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Composers: Gilles Gobeil (Canada) – Loïse Bulot (France) - Hanna Hartman (Sweden) - Alexis Langevin-Tétrault (Canada) - Vincent Monastesse (Canada) - Paolo Pastorino (Italy)

  • live@CIRMMT
When Oct 27, 2016
from 07:30 PM to 09:00 PM
Where Salle Claude Champagne, UdeM
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French version


Free Admission

Program (Subject to change)

Le vertige inconnu (1993-94)                   Gilles Gobeil (CA)
Ombres, espaces, silences... (2005)
Un cercle hors de l'arbre (2014-15)

Hesperia (2015)                                        Loïse Bulot (FR)
Black Bat (2015)                                        Hanna Hartman (SE)
Dévorer l'espace                                       Alexis Langévin-Tétraut (CA)
BellZeBull (2015)                                     Vincent Monastesse (CA)
Dimensione aggiuntiva (2016)                  Paolo Pastorino (IT)

Please be aware that this event will be held at Salle Claude Champagne at UdeM

About the artists


Gilles Gobeil has completed a master’s degree in composition at Université de Montréal, after studying writing techniques. He has been focusing his work on acousmatic and mixed music since 1985. His works fall close to what is called ‘cinema for the ear.’ Many of his pieces have been inspired by literary works and attempt to let us ‘see’ through sound.

Gilles Gobeil has won over 20 national and international awards including the Ars Electronica (Austria, 1995, 2005), Black & White (Portugal, 2009), Bourges (France, 1988, ’89, ’99, 2009), British Design & Art Direction (UK, 2002), Brock University (Canada, 1985), Canadian Music Council (1985), Ciber@rt (Spain, 1999), CICEM (Monaco, 2014), CIMESP(Brazil, 1997, ’99, 2001), Destellos (Argentina, 2011, ’12), Luigi Russolo (Italy, 1987, ’88, ’89), Métamorphoses (Belgium, 2000, ’02), Newcomp (USA, 1987), SDE Canada (1984), SOCAN(Canada, 1993), and Stockholm Electronic Arts Award (Sweden, 1994, ’97) competitions. His DVD-Audio Trilogie d’ondes has won the Conseil québécois de la musique (CQM)’s Prix Opus for Best Album in 2004-05; his CD Le contrat was nominated in the same category in 2003-04.

Gobeil has received commissions from Codes d’accès (Montréal), DAAD (Berlin, Germany), empreintes DIGITALes (Montréal), Groupe de musique expérimentale de Bourges (GMEB, France), Groupe de recherches musicales (GRM, France), Musiques & Recherches (Belgium), Réseaux des arts médiatiques (Montréal), Société Radio-Canada, Totem contemporain (Montréal), Zentrum für Kunst und Medientechnologie (ZKM, Germany), from Folkmar Hein,Uli Aumüller, Camille Mutel, and Oscar Wiggli, and from performers Suzanne Binet-Audet,René Lussier, Arturo Parra, and Rick Sacks.

He has been composer-in-residence in Banff (Canada, 1993, ’95), Bourges (France, 1991),EMS (Sweden, 2013), GRM (France, 1993, 2012), Franz Liszt Academy (Weimar, Germany, 2010), Miso Music Portugal (2012), Musiques & Recherches (Belgium, 2012), PANaroma (Brazil, 2014), and ZKM (Germany, 2005, ’06, ’07, ’09, ’10, ’12, ’13), and guest composer atDAAD (Germany, 2008).

Gilles Gobeil is a member of the Canadian Electroacoustic Community (CEC), and co-founder of Réseaux, an organization devoted to producing media arts events.



