Paul Spong and Hele­na Symonds (The Orca Lab and Orca-Live, Han­son Island BC)

Co-direc­tors for over 30 years of OrcaL­ab, which demon­strates, through a net­work of remote hydrophone sta­tions, a focus on son­ic envi­ron­ments as a non-inter­fer­ing research tool for study­ing marine life. They are also involved in numer­ous qual­i­ty-of-life issues that affect orcas and oth­er marine wildlife, includ­ing com­mer­cial whal­ing, cap­tiv­i­ty, whale watch­ing and Crit­i­cal Habitat.

Hilde­gard West­erkamp (World Forum for Acoustic Ecol­o­gy, Van­cou­ver)

Com­pos­er, per­former, writer, radio artist and sound ecol­o­gist, West­erkamp presents sound­scape work­shops and lec­tures inter­na­tion­al­ly. Her com­po­si­tions are con­cerned with aspects of the acoustic envi­ron­ment: with urban, rur­al or wilder­ness sound­scapes, with the voic­es of chil­dren, men and women, with noise or silence, music and media sounds, or with the sounds of dif­fer­ent cultures.

Kim Cas­cone (Hydro­pho­nia Fes­ti­val, San Francisco)

Sound design­er, pro­duc­er and com­pos­er of elec­tron­ic music, best known for his ambi­ent, indus­tri­al and elec­tro-acoustic com­po­si­tions. Late­ly, Cas­cone has focused on anthro­pogenic noise in ocean envi­ron­ments and has devel­oped Hydro­pho­nia, a sound art fes­ti­val that has tak­en place in Genoa, Italy, San Sebas­t­ian and Barcelona.

Joel Chad­abe (Elec­tron­ic Music Foun­da­tion, Ear to the Earth, New York)

Com­pos­er, author, pio­neer in inter­ac­tive musi­cal instru­ments, Direc­tor of the Com­put­er Music Stu­dio at Man­hat­tan School of Music, and Founder of the Elec­tron­ic Music Foun­da­tion (EMF). In 2006, Chad­abe found­ed Ear to the Earth, which pro­duces an annu­al fes­ti­val in New York City and hosts the Ear to the Earth Net­work, known as Musi­cians (and their Friends) for the Environment.

Bar­ry Tru­ax (SFU School of Com­mu­ni­ca­tion, World Sound­scape Project, Vancouver)

Award-win­ning pro­fes­sor of acoustic com­mu­ni­ca­tion and elec­troa­coustic com­po­si­tion, spe­cial­iz­ing in sound­scape com­po­si­tion. As a com­pos­er, Tru­ax is best known for his work with the PODX com­put­er music sys­tem, used for solo tape and tape with live per­form­ers or com­put­er graph­ics. He is a core spokesper­son for the World Sound­scape Project, edit­ing its Hand­book for Acoustic Ecol­o­gy. His book Acoustic Com­mu­ni­ca­tion is used world­wide in stud­ies of sound and technology.

pho­to cred­it: Deen van Meer

Rod­ney Shar­man (Van­cou­ver)

One of Canada’s most dis­tin­guished and rec­og­nized com­posers, Sharman’s work has been per­formed wide­ly by soloists, ensem­bles and orches­tras in Cana­da and inter­na­tion­al­ly. He has writ­ten music for dance and opera, and is active as a men­tor and teacher of young composers.

Owen Under­hill (Turn­ing Point Ensem­ble, Van­cou­ver)

Com­pos­er, con­duc­tor, artis­tic direc­tor and pro­fes­sor at the School for the Con­tem­po­rary Arts at Simon Fras­er Uni­ver­si­ty. Underhill’s com­po­si­tions have been per­formed by many of Canada’s lead­ing ensem­bles, and pre­sent­ed wide­ly inter­na­tion­al­ly and on disc. A tire­less pro­mot­er and pro­duc­er of con­tem­po­rary music, Under­hill is also direc­tor of the SFU Woodward’s Cul­tur­al Unit and of its School for the Con­tem­po­rary Arts.

pho­to cred­it: Chris Randle

DB Boyko (Arts and Health Seniors Project, Van­cou­ver)

Com­pos­er, per­former (spe­cial­ist in exper­i­men­tal voice), co-founder of sev­er­al impro­vis­ing ensem­bles, record­ing artist and curator/director (West­ern Front). Her stud­ies and prac­tice of Javanese game­lan court music, dance, pup­pet the­atre, and butoh have informed her involve­ment in a wide spec­trum of projects, includ­ing her intrigu­ing voice per­for­mances and workshops.

Marie Lopes (Round­house Com­mu­ni­ty Cen­tre, Van­cou­ver)

An arts edu­ca­tor and admin­is­tra­tor whose focus for the past twen­ty years has been to facil­i­tate engage­ment and pub­lic dis­course in the arts. Lopes has held cura­tor and pub­lic pro­grams coor­di­na­tion posi­tions at the Edmon­ton, Wind­sor, Burn­a­by and Van­cou­ver Art Gal­leries. She is cur­rent­ly devel­op­ing artists-in-res­i­dence projects and com­mu­ni­ty part­ner­ships with arts orga­ni­za­tions across diverse dis­ci­plines with Vancouver’s Round­house Com­mu­ni­ty Arts and Recre­ation Centre.

Arne Eigen­feldt (SFU School for the Con­tem­po­rary Arts, Vancouver)

A Com­pos­er and soft­ware design­er, cur­rent­ly asso­ciate pro­fes­sor of elec­troa­coustic music at Simon Fras­er Uni­ver­si­ty’s School for the Con­tem­po­rary Arts whose music and research has been pre­sent­ed through­out the world. Eigenfeldt’s research involves live inter­ac­tive com­put­er sys­tems, with a cur­rent focus on Metacre­ation — endow­ing machines with cre­ative behaviour.

Gior­gio Mag­na­nen­si (Van­cou­ver New Music, Van­cou­ver)

His diverse artis­tic prac­tice includes com­po­si­tion, con­duct­ing, impro­vi­sa­tion, cir­cuit-bend­ing and video art. From the ear­ly 80’s to date he has been work­ing as a com­pos­er, con­duc­tor, teacher, and per­former on con­tem­po­rary and exper­i­men­tal music in Europe, Japan and Cana­da. He is artis­tic direc­tor of Van­cou­ver New Music and lec­tur­er at the School of Music of The Van­cou­ver Com­mu­ni­ty College.

Jer­ry Per­gole­si (Con­tact Con­tem­po­rary Music, Toron­to)

Founder and Artis­tic Direc­tor of Con­tact Con­tem­po­rary Music, one of Canada’s most adven­tur­ous and respect­ed new music ensem­bles and pro­duc­ers, Per­gole­si is also a con­tem­po­rary per­cus­sion­ist who has stud­ied Mid­dle East­ern music, African drum­ming and dance, and Javanese Gamelan.

Dylan Robin­son (Indi­gene­ity in the Con­tem­po­rary World, Uni­ver­si­ty of Lon­don, UK)

A mul­ti­dis­ci­pli­nary artist, schol­ar and researcher, Robinson’s work explores mod­els for dia­logue between cul­tures, schol­ars, artists and the pub­lic. His research focus­es on rep­re­sen­ta­tions of First Peo­ples in art music and opera, and the less­er-known his­to­ry of art music and opera by Indige­nous com­posers and musicians.

Raven Cha­con (New Mexico)

Raven Cha­con (Dine’) is a Nava­jo exper­i­men­tal com­pos­er, per­former, artist and active edu­ca­tor. His works range from music for cham­ber instru­ments to sounds made from home­made elec­tron­ics to acoustic phe­nom­e­na. He is also a mem­ber of the inter­dis­ci­pli­nary Post­com­mod­i­ty collective.

David Pay (Music on Main, Van­cou­ver)

Founder and Artis­tic Direc­tor of Music on Main, a con­cert series ded­i­cat­ed to build­ing com­mu­ni­ty by pro­duc­ing great music in a casu­al but stim­u­lat­ing envi­ron­ment, with top-flight musi­cians, an ear for con­tem­po­rary music, and refresh­ing con­cert formats.

Sandeep Bagh­wati (matral­ab, Con­cor­dia Uni­ver­si­ty, Montreal)

Inter­na­tion­al­ly renowned com­pos­er, the­atre direc­tor and media artist. Born in Mum­bai, hav­ing lived in Europe for over 30 years, he moved to Cana­da in 2006 as a Cana­da Research Chair for Inter‑X Arts in the depart­ments of Music and The­atre at Con­cor­dia Uni­ver­si­ty Montréal.

Brady Cran­field, Vancouver

A sound and visu­al artist, musi­cian and instruc­tor (Emi­ly Carr), founder and co-orga­niz­er of the ongo­ing pub­lic art projectThe Music Appre­ci­a­tion Soci­ety. Cran­field fre­quent­ly col­lab­o­rates on projects explor­ing the pol­i­tics and cul­ture of glob­al capitalism.

Anju Singh, Vancouver

Audio artist inter­est­ed in noise, sound art, and exper­i­men­tal music. Singh has been described as an “omniv­o­rous musi­cian,” using vio­lin, cel­lo, gui­tar, ped­als, drums, found objects-turned noise-machines, and can­ni­bal­ized instru­ments, as the con­text dictates.

