Friday, Nov. 18. 8 PM. Catalyst Theatre
Morte di Procri
The creation of this 8-channel spatial audio installation Morte di Procri (The Death of Procris) was stimulated mainly by two artworks: (1) XVI century painting of the same title (also known as A Mythological Subject) by Piero di Cosimo and (2) a Byzantine icon of dog-headed St Christopher. The first mentioned artwork is supposed to have been inspired by Ovid’s tale of the death of Procris at the hands of her husband Cephalus. On one side of the silhouette of dying Procris kneels her husband Cephalus (shown on the picture as Satyr or Faun), on the other side sits her dog Laelaps. Despite some disputes about controversy and inconsistency of the above-mentioned figures what touched me, was the face of the dog, which expresses a deep sadness. That same kind of face belongs to dog-headed St. Christopher (patron saint of travellers) presented on the second mentioned artwork: the icon from the Byzantine Museum in Athens, Greece. Dog-headed: cynocephalus is derived from Greek κυνοκεφαλοι, which breaks down into κυων-dog and κεφαλη-head. On di Cosimo’s painting the two pointed out components are present: Cephalus and the dog.
My work, although entitled Morte di Procri, is actually dedicated to dogs. Dogs have always been the closest animal-friends to humans. In the Tibetan Buddhism dogs are believed to be the last reincarnation state before rebirth as a human, yet in Far East Asia there are still examples of some extreme cruelty to these animals. As Procris dies by a tragic coincident, in her agony she could hear a mosaic of sounds which were accompanying her into the after-world. To represent such a passage in this installation I take the listener on a short journey from the sonic complexity of musique concrete, through various genres of organized pitched and non-pitched sounds, to the “divine” purity of a sine wave. Death and love join their powers together in this spatial audio work.
Jacek Sobieraj was born in Gdansk, Poland. He graduated from the Academy of Music in Gdansk with a Master of Music in Choral Conducting as well as the University of Alberta in Edmonton, Canada with a Master of Music in Composition. Since very early in his career he has collaborated with theatre and dance companies, creating a large body of incidental music for plays and experimental projects. In Poland, from 1986 until his departure for Greece in 1987, he was the Music Director of the famous avant-garde Polski Teatr Instrumentalny (Polish Instrumental Theatre). In Athens, Greece – where he first emigrated – Jacek Sobieraj was associated with the National School of Ballet and the Contemporary Dance Theatre Nafsica, regularly touring with the company across the country. In the summer of 1989 he arrived in Edmonton, Canada and began working for the University of Alberta (Department of Drama) and for Alberta Ballet School (now: Dance Alberta School and Company). Between 1993 and 2003 Jacek Sobieraj was a Composer-in-Residence on faculty of the Perry-Mansfield Performing Arts Summer School in Steamboat Springs, Colorado, the oldest summer school in North America. His works have been performed in Canada, Poland, Belgium, Germany, Greece, and the United States. At present Mr. Sobieraj collaborates in the capacity of composer with a number of Edmonton theatres, ballet companies, film producers as well as several art programs on elementary educational level. Among interpreters of his music one should mention such distinguished musicians as cellist Friedrich Gauwerky (Germany), pianists Geert Callaert (Belgium) and Joachim Segger (Canada), saxophonists Charles Stolte (Canada) and Robert Matuszewski (Poland), The Orchestra of Szczecin Opera (Poland), Hermes Ensemble (Belgium), St. Crispin’s Chamber Ensemble (Canada), Pro Coro Canada and several leading dance companies including Ballet North and Dance Alberta. He is an Associate Composer of the Canadian Music Centre and Associate Member of Screen Composers Guild of Canada.
The Dada Police
We are constructing our piece from natural sounds. We consider human sounds to be natural sounds. We consider technological and cultural sounds to be part of a natural human acoustic ecology. Our sounds are manipulated to emphasize timbral associations and minimize specific signifiers. We hope to make a soundscape which is multi-ordinally both “artificial” and “natural.”
