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CanadianStudios

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on March 16, 2007 at 4:32:49 pm
 

eContact! 5.2 — Canadian Electroacoustic Studios

 

In eContact! 5.2 a list of electroacoustic studios across Canada was featured. Many of the links have since changed or have 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. To contribute, contact jef chippewa for the WIKI password.

 

I have already taken a number of the original entries from eContact! 5.2 and edited them below, to offer some examples to our contributors (i.e. you!). Check out the particularly informative SFU (Vancouver) and Conservatoire de Montréal entries before editing an existing non-updated entry or before writing your own.

 

In your descriptions, make it clear what kind of relation the programme or studio has to electroacoustics. Does the programme offer courses only, or are Minors and/or Majors possible? What about a whole EA programme? Is the studio pedagogical, private, commercial?

 

Since addresses and personnel change over the years, 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 (these can be found on the website);
  3. Do not include contact email addresses (these can be found on the website);
  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 may be moved to separate pages in the future, once a significant amount of information has already been gathered, in order to keep this page a bit lighter.

 

See the bottom of this page for a template you can copy for your entry.

 


 


Banff

 

The Banff Centre / Music and Sound: Audio

http://www.banffcentre.ca/music/audio/programs

 

 

 

Calgary

 

University of Calgary / Department of Music

http://www.finearts.ucalgary.ca/music

 

 

 

Edmonton

 

University of Alberta

http://www.ualberta.ca/music

 

The University of Alberta offers courses in electroacoustic music (and computer music composition) utilizing current technologies. This studio was initiated by Garth Hobden in the mid-1980s. More funding, along with the hiring of Laurie Radford, led to more digital technology. Paul Steenhuisen has been co-ordinating studio activities recently and there should be an additional composer hired within the year. —Roger Admiral, March 2007.

 

FACILITIES; STUDIO DESCRIPTIONS AND DIAGRAMMES

None provided.

 

 

 

Kingston

 

Queen’s University / School of Music

http://www.queensu.ca/music

 

The School of Music curriculum offers courses in upper year electroacoustic composition for students who have completed the introductory courses in electroacoustic music or the equivalent. These courses allow students to meet with the instructor in small groups. As well, all composition students meet once a week in order to participate in a composition pro-seminar or technical seminar with composition faculty and other electroacoustic music composition students. Students enrolled in upper year electroacoustic composition courses are required to work on several compositions per term. The students are required to perform at least one of their compositions per term at a Mosaic concert or similar venue.

 

Other courses offered include Computers in Multimedia and Science and Technology of Music.

 

The main focus of the Electroacoustic Music Composition (Introductory) is the production of electroacoustic music by students, using the studio facilities provided by the School of Music. Course content includes lectures on technical, æsthetic and compositional issues of electroacoustic music, as well as practical work in the studios such as in-class assignments and workshops. Students are expected to produce electroacoustic music compositions on a weekly or biweekly basis, and are expected to perform some of their compositions in a concert venue.

 

EMS — ELECTROACOUSTIC MUSIC STUDIOS

Currently the EMS consists of four separate studios. The purposes for Studio A include live performance resources, sound editing and general electroacoustic music composition. Studios B and C are considered to be studios for novice users, and provide the main technical facilities for the teaching of the introductory electroacoustic composition music courses. Studio D is the advanced users' studio and is the primary facility for upper year and graduate students as well as for faculty and guest composers. http://www.queensu.ca/music/resources/ems

 

HISTORICAL OVERVIEW

The intention of the EMS, since its creation, has been to provide state of the art facilities for electroacoustic music composition, research, and teaching.

 

The Queen's Electroacoustic Music Studios were founded in 1970 by David Keane, who remained Director of the EMS until 1997. In 1973 the studios moved into the newly opened Harrison Lecaine Building, where they are still currently housed.

 

Composers from Queen’s Electroacoustic Music Studios have a significant role in developing electroacoustic music in Canada and in establishing Canada’s considerable international profile in the field. Faculty and graduates from Queen’s who have contributed significantly to the field of electroacoustic music include Hugh Lecaine, Istvan Anhalt, David Keane, Bruce Pennycook, Keith Hamel, Barry Truax, William Buxton, Kristi Allik, and Kirk Elliot. Both faculty and students have been the recipients of many international awards in electroacoustic music and in integrated media and multimedia works, including the Bourges (GMEB) and Prix Ars Electronica prizes. Since its creation, the EMS has hosted a number of national and international music events; as well, internationally known composers and researchers have accepted invitations to work at the EMS. Thus, the Queen’s Electroacoustic Music Studios continue to have a high profile both nationally and internationally as well as providing a valuable service to the School of Music and to the Queen's University community.

 

SPECIAL EVENTS

The School of Music hosts the Mosaic Concert Series that consists of approximately five to eight concerts per academic year. The purpose of the Mosaic concert series is to feature both Queen’s student and faculty composers’ compositions. This venue provides an excellent opportunity for students enrolled in electroacoustic composition courses to present their works to a larger audience. The concert series also provides students the opportunity to learn more about the technical processes involved in setting up for and performing electroacoustic compositions in a concert venue.