Coat Cooke (Orkestra Futu­ra, Van­cou­ver)

Founder and leader of the renowned NOW Orches­tra, Cooke is one of Canada’s most lyri­cal and inven­tive sax­o­phon­ists, com­posers and impro­vis­ers. His projects include col­lab­o­ra­tion with mul­ti-media, dance, elec­tron­ics, video and film, and com­mu­ni­ty-based impro­vi­sa­tion workshops.

pho­to cred­it: Femke van Delft

Ste­fan Smulovitz (Van­cou­ver)

Musi­cian (vio­la & lap­top), com­pos­er and soft­ware devel­op­er. Inter­na­tion­al­ly renowned as the cre­ator and vir­tu­oso of the real-time music soft­ware known as Kenax­is, he reg­u­lar­ly per­forms with the world’s lead­ing impro­vis­ers and com­pos­es for ensem­bles rang­ing from orches­tras to string quar­tets to solo instru­ments with electronics.

Pho­to cred­it: Max D. Well

Avatar Orches­tra Meta­verse (Glob­al)

A glob­al col­lab­o­ra­tion of com­posers, media artists and musi­cians explor­ing the telem­at­ic and cre­ative pos­si­bil­i­ties of three-dimen­sion­al net­worked plat­forms. AOM per­forms in hybrid and vir­tu­al real­i­ty events inter­na­tion­al­ly, using its evolv­ing col­lec­tion of exper­i­men­tal audio-visu­al instru­ments. Mem­bers include Bjorn Eriks­son, Nor­man Lowrey, Leif Inge, Pauline Oliv­eros, Pomodoro Bolzano col­lec­tive, Viv Cor­ring­ham, Tim Rish­er, Bren­da Hutchin­son, Jere­my Owen Turn­er, Tina Pear­son, Sachiko Hayashi, Liz Solo and others.

Tina Pear­son (Vic­to­ria, BC)

Com­pos­er, impro­vis­er and cura­tor whose inter­est in process and inten­tion has led to facil­i­tat­ed com­po­si­tion and lis­ten­ing projects in diverse venues and real­i­ties with com­mu­ni­ty groups and pro­fes­sion­al artists in Toron­to, Vic­to­ria and glob­al­ly. She com­pos­es and per­forms with LaSaM, the Avatar Orches­tra and independently.

Pauline Oliv­eros (via Skype, Deep Lis­ten­ing Insti­tute, New York)

Inter­na­tion­al­ly acclaimed com­pos­er, per­former, human­i­tar­i­an, and pio­neer, Oliv­eros has forged new ground, writ­ten books, for­mu­lat­ed new music the­o­ries and inves­ti­gat­ed new ways to focus atten­tion on music includ­ing her con­cepts of “Deep Lis­ten­ing” and “son­ic aware­ness.” She has been vocal about rep­re­sent­ing the needs of indi­vid­ual artists, the need for diver­si­ty and exper­i­men­ta­tion in the arts, and pro­mot­ing coop­er­a­tion and good will among people.

Pho­to cred­it: Geoff Howe

George Tzane­takis (Uni­ver­si­ty of Vic­to­ria, Victoria)

A researcher, com­pos­er, musi­cian, soft­ware devel­op­er and edu­ca­tor cur­rent­ly teach­ing in the com­put­er sci­ence and music depart­ments at Uni­ver­si­ty of Vic­to­ria. Tzane­takis’ research inter­ests include audio sig­nal pro­cess­ing, com­put­er music, machine learn­ing, human com­put­er inter­ac­tion, eth­no­mu­si­col­o­gy and the his­to­ry of music nota­tion, among oth­er things.

Cléo Pala­cio-Quintin, Hyper­flute (Mon­tre­al)

Flutist-impro­vis­er-com­pos­er Cléo Palacio-Quintin’s com­po­si­tions and per­for­mances have been pre­sent­ed through­out North Amer­i­ca and Europe. She has extend­ed her musi­cal explo­rations to the devel­op­ment of hyper­flutes, which enable her to com­pose new and unique elec­troa­coustic soundscapes.

Michael Ten­z­er (Uni­ver­si­ty of British Colum­bia, Game­lan Gita Asmara, Vancouver)

Schol­ar, com­pos­er and per­former, Tenzer’s inter­ests span the globe and his achieve­ments include: per­for­mance, com­po­si­tion, research, teach­ing and men­tor­ing, ana­lyz­ing, think­ing and writ­ing about music, pro­mot­ing inter­est in the world’s finest musics, and envi­sion­ing what can be done to best shape our future world of music. He is rec­og­nized as a lead­ing eth­no­mu­si­col­o­gist in Bali­nese Gamelan.

Joel Bons (Nieuw Ensem­ble, Atlas Ensem­ble, Nether­lands)

Com­pos­er, Artis­tic Direc­tor, and coor­di­na­tor of the com­po­si­tion depart­ment of the Con­ser­va­to­ry of Ams­ter­dam, Bons’ research focus­es on the Near East and Cen­tral Asia, lead­ing to the found­ing of the Atlas Ensem­ble, a unique cham­ber orches­tra that unites musi­cians from dif­fer­ent cul­tur­al backgrounds.

I Wayan Sudi­rana, Game­lan Gita Asmara, Van­cou­ver

A grad­u­ate of the ISI Bali­nese Arts Insti­tute and a mem­ber of Game­lan Çudamani, he is one of Bali’s most gift­ed young musi­cians, has com­posed and taught active­ly all over the island of Bali and toured abroad fre­quent­ly. He has been co-direc­tor of Gita Asmara since 2004.

Mei Han (Chi­nese / new music spe­cial­ist, Vancouver)

Con­tem­po­rary and Tra­di­tion­al music for the Chi­nese Zheng, vir­tu­oso, inno­va­tor, impro­vis­er and schol­ar. Han’s stun­ning pre­sen­ta­tions of con­tem­po­rary music con­stant­ly chal­lenge the con­ser­vatism of Chi­nese music, and rede­fine the zheng as a pow­er­ful vehi­cle of inno­va­tion and expression.

Michael O’Neill (Van­cou­ver)

A com­pos­er and per­former known for his land­mark con­tem­po­rary scores for high­land bag­pipe, bag­pipe ensem­ble, bag­pipe and game­lan and for his col­lab­o­ra­tions with the taiko group Uzume Taiko.

Jon Sid­dall (Van­cou­ver)

Pro­duc­er, com­pos­er and gui­tarist, Jon Sid­dall stud­ied with Lou Har­ri­son, Ter­ry Riley, James Ten­ney and John Cage. Founder of the Ever­green Club Game­lan Ensem­ble, his works show a strong influ­ence with Indone­sian music.

Moshe Den­burg (Van­cou­ver Inter-Cul­tur­al Orches­tra (VICO), Van­cou­ver)

Founder of VICO and a dri­ving force behind its many activ­i­ties since its incep­tion in 2000, Denburg’s musi­cal career has spanned almost 4 decades and his accom­plish­ments encom­pass a wide range of musi­cal activ­i­ties, includ­ing com­po­si­tion, per­for­mance, music edu­ca­tion, and artis­tic direction.

Michel Lev­asseur (Fes­ti­val Inter­na­tion­al de Musique Actuelle de Vic­to­ri­av­ille (FIMAV), Vic­to­ri­av­ille, Quebec)

CEO and Artis­tic Direc­tor of FIMAV, one of the most impor­tant Con­tem­po­rary music fes­ti­vals in North Amer­i­ca which fea­tures ground­break­ing con­tem­po­rary, jazz, rock, elec­troa­coustic and impro­vised music. “Michel Lev­asseur has demon­strat­ed an abil­i­ty to cut across musi­cal bound­aries” — Stu­art Broomer (Music­works #111).

Ken Pick­er­ing (Coastal Jazz Soci­ety, Van­cou­ver)

Ken Pick­er­ing is the Artis­tic Direc­tor of the Van­cou­ver Inter­na­tion­al Jazz Fes­ti­val and a dri­ving force for jazz, free impro­vi­sa­tion and cre­ative improv in Cana­da. His exten­sive knowl­edge and under­stand­ing of the Jazz com­mu­ni­ty has earned him an inter­na­tion­al reputation.

Gor­don Mon­a­han (Elec­tric Eclec­tics, Meaford Ontario)

Gor­don Mon­a­han cre­ates music, sound sculp­ture, sound instal­la­tion, and com­put­er-con­trolled sound envi­ron­ments that span var­i­ous gen­res from avant-garde con­cert music to mul­ti-media instal­la­tion and sound art. He has exhib­it­ed and per­formed inter­na­tion­al­ly for over 30 years and is the founder of Elec­tric Eclectics.

Peter Hatch (Open Ears Fes­ti­val, Kitch­en­er Ontario)

Com­pos­er, con­cert orga­niz­er and edu­ca­tor, Peter Hatch’s works are in a large num­ber of gen­res, from orches­tral and cham­ber music to instru­men­tal the­atre, elec­troa­coustics and instal­la­tions. He is the found­ing direc­tor of both NUMUS Con­certs and Open Ears Fes­ti­val and teach­es at the music fac­ul­ty of Wil­fred Lau­ri­er University.

