Fabrice Marandola
Associate Professor, Area Coordinator (Percussion)
Performance Diplomas
- 1997, Percussion Diploma with High Honours (First Prize in percussion) from the Superior National Conservatory of Paris (class of Jacques Delécluse, Jean Geoffroy and Michel Cals)
- 1992-93, First Prize and Achievement Prize in percussion with unanimous jury, National Regional Conservatory of Paris (class of Frédéric Macarez)
- 1991, First Prize in percussion with unanimous jury, centralized competition of the City of Paris (Conservatory of the 13th Arrondissement, class of Didier Benetti)
- 1989, First Prize in percussion at National Music School of Montluçon (class of Daniel Ardaillon)
Music Teaching Diplomas
- 1995, Certificate of Aptitude (CA) as Instructor of Percussion (rank of professor)
- 1992, State Diploma (DE) as Specialized Artistic Teaching Assistant (percussion)
University Degrees
- 2003, PhD in History of Music and Musicology, Very Honourable and Jury Commendation (“Mention très honorable avec félicitations du jury”): The Vocal Polyphonies of the Bedzan Pygmies of Cameroon: An Experimental Approach to the Scale System, under the direction of Professors Simha Arom (CNRS) and Louis Jambou (University of Paris IV-Sorbonne). Defended on December 8, 2003; jury: Professors Simha Arom, Louis Jambou, Nicolas Meeùs, Jean Molino, François Picard and Jean-Claude Risset
- 1994, DEA in History of Music and Musicology, with High Honours (Un répertoire instrumental et sa musique : le Kpóníngbó des Zandé de Centrafrique), University of Paris IV-Sorbonne
- 1993, Master’s Degree in Music, with High Honours (La musique de xylophone zandé – Centrafrique), University of Paris IV-Sorbonne
- 1992, Licence (Bachelor) in Music, University of Paris IV-Sorbonne
- 1989, Baccalaureate A3 Music (with Honours); Honourable Mention in Music Education, at the Concours Général des Lycées (national competition, Paris)
Percussion, Ethnomusicology
Musical Performance; Contemporary Music; Music and New Technologies; Pedagogy of Performance; Gesture and Music; Eye-tracking
Ethnomusicology; Musical Analysis; Central African Music
“A percussionist is defined by the gesture of hitting. It is a completely physical gesture, varying from extreme subtlety to a forcefulness that engages the entire body.”
At the age of 5 years old, his father’s drum set and the gift of a small African drum inspired Fabrice Marandola to make a grand declaration: he would become a drummer!
20 years later, having earned a First Prize in Performance from the Conservatory of Paris with Jacques Delécluse, and a PhD in Ethnomusicology from the Sorbonne, the dream of his youth has been more than adequately achieved. He has performed with the National Orchestra of France and the New Philharmonic Orchestra of Radio France. He has taught percussion in Paris, Grenoble and Angers, all the while pursuing his passion for Ethnomusicology in Cameroon.
In 2005, Marandola moved to Montreal to become a professor at the Schulich School of Music of McGill University. Dividing his time between teaching, performing and research, he also became Associate Director of Artistic Research of the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) from 2009 to 2014, and its Director from 2020 to 2024. He quickly became part of the contemporary percussion scene in Montreal, co-founding Percussion Ensemble Sixtrum and duo Akrostick. He has played with the NEM, SMCQ, and Kore, and directs the McGill Percussion Ensemble. From 2014 to 2017, he is elected president of the board of directors of Le Vivier, an organism that regroups all of the ensembles dedicated to new music in Quebec.
In all of his activities, Marandola values exploration, risk, discovery and creativity. His approach constantly questions the role of the musician in society, and the future of music, as it becomes transformed more and more by technology. Above and beyond all, it is the pleasure - both intellectual and physical - of playing that guides his work; a pleasure shared with his fellow collaborators; a pleasure that he aims to share in the studio with his students, and on stage with the public.
“With Sixtrum, we work as explorers. We work with the living: Live composers. Live musicians. Today’s music brought to life.”
