FORUM 2008

Saturday, May 24

8:15am — 9:00am	Reg­is­tra­tion	3rd floor lobby
9:00am — 9:15am	Musi­cal Inter­ven­tion #1: Joust Scott Thom­son (trom­bone) & John Oswald (alto sax)	3rd floor lobby
9:15am — 9:30am	Open­ing remarks — Tim Brady, pres. CNMN	330
9:30am — 10:00am	CNMN Keynote Address — Gra­ham McKen­zie, Hud­der­s­field Fes­ti­val (UK)	330
10:00am — 10:15am	Cof­fee break	3rd floor lobby
10:15am — 11:45am	Pan­el #1: Explor­ing Diversity Ellen Water­man, Moderator DB Boyko — West­ern Front (Van­cou­ver) John Gzows­ki — Com­pos­er (Toron­to) Clemens Merkel — Quatuor Bozzi­ni (Mon­tre­al) Alex Pauk — Esprit Orches­tra (Toron­to) Gra­ham McKen­zie — Hud­der­s­field Fes­ti­val (UK)	330
11:45pm — 12:00pm	Musi­cal Inter­ven­tion #2: Chris­tine Dun­can (voice) & Nilan Per­era (gui­tars, prepa­ra­tions, electronics)	3rd floor lobby
12:00pm — 1:00pm	Lunch — includ­ed in reg­is­tra­tion fee	3rd floor lobby
1:00pm — 2:45pm	Pan­el #2: Tour­ing New Music — Cana­di­an and Inter­na­tion­al Realities *Joint ses­sion with Cool Drum­mings conference* Tim Brady, Moderator Jarko Aikens — Muziekge­bouw (Ams­ter­dam) Véronique Lacroix — Ensem­ble Con­tem­po­rain de Montréal Ana Lara, Musi­ca Y Esce­na (Mex­i­co) Peter Hatch — Open Ears Fes­ti­val (Kitch­en­er) Alan Pier­son, Alarm Will Sound (USA) Eve Egoy­an, Pianist (Toron­to) Frank Druschel, Würt­tem­berg Cham­ber Orchestra	330
3:00pm — 5:00pm	Con­cert — Toca Loca & McGill Per­cus­sion Ensem­ble (15$ for Forum registrants)	Wal­ter Hall
8:00pm — 10:00pm	World Beats Con­cert (not includ­ed in Forum registration)	MacMil­lan Theatre

Sunday, May 25

9:00am — 10:30am	Pan­el #3: Dissemination Lawrence Cher­ney, Moderator Dar­ren Copeland — NAISA (Toron­to) David Lang — Bang On A Can (New York) David Pay — Music On Main (Van­cou­ver) Jean Piché — Video­mu­sic (Mon­tre­al) Andy Shep­pard — CBC (Pro­duc­er of the Signal)	330
10:30am — 10:45am	Cof­fee break	3rd floor lobby
10:45am — 11:45am	Work­shop #1: Sell­ing to a Fes­ti­val Presenter David Lang — Bang On A Can Fes­ti­val (New York) Vin­cent Ho — WSO New Music Fes­ti­val (Win­nipeg) Gra­ham McKen­zie — Hud­der­s­field Fes­ti­val (UK) Ellen Water­man — Guelph Jazz Festival	330
11:45am — 12:00pm	Musi­cal Inter­ven­tion #3: James Bailey	3rd floor lobby
12:00pm — 1:30pm	Lunch — includ­ed in reg­is­tra­tion fee	3rd floor lobby
1:30pm — 1:45pm	Musi­cal Inter­ven­tion #4: Odradek Ensemble James Bai­ley (radio broad­cast­ing, found and home­made instru­ments), Michelan­ge­lo Iaf­fal­dano (found and home­made instru­ments) & Andy Yue (synth, found and home­made instruments)	3rd floor lobby
1:45pm — 2:45pm	Work­shop #2: Sell­ing to a Sea­son Presenter Jarko Aikens — Muziekge­bouw (Ams­ter­dam) Michel Frigon — Inno­va­tions En Con­cert (Mon­tre­al)	330
2:45pm — 4:30pm	Ple­nary Session	330
	Forum 2008 Sum­ma­ry, Forum 2009 + oth­er CNMN topics

*Sub­ject to change with­out pri­or notification*

Graham McKenzie, keynote speaker

Artis­tic direc­tor of the Hud­der­s­field Con­tem­po­rary Music Fes­ti­val, UK

Born 1958 Glas­gow, Scot­land. Artis­tic Direc­tor & Chief Exec­u­tive for the Hud­der­s­field Con­tem­po­rary Music Fes­ti­val since Jan­u­ary 2006. Direc­tor of the Cen­tre for Con­tem­po­rary Arts, Glas­gow (CCA) from 1997 — 2006, where he raised £10.2 mil­lion pounds (£7.5 mil­lion from Scot­tish Arts Coun­cil Lot­tery Fund remains the high­est arts lot­tery award in Scot­land to date). Project Man­aged and over­saw the major cap­i­tal re-devel­op­ment of the CCA, re-open­ing the Cen­tre in 2001. Prin­ci­pal Arts Offi­cer for the South East Area Glas­gow City Coun­cil 1990 — 1997. For­mer Social Work­er and Wel­fare Rights Officer.