The Dada Police are: Dylan Breitkreutz: Theoretical physicist and brain cancer researcher. Enjoys bulk candy,British humour, and positivism. Dislikes bureaucracy and overboistrous drunkards. Kevin Hogstead: Sound and electronic engineer. Loves roots music, dub reggae, foley and French house. Divides his time between the city and operating farm equipment on the family homestead. Tom Merklinger. Musician (prone to madness). Composed his first work at age seven, a hip-hop song about dinosaurs. Enjoys baking exotic gourmet pizzas from scratch. Dislikes order and rationality. All members of the Dada Police are enormously fond of Hayao Miyazaki’s films, cheese, and vinyl records.
All tracks processed on this recording are taken from the final recorded voice of Vladimir Komarov, the first human to die in space. The brave occupant of the Soyuz One capsule perished April 24, 1967 when his spacecraft crashed to Earth after its drag chute failed to open properly. Before the ill-fated mission, Komarov fought with engineers and the Soviet government about the quality of the craft, in which up to 300 defects reportedly existed. Komarov embarked on the mission anyway, after learning the alternative was being replaced by Yuri Gagarin, the first man in space — and Komarov’s best friend. In tapes decommissioned after the fall of the Iron Curtain, the voice of Komarov can barely be heard above the mounting static, as the panic-stricken cosmonaut reported on the failure of the chute and the climbing capsule temperature — as well as some curses directed towards the creators of the faulty spacecraft. This entry isn’t so much a tribute to Komarov’s courage as it is an allegorical conflict between the cosmonaut and the powers that be ultimately responsible for his death. The reprocessed clash of static building up over his panic-stricken remarks represents the suppressive powers faced by Komarov from the time Soyuz One was built to several years after his death. The static takes on many dimensions as if to convey the idea that a message can be blocked through several means as long as they are justified by a common end. Only one track on this entry remains unprocessed: the original voice of Komarov moments before his death.
Gene Kosowan has been an active experimental electronic musician since the 1980s. Under the guise of flEm, he has appeared at a number of venues and events facilitating the avant-garde genre such as The Bronx (now the Starlite Room), City Media Club, The Ambassador, Gazebo Stage (in Old Strathcona’s McIntyre Park), Varscona Theatre, Citadel Theatre as well as live performances in Calgary and Regina. Festival appearances include his 1991 Fringe production called “Miseryland” (dubbed “the weirdest show at the festival that year”) and at The Works Art and Design Festival in 2003 and 2004. He also spearheaded a number of improv groups and ventures that include She-Devils on Wheels, b3guil3d, The Worm/Decay Project and MKE. He has also been part of a number of ensembles led by Tippy Agogo, Stephen Humphrey and Trace Willin. In alternative circles, he has been a keyboardist, guitarist and bassist in such groups as The Beirut 66, The Meech Lake Accordions, The Jaded Virgins and Lurch. ore recent endeavours include such acts as The Condoleezza Rice Paddies, Ukrainian For Butterfly, du plafond and Ativan Zoloft.
“The spirit believes under a significance. The duplicate mouses the candidate throughout the rumored pub. Over the daylight ducks the flaw. The grandmother reaches behind its transmitter! A sarcasm repeats another valued threat across the model.”
MUGBAIT is Dan Brophy and Colin Labadie—an experimental duo based in Edmonton, Alberta, Canada. Their music is entirely improvisational, and is characterized by dense layers of harsh, noisy, slowly evolving sound. Technology is used to a great extent to realize their work; this includes the use of various programming environments for control over signal processing, and more recently, instrument augmentation, circuit bending, and other forms of DIY electronics. They often collaborate with other artists, including musicians, dancers, visual artists, videographers, dramaturges, and others.