To help with your trav­el tim­ing plans, Forum reg­is­tra­tion and activ­i­ties start at 4pm on Thurs­day Jan­u­ary 19th, and end at around 4pm, Sun­day Jan­u­ary 22nd. After reg­is­tra­tion Thurs­day Jan­u­ary 19th, a spe­cial net­work­ing event is planned with a light buf­fet and music. We hope to see you there!

Room Map Key

①	Djavad Mowafaghi­an World Cul­tur­al Cen­tre (WCU) , Gold­corp Cen­tre for the Arts
②	Djavad Mowafaghi­an Cin­e­ma, Gold­corp Cen­tre for the Arts
③	Stu­dio 4350, Fourth Floor Music Room, Gold­corp Cen­tre for the Arts
④	FOYER — Djavad Mowafaghi­an Cin­e­ma, Gold­corp Cen­tre for the Arts

The Gold­corp Cen­tre for the Arts is locat­ed at SFU Woodward’s — 149 West Hast­ings Street, Van­cou­ver, BC Cana­da.

Note: loca­tions and sched­ule are sub­ject to change. Activ­i­ties with­out loca­tion indi­cat­ed are TBA.

Thursday, January 19

4:30pm	Reg­is­tra­tion	④
5:00pm	Buf­fet & Networking	①
5:30pm	Son­ic Pres­ence Mini Concert
	Coat Cooke and Joe Poole (Van­cou­ver)
5:45pm — 7pm	Wel­come
	Net­work Devel­op­ment Ses­sion 1 — Open Session Par­tic­i­pants are encour­aged to bring ques­tions, ideas, pro­pos­als and concerns.

Friday, January 20

8:00am — 8:45am	Reg­is­tra­tion — ④	Sound­walk • Tyler Kin­n­ear (from Sand­man Inn to SFU Woodward’s)
9:00am — 9:15am	SFU Woodward’s Wel­come by Owen Under­hill, Musqueam Tra­di­tion­al Wel­come by Debra Spar­row, — ②
9:15am — 11:00am	Con­nect­ing to the Sound of the Pacif­ic Coast — ②
	Hilde­gard West­erkamp (World Forum for Acoustic Ecol­o­gy, Vancouver) Paul and Hele­na Spong (Orca Project, Van­cou­ver Island) • Kim Cas­cone (Hydrophone Fes­ti­val, San Francisco)
11:00am — 11:15am	Break
11:15am — 12:45pm	Con­nect­ing Art, Inten­tion and Place — ②	Gen­er­a­tions & Dis­ci­plines — ①
	Joel Chad­abe (Ear to the Earth, Elec­tron­ic Music Foun­da­tion, New York) • Bar­ry Tru­ax (World Sound­scape Project, Vancouver)	DB Boyko (Arts and Health Project, Son­ic Play­ground, Van­cou­ver) • Owen Under­hill (Turn­ing Point Ensem­ble, Van­cou­ver) • Marie Lopes (Round­house Com­mu­ni­ty Cen­tre, Van­cou­ver) • Rod­ney Shar­man (com­pos­er, Vancouver)
12:45pm — 1:45pm	Net­work­ing Lunch — ①
	& Son­ic Pres­ence Mini Con­cert [1pm — 1:20pm]
	Big World Band (John Oliv­er, Farshid Saman­dari and friends), Lee Hutzu­lak (Van­cou­ver)
1:45pm — 3:30pm	Extend­ing Cre­ativ­i­ty — ② Cre­ative Soft­ware and Soft­ware Creativity	For Whom? For What? — ① The Mak­ing of Com­mu­ni­ty — Plu­ral­ism in Progress
	Bar­ry Tru­ax (Simon Fras­er Uni­ver­si­ty) • Arne Eigen­feldt (Simon Fras­er University)	Geor­gio Mag­na­nen­si (Van­cou­ver New Music) • Jer­ry Per­gole­si (Con­tact Con­tem­po­rary Music, Toronto)
3:30pm — 3:45pm	Break
3:45pm — 5:30pm	Retelling New Music with Indige­nous Eyes — ①	Net­work Devel­op­ment Ses­sion 2 — Nation­al Net­works — ③
	Dylan Robin­son (Indi­gene­ity in the Con­tem­po­rary World, Uni­ver­si­ty of Lon­don, UK) • Raven Cha­con (Albu­querque, NM)	Intro­duced by David Pay (Music on Main, Van­cou­ver) • With rep­re­sen­ta­tives from the Cana­di­an Music Cen­tre, Cana­di­an League of Com­posers and oth­er nation­al net­works and associations.

Saturday, January 21

8:00am — 8:45am	Reg­is­tra­tion — ④
9:00am — 10:45am	Break­ing the Mould — ① Chal­leng­ing pre­con­cep­tions of cul­ture, gen­er­a­tion, genre and discipline	Visu­al Par­a­digms for Ensem­ble Impro­vi­sa­tion — ② Con­duc­tion and Remote Control
	Sandeep Bhag­wati (matral­ab, Con­cor­dia Uni­ver­si­ty, Mon­tre­al) • Raven Cha­con (Albe­querque, New Mex­i­co) • Anju Singh (CRES Media Arts Com­mit­tee, Van­cou­ver) • Brady Cran­field (Music Appre­ci­a­tion Soci­ety, Vancouver)	Coat Cooke (Orkestra Futu­ra, Van­cou­ver) • Ste­fan Smulovitz (Mad Sci­en­tist, Van­cou­ver) • Tina Pear­son (Avatar Orches­tra Meta­verse, Glob­al). Par­tic­i­pa­to­ry demon­stra­tion — bring your instruments!
10:45am — 11:00am	Break
11:00am — 12:45pm	Stretched Bound­aries — Con­nect­ing Across Abil­i­ties, Net­works and Prac­tices — ②
	Pauline Oliv­eros (Deep Lis­ten­ing Insti­tute, New York) from Venice via Skype • Plus, per­for­mance of “Van­cou­ver Call­ing” — please bring instruments!
12:45pm — 1:45pm	Net­work­ing Lunch — ①
	& Son­ic Pres­ence Mini Con­cert [1pm — 1:20pm]
	Marie-Chan­tal Leclair (Mon­tre­al) and Raven Cha­con (New Mexico)
1:45pm — 3:30pm	Extend­ed Bod­ies — ③ When the Vir­tu­al Bleeds into the Physical	Old Asia — New Music — ②
	Arne Eigen­feldt (Simon Fras­er Uni­ver­si­ty, Van­cou­ver) • George Tzane­takis (Uni­ver­si­ty of Vic­to­ria, Vic­to­ria) • Cléo Pala­cio-Quintin (Mon­tréal)	Michael Ten­z­er (Game­lan Gita Asmara, Uni­ver­si­ty of British Colum­bia, Van­cou­ver) • Joel Bons (Nieus Ensem­ble, Atlas Ensem­ble, Hol­land) • I Wayan Sudi­rana (Game­lan Gita Asmara, Van­cou­ver, Indone­sia) • Mei Han (Red Cham­ber Ensem­ble, Vancouver)
3:30pm — 3:45pm	Break
3:45pm — 5:30pm	Net­work Devel­op­ment Ses­sion 3 — Region­al and Local Net­works — ②	Musi­cal Dia­logue Across Cul­tures — ①
	With input from: Paul Cram (Atlantic Cana­da Art Music Net­work) • Scott Thom­son • Tim Brady, Joane Hétu and Cléo Pala­cio-Quintin (Montreal’s Le Vivi­er) • Bob Bak­er (Cana­di­an Music Cen­tre BC Region) • DB Boyko (Son­ic Pres­ence BC) and others.	Musi­cal prac­tice ses­sion facil­i­tat­ed by Michael O’Neill (Game­lan Madu Sari, Van­cou­ver) • Jon Sid­dall (Van­cou­ver) • Moshe Den­burg (Van­cou­ver Inter­cul­tur­al Orches­tra). Bring your instru­ments or use the gamelan!

Sunday, January 22

9:00am — 10:45am	Fes­ti­vals as a Cul­tur­al Voice — ②
	Michel Lev­asseur (FIMAV, Vic­to­ri­av­ille) • Ken Pick­er­ing (Coastal Jazz & Blues Soci­ety, Van­cou­ver) • Gor­don Mon­a­han (Eclec­tic Electrics, Meaford) • Peter Hatch (Open Ears Fes­ti­val, Kitch­en­er-Water­loo) • Joel Chad­abe (Ear to the Earth Fes­ti­val, New York)
10:45am — 11:00am	Break
11:00am — 12:45pm	Net­work Devel­op­ment Ses­sion 4 — Open Ses­sion — ①
	Open to any top­ic brought for­ward by those in atten­dance and/or as agreed as a result of pre­vi­ous sessions.
12:45pm — 1:45pm	Net­work­ing Lunch — ①
1:45pm — 3:30pm	Clo­sure — Ple­nary Ses­sion — ①

Sched­ule sub­ject to change with­out pri­or noti­fi­ca­tion (Jan­u­ary 19, 2012).

