I participate in, facilitate and publish research creation that examines electroacoustic & multimedia performance practice, non-eurocentric scoring and collaborative creation.
Most recent are French-language articles for Circuit: Musiques contemporaines: “Questionner ces «musiques nouvelles»: Compte rendu de deux projets vers la décolonialité,” v. 31 no. 3, 2022; “À l’écoute du chœur entier : réflexions sur une écologie et un économie plus holistiques de la composition,” v. 32.2, forthcoming.
Electroacoustic & multimedia performance practice
This includes exploring how performing with digital media, using multiple skillsets and being a body in the present changes affects creation and expression.
It can be practical, such as how to record pieces with interactive surround electronics for a stereo publication:
For more, see Amandine and Teresa Hron. “Studio or stage? Exploring issues arising from the recording of mixed electroacoustic music – Bird on a Wire 2: Flocking Patterns case study.” ARP Production Conference 2013, Quebec, Canada. July 2013.
For more, see “Musical portraiture as artistic research: Portrait Collection,” a presentation at the Performance Studies Network Conference 2016.
Notation and Scores
Experimental notations and scoring, especially as they are created for or by performers or composer-performers or by artists from non-eurocentric traditions is something I study.
My most recent research project is entitled Holistic Scores. It consists of a series of consultations with non-eurocentric and indigenous artists about transmissions of ideas in and about sound, and was presented at TENOR 2022: “Holistic Perspectives: a Report on Scoring Beyond Eurological Traditions.”
For more, see “The “Decibel Score Player” as notation software for comprovisation: Projet Spationautes.” GMTH / 19. Jahreskongress der Gesellschaft für Musiktheorie 2019, Zurich, Switzerland.
Inscribing collaboration and extra-musical elements in the hyperscore for Maly velky svet was an important feature of my doctoral research. For more, see “A Pickle in a Bell Jar: Preserving Collaboration in Hyperscores.” Proceedings of the Journées d’Informatique Musicale Conference 2015; and “Useful Scores: Multiple formats for electroacoustic performers to study, rehearse and perform.” Organised Sound 15.3 (2014): 239 – 243.
Recent works, such as Manhattan Bridge and Medusa Selfie have made use of the Decibel Score player. For more, see “The “Decibel Score Player” as notation software for comprovisation: Projet Spationautes.” GMTH / 19. Jahreskongress der Gesellschaft für Musiktheorie 2019, Zurich, Switzerland.
I also facilitated events around notation technologies as coordinator of the international Technologies of Notation and Representation TENOR Network from 2018-2020, including Performer Labs (Montreal 2018) or panels on non-eurological notation practice (Melbourne 2019).
Many of the projects above involve collaboration and the exploration of cocreation techniques and practice. For more, see “Musicians at Play. Collaboration between performers and composers in the creation of mixed electroacoustic music.” eContact! 15.2. (2012), Canadian Electroacoustic Community (CEC) or “Sharing the studio to create Lépidoptères: collaboration & notation.” eContact! 18.4. (2017), Canadian Electroacoustic Community (CEC).
Collaboration made the creation of all of the works in my portfolio possible.