Gra­ham McKen­zie is a cura­tor and writer in the field of exper­i­men­tal music, and in par­tic­u­lar free impro­vi­sa­tion. Pro­gramme Advi­sor to the Glas­gow Inter­na­tion­al Jazz Fes­ti­val. Co-Founder and Direc­tor of the Inter­na­tion­al Cen­tre for Impro­vi­sa­tion­al Stud­ies (ICIS) and ISIS MUSIC, a Glas­gow-based record label for exper­i­men­tal music. Founder and Co-Cura­tor of Free RadiCCAl’s with saxophonist/improviser Evan Park­er. Founder of Sub­cur­rent Festival.

Found­ing mem­ber and Non Exec­u­tive Direc­tor of the Cul­tur­al Enter­prise Office (CEO) Glas­gow — part of the Busi­ness Gate­way net­work offer­ing one-to-one busi­ness advice and train­ing to artists. This pro­gramme has recent­ly gone nation­al across Scot­land with four offices across the major cities.

Gra­ham McKen­zie has writ­ten for stage, radio and television.

• Hud­der­s­field Con­tem­po­rary Music Festival

Jarko Aikens

Artis­tic Coor­di­na­tor of the Muziekge­bouw aan ’t IJ

Jarko Aikens (1949) was edu­cat­ed as a graph­ic design­er and pho­tog­ra­ph­er, and has worked in the clas­si­cal music indus­try since 1976 — in the ear­ly years in the field of mar­ket­ing for two major sym­pho­ny orches­tras, and lat­er as an orches­tra man­ag­er. In 2000 he became head of pro­duc­tion of Muziek­cen­trum de IJs­brek­er, Holland’s lead­ing plat­form for con­tem­po­rary music locat­ed on the bor­ders of the riv­er Ams­tel in Ams­ter­dam. In 2005 the IJs­brek­er orga­ni­za­tion moved into its splen­did new, and now inter­na­tion­al­ly wide­ly praised home, the Muziekge­bouw aan ‘t IJ, where he became artis­tic coor­di­na­tor. Since June 2008 the posi­tion of gen­er­al man­ag­er of the Muziekge­bouw has been giv­en to Tino Hae­nen, who suc­ceed­ed ini­tia­tor Jan Wolff.

• Muziekge­bouw aan’t IJ

David Lang

Com­pos­er and co-founder/­co-direc­tor of the Bang on a Can Fes­ti­val, New York

David Lang is the recip­i­ent of the 2008 Pulitzer Prize in Music for the lit­tle match girl pas­sion, com­mis­sioned by Carnegie Hall for the vocal ensem­ble The­ater of Voic­es, direct­ed by Paul Hilli­er. One of America’s most per­formed and hon­ored com­posers, his recent works include writ­ing on water for the Lon­don Sin­foni­et­ta, with libret­to and visu­als by Eng­lish film­mak­er Peter Green­away; the dif­fi­cul­ty of cross­ing a field — a ful­ly staged opera for the Kro­nos Quar­tet, staged by Carey Perloff and the Amer­i­can Con­ser­va­to­ry The­ater; loud love songs, a con­cer­to for the per­cus­sion­ist Eve­lyn Glen­nie, and the ora­to­rio Shel­ter, with co-com­posers Michael Gor­don and Julia Wolfe, at the Next Wave Fes­ti­val of the Brook­lyn Acad­e­my of Music, staged by Ridge The­ater and fea­tur­ing the Nor­we­gian vocal ensem­ble Trio Medi­ae­val. His most recent CD is Ele­vat­ed (on Can­taloupe), three atmos­pher­ic and med­i­ta­tive pieces plus a DVD of the same three pieces inter­pret­ed by not­ed visu­al artists William Weg­man, Bill Mor­ri­son and Matt Mul­li­can. Lang is co-founder and co-artis­tic direc­tor of New York’s leg­endary music fes­ti­val, Bang on a Can.

• His page on Wikipedia
• Bang on a Can
• Bang on a Can on MySpace

Expand­ing the Bound­aries: Pro­gram­ming New Music in an Age of Diversity

May 24–25, Edward John­son Build­ing, 80 Queens Park, Toronto

Workshops

How do pre­sen­ters build their pro­gram­ming? How can artists begin a dia­logue with them — what do pre­sen­ters respond to?