Solo (from the Licks & Brains Triptych, 1987) by Klas Torstensson
In the course of the triptych as a whole, shifts occur in the degree of closeness and in the listeners’ sense of proximity to the music. In the first (solo) piece, the inside of the instrument is of primary importance. Both tone production and mechanism (action) are amplified out of all proportion, evoking the sensation of an extremely heavy and complex piece of machinery being revved into motion – the musical development comes off the ground with a great deal of struggle. (http://klastorstensson.com/)
Allison Balcetis holds a Bachelor’s of Music Performance and Education from Bowling Green State University, where she studied with Dr. John Sampen, and has the honour of being the first—and only—saxophonist to earn a joint degree from the Université de Bordeaux and the Conservatoire National de Région de Bordeaux where she studied with Marie-Bernadette Charrier. Currently, Allison is pursuing a Doctorate of Musical Arts under the direction of Dr. William Street at the University of Alberta with an expected graduation date of November of 2011. In 2003 Allison toured Italy, performing five concerts in the Faenza Estate Musica. During her undergraduate degree, Allison won first place in the Fischoff National Chamber Music Competition in 2005. Amongst notable collaborations are Jean-Marie Londeix and Henri Pousseur in 2006 in France. Since beginning her Doctoral studies in 2007, Allison has also won the University of Alberta Concerto Competition (2008) and the Edmonton Composers’ Concert Society Concerto Competition, also in 2008. Today Allison leads an active performance career as a soloist and as a member of Anubis Quartet, an accomplished modular saxophone ensemble quickly gaining recognition as one of North America’s premier ensembles. In 2009 to 2010, Allison performed in Bangkok, Chicago, and Georgia, premiering new solo works and works for Anubis. The 2010-2011 concert season saw a tour of Eastern Canada with Ensemble Mujirushi and a tour of the American Midwest with Anubis Quartet. Since 2009 Allison Balcetis has been the Instructor of Applied Saxophone Studies at the University of Alberta. Please see http://www.allisonbalcetis.com for future concerts.
Sarah Jessica Parker: Bent Glamour
The piece you will be hearing is a poetic structuring of field recordings at a movie rental store. All the noises heard are from the rental store. Some are processed, most not. This piece consists mostly of people speaking candidly about movies, Sarah Jessica Parker, and other film-related stuff. The recordings were done secretively, so consider this a case of voyeuristic anthropology. The poetics of the piece are deeply rooted in 19th century Modernism thought (think Charles Baudelaire here).
Zachary Polis is a poet, sound artist, illustrator, and all-around gentle deer. He considers himself the literary Andy Warhol with an allegory conscience. Paris Hilton’s twitter account and Hello Kitty product descriptions are his CampBell’s soup cans. His favorite things to write about are Sarah Jessica Parker and Chihuahuas. You may have seen him in Vogue. His sound work is closely tied with his poetic work, which explores the ache of wanting nothingness because that nothingness is beautiful. There is a sense of irony, of tongue in cheek, about it. But love too. His depictions are dark, comic, obscene and banal. He was also a part of Latitude 53’s In/Stall/Ed this summer as part of the McCauley community’s revitalization project.
The Piece that Wayne Is performing at the Sea Of Sound Festival 2011 draws on elements from the fascinating parallel histories of early electrical transmissions and the rising popularity and increasing influence of a religious movement called spiritualism. As is well known, authors such as Allen S. Weiss, Douglas Kahn, And Gregory Whitehead have described these connections between the hard science of technological invention, and the soft quasi‐religion of voices from the beyond that many regular folks and leading figures of the mid‐nineteenth century found deeply compelling. A description of the link between electricity and religion through the medium of sound is given in an essay by Steven Connor titled, “Voice, Technology, and the Victorian Ear” (http://www.bbk.ac.uk/english/skc/phones.htm). That devices which are the products of cold logic should ironically give access to realms of human experience that require deeply rooted faith, is also not that uncommon even today. For example, in the small, religious and conservative town in which he grew up, teenagers would sometimes play vinyl records backwards to hear messages from the beyond. Indeed In his own experience of listening to short wave radio from a bungalow in a village in India where he taught English For a year, he could see (or hear) how one could become convinced, while straining to hear the radio broadcast, that the radio’s signals and sounds might be coming from the heavens, under the darkness of night. The Victorians had a theory about this, supported by their science, regarding the ether as the place where the spirits of the deceased resided and the sounds of radio waves bore this theory out for them.
