Kevin Austin has been active in electroacoustics
for about 35 years, having worked in live electronic improvisation,
in the studio, created compositions for performers and ea with
sculptors, film and video, theater and installation artists, along
with a number of sound-text compositions. Since founding the Concordia
University Studio in 1971, through teaching and production activities,
he has been involved in the development of almost two generations
of sound artists.
Co-founder of the Canadian Electroacoustic Community
(CEC), he has written many articles and notes on electroacoustics
over the past 30 years, and has remained active in the promotion
and presentation of sound art. The Concordia University ea series
of concerts, EuCuE is now entering its 24th season, and has presented
more than 400 concerts of more than 2500 pieces in this time.
Multi-speaker concert presentation, starting
in the late-70s was a natural outgrowth of his work with one of
Canada's first live-electronics ensembles, MetaMusic, which performed
more than 150 concerts, many of them using an 8 speaker system,
from 1971 to about 1978. After this time, he performed with the
Austin has regularly been asked to advise on
setting up multi-speaker studios and concerts, and has prepared
multi-speaker sound projection for several hundred works over
the past 20 years. Of note is that his first studio based pieces
(from 1969) were for 4-channel tape.
Apart from his work in ea, he has taught music
history, theory and analysis, traditional and electroacoustic
composition, written a short text on the field of electroacoustic
studies, and has written a complete integrated 2-year university
level ear-training curriculum (sight-reading and dictation) that
includes five books and 45 CDs of dictation.
Sound is a passion for him, but his other particular
areas of interest include psychoacoustics, linguistics and phonetics,
languages and cultures, history and the visual arts, and a recent
growing fascination with China.
Deschênes began her career as a pianist and photographer
and went on to become a composer of instrumental and electroacoustic
music. She pioneered the multimedia show in Quebec. Her work focuses
primarily on the
search for new forms of artistic expression that integrate recent
technologies, electroacoustic music and theatre arts with media
arts. She has received numerous international awards, commissions
and grants, and her multimedia works have received extensive exposure
in North America, Europe and Asia. For 18 years, Ms. Deschênes
was also involved full-time
in the creation and development of the electroacoustic composition
program for the University of Montreal's faculty of music. She
is now retired and works on musical commissions, devoting her
time exclusively to composition and research.
Ambrose Field is a composer and sound designer
living in the United Kingdom. His music uses sound alone to generate
drama, tension and impact.
by the BBC's Hear and Now programme as "Music pushing
against its boundaries and aspiring to the visual," Field's
sound design composition has been the recipient of a number of
international prizes and awards.
Working in Dolby®Digital Surround EX, 5.1
and 7.1 cinema formats, and benefiting from recent research into
Ambisonics, his work "Expanse Hotel" won the Bourges
International competition's prize for programme music in 2000.
His work has been commissioned and supported by various commercial
and art-funding bodies, including UNESCO, the GMEB France, The
National Centre for Popular Music,U.K., The British Academy, Sonic
Arts Network, CDP and the iCMA. He lectures in composition at
University of York Music Department,UK.
Field has also created interactive sound installations,
receiving critical acclaim from the National Press.
The Ghettoblaster Ensemble is exceptional on
the stage of sound-arts: each of the 8 participating musicians
has his own ghettoblaster and receives
his particular part of each composition on a unique CD-R made
by the composer in this version of the acousmatic loudspeaker
orchestra the loud speakers are mobile and the mixer has been
replaced by conductor and live musicians!
Due to the mobility and flexibility of the ensemble
concerts can take place anywhere: in concert halls, music clubs,
streets, squares and parks.
The ensemble is well under way planning a Nordic
concert tour and concerts in Toronto and London. The repertoire
consists of electro-acoustic sonic works by composers from Denmark,
Asia and Scandinavia, presented by conductor Ture Larsen and the
8 members of the ensemble - among the most active composers and
musicians of the Danish music scene: Tobias Kirstein, Sune T.
