I participate in, facilitate and publish research creation that examines electroacoustic & multimedia performance practice, non-standard notation and scoring and collaborative creation.

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:

Amandine Pras and me recording Flocking Patterns in 2011.

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.

Electroacoustic and multimedia research-creation was a key motivator for both Portrait Collection and Nesting, created during a postdoctoral fellowship as Visiting Scholar at Wesleyan University.

For more, see “Musical portraiture as artistic research: Portrait Collection,” a presentation at the Performance Studies Network Conference 2016.

Notation and Scores

Experimental notations, especially as they are created for or by performers or composer-performers is something I study. For more, see “The “Decibel Score Player” as notation software for comprovisation: Projet Spationautes.” GMTH / 19. Jahreskongress der Gesellschaft für Musiktheorie 2019, Zurich, Switzerland.

Score for a part of Medusa Selfie, 2020.

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 facilitate events around notation technologies as coordinator of the international Technologies of Notation and Representation TENOR Network, including Performer Labs (Montreal 2018) or panels on non-eurological notation practice (Melbourne 2019).

Collaboration

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.