Wayne grew up in a home steeped with the sounds of classical piano music, from a mother and sister who were accomplished pianists, both having successfully completed Toronto’s Royal Conservatory Of Music program. He was slightly less successful in this program, having completed 8 of 10 grades, and then jumping ship. He found it refreshing to play music that no one else had played before, and likely wouldn’t after, and so began making up his own compositions, which found unwitting audiences in the live theatre. He has successfully collaborated with directors such as Micheline Chevrier, Jim DeFelice, Bob Baker, and Jean Stephane Roy. Wayne is a member of the Electronic Music Foundation, as well as the Boreal Electroacoustic Music Society and is a regular contributor to BEAMS concerts.
Shawn Pinchbeck (composer), Gerry Morita (dance)
Premonition is an exploration through electroacoustic music and dance the contemplation that events happening now influence the outcomes of the future.
Shawn Pinchbeck has been active since the mid-80’s as an electroacoustic music composer, sound artist, video artist, performer, installation artist, teacher, curator, sound engineer, and consultant. His current works centre around computer vision, real-time and studio based acousmatic music composition, interactivity, video, multi-channel sound, music for dance, and live performance. Shawn has five solo CD releases, and his music has appeared on numerous compilations. His music has been used in numerous films, most notably in the Genie award winning documentary The Corporation (2004). His work with interactive dance with Estonia’s Fine Five Dance Theatre won the 2008 Best Dance Performance in Estonia. Shawn’s music and installations have been performed and presented at numerous festivals in Canada and abroad. At first self-taught, Shawn later studied computer interactive art with George Lewis and Thecla Shiphorst at the “Computed Art Intensive” at Simon Fraser University, Vancouver, Canada (1993, 1994); and acquired a Master of Music degree with Erik Oña in electroacoustic music composition from the University of Birmingham, UK (2004). He is currently completing a Ph.D. in music composition at the University of Birmingham, UK studying with Jonty Harrison. Shawn is on the board and a founding member of the Boreal Electroacoustic Music Society, and currently sits on the board of the Canadian Electroacoustic Community and the Film and Video Arts Society of Alberta.
A graduate of Simon Fraser University’s Dance Program, Gerry Morita has been active in the dance scenes of Vancouver, Montreal, Tokyo, and Edmonton as a choreographer, performer, and instructor. Her performances continually push the realms of spectator and performer to challenge both roles, and to introduce new ideas and relationships into the work. In Edmonton since 2001, she has received provincial, national, and municipal support for her work, including the 2004 Edmonton Artists’ Trust Fund Award, Canada Council Awards in Dance, AFA Projects, selection to appear at Alberta Scene in Ottawa, and the 2006 Syncrude Award for Innovation in Artistic Direction.
Saturday, Nov. 19. 8 PM. Catalyst Theatre
Jeannie Vandekerkhove, Jodie Vandekerkhove, & Adam Tindale
For amplified dancers and laptop
We are interested in the architecture of the body and the unspectacular (gestures, subtle nuances and quotidian movement). Space considerations, both existing or fabricated will act as the catalyst for the work, and the dance will be modified by the sound created. We develop movement that is contextualized and inter-connective by our ‘human-ness’ and the inherent, and latent, narratives embedded in our bodies. A vocabulary directly drawn from everyday activities is our primary source of material but without presenting the mundane, and without embellishing or overemphasizing ordinary pedestrian movement itself. The gesture vocabulary we are exploring with the dancer echos the benign, common, and often criticized, gestural language of the laptop performer. Through the development of the performance we also explore laptop performance practice in terms of dance, as opposed to the theatrical aspect of classical performance. We aspire to stimulate the audience to think a dancer as a musician and a musician as a dancer.