Catherine Leroux
Senior Research Chair
Chaire thématique Sorbonne-Universités: 'Geste-Acoustique-Musique' (2015-2016)
Conseil Québécois de la Musique - Prix Opus
“Evénement musical de l’année” / "Musical Event of he Year"
- 2023-24, Basilesus, heavy-metal oratorio; role: performer with Sixtrum
- 2018-19, Rythmopolis; role: producer, musical director and co-designer
- 2009-2010, L’eau qui danse, la pomme qui chante et l’oiseau qui dit la vérité, opera by G. Tremblay; role: performer
“Concert de l’année – musiques contemporaine, moderne” / "Concert of the Year - Contemporary and Modern Music"
- 2018-19, Grand concert 30ème anniversaire, dir. Lorraine Vaillancourt, co-production NEM/SIXTRUM; role : performer and delegate artistic director of SIXTRUM
“Concert de l'année musique actuelle, électroacoustique" / ""Concert of the Year - 'Musique actuelle' and Electroacoustics"
- 2021-22, Les espaces physiques, works by Carmine E. Cella, SIXTRUM; role: performer and producer with SIXTRUM
- 2013-2014, De souffles et de machines II, Live@CIRMMT; role: co-producer (CIRMMT, Co-director/Artistic Research)
"Livre de l’année"
- 2008-09, Circuit, vol. 18-3, Montréal, Les Presses de l’université de Montréal; role: author of one chapter, "Pulau Dewata : des arrangements raisonnables ?", pp. 53-72
Académie Charles-Gros
- “Grand Prix du disque – Musique Contemporaine”
- 2003, Chants…, by C. Vivier with Les Jeunes Solistes (dir. Rachid Safir), Musique Média/Les Jeunes Solistes(S206-NT 103); role: performer
- “Coups de Coeur musique Contemporaine”
- 2017, Musique de chambre, works by Bruno Giner, Musicube (CUB1612); role: performer of Yoshihisa_in memoriam, solo marimba
- 2017, De la percussion, works by Philippe Leroux, Sixtrum Percussion Ensemble, Soupir Éditions (SOUPIR 5232); role: performer and delegate artistic director (Sixtrum)
Montreal English theatre Awards (METAS)
- “Outstanding PACT Production (Professional Association of Canadian Theatre)
- 2016-17, Angélique, with theatre company Tableau d’Hôte and Black theatre Workshop; role: performer and co-composer (SIXTRUM)
- “Outstanding Contribution to Theatre”
- 2016-17, awarded to SIXTRUM for its contribution to the production of Angélique
Jeune Chambre de Commerce / Conseil des Arts de Montreal
- 2011, "Prix Arrimage”, concert Lumières, SIXTRUM
Book
2023, Williamon, A., Cossette, I., Dąbrowski, K. P., Glasser, S., Héroux, I., Marandola, F., Stambaugh, L. A., eds. (2023). International symposium on performance science 2021. Lausanne: Frontiers Media SA. doi: 10.3389/978-2-83251-732-1
Research Articles and Book Chapters
2025, F. Marandola,"Paradigmatic Analysis and the Performance of Xenakis’s Solo Percussion Music”, Revue musicale OICRM, vol. 12 n. 2, pp. 129-150
2023, B. Bacon, S. Jackson, I. Marci, F. Marandola and MM. Wanderley, “Sticking choices in timpani sight-reading performance”. Frontiers in Psychology, 14:1188773. doi: 10.3389/fpsyg.2023.1188773
2019, S. Arom, N. Fernando, S. Fürniss, S. Le Bomin, F. Marandola, J. Molino, “The categorization of musical heritage in oral tradition societies”, Translingual Discourse in Ethnomusicology, 5, 203-239. doi:10.17440/tde031. Originally published as “La catégorisation des patrimoines musicaux dans les sociétés de tradition orale”, Peeters 2008
2019, F. Marandola,"Eye-Hand Synchronization in Xylophone Performance: Two Case-Studies with African and Western Percussionists". Journal of Eye Movement Research, 11(2):7. DOI 10.16910/jemr.11.2.7; ISSN: 1995-8692 – published 30-03-2019, 24p
2017, F. Marandola, M.F. Mifune, F. Vahabzadeh, “Approche interdisciplinaire du geste musical en ethnomusicologie”, Cahiers d’ethnomusicologie (30), Ateliers d'Ethnomusicologie, Genève, pp. 45-72.
