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CanadianStudios

This version was saved 14 years ago View current version     Page history
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on October 14, 2006 at 9:11:34 am
 

In eContact! 5.2 a list of electroacoustic studios across Canada was featured. Many of the links have since become inactive. Now that the general state of internet addresses for universities and institutions has stabilized, we are now in the process of updating these links. We invite you to update, improve or add information to the list.

 

Since some of this information may eventually change again, please follow these guidelines.

  1. Include the upper level address of the website section only (eg. http://music.concordia.ca instead of http://music.concordia.ca/Programs/Electroacoustic_Studies.html ) as these are less likely to be altered in future website restructuring;
  2. Do not include contact person names
  3. Do not include contact email addresses
  4. Professor lists include present profs as well as notable past profs (an exhaustive list of every single person who has taught there is not desired)

 

Some entries will be moved to separate pages, once a significant amount of information has already been gathered, in order to keep this page a bit lighter.

 


 

 

 

Montréal

 

 

Concordia University

http://music.concordia.ca

 

Since 2000, Concordia has offered a Major or Minor in Electroacoustic Studies within its Bachelor in Fine Arts degree.

Facilities; Studio descriptions and diagrammes.

 

Electroacoustic Studies

The curriculum of the programme covers many areas of electroacoustics, recording and sonic arts, including the study of sound and spectromorphology, tape manipulation and musique concrete; synthesizers, analog and digital, and processing of acoustic sounds; acoustics, psycho-acoustics, recording, both in classic stereo recording and multi-track recording techniques. Aesthetic, historical and technical considerations in composition are also developed.

  • Professors include Kevin Austin (programme founder), as well as Ned Bouhalassa, Ian Chuprun, Mark Corwin, Laurie Radford.
  • Graduates of the electroacoustic programme and courses include NAME, NAME, NAME.

 

Sound Recording and Reinforcement

Several courses in sound recording and reinforcement are integrated into other Major and Minor programmes.

  • Professors include Mark Corwin, .

 

 

 

Conservatoire de musique de Montréal

http://www.conservatoire.gouv.qc.ca/montreal

 

Bref historique du studio et de la classe

C’est en 1971 que le studio de composition électroacoustique du Conservatoire de musique de Montréal voyait officiellement le jour. L’accouchement, cependant, ne s’était pas fait sans peine: plusieurs tentatives précédentes, menées dès 1964 par Otto Joachim et Gilles Tremblay, avec l’appui de Clermont Pépin, avaient échoué, faute de fonds pour acheter l’équipement. Et malgré l’obstination et la combativité de Micheline Coulombe Saint-Marcoux, à qui on avait confié la tâche de donner le cours intitulé alors « Initiation aux techniques électroacoustiques », l’enfant demeurait bien chétif. Pendant cinq ans, Micheline Coulombe Saint-Marcoux mena un combat acharné, porté jusqu’aux plus hautes instances du ministère, afin d’obtenir les moyens qui lui auraient permis de développer cette classe. De guerre lasse, elle abandonna en 1976 et le peu d’équipement dont le studio disposait fut rangé dans un placard. Elle s’apprêtait du reste à devoir entreprendre un terrible combat personnel, que malheureusement, comme l’on sait, elle finit par perdre en 1985.

 

Ce n’est qu’en 1980 que le studio repris très modestement ses activités, le nouveau directeur Albert Grenier ayant confié à Yves Daoust, alors professeur d’analyse et de formation auditive, le soin de le réanimer. La discipline, cependant, n’était pas reconnue comme telle; il s’agissait d’un cours complémentaire de « techniques » électro, ouvert uniquement aux étudiants du Conservatoire.

 

En rémission de sa terrible maladie, MCC put reprendre la classe en 1982, alors qu’on confiait à Yves Daoust une autre mission épique: développer la classe d’électroacoustique au Conservatoire de Québec. Mais à peine deux ans plus tard la maladie la terrassait à nouveau. Elle du donc encore une fois abandonner son bébé, confié à Serge Arcuri, qui assura l’interim jusqu’à la fin de l’année académique en cours.

 

L’année suivante, Yves Daoust reprenait la classe qu’il développa de manière importante, grâce au soutien de ses collègues professeurs et des directeurs de Québec et Montréal, Armando Santiago et Albert Grenier.

 

En 1996, l’électroacoustique est enfin devenue une discipline principale et un programme complet d’études fut élaboré, menant au DESM II (équivalent maîtrise) et au Prix du Conservatoire. Depuis cette date, cinq Premiers Prix sont « sortis » de l’Institution. Le bébé a pris de la vigueur et est maintenant un jeune homme bien vigoureux.

 

  • Professors include Otto Joachim adn Gilles Tremblay, as well as Serge Arcuri, Micheline Coulombe Saint-Marcoux, Yves Daoust, Louis Dufort, Clermont Pépin, Serge Provost,.
  • Graduates include NAME, NAME, NAME.

 

 

 

McGill University / Schulich School of Music

http://www.music.mcgill.ca/composition

Facilities; Studio descriptions and diagrammes.

 

Digital Composition Studios

  • Professors include alcides lanza (Director Emeritus), as well as Sean Ferguson.
  • Graduates include NAME, NAME, NAME.

 

Music Technology Program

This program encourages the interaction between musical creation, technology and research. Training includes courses in Computer Music, New Media, Digital Signal Processing, Computer Science, Human-Computer Interaction, Psychoacoustics, and Acoustics. Undergraduate degrees available are a B.Mus. with Honours in Music Technology and a Minor in Music Technology. Graduate degrees available are a Master’s of Arts in Music Technology and a Ph.D. in Music Technology.