___________________________________________________ LE VERTIGE INCONNU (8'23)_____________________________________________

 Commission: GMEB, with support from the CCA

 “… here, on the roof of the world, I feel a shadow of uneasiness… It’s not at all the height, nor the kind of suction exerted by the abrupt depths and its emptiness which troubles me. It’s an altogether different emptiness which affects an altogether different sense… the essence of solitude…” — Paul Valéry, Le solitaire
Le vertige inconnu [The Mysterious Vertigo] was produced in 1993 at the studios of the Groupe de musique expérimentale de Bourges (GMEB, France). It premiered in June 1993 at the 23rd Bourges International Electroacoustic Music Festival (France). The piece was commissioned by the GMEB, with support from the Canada Council for the Arts. Le vertige inconnu was awarded the Prize of international competition Stockholm Electronic Arts Award (Sweden, 1994) and the 2nd Prize at the Prix Ars Electronica (Linz, Austria, 1995).



___________________________________________________ OMBRES, ESPACES, SILENCES...(23'00)___________________________________

(Vol de rêve / Descente au tombeau / La nuit / Vision)
Commission: ZKM, (Karlsruhe, Allemagne)

With Ombres, espaces, silences… (Shadows, Spaces, Rests…), I wished to revisit early polyphonic music (Ars Antiqua, Ars Nova). I wanted to bring together this universe of intervals and chords, and the much wider universe of noises, the latter providing the setting in which to present — or evoke — modified fragments from the beginnings of Western music.
Ombres, espaces, silences… was realized in January and February of 2005 at the studios of the Zentrum für Kunst und Medientechnologie Karlsruhe (ZKM) in Germany. It was premiered on February 12, 2005, during the trans_canada festival at the ZKM’s_Kubus. It was commissioned by the ZKM. Thanks to the Conseil des arts et des lettres du Québec (CALQ) and the ZKM for their support. Ombres, espaces, silences… was awarded an Honorary Mention at the Prix Ars Electronica (Linz, Austria, 2005) and was among the selection for the 32nd Bourges International Electroacoustic Music and Sound Art Competition (France) in 2005.


___________________________________________________ UN CERCLE HORS DE L'ARBRE (10'30)____________________________________

North America premiere
Commission: PANaroma Studios (Sao Paulo, Brazil)
To Flo Menezes
Inspired freely by the film La Jetée by Chris Marker (1921-2012).

Un cercle hors de l’arbre was realized in the studios of PANaroma in Sao Paulo (Brazio) in September and October 2014 and was premiered on October 24, 2014, during the BIMESP festival (Bienal Internacional de Musica Electroacustica de Sao Paulo). Thanks to the Canadian Council for the Arts (CCA) for their support. Un cercle hors de l’arbre was award the Second Prize at the 8th Destellos Electroacoustic Composition Competition (Mar Del Plata, Argentina, 2015).


Musician and visual artist, Loïse Bulot (1982) develops a dreamlike world through drawing and music. She studied Fine Arts and Music at the Conservatoire de Marseille. Her electroacoustic compositions have been performed in many festivals. She is the winner of the 2nd Luigi Russolo prize, and of the Banc d’Essai Competition in 2015.
In 2015, she completed her Music studies and won a Sacem prize. She is currently working on several projects, including performing arts and comics, and she offers artistic creation workshops to children.


___________________________________________________ HESPERIA (9'30)______________________________________________________

Hesperia is a small butterfly covered with white silver spots that look like “points”. I composed this piece with this idea in my head, of mobility, of the beating of the wings, of the lightness of these small bugs that hatch, unfold and fly away, flying over changing landscapes and skies.



Hanna Hartman is a Swedish composer, sound artist and performer living in Berlin since 2000. Since the early 1990s, she has composed works for radio, electroacoustic music and has created sound installations and given numerous performances all over Europe. Her many awards and grants include the Karl-Sczuka-Preis (2005), the Phonurgia Nova Prize (2006), a Villa Aurora grant (2010) and the Rosenberg Prize (2011). During 2007 and 2008 she was Composer-in-Residence for Swedish Radio.