Over­all Plan

Net­work­ing Opportunities

Lis­ten­ing And Tuning

• Sound­walks
• Tun­ing

Net­work Devel­op­ment Sessions

• Net­work Devel­op­ment Ses­sion 1 — Open Session
• Net­work Devel­op­ment Ses­sion 2 — Nation­al Networks
• Net­work Devel­op­ment Ses­sion 3 — Local and region­al networks
• Net­work Devel­op­ment Ses­sion 4 — Open Session

Core Ses­sions

• Geo­gra­phies
  • Con­nect­ing to the Sound of the Pacif­ic Coast
  • Con­nect­ing Art, Inten­tion and Place
  • Fes­ti­vals as a Cul­tur­al Voice
• Con­nect­ing Gen­er­a­tions And Communities
  • Gen­er­a­tions & Disciplines
  • For Whom? For What?
  • Break­ing The Mould
• Tech­nolo­gies
  • Extend­ing Cre­ativ­i­ty — Cre­ative Soft­ware And Soft­ware Creativity
  • Visu­al Par­a­digms For Ensem­ble Improvisation
  • Stretched Bound­aries
  • Extend­ed Bod­ies — When the Vir­tu­al Bleeds into the Physical
• Cul­tures
  • Retelling New Music With Indige­nous Eyes
  • Old Asia — New Music
  • Musi­cal Dia­logue Across Cultures

Mini Con­certs

Clo­sure — Ple­nary Session

---

Networking Opportunities

Build­ing on feed­back from pre­vi­ous Forums, more time for for­mal and infor­mal net­work­ing has been built into the sched­ule of this edi­tion. A net­work­ing gath­er­ing is planned after reg­is­tra­tion Thurs­day Jan­u­ary 19, with a light buf­fet and music. Net­work­ing lunch­es are pro­vid­ed each day and oth­er con­nec­tion oppor­tu­ni­ties punc­tu­ate the entire Forum, so there will be ample time to recon­nect with old friends, and make new contacts.

Listening And Tuning

Short peri­ods of sound prac­tice are offered before and in between each day’s proceedings.

Stay tuned for details.

Soundwalks

With a focus on lis­ten­ing, sound­walks are a way to engage with the son­ic envi­ron­ment while walk­ing with con­scious­ness through a par­tic­u­lar landscape.

Tuning

Prac­tices such as those inspired from R. Mur­ray Schafer’s The Tun­ing of the World and The Think­ing Ear, Pauline Oliv­eros’ Son­ic Med­i­ta­tions and oth­er resources.

Network Development Sessions

Four “open forum” net­work­ing devel­op­ment ses­sions will take place, one on each day of the Forum. Par­tic­i­pants are encour­aged to bring ques­tions, ideas, pro­pos­als and con­cerns with the inten­tion of cre­at­ing sus­tain­able con­nec­tions and alliances with­in local, region­al and nation­al communities.

Network Development Session 1 — Open Session

A gath­er­ing of top­ics to be discussed

Network Development Session 2 — National Networks

Par­tic­i­pants are invit­ed to explore the inten­tions, struc­tures and impacts of nation­al net­works, this ses­sion is intro­duced and facil­i­tat­ed by David Pay (Music on Main, Van­cou­ver), who pro­vides an update about recent meet­ings of the Cana­di­an Clas­si­cal Music Coali­tion and the Cana­di­an Arts Pre­sent­ing Asso­ci­a­tion. Rep­re­sen­ta­tives from the Cana­di­an Music Cen­tre, Cana­di­an League of Com­posers and oth­er nation­al net­works and asso­ci­a­tions will also be on hand.

Network Development Session 3 — Local and regional networks

Forum par­tic­i­pants are asked what role local and region­al net­works and asso­ci­a­tions play in sup­port­ing their prac­tice and its dis­sem­i­na­tion. With input from: Paul Cram (Atlantic Cana­da Art Music Net­work), Scott Thom­son, Tim Brady, Joane Hetu and Cléo Pala­cio-Quintin (Montreal’s Le Vivi­er), Bob Bak­er (Cana­di­an Music Cen­tre BC Region), John Reid (Cana­di­an Music Cen­tre Prairie Region), DB Boyko (Son­ic Pres­ence BC), Leah Hokan­son (Lulu Pro­duc­tions, Gabri­o­la Island) and others.

Network Development Session 4 — Open Session

Open to any top­ic brought for­ward by those in atten­dance and/or as agreed as a result of pre­vi­ous sessions.

Core Sessions

Guest pre­sen­ters were invit­ed to con­sid­er the notion of con­nec­tion and path­ways to con­nec­tion in the par­tic­u­lar work they are doing and in how it is pre­sent­ed. Con­nect­ing to the sounds, cul­tures, pol­i­tics of spe­cif­ic places, con­nect­ing to youth and elders, con­nect­ing to each oth­er through tech­nolo­gies — these are some of the themes being explored in this edi­tion of the Forum. Pre­sen­ters were also invit­ed to cre­ate ses­sions that moved atten­dees from observers to active engagers to give poten­tial for dynam­ic con­nec­tions to emerge.

Geographies

Connecting to the Sound of the Pacific Coast

• Hilde­gard West­erkamp (World Forum for Acoustic Ecol­o­gy, Vancouver)
• Paul and Hele­na Spong (Orca Project, Van­cou­ver Island)
• Kim Cas­cone (Hydrophone Fes­ti­val, San Francisco)

Hilde­gard Westerkamp’s acute sense of place in her work with sound com­pli­ments the work of Paul and Hele­na Spong, who use lis­ten­ing as a way to research the envi­ron­ment of the Orca of the Cen­tral Coast of BC. Kim Cascone’s Hydro­pho­nia Fes­ti­val sim­i­lar­ly brings atten­tion to noise pol­lu­tion in ocean envi­ron­ments through audio art projects inspired by hydrophone record­ings. These inno­va­tors are part of a grow­ing net­work of sound-work­ers world­wide who use the sound of place to build rela­tion­ships with geo­graph­ic, sci­en­tif­ic and envi­ron­men­tal communities.

Sparked by dis­cus­sions about their work, this ses­sion asks par­tic­i­pants to con­sid­er the rela­tion­ship that might exist between new music and ele­ments of the spe­cif­ic geo­graph­ic loca­tion in which it is practiced.

Connecting Art, Intention and Place

• Joel Chad­abe (Ear to the Earth, Elec­tron­ic Music Foun­da­tion, New York)
• Bar­ry Tru­ax (World Sound­scape Project, Vancouver)

Joel Chad­abe and Bar­ry Tru­ax each have dis­tin­guished tra­jec­to­ries in the fields of elec­tron­ic music, guid­ed by intense inter­ests in the nature of sound and our rela­tion­ship to it. Joel Chad­abe pio­neered some of the ear­li­est inter­ac­tive elec­tron­ic sys­tems for per­for­mance, while Bar­ry Tru­ax devel­oped the first real time gran­u­lar syn­the­sis sys­tem, built with­in an inter­ac­tive com­po­si­tion envi­ron­ment. These two artists have also been instru­men­tal in cre­at­ing new foun­da­tions for defin­ing the posi­tion of art mak­ing with­in soci­ety and build­ing struc­tur­al frame­works for the inter­ac­tion between artists and environments.

In this ses­sion, par­tic­i­pants con­sid­er the ques­tions such as ‘Is there and should there be a rela­tion­ship between new music and the polit­i­cal and social real­i­ties of its prac­ti­tion­ers?’ and ‘Do artists have a respon­si­bil­i­ty to the envi­ron­ment, to the cul­tures we spring from and to the lan­guages we speak?’

Festivals as a Cultural Voice

• Michel Lev­asseur (FIMAV, Victoriaville)
• Ken Pick­er­ing (Coastal Jazz & Blues Soci­ety, Vancouver)
• Gor­don Mon­a­han (Eclec­tic Electrics, Meaford)
• Peter Hatch (Open Ears Fes­ti­val, Kitchener-Waterloo)
• Joel Chad­abe (Ear to the Earth Fes­ti­val, New York)

Fes­ti­vals mir­ror the com­mu­ni­ty they serve and serve as an evolv­ing voice for that com­mu­ni­ty. Under­stand­ing the needs of each com­mu­ni­ty is essen­tial, both for the fes­ti­val direc­tor and for those that apply to the fes­ti­vals. This ses­sion will pro­vide an inside look at unique fes­ti­vals from across North Amer­i­ca, and the needs of each.

Active dis­cus­sion with ses­sion par­tic­i­pants will fos­ter deep­er under­stand­ing between Artis­tic Direc­tors and the Cana­di­an New Music Com­mu­ni­ty, as well as pro­vide oppor­tu­ni­ty for more dia­logue as a community.