B. Nielsen, Steffen Leve Poulsen, Søren Raagaard, Jakob
Riis, Pelle Skovmand, Peter Sørensen and Jørgen
There is much interest in the ensemble in DK
as well as
internationally. Till now the ensemble has presented more than
20 varied works composed by major Danish, Japanese and Indian
- MUKUL - innovating sound-art artists at Copenhagen Cultural
Night 2002, Copenhagen Jazzfestival 2003, Aarhus Festweek 2003
and at the National Danish Radio's Studio 2, October 2, 2003 (org.
Evanthore Vestergaard); and there are several plans ahead.
Read more about the members and projects of
The Ghettoblaster Ensemble and hear their work at http://www.ssshhhhh.dk.
Most of my work has been an attempt to integrate
visual and sonic material. Over the last thirty years I have worked
with choreographers, theatre designers, and visual artists to
make multi-media performance works.
In my recent work, I have been doing the visual part myself, making
sound sculpture and video.
My sound sculpture is an investigation of the
relationship between how objects look and how they sound. First
I design and build highly resonant structures then I compose electroacoustic
music to be played through the structures. My video work is of
two kinds - installation and performance.
The installation pieces are multi-monitor works
which are like slowly evolving paintings with electronic sound.
The performance videos usually have one or more live musicians
interacting with the video, either projected when in large spaces
or on a monitor when in small spaces.
I have been teaching electroacoustics at the
Ontario College of Art and Design for 18 years and live in London
Ontario with my wife Susan Davies (a psychologist who acts as
my personal brain care specialist) and children Anna and Simon
(who often perform my music for me and also act as roadies).
Elainie Lillios is an American composer whose
music focuses on the essence of sound and suspension of time.
Her music tries to convey different emotions and take listeners
on "sonic journeys". The sounds she uses for her
music are varied, sometimes they are simple things like the human
voice, cars, wind chimes, or water. Other times her sound material
is less obvious, like crunching bits of tree branches, walking
through winter snow, or shuffling pebbles in a bit of water.
She has been strongly influenced by French and
British electroacoustic composers, and believes that all sound
can be considered musical. Influential mentors in electroacoustic
composition include Larry Austin, Jon Christopher Nelson, and
Jonty Harrison, under whose tutelage she also learned the art
of sound diffusion.
Elainie teaches music technology and composition
at Bowling Green State University in Ohio. Her music has been
performed at conferences, concerts, and festivals throughout North
America, Europe, and in Asia. Her recent awards include the 2003
International Computer Association commission and the 2002 La
Muse en Circuit radiophonic competition. Elainie's music is available
on the Empreintes DIGITALes, StudioPANaroma, and SEAMUS labels.
Oswald is the most famous person who is not very well known."
- Tom Third
"OSWALD IS THE FUTURE OF MUSIC"
- Udo Kasemets, Musicworks Magazine, 2004
Oswald has just won the Governor General's Award
in Media Arts. The jury states: "John Oswald has created
an art - and vocabulary - of his own in his exceptional and innovative
work as a sound artist, image alchemist, composer and media artist...
Oswald's art, while often playful, is a serious examination of
basic elements. His influence on an entire generation of artists
and his international
reputation attest to his free-ranging spirit of innovation and
exploration." And students of the University of Toronto Music
School voted him the third most internationally influential Canadian
musician, tied with Celine Dion.
Oswald began 2004 with the first commercial
publication of one of his chronophotics: the Arc of Apparitions
is produced on DVD by Avatar/Ohm editions. In February the New
Millennium Players performed a retrospective of sixteen of his
works (from solo cello to orchestral) of Rascali Klepitoire at
the RedCAt at Walt Disney Hall in Los Angeles. And Oswald's own
label Fony will be re-releasing his albums from the nineties,
starting with Grayfolded (May) and Plexure (August) and Discosphere
(November). His new feature-length cinematic chronophotic instandstillness
will be premiered at the Images Festival of Film and Video in
April. In 2003 Oswald premiered his new solo dance opera Spinvolver,
with Susanna Hood, in Berlin in February, followed by performances
in several European capitols.
