5.1 (pdf) - CEC

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_l-__F:..:r,;;o.:.:.m:..:t;,:.;h.::.e..::;B..::;oa.::.r;..;;d~ Conseil des arts de la Communauti urbaine de Montreal, l'Universiti Concordia (bureau du recteur, la Faculte des beaux-arts et Ie Departement de musique) et surtout les coinpositeur(e)s et interprctes qui ont fait en . sorte que ces Journees e1ectr~coustiques CEC soient unereussite sur tous les plans. Kevin Austin, Montreal . communauti urbain de Montreal, the CEC, Queen's University, Concordia University (Rector's Office, Faculty of Fine Arts, and Department ofMusic), and most ofall the composers and performers who made this the most broadly successful CEC Electroacoustic Days so far. Kevin Austin, Montreal it ·I'ecoufe de l'Ontario En tant que membre du conseil d'administration de laCEC, je me suis interessee aU'developperrient de I'activite elcctroacoustique de la region de Toronto etde l'ensemble de la province d'Ontario. Bien qu'il yait plusieurs electroacousticiens a.ctifs qui resident dans la region metropolitahte de Toronto, la communication a etc quasi-inexistente. pe plus, Ie reseau pour la presentation de nos oeuvres reste toujours a I'ctat embryonnaire, Nous avons donc 9rganise, en fevrier demie:r, UJie reunion a la M~sic Oallery de Toronto afm de discuter de la mise sur pied d'un studio d'enregi;trement, d'une seriede concerts, d'ateliers et de seances d'ecoute. Nousnous sommes d'abord re~cigncsau sujet de racccssibilitc. de studios d'enregistrement. Dans un autre temps, DavidMott de I'universite Yorknous a offert I'utilisation liventuelle des installations du departement de musique, pour fin de concert, Jim Montgomery du Music Gallery a discuter de la creation d'un studio d'enregistrement voue a larccherche, tandis que d'autres intervenants ont proposes qu'une entente soit prise avec certainS studios d'enregistrement commerciaux de Toronto dans Ie but de les _ rendre plus accueillant envers les projets qui ne necessitent qu'un mixage final. Au terme de: la reunion, pIusieurs personnes ont signtS une lettre demandant au gouvemement NPD de I'Ontario d'augmenter l'octroi au Conseil deS Arts de I'Ontario.Lc 29 avril, Ie gouvemement de l'Ontario annonc;ait I)n octroi suppIemtlUtaire de $7.5 millionS ace meme organisme~ . Les reunions suivantes se sont derouIces Ie 26 marset Ie 7 mai ala Music.Gallery. Cesreunions ont servi aI'Ccoute d'oeuvres completes ou . en co~rs. No.us avions a notre disposition un systeme de son de.himte gaffime. Nous enavons aussi profile pour discuter longuement, si bien que qu'a Ia suite d'une session marathon plusieurs auditeurs ont developpc une "fatigue d'Ccoute". John Oswald a remarquc qu'il entend souvent les memes commentaires soit qu'une oeuvre eSt trop longue ou qu'elle est jouec aun volume trop eleve ou trop faible. Ces commentaires sont gencra:Iement rcitcres lors des Journees CEC. Ces.questions pourrai¢nt. porter sur les formes de presentations de notre artct sur l'utilisation des moyens technologiques, Ontario musings As part ofmy responsibilities of being a board member of the CEC, I have undertaken the development of electroacoustic activity in the · Toronto area, which will help to build theCEC profile and presence in Ontario. Allhough there arc many active electroacoustic composers who live in the larger Toronto region, we have h·ad little communication, and there are very few local performance possibilities for our work, I sent out a mailing in February which ant:Jounced a meeting to be held at the Music Gallery [Toronto] to discuss such items as the developmentofstudio facilities, a concert series, educational workshops, and regular listening sessions. The resportse Was positive and during the first mceting, many suggestions for $tud~.;;:. · access were offered, .'fi!!Jl}} I received contact from David Mott of York University expressing his support and potential use of the concert facilities'in the music department. Jim Montgomery of the Music Gallery discussed the possible development of a research oriented studio at the Gallery; Others'suggested arrangements be·made with the many commercial studios in the city, particularlyfor the purpose of creating a final mix of a work. At the end of this frrst meeting, several people signed a letter which was mailed to several cabinet ministers of the Ontario NDP goverrunent requesting that they support the proposal to provide additional funds for the Ontario Arts Council. The good news is that an additional $ 7.5 million has been added to the base operating grant · of the OAC, as aImounced in the budgetspeech on April 29. The next two sessions, held on March 26 and May 7, were primarily for listening to compositions - both completed works and . works-in-progress. The MusiC Gallery was our host, and we had access to good quality playback equipment. Several works were· · played and good discussion was generated, so much so that after one marathon session, people developed "listening fatigue", One interestingpoint raised by John Oswald was that he often hears cOlrunents that a work is "too long",or "tooloud", or played "too soft". No doubts these points will be raised again at · »PERSPECTIVES->->, as they tend to haunt each festival held so far. Perhaps what is at stake is a fundamental qucstioning regarding how tIllS arlform is to be presented, and how to usc technology to enrich rather than to dominate. [!1 ontad! I Octobre/ October 1991 6
