JTTP 2005 top 5 winners
1) James Duhamel (UdeM) - Le Radeau (2005)
BIO
Compositeur en lectroacoustique, James Duhamel porte sa rflexion sur
lĠinteraction entre le son et lĠimage, ce qui lĠinspire pour la conception de
ses projets. James a sign la musique de plus dĠune cinquantaine de courts
mtrages, documentaires et films exprimentaux. Des Bourses de lĠOffice
Franco-Qubcois pour la Jeunesse en 2005 et 2004, du Youth Internationnal
Development Project en 2003, ainsi
quĠune bourse dĠaide aux reprsentations lĠtranger en musique du Conseil des
Arts du Canada en 2002 lui permettent de faire la promotion de ses projets dans
plusieurs festivals europens, dont le festival Rsonance en 2004, le Sonar,
ainsi quĠune tourne de festivals de films en 2003.
CĠest au sein de lĠensemble Wetfish (1996-2002) que
James a labor ses premires oeuvres, revisitant en musique les grands
classiques du cinma muet, et assurant les fonctions de compositeur, directeur
artistique et chef dĠorchestre. Tantt lyrique, chaotique ou nigmatique, sa
musique est un mlange droutant
dĠambiance sonore, dĠimprovisation collective et de traitement en temps rel.
James Duhamel poursuit prsentement des tudes au
Baccalaurat en composition lectroacoustique lĠUniversit de Montral.
Diplm en technique de sonorisation, il est propritaire du studio Sushi.
NOTE DE PROGRAMME FRANAIS
Essai sur une tragdie humaine.
Un naufrage. Cent quarante-sept mes perdues sur un
radeau long dĠune quinzaine de mtres et large de la moiti. Seuls, gars dans
les fantasmes de la folie, au centre de la mer qui tait tout.
Une pice en cinq sections inspire par la lecture du
roman Ç Ocan Mer È dĠAlessandro Baricco ainsi que par le tableau
Ç Le radeau de la mduse È de Gricault, relatant tout deux le naufrage
de la Mduse, le 2 juillet 1816 au nord ouest du Sngal.
Avec la participation de Pascal Rolin dans le rle de
Savigny, de Sbastien Croteau aux cris, lamentations et chants
Ç death È et de Kais Demers la clarinette basse.
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BIO
Electroacoustic composer James DuhamelĠs reflections on the
interactive potential of sound and image have helped define the conceptual
aspects of many of his projects. He has composed the music for more than fifty
short films, documentaries and experimental films. Stipendiums from the Office
Franco-Qubcois pour la Jeunesse (2004 and 2005) and the Youth International
Development Project (2003) as well as a grant for the represetation of music
abroad from the Canada Council for the Arts (2002) have assisted him in presenting
his work at numerous European festivals, including Resonance in 2004, Sonar,
and a film festival tour in 2003.
In the ensemble Wetfish (1996-2002) James developed
his first works, acting as composer, artistic director and conductor as the
ensemble revisited the classics of silent film. Vascillating between lyricism,
chaos and enigma, his music is a dramatic convergence of ambient sound,
collective improv and real-time processing.
James Duhamel is presently completing his bachelorĠs
studies in electroacoustic composition at the Universit de Montral. A
graduate in Sound Engineering, he is the founder and owner of Studio Sushi.
PROGRAMME NOTE
An Essay on a Human Tragedy.
A shipwreck. One hundred forty-seven souls lost on a
raft fifteen metres long and half as wide. Alone, astray in fantasies of
madness, in the middle of the ocean, of nothingness.
Le radeau (The Raft) is a work in five parts is
inspired by a reading of Alessandro BariccoĠs tableau Ocan Mer as well
as Le radeau de la Mduse, by Gricault, which relates the tragic
shipwreck of the Mduse on July 2nd, 1816, off the northwest coast of Senegal.
With the participation of Pascal Rolin in the role of
Savigny, of Sbastien Croteau on cries, lamentations and death wails, and Kais
Demers on bass clarinet.
(trans. jef chippewa)
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2) Martin Bdard (UdeM) - Topographie de la noirceur
(2005)
BIO E: Born in Qubec in 1970... After studying
instrumental composition, I turned to electroacoustics... I am currently
studying at the Conservatoire de Musique de Montral with Yves Daoust... My
compositions are also in the instrumental and mixed domains, as well as the
electroacoustic... The sonic universe of "pop" from my adolescence
follows me everywhere...
Inspir du personnage principal du roman ÒNote d'un
veilleur de nuitÓ de Alexandre Zinoviev, je me suis imagin le veilleur de nuit
dans une ronde irrelle en plein coeur de lĠobscurit o guid par une lumire
sombre et lĠcho de son pas, tout se vit de lĠintrieur en chacun de ces lieux
dfigurs.
PROGRAMME NOTE ENGLISH #1: The hair in your mouth
tickles the divine underbelly of my pulsating hypothalmus, flooding my
terrestrial erector set with expressive washes of saponifying liquors.
PROGRAMME NOTE ENGLISH #1: A suburban distance lying
across your chest, a purpled frock befitting the asphyxiated, cans of lima
beans upon your knees, you are truly a goddess of disturbed tranquility!