2014, F. Marandola, “Expressiveness In The Performance Of Bedzan Pygmies’ Vocal Polyphonies: When The Same Is Never The Same”, Expressiveness in music performance: Empirical approaches across styles and cultures, Oxford University Press, D. Fabian, R. Timmers, E. Schubert (eds), book chapter, pp. 200-216
2013, G. Boutard, F. Marandola, “Méthode et application de la documentation des œuvres mixtes en vue de leur préservation et de leur diffusion”, Circuit, vol. 23:2, Montréal, Les Presses de l’université de Montréal, G. Boutard (ed.), pp. 37-47
2012, F. Marandola, “Of Paradigms and Drums: analyzing and performing Peaux from Pleiades”, Xenakis Matters, Pendragon Press, S. Kanach (ed.), pp. 185-204
2011, A. Bouenard, M. Wanderley, S. Gibet and F. Marandola, “Synthesis of Music Performance: Advantages and Limitations of Simulating Percussion Gestures for Sound Synthesis”, Computer Music Journal, 35:3, pp. 57-72.
2009, C. Guastavino, F. Gomez, G. Toussaint, F. Marandola, E. Gomez, “Perception of Rhythmic Similarity in Flamenco Music”, Journal of New Music Research, vol. 38, (2), pp. 129-138
2009, F. Marandola, "Apprentissage et improvisation dans les musiques d’Afrique centrale", Percussions, n° 26, Paris, pp. 58-64
2008, S. Arom, N. Fernando, S. Fürniss, S. LeBomin, F. Marandola & J. Molino, "La catégorisation des patrimoines musicaux dans les sociétés de tradition orale", Catégories et Catégorisation. Une perspective interdisciplinaire, Frank Alvarez-Péreyre (ed.), Peeters, SELAF, coll. Numéros spéciaux, 33, pp. 273-313
2008, F. Marandola, "Pulau Dewata : des arrangements raisonnables ?", Circuit, vol. 18-3, Montréal, Les Presses de l’université de Montréal, pp. 53-72. The volume earned the Prix-Opus "Livre de l’année".
2007, S. Arom, N. Fernando, S. Fürniss, S. LeBomin, E. Olivier, F. Marandola, Hervé Rivière et O. Tourny, "Typologie des techniques polyphoniques", in Jean-Jacques Nattiez (éd.), Musiques. Une encyclopédie pour le XXIe siècle, vol. V "L'unité de la musique", Editions Actes Sud, pp. 1088-1109
2005, S. Arom, N. Fernando, S. Fürniss, S. LeBomin, E. Olivier, F. Marandola, Hervé Rivière et O. Tourny, "Tipologia delle tecniche polifoniche", in Einaudi Enciclopedia della Musica, Vol. V “L'unità della musica”, Torino, Einaudi, pp. 1065-1068
2004, F. Marandola, "The Study of Musical Scales in Central Africa: the Use of Interactive Experimental Methods", Computer Music Modeling and Retrieval, Uffe K. Wiil (éd.), coll. Lecture Notes in Computer Sciences, Springer Verlag, Berlin, vol. 2771, pp. 34-41, + CD-Rom
2000, F. Marandola, "Les principes de fonctionnement du système pentatonique", Forum de discussion 1, Musicæ Scientæ, pp. 97-106
1999, F. Marandola, "L'apport des nouvelles technologies à l'étude des échelles musicales d'Afrique centrale", Journal des Africanistes, T. 69-2, pp. 109-119
1997, V. Dehoux, S. Le Bomin, N. Fernando & F. Marandola, "Un itinéraire rythmique : du Cameroun à la Centrafrique", Cahiers de musique traditionnelle - "Rythme" n°10, Ateliers d'Ethnomusicologie, Genève, pp. 81-105
1995, N. Fernando & F. Marandola, "Le dernier des xylophones Mofou-Goudour (province de l'Extrême-Nord du Cameroun) ?", Percussions sans frontières, n° 42
1995, N. Fernando & F. Marandola , "Les xylophones d'Afrique subsaharienne", Percussions sans frontières, n° 40
Proceedings
2020, C. Devillers, Z. Aboura, F. Marandola, K. Ben Mansour, F. Marin, "Sensor-embedded percussion stick: an innovative motion capture tool”, 45ème congrès de la Société de Biomécanique, Oct 2020, Metz (virtuel), France, hal-03113742
