In French and English.

Associated with the concert event La Grande Nuit 2023, this colloquium looks at new approaches to instruments and sound performances, based among other things on electronics, software programming, artificial intelligence, as well as on logi-acoustic instruments, distinguishing the different strata of research-creation and their inter-relationships. The program creates a bridge between the worlds of research and sound creation, which is directly in line with the mission and past activities of the GRMS. This will allow the study of sound in the context of the 21st century, characterized by new relationships to others and to technology, as well as by a new perception of the self. This collaboration will allow to reach a very diverse audience and share the research conducted by our group and its guests with as many people as possible.

Participants

Organized by GRMS, matralab and Hexagram as part of the Série GRMS La Grande Écoute in collaboration with the Chaire de recherche du Canada en création d’opéra de la Faculté de musique de l’Université de Montréal and Montreal/New Musics.

Program

1pm — Ricardo Dal Farra — Music of the future

Some reflections on what we thought about music 50-100 years ago and how we imagine music, sound and musical instruments, and performances in several decades.

1:30pm — Rodrigo Sigal — Approaches to non-musical influences and technology

Afin de présenter une sélection de stratégies de composition qui traitent de matériaux non musicaux et de sources sonores identifiables, je discuterai d’exemples de pièces récentes en médias fixes et mixtes. L’utilisation de la technologie afin de générer un contexte sonore cohérent pour ces sources sonores et ces idées est également un élément central de la présentation.

2pm — Elisabeth Schimana — The living acousmonium

First introduced by the GRM (François Bayle) in 1974, the acousmonium was inspired by the layout of an orchestra and acousmatic music offered composers the possibility of fixing their works on a storage medium without having to fight against mediocre interpretations of their works by musicians. The tape piece was both a score and a perfect performance. The broadcasting of tape pieces for the loudspeaker orchestra was reserved for composers only. With the increasing availability of technical instruments for composing electronic music and the transfer of production from the studios of radio stations and universities, accessible only to a few, to the living rooms of composers, we witnessed a radical change in the 1990s. Multichannel systems, whether called acousmonium or not, were increasingly available for performance. CPUs were getting faster, memory capacities were increasing, and composers could program their patches at home on their laptops, and live electronics were taking off. Gone were the perfect recorded scores, replaced by a lively and often improvised use of technical instruments. A step further: in the series of works under the name Virus, the live generated audio score comes out of the loudspeakers and is played by the musicians sitting in front of one of the loudspeakers spread around the room. A living acousmonium!

2:30pm — Pause

3pm — André Éric Létourneau — Sound, behavioral and transductive architecture of streams

This presentation aims to contextualize the sound piece Gâteaux fantômes (2023) presented by the speaker as part of the GRMS concert La Grande Nuit on February 25. This composition explores the conceptual gaps between different platforms found in the architecture of Montréal’s sewer system, allowing wastewater to seep elsewhere, including into the world of the mind. The dynamics of the octophonic composition of the sound work is commented on here by transposing the Husserlian concept of retention, the flows through the human mind being identified with those of a liberated water that makes a dangerous and fertile mire circulate in another way.

3:30pm — Simon-Pierre Gourd — Composers beyond technology

The GRMS is interested in compositional preparation work and in all the preliminary strategies, sometimes unconscious, voluntarily evaded or repressed, that composers of sound creations using technologies demonstrate. Various research activities, including the colloquium Sound Media Beyond Borders during et RIG 2022 Rencontres Interdisciplinaires GRMS have allowed us to accumulate a lot of ideas on complementary themes such as the relationship between time and space, imaginary or technological real scores and creation devices. A first attempt at organization will be presented here, particularly from the spontaneous comments that composers made in video interviews during the pandemic situation that characterized the 2021 edition of MNM.

4pm — Philippe-Aubert Gauthier — LOVE project, Listen to Our Voice’s Experience: perspectives in sound creation

Auditory hallucinations are not exclusive to schizophrenia and do not systematically reveal a psychotic delirium. Voice hearing (VH) is present in the general population and many voice hearers manage to live well with this phenomenon. Current scientific explanatory models and clinical tools offer an incomplete understanding and management of VH that may be inadequate. New explanatory or experiential models are needed to better understand VH and improve quality of care. Our initial question was: How can this be achieved while combining empathy and the scientific method? To answer this question, the LOVE project team adopts a participatory approach that brings together a variety of expertise and experience, combining psychiatry, acoustics, quantitative and qualitative methods, experiential knowledge and sound creation. In this project, the team is working on the co-creation of an immersive binaural VH voice simulator with voice hearers, actors, and researchers. Through successive iterations, the co-creation of the simulator is validated by the people most concerned by VH on a daily basis, i.e. the voice hearers themselves. The goal of such a simulator will be to share the experiential dimension of VH with future caregivers or practitioners (e.g., in social work or medicine) in a pedagogical context, in order to foster understanding of the experience of the person seeking help and care. In the next phase of the project, versions of the simulator, called 3DV, will be validated with target populations that could benefit from this experiential pedagogical tool in their learning paths. The presentation will cover the main lines of the research project, the methodological and creative aspects, as well as the impacts on sound creation. The project is funded by the FRQ Audace program.

4:30pm — Pause

5-6pm — Round table

Moderators: Sandeep Bhagwati and Simon-Pierre Gourd

With Philippe-Aubert Gauthier, Elisabeth Schimana, Jean-François Laporte, Navid Navab and Cléo Palacio-Quintin.

This roundtable brings together creators of music/instruments/art who expand the notion of the device and human-centered musical thinking. Based on the works and reflections of the guests in relation to the subject matter, we will then all discuss together with the audience.