(trans. with artistic license automatically generated
by The Surrealist Compliment Generator
<http://www.madsci.org/cgi-bin/cgiwrap/~lynn/jardin/SCG>)
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3) Delphine Measroch (UdeM) - Machin Machine (2005)
BIO FRANAIS: tudiante la matrise en
composition lectroacoustique l'Universit de Montral, Delphine Measroch est particulirement
intresse aux musiques d'application et aux arts mdiatiques. En plus d'tre
active en tant qu'instrumentiste-interprte pour divers vnements
multidisciplinaires (Tourne Qubec! New York 2001, vnement Nager-Noyer...),
elle forme depuis 2004, avec Nicolas Bernier, le duo de crations vido-musique
Millisecond Topography, lequel a dj reu quelques mentions et prix l'tranger
tels que ceux du Chicago Motion Graphics Festival et du Visionaria Festival en
Italie.
NOTE DE PROGRAMME FRANAIS: Sortant de son
engourdissement, une mcanique se met en branle et prend le large. Pice
acousmatique en deux parties avec un parti pris pour un matriel quasi
non-trait; il en rsulte parfois quelques bascules dans un paysage marin
presque figuratif. Ces cassures abruptes, sans briser la drive continue du
mcanisme en marche, nous font apprcier diffrents angles de vue d'une mme
image.
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BIO E: Masters student at the Universit de Montral,
Delphine
Measroch is
particularily interested in ????????? and Media Arts. In addition to her
participation as an instrumental performer at a range of multi-disciplinary
events (Qubec! New York 2001 tour; Nager-Noyer event...), in 2004 she and
Nicolas Bernier formed the duo Millisecond Topography, which has since received
international prizes and mentions in festivals such as the Chicago Motion
Graphics Festival, and the Visionaria Festival in Italy.
PROGRAMME NOTE ENGLISH: Emerging from the depths, a
machinery sets itself in motion and announces its presence. Machin Machine is an acousmatic work in two
parts with a predilection for materials with little or no treatment. Adrift in
a figurative marine landscape, abrupt fissures expose the image from
ever-changing perspectives, yet without disturbing the trajectory of its
course.
(trans. jef chippewa)
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4) Samuel Beaudoin (UdeM) - n'importe quoi (2005)
NOTE DE PROGRAMME FRANAIS: Cette pice est ne d'un
dsir d'exprimenter dans plusieurs directions. Exprimentations dans le temps
et dans l'espace; tableaux rels ou imaginaires forms d'objets communs ou
invents; ides de bousculement, d'essoufflement, de chaos, de rve, de
cauchemar et de rveil brutal; hommage des machines inventes et une nature
mtamorphose.
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BIO: Montreal based composer and media artist Samuel Beaudoin is currently working towards
an undergraduate degree in electroacoustic composition at Universit de
Montral with Robert Normandeau and Jean Pich.
PROGNOTE E: The piece is borne of a
desire to explore several directions. Experiments with time, space; ÒrealÓ or
ÒimaginaryÓ tableaux formed of familiar or invented objects; ideas of
agitation, of breathlessness of choas of dreams, nightmares and brutal
awakenings. An hommage to invented machines and nature metamorphisised
[**?sp.?**]. (trans. jef chippewa)
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5) Ivan Elezovic (U-Illinois) - Almost there...
(2001)
PROGRAMME NOTE: The clusters of words and
syllables that we are exposed to every day introduce many possibilities for an
entirely new way of communication, creating a basis for the new language. This piece
is an example of the above comments based on my personal experience.
BIO: Ivan Elezovic has received his
undergraduate degree at the University of Manitoba, and master degree at McGill
University. He was studying with Dr. Michael Matthews, Dr. Randolph Peters,
Zack Settel and Alcides Lanza. Presently, he is completing his doctoral degree
in composition, music theory and electro-acoustic music at the University of
Illinois studying with Dr. Guy Garnett, Dr. Erik Lund and Prof. Scott Wyatt.
Besides his teaching achievements in academia, Ivan
has achieved notable performances of his acoustic and electro-acoustic
compositions in North America and Europe. Internationally, he has taken part in
different conferences among which the most significant are the IRCAM-Institut
de Recherche et de Coordination Acoustique/Musique in Paris, France, where he
studied composition with Brian Ferneyhough and Marc-Andr Dalbavie; and the
Internationales Musikinstitut in Darmstadt, Germany, where he studied with
Isabel Mundry, Tristan Murail, Robert HP Platz and Valerio Sannicandro.
Recently, Ivan was awarded Atlantic Center for the Arts residency where he was
chosen for Associate composer in residence studying under Master Artist Larry
Austin. The residency was completed in February 2005 where he created a new
DVD/Audio piece, Mediterranean-Riots-Colors.
During his time in U.S.A. he has developed and
matured as both a composer and a teacher, and has consistently demonstrated a
seemingly endless thirst for information, experience, and opportunity. His
compositional studies have demonstrated both good craftsmanship and an interest
in pursuing innovative conceptual goals. He is not set on a single style.
Instead he has allowed his materials and subject matter to influence the style
and method of each new work.