|Saturday, April 9, 2016 - 20:00||Chamber Music Ensembles||Pollack Hall|
|Sunday, April 10, 2016 - 17:00||Chamber Music Ensembles||Redpath Hall|
|Sunday, April 10, 2016 - 20:00||Chamber Music Ensembles||Redpath Hall|
|Wednesday, April 13, 2016 - 17:00||Chamber Music Ensembles||Pollack Hall|
|Wednesday, April 13, 2016 - 20:00||Chamber Music Ensembles||Pollack Hall|
|Monday, February 8, 2016 (All day) to Sunday, February 14, 2016 (All day)||Chamber Music Festival||Strathcona Music Building||
The most primising talents of the Schulich School of Music join forces with their colleagues from the Paris conservatory, Mozarteum in Salzburg and the Beijing Central Conservatory of Music for a week of musical exchange. Varied chamber music programming, stimulating encounters and live music performed by young musicians from around the world.
|Sunday, February 14, 2016 - 14:30||Chamber Music Festival: Closing Concert||Pollack Hall|
|Tuesday, February 9, 2016 - 17:00||Chamber Music Festival: Musicians from around the world||Tanna Schulich Hall|
|Saturday, February 13, 2016 - 14:30||Chamber Music Festival: Musicians from around the world||Clara Lichtenstein Hall|
|Saturday, February 13, 2016 - 19:00||Chamber Music Festival: Musicians from around the world||Clara Lichtenstein Hall|
|Friday, February 12, 2016 - 19:30||Chamber Music Festival: New Orford String Quartet||Redpath Hall||
Catherine Thornhill Steele Guest Artists
|Monday, February 8, 2016 - 19:30||Chamber Music Festival: Opening Concert||Pollack Hall||
Daniel Philips, violin, and Tara Helen O'Connor, flute, Catherine Thornhill Steele guest artists
|Sunday, June 12, 2016 - 19:30||Chorale du Gesù||Redpath Hall|
|Thursday, February 25, 2016 - 14:30 to 18:00||CIRMMT Distinguished Lecture Series: Edmund Campion||Tanna Schulich Hall||
Edmund Campion, CNMAT, University of California at Berkley, USA: Moving parts: On structure and chaotic actions in the design and build of my computer-base music(s)
This lecture will take place in TANNA SCHULICH HALL, followed by a wine and cheese reception in room A833 (8th floor of the Elizabeth Wirth Building).
Edmund Campion is a composer and Director of the UC Berkeley Center for New Music and Audio Technologies (CNMAT www.cnmat.berkeley.edu). In this talk, he will explore and demonstrate how a non-technical person from the pre-internet age has met the challenges and pitfalls of using and inventing digital tools to inspire and guide artistic outcomes. Through an archaeology of creative process covering twenty-five years of composing with emerging technologies, Campion will examine how digital tools help and hurt in the questioning, discovering, shaping, recombining and designing of new musical experiences. Inside the digital landscapes, the Western practices and aesthetics of written music, electro-acoustic music, improvised music, and research-based music, intermingle and hybridize. Fast personal computers and improved inter-application and long-distance data sharing suggest new design strategies for making music and collaborating with other artists.
ABOUT EDMUND CAMPION
Edmund Campion (b. 1957) spent his formative years at Columbia University and IRCAM (Institut de Recherche et Coordination Acoustique/Musique) in Paris. Between 1989 and 1994, he was a student of Gèrard Grisey. At IRCAM, he composed Losing Touch for vibraphone and electronics (1995). He was eventually commissioned by IRCAM for the full-scale ballet Playback, as well as Nat-Sel for piano and computer, and Corial for improvising saxophone and interactive computer system. In 2012, as the Composer in Residence with the Santa Rosa Symphony, he composed The Last Internal Combustion Engine, a Concerto Grosso with Kronos Quartet and electronics. Joshua Kosman of the San Francisco Chronicle called the piece “a vivid and richly imagined concerto.”
Mr. Campion has worked with Les Percussion des Strasbourg ensemble who commissioned and released Wavelike and Diverse in 20111 on their 50th anniversary CD collection. Other premieres include Auditory Fiction (2011), commissioned by Societe Generale for Radio France, Small Wonder (The Butterfly Effect) (2012), commissioned by the Serge Koussevitzky Foundation for the San Francisco Contemporary Music Players, and Auditory Fiction II, written for the ECO Ensemble for the 2014 Venice Music Biennale. In 2012, Campion was awarded the Goddard Lieberson Fellowship given by the American Academy of Arts and Letters to a “composer of exceptional gift”. Other prizes from a long list of accolades include the American Rome Prize and the Lili Boulanger Prize. Edmund Campion is currently Professor of Music Composition at UC Berkeley and Director at the Center for New Music and Audio Technologies. In 2014, the American Composers Orchestra released a CD of his work Practice, for orchestra and electronics. A monograph CD of the works of Edmund Campion by the San Francisco Contemporary Music Players, with David Milnes, is available on Albany records.
Current projects include, Cluster X, a co-commissioned piece written for the Ensemble Intercontemporain in collaboration with audiovisual artist Kurt Hentschläger, and a commission by pianist Marilyn Nonken to compose a piece inspired by Gerard Grisey’s Vortex Temporum.
Photo credit: Philippe Gontier
|Thursday, April 21, 2016 - 16:30 to 18:00||CIRMMT Distinguished Lecture Series: Michael Vorländer||Tanna Schulich Hall||
Michael Vorländer, RWTH Aachen University, Germany: Virtual musical instruments in virtual rooms – what’s real at all?
This lecture will take place in TANNA SCHULICH HALL, followed by a wine and cheese reception in room A833 (8th floor of the Elizabeth Wirth Music Building).
Auralization techniques are used in engineering, architecture, sound design and many other applications. The components of this technique are well-known acoustic simulation and signal processing tools and the audio and data interfaces between them. Nevertheless, characterization of musical instruments and appropriate interfaces to VR systems are subject to research. Whether the virtual environment is considered sufficiently accurate or not, depends on many perceptual factors, and on the pre-conditioning and the degree of immersion of the user in the virtual environment. In this lecture the processing steps for creation of Virtual Acoustic Environments are briefly presented, and the achievable degree of realism discussed in examples with focus on the problem of the temporal-spatial radiation characteristics of the sound sources involved.
ABOUT MICHAEL VORLÄNDER:
Michael Vorländer is Professor at RWTH Aachen University, Germany. After a university education in physics and a doctoral degree (Aachen 1989 with a thesis in room acoustical computer simulation) he worked in various fields of acoustics. His first research activities were focused on psychoacoustics, electroacoustics and on room and building acoustics. In 1995 he finished a qualification as a university lecturer (habilitation, Dresden Technical University) with a thesis on reciprocity calibration of microphones. Since 1996 he is Professor and Director of the Institute of Technical Acoustics, ITA, at RWTH Aachen University. Michael Vorländer serves in several organizations. He was President of the European Acoustics Association, EAA, from 2004 – 2007 and President of the International Commission for Acoustics, ICA, from 2011-2013. He was awarded the Stephens Medal of the Institute of Acoustics, IoA, of United Kingdom in 2005, Fellow of the Acoustical Society of America in 2006, the Diploma de Reconhecimento de Actividade of the Acoustical Society of Portugal in 2008, the Caracola of the Acoustical Society of Spain in 2009, a honorary membership of the Polish Acoustical Society in 2012, and the EAA Award for contribution to promotion in acoustics in Europe in 2014. The research focus of ITA is auralization and acoustic virtual reality in its various applications in psychoacoustics, architectural acoustics, automotive and noise control.