  • Professors include NAME, as well as NAME, NAME, NAME.
  • Graduates include NAME, NAME, NAME.

 

Sound Recording Program

The two-year, course-based M.Mus. program in Sound Recording provides a graduate-level education based on the German Tonnmeister program. Established in 1979 by Prof. Wieslaw Woszczyk, this program is designed for professional musicians who wish to develop the skills required in the music recording and media industries. Graduates of this unique and highly acclaimed program occupy important positions at prestigious institutions worldwide winning both creative and scientific awards in international competitions. The program also has close ties with producers, engineers, developers, designers and other areas of the industry.

  • Professors include Wieslaw Woszczyk (founder of the Sound Recording Studios).
  • Graduates include NAME, NAME, NAME.

 

 

 

UQAM — Université de Québec à Montréal

http://www.musique.uqam.ca

 

The Initiation à l’audio and Pratique musicale en studio d’enregistrement courses offer hands-on experience in basic electroacoustic techniques and use of studio equipment geared towards training studio musicians.

 

 

 

 

 

Thunder Bay

 

 

Lakehead University Music Department

http://lakeheadu.ca/~musicwww

 

Eckhardt-Gramatté Sound Studio (Department of Music)

The studio is accessible to students in composition, and is used for recording, sound processing and multimedia projects.

  • Professors include Aris Carastathis, as well as Darlene Chepil Reid.
  • Graduates include NAME, NAME, NAME.

 

 

 

 

 

 

 

 

Vancouver

 

Electroacoustic Music at the School for the Contemporary Arts

By Martin Gotfrit

 

Historical Overview

 

Electroacoustic music at Simon Fraser University began in the seventies with the work of R. Murray Schafer and Barry Truax. Several important initiatives began during this time: the World Soundscape project, computer music research on mini computers and classical tape work in the Communications Sonic Studio.

 

In the early 80s, what was then called “The Centre for the Arts” began a credit program in music with faculty members Owen Underhill, David MacIntyre, Barry Truax, Martin Bartlett, Donna Zapf and Martin Gotfrit. As an area in an interdisciplinary department, music focused upon composition and electroacoustic music for a diverse range of students. Classes were filled with dancers, visual artists, actors, technicians, filmmakers as well as composers. Multidisciplinary work was (and still is) encouraged — resulting in a variety of fascinating collaborations/performances/pieces.

 

From the beginning of the music program, there were many options in electroacoustics: As early as 1982, students could work on a PDP 11/23, exploring FM synthesis with Truax’s POD system, real-time computer performance systems with an AIM 65 (later Apple IIs and Atari 520s) under Bartlett’s tutelage or analogue synthesis with a state of the art Serge system with Gotfrit. Classical tape studio work was also supported through the Centre as well as the Communications department. In addition to these seminal influences, the World Soundscape project also has had a lasting affect upon work composed in SFU studios; both through the notion of soundscape composition as taught by various faculty as well as access to the large tape collection housed on campus.

 

Present

 

Not surprisingly, much has changed in the last 20 years. Donna Zapf has moved to Duke university, Arne Eigenfeldt joined us in the mid-90s and sadly Martin Bartlett passed away in 1993. Reel-to-reel machines, outboard gear, large patch bays, etc. have morphed into iMacs and G4s. New faculty interests are reflected in the technology and pedagogy: Multi-speaker diffusion, programming in Max/MSP, granular synthesis, sensor systems and alternate controllers as well as Csound are some of our recent foci. Max has become the new Lingua Franca. We continue with the classical tape studio as realized through ProTools. Hyperprism, Peak, SoundHack, (etc.). We have many computing science and engineering students in the classes now. The classes are bigger and there is a great diversity in the skills of incoming students.

 

Program Details

 

SFU has four courses in electroacoustics in the School for the Contemporary Arts. All courses have a studio component and feature both lectures or seminars as well as studio instruction. Students may also do Directed Studies as well as courses in acoustic communication in the School for Communications. (Prof. Truax is a joint appointment between the two schools). Students doing composition may also opt to do an electroacoustic work (rather than write for acoustic instruments) or a piece for tape and instrument(s). The first year course (FPA 147) is an introduction to audio (both analogue and digital), acoustics, the basic canon, synthesizer / sampling basics, some compositional issues and instruction in a variety of applications. 247 explores the world of live performance with Max/MSP, sensor systems, algorithmic composition and synthesis. 347 provides an in depth review of the canon as well as studio composition. Students are introduced to the creative use of the AudioBox (Richmond Sound Design) for automated multi-channel diffusion. The final course, 447, focuses upon computer music. In addition to readings and listening students study Csound.

 

Events

 

Every spring we present a multichannel diffusion concert with some invited guests, faculty and student works. There are also events in the fall as well as informal concerts as part of the course work. In addition there are opportunities to present electroacoustic work in Vancouver and many of our students and faculty participate in these.

 

Further Information

 

- http://www.sfu.ca/sca

- The Computer Lab for Image and Sound

 

 

 

UBC — University of British Columbia

 

 

 

TEMPLATE

 

Do not delete this!!!

 

UNIVERSITY NAME

http://WEBADDRESS

 

Historical Overview

Write an historical summary if desired. Try to keep below 500 words. Your text may be edited by CEC administrators before being published to the CEC main website.

 

NAME

WRITEdescriptionHERE

  • Professors include NAME, as well as NAME, NAME, NAME.
  • Graduates include NAME, NAME, NAME.

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