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TSB II - Lecture Demos

João Catalão & Dominic Thibault
Joseph Visseaux
Gina Ryan
Jérémie Carrier
Stuart Jackson
Integrating Mosaïque software into the improvised music creation process - João Catalão & Dominic Thibault

Since 2009, the Catalão-Thibault duo has been devoted to the artistic practice of combining percussion and technology with a particular interest in the expressive interpretation of mixed music. They aim to fuse the acousitc sonorities of percussion with the electronic sound-world by improvising using pre-established musical structures and of pre-composed electronic sounds. In this lecture demo,  the duo uses a vibraphone and analog synthesizer to explore the expressive potential of concatenative corpus synthesis using Mosaïque software. Developed by Dominic’s team at the Laboratoire formes – ondes, this innovative software enables sound synthesis from an archive and opens new perspectives for the creation of a unique timbral vocabulary. Using piezoelectric microphones on the vibraphone enables the creation of MIDI information in real time, transforming the vibraphone into the device’s controller and offering perfect synchronization between sounds. 

Transcription for marimba of André Mathieu's piano works - Joseph Visseaux

André Mathieu (1929-1968), known as the “Canadian Mozart”, was a composer and pianist whose musical style is at the crossroads of Rachmaninov/Liszt and Gershwin. Made internationally famous by Alain Lefèvre’s interpretations, André Mathieu is an integral part of Quebec’s cultural heritage. Joseph Visseaux has created a transcription of Mathieu’s major works–in line with the work of Georges Nicholson and Marie-Thérèse Lefebvre. In this presentation, he plays his transcription for 5-octave marimba of André Mathieu’s Concertino #2 along with Amanda Kohn on piano, and outlines the various problems that arouse while making transcriptions.  This issues include the question of register, the notions of distance and simultaneity, the concept of rhythmic circulation, the question of articulations, that of remanence and that of voicing.

Baschet instrumentarium as a source of sound exploration - Gina Ryan

This lecture-demonstration profiles the 14 sound structures created by the Baschet brothers in Paris, France. The brother- inventors (engineer and sculptor) created a vast array of sound structures, also known as sound sculptures,  used in avant-garde performances, music therapy, and music education beginning in the 1950s. The 14 sound structures belong to the pedagogical instrumentarium, which was developed in the 1970s. The unique pedagogical approaches developed by the Baschet Association in France are situated in both school and outreach projects. Since the sound sculptures were conceived as multi-sensorial objects, they function as visual-kinesthetic-aural tools to mobilize a range of learners and to facilitate a range of experiences (Cuffini, personal communication). Gina Ryan explores the structures’ sound families, which include glass rod instruments, string instruments, and percussion instruments, including a demonstration of the Baschets’ distinction between tonic, complex, and fluted sounds ). Collective music-making, interactive listening, and creative empowerment are at the heart of the inventors’ concept.

Integration of Harmony and Improvisation on Keyboard Percussion - Jérémie Carrier

As percussionists we must learn and understand multiple instruments as well as concepts relating to those instruments such as Harmony in the case of keyboard percussion. Jérémie Carrier will demonstrates his approach to understanding harmony on keyboard percussion and how this knowledge can help us with proper note choice in improvisation contexts. Gary Burton often said when he looks at the keyboard, it is as if the right notes light up and he simply has to choses between these notes to create his legendary improvisations. In my many years as a keyboard percussion player, this perspective of the keyboard has been essential.

...explosante-fixe... Recovering a lost work for vibraphone and electronics by Pierre Boulez - Stuart Jackson

Little is known about “…explosante-fixe…”, the solo vibraphone and electronic works by Pierre Boules written 1977-1990. Through archival research into scores, technical diagrams, and correspondences, as well as interviews  Jean-Claude Forestier (performer), and  André Richard (engineer). Stuart Jackson uncovers the deep history of Boulez’s incredibly ambitious project  to create a long-form vibraphone solo with electronics out of the …explosante-fixe… matrix that he had published in Tempo magazine as a memorial to Igor Stravinsky in 1971. He reveals the piece went through several stages of edits as well as over 40 performances by the vibraphonist Jean-Claude Forestier.  This presentation will recount the history of this particular  …explosante-fixe… along with the methodologies Stuart Jackson developed in the process of producing a performable version of the score.