Fwd: View from the Front


Subject: Fwd: View from the Front
From: Yves Gigon (ygigon@CAM.ORG)
Date: Tue Mar 09 1999 - 00:34:36 EST


Recu a la CEC:
Received at the CEC:

Yves Gigon
Administrateur / Administrator
CEC
ygigon@cam.org

--------------------

> Western Front New Music presents
>
>
> View from the Front
> Western Front's annual showcase
> of female musicians and composers
>
> March 18 - 21
> 8:00 pm
> @ Western Front 303 East 8th Avenue
> Tickets $12 general / $10 WF members
> Series of 3: $30 general / $25 members
> Advance tickets: call Festival Box Office 257-0366
> (service charges apply)
>
>
> Fast Forward
>
> Thursday, March 18
> Teresa Connors, Cheryl Hutchinson, sylvi macCormac, Sue McGowan, Siobhan
> and Rita Ueda
>
> Prepare for an aural odyssey during this evening of soundscapes and
> electronics featuring six exciting West Coast electronic music composers.
> In what is often assumed to be a male-dominated scene, Vancouver has
> emerged as a Mecca for female electro-acoustic composers. Fast Forward
> presents some of these newest members of the sonic community.
>
> Using "Csound" to create instruments, University of British Columbia Music
> graduate Cheryl Hutchinson contributes a piece entitled Calling From
> Beyond. Many of the instruments it uses were created especially to
> manipulate and control various sampled sounds.
>
> sylvi macCormac comes from an eclectic background which includes singing
> and composing folk music, mask-clown-music ensembles, and film projects
> with various partners, including Bruce Cockburn. Her electro-acoustic
> compositions include Waves of Kokoro a soundscape for Kokoro Dance and
> Voices of a Place, an audio portrait of Hildegard Westerkamp.
>
> Rita Ueda comes from a long line of poets, musicians, dancers, and
> engineers. She began her musical training at age three in a small Buddhist
> monastery in northern Japan. After completing her BFA at Simon Fraser
> University, she earned an MFA at the California Institute of the Arts.
> Working as a composer/sound designer in Vancouver she recently completed
> the CD-ROM Masks: Faces of the Pacific with DNA Multimedia. Rita is
> president of the Vancouver Pro Musica Society and the director of LEAPS
> (Live Electro-Acoustic Performance Series).
>
> Siobhan is a Dj on CiTR 101.9fm Radio and a former Music Director and
> Production Manager at the station. In 1998, Siobhan co-founded the
> Homewrecker Foundation, an all female sub-label of Zhark Recordings.
> Forthcoming is an HWF 7" single with Kid-606, on the upcoming Irritant
> compilation. She recently contributed to Deadly Systems' Deadly Type
> newsletter, examining Hardcore and its relation to society. Her hobbies
> include "dark sick music, as both listener and operator."
>
> Sue McGowan is an Arts graduate of Simon Fraser University, where she
> studied composition with Barry Truax, Rodney Sharman and Owen Underhill.
> Her works have been performed at the EuCuE series in Montreal, the Synthese
> 97 festival in Bourges, France and in various concerts in Vancouver. She
> currently works as a singer/songwriter in an electric folk trio and as a
> composer/performer in music for contemporary dance.
>
> Teresa Connors is a native Newfoundlander who comes from a long line of
> musical folk. She studied composition and opera singing at Dalhousie
> University in Nova Scotia. Since moving to Vancouver, she has had an active
> career in both of these fields.
>
> Special thanks
> to Third Monk Software and CiTR 101.9fm Radio.
>
> Talk Music
> co-presented with Vancouver Pro Musica Society
> Friday, March 19
>
> In an evening organized to move between the seriousness of composed pieces
> and the playfulness of improvisational interludes, three sopranos:
> Elizabeth Skillings, Elizabeth Hamel, Katherine Harris and Vancouver's
> Standing Wave perform the language of talk. Writing for the Lips are local
> composers Janet Berman, Alexandra Diebel and Jacquie Leggatt. Between
> acts, Francois Houle will improvise to poems by Catriona Strang and Laurie
> Lyster will perform an improvisational work for percussion.
>
> Jacquie Leggatt obtained a Bachelor of Music degree in piano from Queen's
> University and a Doctorate in Composition from the University of British
> Columbia where she studied with Eugene Wilson. Though her main interest
> lies in chamber music, she has also written music for the stage, both
> theatre and dance.
>
> Noted for her sense of humor, Alexandra Diebel has composed and
> self-produced three operas. Her compositional technique is based on an
> attempt to cross blues melody with arioso style. Her piece for Talk Music
> features an opera singer and an ode to the dickless Gap boy on the
