Summer 2015 Event

Festival 2015

International Society
for improvised Music

Socit Internationale
Pour la Musique Improvise

Chteau-dOex

Switzerland - Suisse

July 9 12 Juillet
1

MISSION STATEMENT
ISIM promotes performance, education, and research in improvised music,
and illuminates connections between musical improvisation and creativity
across fields.

ISIM promeut la performance, l'ducation et la recherche dans la musique

improvise, et illumine des connections entre l'improvisation musicale et la
crativit au-del de ses frontires.

ISIM Prsident Welcome

Mot de bienvenue du Prsident de lISIM

Au nom de l'International Society for Improvised Music, je suis ravi
de vous accueillir Chteau d'Oex, pour le 8me festival ISIM.
Il est difficile d'imaginer un paysage plus inspirant et idyllique pour
notre premier vnement hors des Etats-Unis. Comme toujours, je
me rjouis de retrouver de vieux amis, et d'en rencontrer de
nouveaux durant ces jours que nous passerons ensemble.
La crativit improvise rassemble les gens de manire
ingalable, et je suis certain que le programme que nous avons
prpar concerts, ateliers, discussions et prsentations
acadmiques atteindra la mme excellence qui a caractris
nombre de nos prcdents vnements.
Comme toujours, il y a de nombreuses personnes citer et
remercier, car leur investissement permet le succs de ce genre
d'vnement.
D'abord et avant tout, Raphal Sudan, coordinateur pour
l'vnement, qui a ralis un travail extraordinaire en orchestrant
les multiples facettes requises pour ce festival.
J'adresse galement ma grande reconnaissance tous les
membres du comit local d'organisation, trop nombreux pour
que je puisse tous les nommer ici.
De nombreux remerciements Richard Robeson, Directeur
Excutif de ISIM, qui a russi nouveau organiser une
magnifique planification qui permettra aux participants
d'exprimenter une large palette de musique, d'interractions et
d'ides. Richard amne galement une vision puissamment
innovante, trs apprcie par notre organisation. Billy
Satterwhite, administrateur de ISIM, a fait parler sa magie en
s'occupant de nombreux aspects logistiques essentiels ce genre
d'vnement.

On behalf of the International Society for Improvised Music,

I am delighted to welcome you to Chteau dOex and the eighth
ISIM festival/conference.
It is difficult to imagine a more scenic and inspiring location to
convene our first event outside of the United States.
As always, I look forward to reuniting with old friends, and
meeting many more new ones during our time together. There
is something about improvisatory creativity that brings people
together in a way that few other activities can achieve, and I am
sure that the program we have put together of performances,
workshops, panel discussions, and academic papers will equal
the high level that has characterized many of our past events.
As always, there are many individuals to acknowledge that
make an event of this kind a success. First and foremost is
Raphael Sudan, event coordinator, who has done an amazing
job in organizing the many facets required of this
festival/conference.
I also extend my great appreciation to everyone on the host site
team, of which there are too many to name.
Many thanks to Richard Robeson, ISIM Executive Director, who
has once again set up a wonderful schedule that will enable
participants to experience a wide range of music, interactions,
and ideas. Rich also brings a powerfully innovative vision to our
organization that is greatly
valued. Billy Satterwhite, ISIM administrative coordinator, once
again weaves his magic in handling many of the logistical details
that are essential to making this kind of event a reality.

And last but not least I extend my most heartfelt appreciation

to all of you in the ISIM, Chteau-dOex, and broader
Enfin, et non des moindres, j'adresse ma plus profonde international communities for participating in what
reconnaissance vous tous, membres de ISIM, musiciens de I am sure will be a highly memorable gathering.
Chteau-d'Oex et d'ailleurs, pour votre participation ce festival I look forward to greeting personally as many of you
qui sera, j'en suis certain, un rassemblement mmorable.
as possible.
Je me rjouis de rencontrer un maximum d'entre vous.