Originally from Fort McMurray, Alberta, Jeannie Vandekerkhove was classically trained in her youth, later continuing her studies at Arts Umbrella and the Ballet BC Mentor Program. She has danced professionally, while living in Edmonton, Montreal and Vancouver, and has received opportunities to perform both nationally and internationally. Jeannie has worked for choreographers such as Josh Beamish, Deborah Dunn, Benoit Lachambre, Joe Laughlin, Jennifer Mascall, Nicole Mion, Gerry Morita, Paula de Vasconcelos and Wen Wei Wang while also maintaining and developing her own choreographic voice. Her own work has been presented in Calgary, Edmonton, Montreal, Banff, and Vancouver.
Jodie Vandekerkhove graduated from Grant MacEwan College (Dance Diploma), Simon Fraser University(BFA-Dance), and is currently working towards her Masters in Dance at the University of Alberta. Jodie has performed with Off Center Dance Company, Plan B, Manifest Human Arts, Brian Webb Dance Comapny, Mile Zero Dance, Heidi Bunting Dance, Nancy Sandercock, Kathy Ochoa:KO Dance Projects and Jen Mesch Dance Conspiracy. She is interested in Dance Education and has worked with the Learning through the Arts Program (LTTA). Presently Jodie teaches as a Sessional Dance Instructor at Concordia College,and the University of Alberta Campus Recreation.
Adam Tindale is an electronic drummer and digital instrument designer. He is a Permanent Instructor of Interaction Design in the Media Arts and Digital Technologies department at the Alberta College of Art and Design. Adam performs on his EDrumset: a new electronic instrument that utilizes physical modeling and machine learning with an intuitive physical interface. He completed a Bachelor of Music at Queen’s University, a Masters of Music Technology at McGill University, and anInterdisciplinary Ph.D. in Music, Computer Science and Electrical Engineering at the University of Victoria.
Stations of the lost
The city has so many stories. And they are gathered in the stations of the lost.
Philip Dickau & Ryan Sowiak
All music is generated with a synthesizer which is modulated by live vocals. Portions of this sound can be recorded and played back simultaneously with an audio looper. Video is generated by taking webcam input and applying a bitwise shift on the three color components of each individual pixel. This and other aspects of the color information in each pixel are controlled in real time by one of the performers. The 3D glasses split the color spectrum differently for each eye so that certain colors appear nearer or further away.
Philip Dickau originally gained a passion for music as the lead vocalist “Fangcrush” of the defunct black-metal band “Shards of Azeroth,” and is well known by his illustrations for “Magic – The Gathering” cards. Ryan Sowiak was formerly a successful carpenter in East Missouri until he moved to Edmonton to complete a Ph.D. studying the migratory habits of the Great Blue Heron.
Raylene’s improvised performance is built on a search for subtle sound textures and offers a unique musical experience mixing together various approaches from free improvisation and Deep Listening® to Musique concrète. Raylene gently moves into chosen sonic spaces and takes time exploring and experimenting with the emerging materials of the improvisational moment. She prepares for each concert by developing basic structures for free improvisation and negotiating specific sound sets to be used in her performance.
Raylene is an improviser, composer, sound designer, performance artist, audio/video artist, and Deep Listening Instructor. Raylene has recently returned to Edmonton after participating in arts communities in New York and Montreal since 2003. Raylene’s creative process involves explorations of acoustic ecology, psychogeography, architecture (acoustic and social spaces), computer interactive technology, and audience interactivity in both performance and installation environments.