Both one-hour work­shops deal with this same issue, but catered to their unique sit­u­a­tions (Work­shop #1 — fes­ti­val pre­sen­ters, Work­shop #2 — sea­son presenters).

Workshop #1 — Selling to a Festival Presenter

• David Lang — Bang On A Can Fes­ti­val (New York)
• Vin­cent Ho — Win­nipeg Sym­pho­ny Orches­tra New Music Festival
• Ellen Water­man — Guelph Jazz Festival
• Gra­ham McKen­zie — Hud­der­s­field Con­tem­po­rary Music Fes­ti­val (UK)

Workshop #2 — Selling to a Season Presenter

• Jarko Aikens — Muziekge­bouw (Ams­ter­dam) — 20 minutes
• Michel Frigon — Inno­va­tions En Con­cert (Mon­tre­al) — 10 minutes

Panels

Pan­els total about 1h45m and include ini­tial state­ments, a mod­er­at­ed dis­cus­sion between the pan­elists, fol­lowed by an oppor­tu­ni­ty for the audi­ence to dis­cuss and/or ask ques­tions. Ques­tions pro­vid­ed under each pan­el descrip­tion (“to stim­u­late pan­elists”) are not nec­es­sar­i­ly what the pan­elists will cover.

Panel #1 — Exploring Diversity

What is this thing called “New Music”? What is the scope of the activ­i­ties that con­sti­tute “New Music”? What do all of these activ­i­ties have in common?

• Ellen Water­man — Moderator
  w/
• DB Boyko — West­ern Front (Van­cou­ver)
• John Gzows­ki — Com­pos­er (Toron­to)
• Clemens Merkel — Quatuor Bozzi­ni (Mon­tre­al)
• Alex Pauk — Esprit Orches­tra (Toron­to)
• Gra­ham McKen­zie — Hud­der­s­field Con­tem­po­rary Music Fes­ti­val (UK)

To stim­u­late pan­elists: Does it real­ly mat­ter if we define new music? Is a def­i­n­i­tion impor­tant to you, to the audi­ence, or to the media? Is your def­i­n­i­tion of new music aes­thet­i­cal­ly, tech­ni­cal­ly, cul­tur­al­ly or process oriented?

Panel #2 — Touring New Music: Canadian versus International Realities

*Joint Ses­sion with Cool Drum­mings conference*

The dif­fer­ences and sim­i­lar­i­ties between Cana­di­an and inter­na­tion­al new music events.

• Tim Brady — Moderator
  w/
• Jarko Aikens — Muziekge­bouw (Ams­ter­dam)
• Veronique Lacroix — Ensem­ble Con­tem­po­rain de Montréal
• Ana Lara, Musi­ca Y Esce­na (Mex­i­co)
• Peter Hatch — Open Ears Fes­ti­val (Kitch­en­er)
• Alan Pier­son, Alarm Will Sound (USA)
• Eve Egoy­an, Pianist (Toron­to), Frank Druschel, Würt­tem­berg Cham­ber Orchestra

To stim­u­late pan­elists: How do Cana­di­an events relate to one anoth­er? How do inter­na­tion­al events relate to Cana­di­an ones (and vice ver­sa)? Is there a dif­fer­ence in approach, vision, for­mat, etc.? How does con­tent dif­fer? How does process dif­fer? Are the goals in terms of pub­lic inter­ac­tion dif­fer­ent? Is there a dif­fer­ence in how Cana­di­an ver­sus Inter­na­tion­al pre­sen­ters decide what they program?

Panel #3 — Dissemination

Get­ting New Music heard and seen… live music, record­ed music, the dig­i­tal envi­ron­ment. Find­ing the right dis­sem­i­na­tion for your genre of work.

• Lawrence Cher­ney — Moderator
  w/
• David Lang — Bang On A Can Fes­ti­val (New York)
• Dar­ren Copeland — NAISA (Toron­to)
• David Pay — Music On Main (Van­cou­ver)
• Jean Piché — Video­mu­sic (Mon­tre­al)
• Andy Shep­pard — CBC — (Pro­duc­er of the Signal)

To stim­u­late pan­elists: What medi­um is your pri­or­i­ty and why? Com­pare and con­trast the dif­fer­ent meth­ods of dis­sem­i­na­tion you make use of. In what way does each method ben­e­fit or deter you? What reasons/goals best suit each method of dis­sem­i­na­tion? Does each method have the same kind of val­ue to dif­fer­ent kinds of new music artists?

*Sub­ject to change with­out pri­or notification*