Sincerely,

Bien vous,
Ed Sarath
Fondateur et Prsident de ISIM

Ed Sarath
ISIM Founder and President

Executive Directors Welcome

Mot de bienvenue du Directeur excutif

Bonjour et bienvenue au festival 2015 de l'International Society for
Improvised Music. Une fois de plus, nous nous rassemblons en tant
que communaut pour partager notre dvotion l'art de
l'improvisation, l'occasion de ce qui sera le premier vnement ISIM
hors des Etats-Unis. Nous sommes ravis que la foi que nous avons
place dans la ralisation de cet vnement ait t rcompense par
d'enthousiastes rponses d'artistes, enseignants et pdagogues
venant de plus d'une douzaine de pays de notre plante.
Le monde possde une riche varit de traditions improvisationnelles,
dont certaines ont profondment intgr la socit humaine depuis
des milliers d'annes. Nombre de ces traditions modernes et
anciennes, et un vaste ensemble de traditions qui se connectent les
unes aux autres sont reprsentes dans cette communaut (je le dis
nouveau), et nous pouvons imaginer que d'autres traditions
prennent de l'ampleur, de la manire dont nous apprenons les uns
des autres, et des nouvelles relations qui se crent lors d'vnements
tels que celui-ci.
Le directorat ISIM adresse un Merci majuscule au Comit
d'Organisation de Chteau-d'Oex, et tout particulirement au
Coordinateur Evenementiel et membre ISIM de longue date Raphal
Sudan, qui a eu cette vision de ISIM venant Chteau-d'Oex, et a
accompli un extraordinaire effort durant l'anne coule pour
travailler avec les organisations locales ; avec M. Charles-Andr
Ramseier Syndic de Chteau-d'Oex ; avec M. Boris Fringeli
Directeur de l'Ecole de Musique du Pays-d'Enhaut, et avec nous au
directorat ISIM, pour donner vie cette vision.

Greetings, and Welcome to International Society for Improvised

Music 2015. Once again, we gather as a community to share our
devotion to the art of improvisation. This is ISIMs first Event to
be held outside the USA. And we are pleased that our
confidence in the feasibility of attempting it has been rewarded
by enthusiastic responses from artists, educators and scholars
from more than a dozen countries from around the globe.
The world has a rich variety of improvisational traditions, some
of which have been deeply embedded in human society for
thousands of years. Many of these traditions modern and
ancient, and a large body of traditions that connect one to the
other are represented within this community (I say again),
and it is reasonable to imagine that other traditions will evolve
and thrive from the ways in which we listen to and learn from
each other; and from the new relationships that emerge from
Events such as this one.
We in ISIM leadership say Thank You to the entire ChteaudOex Host Site Team, and offer special thanks to Event
Coordinator and longtime ISIM member Raphal Sudan, who
had a vision of ISIM coming to Chteau-dOex and mounted an
extraordinary effort during the past year to work with sponsors;
with M. Charles-Andr Ramseier - Syndic of Chteau-dOex; with
M. Boris Fringeli Director of Ecole de Musique du Pays dEnhaut;
and with us in ISIM leadership to bring this vision to life.

I offer also a personal Thank You to Ed Sarath, Founder and

President of ISIM, for simply (or not so simply) conceiving of
J'adresse galement un remerciement personnel Ed Sarath, ISIM in the first place; but also for having the energy and talent
Fondateur et Prsident de ISIM, pour avoir simplement (ou pas si to nurture it into the unique organization that we love so well.
simplement) conu ISIM a ses dbuts, mais galement pour avoir le
talent et l'nergie de l'avoir transforme en cette organisation unique Thanks also to the ISIM Board of Directors Karlton Hester,
que nous aimons tant.
India Cooke, Jin-Hi Kim, Douglas Ewart, and Bill Johnson for
Merci tout le comit directeur ISIM Karlton Hester, India Cooke, their continuing support of ISIM initiatives near and far; and to
Jin-Hi Kim, Douglas Ewart et Bill Johnson pour leur soutien continu ISIM Administrative Coordinator Billy Satterwhite, a truly
aux initiatives ISIM ici et l ; ainsi qu'au coordinateur administratif Billy outstanding colleague.
Satterwhite, un collgue extraordinaire.
Finally, Thanks to all of you, who join us in one of the most
Finalement, merci vous tous, qui nous rejoindrez dans l'un des plus beautiful places on earth the Swiss Alps to praise in our
beaux paysages sur terre les Alpes Suisses de rendre grce, chacun various ways the art of improvisation.
sa faon, l'art de l'improvisation.
Richard Robeson
Directeur excutif ISIM