Wave Drifting: Diaspora (Live)
Over the past two years Gary James Joynes has been working on a body of photo-based installation and video pieces that began with a research residency at the Banff Centre, and continues as he explores Cymatics, the science of visual sound. Frequency Painting is a body of work that looks deep into the visualization of sound by exploring the sculptural potential of resonant frequencies. He is also fascinated at the intermixing of senses, a neurologic “malfunction” called synaesthesia, and is using both sound and visual media to explore that phenomenon. Through this artistic practice he endeavours to illustrate the beauty of sound and its physical manifestation, and explore the mystery of sacred sounds as they apply to the human experience. Through analog modular synthesis programming (using cross modulation and FM) he has now extended this exploration of Cymatic sound into a new animated series of audio-visual works called Wave Drifting.
Gary James Joynes is a sound artist, composer and visual artist from Edmonton, Canada. He is fascinated by the ever-evolving language of technology; objects and mechanisms stimulate his process. As Clinker, his work explores meditative spaces and the kinesthetic and synaesthetic effects of sound and visuals. His most recent installation work Ouroboros had its world premiere at the Koffler Centre of the Arts international exhibition Spin Off: Contemporary Art Circling the Mandala in September 2011. His sound and visual installation Frequency Painting: 12 Tones premiered at the Latitude 53 Art Gallery in January 2011. Clinker’s most recent Live Cinema work On the Other Side… was commissioned by the 2008 International Leonard Cohen Festival and has toured internationally. A film score for the National Film Board of Canada’s award winning feature documentary Dirt was composed by Clinker and premiered at the Vancouver DOXA Festival in May 2008. He was selected to open the Montreal MUTEK Festival 8th. Edition with his 2007 Live Cinema performance work Provody. Clinker’s full-length audio work entitled On the Other Side… (for L. Cohen) was released to critical acclaim on the Los Angeles Sound Art Label Dragon’s Eye Recordings in January of 2009. Through the Fall/Winter of 2009, Clinker was an artist in residence at the Banff Centre of the Arts, advancing new ideas in visual music for future audio-visual sculptural installations. Recent performances include Electric Fields (Ottawa), Mountain Computer Music Festival (Montana), Roulette Mixology Festival (New York), High Performance Rodeo (Calgary), MUTEK_10 (Montreal), Emmedia Sonic Boom 2009 (Calgary), Banff Centre – BNMI Interactive Screen (2008 & 2007 editions) and the 2008 Leonard Cohen International Festival. The last few years have seen Clinker’s work performed and exhibited in Canada and abroad in festivals and events including Soundfjord re/flux Sublimated Landscape / Sonic Topology 2011 @ ICA London (London, UK), Tanzstartklar Festival 2008 (Graz, Austria), New Forms Festival 2007 & 2003 (Vancouver), Sprawl – Interplay_4 Festival 2007 (Amsterdam, Dublin, London, Bristol), Sea Of Sound Festival 2005 (Edmonton), MUTEK Le Placard Festival 2005 (Montreal), MUTEK 2003 (Montreal), and Standart 2003 (Madrid, Spain).
BOTTLE DEPOSIT: An Experiment with Various Bottles
The goal of the performance is to provide an alternative aural environment to that of the typical social drinking setting–AKA: The Bar. The bottle is a symbol for alcohol, and alcohol is a social lubricant. Here, the bottle literally becomes the instrument of communication, and I hope to break common ground between strangers through collective listening AND taking chances. Instead of listening to people competing in conversation over the background music of a pub, the bottles themselves will do the talking.
Will Scott is a musician, sound artist, recording engineer residing in Edmonton, AB. He is an active member of the University of Alberta’s experimental improvisation collective known as XiME as well as a bass player for local french artist Natacha Homerodean. Past endeavors include playing in local bands The Mitts, The Wicked Awesomes!, and The Fails.