In the fall, Aparanthesi, a one note electroacousmatic
composition, entailing some research in the perception of sonic
morphs, was released on CD by empreintes digitales. Last spring
his first Chronophotics to be exhibited in North America, entitled
Jacko Lantern, was on display in the window of Pages Books as
part of both the Images Moving Pictures and the Contact Festival
of Photography, while Stills, his first solo show of images, was
held over at Toronto Harbourfront's Premiere Dance Theatre for
eight months, and he was the cover boy for the British music mag
In recent years he composed a "Concerto
for Wired Conductor and Orchestra", which premiered at Boston
Symphony Hall. He designed the soundtrack and system for Stress,
an eight-screen movie by Bruce Mau, showing at the Museum of Technology
in Vienna. A new piece entitled "Oswald's First Piano Concerto
by Tchaikovsky, (as suggested by Michael Snow)" was premiered
in Vancouver by Paul Plimley and the CBC orchestra. He composed
a score for the National Ballet of Canada for orchestra, robot
piano and the disembodied singing voice of Glenn Gould. For the
past four years he has been creating a database of photo portraits
for a series of "Moving Stills" or chronophotics. One
of his plunderphonie video/photo collages was shown at the Royal
Festival Hall Hayward Gallery in London and was immediately sold
as a gift to the Museum of Modern Art in New York. Of recent works,
he wrote, directed and produced a radio play in four interwoven
languages (Brazilian, Dutch, English & German); wrote, animated,
directed & scored “Homonymy” (for chamber ensemble
& cinema); scored the stage version of the silent movie classic
"Metropolis"; produced the soundtrack album to the gay
porn feature "Hustler White"; as well as appearing as
himself in John Greyson's feature film "Un©ut"
and Craig Baldwin's "Sonic Outlaws", and he was the
subject of one of Moses Znaimer's television documentaries "The
Other recent activities include: a sonic motorcade
in Brasilia; and a dance composition for 22 choreographers (including
Bill T.Jones, Margie Gillis, & Holly Small); plus commissions
from the Lyon Opera Ballet, Dutch National Radio, Change of Heart,
SMCQ, Pizzicato 5, and Radio Canada. Other works are in the active
repertoire of the Kronos Quartet (they’ve played his Spectre
over 300 times worldwide, & another commission, Mach almost
as often), the Culberg Ballet Sweden, the Monaco Ballet, The Deutsche
Opera Ballet Berlin, The Modern Quartet, the Penderecki Quartet,
and others. His recorded works have been used in productions for
radio, stage, concert, television, film, Hollywood movies, computer
media and video. Oswald is also the founder and co-facilitator
of Art Wrestling, a Toronto-based contact improvisation movement
jamboree which has occurred weekly uninterrupted for 28 years.In
1990, Oswald's most notorious recording, plunderphonic, was destroyed
by prudes in the Recording Industry representing Michael Jackson.
He has since released recordings on Elektra, Avant, ReR Megacorp,
Blast First, & Swell, featuring transformations of the music
and performances of Stravinsky, Metallica, James Brown, Gyorgy
Ligeti, Dolly Parton & many others. A box-set CD & book
retrospective of his plunderphonics work has just been appropriated
from Oswald's ƒony label by Seeland. The first disc of his
Grateful Dead production GrayFolded was selected as the #1 international
recording of the decade by the Toronto Sun. In the same year his
album of improvised music, Acoustics was a #1 critic's selection
in Coda magazine. The GrayFolded package, completed the following
year was selected for best of the year lists in Rolling Stone,
The New York Times and many other publications. A recent retrospective
CD box-set of Plunderphonic works has been called "mind-numbingly
amazing" by Peter Kenneth, Rolling Stone Magazine, and made
Spin Magazine's 2001 top 10.
2004 will see the founding of an ad agency called
Veracity. Oswald is Director of Research at MysteryLaboratory
in Canada. Eye Weekly's '94 year end report anointed him a "God-like
being" (in 2003 they have upgraded this to "a god proper").
