FORUM 2012

Connecting Practices, Geographies and Cultures

Thursday January 19 — Sunday January 22, 2012 — Vancouver, BC

The fifth CNMN national Forum is hosted by Simon Fraser University’s School for the Contemporary Arts at its new home at SFU Woodward’s, 149 West Hastings Street in downtown Vancouver.

CNMN National Forums offer face to face connections with artistic directors, music educators, improvisers, producers, composers, arts administrators, performers, scholars, music lovers and others who believe in the value of the many forms of new music and sound art and seek to deepen and strengthen their practice across Canada.

To facilitate participation, CNMN is offering Habitation, a billeting project in Vancouver in which local hosts are matched with Forum registrants, and information for potential travel funding, including a Support Letter that can be tailored for submission to funding agencies and institutions.


Reflecting the times and the rapid evolution of the practice and dissemination of new music, FORUM 2012 brings together some of the most innovative thinkers in North America to discuss what is ahead for the art form and its networks.

While music practitioners are redefining their roles within their home communities through intercultural collaborations and partnerships with education, environment, social, health and other groups, networked platforms have opened pathways for collaboration and dissemination in a globally interconnected context. Emerging technologies are transforming the way music is conceived, composed and performed through radical new instruments, interfaces and robotic intelligences.

New music is stepping more and more beyond conventional concert venues to inhabit an array of contexts and places that stretch both the music and the experience. Similarly, a blur between composer and performer and between audience and practitioner is evolving the art form as philosophical ideas and interactive methodologies become integrated into the practice of new music.

In the midst of these deep and far-reaching developments, at the core of FORUM 2012 is a reminder and a recognition that the heart of any musical practice, whether ancient, modern or radically new, is about connecting — with sound, with place and with each other.


FORUM 2012 creates avenues for connection through small group discussion, facilitated exchanges, listening and sound making activities, interactive demonstrations and open forums. New this year is Language Facilitation, a flexible way for speakers of varying levels of French and English to communicate more deeply with one another.

Each day of the FORUM includes a themed open session using the Unconference model, where attendees can bring topics, ideas and issues, and where moments of interest from previous sessions can be elaborated. The results of these open discussions will guide CNMN in its role of supporting and championing the relevance, excellence and sustainability of the Canadian new music community.

The Forum venue includes dedicated spaces for attendees to display materials (CD’s, scores, brochures, newsletters, announcements, etc.) and places to interact musically and try new technologies.

We will also hear One-Page Scores by Forum attendees — don’t miss the call, deadline December 30!

We hope you join us in Vancouver for three days of illuminating connections and music.

Forum 2012 Advisory Committee Co-Chairs: Tina M Pearson and Randy Raine-Reusch. Committee: Bob Baker, DB Boyko, Mark Armanini, Janice Jackson, and Coat Cooke.


  • Featured Guests

    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 FoundationEar 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 EnsembleAtlas 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.

  • Schedule

    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

    Djavad Mowafaghian World Cultural Centre (WCU) , Goldcorp Centre for the Arts
    Djavad Mowafaghian Cinema, Goldcorp Centre for the Arts
    Studio 4350Fourth Floor Music Room, Goldcorp Centre for the Arts
    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
    5:00pm Buffet & Networking
    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).

  • Sessions & Activites

    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.


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


    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.


    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?’


    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?’


    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.


    • 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.

  • Language Facilitation

    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 —

  • Vancouver Calling — Pauline Oliveros Score

    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.


    • 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
  • Vancouver Concerts

    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
    • /
    • 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 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 MusicDanceHouse
    • Tickets: $40.50 — $75.50, available through Ticketmaster

    Circle of Sleep

    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
  • Registration

    Registration is Closed

  • Practical Information

    Practical Information / Hotel


    From the airport to the hotel:

    • The skytrain goes from the airport to downtown Vancouver. You can either get off at the Granville station and walk 7 minutes to the Sandman Hotel, or change to the Millennium or Expo lines to get off at the Stadium-Chinatown station which is across the street from the Hotel.

    From the hotel to the Forum:

    • Walk by foot only 4 blocks to the Goldcorp Centre for the Arts, located at SFU Woodward’s — 149 W Hastings St., Vancouver, BC, Canada.


    For your convenience, refer to these locations on the Google map. You will find both the Forum (A) and hotel (B) locations.