2020, Tom, A., Singh, A., Daigle, M., Marandola, F., Wanderley, M.M., “Haptic Tutor – A haptics-based music education tool for beginners” Montreal, Canada, International Workshop on Haptic and Audio Interaction Design (HAID)
2017, M. Mutio, F. Marandola, K. Ben Mansour, J. André and F. Marin, “Motion analysis of snare drum in relation with the musician’s expertise”, in Computer Methods in Biomechanics and Biomedical Engineering, vol. 20, n. S1, S149–S150
2016, L. Chen, S. Gibet, P.F. Marteau, F. Marandola, M. Wanderley, “Quantitative Evaluation of Percussive Gestures by Ranking Trainees versus Teacher”, in Proceedings of the 3rd International Symposium on Movement and Computing, Thessaloniki, Greece
2014, I. Hattwick, P. Beebe, Z. Hale, M. Wanderley, P. Leroux & F. Marandola, “Unsounding Objects: Audio Feature Extraction for he Control of Sound Synthesis”, in Proceedings of the International Conference on New Interfaces for Musical Expression, Goldsmiths, University of London, pp. 597-600.
2014, G. Boutard F. & Marandola, “Mixed Music Creative Process Documentation Methodology: Outcomes of the Dip-Core Project”, in Proceedings of the 9th Conference on Interdisciplinary Musicology – CIM14. Berlin, Germany 2014, 3 p.
2014, G. Boutard F. & Marandola, “Dissémination et préservation des musiques mixtes : une relation mise en œuvre”, in Actes des Journées d’Informatique Musicale 2014 (pp. 130–134). Bourges.
2014, B. Bacon, M.M. Wanderley & F. Marandola, "Handedness in Percussion Sight-Reading", in Proceedings of the 2014 International Workshop on Movement and Computing, pp. 112-117
2010 F. Marandola (ed.), Xenakis : Arts/Science, Proceedings, Montreal, October 1, 2010, ISBN : 978-0-7717-0699-8, 30 p.
2008a, C. Guastavino, F. Marandola, G. Toussaint, F.Gomez & R. Absar, "Perception of rhythmic similarity in Flamenco music: Comparing musicians and non-musicians", Proceedings of the fourth Conference on Interdisciplinary Musicology (CIM08), C. Tsougras, R. Parncutt (Eds.), Thessaloniki, Greece, 2-6 July 2008
2008b, C. Guastavino, G. Toussaint, F.Gomez, F. Marandola & R. Absar, "Rhythmic similarity in Flamenco music: Comparing psychological and mathematical measures", Proceedings of the fourth Conference on Interdisciplinary Musicology (CIM08), C. Tsougras, R. Parncutt (Eds.), Thessaloniki, Greece, 2-6 July 2008,
2007, F. Marandola, "L’expérimentation en ethnomusicologie ou comment aller au-delà du langage", Proceedings of IHM 2007, 19ème Conférence de l’Association Francophone d’Interaction Homme-Machine (Paris, France, 13-15 novembre 2007), ACM Press, International Conference Proceedings Series
2007, R. Absar, F.Gomez, C. Guastavino, F. Marandola & G. Toussaint, "Perception of meter similarity in flamenco music", Proceedings of the 2007 annual conference of the Canadian Acoustical Association, October 9-12 2007, Montreal, QC, Canadian Acoustics, 35(3), pp. 46-47
2007, S. Arom, N. Fernando & F. Marandola, "An Innovative Method for the Study of African Musical Scales: Cognitive and Technical Aspects", Proceedings SMC'07, 4th Sound and Music Computing Conference, 11-13 July 2007, Lefkada, Greece, Charalampos Spyridis and al. (éd.), National and Kapodistrian University of Athens, pp. 107-116
2005, S. Arom, N. Fernando & F. Marandola, "An innovative Methodology for the Study of African Scales: Cognitive and Technical Aspects", Post-proceedings of the XVIIIth European Seminar for Ethnomusicology, R. Astraukas (éd.), Lithuanian Academy of music and Theatre, Vilnius, pp. 161-173