The Montreal Mirror says "John Oswald is probably Canada's
most important composer-musician," and the London (England)
Observer has called him "the maddest man on the planet."
"For the moment, John Oswald is
a solo movement, the most exciting school of one in music."
- Milo Miles, Village Voice.
Janice Pomer has been performing and teaching
in the fields of dance, theatre and music since 1976. She has
led choreography, modern dance and professional development workshops
for the National Ballet of Canada's Education Dept, Young People's
Theatre, the Canadian Children's Dance Theatre, the University
of Regina, University of Waterloo, York University and the Royal
Academy of Dance. She co-founded and directed the Toronto Festival
of Fools (1979 -81) and Jabberwock Full Theatre Co (1979 - 83).
Throughout the 1980s and 1990s Pomer choreographed
and performed eight full length multidisciplinary touring productions
with composer, percussionist, sculptor Barry Prophet. Since 1996
Janice and Barry have been composing and performing music that
combines traditional and artist made instruments. In 2001 Pomer's
book 'Perpetual Motion: Creative Movement Exercises for Dance
and Dramatic Arts' was released internationally by Human Kinetics
Barry Prophet is a composer, percussionist,
and sculptor whose music has appeared in galleries and theatres
in Canada, United States and Europe. Creating unique sounds since
1979, he has exhibited and performed on his percussion sculptures
'Glass Box', 'Revolving Tone Door' and 'TransparentTone Arch'
at the Art Gallery of Windsor (1986), Bloomsburg Theatre (1989)
Bloomsburg, USA, the Art Gallery of Algoma (1989, 1991, 1992)
Sault Ste. Marie, Thunder Bay Art Gallery ((1989, 1990, 1991),
White Water Gallery (1989) North Bay, McMichael Canadian Art Collection
(1994) Kleinberg, Pekao Gallery, (1997) Toronto and the Canadian
Sculpture Centre (2002) Toronto. Barry's micro tonally tuned glass
lithophones have been featured in performance venues throughout
the country and his 1997 recording 'Crystal Bones' (CD) has been
choreographed to by international dance artists. Barry has led
traditional and experimental percussion programs for students
and educators across Canada since 1983 and is currently the Education
Director for Music Gallery Institute.
Stefan A. Rose is a Waterloo-based photographer,
poet, and video artist who studied both Engineering and Fine Arts
at Mount Allison University. He works in various photographic
formats and styles, in artistic and documentary forms. Stefan
has collaborated with other visual artists in making limited-edition
books, and taken part in numerous group and solo exhibitions.
He is also documentary
photographer for NUMUS concerts, Open Ears Festival of Music and
Sound, and New Adventures in Sound Art. In 2002 Stefan received
the Equinox Emerging Artists Video Award from Ed Video Media Arts
Centre which enabled the creation of an original video piece premiered
with the performance of Annie Gosfield's composition "Flying
Sparks and Heavy Machinery" by the Penderecki String Quartet
during the 2003 Open Ears Festival. Stefan's latest collaboration
with the PSQ, a video to accompany their performance of Steve
Reich's "Different Trains", has been shown in Paris,
Kauno (Lithuania), and Los Angeles. Stefan is working on a multi-disciplinary
collaborative artistic documentary project called "Townsend
Retraced" that examines the long-term impact of failed city
planning upon a farming community, to be exhibited in September
and October, 2004, in Simcoe, Ontario.
Sinclair is a new media artist, professor, parent, and cyclist
residing in Toronto. His creative work revolves around exploring
interactive interfaces. Drawing from his diverse background in
music, mathematics, computer science, and interdisciplinary studies,
Don works in a variety of contexts including gallery installations,
interactive dance, and the web. Don teaches New Media Art in the
Fine Arts Cultural Studies Program at York University.
In 2003 Don created "Nanovideo, 10 Second
OTES," a series of nine very short videos exploring different
locations from OTES. Oh, those everyday spaces (OTES),
is a collection of 25,000 images gathered while cycling. (website).
