CECG nEWSLETTERBULLETin GEl: i 1

Please let me know your thoughts/ideas/interests. I plan to be inToronto the weekend of March 28 - 31, and would like to meet withToronto region people to pursue this project.

objectives ­D]:GlICON'85

AND (ii)

Newsletter #1 is brief, with two maintape submissions to (a) I.C.M.C. (b)(d) the CECG Summer Seri es (4/1 0/7 )

(i) deadlines for(c) ACREQ andideas on the C.E.C.

In response to a question in the Newsletter #.0001, PRO/SDE has sentme a (justifiably) strong letter to the .effect that they DO answer allquestions put to them. The complete text will be included in the next

Newsletter.

There has been stron9 positive response from Victoria, Vancouver,South-Western Ontario, Toronto, Montreal and Halifax.

- flexibility- a network for distribution for concerts and broadcasts- creation of a B.B.S. (on-line Bulletin Board System)

rreliminary discussions continue on the creation of a network forelectro-acoustic composers in Canada. Some of the services whichare proposed include: the collection - distribution of information:

- personalcompositionalconcertspr.ofessionalcontestsawards/grantsconferences etc

Denis L'Esperance of the Canada Council has prepared a Report on theTenth International Computer Music Conference held in Paris on October19 - 23, 1984. Also in this Newsletter is a description of theCanada Council 'Media Arts' Programme. For more information oneither of these, please contact: Denis L'Esperance

Media Arts (video/Audio)Canada CouncilP. O. Box 1047Ottawa, OntarioK1P 5V8

UniversityMcGillLoyola

enclosed)

CALENDAR

----------------------

GEMS ConcertCECG Concert

ACREQ festival (see10, 11, 12 ma i /may

16,17,18, 19 mai/may CECG/GEC "4/1 0/7" Summer Series Loyola

28, 29, 30 juin/june CECG/GEC "4/1 0/7" Summer Series Lo yo 1a

13, 14 juill et/ july CECG/GEC Eight-channel concerts Loyola

30, 31 aoDt/au9ust 1 sept. CECG/GEC "4/10/7" Summer Series Loyola

Calendrier Montreal

4 avril/april22 avril/april3/4 mai/maycontinuing until

There are probablY 50 - 60 1/2" machines in use by readers of thisNewsletter. I would like to propose a bulk order of tape materials.Costs would be around 20% to 30% below your current costs for anorder of about $15,000 to $25,000. I plan to try to organize thisfor the month of October. At the moment, either Scotch or Ampex,both 1/4" and 1/2". Is there interest in empty reels? Prices wouldbe F.O.B. Montreal, and there would be 9% p.s.t. in Quebec.

Let me know.

have received enquiries about an equipment exchange/for sale column.This brings up the whole area of advertising and costs. Until furthernotice, private advertising rates will be $10 per half page (that isa Quarter page in the reduced format), $20 per page - a steal::

(C.E.C.)(C.LC.)

COLLECTIVECANADIEN

ELECTRO-ACOUSTICELECTROACOUSTIQUE

CANADIANCOL LECTI F

Some thoughts on the creation of the

85-,;;

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GE£: ~1En reponse a une question concernant les droits d'execution parue dans leBulletin #.0001, ffiQ / 5D.E m'a fait parvenir une lettre a 1'effet qu'il.sr~pondent avec plaisir aux requetes qui leur sont adressees. Le texte de cettelettre par<fi'tra dans 1e prochain bul1etin.

Dans ce court bulletin it sera question (I) des echeanciers pour lasoumission de bandes pour: a) I.C.M.C.; b) DIGICON'85; c) ACREQ; d) la serie deconcerts a'eie du G.E.C. (4/1017); et (II): des Idees au sujet du CE.C.

Denis L'Esperance au Coosell des Arts du Canada a prepare un llimllQrt sur la, dlxleme conference d.e....lm.illlm.w. pat ordinateuc tenue a Paris du 19 au 23octobre 1984. Une description du programme· M~1tl1 Atta • du Conseils desArts est auss! Incluse dans ce bulletIn.Pour plus (i'informatJon: IY.:rus L'Esperal1ce

Y@II;UI Artfi (VAd;o Q Audi@)canada CouncilP. O. Box 1047Ottawa, OtltaJ'tOKIPSV8

Au sujet de 121 creation (.l'un C.E.C.les discussions se poursulvent Quant a la creation d'un reseau decompositeurs de musique electroacoustique Canadiens. Parmi les servicesproposes on trouve: coHede et distribution a'information

- persfJnneJle- compositlonelle- profess/onnelle- concerts- concours- prix / bourses- conFerences etc

- f1exibHlte du systerne- un reseau de distribution pour concerts et diffusion- creation d'un AB.B.S.A (Electronic Bulletin Board)

Jusqu'a maintenant ral recu des reponses favorables venant de Victoria,Vancouver, Ie sud-ouest de f'ontario, Toronto, Montreal et Halifax.Laissez-moi savoir vas idees et interets. Je prevois -etre de passage aToronto durant 121 fin de semaine de 28 au 31 mars et j'aimerais rencontrerdes gens de cette region afin de poursuivre Ie projet.