Richard Robeson
ISIM Executive Director

European Event
Coordinators
Welcome
Mot de bienvenue du coordinateur vnementiel europen
En tant que Coordinateur Europen de ce 8me festival ISIM, je
voudrais chaleureusement vous souhaiter la bienvenue en Suisse.
Aprs avoir particip de nombreux vnements ISIM aux Etats-Unis,
je suis trs fier de pouvoir accueillir cet vnement dans mon pays,
qui plus est : dans ce magnifique village de Chteau-d'Oex.

As an European Event Coordinator of this 8th ISIM

conference/festival, I would like to welcome you warmly in
Switzerland. After having participated to numerous ISIM events
in the United States, I am very proud to welcome this event in
my country, in this wonderful village of Chteau d'Oex.

Durant le festival de 2014 New York, l'ide d'un festival en Suisse

tait dj dans l'air, soutenue par plusieurs membres ISIM que j'ai eu
le plaisir d'inviter Chteau-d'Oex dans le pass. Suite de
nombreuses discussions avec le staff ISIM et le comit de l'Ecole de
Musique du Pays-d'Enhaut, tous les feux taient verts : ISIM allait
dfinitivement franchir un nouveau cap avec ce premier festival hors
des Etats-Unis. Cette tape renforcera, agrandira et internationalisera
encore la famille ISIM, et je suis convaincu que cet vnement sera
marquer d'une pierre blanche car je souhaite de tout coeur que ce ne
soit qu'un dbut, et que notre socit puisse continuer voyager,
s'expatrier plus loin encore, jusqu' d'autres continents.

During the 2014 festival in New York, the idea of a festival in

Switzerland was already in the air, supported by several
members that I invited previously in Chteau d'Oex. After
numerous discussions with the ISIM staff and the board of the
Music School of Chteau-d'Oex / Pays-d'Enhaut, all lights were
green : ISIM was about to go one step further with this festival.
This step will extend the ISIM family, making it even more
international, and I am convinced that this event will be a
landmark because I deeply hope that this is only a beginning,
and that our society will keep travelling further, all the way to
other continents.

Mes remerciements vont tous ceux qui ont pu, de prs ou de loin,
contribuer la russite de ce festival. Ils sont trop nombreux pour les
nommer tous ici, mais je souhaite remercier en premier lieu le comit
local d'organisation, qui a t extraordinairement dynamique tout au
long de l'anne, et sans qui cet vnement n'aurait jamais pu aboutir.
J'adresse galement ma gratitude tous les sponsors et gnreux
donateurs pour leur soutien financier. Un immense merci galement
l'Ecole de Musique du Pays-d'Enhaut d'avoir soutenu ce projet, ainsi
qu' la Municipalit de Chteau d'Oex.
Je souhaite remercier Ed Sarath, Billy Satterwhite et Richard Robeson,
ils ont t de formidables partenaires, artistiquement et
administrativement, durant cette anne de prparation. Je ne compte
pas les changes d'e-mails et de vidoconfrences, au-travers
desquels j'ai galement appris mieux les connatre et les apprcier.
Enfin, et non des moindres, un immense merci au comit de l'ISIM
pour la confiance qu'ils m'ont accorde, en me confiant l'organisation
de cet vnement.

I would like to express my thanks to all the individuals who

contributed, directly or indirectly, to the achievement of this
festival. There are too many to name all of them, but first and
foremost, I would like to present my thanks to the Host Site
team, which has been extraordinarily dynamic throughout the
year, and without which this event never could have
happened. I would like to say Thank You to all the sponsors
and generous donators for their support, and I also express my
appreciation to the Ecole de Musique du Pays-d'Enhaut, as
well as the Municipality of Chteau-d'Oex.
I extend my gratitude to Ed Sarath, Billy Satterwhite and
Richard Robeson, who have been fantastic partners, artistically
and adminitratively, throughout this year. I cannot count all
the email exchanges and skype, that got me to know and like
them better. Last but not least, I want to thank the ISIM board
for giving me their trust in organizing this event.

