 26, 1991 by CKUT FM in Montréal and recorded on the compact disc Prix international Noroit-Léonce Petitot 1991 (NOR2). Éclats de voix was commissioned by CKUT with the assistance of the Canada Council [for the Arts]. The present version is a stereo recording of multitrack sound diffusion realized at The Banff Centre for the Arts (engineers: Antonio Oliart and Stephanie Rogers; assistant: Jennifer Lewis) in July, 1993. The piece was awarded the 1st Prize by Jury and tied for the Public’s Prize at the 2nd Prix international Noroit-Léonce Petitot (Arras, France, 1991). It was awarded a mention at the Stockholm Electronic Arts Award Competition (Sweden, 1992), an Honorable Mention at Ars Electronica (Linz, Austria, 1993) and a 1st Mention at the Bourges International Electroacoustic Competition (France, 1993).

18. Chris Meloche: Electric Interlude 3m01s cec_92cd-1.18 | 12985 |

Composed and recorded specifically for DISContact!, in October 1992 at Rough Cut Studio, London. Premiere: Articte, Windsor, November 27th, 1992.

19. Robert Normandeau, David Olds, Hildegard Westerkamp: Convergence Radio (1989) 27m32s cec_92cd-1.19 | 12986 |

Excerpts from Four Radio Report on the 1989 CEC Electroacoustic Days, convergence at The Banff Centre for the Arts, Alberta. These radio programs were realized with the assistance of the Media Arts Service of the Canada Council, the Music Gallery (Toronto) and The Banff Centre for the Arts. Claude Schryer was artistic coordinator of convergence. The four part radio series (2 in French, 2 in English) is available on cassette from the Canadian Electroacoustic Community (CEC).

1. David Lindsay: Two Minute Warning 1m52s cec_92cd-2.1 | 12996 |

Today’s commercial synthesizers and computer music instruments are capable of a wide variety of sound collages at the touch of a key. Some animate classic electronic images, while others slice with digital perfection. This piece uses factory and composed sounds to reclaim the dynamics of earlier electroacoustic music and merge it with modern digital sound painting.

2. Daniel Leduc: Contact! 48s cec_92cd-2.2 | 13007 |

For this DISContact! disk, I prepared, directly from St-Lambert, a Contact! clip quite in the outskirts. Enjoy!

3. Dan Lander: Virtual Reality: The First Swim 2m59s cec_92cd-2.3 | 13010 |

My first experience of (or in) virtual reality was Robert McFadden’s Picture Yourself in Fiction which was produced as part of The Banff Centre’s Art and Virtual Environments project. Speaking into a microphone as I worked my way through the program, I later gained access to my verbal responses via digital audio editing. Virtual Reality: The First Swim was produced at EARS Studio, The Banff Centre, utilizing the Soundtools digital editing program.

4. Frank Koustrup: Frostie 2m55s cec_92cd-2.4 | 13011 |

In 1985, a man ordered a Frosty from a Wendy’s drive-thru window. Frank was there — with a tape recorder.

5. David Keane: Wervelwind (1991) 2m52s cec_92cd-2.5 | 13012 |

In Wervelwind — Flemish for "whirlwind" — the trombonist performs while continuously rotating, the shifting direction and reflection generating a powerful effect. This excerpt is from a recording in preparation for a CD of five works for solo wind instrument and electronics [QUM, release: March, 1993]. The rotation was captured by a single microphone and re-stereoized using the Focal Point 3-D sound process.

6. John Kamevaar: Negatio 2m03s cec_92cd-2.6 | 13013 |

The title of this work is inspired by Spinoza’s famous statement: Omnes determinatio negatio est. (Every determination is a negation.) The work is the result of a "patch" programmed on an Ensoniq EPS 16+ sampler. Various processes, including random modulation of frequency and loop position, are applied to a short sample of microphone feedback effecting a combination of the aleatoric with a certain degree of predictability. Any instance of the same keypress will initiate a new sequence of events.

7. Bentley Jarvis: Last Night 2m47s cec_92cd-2.7 | 13014 |

Last Night is an excerpt from a work in progress. It was written using Cakewalk software controling a Turtle Beach Multisound card, TX7, CZ101, Arp Avatar, Oberheim 0B1, MPU101, DVP1, SPX90, Electro-Harmonix Vocoder, and hand crafted analog modules.

8. James Harley: Night-flowering… not even sand-II (1990) 2m55s cec_92cd-2.8 | 13015 |

Night-flowering… not even sand-II was composed in the EMS of McGill University using csound synthesis software and the composer’s chaotics compositional software. The texture of the music is "granular" and explores the fascinating world of 31 tone equal temperament. The inspiration comes from a visit to sand dunes in the Arabian Desert, and the title is taken from the poetry of Thomas Merton.

9. Gilles Gobeil, Lyette Limoges: La ville machine (1992) 3m06s cec_92cd-2.9 | 14215 |

Commission: ACREQ, with support from the CCA

Premiere: June 18, 1992, CKUT FM (Montréal, Québec)

Writer: Lyette Limoges

When fact abolishes deed, when threat becomes expectation, thought compels the impossible. They believed in it. All of them. An electroacoustic drama. With the voices of François Godin and Hélène Mondoux. Thanks to the students of Nouvelles Querbes School. La ville machine was commissioned by ACREQ for the 7e Printemps électroacoustique with support from the Canada Council. La ville machine was composed in collaboration with writer Lyette Limoges.

