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05.11.17 TAK Ensemble kicked off the Chance and Circumstance Festival at Jack in Clinton Hill. TAK performed works by Kate Soper, Charlotte Mundy, an extraordinary hushed work by Erin Gee and a piece by Sam Pluta whch incorporated balloons and amplified Alka Seltzer. The festival runs from May 11-14 and is curated by Ensemble Pamplemousse.
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7/23: Pierrot plus Percussion at Tanglewood
7/23: Pierrot plus Percussion at Tanglewood
TMC Fellows perform Barbara White’s “Learning to See.” Photo: Hilary Scott. The Pierrot Ensemble, named after Schoenberg’s Pierrot Lunaire and consisting of flute, clarinet, violin, cello, and piano, has, since its inception, been a signature assembly for contemporary music. The preferred version of the ensemble also includes a percussionist: the “Pierrot plus Percussion” grouping is the default…
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Wet Ink Large Ensemble plays Erin Gee’s Mouthpiece X!
ERIN GEE
Thursday, February 11, 2016, 6pm
Le jeudi 11 fevrier à 18h00
Concordia University Fine Arts VA Building 114 1395 René Lévesque Blvd West, Montreal L’université de Concordia, 1395 René Lévesque Ouest, Montréal
http://goo.gl/maps/L9uSV
www.finearts.concordia.ca
Admission for all Conversations in Contemporary Art events is FREE and open to the general public. Seating is first come, first serve. Doors open at 5:30 p.m. The lectures will be held in English.
Tous les événements du programme Conversation in Contemporary Art sont gratuits et ouverts au public. Les sièges sont assignés selon le principe du premier arrivé, premier servi. Les portes ouvrent à 17h30. Les conférences se dérouleront en anglais.
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ERIN GEE is a Montreal-based artist and composer who explores human voices in electronic bodies, re-locating boundaries of musical form through technological interfaces. Her work in emotion-driven musical robotics, algorithmic music performance, interactive sonic sculpture/scores and digitally-inspired musical compositions have been recently presented at device_art festival, Croatia (2015), University of Toronto Art Center (2015), Trinity Square Video, Toronto (2015), Musée d'art contemporain de Montreal (2015), and Cirque du Soleil International Headquarters, Montreal (2014). Her work has been reviewed in Scientific American, VICE, National Post, and La Presse. Gee is currently teaching in the Communications department of Concordia University on topics of sound, gender and technology.
"There are layers of interrelation that all humans have, where we are objectified, reduced to our utility, treated as objects rather than subjects, reacting to and acting through a subject or group of people more powerful than we are. I want to make work that tries to bridge the gap, to create musical systems and worlds where the subject tries to learn the language of the object, to assume that the thing we assumed to be an object in fact has a voice, and it is important to listen."
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Artiste et compositrice établie à Montréal, Erin Gee explore les voix humaines des corps électroniques, repoussant les frontières de la musique au moyen d’interfaces technologiques. Ses œuvres – robots musicaux mus par les émotions, performance musicale algorithmique, sculptures ou partitions soniques interactives ainsi que compositions d’inspiration numérique – ont récemment été présentées en Croatie, au Festival Device_art (2015), à Toronto, au Centre d’art de l’Université de Toronto (2015) et au centre Trinity Square Video (2015), et à Montréal, au Musée d’art contemporain (2015) et au siège social international du Cirque du Soleil (2014). Son travail a fait l’objet d’articles dans Scientific American, VICE, National Post et La Presse. Par ailleurs, son enseignement au Département de communication de l’Université Concordia touche au son, au genre et à la technologie.
« Tous les humains entretiennent diverses relations réciproques selon lesquelles ils sont réduits à leur plus simple utilité. Traités comme des objets, plutôt que des sujets, ils agissent par l’intermédiaire d’un individu ou d’un groupe plus puissant qu’ils ne le sont et y réagissent. Je m’efforce dans mon œuvre de combler ce fossé en créant des systèmes et des mondes musicaux où le sujet tente d’apprendre le langage de l’objet. En effet, je crois que ce que nous supposons être un objet possède en fait une voix qu’il est important d’écouter. »
The Best of 2009
Here are a few highlights from our concerts in 2009, edited and produced by Gareth Paul Cox. Groanbox on January 28, 2009, featuring the works of David Bruce, Michael Ward-Bergeman, and John Adams. Glimpses on May 6, 2009, featuring the works of Vivian Fung, Jakub Ciupinski, and Cristina Spinei. New Music 101 on September 16, 2009, featuring the interactive works of Jakub Ciupinski. Reverb on November 19-20, 2009, featuring the works of Jakub Ciupinski, Vivian Fung, Erin Gee, and Cristina Spinei. Looking for more of our best videos from the past four years? Check out this exclusive collection and our complete video archives.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Erin Gee Finds Her Voice
This post was written by Timo Andres, one of Metropolis Ensemble's featured composers in Spring 2010, for the upcoming Reverb concerts at (Le) Poisson Rouge.