2003, S. Arom, N. Fernando & F. Marandola, "A cognitive approach to Bedzan Pygmies vocal polyphony and Ouldeme instrumental polyphony: methodology and results", Proceedings of the 5th Triennial ESCOM Conference, R. Kopiez et al. (éds), Hanover University of Music and Drama, ISBN: 3-931852-67-9, pp. 457-466
2003, F. Marandola, "The Study of Musical Scales in Central Africa: the Use of Interactive Experimental Methods", Proceedings of the international workshop Computer Music Modeling and Retrieval (CMMR' 2003), Montpellier, pp.47-55
Performance
- In prog. Des Puces et des Drums, works by R. Normandeau, S. Provost and L. Radford, Sixtrum Percussion Ensemble, CIRMMT Series/ElectroCD, 2 DVD
- 2017, De la percussion, works by P. Leroux, Sixtrum Percussion Ensemble, Soupir (S232)
- 2017 Musique de chambre, works by Bruno Giner (F. Marandola: Yoshihisa_in memoriam, solo marimba), Musicube, CUB1612, 2017, 2 CDs.
- 2014, Baobabs, by Robert Normandeau, on the CD Dômes dedicated to his works, Empreintes DIGITALes, IMED 14128, 2014
- 2012, Concertino Nervoso, works for percussion by A. Petit, CIRMMT/Le Chant du Monde – Harmonia Mundi/MFA, 1 CD, LCD 278 1155
- 2010, Opéra Féérie - L’eau qui danse, la pomme qui chante et l’oiseau qui dit la vérité, by G. Tremblay/P. Morency, Chants Libres, CL 2010, 1 DVD.
- 2010, Higglety Pigglety Pop! or There Must Be More to Life, music by J.F. Messier, Warner Home Video/National Film Board of Canada, 1 DVD
- 2008, Georges Delerue : Œuvres pour piano et instruments divers, « Mouvements » by G. Delerue, for solo percussion and piano, DCM CL205
- 2003, Chants… by C. Vivier with Les Jeunes Solistes (directed by R. Safir), Musique Média/Les Jeunes Solistes, S206-NT 103, 2 CD.
- 2002, Sixth Symphony of G. Mahler with French National Orchestra (directed by Bernard Haitink), Naïve-Radio-France, 1 CD
Ethnomusicology
- 2002, N. Fernando & F. Marandola, Nord Cameroun – Musique des Ouldémé, Au rythme des saisons, collection Inédit, W 260104
- 2000, N. Fernando & F. Marandola, Cameroun – Pygmées Bedzan de la plaine Tikar, collection Inédit, W 260095
- 1996, N. Fernando & F. Marandola , Cameroun – Flûtes des Monts Mandara, collection OCORA Radio-France, C 560 110
Film
- 1999, N. Fernando & F. Marandola, Une harpe ouldémé, coll. CNRS-Audiovisuel, 16min.
2024, The Space Between II, Canadian Percussion Network conference, January 25-27, 2024, Montreal (QC): Paradigms and Drums: Analyzing and Performing the Music of Iannis Xenakis for Percussion
2023, Keynote address, Acoustics Week in Canada, October 3-6, 2023, Montreal (QC): Musical Systems: From Cultural Conception to Expert Performance
2022, Global Xenakis Centenary Symposium, City University of New York, The Brook Center, September 30, 2022, paper presented online, PolytopeXXI: creating a polytope for the stage, in collaboration with Myriam Boucher and Dominic Thibault
2021, International Symposium on Performance Science (ISPS 2021), October 28, 2021, Montreal (QC): TiSMoC: Ecological Timpani Mallets for Motion Capture, in collaboration with Frédéric Marin
2020, Percussive Arts Society International Convention 2020 - Scholarly Research Lightning Round Session, November 14, 2020, online: Eye-Hand Synchronization in Xylophone Performance
2019, GeKiPe Conference - Gesture, Capture and Notation, Haute École de Musique, Genève (Switzerland), September 9, 2019 : Is the Notation of Gesture Context Dependent?
