ISCM

C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface

2005_ISCM - CANADIAN SECTION 

Year: 
Report: 

The ISCM Canadian Section has undertaken numerous activities since the presentation of three Canadian works at the ISCM World Music Days, held in collaboration with the Zagreb biennale in late April, 2005. In late May, the Canadian League of Composers (the organization entrusted with the ISCM Canadian Section) met in Toronto for their Annual General Meeting, and at that time elected me to another term as delegate and President of the ISCM Canadian Section. 

The meetings and AGM of the Canadian League of Composers was selected to take place in Toronto at the time in order to coincide with an ISCM co-sponsored concert presentation at Toronto's Music Gallery. ISCM vice-president Keith Hamel had been asked to curate a concert by Toronto's New Music Concerts organization, led by renowned flutist Robert Aitken, Hamel chose to have a triple focus on Western-Canadian composers, those with links to the ISCM Canadian Section, and artists involved with technology and interactivity in their music. As a result, "Wild, Wired, West' contained an interactive work by Laurie Radford (then a composition professor at the University of Alberta), a work for accordion and live-processed video by Bob Pritchard (a composer whose work was selected for our national submission to the World New Music Days in Switzerland), and Cyclo by Calgary-born composer David Berezan, Cyclo was one of the electroacoustic works featured at a WNMD concert in Geneva, 2004. Also on the program was Robert Aitken performing Hamel's multi-channel interactive piece "Krishna's Flute", and the world premiere of my piece "Material/Ultramaterial", composed for the full ensemble plus soundfiles. 

The Canadian Section continued its annual distribution of promotional CD's of selected works to ensembles across Canada, and upon request to individuals. In September 2005, Patrick Saint-Denis, whose work Les dits de victories was heard in Zagreb, embarked upon a residency at the Visby International Centre for Composers. The Canadian Section would like to thank VICC, Ramon Anthin, and the ISCM for their endorsement and support of Patrick's residency, and we look forward to facilitating other residencies in the future. Mr. Saint-Denis was very pleased with the opportunity he received, and the work achieved there. 

In September 2005, I presented another ISCM concert event, this time at the University of Alberta, in Edmonton, Canada, where I am currently a Professor of Composition. As Artistic Director of the Wild Type EA electroacoustic music concert series, I presented a concert of recent pieces selected by the Canadian Section. This included Berezan's Cyclo, Stephane Roy's Masque et Parades, Scott Wilson's Müllmusik, Ben Wilson's Sediment, and a recent work by Robert Normandeau. 

Lastly, several administrative changes have taken place. The ISCM Canadian Section and Canadian League of Composers no longer retain the services of administrator Mitchell Kitz. 
Our new assistant is Mr. Neil Gardiner, who can be reached at   . During this time, the ISCM Canadian Sections, in collaboration with its funding agent, the Canada Council, has set new, more stringent administrative and accounting policies for the organization, which promise greater consistency of our daily operations and granting. As there has not been an ISCM World Music Days in fifteen months, the Canadian League of Composers has had its second Annual General Meeting since the World Music Days in Zagreb, at which time I was elected President of the Canadian League of Composers, and now serve as president of the organization and the Canadian Section. 

I look forward to serving both the CLC and ISCM with the best interests of Canadian composers and contemporary music at the forefront of my work. 

Respectfully submitted by Paul Steenhuisen

 

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