La musique improvise ouvre les coeurs et les mes, elle invite au

voyage intrieur, abolit les barrires, devient une langue unique, et
soulve une ouverture d'esprit qui efface tous les prjugs. Je vous
souhaite toutes et tous, chers participants et cher public, un
magnifique festival, en esprant qu'il reste longtemps grav dans
votre mmoire. Que la fte soit belle !

Improvised music opens the hearts and the souls, it invites to

inner travelling, strikes down barriers, becomes a single
language and rises an open-mindedness that lives all
preconveived notions at the door. I wish you all, dear
participants and audiance, a wonderful festival, hoping that it
will be highlights of memories for years to come. May the feast
be beautiful !

Raphal Sudan
Coordinateur vnementiel europen

Raphal Sudan
European Event Coordinator

Manager of the
Ecole de Musique du Pays-dEnhaut
Welcome
Mot de bienvenue du Directeur de
lEcole de Musique du Pays-dEnhaut
LEcole de Musique du Pays-dEnhaut est
particulirement fire daccueillir le prochain festival
ISIM.
Nos lves et professeurs peuvent dj goter la
musique improvise depuis plusieurs annes, grce aux
ateliers et concerts remarquables donns par des
membres ISIM Chteau-dOex.
Et sil ny avait pas grande diffrence entre musique
improvise et musique crite... Mozart na-t-il pas crit
ses improvisations ?
Les deux genres musicaux ont une structure, un sens, et
la capacit demmener un public dans de trs hautes
sphres, quel que soit son ge.
Lorsque Raphal Sudan ma demand si nous pourrions
accueillir ce festival, je me suis senti comme David face
Goliath.
Mes craintes se sont trs vite dissipes en prenant
contact avec Ed Sarath et Richard Robeson.
Nous nous rjouissons de rencontrer des musiciens
incroyablement dous.
Au Pays-dEnhaut, vous trouverez des paysages
poustouflants, des gens accueillants, du bois de
lutherie exceptionnel, et nous sommes bien suisses
dexcellents fromages et chocolats.

The Ecole de Musique du Pays-dEnhaut is really proud

to host ISIMs next conference.
Our students and professors have been experiencing
improvised music for several years, thanks to brillant
workshops and concerts given by ISIM members in
Chteau-dOex.
I guess improvised music may be not that different
from written music, if you think of a Mozart writing his
improvisations.
Both kinds of music have a structure, sense and the
ability to carry an audience into extraordinary worlds,
regardless of its age.
As Raphal Sudan asked me if we could host that
conference,
I felt like David against Goliath, but talking then with
Ed Sarath and Richard Robeson convinced me totally.
We do look forward to meeting incredibly gifted
musicians.
In the Pays-dEnhaut, you will find breathtaking
landscapes, welcoming people, exceptional lutherie
wood, and are we swiss or not ? excellent cheese
and chocolate.
Come and see, well join and enjoy !

Venez et voyez, nous nous joindrons vous avec plaisir !

Boris Fringeli
Directeur de lEcole de Musique du Pays-dEnhaut

Boris Fringeli
Manager of the Ecole de Musique du Pays-dEnhaut

Syndic of Chteau-dOex
Welcome

Mot de bienvenue
du Syndic de Chteau-dOex
La musique met lme en harmonie avec tout ce qui existe
disait Oscar Wilde, et lorsquelle est improvise, la musique
prend la dimension du cur et des sentiments pour rapprocher
les artistes et les mettre en communication.

Oscar Wilde said: Music is the art which is more nigh to tears
and memory and when it is improvised, music takes the
dimensions of the heart and feelings to bring artists closer and
put them in communication.