[v-94]

La ville machine was produced in the composer’s studio. It was presented at the 7e Printemps électroacoustique de Montréal during the radio program Sons d’esprit on CKUT FM in Montréal. It was also presented in concert on June 20, 1992 at the Musée d’art contemporain de Montréal. La ville machine was commissioned by the Association pour la création et la recherche électroacoustiques du Québec (ACREQ) with the assistance of the Canada Council [for the Arts]. Thanks to Hélène Mondoux and François Godin (narration) and to the children of the École nouvelle Querbes in the city of Outremont. In 1993, La ville machine was awarded the Grand Prize at the competition of the SOCAN (the Canadian preforming right society).

10. David Eagle: Hsüan 3m03s cec_92cd-2.10 | 12997 |

Guzheng (Chinese zither), and tape

Hsüan was commissioned by Zhang Yan with financial assistance provided by the Alberta Foundation for the Arts. The tape part was realized at the University of Calgary Electroacoustic Music Studio using a Macintosh IIcx computer with SampleCell. "mysterious strings" / plucked strings on an ancient instrument / a sound emerging from the distant past / resonating through the centuries / enduring and timeless / a witness to the present.

11. Paul Dolden: Physics of Seduction. Invocation #2 (1991) 3m03s cec_92cd-2.11 | 13903 |

Commission: Vivienne Spiteri, with support from the CCA

Premiere: August 1, 1992, (Aarhus, Denmark)

harpsichord, and tape
Vivienne Spiteri, harpsichord

Speed creates pure objects. It is itself a pure object, since it cancels out the ground and territorial reference points, since it runs ahead of time to annul time itself, since it moves more quickly than its own cause and obliterates that cause by outstripping it. Speed is the triumph of effect over cause, the triumph of instantaneity over time as depth, the triumph of the surface and pure objectality over the profundity of desire. Speed creates a space of initiation which may be lethal; its only rule is to leave no trace behind. Triumph of forgetting over memory, an uncultivated amnesic intoxication.

The tape portion of Physics of Seduction. Invocation #2 was produced in the composer’s private studio in 1991 and the recorded harpsichord part was realized in the DIEM studio in Aarhus (Denmark) in 1992. The final mix of the tape and live part was done in the composer’s private studio in 1993. It was commissioned by Vivienne Spiteri with assistance from the Canada Council for the Arts. The work was premiered by Vivienne Spiteri on August 1st, 1992 at the NEMO festival in Århus (Denmark). Physics of Seduction. Invocation #2 was recorded by Vivienne Spiteri for the compact disc comme si l’hydrogène… the desert speaks on J&W Records (J&W 931).

New recordings of the drum parts (performed by Philippe Keyser) were made for the remastering process. This work was reprocessed, remixed and remastered in the composer’s studio in 2001-02.

12. Francis Dhomont: Studio de nuit (1992) 3m00s cec_92cd-2.12 | 13916 |

Premiere: September 2, 1995, Futura (Crest, France)

Here we surprise the acousmotrope, engaged in his rituals and his creations, in a half-real, half-dreamed moment of nocturnal composition for Figures de la nuit / Faces of the Night, a work for radio commissioned by David Olds for the program Transfigured Night, on CKLN-FM in Toronto.

Along with the voice of the artist, we hear (in order of vocal appearance) those of Laurie Radford, Pierre Daboval, Justice Olsson, Marie Pelletier, Jean-François Denis, and Pierre Louet.

[English translation: Tom Carter]

Studio de nuit (Studio at Night) was realized in the composer’s studio in 1992 and was premiered on 2 September 1995 as part of the Festival international d’art acousmatique Futura (Crest, France). Studio de nuit was recorded on the 1992 disc DISContact! 6.2 (CEC 92CD).

13. Robert Del Buono: Solarsystemless 2m51s cec_92cd-2.13 | 13000 |

Solarsystemless explores the journey of a voice attempting to establish contact with its beginnings.

14. Bruno Degazio: Tesla’s Dream 2m59s cec_92cd-2.14 | 13001 |

Tesla’s Dream is an excerpt from the multimedia opera NT: The Man Who Invented the Twentieth Century. Tesla the great inventor, dreams of the universal benefits brought to humanity by electricity. He dreams of the harnessing of Niagara and other monsters of nature. He foresees a worldwide electrical communication system bringing people together into a "global village". He sees, in his dreams, the end of war and the universal happiness of mankind.

15. Yves Daoust: Joie (1992) 2m38s cec_92cd-2.15 | 13002 |

Premiere: October 29, 1992

to Gilles Tremblay

Dedicated to the composer Gilles Tremblay, this miniature was premiered on October 29th, 1992 during a concert dedicated to the 60th anniversary of the composer. Without wanting to “pastiche” the Gilles Tremblay style, I searched for a "colour" to evoke the brillant and sparkling side of his writing. A volley of bells, extracted from a preceding work (Résonances, created at GMEB, in January, 1992) supplied me with the material and the structural idea. The work begins with the realistic sound of Angelus sounding at the Notre-Dame of Montréal church. This bell, for better or for worse, integrates with the ambient noise of an important artery of the city, and will little by little disappear into the sonic atmosphere and transform itself into a musical “halleluia.”