J'ai re~u des suggestions quant ala parution d'une rUbrique de vente / echanged'eQuipement. Cela souleve la question de la publicite et des coOts qui y sontrattaches. Jusqu'a nouvel ordre les tarifs de publicite personneJle seront de$10. Ie demi page (ce Qui donne un quart de page en format reduit), $20 la page- une aubaine!!

II Ya probablement de 50 a60 magnetophones a ruban 1/2" utilises par leslecteurs du Bulletin. Je voudrais proposer une commande en nombre de rubanmagnetique et accesolres. Les couts seralent de 20% a30% inferieurs aucouts normaux d'achat pour une commande de $15,000 a$25,000. Je songe aorganiser ceci pour Ie mois d'octobre.Pour !'instant j'entrevois soit SCOTCH ou AMPEX, les deux en 1/4" et 1/2".Etes-vous interesses par des bobines vides? Au prix de base s'ajouterait desfrais d'expedition et il y aurait une taxe de 9% pour les residents du Quebec.Laissez-moi savoir vos idees.

CONCORDIAUNIVERSITYThe Concordia Electro-acoustic Composers' Group once again

invites composers to submit electro-acoustic compositions

(on tape), to be performed in its Annual series of

concerts

Works should be for tape alone, although some simple

performance and multi-media installations may be possible.

UNIVERSITECONCORDIALe Groupe electro-acoustique de Concordia invite les compositeurs ~ soumettreleurs propres oeuvres electro-acoustiques sur bande magnetique dans Ie cadre

de sa troisieme serie de concerts annuels.

Les oeuvres doivent etre pour bande seule, bien qu'il puisse etre possible depresenter une simple performance et des oeuvres multi-medias.

Fiche technique

Duree de la bande: Aucune 1imiteTechnical Information:

No noise reduction; nO test tones.

Format: ~"tape, ~ track stereo, HEIID UP (clearly marked), with

15 seconds of leader tape at each end, on a 7" reel (or

larger) - large hub preferred.

Speed: 19 em or 38 em (7~ ips or 15 ips) CLEARLY MARKED

ON BOX AND REEL

Duration No limit

Caracteristiques: Bande de a po, ~ piste stereo, EN DEBUT DE BANDE, pre­voir 15 secondes de bande d'amorce clairement indiqueeau debut et ~ la fin. Sobine de 7 po (ou plus large) ­utiliser de preference un moyeu large

Vitesse de defilement: 19 em ou 38 cm (7~ po/sec ou 15 po/sec) CLAIREMENT IN­DIQUEEFDURNIR ETUI ET BOBINE

Ne faire aucune reduction de bruit ni aucun son d'essai.

La notice biographique est facultative.Le cas echeant, preciser si on detient des droits d'execution (CAPAC ou SDE).

Les bandes ne seront pas retournees a leurs auteurs, en prevision de futursconcerts.

Toute composition doit etre accompagnee d'une notice explicative dactylographiee,en anglais, en fran~ais ou bien bilingue ou encore illustree. Elle sera repro­

duite comme tell e dans Ie programme.

A programme note must be included, typed, English,French or

bilingual or pictorial, and will be reproduced in the programme

exactly as submitted.

A biographical note is optional.

Please include performing right affiliation (CAPAC or PRO), if any •.

Tapes will not be returned, as we wish to be able to play them

in later concerts.

Tapes should be submitted directly to, and more information

may be obtained from:

Kevin Austin

Concordia Elect~acoustic Composers' Group

Music Department RF

Concordia University

7141 Sherbrooke St. W.

Montreal, Qc.