Chers organisateurs, chers participants, chers invits au 8me

Festival ISIM, jai le trs grand plaisir de vous souhaiter, au nom
des 3 Communes de Chteau-dOex, Rougemont et Rossinire,
nos vux de bienvenue les plus cordiaux.
Cest un trs grand privilge pour la Suisse et le Canton de Vaud,
daccueillir pour la premire fois en Europe cet vnement
prestigieux.
Aussi, nous esprons que lambiance de nos montagnes, la
beaut de lenvironnement contribueront faire de cette 8me
dition un plein succs grce bien sr vos qualits artistiques et
musicales runies ici au Pays-dEnhaut.

Dear organisers, dear participants, dear guests of the 8th ISIM

Conference, in the name of the 3 Communes of Chteaud'Oex, Rougemont and Rossinire, I have the great pleasure of
extending our warmest welcoming words to you.
It is a great privilege for Switzerland and the Canton of Vaud,
to welcome this prestigious event for the first time in Europe.
We hope that our mountain air and the beauty of the
landscape will inspire you to make this 8th edition a success.

Notre ambassadeur parmi vous, Raphal Sudan, coordinateur

europen de lvnement, a eu lheureuse ide de vous convier
cette anne en Suisse pour partager votre passion de la musique
improvise, mais aussi vous inviter dcouvrir notre pays.
Jai le plaisir au nom des autorits de le remercier de cette
initiative qui nous permet de faire votre connaissance et, en
mme temps, dapprcier vos grandes qualits musicales.
Le Pays-dEnhaut est le pays des socits, des formations de
musique, de chant, de yodle, de fanfares, dinstruments vent
ou cordes et de groupes folkloriques. Ce public de connaisseurs
aura lui aussi la joie dapprcier lvnement international que
vous tes venus nous offrir.
Mesdames, Messieurs, chers organisateurs, je vous souhaite de
tout cur un excellent festival.

Our ambassadeur among you, Raphal Sudan, European Event

Coordinator for ISIM, had the brilliant idea of inviting you to
Switzerland this year to share your passion for improvised
music, but also to let you discover our country.
In the name of the local authorities, I have the pleasure of
thanking him for taking this initiative, which gives us the
opportunity to get to know you and at the same time
appreciate your great musical qualities.
Here in the Pays-d'Enhaut, we have many musical societies,
ensembles, singers, yodelers, fanfares, wind and string
orchestras and folkloric groups.
This particular audience will also find a great opportunity and
pleasure in the international event that you are going
to offer us.
Ladies, Gentleman, dear organisers, from the bottom of my
heart I wish you an excellent festival.

Charles-Andr Ramseier
Syndic de Chteau-dOex
Charles-Andr Ramseier
Syndic of Chteau-dOex

ISIM Board of Directors / Comit ISIM

Ed Sarath
Karlton Hester
India Cooke
Jin Hi Kim
William Johnson
Douglas Ewart

Founder and President Fondateur et prsident

Vice President - Vice-Prsident
Secretary - Secrtaire
Treasurer - Caissier

ISIM Staff / Personnel ISIM

Richard Robeson
Billy Satterwhite
Raphael Sudan

Executive Director Directeur excutif

Administrative Coordinator Coordinateur administratif
European Conference Coordinator Coordinateur vnementiel Europen

Host Site Team / Comit d'organisation

Raphael Sudan
Albert Chabloz
Dorine Morier
Anne Fatio
Jeremy Wright
Stphane Henchoz
Boris Fringeli

President
Sponsoring
Sponsoring
Coordination with the Music School Coordination avec l'Ecole de Musique
Translation and coordination with volunteers
Traduction et coordination avec les bnvoles
Graphism and design Graphisme et conception livret
Director of the Music School of Pays-d'Enhaut
Directeur de l'Ecole de Musique du Pays-d'Enhaut

ISIM Advisory Council / Conseillers ISIM

Geri Allen
Ralph Alessi
Karl Berger
Jane Ira Bloom
Joanne Brackeen
Thomas Buckner
Rui Carvalho
Steve Coleman
Marilyn Crispell
Robert Dick
Dimos Dimitriades
Mark Dresser
David Elliott
Darryl Harper
Robert Hurst
Zhanna Ilmer
Francois Jeanneau