2018, Orpheus Institute Research Summit, Ghent (Belgium), November 26-30, 2018: New Music, Pedagogy of Performance, Pygmy music, Eye-tracking, 3D MoCap and Biomechanics: Artistic research?
2017, Music and Eye-Tracking, Frankfurt, August 17-18, 2017: Eye-Hand Synchronisation and Interpersonal Interaction in Xylophone Performance: A Comparison Between African and Western Percussionists
2017, International Council for Traditional Music (ICTM) 2017, Limerick; Panel leader + paper: From the Field to the Lab – and Back: New Approaches to the Study of Musical Gesture in a Cross-Cultural Perspective
2017, Journées d’Etudes de la Société Française d’Ethnomusicologie, June 2-4, 2017; Panel leader + paper: Le geste des percussionnistes à l’épreuve des méthodes de capture du mouvement et de eye-tracking – une comparaison entre musiciens camerounais, canadiens et français
2017, Canadian Society for Traditional Music 2017, Toronto, May 25-27, 2017; Panel leader + paper: Similarities and Specificities in Percussion Performance: A Comparison of African and Western Percussionists Using 2D, 3D Motion Capture and Eye-Tracking Methods
2017, Guest Lecture, Institut Français de Yaoundé (Cameroon, November 22, 2017): Du tangible à l’intangible : mémoire et transmission dans les musiques de tradition orale du Cameroun
2016, Fourth Performance Studies Network International Conference, Bath Spa University (Bath, UK, July 14-17, 2016); Panel leader: Studying Instrumental Gesture: A Multidimensional and Cross-Cultural Perspective; Paper: Being a Drummer: What Stroke- and Gaze-Patterns Reveal in the Comparison of Performance Techniques of African and Western percussionists (Marandola et al.)
2016, Guest Lecture, Société des Amis du Musée de l’Homme, Museum National d’Histoire Naturelle, (March 14, 2016): Ethnomusicologie et nouvelles technologies
2016, Guest Lecture, Brunch Ethnomusika, Paris (February 7, 2016): Cameroun : Musiques de la plaine Tikar
2015, LTM21/AEM21 (UQAM/McGill, Montreal, November 5-7, 2015): Handedness in Percussion Pedagogy, B. Bacon, F Marandola, M.Wanderley
2014, CIM14 – 9th Conference on Interdisciplinary Musicology (Berlin, December 4-6): Mixed Music Creative Process Documentation Methodology: Outcomes of the Dip-Core Project, G. Boutard & F. Marandola
2014 CNMN (Canadian New Music Network), Forum 2014, Canadian Music, Canadian Audiences (January 23-26, 2014): Panel Music and 21st Century Media: the broader connection (Moderator)
2013, Percussive Arts Society International Convention - Music technology Day (Indianapolis, November 13, 2013): Performance with Live Electronics and Sensors (in coll. with Z. Hale)
2013, Tracking the Creative Process in Music (Montreal, October 10-12): Documentation des processus créatifs pour la préservation et la dissémination des œuvres mixtes, G. Boutard & F. Marandola
2011, Percussive Arts Society International Convention (Indianapolis, November 11, 2011), Panel: Fifty years of Research in the Publications of the Percussive Arts Society (in coll. with D. Andeatta, G. Francis, K. Lewis and R. Lewis)
2007, 19ème Conférence de l’Association Francophone d’Interaction Homme-Machine (Paris, France, November 13-15, 2007): L’expérimentation en ethnomusicologie ou comment aller au-delà du langage
2006, 74ème congrès de l’ACFAS, Montreal (17/05/06 McGill University), colloquium: “L'interdisciplinarité dans les sciences et technologies de la musique”: L’ethnomusicologie face aux méthodes expérimentales : la nécessité de l’interdisciplinarité (in collaboration with N. Fernando)
2004, 37th World Conference of the International Council for Traditional Music, China: A Cognitive Approach to the Musical Scales of Central Africa (in collaboration with S. Arom and N. Fernando).