D. Andrew Stewart
WITH WINDS, for soprano t-stick
WITH WINDS is the first of a series of pieces showcasing new performance modes developed during the 2010 T-Stick Composition Workshops. The workshop participants and I created new implementations of pre-existing techniques (i.e., new uses of thrusting, finger-framing, lasso) and developed new modes such as: stirring, brushing and a fulcrum-inspired type of pivoting. With regards to sound, I developed a ‘vocabulary’ that integrates well with wood wind instruments, capturing not only sustained wind instrument sounds but also a wealth of extended technique sounds. My solution was to implement several physical models that emulate or evoke extended techniques on wind instruments. Moreover, I wanted to suggest the ‘closeness’ – even intimacy – an acoustic instrumentalist has with his or her instrument and sound by creating t-stick playing techniques that at first, require slow-moving gestures of the stick around the body of the performer, followed by the addition of vigorous movements, which are gradually added as the music develops. The nearness of acoustic instrument practise is gradually extended and expanded and as a result, the space in which the t-stick digital instrument is played, is enveloped into the instrument itself. The t-sticks grew out of a collaborative project undertaken by Joseph Malloch and composer D. Andrew Stewart at the Input Devices and Music Interaction Laboratory (IDMIL) and the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) at McGill University. The first prototype was completed by Malloch, in 2006. The t-sticks form a family of tubular digital musical instruments, ranging in length from 0.6 metres (soprano) to 1.2 metres (tenor). They have been designed and constructed to allow a large variety of unique interaction techniques such as: touching, gripping, brushing, tapping, shaking, squeezing, jabbing, swinging, tilting, rolling, and twisting. As a result, a significant emphasis is placed on the gestural vocabulary required to manipulate and manoeuvre the instrument. The musical experience for both the performer and audience is characterised by a unique engagement between performer body and instrument. The ongoing development of the t-stick family is a result of continuing institutional and public support. To date, the t-stick has been presented in Canada, the USA, Norway, Brazil, Argentina and Portugal.
D. Andrew Stewart has been working in the field of music composition since 1994. Stewart is a composer, pianist, music theorist and digital musical instrumentalist. After developing his own sensor-suit in 2000, while living in Paris, he began pursing a career in live electronics – gesture-controlled – performance. Stewart has expertise in current and earlier digital instrumentalities (e.g. SonicJumper; T-Stick; Rulers; Buchla’s Lightning; JazzMutant Lemur; Méta-Instrument). Following postdoctoral research at Concordia University, Montreal, supported by a two-year research-creation scholarship from the Fonds québécois de la recherche sur la société et la culture, Stewart moved to Lethbridge, Canada, where he currently teaches music and digital audio art at the University of Lethbridge. His practise centres around three areas: combining acoustic instrument and digital instrument composition; establishing performance practises for digital instruments; developing class curricula that focus on student learning. Stewart’s work has been featured by: the Winnipeg Symphony Orchestra, Esprit Orchestra, Penderecki Quartet, Toronto New Music Concerts, Ensemble contemporain de Montréal +, musikFabrik, orkest de ereprijs, Ensamble 3 and ROSA Ensemble. His residencies include: the Casalmaggiore International Festival, Italy; the composers’ course in Radziejowicach, Poland (ISCM); the Tanglewood Music Center. In addition, he has contributed to the field of music technology research through his participation at: the International Conference on New Interfaces for Musical Expression, International Computer Music Conference / International Computer Music Association, Electroacoustic Music Studies Network, ACM SIGCHI Conference on Human Factors in Computing Systems, International Music-Gesture Conference, Society for Music Theory and the international Improvisation, Community, and Social Practice research project. D. Andrew Stewart’s educational background includes his time at the Conservatory of Music and Dance/Institute of Sonology in The Hague, Holland, where he completed post-graduate studies in composition with Louis Andriessen and Martijn Padding and also trained in electroacousitcs with Gilius van Bergeijk, Clarence Barlow and Paul Berg. Andrew Stewart also holds graduate degrees in music composition from The University of British Columbia and McGill University and has studied with John Rea, Sean Ferguson, Martin Matalon, Roger Reynolds, Christopher Rouse, Keith Hamel, Alexina Louis, Glen Buhr and Peter Hatch.