CANADA H4B lR6

Phone: (514) 482 - 0320

Priere de soumettregnements 3.:

les enregistrements ou d'adresser les demandesKevin AustinGroupe electro-acoustique de ConcordiaDepartement de musique, ~310Universite Concordia7141, rue Sherbrooke OuestMontreal (Ouebec)CANADA H4B lR6

Telephone: (514) 482-0320. ('fo G>/4)

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UNlVERSITEII CONCORDIA

111/ 1985 jeudi 14 fevriervendredi 15 ~

samedi 16 .dimanche 17

I B

- -- - Groupe Elecfro-aeousfiquede Concordia

(GEe)

4

.::1 1985

Duringplayedmarked

the 1983 - 1984 winter series ofworks by the following composers.with *, associates with H.)

concerts, the CECG(Members of the CECG

Joshua BEDOUKIANSam BORSUK (H)

Tim CLEM(NTFrancis CHANGlendon DIENERSteve FAIPierre GAUVIN (H)

James GREENDavid KEANERichard LLOYDClaude LAVIGNE (H)

(H)John MILLER (H)

Claude RIVEST (H)

Jean SEGUIN (H)

Alain Thibault (H)

John WINIARZ (H)

Kevin AUSTIN (*) Tabitha BEDOUKIANJill BEDOUKIAN (*) Shawn BELL (*)Richard CLAIROUX (H) Steve CALDER (H)

Micheline COULOMBE 5T.MARCOUXMychael DANNA George DANOVA (H)

Paul DOLDEN David DUCHOW (H)

Daniel FEIST (*) Eric FERGUSSONNormand GENDRON (H) Barbara GOLDEN (H)

Bengt HAMBRAEUS Jan JARVLEPPHarry KIRSCHNER (H) Alcides LANZADave LINDSAY (*) Denis LORRAINThierry LANCINO Dominic MERCIERRosemary MILLER (H) John OLIVERRobert SCHERTZER (H) Claude SCHRYERJames TALLON (*) Paul THEBERGE (H)

Alain VAUGIER (H) John WELLS (*)

Members are regular and/or irregular players in the group.Associates are people who are in some way or other associated(formally) with Concordia University.

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The Canada Council Conseil des Arts du Canada

CANADA COUNCIL PROGRAM INFORMATION(MEDIA ARTS)

Video and Audio Production Grants

Independent, non-cornmercial producers, who have canpleted a body of

v.ork in video, film or audio, or artists who have established a

professional reputation in the visual or sonic arts may apply for

a Production Grant of up to $15,000 to cover direct costs of a video

and/or audio production. Groups and individuals may apply; individuals

must be Canadian citizens or be landed irrffiigrants who have lived in

Canada for five years as landed imnigrants. Full-time students are

ineligible.

Because of limited flU1ds, few grants are made at the maximum level.

Applicants are asked to suhnit reasonable proposals, based on well-

researched budgets, which derronstrate the managerial skills neces~ary

to realize their productions. All effort should be made to get the

best possible equipnent rental rates. Those intending to use artist-

rlU1, equipnent access centres are encouraged to consult with these

organizations before applying to detennine a rental fee for the use

of such facilities.

Applications should be suhnitted on fonns available fran the Media

Arts officer (Video and Audio). Supporting material should include

one or rrore recent video or audio tapes. If there is a major

departure fran previous work, it would be helpful if the applicant

255 Albert StreetPost Office Box 1047Ottawa, Ontario KIP 5V8'f ; I UOttawa: 237-3400Telex: 053-4573

255, rue AlbertCase postale 1047Ollawa, Ontario Kl P 5V88 f' IIU j ~OU1

Ottawa: 237-3400Telex: 053-4573

.../2

would suhnit a test or pilot of the video or audio v.ork to be lU1dertaken

with the grant. Deadlines for receipt of applications are 15 April and

15 December; applicants are notified of the results of their application

approximately six weeks after these dates.

For further information

please contact:

Denis L'EsperanceMedia Arts Officer (Video/Audio)

Simon Fraser UniversityCentre for the Arts

8~t1)[b ~1ML

$3 -AT J>oo"R..,4;12. 6j;,NE:RI\!.. 5l.J13SC~IPTlol-l

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(CORt.\ER. Cfi eo"!> e... KING WE~T)

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1~.oPGi::RS • W"R';;.

1FTtiU!\.~~ A~YMVSIC, CollTE.....PoR~1I.1 MUSIc.

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• Proposals for demonstrations, exhibitions,and special installations should be madeas soon as possible giving specificrequirements. limited space forcommercial exhibitors is available atRobson Square at a nominal charge on afirst come basis.

For further information contact:

Conference ServicesContinuing StudiesSimon Fraser UniversityBurnaby, B.C.V5A 1S6

Telephone: (604) 291-3649/4565

RegistrationProposed conference registration fees(Cdn.) are $90.00 for CMA members, $105.00for non-members, and $75.00 for students.Registrations received after July 1, 1985 or atthe conference site will be subject to a latefee. The registration fee will include allconcert tickets, bus transportation toconcert sites, and access to all conferenceevents. Further registration details will beavailable in early 1985.