Connecting Generations And Communities

Generations & Disciplines

• DB Boyko (Arts and Health Project, Son­ic Play­ground, Vancouver)
• Owen Under­hill (Turn­ing Point Ensem­ble, Vancouver)
• Marie Lopes (Round­house Com­mu­ni­ty Cen­tre, Vancouver)
• Rod­ney Shar­man (Com­pos­er, Vancouver)

The devel­op­ment of col­lab­o­ra­tive mod­els, bring­ing new music into com­mu­ni­ty and com­mu­ni­ty into new music with youth and seniors through schools and com­mu­ni­ty asso­ci­a­tions, has result­ed in rela­tion­ships that revi­tal­ize the art­form and its cre­ators, per­form­ers and audi­ence. Curator/vocalist DB Boyko and Art Pro­gram­mer Marie Lopes have col­lab­o­rat­ed on two projects that show that mean­ing­ful and crit­i­cal engage­ment can hap­pen at any age. Express Your Voice isa year-long Arts and Health pro­gram that engages seniors in the act of singing and the cre­ation of music, while Son­ic Play­ground show­cas­es explorato­ry music and sound activ­i­ties for fam­i­lies. Vancouver’s Turn­ing Point Ensem­ble works with Metro Van­cou­ver pub­lic schools, edu­ca­tor Rob McLeod and com­pos­er Rod­ney Shar­man to devel­op and present new work by young com­posers through men­tor­ship and per­for­mance workshops.

A vocal cre­ation work­shop with DB Boyko is fol­lowed by a demon­stra­tion of stu­dent com­po­si­tions per­formed by Turn­ing Point. Forum atten­dees are invit­ed to bring ques­tions and exam­ples toward imple­ment­ing sim­i­lar pro­grams with­in their own regions and to dis­cuss cri­te­ria for mean­ing­ful com­mu­ni­ty engagement.

For Whom? For What?

The Mak­ing of Com­mu­ni­ty — Plu­ral­ism in Progress

• Geor­gio Mag­na­nen­si (Van­cou­ver New Music)
• Jer­ry Per­gole­si (Con­tact Con­tem­po­rary Music, Toronto)

Pro­fes­sion­al musi­cians and sound artists are defin­ing new roles for them­selves with­in their com­mu­ni­ties (geo­graph­ic, cul­tur­al, polit­i­cal, gen­er­a­tional) as the broad­er cul­ture refo­cus­es on the local. As music prac­ti­tion­ers engage more deeply with­in these com­mu­ni­ties, they are find­ing sur­pris­ing new avenues for dis­sem­i­na­tion for their work in ways that are sus­tain­able, and that are rel­e­vant both to the par­tic­u­lar com­mu­ni­ty and to their growth as artists.

Ref­er­enc­ing their process in build­ing pro­lif­ic local cre­ative rela­tion­ships, Gior­gio Mag­na­nen­si and Jer­ry Per­gole­si chal­lenge par­tic­i­pants to regain qual­i­ties of curios­i­ty, inter­est and com­mit­ment and to expe­ri­ence these qual­i­ties in car­ing mutu­al exchange while empha­siz­ing the val­ue of dif­fer­ence as a path toward a deep­er avail­abil­i­ty to the cre­ative encounter.

Round table brain­storm­ing groups take par­tic­i­pants toward find­ing engag­ing con­nec­tions with­in their own locales and con­sid­er the kinds of ini­tia­tives that embed long term cre­ative rela­tion­ships with­in spe­cif­ic communities.

Breaking The Mould

Chal­leng­ing pre­con­cep­tions of cul­ture, gen­er­a­tion, genre and discipline.

• Sandeep Bhag­wati (matral­ab, Con­cor­dia Uni­ver­si­ty, Montreal)
• Raven Cha­con (Albe­querque, New Mexico)
• Anju Singh (Fake Jazz Wednes­days, Vancouver)
• Brady Cran­field (Music Appre­ci­a­tion Soci­ety, Vancouver)

Egal­i­tar­i­an ideals in the cur­rent Cana­di­an cul­tur­al world­view pro­mote open­ness and inclu­sion, melt bound­aries and cel­e­brate diver­si­ty in cre­ative dia­logue. Art for all and all for art. But when the bound­aries that dis­tin­guish gen­res, dis­ci­plines and tra­di­tions are erased, is there a cor­re­lat­ing loss of vig­or­ous debate, and of the aes­thet­ic frames of ref­er­ence for deter­min­ing accom­plish­ment, fail­ure, mis­take and excel­lence? Is depth of com­mu­ni­ty thus lost? How can we mean­ing­ful­ly talk about art across dis­solv­ing boundaries?

Sandeep Bhag­wati is a mul­ti­dis­ci­pli­nary com­pos­er, researcher and insti­ga­tor who pos­es these queries in an inter­ac­tive dia­logue with Anju Singh, Brady Cran­field, and Raven Cha­con, three artists who have pro­voked the edges of genre, cul­ture and context.

Inspired by Max Frisch’s famous 1960 ques­tion­naire, ses­sion atten­dees are asked, ‘Why do you lis­ten to musi­cal gen­res / dis­ci­plines you do not cre­ate your­self or do not know well? How do you relate to them? Do you relate to them dif­fer­ent­ly from the gen­res / dis­ci­plines you do cre­ate with­in and/or that you know well? Why?’

Technologies

Extending Creativity — Creative Software And Software Creativity

• Bar­ry Tru­ax (Simon Fras­er University)
• Arne Eigen­feldt (Simon Fras­er University)

Can soft­ware be a composer’s assis­tant? Can it actu­al­ly cre­ate the music itself? Autonomous com­po­si­tion sys­tems have been used for decades, and the notion of gen­er­a­tive com­po­si­tion (a com­po­si­tion that changes each time it is per­formed, most often using soft­ware) is noth­ing new; how­ev­er, recent adap­ta­tions of arti­fi­cial intel­li­gence, evo­lu­tion­ary algo­rithms, and cog­ni­tive mod­els have pro­vid­ed com­posers with new and excit­ing direc­tions for the cre­ation of music.

The ses­sion will briefly dis­cuss the his­to­ry of these ideas, and demon­strate (with oppor­tu­ni­ties for audi­ence par­tic­i­pa­tion) cut­ting edge soft­ware that imple­ments these topics.

Visual Paradigms For Ensemble Improvisation

Con­duc­tion and Remote Control

• Coat Cooke (Orkestra Futu­ra, Vancouver),
• Ste­fan Smulovitz (Mad Sci­en­tist, Vancouver),
• Tina Pear­son (Avatar Orches­tra Meta­verse, Global)

Par­tic­i­pa­to­ry demon­stra­tion — please bring your instruments!

Blend­ing clas­si­cal music con­duct­ing with jazz and free impro­vi­sa­tion, the emerg­ing prac­tice of Con­duc­tion is sprout­ing new rela­tion­ships among per­form­ers, ensem­bles and com­posers and cre­at­ing visu­al con­nec­tions for audi­ences. Using tech­nol­o­gy and net­worked plat­forms, Con­duc­tion and oth­er ensem­ble approach­es are enter­ing the telem­at­ic and vir­tu­al real­i­ty spheres.

Par­tic­i­pants will have the oppor­tu­ni­ty to expe­ri­ence con­duc­tion first hand in a demon­stra­tion by Coat Cooke of the tools he has used to devel­op impro­vis­ing orches­tras, to see Ste­fan Smulovitz’ Mad Sci­en­tist remote con­duc­tion sys­tem in action and play vir­tu­al instru­ments in real time with the glob­al­ly dis­persed Avatar Orches­tra Meta­verse. This inter­ac­tive ses­sion asks how these visu­al and remote con­nec­tions influ­ence our rela­tion­ships with sound, with our fel­low musi­cians and with audiences.

Stretched Boundaries — Connecting Across Abilities, Networks and Practices

• Pauline Oliv­eros (Deep Lis­ten­ing Insti­tute, New York) via Skype

This ses­sion includes “Van­cou­ver Call­ing”, a mul­ti-plat­form piece com­posed by Oliv­eros spe­cial­ly for the Forum and includes any­one who wants to par­tic­i­pate — please bring your instru­ments.

Per­haps one of the most con­nect­ed New Music prac­ti­tion­ers on earth, Pauline Oliv­eros has always been on the fore­front of new ways of get­ting her mes­sage across. She has built net­works, cham­pi­oned caus­es, rede­fined lis­ten­ing, and chal­lenged the very act of com­po­si­tion and per­for­mance. Her thoughts and ideas are invalu­able for those who want to expand their work in new and inno­v­a­tive ways.

Oliv­eros will focus on the devel­op­ment and appli­ca­tions of the Adap­tive Use Musi­cal Instru­ments sys­tem with AUMI col­lab­o­ra­tors Jaclyn Heyen and Leaf Miller. Oliv­eros demon­strates how con­nec­tions made through deep lis­ten­ing bring sur­pris­ing cre­ativ­i­ty and pos­si­bil­i­ty. AUMI will be avail­able for atten­dees to try at the Forum. The ses­sion will con­clude with the open per­for­mance of Van­cou­ver Call­ing, con­nect­ing Forum atten­dees in audio-visu­al play with the Avatar Orches­tra Meta­verse, Pauline Oliv­eros and AUMI.