Mazen Kerbaj
Ganesh Komar
Wojciech Konikiewicz
Oliver Lake
Jolle Landre
George Lewis
David Liebman
Larry Livingston
Nicole Mitchell
Roscoe Mitchell
Lester Monts
Janne Murto
Bruno Nettl
Evan Parker
Rufus Reid
Ines Reiger
Bennett Reimer

Jon Rose
John Santos
Ursel Schlicht
Sam Shalabi
Archie Shepp
LaDonna Smith
Roman Stoylar
Karaikudi S. Subramanian
Stephen Syverud
Walter Thompson
Walter Turkenburg
Sarah Weaver
Michael Wheeler
Michael Zerang

Acknoledgements - Remerciements
ISIM extends its appreciation to Maria and Frederic Ragucci for their major and ongoing support for the organization.
Thanks also to the University of Michigan National Center for Institutional Diversity and Center for World
Performance Studies for additional support.
ISIM thanks the Montreux Jazz Artists Foundation for their partnership, by promoting ISIM and giving it a slot in the
Montreux Jazz Festival Workshop Sessions.
ISIM thanks also all the sponsors and generous donators without whom this event never could have taken place.
ISIM thanks the Council of Chteau d'Oex for their oustanding support, and extend its appreciation to all the
individuals and societies who contributed to this event by providing gear and / or instruments :
Socit de musique La Montagnarde , the Hotel Roc et Neige, the CCL Centre de Culture et de Loisirs du Paysd'Enhaut, Pays-d'Enhaut Tourisme, lAlliance Culturelle, Michel Kuhn, Craig Youmans, Nicolas Buntschu.
ISIM thanks all the volunteers and individuals for their work before and during the event.
ISIM remercie Maria et Frederic Ragucci pour leur soutien majeur et continu. Merci galement au Centre National
pour la Diversit Institutionnelle de l'Universit du Michigan , ainsi qu'au Center for World Performance
Studies pour son soutien additionel.
ISIM remercie la Montreux Jazz Artists Foundation pour leur partenariat, en promotionnant ISIM et en lui donnant
une fentre aux Workshops du Montreux Jazz Festival.
ISIM remercie galement tous les sponsors et gnreux donateurs sans qui cet vnement n'aurait jamais pu avoir lieu.
ISIM remercie la Commune de Chteau d'Oex pour son fantastique soutien, et tend ses remerciements tous les
particuliers et les socits qui ont contribu cet vnement en mettant du matriel et / ou des instruments
disposition :
Socit de Musique La Montagnarde , Htel Roc et Neige, CCL Centre de Culture et de Loisirs du Paysd'Enhaut, Pays-d'Enhaut Tourisme, lAlliance Culturelle, Michel Kuhn, Craig Youmans, Nicolas Buntschu.
ISIM remercie tous les bnvoles pour leur travail avant et durant le festival.