______Fr_o_rn_th_e_B_oo_r-d- Nous preparons presentement les rencontres de I'automne et lous les compositeur(e)s de la re~ion(ou de passage) ysont invites. Pour plus de· renseignements concernant I'horaire de nos reunions veuillez communiquez avec moi durant les heures de bureau a(416)533-0192. We will continue to meet in the summer, and anyone is welcome to attend. A smaller group is being formed.to pursue contacts regarding the development ofstudio facilities. For further information on time and location, please contact me during office hours, at (41'6) 533-0192 Wende Bartley, Toronto Wende Bartley, Toronto L'electro au Journees de 10 SIMC Au debUt septembre, la li!Ure qui suit a eti.presentee aux membres du Conseilinternmionaide la SIMC (Societe internationalepour la musique coiltemporaine) et aux deligues reunis 0. Zurich (Suisse) lors des Journees mondiales de la muSique 1991, par Christopher Butterfield, delegue dela . section canadienne de la SIMC, Chers membres et delegues distingues, I.e Canada cst un des centres Ies plus importants d'activite clectroacoustique. Dans ce pays,I'electroacoustique est enseignee dans Ia plupart des grandes universites, Ies studios privcs sont de plus en plus communs el une majorite des jeunes compositeurs prlltiquent _lectroacoustique sous des formes multiples. Grace en 'parti~ llU nombre grandissant de prix internationaux qui ont ete altribuesaux ~11".res electroacoustiques canadiennes. III reconnaissmce de I'activite electroacoustique clmlldienne cst maintenant un fait accompli. La Communaute electroacoustique canadienne (CEC) represcnle les compositeur(e)s, inlerpretes et autres individus ou groupe qui ~uvrent dans les arts electroacoustiques. Notre association aloujours cOIisidlSre que les Joumecs mondiales de la musique offraient une occasion de presenter les fruitsdu travail de coinJiositeur(e)s electroaCoustiques cmadien(ne)s dans un cadre international el plus souvenl que moins durmt les dernieres annecs,lesjury des JMM ont selectionncun bon nombre de ces a:uvres pour presentation en concert II semblerait cependant qu'une decision de la section Polonaise de1a SlMC (hole des Journees 1992) aura pour effet de rCduire la presence canadienne. I.es membres du Conseil de la CEC sont·extrcmcment d~us et perplexes face al'absence d'une categoric d'a:uvres pour bande seule dans l'appel d'a:uvres des Journees mondiales de la musique 1992, aVarsovie. En debut etc 1991,Ia CEC a demandc ala section Polonaise d'expliquer celte facheuse decision. Nous avons etc informes que la section Polonaise avait pris la decision d'exclureune partie importante de l'activite electroacoustique et que celte decision avait ete acceptee par Ie jury international. II ne faudrait surtout pas que ce geste serve d'exemple aux tutur hOles, car il sert principalement ]a cause d'une minorit~de gens qui partagent Ie meme point de vue qui exclut tout ce qu'iJ(elIe)s ne considcrent·pas comme faisant partie de la «musique contemporaine». Eo's place in the World Music Days In early September, thefollowing letter waspresented to the . Members ofthe International Boardofthe International Society for ContemporaryMusic and delegates present at the 199/ World Music Days in Zurich, Switzerland by the Canadian representative (Christopher Butterfield) ofthe Canadian section ofthe ISCM. . Dear Distinguished MemQer~& Delegates, Canada is one of the most importllDt centers ofelectroacoustic· activity in the world. It is a country where most large universities includeelectroacoustic studies as part of their curriculum, where private studios are becoming coJIiJnon place and where a majority of young composers practice this art in one form or another. Duelo the largenumber of international prizes .awarded to ClU)adian works in the past decade, international recognition orCanadim e]ectioacoustic activity is now afail accompli. The Canadim Electroacoustic Community (CEC) represents Canadian composers, performers arid other individualS and groups working in the electroacoustic arts. Our association has always regarded the World Music Days as a great opportunity to present the work of Canadian electroacoustic composers in an intemationational forum and more often than not, past WMD juries hllve selected aCair number ofCanadian works of this nature. for concert presentation. It would seem, however, that the Canadian presence in 1992 will be. diminished due to a decision of the Polish section of the ISCM. .The Board of the CEC is extremely dissapointed and puzzledat the absence of a category allowing for the submission ofsolo tape works in the 1992 World Music DaY$ in Warsaw. fu early summer I991~ the ._ CEC requested clarification from the Polish Section concerning this .regrettable decision. We were inforrned that the decision to excl\!de m .:importllDtsegment of electroacoustic activity Was taken by the Polish Section and accepted by the Intern~tional Board. This unfortunate action must not be allowed to become an example for future hosts to follow, for it would serve only the interest of a minority ofpeople who shwe·a comriJon narrow vision ofwhat can and should be considered 'contemporary music'. 7 [!Iontact! I Octobre/ October 1991
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