___________________________________________________ BLACK BAT (7'43)_____________________________________________________

BLACK BAT was composed for the speaker's system of Berghain in Berlin. It was commissioned by Deutschlandradio Kultur & Sclossmediale Werdenberg and premiered as part of the Art's Birthday and Ultraschall Festival in Berlin 2014. Black Bat was given an honorary mention of Ars Electronica 2015. In 2016 it was released on a 10” single sided vinyl by Komplott.



Alexis Langevin-Tétrault is a composer and performer. He was the founder of several electroacoustic and electronic projects, namely QUADr, Falaises, Alexeï Kawolsky, BetaFeed, and Recepteurz.
His works are characterized by the extensive use of digital audio technology, and the meticulous design of synthesized sounds. Furthermore, Alexis Languevin-Tétrault works reflect his continuous search for a refinement of the timbre and the musical composition as well as a conceptual restlessness.
Alexis Langevin-Tétrault completed his BsC in music technology at UdeM and he is currently finishing a MsC in composition with Nicolas Bernier.
His works have been presented in different festivals around the world, including ISEA, MUTEK, Espace du Son, Futura, Sonorities, MNM, BIAN, and TIES. His work has also been rewarded by the Destellos foundation in 2014 and 2015, the SOCAN Foundation in 2015, the Music and Research Foundation and the Exhibitronic festival in 2016.


_________________________________________Dévorer l'espace (7'45)_________________________________________________________

In this piece, I try to search for an impossible somewhere and capture dizziness. This octophonic piece is composed of creative sound recordings, digital processes, and sound synthesis. It explores the possibilities of spatialisation and the relations between micro-assembly and story weaving. This work was nominated for the International Electroacoustic Competition of the Destellos’ Foundation.



My introduction to music took place when I was 4 years old at Les Petits Violons, the school directed by Jean Cousineau who becomes my tutor for the next 10 years (1966-1977). Later, I begin vocal lessons under the guidance of Phillipe Parent (1982), lessons that I pursued with Gail Desmarais when I register to my first BSc in Music at UdeM (1989-1994). I come back to UdeM to complete a second BSc, this time in Digital Music (2014), after concluding studies on Kinesiotherapy and Osteopathy. Currently, I’m a master student under the supervision of Robert Normandeau. My research project reflects my interest in the prosody and imitation of musical instruments by electroacoustic creations.


_________________________________________BellZeBull (8'40)______________________________________________________________

Initially created to support a trio of dancers, this piece was later adapted for a concert version. The design of the work was based on three distinct states: first, a frugality of gestures similar to a pantomime; then a growing activity of a corporeality anchored to the ground; until an ecstasy that gradually tilts towards a final rest. A concert version will follow. The circle and roundness are two attributes that will be highlighted, first by the circular equivalent of the octophonic spatialisation, and second, metaphorically, by the use of rain as supporting material. These will be the figures on the background; various sounds of transformed bells will punctuate the first plan.


Paolo Pastorino (1983) is an Italian guitarist and composer. Since 2006, he works as a sound engineer with Rock, Industrial and Nu‑Metal bands.  In 2015, he graduated in computer music and sound technology at the Conservatory de Sassari and he is currently specializing in new music technologies at the Conservatory de Cagliari. In his works, he uses electronic instruments, computer algorithms, traditional instruments recreated electronically and other concrete elements that are present in nature. Paolo Pastorino works with traditional and electronic composing and with the implementation of control systems, designed with MaxMSP, for live electronics and assisted composition.


_________________________________________Dimensione aggiuntiva (3'25)____________________________________________________

The aim of this composition is to create a timbre and temporal joint for each audio fragment. This is my way to achieve a timeline of events. I tried to sculpt each sound object in order to create a lively form who could move in an imaginary space. “Dimensione aggiuntiva” means an additional dimension, an extension of the objects. Through the elaboration of concrete and synthesized sounds, I am searching for new timbres. These lead me to choose different compositional strategies and solutions, that make every new composition become different from the others. Each sample was processed using algorithms that I have developed on MaxMSP.

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