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Compositional Crossroads: Music, Mcgill, Montreal - Google книги
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During their residencies, the guest artists were to assume teaching responsibilities at the Faculty of Music, and to become actively engaged in concerts and other new music-related activities. For a period lasting approximately one semester, student composers discovered and confronted other poetics through contact with the musical languages that were cultivated by each one of the visitors. From Mr. The author draws a human and artistic portrait of each guest composer, providing a thorough biographical background and a description of their main activities while in Montreal.
He also offers some insight —remarkable both in depth and style—into selected compositions. This allows him to share with the reader his own recollection of how their music was heard at that time. One feels that his reflections on the nature and value of the work of his foreign colleagues are also the background against which he is seeking to apprehend his own artistic singularity. Pedersen, who in completed the first fully computerized composition written in Canada, would stay at McGill until , where he was to be among the founders of McGill Records, and also serve as Dean of the Faculty of Music for a decade According to Mr.
Pedersen, the story of McGill Records starts in , at the Chopin Academy of Music in Warsaw, Poland, when he by chance met Wieslaw Woszczyk—then a sound recording student at that institution—who was to become a key figure in the development of the Sound Recording Program at McGill. McGill Records was formally initiated in , while the Faculty of Music was undergoing a period of significant growth. Woszczyk was to be the recording engineer, Donald Steven the recording producer, and Mr. Pedersen the executive producer. Until then, microphones had to be rented out and tape recorders borrowed from the EMS for recording sessions.
The aim of McGill Records was, in the first place, to promote the Faculty of Music through recordings of faculty performers, including student ensembles, and the music of faculty composers. Featuring other Canadian performers and composers came next in the order of priorities.
Recording pieces from the repertoire that were not commercially available was also a guiding criteria for the choice of projects. The author offers a very thorough historical account of the development of McGill Records through its different phases. He provides very precise information and includes several illustrative —and often amusing— anecdotes. By , when Mr.
He soon started to work on developing ways to apply non-linear functions to music composition. The search for computing resources and the opportunity to develop programming skills led Mr. Harley in to the doctoral program at McGill, where Bruce Pennycook was developing computer music resources.
While a doctoral student, Mr. Harley developed —both within the Faculty of Music and in the larger context of the Montreal new music community—fruitful collaborative relationships with various ensembles, conductors, and individual performers.
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