|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).
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, February 25, 2016 - 19:00||Piano Class Concert: Class of Ilya Poletaev||Redpath Hall|
|Thursday, February 25, 2016 - 19:30||McGill Symphony Orchestra: artistic director, Alexis Hauser||Pollack Hall||
Marina Thibeault, viola, Winner of 2015 McGill Concerto Competition
with members of the University Chorus
HECTOR BERLIOZ Overture, Béatrice et Bénédict
ALFRED SCHNITTKE Concerto for Viola and Orchestra
FELIX MENDELSSOHN Midsummer Night's Dream, Op. 61
This concert will be broadcast on the internet. Visit our Schulich School of Music livestream webpage for the live webcast.
|Friday, February 26, 2016 - 12:30||Noon-Hour Organ Recital: John Grew, organ||Redpath Hall|
|Friday, February 26, 2016 - 16:15 to 17:45||Doctoral Colloquium (Music): Student Presentations III||Elizabeth Wirth Music Building||
The Doctoral Colloquium is open to all.
Registration (Doctoral students)
Doctoral students (Music) for whom attendance is required must sign the attendance sheet at the colloquium.
|Friday, February 26, 2016 - 19:30||McGill Contemporary Music Ensemble: Silence must be!||Pollack Hall||
Guillaume Bourgogne, Artistic Director
In collaboration with the Digital Composition Studio
JERÔME COMBIER Stèles d'air
THIERRY DE MEY Silence must be! For solo conductor and electronics
MOE TOUIZRAR Création
REBECCA SAUNDERS Murmurs
|Friday, February 26, 2016 - 20:00||Piano Concert: Class of Julia Gavrilova||Tanna Schulich Hall|
|Friday, February 26, 2016 - 20:00||McGill Jazz Combos||Clara Lichtenstein Hall||
Donny Kennedy, director
|Sunday, February 28, 2016 - 15:30||Ladies Morning Musical Club (LMMC): Calidore String Quartet||Pollack Hall|
|Monday, March 7, 2016 - 13:30||Master Class: David Leisner, guitar||Tanna Schulich Hall|
|Monday, March 7, 2016 - 19:00||Master's Recital: Chelsea Barton, organ||Église St-Jean-Baptiste||
Class of Hans-Ola Ericsson
|Tuesday, March 8, 2016 - 15:30||Piano Tuesdays||Clara Lichtenstein Hall|
|Tuesday, March 8, 2016 - 19:30||Schulich en Concert: Boris Berman, piano||Pollack Hall||
Dorothy Morton artist
|Tuesday, March 8, 2016 - 19:30||Artist Diploma Recital: Helen Tucker, organ||Church of St. John the Evangelist||
Class of Hans-Ola Ericsson
|Wednesday, March 9, 2016 - 16:30||Masterclass: James Campbell, clarinet||Redpath Hall|