Extended Bodies — When The Virtual Bleeds Into The Physical

• Arne Eigen­feldt (Simon Fras­er Uni­ver­si­ty, Vancouver)
• George Tzane­takis (Uni­ver­si­ty of Vic­to­ria, Victoria)
• Cléo Pala­cio-Quintin (Mon­tréal)

From the moment a human struck rocks togeth­er in rhythm or blew across the open­ing of a bone to cre­ate sound, tools and tech­nolo­gies have been inter­twined with the devel­op­ment of music. The pos­si­bil­i­ties offered by the aston­ish­ing tech­nolo­gies of cur­rent times are cre­at­ing pre­vi­ous­ly unimag­ined rela­tion­ships with music cre­ation, col­lab­o­ra­tion and per­for­mance. From instru­ments extend­ed beyond their orig­i­nal design to cut­ting edge robots that play them­selves, artists are inti­mate­ly and fun­da­men­tal­ly alter­ing the human — machine landscape.

Cléo Pala­cio-Quintin has cre­at­ed an inno­v­a­tive bridge between scientific/technological and artis­tic domains through her devel­op­ment of hyper­flutes — trans­verse flutes inter­faced to a com­put­er and soft­ware by means of elec­tron­ic sen­sors. Arne Eigen­feldt and George Tzane­takis are explor­ing the inter­ac­tive pos­si­bil­i­ties of robot­ic per­cus­sion instru­ments, test­ing the bound­aries between music and tech­nol­o­gy. Using tech­niques such as dig­i­tal sig­nal pro­cess­ing and music infor­ma­tion retrieval pro­grams, they are trans­form­ing robot­ic instru­ments into robot­ic per­cus­sion­ists who can “lis­ten” and react in inte­grat­ed human-machine impro­visato­ry settings.

This ses­sion asks, ‘How do mechan­i­cal sys­tems and exten­sions con­tribute to the devel­op­ment of new musi­cal par­a­digms for the twen­ty-first century?’

Cultures

Retelling New Music With Indigenous Eyes

• Dylan Robin­son (Indi­gene­ity in the Con­tem­po­rary World, Uni­ver­si­ty of Lon­don, UK)
• Raven Cha­con (Albu­querque, NM)

Raven Cha­con, known for his cham­ber music com­po­si­tions and his solo per­for­mances of exper­i­men­tal noise music, is also part of the Post­com­mod­i­ty Art Col­lec­tive, an inter­dis­ci­pli­nary group pro­mot­ing a con­struc­tive art-focused dis­course that chal­lenges colo­nial­ism and its mar­ket-based tenets. Dylan Robin­son is an artist cur­rent­ly research­ing the role of the arts as part of the Truth and Rec­on­cil­i­a­tion Com­mis­sion and is a team mem­ber of the Indi­gene­ity in the Con­tem­po­rary World research ini­tia­tive in the UK.

Draw­ing from their com­bined expe­ri­ences as cre­ators, per­form­ers, edu­ca­tors and schol­ars of art music, and informed by their rela­tion­ships with­in indige­nous com­mu­ni­ties, Dylan Robin­son and Raven Cha­con con­trast art rep­re­sent­ing First Peo­ples and the less­er known music made BY Indige­nous com­posers and artists.

This ses­sion pos­es provoca­tive ques­tions about cul­tur­al col­lab­o­ra­tion, per­for­mance, con­cert pro­to­col, appro­pri­a­tion, and the evolv­ing world­views that upturn notions of art’s voice in the scheme of all things.

Old Asia — New Music

• Michael Ten­z­er (Game­lan Gita Asmara, Uni­ver­si­ty of British Colum­bia, Vancouver)
• Joel Bons (Nieus Ensem­ble, Atlas Ensem­ble, Holland)
• I Wayan Sudi­rana (Game­lan Gita Asmara, Van­cou­ver, Indonesia)
• Mei Han (Red Cham­ber Ensem­ble, Vancouver)

Asia has become a new focus for col­lab­o­ra­tion and for dis­sem­i­na­tion, yet west­ern ways of approach­ing con­tem­po­rary music are not find­ing fer­tile soil in Asia. With a depth of under­stand­ing of the sound­worlds, philoso­phies and frame­works of non-west­ern cul­tures, each of the ses­sion pre­sen­ters has drawn from a spe­cif­ic com­mu­ni­ty to cre­ate new ensem­bles, new forms and new audiences.

Mei Han is not only a vir­tu­osic spe­cial­ist in per­form­ing the ancient and new music of her home­land, but is a schol­ar of the spe­cif­ic jour­ney that Chi­nese music has tak­en into con­tem­po­rary glob­al cul­ture. I Wayan Sudi­rana has spent a life­time per­form­ing Bali­nese Game­lan music and dance, and is play­ing a key role in the devel­op­ment of con­tem­po­rary Game­lan per­for­mance prac­tice. Joel Bons’ expe­ri­ence as a leader of two of Europe’s most pro­lif­ic inter-cul­tur­al ensem­bles gives him a unique per­spec­tive on the rela­tion­ship between West­ern Euro­pean Art Music and Asian music. Michael Ten­z­er is well known as a schol­ar, eth­no­mu­si­col­o­gist, com­pos­er and per­former of Asian-inspired music, whose com­po­si­tions and per­for­mances breathe the musi­cal con­structs, philoso­phies and sound­worlds of the places he has studied.

In dis­cus­sion togeth­er, these artists chal­lenge west­ern method­ol­o­gy while propos­ing new con­cepts, ideas, and prac­ti­cal infor­ma­tion on writ­ing and per­form­ing in the rapid­ly flour­ish­ing Asian Renaissance.

Musical Dialogue Across Cultures

• Michael O’Neill (Game­lan Madu Sari, Vancouver)
• Jon Sid­dall (Van­cou­ver)
• Moshe Den­burg (Van­cou­ver Inter­cul­tur­al Orchestra)

A musi­cal prac­tice ses­sion using the SFU Game­lan and par­tic­i­pant instru­ments — please bring instruments.

The three ses­sion facil­i­ta­tors have each been immersed for well over a quar­ter cen­tu­ry in apply­ing Asian sounds and prac­tices to their work. Michael O’Neill, in addi­tion to cre­at­ing and per­form­ing new music for bag­pipe, has been a long-time mem­ber of Game­lan Madu Sari (based at SFU) and is a reg­u­lar col­lab­o­ra­tor with the Japan­ese-inspired per­cus­sion group Uzume Taiko. Jon Sid­dall had an ear­ly inter­est in Game­lan music and in some of the first North Amer­i­can com­posers who incor­po­rat­ed Game­lan form and tun­ing in their music. He brought the first Game­lan to Toron­to and found­ed the Ever­green Club Game­lan in the 1980’s. As founder of the Van­cou­ver Inter-Cul­tur­al Orches­tra, com­pos­er-per­former Moshe Den­burg has focused his musi­cal prac­tice on inter-cul­tur­al com­mu­ni­ca­tion and fos­ter­ing musi­cal forms that fuse and tran­scend cul­tur­al traditions.

This prac­ti­cal per­for­mance ses­sion will focus on the chal­lenges and out­comes of com­bin­ing instru­ments, styles and philoso­phies from a vari­ety of diverse cul­tures. Bring your instru­ment or use the gamelan!

Mini Concerts

Son­ic Pres­ence BC presents a series of short per­for­mances dur­ing Forum net­work­ing breaks.

Artists:

• Coat Cooke and Joe Poole (Van­cou­ver)
• Big World Band (John Oliv­er, Farshid Saman­dari and friends, Vancouver)
• Lee Hutzu­lak (Van­cou­ver)
• Marie-Chan­tal Leclair (Mon­tre­al)
• Raven Cha­con (New Mexico)

Closure — Plenary Session

Coa­lesces the dis­cus­sion from the pre­vi­ous net­work­ing ses­sions and pro­vides the oppor­tu­ni­ty for par­tic­i­pants’ insights and per­spec­tives to direct CNMN’s next steps.

CNMN is a bilin­gual orga­ni­za­tion made up of mem­bers who com­mu­ni­cate in both offi­cial lan­guages of Eng­lish and French. As such, our events and com­mu­ni­ca­tions aim to be bilin­gual in nature.

We are look­ing for peo­ple to act as Lan­guage Facil­i­ta­tors at the Forum to facil­i­tate com­pre­hen­sion for cer­tain atten­dees. Atten­dees will self-iden­ti­fy as want­i­ng lan­guage facil­i­ta­tion accord­ing to their lev­el of com­pre­hen­sion: begin­ning, inter­me­di­ate and advanced. Each Lan­guage Facil­i­ta­tor, self-iden­ti­fied as hav­ing an expert com­mand of both offi­cial lan­guages, will then be assigned to one group of atten­dees based on lev­el of comprehension.

Lan­guage Facil­i­ta­tors will sit with their assigned group dur­ing des­ig­nat­ed activ­i­ties and, depend­ing on the group lev­el of com­pre­hen­sion, they will provide:

• Very fre­quent sum­maries and clar­i­fi­ca­tions for the Begin­ner group
• Sum­maries and clar­i­fi­ca­tions, depend­ing on the needs for the Inter­me­di­ate group
• Clar­i­fi­ca­tion on ter­mi­nol­o­gy and com­plex ideas on an as need­ed basis for the Advanced group

Lan­guage Facil­i­ta­tors will be expect­ed to attend an ori­en­ta­tion ses­sion on the evening of Thurs­day Jan­u­ary 19, 2012.

