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Events Calendar View | Past Events

Date Titlesort descending Location Description
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: Musical Chairs Strathcona Music Building

The most promising 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.

Schedule:

Opening Concert: Monday, February 8th at 7:30 p.m. in Pollack Hall, http://bit.ly/1To3dWs

Café concerts @ Schulich: Tuesday, February 9th at 10 a.m. in Tanna Schulich Hall, http://bit.ly/1ZT78dy

Amber String Quartet: Tuesday, February 9th at 5 p.m. in Tanna Schulich Hall, http://bit.ly/1OPFISQ

Schulich @ McCord: Wednesday, February 10th at 6 p.m. at the McCord Museum, http://bit.ly/1WO5tGf

Schulich in Concert, NOSQ: Thursday, February 11th at 7:30 p.m. in Pollack Hall, http://bit.ly/20sYpkr

New Orford String Quartet & Amber String Quartet: Friday, February 12th at 7:30 p.m. in Redpath Hall, http://bit.ly/1QsE36a

Amber String Quartet: Saturday, February 13th at 2:30 p.m. in Clara Lichtenstein Hall, http://bit.ly/1QDuSBP

Wolfgang Redik (violin) and guests: Saturday, February 13th at 7 p.m. in Clara Lichtenstein Hall, http://bit.ly/1ZT83ef

Closing Concert: Sunday, February 14th at 2:30 p.m. in Pollack Hall, http://bit.ly/1RNSzJ6

Sunday, June 12, 2016 - 19:30 Chorale du Gesù Redpath Hall
Thursday, February 25, 2016 - 16:30 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).

ABSTRACT:

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).

ABSTRACT:

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. 

Thursday, March 24, 2016 - 16:30 to 18:00 CIRMMT Distinguished Lecture Series: Robert Henke Tanna Schulich Hall

Robert Henke, audiovisual installation artist and musician, Germany: Give me limits! Two perspectives on computer based music production in a time of exponentially growing possibilities

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).

ABSTRACT:

I. The Artist

For an artist working in the field in between sound design, visual arts, music and installation, the implications of Moore's law are a very mixed blessing. Within a few decades we moved from a perceived lack of sufficient tools for expression to an overwhelming abundance of choices. With hardware and software becoming increasingly powerful and available, the role of the artist changes, and the expectations of the audience too. Old models of separation between composition, instrument design, performance and recording become obsolete. Not only did the technical side change but as a result also the social interactions and feedback systems within that artistic process. This situation needs adapted strategies to cope with new offerings and demands. What can serve as anchor points for creation when everything can be rethought, redone, reprogrammed at every stage of the process? How can we manage to work towards a defined goal with hundreds of possible versions simultaneously available and deliver something that matters? And what actually does matter artistically in a world where everything can at any time be compared to what someone else is doing on the other side of the planet?

II. The Software Designer

Our musical instruments have feature lists and come with updates. Ideally an instrument is perfect for a certain use case, once it is invented it becomes part of the palette of options and it can be practiced and mastered. Obviously things are not like this in software! Artists are customers and they want features, but constantly changing an instrument is a bad idea. Coping with expectations and resisting the desire to add every possible option is a big challenge, and things don't get easier when a piece of software becomes the main creative tool for a large user base. Every change has the potential to make a lot of people either very happy or the opposite, and experience shows that this is often quite unpredictable. The history of Ableton's Live software will serve as a case study here.

ABOUT ROBERT HENKE:

Robert Henke is an artist working in the fields of audiovisual installation, music and performance. He was born 1969 in Munich, Germany, and lives in Berlin.

Coming from a strong engineering background, Henke is fascinated by the beauty of technical objects and developing his own instruments and algorithms is an integral part of his creative process.

His materials are computer generated sound and images, field recordings, photography and light; transformed, re-arranged and modulated by mathematical rules, real time interaction and controlled random operations. Robert Henke's work has a particular focus on the exploration of spaces, both virtual and physical. Many of his works use multiple channels of audio or are specifically conceived for unique locations and their individual properties. For the past few years, he has been exploring the artistic usage of high power lasers in his installations and performances.

The results include music on the edge of contemporary club culture, surround sound concerts, compositions in the tradition of academic computer music, photography, audiovisual installations, sound art and publicly available software. His long term musical project Monolake, founded in 1995, became one of the key icons of a new electronic club music culture emerging in Berlin after the fall of the Wall.

Robert Henke is also one of the main creators of the music software Ableton Live, which since its invention in 1999 became the standard tool for electronic music production and completely redefined the performance practice of electronic music.

He writes and lectures about sound and the creative use of computers and held teaching positions at the Berlin University of the Arts, the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University, and the Studio National des Arts Contemporains - Le Fresnoy in Lille, France.

His installations, performances and concerts have been presented at Tate Modern London, the Centre Pompidou Paris, Le Lieu Unique Nantes, PS-1 New York, MUDAM Luxembourg, MAK Vienna, the Art Gallery of New South Wales in Australia, KW Institute for Contemporary Art, Berlin, STRP Biennale Eindhoven, and on countless festivals. 

Photo credit: Jimmy Mould

Thursday, February 18, 2016 - 19:30 CIRMMT RA 4 Concert presents Very Long Cat Tanna Schulich Hall

CIRMMT RA4 presents Very Long Cat
Network music ensemble
David Ogborn, live coding 
Shawn Mativetsky, tabla

Robert Hasegawa, coordinator

Monday, April 11, 2016 - 19:30 Clarinet Class Concert: Class of Jean-François Normand Clara Lichtenstein Hall
Thursday, February 11, 2016 - 20:00 Concert: Allegra Chamber Music Series Tanna Schulich Hall
Thursday, March 10, 2016 - 20:00 Concert: Allegra Chamber Music Series Redpath Hall
Thursday, May 5, 2016 - 20:00 Concert: Allegra Chamber Music Series Tanna Schulich Hall
Sunday, March 20, 2016 - 16:00 Concert: McGill Association of Student Composers (MASC) Tanna Schulich Hall

Moe Touizrar, coordinator

Saturday, March 19, 2016 - 14:00 Concert: McGill Opera Excerpts Class Tanna Schulich Hall

Class of Jonathan Patterson

Wednesday, April 13, 2016 - 20:00 Digital Composition Studio Class Concert Music Multimedia Room

Class of P. Leroux

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