    Where to Eat near SFU Woodward’s


    Sandman Hotel Vancouver City Centre
    180 W Georgia St.
    Vancouver BC V6B 4P4
    Toll Free: 1-800-726-3626 x1 — central reservations
    Local: 604-681-2211 (x2 — front desk / x1 — central reservations)

    Block of rooms is held for bookings until December 22, 2012, upon which group rate remains but is subject to available vacancy.

    Book your room by phone, using the code 605323.

    • Until December 22: Call 1-800-726-3626 x1 (toll free) or 604-681-2211 (local).
    • After December 22: Call Ms. Stephanie Oslund’s direct number: 604-646-4316.

    Group rates

    (up to quad occupancy)

    Standard — 1 Queen $79
    Standard — 2 Double size beds $89
    Standard — 2 Queens $99
    Standard King — Corporate Tower $99
    Standard King w/ pullout — Corporate Tower $109
    King Suite — Corporate Tower $159
    • Rates are per room, per night
    • Rates do not include taxes — current taxes are: 2% hotel room tax, 12% HST and 1.5% Marketing Destination Fee
    • Taxes are subject to change without notice
    • All rooms must be guaranteed at time of reservation to the individual’s credit card. Cancellation policy is 48 hours notification to avoid a penalty of one night’s room and tax.
    • The room rates are available on the following nights: Jan 17, 18, 19, 20, 21, 22 and 23, with some flexibility.

    Hotel Parking

    Parking is available in the Sandman’s underground, gated parking area. Parking is an additional $15.00 per night.

  • Habitation 2012

    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 —



    Why Get Involved

    One of the major goals of the Canadian New Music Network is expressed directly in our name: to provide networking opportunities.

    Habitation is an exciting opportunity to build your network and get to know others who share your belief that creative music making has importance and value in Canadian society.

    To improve communication, understanding and knowledge within the Canadian new music community, we need to multiply opportunities for you to expand your network and create lasting connections with colleagues from coast to coast.

    By nature, the billeting experience is a powerful and unique opportunity to cultivate these connections. It’s a wonderful way to meet new people or to strengthen existing relationships.


    Spread the Word

    Do you know someone who lives in Vancouver who might like to be a host?

    Do you know someone who might like to stay with one of our hosts?

    Please tell them about Habitation 2012 — thanks!

    If you have your own communication resources that you would like to volunteer, if you know of free communication resources in Vancouver, or if you have other ideas…

    Please email us — thanks!

    Contact: Stacey Brown, Billeting Coordinator —



    Become a Host

    We are currently seeking Vancouver hosts to billet attendees of the Forum, arriving in town from across the country.

    1. You live in Vancouver?
    2. You like meeting new people?
    3. You have a spare bed/couch/foamie or mattress on the floor that you could offer to someone travelling to Vancouver to attend the CNMN National Forum 2012, January 19-22, 2012?

    YES? That’s great news!

    Then YOU are invited to become a host for Habitation 2012!

    I’m intrigued! But, what am I getting myself into?

    Being a host is as easy as being able to provide your guest with:

    1. A place to sleep
    2. Access to a shower and clean towels
    3. Breakfast (You don’t have to prepare it! Simply have breakfast foods available!)

    Hosts are not required to provide transportation to and from the venue (SFU Woodward’s, 149 West Hastings Street). But, we are hoping to find accommodations that are located within reasonable proximity.

    This sounds amazing! How do I become a host?

    1. Download the host form (excel file).
    2. Open as read-only and follow the instructions inside the document.
    3. Problems? Email Stacey Brown:

    Seems simple! Are there any perks?

    You mean besides getting to know terrific new people and building your cross-country network? Well, YES!

    1. CNMN will provide one free registration to the Forum 2012 for all hosts.
    2. Hosts will receive $10 per day per guest for billeting.

    What happens after I send in my form?

    1. The Billeting Coordinator, or designated assistant, will contact all potential hosts by email or by phone in November or early December.
    2. You may be asked some additional questions to confirm details about your accommodations and/or circumstances.
    3. You will be matched with the most suitable guest (s) according to the information you have provided, and you will be contacted as soon as possible with the name (s) and contact information of your guest (s).

    Your privacy is very important to us. The information collected will be safeguarded and will not be shared with any other organizations or publicly disseminated. It will be used solely for the purpose of matching hosts and guests for Habitation 2012.

  • Support Letter

    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:
    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:

    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 —

    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

  • Call for One Page Scores

    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 (8.5×11) 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
    3. Deadline: December 30, 2011 at midnight (PST)

    Vancouver New Music