Haut-Intyamon - Rossinire - Chteau-dOex - Rougemont

KEYNOTE ARTISTS ARTISTES INVITES

Ronan Guilfoyle
Concert on the 10th of July, 8 PM, Le Znith
Concert le 10 juillet, 20h00, Le Znith
Ronan Guilfoyle is a major figure on the Irish jazz scene and has developed an international reputation as a
performer, teacher and composer. He began his career with Louis Stewart's group in the early 1980's and studied at
the Banff Centre for the Arts in 1986 and 1987 where his teachers included John Abercrombie, Dave Holland,
and Steve Coleman. Performing on the acoustic bass guitar sincethe early 1980s, Ronan is now one of the
instrument's leading exponents, and is now much
in demand as a bassist, both inhis native Ireland and
on the international jazz scene. Among the people
he has performed with are Dave Liebman, Kenny
Werner, Joe Lovano, Kenny Wheeler, Keith Copeland,
Brad Mehldau, John Abercrombie, Larry Coryell, Benny
Golson, Jim McNeely, Sonny Fortune, Andrea Keller,
Andy Laster, Emily Remler, Simon Nabatov, Richie
Beirach, and Tom Rainey. He has also been leading his
own groups since the mid 1980s, and his groups have
toured extensively in Europe, Asia, and North America.
He has recorded extensively both as a sideman and
as a leader and his output includes the award winning
"Devsirme" in 1997. Ronan has been composing for
classical ensembles since 1993, specialising in compositions which feature both improvised and written music. He has
had great success in this field and has now a large body of work that ranges from solo piano pieces, to chamber
works, to orchestral compositions. He has had commissions from a wide range of ensembles and organisations
including the RTE Concert Orchestra in Dublin, The Opus 20 String Orchestra in London, and the European Jazz Youth
Orchestra. He has also been commissioned to write works for many great soloists including the saxophonist David
Liebman, the violinist Michael D'arcy and the virtuoso accordionist Dermot Dunne. Ronan has also acquired a
formidable reputation as a composer in the world of contemporary jazz, and his music has been performed by such
jazz luminaries as Dave Liebman, Kenny Werner, Kenny Wheeler, Keith Copeland, John Abercrombie, Andy Laster,
Simon Nabatov, Richie Beirach, Tom Rainey, Julian Arguelles, Rick Peckham, and Sonny Fortune. In 1997 he won the
Julius Hemphill Jazz Composition Competition in the United States. Over the past 10 years Ronan has become very
well known for the teaching of advanced rhythmic techniques for jazz improvisation and his book, "Creative Rhythmic
Concepts for Jazz Improvisation" which covers such areas as metric modulation and odd metre playing, is now seen
as the standard text for this area. He has been invited to teach this subject at many schools around the world
including Berklee College of Music, The New School, and is an associate Artist of the Royal Academy of Music in
London, and has also lectured on it for the International Music Congress (UNESCO) in Copenhagen. Ronan is the
founder of and head of the jazz department at Newpark Music Centre in Dublin, the only school offering postsecondary jazz education in Ireland.
Ronan Guilfoyle est un acteur principal du jazz irlandais et a une rputation internationale en tant que musicien,
professeur et compositeur. Sa carrire dbuta avec le groupe de Louis Stewart dans le dbut des annes 80. Il tudia
au Banff Center for the Arts en 1986 et 1987, o ses professeurs furent John Abercrombie, Dave Holland et Steve
Coleman. Ds les annes 80, il opte rsolument pour la guitare bass acoustique, et est devenu un reprsentant
dominant de cet instrument. Il est demand autant en Irlande que sur la scne du jazz international.
Parmi les musiciens avec lesquels Ronan a jou, on peut mentionner Dave Liebman, Kenny Werner, Joe Lovano,
Kenny Wheeler, Keith Copeland, Brad Mehldau, John Abercrombie, Larry Coryell, Benny Golson, Jim McNeely, Sonny

10

annes 80, il mne ses propres groupes, avec de nombreuses tournes travers lEurope, lAsie et lAmrique du
Nord. Il a de nombreux disques son actif, que ce soit en accompagnateur ou comme meneur, et ses succs
comptent notamment le disque prim Devsirme en 1997.
En 1993, Ronan sattaque la composition classique, principalement avec des partitions contenant la fois de la
musique crite et des parties improvises. Il rencontrera un grand succs dans ce domaine, et aujourdhui ses uvres
stendent du piano solo des compositions pour orchestre, en passant par la musique de chambre. Grand nombre
dorganisations et densembles le commissionnent, tels que le RTE Concert Orchestra de Dublin, le Opus 20 String
Orchestra de Londres, et le European Jazz Youth Orchestra. Les commandes ne viennent pas seulement des
ensembles et des organisations ; ainsi le saxophoniste David Liebman, le violoniste Michael Darcy et laccordoniste
virtuose Dermot Dunne sont autant dartistes pour qui Ronan a sorti sa plume. En outre, Ronan sest bti une grande
rputation de compositeur au sein du monde du jazz contemporain et sa musique a t joue par dminents artistes
comme Dave Liebman, Kenny Werner, Kenny Wheeler, Keith Copeland, John Abercrombie, Andy Laster, Simon
Nabatov, Richie Beirach, Tom Rainey, Julian Arguelles, Rick Peckham, and Sonny Fortune. En 1997, Ronan gagna le
Julius Hemphill Jazz Composition Competition aux Etats-Unis.
Durant ces dix dernires annes, Ronan n'a pas failli sa rputation, grce ses enseignements des techniques
rythmiques avances pour le jazz et son livre Creative Rhythmic Concepts for Jazz Improvisation, qui discute de la
modulation mtrique et des mesures composes, et qui est dsormais un texte de base pour ce domaine. Ronan a
t invit par de nombreuses coles, notamment Berklee College of Music et The New School, il est artiste associ
pour The Royal Academy of Music in London et a donn des sminaires sur les techniques rythmiques pour
lInternational Music Congress (UNESCO) Copenhagen.
Ronan est le fondateur et la figure emblmatique du dpartement jazz au Newark Music Center Dublin, la seule
cole irlandaise qui offre un enseignement professionnel pour le jazz.