> billboard outside her apartment building.
>
> Born in South Africa and educated in England and Canada, Janet Berman is a
> composer, bass player, poet and teacher. Her compositions are both
> aggressive and lyrical. She writes acoustic and electro-acoustic music and
> strives to be as eclectic as possible in her compositional style.
>
> Catriona Strang's latest work is The Clamorous Alphabet with Francois
> Houle, a CD recently released on the Periplum label. Her books include
> Steep (Seeing Eye, L.A.), Low Fancy (ECW, Toronto) and TEM (Barscheit,
> Vancouver).
>
> One of the most dynamic voices in Vancouver's new music scene, Standing
> Wave infuses an energetic and progressive repertoire with their uncommon
> vitality as informed by their various other musical activities, which
> include free improvisation, opera, and R&B. Standing Wave's members are
> clarinetist Francois Houle, cellist Peggy Lee, percussionist Lauri Lyster,
> pianist Marguerite Witvoet, and violinist Sheila Macdonald.
>
>
> Kaffe Matthews
> Saturday, March 20
>
> UK-London's Kaffe Matthews' music is created using a violin, a heavy rig of
> live sampling electronics and the space of the concert. She'll set up a
> microphone, in a lobby or a bar somewhere near the concert, to provide a
> wild card element for the rich samples she feeds her violin. Recently she
> found herself playing in a concert hall in Warsaw, inside a castle. "The
> nearest bar was 300 metres down the road," she says, "so we ran cable all
> the way along to this bar, and I hid my tiny mic in a vase on a table
> reserved for 8:30 pm - the same starting time as the concert's." Used
> extremely sparingly to add eavesdropped sound into the mix, these
> foundsounds often seem like a sort of mental fake-out.
>
>
> Her ability to manipulate electronics and the Steim-developed LiSa software
> makes Matthews one of today's most interesting live electronic players.
> She has developed the technique of composing live with multiple streams of
> samples to an unprecedented level. Like the best improvising drummers and
> pianists, she is able to maintain many streams of discussion - at once
> truly polyphonic and polyrhythmic. Matthews' works are more akin to
> composed orchestral music than the usual direction of solo or hip hop
> electronics.
>
> Running the full gamut of genres, Matthews has studied classical violin as
> well as West African drumming, has a Zoology degree and has engineered acid
> house music. She has just released her second solo work CD Bea which was
> compiled from a ten date tour of the US; Kaffe regularly performs all over
> Europe and the UK. We welcome her to the Western Front for her Canadian
> debut.
>
>
>
> View from the Front:
> Music Talks
>
> Live Sampling with LiSa - Workshop
> Sunday, March 21
> 12:30 - 2:30 pm
> $15/free to Western Front members
>
> LiSa (Live Sampling) software allows the performer to sample and process in
> real time so that sound from the performance itself can be used. The
> people, the space and the timing may all contribute to the performance -
> not merely as passive onlookers to sonic wizardry - but as active
> participants in the event. Composer Kaffe Matthews introduces LiSa, the
> live electronics software she designed .
>
>
> Festival artists discussion:
>
> Male structure in a feminine guise
> 3:00 - 5:00 pm
>
>>From the Homewreckers Foundation Manifesto by Siobhan "The abstractions
> approximated by music, the potential anonymity afforded by the technology,
> the means of dissemination or distribution, in some respect, works to mask
> the function of gender and gender issues in electronic music. White or
> black labels do not speak of sex. But music is never sexless. Unbounded by
> historical circumstance, the relatively new genre of electronic music is,
> paradoxically, profoundly tied to patriarchal culture."
>
>
>
>
> **********************************************************************
> **********
>
> The above announcement is part of a new initiative by Vancouver New
> Music, Vancouver Pro Musica and a number of other new music organizations
> in the Vancouver area to bring about a greater awareness of their
> activities.
> There will likely be a concert annoucement a few times a month on
> this list. If you wish to be removed from the list please reply to this
> email and we will promptly take you off.
> For more information on upcoming concerts in the Vancouver area
> please have a look at the Vancouver Pro Musica Contemporary Music Calendar
> on Earsay's cool website
> http://www.earsay.com/Pages/sections/resources/calendar.html

-------------------------------

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