Don also created the Interactive Art Web Site "Variations
/ Variantes," a database art interface to OTES. (website)
in 2003 Don collaborated with sound artist Andra McCartney to
create the Installation "Journées Sonores, Canal de
Lachine," an interactive installation at La Musée
de Lachine from September to December 2003. He has also collaborated
with Jan Curtis and Alison Mackay in digital image creation to
create "Northern Light: Visions and Dreams" as well
as with dance choreographer Holly Small to create an Interactive
Dance Performance as part of the Dance Innovations festival at
Joe Green Studio Theatre York University.
Nadene Thériault-Copeland is Managing
Director of New Adventures in Sound Art (NAISA), Business Manager
of Musicworks Magazine and Financial Coordinator for Charles Street
Video. Nadene is also on the board of directors of the Canadian
Association for Sound Ecology. She promotes the dissemination
of new and experimental sound art through her work with New Adventures
in Sound Art, and recently edited three educational booklets published
by NAISA: Radio Art Companion (2002), Sign Waves Companion (2002)
and Sound in Space (2003). Nadene received her B.F.A. in Music
from York University in 1991 where she studied composition with
Hans Tutschku began to study music at an early
age. In 1982 he joined the Ensemble für Intuitive Musik Weimar,
playing synthesizer and live electronics. He studied electroacoustic
composition in Dresden, and accompanied
Karlheinz Stockhausen on several concert tours during 1989-91
for the purpose of studying sound diffusion. In 1991-92 he took
part in the international yearlong course in sonology at the Royal
Conservatory in The Hague, working primarily in the field of digital
sound processing. With the Ensemble für Intuitive Musik Weimar
he has realized several multimedia productions, conceiving projected
images and choreography for dance as well as the music. Together
they have given numerous concerts in Europe, Latin America and
Hans Tutschku has composed instrumental works,
works for tape, works for musicians and electronics, and music
for theatre, film and ballet (including several collaborations
with the German choreographer Joachim Schlömer). In 1989,
together with Michael von Hintzenstern, he set up the Klang Projekte
Weimar, a foundation for contemporary music, which includes an
annual festival as well as a concert series.
Copeland - Artistic Director
Copeland is a soundscape composer, radio artist, sound designer
and concert producer. He has studied electroacoustic composition
under Barry Truax
(Simon Fraser University) and Dr. Jonty Harrison (University of
Birmingham). His concert works have received mentions in competitions
(Vancouver New Music, Luigi
Russolo, Hungarian Radio, La Muse en Circuit, and Phonurgia
Nova) and appeared on compilation CD releases (Storm
of Drones, Radius #3, DISContact
I & II, Lieu - Non Lieu, and Soundscape
Vancouver). Rendu Visible, a CD devoted to his work,
is available on the empreintes
Other works combine
his electroacoustic and theatrical backgrounds to break open disciplinary
boundaries between electroacoustics, radio art, and theatre. Highlights
include the adaptation of August Strindberg's A
Dream Play (first radio drama at CBC conceived for broadcast
in Surround 5.1), the soundscape documentaries Life
Unseen and The
Toronto Sound Mosaic, and a DORA nominated soundtrack for
Samuel Beckett's That Time.
In addition to
composing, he has written articles about listening and environmental
sounds for Electronic Cottage, Musicworks,
Contact! (CEC), Soundscape:
Journal of Acoustic Ecology, and The Journal for Electroacoustic
Music (Sonic Arts Network)
as well as CD, concert and book reviews for Musicworks,
The Whole Note, and Soundscape: The Journal of Acoustic Ecology.
Has a producer
and administrator, fond memories lie with Wireless Graffiti, a
live-to-air radio extravaganza in 1993 co-produced by Rumble
Theatre and Vancouver Pro Musica. After active histories with
Vancouver Pro Musica, the Standing
Wave Ensemble, and the Communauté
électroacoustique Canadienne/Canadian Electroacoustic Community
(CEC) from 1990 to 1996, he now serves on the board of the
for Sound Ecology (CASE) and is the Artistic Director for
New Adventures in Sound Art.