 

Queen’s University School of Music also continues to host and to participate in numerous concerts, conferences, festivals and other special events pertaining to electroacoustic music and multimedia. These events involve students, staff and faculty from Queen's University as well as from participating universities and similar institutions.

 

FACILITIES; STUDIO DESCRIPTIONS AND DIAGRAMMES

None provided.

 

QUESTIONS TO CONTRIBUTORS

  1. who wrote this text originally?

 

 

 

 

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.

 

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. http://music.concordia.ca/Programs/Electroacoustic_Studies.html

 

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. Graduates of the Music programmes include Dominique Bassal and jef chippewa.

 

SOUND RECORDING AND REINFORCEMENT

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

Professors include Mark Corwin, as well as NAME, NAME.

Graduates include NAME, NAME, NAME.

 

FACILITIES; STUDIO DESCRIPTIONS AND DIAGRAMMES

http://music.concordia.ca/facilities.html

 

 


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.

 

PEOPLE

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

Graduates include NAME, NAME, NAME.

 

FACILITIES; STUDIO DESCRIPTIONS AND DIAGRAMMES

None provided.

 

 


McGill University / Schulich School of Music

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

 

DIGITAL COMPOSITION STUDIOS

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

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

 

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

 

Professors include Wieslaw Woszczyk (founder of the Sound Recording Studios).

Graduates include NAME, NAME, NAME.

 

FACILITIES; STUDIO DESCRIPTIONS AND DIAGRAMMES

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


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.

 

FACILITIES; STUDIO DESCRIPTIONS AND DIAGRAMMES

None provided.

 

 

 

Top

Thunder Bay

 

Lakehead University / Music Department

http://lakeheadu.ca/~musicwww

 

ECKHARDT-GRAMATTÉ SOUND STUDIO

The studio is accessible to students in composition, and is used for recording, sound processing and multimedia projects. http://bolt.lakeheadu.ca/~musicwww/soundstudio.html

 

PEOPLE

Professors include Aris Carastathis, as well as Darlene Chepil Reid.

Graduates include NAME, NAME, NAME.

 

FACILITIES; STUDIO DESCRIPTIONS AND DIAGRAMMES

None provided.

 

 

 

Top

Vancouver

 

SFU — Simon Fraser University

 

Electroacoustic Music at the School for the Contemporary Arts

By Martin Gotfrit, 2002.

 

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.

 

PEOPLE

Professors include R. Murray Schafer and Barry Truax, as well as Martin Bartlett, Martin Gotfrit, Owen Underhill and Donna Zapf.

Graduates include NAME, NAME, NAME.

 

FACILITIES; STUDIO DESCRIPTIONS AND DIAGRAMMES

None provided.

FURTHER INFORMATION

School for the Contemporary Arts

The Computer Lab for Image and Sound

 

 


UBC — University of British Columbia / Music Department

http://www.music.ubc.ca

 

COMPUTER MUSIC STUDIO

The music programme includes courses in Electroacoustics, Recording, and Music Technologies. The studio is open to students enrolled in the MIDI and Computer Music courses and to Composition students working on composition and audio projects. http://debussy.music.ubc.ca/courses/ubcStudio.html

 

PEOPLE

Professors include Keith Hamel, as well as NAME, NAME, NAME.

Graduates include NAME, NAME, NAME.

 

FACILITIES; STUDIO DESCRIPTIONS AND DIAGRAMMES

http://www.music.ubc.ca/index.php?id=2022

 

 


Vancouver Community College / Music Diploma Programme

VCC offers courses in the creation and production of electronic music using current digital technology, the computer and synthesizers. Students learn basics of audio recording, sound design, sampling, sound synthesis and sequencing both audio and MIDI in the context of creating their own compositions. http://music.vcc.ca/music

 

PEOPLE

Professors include NAME, as well as NAME, NAME, NAME.

Graduates include NAME, NAME, NAME.

 

FACILITIES; STUDIO DESCRIPTIONS AND DIAGRAMMES

None provided.

 

 

 

Victoria

 

University of Victoria / Computer Music Department

http://finearts.uvic.ca/computer

 

THE STUDIOS FOR INTEGRATED MEDIA

http://finearts.uvic.ca/sim

 

 

 

 

 

 

 

 

 

 

 

Top

TEMPLATE

 

Do not delete this!!!

 

University Name / Faculty or Department

http://WEBADDRESS

 

NAME OF STUDIO

Write a brief summary, preferably under 100 words. Your text may be edited by us. http://STUDIOWEBADDRESS

 

HISTORICAL OVERVIEW

Historical summary of the school or institution’s involvement with electroacoustics if desired. Use a neutral writing style (eg. avoid specific course code references) so that the information will remain relevant in the years to come.

 

PROGRAME NAME

Write a brief summary, preferably under 100 words.

 

EVENTS

Overview of recurrent and notable one-time events.

 

FACILITIES; STUDIO DESCRIPTIONS AND DIAGRAMMES

http://WEBADDRESS

 

PEOPLE

Professors include NAME, as well as NAME, NAME, NAME.

Graduates include NAME, NAME, NAME.

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