Hotel AccommodationA block of rooms will be reserved at adowntown Vancouver hotel and registrantswill be responsible for booking their ownaccommodation. Further accommodationdetails will be available in early 1985.

All submissions should be sent to:

Professor Barry TruaxDepartment of CommunicationSimon Fraser UniversityBurnaby, B.C.Canada, V5A 1S6

Telephone: (604) 291-3687

Note: The selection of all papers (other thanstudio reports) and performance pieces willbe made by scientific and artistic juries.

The 11th International Computer MusicConference will be held in Vancouver,August 19-22, 1985 under the sponsorship ofthe Centre for the Arts, Simon FraserUniversity. This conference, which is beingheld for the first time in Canada, is aninternational forum for scientific, technical.and artistic exchange concerning computerapplications to music. Paper sessions, guestspeakers, demonstra'lions, and concerts willtake place at Robson Square Media Centre(August 19-21) and Simon Fraser University(August 22).

Session topics will include:

• computer assisted composition andperformance

• synthesis hardware and software• digital signal processing• personal systems• computer approaches to music theory,

analysis, and teaching• mixed media computer work• psychoacoustics and acoustic analysis• studio reports

Submissions

• Papers - a one page abstract, includingaudio-visual requirements, should besubmitted by Apri/1, 1985.

• Works for tape alone or Jive electronicsshould be submitted by April 1, 1985 inhalf-track stereo or 4 channel quad on '4inch tape, at 7 y, or 15 ips. Please indicatetape direction, speaker placement, anduse of any noise reduction (DBX only).Submissions in this category for a specialopen air concert are also invited. Otherconcert locations will be the RobsonSquare Media Centre and the VancouverEast Cultural Centre.

• Works for solo and small chamberensembles involving the computer intheir composition or performance shouldbe submitted by February 15, 1985.Works submitted for ICMC 85 may alsobe considered for performance atDigicon 85, the week prior to ICMC.

DD~I!Jle·11 ~·I .INTERNATIONAL COMPUTER MUSIC CONFERENCE 1985

Iel~1:.':~;: Announcement and Call for Submissions

": .:. ~.~ ....

friday, march 1saturday, march 2

8 p.m.

tickets

students/ seniors

winchester street theatre80 winchester st 0' toronto

.loron:6:,~m~:03 i!{t't~;~~

vendredi 1 marssamedi 2 mars20.00 heures

461'2503

billets $6etudiants/age dar $4

• premiere it toronto

winchester street theatre80 rue winchester, toronto

1;~!lllml"II~~lliI'l!1[ll[;I.II~!1"11"11t\11musique electronique: new electronic music!

premieres mondiales i world premieres I,- 1

I

Une perfepourla musique: Micheline Coulombe Saint-Marcoux

Micheline Coulombe Saint-Marcoux a termine ses etudes en 1967 avec un premier prix encomposition, En 1968, sa premiere oeuvre pour orchestre, Modulaire, fut jouee a Montreal.Par la suite, elle s'est consacree principalement a la composition.

Micheline Coulombe Saint-Marcoux finished her studies in 1967 with a first prize in composi­tion, In 1968, her first orchestral work, Modulaire, was performed in Montreal. From that mo­ment, she devoted her life chiefly to composition.

Micheline Coulombe Saint­,H"rcoux, cOlllpositeur cana­dien, s' est eteinte Ie 2 fevrier.

Le Theatre de I'Eskabcl, aMontreal, avait presente aumois d'octobre, avec grandsucces, sa derniere creation,Trallsit, une oeuvre dramatico­musicale dont elle a cree la mu­sique en collaboration avec laparoliere France Theoret.

Montrealaise d'adoption,Micheline Coulombe Saint­Marcoux est originaire deNotre-Dame-de-Ia-Dore, auLac-5t-Jean, ou elle est nee en1938. Elle laisse un repertoired'une quarantaine d'oeuvresdont plusieurs, comme Transit,sont de grande envergure.

De 1968 a 197 I, elles'" jOllrne a Paris grace entre au­tr~s a des bourses du Conseildes Arts du Canada et du gou­vernement franpis. Elle ypoursuit un stage en musiqueelectroacoustique avec IeGroupe des recherches musica­les de I'O.R.T.F., dirige parPierre Schaeffer. Avec cinqjeunes compositeurs dedi fferents pays, elle fonde en1969 Ie Groupe international demusique C1ectroacoustique deParis (GIMEP), lequel parti­cipe a de nombreuses manifes­tations a Paris et a I'etranger.Elle cree alars plusieurs oeu­vres electroacoustiques.