As a composer, Erin Gee seems to have emerged fully-formed. She's reluctant to ascribe any personal experiences or motivations to her work; quite the opposite, in fact. This is unexpected, even contradictory, because she plays an irreplaceable role in her pieces: as vocal soloist, performing in a made-up non-language constructed out of disconnected phonemes, vowels, sung tones, clicks, whistles, and sighs- a style she calls Mouthpiece. To hear her describe it in precise, almost scientific terms might lead one to believe that Erin is not her music's best salesperson; that is, until she gets on stage. She is a dynamo, unleashing torrents of non-words, at once somehow familiar and foreign-sounding. Emotionally and dynamically restrained, she nonetheless conveys a Pierrot-like dichotomy; playful, acrobatic, even funny, but with underlying melancholy (her brother, it just so happens, is a performer with the Cirque du Soleil). "As much as possible," she says, "I wanted to try and remove the ego, identity, or character... moving in the direction of voice as a pure instrument." The process of formulating her unique vocal style appears to have been similarly dispassionate. "The Mouthpiece series grew out of a search on my own voice for possible sounds... looking most intently for timbral possibilities within a soft dynamic, and ways of quickly interspersing percussive sounds with disjointed and sparse sung tones." What resulted from this search is a series of 19 works (so far), all titled Mouthpiece and all featuring Erin's own voice. Though some are structured based on existing texts (some refer to ancient Japanese or Sanskrit), Erin uses those structures linguistically, divorced from any literal meaning. She's re-thought a process humans execute without thinking - the formulation and vocalization of language - and put it in a blender. Erin grew up in Iowa, but has studied and lived in Germany and Austria. The active surfaces of her music refer to a certain contemporary European sound, composers like Beat Furrer and Brian Ferneyhough, who write music of such complexity that it becomes a kind of minimalism. Yet one comes away from a piece such as Mouthpiece X with a sense of relentless stasis. Details fly by at an uncountable rate; but zoomed out, they become a heterophonic entity, like a stew with a vast number of ingredients, or a midwestern prairie viewed out the window of a speeding car. Erin describes it as "The shift between human and mechanical, psychological and physiological... an experimental non-language, containing the virtuosity of a native speaker."
New Sounds, New Ideas
With four completely different voices, the composers in our fall concert, REVERB, have summed up their thoughts on what new music can express. Here's some excerpts from the program notes. Erin Gee:
The music seeks an experiential non-language, containing the virtuosity of a native speaker.
Vivian Fung:
I am not an ethnomusicologist and am less concerned with replicating anything akin to an exact version of these works than with the way I have internalized the shimmering harmonies and interlocking rhythms of their traditions into my own original voice.
Cristina Spinei:
My interest in integrating percussion with orchestra comes from varying sources, each stemming from dance. I constantly immersed myself in sounds that shared one common principal: rhythm as the driving force of music that inspires and compels movement.
Jakub Ciupinski:
Avant garde composers were trying to find new solutions by rejecting the past. They were really trying to find something new. Whereas our generation is trying to find something new by incorporating elements that already existed. So this is an entirely new philosophy.
And some parting thoughts from Metropolis Ensemble Music Director Andrew Cyr on his curation of this concert of commissions and premieres:
In getting to know these composers and the nuances of their compositional styles in the process of developing these new commissions, I realized over time that they shared something in common that I found to be artistically fascinating and vital: an open and deep curiosity for exploring diverse source material and developing new and highly individual systems of compositional techniques to absorb these modes of representation.
Read more in the program notes...
Erin Gee Interviewed on The Atwood Blog
"So to play this piano, a performer is strapped into a series of sensors that gather information about heart rate, sweat release, breathing, and blood flow."
The extraordinary Erin Gee was interviewed by Nitesh Gupta, music editor of Atwood Magazine, where she talks about her project Swarming Emotional Pianos and says a very nice thing about my involvement in it.