2003, 5th Triannual European Society for the Cognitive Sciences of Music, Hannover (September 8-13, 2003): Interactive Experimental Methods in the Field: Application and Results (in collaboration with S. Arom & N. Fernando)
2003, Computer Music Modeling and Retrieval (CMMR' 2003), Montpellier, France (May 26-27, 2003): The Study of Musical Scales in Central Africa: the Use of Interactive Experimental Methods
2002, British Forum for Ethnomusicology, colloquium "Music and Experience", University of Edinburgh (April 11-14, 2002): How to be sure of the way they really feel music?
2002, XVIIIth European Seminar for Ethnomusicology, Vilnius (September 25-29, 2002), Panel: An innovative Methodology for the Study of African Scales: Cognitive and Technical Aspects (in collaboration with S. Arom & N. Fernando).
2001, Colloquium "Ecologie humaine et gestion du milieu dans l'écotone forêt-savane d'Afrique centrale", Minrest Cameroun/IRD (Yaoundé, November 13-15, 2001): Bedzan et Tikar : un milieu, deux musiques?
1998, Société des Africanistes, "Journée musicale", Paris (09/03/98): Apprentissage et technique de jeu : les musiques pour xylophones en Afrique centrale
Post-Doctoral supervision
2015-17 Marie-France Mifune, Systématique et Catégorisation Culturelles, Museum National d’Histoire Naturelle (France): Étude pluridisciplinaire et approche multidimensionnelle du geste musical
2005-06 Deirdre Bolger, Langues-Musiques-Sociétés laboratory (UMR 8099 CNRS/Paris V, France), Post Doctorate in Cognitive and Computational Musicology: Exploring the Structural Role of Timbre in Japanese Shakuhachi Melody: A Computational and Ethnomusicological Approach
Doctoral supervision
As main supervisor
2024-pt Tarcisio Braga, Schulich School of Music of McGill University, Doctorate in Music Performance, percussion; co-supervisor Prof. Lisa Lorenzino
2024-pt Antonin Granier, Schulich School of Music of McGill University, Doctorate in Music Performance, percussion
2023-pt Joseph Chang, Schulich School of Music of McGill University, Doctorate in Music Performance, percussion; co-supervisor Prof. Philippe Depalle and Matthew Thompson
2022-pt Manuel Lopez-Tovar, Schulich School of Music of McGill University, Doctorate in Music Performance, percussion; co-supervisor Prof. Doria Bandy and Stephen McAdams
2020-25 Martin Daigle, Schulich School of Music of McGill University, Doctorate in Music Performance, percussion; co-supervisor Prof. Marcelo Wanderley
2020-24 Huizi Wang, Schulich School of Music of McGill University, Doctorate in Music Performance, percussion, Investigating the Impact of Tai Chi Chuan (太极拳) Practice on Focus, Memorization Efficiency and Performance Anxiety; co-supervisor Prof. Isabelle Cossette
2019-24 Stuart Jackson, Schulich School of Music of McGill University, Doctorate in Music Performance, percussion, ...explosante-fixe... : Recovering a Lost Work for Solo Vibraphone and Live Electronics by Pierre Boulez; co-supervisor Robert Hasegawa
2018-23 David Therrien-Brongo, Schulich School of Music of McGill University, Doctorate in Music Performance, percussion, La multipercussion solo au Québec : de Micheline Coulombe Saint-Marcoux à Patrick Giguère; co-supervisor Prof. Jean Lesage
2014-19 Noam Bierstone, Schulich School of Music of McGill University, Doctorate in Music Performance, percussion, Integrating Performer-Controlled Electronics in a Post-Percussive Practice; co-supervisor Prof. Aiyun Huang.
