Projects

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This doctoral thesis, researched at McGill University, Montreal, discusses the technological, compositional and performance-practice aspects of computer-based live and interactive electronic vocal music. Live performance-based electronic music indicates a composition by which the vocal, instrumental and/or electronic sounds are processed in real time. By surveying historical developments, technological advances, aesthetics, and important figures, this document intends to assist singers in gaining a global perspective of the field in hopes of facilitating interest in the performing and commissioning of live electronic vocal compositions. An important element of this thesis is an annotated appendix of computer-based live and interactive electronic vocal music detailing instrumentation, technical requirements, texts, performance notes and publisher contact information. In order to assist in the study and performance of these works, relevant performance issues are explored, and a methodology and step-by-step checklist for learning contemporary and electronic vocal music is included. An analysis of three vocal works in this genre is presented: En Echo by Philippe Manoury, Erba nera che cresci segno nero tu vivi by Mauro Lanza, and Avant la larme by David Adamcyk.

PUBLICATIONS

newmusicbox ‹ Electric Influence. American Music Center (April 2010). Interviews with American composers Mason Bates, Ken Ueno, Ricardo Romaneiro and Rebecca Fiebrink.
Electric Influence (newmusicbox.org)

eContact! 12.2 ‹ Interviews. Montréal: Communauté électroacoustique canadienne / Canadian Electroacoustic Community (April 2010). Interviews with Franziska Baumann and Karlheinz Essl.
Interviews with Karlheinz Essl and Franziska Baumann (eContact! 12.2)

eContact! 10.4 ‹ Live / Improvisation in Electroacoustics. Montréal: Communauté électroacoustique canadienne / Canadian Electroacoustic Community (September 2008).
Live/Improvisation in Electroacoustics (eContact! 10.4)

“DE VIVE VOIX”

Collaborative project with Marlon Schumacher (sponsored by CIRMMT and a SSHRC grant) entailing an interactive, improvisational exploration of vocal and sonic materials derived from specific sound processing/synthesis models and further altered with a data–glove. The piece presents a reflection on musical relationships between performers in a concert and the gap between the ‘live’ (acoustic) and ‘virtual’ (electronic) worlds, thematizing the musical encounter of two human beings in a virtual sonic environment. Performed at the 2010 Musimars Festival, Montreal.

DIGITAL INSTRUMENT PERFORMANCE

“Commotion and Contingence” – Physical interaction digital musical instruments designed by David Birnbaum and performed by Julieanne Klein and Kristie Ibrahim. ‘Commotion’ is a drum–sequencing instrument, while ‘Contingence’ is an FM synth activated when the performer touches objects with her fingers. Performed at the 2004 Jusqu’aux Oreilles Contemporary Music Festival, Montreal.
Commotion and Contingence

“NEW MODES OF ARTISTIC EXPRESSION IN PERFORMANCE”

FQRSC Grant (Fonds de recherché sur la société et la culture) – collaborative project sponsoring two composers, two performers and one sound engineer. Participants included Emily Hall, Nik Kambeitz, Kristie Ibrahim and Charles Gagnon. Final project culminated in large-scale electronic work performed at the 2004 Jusqu’aux Oreilles Contemporary Music Festival, Montreal.

LIVE AND INTERACTIVE VOCAL ELECTRONICS:

TRENDS AND TECHNIQUES FOR THE ART OF PERFORMANCE