16. Darren Copeland: Zero and One: Stations and Directions (1992) 3m13s cec_92cd-2.16 | 13003 |

Sources found here and there in someone else’s catalogue. / Sources modified. / And made anew. Joseph Cornell: New Yorker, surrealist, avid collector of nostalgic oddities, and maker of strange, illuminous and spacious worlds that actually take up as much room as a cupboard or jewellery box. His approach to collage serves as an inspirational guidepost for my work these last couple of years. I am not exactly sure how this is so, but my experience suggests to me that it might have something to do with a special intuitive pull to the materials that are brought into play. Perhaps along the lines of always remembering to leave space for dreaming one’s way through the task at hand.

17. Gustav Ciamaga: It’s about time 1m45s cec_92cd-2.17 | 13004 |

It’s about time was composed a few years ago and reworked in 1992 as an aural example for a public lecture on algorithmic composition. The shape of the piece is a simple rondo form (ABACA) where B is the theme and all other sections are algorithmic variations.

18. Ned Bouhalassa: Attraction (1992-93) 3m04s cec_92cd-2.18 | 14419 |

Premiere: 1993, Université Concordia (Montréal, Québec)

To my love Brenda

Produced through the use of digital editing, this is the first part of a work that has yet to be completed. Do not look for any music or plot (unless it’s of your own invention). My goal in this piece is to shape precise and complete forms, resembling those found in the work of certain visual artists.

Attraction was realized in the studios of Concordia University and various personal studios. This piece could not have come to be without the voice of Edgard-Émile Hudon, and the help of Gregory Fine, Pierre De Gagné, Frédéric Roverselli and Claude Schryer. Attraction was premiered in the Fall of 1993 at Concordia University and was awarded 3rd Prize — solo tape category — of the 15th Luigi Russolo International Competition (Varèse, Italy, 1993)

19. Egils Bebris: Immersion 2m55s cec_92cd-2.19 | 13006 |

Immersion is an excerpt from A Mercurial Sea of Voices Fluttering, a work which metaphorically suggests the idea that one has fallen in the river and is being swept downstream into the ocean. All the sound materials are derived from the human voice by means of digital sampling and signal processing.

20. Sergio Barroso: Tablao (1990) 2m36s cec_92cd-2.20 | 14302 |

Commission: Flores Chaviano, with support from the CCA

Premiere: February 1992, (Madrid, Spain)

Tablao was composed in the fall of 1991 at the Laboratorio de Informatica y Electronica (LIEM) from the Centro de Arte Reina Sofia in Madrid, Spain and at my studio in Vancouver. Flamenco music had been around my ears since my childhood, on the radio, recordings, TV, the readings and plays of Garcia Lorca and the stories of old relatives in Cuba, and later on during my visits to Andalusia. The place where Flamenco music is performed is usually called Tablao. Originally written for guitar and electronics, the piece contains the essence of different instrumental elements of Flamenco music in a dissected way. The piece was commissioned by Spanish guitarist Flores Chaviano with the assistance of a grant from The Canada Council. The present is an excerpt without the guitar part.

Tablao was realized in the Fall of 1991 at the Laboratorio de Informática y Electrónica Musical (LIEM) from the Centro de Arte Reina Sofía in Madrid (Spain) where I was invited to work with my old friend guitarist Flores Chaviano. The piece was completed at Ireme Studio in Vancouver (British Columbia, Canada). It was commissioned by Flores Chaviano with the financial assistance of the Canada Council [for the Arts] and was premiered by him in Madrid in February, 1992. The Canadian premiere was presented by Montréal-based Colombian guitarist Arturo Parra in 1994 in Montréal.

21. Wende Bartley, Claude Schryer, Philip Szporer: Perspectives Radio (1991) 5m16s cec_92cd-2.21 | 13009 |

Excerpts from Six Radio Reports on the 3rd CEC Electroacoustic Days 1991, perspectives, at Concordia University, Montréal were realized with the assistance of the Media Arts Service of the Canada Council, the Department of Music of Concordia University in (Montréal), the Music Gallery (Toronto) and The Banff Centre for the Arts. Kevin Austin was Artistic Director of perspectives. The six part radio series (2 in French, 4 in English) is available on cassette from the Canadian Electroacoustic Community (CEC).

[va]: DISContact!: track detail

>>
<< >>

news  |  shop  |  artists  |  works  |  radio  |  links  |  about  |  etc.  |  how to order  |  français

Page cat@cec_92cd.pistes generated in Montréal by litk 0.550 on Wednesday, May 14, 2008
Development & maintenance: DIM.

Suggestions box

Got an idea? A comment? Found an error or a bug on this page? Let us know!

Email:

Ideas, comments, errors, bugs:

Mailing list

Type in your email address to subscribe to our mailing list and stay up to date!