As co-supervisor
2023-pt Jaeyoung Chong, Schulich School of Music of McGill University, Doctorate in Music Performance, Cello; main supervisor Prof. Brian Manker
2020-23 Andrés Vial, Schulich School of Music of McGill University, Doctorate in Music Performance, jazz piano/drums, Strategies and Techniques for Multiple–Voice Jazz Piano Improvisation; main supervisor Prof. Jean-Michel Pilc
2019-21 Jonathan Orland, Schulich School of Music of McGill University, Doctorate in Music Performance, jazz saxophone, Preparing Spontaneity: musical language and strategies of elaboration of the improvised discourse; main supervisor Prof. Jean-Michel Pilc
2018-20 Cédric Devillers, Université Technologique de Compiègne (France), PhD, Biomechanical analysis of the performance of a musician in relation with the mechanical properties of the instrument; main supervisor Prof. Frédéric Marin
2014-18 Jonathan Voyer, Université du Québec à Montréal, Doctorat en Études et pratique des Arts (PhD), Expérience de la conscience et conscience de l’expérience : une autoethnographie de l’expérience d’interprétation d’un raga au santoor; main supervisor Prof. Mathieu Boisvert
2014-17 Blair MacKay, Université de Montréal, Doctorate in Music Performance, percussion, The analysis of the development of a contemporary occidental repertoire of music for gamelan; main supervisor Prof. Julien Grégoire, co-supervision with Prof. Ana Sokolovic
2010-14 Diego Espinosa, Schulich School of Music of McGill University, Doctorate in Music Performance, percussion: The Expanding Solo Multi-Percussionist: Performance Practice in and beyond Music; main supervisor Prof. Sean Ferguson, co-supervision with Prof. Aiyun Huang
2010-13 Benjamin Reimer, Schulich School of Music of McGill University, Doctorate in Music Performance, percussion, Defining the Role of Drumset Performance in Contemporary Music; main supervisor Prof. Aiyun Huang
2005-08 Fernando Rocha, Schulich School of Music of McGill University, Doctorate in Music Performance, percussion, Works for Percussion and Computer-Based Live Electronics: Aspects of Performance with Technology; main supervisor Prof. Sean Ferguson, co-supervision with Prof. Marcelo Wanderley
As doctoral committee member
2018-21 Alexis French, Schulich School of Music of McGill University, Doctorate in Music Performance, jazz trumpet, Painting Jazz: How Jazz Composers Respond to the Visual Arts
2017-20 Hannah Daroch, Schulich School of Music of McGill University, Doctorate in Music Performance, flute, Cultural Convergences: Traditional Māori Flutes and Contemporary New Zealand Classical Music
Master supervision - Research
2016-18 Ian Marci, co-supervision with Prof. Marcelo M. Wanderley, Schulich School of Music of McGill University, Master’s in Music Technology: Handedness in Percussion Performance
2016 Sarah Mahé, Systématique et Catégorisation Culturelles, Museum National d’Histoire Naturelle (France): Comparative analysis of performing techniques of zither-harps from Cameroon (internship)
2012-14 Benjamin Bacon, co-supervision with Prof. Marcelo M. Wanderley, Schulich School of Music of McGill University, Master’s in Music Technology: The effects of Handedness in Percussion Performance
Master (MMus) and Graduate Diploma (GDP) Supervision – Percussion
(from 2007 to 2017, all students were co-supervised with Prof. A. Huang)
2024-pt Polly Aretakis, Franklin Feng, Meagan Foster, Henry Wu
2023-25 Tate Orlita
2022-24 Charles Chiovato-Rambaldo, Antonin Granier, Zhuying Lin, Theodore Lysyk
2021-22 Zikun Zhao
2020-22 Manuel Lopez Tovar
2019-20 Dan Racco, Huizi Wang (GDP)
2018-20 Martin Daigle (MMus)
2018-19 Paul Finckel (GDP)
2017-18 Qiuchen Wang (GDP)
2016-18 Nicole Joshi, Jessica Tsang (MMus)
2015-17 Robert Cosgrove, Alexander Haupt, Karen Yu (MMus)
2014-16 Kyle Andrews, Olivier Tremblay-Noël (MMus)
2013-15 Joseph Fox, Stefan Kitai, Katelyn King, Austin Lamarche (MMus)
2012-14 Bryan Allen, Evan Bowen, Christian Smith (MMus)
2011-13 Zachary Hale, Krystina Marcoux, Ryan Packard (MMus)
2010-12 Mark Morton, Alessandro Valiante, Chia-Ying Wu (MMus)
2008-10 Parker Bert, Eric Derr, Sandra Joseph, Isabelle Tardiff, Amie Watson (MMus)
2007-09 Benjamin Duinker, James Petercsak (MMus)
2005-06 Cathie Paradis (MMus)
