Re: On Harvest Moon

Subject: Re: On Harvest Moon
Date: Sun Sep 25 2005 - 13:39:46 EDT

Great comments Ned...

A couple thoughts.

_ I believe the programation was based on received pieces, so the options of
what to play was decided by the composers that did and did not submit works.

_ The teachers do have things to answer for, to start with ... where were they,
other than those teachers that were involved in the actual presentation of the
symposium most were not actually present. I know life gets in the way but
really. This is not meant to be confrontational, nor is it asking for
justification , just something I noticed.

_ How many people were at the CEC AGM? How many people are members? It is a big
list and is well represented by montreal based artists, where was everybody, or
is the CEC losing (or has it lost) its standing?

_ I also saw no support from teachers from within the greater Concordia
community ( especially the sound related teachers ) from communications, eart,
digital image and sound, film, or any other dept. that might draw on specific
aspects of sonic art/electroacoustics.

_ of the students that were present for the concerts most were doing so to
fulfill requirements for the courses they are taking. other than that there
3 or 4 of us at most.

_ again with the teachers, I have noticed a void in communications between the
university ea programs. There are probably close to 1000 students studying some
level of ea/sonic art in Montreal at this time, between U of M, Concordia,
Conservatory / UQAM / Sherbrooke (not exactley MTL but they had a prescence
there anyway). Where are the students from other institutions, where are the

Just some thoughts, thanks ned for stiring up the pot.


Quoting Ned Bouhalassa <>:

> I'd like to preface this by saying that due to circumstances way beyond
> my control, I was only able to attend the last day of Concordia's
> Harvest Moon festival.
> Here are a few random thoughts for a Sunday morning:
> - Why were there so many US composers programmed compared to Canadians
> and Europeans? Not that I have anything against Americans, of course,
> but given this city's fantastic output of exceptional electroacoustic
> pieces and the historical ties with France, and more recently the UK,
> it seems quite a turn. Did it have to do with the projection format? A
> Concordia student came up to me after the concert (Tim? If so, he and
> his friends are a great addition to Concordia's electroacoustic group)
> and said that my music sounded very different from what he had heard up
> until now at the festival, he called it much more cinematic. Clearly,
> he does not know that acousmatic art is (was?!) the dominant form of
> electroacoustics in this city.
> - I really enjoyed the conference aspect and wished I had attented
> other presentations. In particular, I was very stimulated by Eliot H's
> questions. In the future, he should be the official interviewer for the
> festival, particularly when it comes to presentations that deal with
> composition specifically. Réjean Beaucage has played that role very
> well during Réseaux's festivals. I also thought the atrium installation
> in front of the library was fun and important in that it allowed for a
> more public context for electroacoustics.
> - The webcast aspect threw me off at first and it took me a while to
> get used to it. In retrospect, I think it's absolutely great to have
> such a resource. Thank you to those that made it possible at Concordia
> (Yves G?!!).
> - The sound in the hall was terrific. The system is top notch. I had
> brought my piece on my laptop and it was a joy to be able to adjust
> individual levels from the audience's vantage point (I was connected
> via a long FireWire cable). My only question is whether the 8 speakers
> have a lot of low end? It seems that even while lowering the LFE output
> in my sequencer, I was still getting much low end from the other
> speakers - was I dreaming? Oh, and sorry, kind of, for distorting the
> live stream. Next time, I'll try to... nah, I'll probably do it again!
> ;-)
> - While I was happily surprised when KA threw out 450 as the number of
> students who are studying sound at Concordia, I was disappointed
> (again) by the relatively low turn-out at the concert proper. There
> should have been 100 students, at least. For this, I blame the
> teachers. And I fear that this is a 'problem' (maybe only for me?!) in
> many universities/colleges. Why do I blame the profs? Because it's so
> bloody hard to get newbies to become regulars, that IMO, you have to go
> _out of your way_ to set an example, show them that this can be an
> exciting music and that concerts can be fun to attend, and _most
> importantly_ that there is room for motivated composers/performers. My
> teachers included Jean-François Denis, Kevin Austin, and Francis
> Dhomont. All incredibly active, and _involved_ in the scene, but also
> terrific motivators, not just (!) good teachers. Once again, there were
> _no_ other active Montreal ea composers at a Concordia concert. Why?
> Distance and timing (Friday night, in the West end of town)? Yeah, that
> played a role, but I also blame the programming. 15 years, I used to
> program Québécois composers regularly at Concordia. They would come and
> bring other composers and friends with them, and their powerful works
> would rock the hall. They would marvel at the quality of the system in
> this out-of-the-way university, and the audience would marvel at the
> quality of Montrealer's output. Now?...
> Ned
> __ Ned Bouhalassa __
> > > < <
> ::::: :::::

Andrew McCallum

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