In exchange for their ser­vices, the first four peo­ple to vol­un­teer as lan­guage facil­i­ta­tors will receive com­ple­men­tary reg­is­tra­tion to the Forum, includ­ing a lunch each day of the Forum and a light buf­fet on the evening of Thurs­day Jan­u­ary 19, 2012.

For more infor­ma­tion and to vol­un­teer, please con­tact Louise Camp­bell, Lan­guage facil­i­ta­tion coor­di­na­tor —mlouisecampbell@gmail.com

• pdf ver­sion

Pauline Oliv­eros
Venice Italy Decem­ber 24 2011

Com­posed for the Cana­di­an New Music Net­work Forum 2012 in Van­cou­ver, BC

Van­cou­ver Call­ing is based on call and response.

There are three groups: AOM, AUMI and IMPS.

AOM is the Avatar Orches­tra Meta­verse con­nect­ed via Sec­ond Life.

AUMI is the Adap­tive Use Musi­cal Inter­face Com­put­ers in the Forum and via Skype.

IMPS are impro­vis­ers on site in the Forum (Instru­men­tal­ists).

Con­duc­tion cues are sent by text mes­sage orig­i­nat­ing in Sec­ond Life, and can be viewed by all play­ers on screens or mon­i­tors or oth­er mech­a­nisms for communicating.

Instructions

• Invent a Sig­na­ture Call that you can repeat accu­rate­ly many times.
• Fol­low con­duc­tion cues sent by text message.
• Lis­ten means to stop play­ing and attend to all the sounds that are hap­pen­ing in all groups.

Section I

• Play your Sig­na­ture Call
• Lis­ten
• Answer a Sig­na­ture Call that comes from a play­er in anoth­er group (AOM, AUMI or IMPS) with your Sig­na­ture Call
• Lis­ten
• Only answer the Sig­na­ture Call of the play­er that you select­ed at first from one oth­er group.
• Lis­ten
• After your duo is well estab­lished begin to answer a Sig­na­ture Call from a play­er from the remain­ing group.
• Lis­ten
• Keep answer­ing both Sig­na­ture calls from both groups.
• Repeat until cued for next Section

Section II

• Stop answer­ing Sig­na­ture Calls. Play your Sig­na­ture Call at your own tem­po. Your tem­po should be inde­pen­dent of oth­er player’s tempo.
• Lis­ten
• Con­tin­ue at your own tempo.
• Lis­ten
• Start to sync with a play­er from anoth­er group.
• Lis­ten
• Con­tin­ue until cue for Sec­tion III

Section III

• Start to vary your Sig­na­ture Call (play once then listen)
• Lis­ten
• Each time play a new and dif­fer­ent vari­a­tion (each vari­a­tion may be short­er or longer)
• Lis­ten
• Play vari­a­tion
• Lis­ten
• Con­tin­ue vari­a­tions until cue for Sec­tion IV

Section IV

• Free Impro­vi­sa­tion — play then lis­ten alternately.
• Con­tin­ue until cue for Sec­tion V

Section V

• Free impro­vi­sa­tion with grad­ual return to your Sig­na­ture call.

Section VI

• Play your Sig­na­ture Call
• Lis­ten
• Repeat until cue for END.
• End

While you’re in Van­cou­ver — New music-relat­ed events sched­uled dur­ing evenings of the Forum and beyond.

Check info with venue or pre­sen­ter — sub­ject to change with­out pri­or noti­fi­ca­tion.

Thursday January 19, 2012

Score Reading Club

• Cana­di­an Music Cen­tre BC Region
• 1:30–3:30 pm, Thurs­day, Jan­u­ary 19, 2012
• CMC BC Cre­ative Hub — 837 Davie St, Vancouver
• www.musiccentre.ca / www.bccreativehub.com
• The Score Read­ing Club is a bi-month­ly series that fea­tures inter­est­ing and influ­en­tial works from accom­plished com­posers. Each ses­sion three pre­sen­ters offer an in-depth look at music from a com­pos­er of their choice; this monthDavid Gor­don Duke will present excerpts of ’Mas­quer­ade’ from the Van­cou­ver Sym­pho­ny Orchestra’s Com­pos­er in Res­i­dence Edward Top. Sopra­no, Heather Pawsey will per­form a work that is TBD. James O’Callaghan will presentJonathan Harvey’s ’Speak­ings’ for orches­tra and electronics.
• Join us and dis­cov­er gems you may not know, hear some­thing new and engage in dia­logue about the works. Col­lec­tive­ly, we look at the scores, lis­ten to the music and dis­cuss ele­ments that fas­ci­nate us, puz­zle us, and touch us in emo­tion­al ways. Every­one is wel­come to attend.
• Admis­sion: FREE for every­one.

The Solo and Ensemble

• PuSh Fes­ti­val
• 8pm, Thurs­day Jan­u­ary 19, 2012
• Djavad Mowafaghi­an Cin­e­ma, Gold­corp Cen­tre for the Arts
• SFU Woodward’s — 149 Hast­ings Street, Vancouver
• British artist and film­mak­er Andrew Cross pre­mieres two of his films, The Solo and Ensem­ble. The first film fea­tures leg­endary rock drum­mer Carl Palmer’s min­i­mal­ist style in rig­or­ous­ly edit­ed sequences that explore the rela­tion­ship between drum­mer and kit. Ensem­ble presents an inti­mate por­trait of enig­mat­ic founder of the 1970’s Euro­pean cult band The Enid along with its cur­rent members.
• Tick­ets: $20

Friday January 20, 2012

One-Page Scores

• Van­cou­ver New Music
• 8pm, Fri­day Jan­u­ary 20, 2012
• Djavad Mowafaghi­an World Art Centre
• SFU Woodward’s — 149 Hast­ings Street, Vancouver
• Van­cou­ver New Music presents a con­cert of one-page scores solicit­ed in a Call to CNMN Forum 2012 par­tic­i­pants. Per­formed by the Van­cou­ver New Music Ensem­ble and the Van­cou­ver Elec­tron­ic Ensemble.
• Admis­sion: free for Forum registrants.

Redshift 10th Year Anniversary Concert

• Red­shift Music Society
• 8pm, Fri­day Jan­u­ary 20, 2012
• Blus­son Spinal Cord Centre
• Red­shift is cel­e­brat­ing their tenth anniver­sary (ten years to the day!) with a per­cus­sion extrav­a­gan­za. New works by Kath­leen Allan, Joce­lyn Mor­lock, Jor­dan Nobles, James O’Callaghan, Alfre­do San­ta Ana, and Chris Sivak — per­formed by a pound­ing par­lia­ment of percussionists.
• Admis­sion: free for Forum registrants.
• Check Red­shift web­site for addi­tion­al information.

Circle of Sleep

• West­ern Front Society
• 10pm till dawn, Fri­day Jan­u­ary 20 and Sat­ur­day Jan­u­ary 21, 2012
• West­ern Front — 303 East 8th Avenue, Vancouver
• Com­posers Hilde­gard West­erkamp, Sandeep Bhag­wati and Gor­don Mon­a­han join per­for­mance artist/poet Cheryl l’Hirondelle, media alkemist Navid Navab, musi­cians Mei Han, Coat Cooke, SOUNS, Field­head and oth­ers in this all night con­cert. Pre­pare to slum­ber and dream to the Cir­cle of Sleep, which exam­ines sleep from myth­ic sacred jour­ney to our con­tem­po­rary dilem­ma of ram­pant stim­u­la­tion and rest­less­ness. Bring your own bedroll!
• Tick­ets:
  • Advance Reg­u­lar: $25/20
  • Door: $30/25
  • Spe­cial Advance Dis­count for CNMN Forum atten­dees. Book this unique, alter­na­tive accom­mo­da­tion by Fri­day Jan­u­ary 13, 2012 for $20/15. Space is lim­it­ed. Con­tact Dave Chokroun at newmusicadmin@front.bc.ca to reserve.

Saturday January 21, 2012

La La La Human Steps

• New Work by Edouard Lock with orig­i­nal music by Gavin Bryars
• 8 pm Sat­ur­day, Jan­u­ary 21, 2012 (also Sun­day, Jan­u­ary 22)
• The Cen­tre in Van­cou­ver for Per­form­ing Arts — 777 Homer Street
• Pre­sent­ed by Dance­House and Van­cou­ver New Music
• More info: Van­cou­ver New Music; Dance­House
• Tick­ets: $40.50 — $75.50, avail­able through Tick­et­mas­ter

Circle of Sleep

• West­ern Front Society
• 10pm till dawn, Sat­ur­day Jan­u­ary 21, 2012
• See Fri­day list­ing for details

Sunday January 22, 2012

La La La Human Steps

• New Work by Edouard Lock with orig­i­nal music by Gavin Bryars
• 8 pm Sun­day, Jan­u­ary 22, 2012 (also Sat­ur­day, Jan­u­ary 21)
• See Sat­ur­day list­ing for details

Monday January 23, 2012

Eve Egoyan plays Simple Lines of Enquiry

• Music on Main
• 8pm, Mon­day Jan­u­ary 23 & Tues­day, Jan­u­ary 24, 2012
• Her­itage Hall — 3102 Main Street, Vancouver
• Writ­ten espe­cial­ly for Egoy­an, the late Ann Southam’s Sim­ple of Lines of Enquiry has cap­tured the imag­i­na­tion of music lovers around the world. Now the cel­e­brat­ed pianist brings this mes­mer­iz­ing and med­i­ta­tive piece to the inti­mate Her­itage Hall for its Van­cou­ver pre­miere. Pre­sent­ed with the PuSh Inter­na­tion­al Per­form­ing Arts Festival
• Tick­ets:
  • $29 gen­er­al admis­sion / $15 student
  • Spe­cial $25 rate for Forum reg­is­trants avail­able online in advance of the con­cert (with a code “réseau”).