A son retour au Canada, elleest nommee professeur au Con­servatoire de Montreal, ou elleenseignait encore jusqu'a main­tenant. Son oeuvre, Zones,realisee au Sonic Research Stu­dio de I'Universite Simon Fra­ser de Colombie-Britannique, aete donnee en premiere au Fes­tival de Royan (France) enmars 1976.

En mars 1974, 1\ deux joursd'intervalle, deux oeuvres ma­jeures sont Creel'S. La pre­miere, Alchera, ou Ie Temps £Illreve,' texte de Nicole Brossard,est chantee a Paris par Chris­tiane Legrand et I'EnsembleAI'S Nova, dirige par MariusConstant, lors d'un concert demusique canadienne organisepar la CAPAC a I'EspacePierre Cardin. La seconde,f slwma, est Creel' lors d' unconcert de la Societe de musi­que contemporaine du Quebec1\ Montreal.

Les annees qui suiventvoient naitre, entre autres, Ge­Ilesis, pour quintette il vent, etMiroirs, toutes deux Creel'S a

Helsinki en 1978.Durant 1977 et 1978, Miche­

IineCouloll/be Saillt-Marcouxest en conge sabbatique etboursiere de la Fondation Vic­tor M. Lynch-Staunton. Ellecree trois oeuvres coup surcoup: MOII/ents, sa premiereoeuvre de theatre musical,jouee par Ie groupe Galliard,qui l'avait commandee, Iorsd' une toumee europeenne; Lu­minance, commande de I' Or­chestre symphonique de Thun­der Bay, en Ontario; Rej;ar,h,pour neuf instruments et bandemagnetique, Creel' au NewMusic Concerts a Toronto en1978.

Parmi scs toutes dernieres

oeuvres, on remarque Mandalaf (1980), Constellation f(1981), Comment W'lIlfi-Fo jiltsauve (1982) et, bien entendu.Transit (1984).

Extrcmement active dans Iemilieu de la musique. Miche­line Coulombe Saint-Marcouxa ete membre du conseiJ d'ad­ministration de I' Associationdes compositeurs, auteurs etediteurs du Canada (CAPAC)de 1974 a 1979, du conseild'administration de la Societetil' musiquc contemporaine duQuebec, dont elle etait jusqu'amain tenant la vice-presidente,du Conseil canadien de la musi­que et du Centre de musiquecanadienne.

Micheline Coulombe Saint-Marcoux: e!ectroacoustic music pioneer diesCanadian composer MichelineCo:i1olllbe Saini-Marcoux diedon February 2 in Montreal. Themost recent impression she leftwith the city was a very suc­cessful run of her last creation,Transit, a musical drama writ­ten in collaboration with lyri­cist France Theoret.

She left behi nd a repertoireof about 40 works, several ofwhich, like Trallsit, were large­scale productions.

She spent the years between1968 and 197 I in Paris. whereshe started working in electro­acoustic music with theORTF's musical researchgroup. In 1969, Cou!olllbe

Saint-Marcoux and five otheryoung composers from di f­Ferent countries formed IeGroupe international de musi­que electroacoustique de Paris(GIMEP).

When she rC!llrned to Can·ada, Coulombe Sainf-!I'!urcouxbecame a professor at the Con­servatoire de Montreal andtaught there until her death.

In March, 1974, CoulombeSaint-Marcoux created twomajor works: Alchew or IeTemps du reve, performed inParis by singer Christiane Le­grand and I'Ensemble ArsNova and /shullla, written for aconcert gi ven by the Societe d..,

musique contemporaine duQuebec in Montreal.

Her piccc Zones, produced atthe Sonic Research Studio ofSimon Fraser University,opened the Festival de Royanin France in March, 1976.

During 1977 and 1978, Cou­lombe Saint-Marcoux took asabbatical and created threeworks within a short time: Mo­mellis, her first music-theatrepiece, commissioned and per­formed by the Gal1iarcl groupon a European tour; LIIII/in­once, commissioned by theThunder Bay (Ontario) Sym­phony Orchestra and Regards,created at the 1978 New Music

Concerts in Toronto.Some of her most note­

worthy late compositions wereMandala I (1980). Constella­tionl (1981), Commelll Wang­Fo jilt S(1//I"; (1982) and, ofcourse. Transit (1984).

Always very active in musiccircles. Micheline CoulombeSaint-Marconx served onCAPAC's board of directorsfrom 1974 to 1979. She was amember of the Canadian MusicCouncil and the CanadianMusic Centre, and served untilher death as vice-president ofthe board of the Societe de mu­sique contemporaine duQuebec.

f! i

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