Tuesday January 24, 2012

Eve Egoyan plays Simple Lines of Enquiry

• Music on Main
• 8pm, Tues­day, Jan­u­ary 24, 2012
• See Mon­day list­ing for details

Sunday January 29, 2012

Colourful World

• Turn­ing Point Ensemble
• 8pm, Sun­day Jan­u­ary 29, 2012
• Fei and Mil­ton Wong Exper­i­men­tal Theatre
• SFU Woodward’s — 149 Hast­ings Street, Vancouver
• Turn­ing Point presents a rein­vent­ed ver­sion of Debussy’s Jeux, Toru Takemitsu’s Archipeli­go S. and a large new com­mis­sion by Rod­ney Sharman.
• Tick­ets: $38 adult / $35 senior / $18 student

Additional events

PuSh Festival

• Jan­u­ary 17 — Feb­ru­ary 5, 2012

Practical Information / Hotel

For the first time ever, the CNMN is orga­niz­ing bil­let­ing dur­ing our upcom­ing nation­al Forum, Jan­u­ary 19–22, 2012 in Vancouver.

We hope that by offer­ing the option of bil­let­ing at the Forum, we not only make the trip to Van­cou­ver more afford­able, but, more impor­tant­ly, we con­tin­ue to find new ways to bridge the geo­graph­i­cal dis­tance of our vast coun­try and bring mem­bers of the nation­al new music com­mu­ni­ty clos­er together.

This bil­let­ing expe­ri­ence is a won­der­ful way to expand your net­work and cul­ti­vate last­ing con­nec­tions. The advan­tages are numer­ous, both for those arriv­ing from out of town and ben­e­fit­ing from a local host, and for those host­ing guests from places they may some­day visit.

We hope to build a size­able list of bil­let­ing hosts and an equal­ly size­able list of guests to stay with them.

We are seek­ing assis­tance in a vari­ety of areas as the plan­ning for Habi­ta­tion 2012 con­tin­ues to move for­ward. There are many dif­fer­ent ways to help make this bil­let­ing project a suc­cess. We invite you to think about how you might be able to get involved. All lev­els of involve­ment are of value!

We wel­come your par­tic­i­pa­tion — please check out the Habi­ta­tion pages and feel free to con­tact us.

Con­tact: Stacey Brown, Bil­let­ing Coor­di­na­tor — CNMN-RCMN_habitation@staceybrown.ca

 

 

Why Get Involved

Getting to Vancouver

Vis­it­ing beau­ti­ful British Colum­bia late Jan­u­ary, at a time when it’s usu­al­ly blis­tery cold in the oth­er parts of Cana­da — now that’s a great idea!

But trav­el is more of an issue for Forum 2012 because it’s a much big­ger trip for peo­ple from Atlantic Cana­da, Que­bec and Ontario… where most Cana­di­ans live. We hope this fact doesn’t dis­cour­age people.

Our past 4 nation­al Forums were very excit­ing and suc­cess­ful, and the project has proven to be a great way to strength­en ties with peo­ple in the new music field from coast to coast, to make con­nec­tions, to hear new ideas and to get new projects off the ground.

Here are a few hints and tips so you don’t break the pig­gy bank:

1. There are good air­fare rates for the end of Jan­u­ary. You’d be sur­prised what is out there! Get them before they go up in price.
2. Make use of our new Habi­ta­tion 2012 bil­let­ing project to help save accom­mo­da­tion costs as well as bump up your net­work­ing oppor­tu­ni­ties. Con­tact Stacey Brown: CNMN-RCMN_habitation@staceybrown.ca
3. For those who have resources to apply to their orga­ni­za­tion, insti­tu­tion or uni­ver­si­ty for trav­el or pro­fes­sion­al devel­op­ment sup­port, we hope you choose Forum 2012 for one of these applications.
4. You may be eli­gi­ble for trav­el fund­ing from your region­al or provin­cial arts coun­cil. Don’t be afraid to call them up and ask! Act quick­ly to be sure you will meet deadlines.
5. You may be eli­gi­ble for a trav­el grant from the Equi­ty Office at the Cana­da Coun­cil. It is for Cana­di­an pro­fes­sion­al artists or arts pro­fes­sion­als with dis­abil ities or who are from cul­tur­al­ly diverse groups (African, Asian, Lati­nAmer­i­can, Mid­dle East­ern or mixed racial descent). More in for­ma­tion: http://www.canadacouncil.ca/equity/

Support Letter

We would like as many peo­ple as pos­si­ble attend­ing Forum 2012.

We are ask­ing as many peo­ple as pos­si­ble, from all areas of music: musi­col­o­gy, per­for­mance, music edu­ca­tion, music the­o­ry, com­po­si­tion, music tech­nol­o­gy, media arts, inter­dis­ci­pli­nary arts, etc.

We can pro­vide the nec­es­sary let­ter of sup­port for your application.

Our Admin­is­tra­tive Direc­tor, Emi­ly Hall, has a let­ter pre­pared. Con­tact her at any time if you need this let­ter, per­son­al­ized with your details — admin@newmusicnetwork.ca

We also warm­ly wel­come your fel­low col­leagues — feel free to speak with them or for­ward this infor­ma­tion. If they are new to CNMN, they can get ori­ent­ed with our bilin­gual PDF brochure for gen­er­al infor­ma­tion about CNMN.

Thanks for your time and con­sid­er­a­tion. I look for­ward to see­ing you in Van­cou­ver this com­ing January.

Yours tru­ly,

Tim Brady
Pres­i­dent — CNMN / RCMN

On the occa­sion of the Cana­di­an New Music Net­work Forum 2012 Jan­u­ary 19 — 22 in Van­cou­ver, BC, the Van­cou­ver New Music will facil­i­tate a per­for­mance involv­ing the Van­cou­ver Elec­tron­ic Ensem­ble (VEE) and VNM Com­mu­ni­ty Ensem­ble on Fri­day, Jan­u­ary 20, 8pm at the Djavad Mowafaghi­an World Art Cen­tre, SFU Woodward’s, 149 Hast­ings Street, Vancouver.

In an effort to stim­u­late col­lab­o­ra­tion and dia­logue between dif­fer­ent music com­mu­ni­ties, we invite musi­cians, com­posers and sound thinkers who plan to attend Forum 2012 to sup­ply us with just one page of mate­r­i­al con­ceived for a mix of unde­ter­mined acoustic and elec­tron­ic instru­ments. The two ensem­bles will then use the mate­r­i­al to elab­o­rate each sub­mis­sion into a per­for­mance piece.

Each of the two ensem­bles includes musi­cians from very diverse musi­cal back­grounds — clas­si­cal­ly trained, self-taught, impro­vis­ers, etc. Not all of the ensem­ble mem­bers are West­ern nota­tion read­ers. The one-page score can be any­thing fromgraph­ic to notat­ed and beyond and in between, while con­sid­er­ing the nature of the ensembles.

With­in the ensem­bles, exper­i­men­ta­tion is ful­ly embraced as a pri­ma­ry activ­i­ty toward estab­lish­ing cre­ative prac­tices that imply the con­struc­tion of mod­els of pos­si­ble music (s). Both groups should be defined as the instru­ment for explor­ing and expe­ri­enc­ing an idea of knowl­edge and for inves­ti­gat­ing per­cep­tion and rep­re­sent­ing philo­soph­i­cal sys­tems or mod­els of nature with­out fix­ing any a pri­ori def­i­n­i­tion. These activ­i­ties are based on an inter­ac­tion­al and process-ori­ent­ed approach of sound mak­ing and music prax­is where­in style-ele­ments are cre­at­ed con­tin­u­ous­ly in func­tion of time and con­text and beyond any kind of sen­ti­men­tal or aes­thet­ic approach.

A ran­dom selec­tion of one-page scores from artists reg­is­tered to attend Forum 2012 will be per­formed Jan­u­ary 20, 2011. VEE will gen­er­ate oppor­tu­ni­ties for pre­sen­ta­tion, per­for­mance or instal­la­tion of pos­si­bly all the sub­mit­ted one-page scores beyond this ini­tial presentation.

Submission Guidelines

1. one-page score should be sub­mit­ted on one let­ter size (8.5x11) black and white page via email as PDF attach­ment with the sub­ject head­ing “one-page score” score title, com­pos­er full name and loca­tion to be includ­ed in email body
2. Email to giorgio@newmusic.org
3. Dead­line: Decem­ber 30, 2011 at mid­night (PST)