Gerry Hemingway
Concert on the 10th of July, 8 PM, Le Znith
Concert le 10 juillet, 20h00, Le Znith

Gerry Hemingway has been making a living as a composer and performer of solo and ensemble music since 1974. He
has led a number of quartet & quintets since the mid 80s including his current quintet with Ellery Eskelin, Oscar
Noriega, Terrence McManus and Kermit Driscoll as well collaborative groups with Mark Helias & Ray Anderson
(BassDrumBone) celebrating its 34th anniversary in 2011, w/Reggie Workman and Miya Masaoka on koto (Brew),
Georg Graewe & Ernst Reijseger, recently celebrating its twentieth anniversary (GRH trio), WHO trio with Swiss
pianist, Michel Wintsch and bassist, Baenz Oester, as well as numerous duo projects with Thomas Lehn, John Butcher,
Ellery Eskelin, Marilyn Crispell, Terrence McManus and Jin Hi Kim. Mr. Hemingway is a Guggenheim fellow and has
received numerous commissions for chamber and orchestral work including "Terrains", a concerto for percussionist
and orchestra commissioned by the Kansas City Symphony. He also been involved in songwriting documented in the
CD Songs produced by Between the Lines as well as his collaboration with John Cale. He is well known for his
eleven years in the Anthony Braxton Quartet and more recently his duo with Anthony Old Dogs (2007) released on
Mode/Avant. His many collaborations with some of the worlds most outstanding improvisers and composers include
Evan Parker, Cecil Taylor, Mark Dresser, Anthony Davis, George Lewis, Derek Bailey, Leo Smith, Oliver Lake, Kenny
Wheeler, Frank Gratkowski, Michael Moore and many others. His rich musical history, collaborations, performances
and recordings are all amply documented on his extensive website. He currently lives in Switzerland having joined the
faculty of the Hochschule Luzern in 2009.
Gerry Hemingway sest tabli en tant que compositeur, musicien solo et en groupe ds 1974. Il a t la tte de
nombreux quartettes et quintettes depuis le milieu des annes 80, dont son quintette actuel compos de Ellery
Eskelin, Oscar Noriega, Terrence McManus and Kermit Driscoll, ainsi que des groupes collaboratifs avec Mark Helias &
Ray Anderson (BassDrumBone) pour clbrer son 34me anniversaire en 2011, Reggie Workman and Miya Masaoka
on koto (Brew), Georg Graewe & Ernst Reijseger clbrant rcemment le 20me anniversaire du groupe (GRH Trio),
WHO trio avec le pianiste Suisse Michel Wintsch, et le bassiste Baenz Oester. Hemingway a galement jou dans de

11

nombreux duos avec Thomas Lehn, John Butcher, Ellery Eskelin, Marilyn Crispell, Terrence McManus et Jin Hi Kim.
Monsieur Hemingway est un membre honoraire Guggenheim et a t commissionn de nombreuses fois pour des
uvres de musique de chambre ou orchestrale, notamment Terrains, un concerto pour percussion et orchestre
commissionn par le Kansas City Symphony. Il sest aussi intress lcriture de chansons, intrt document dans
son CD Songs produit par Between the Lines en collaboration avec John Cale. Il est galement bien connu pour les
onze annes quil a pass dans le Anthony Braxton Quartet et plus rcemment pour son duo avec Anthony Old dogs
(2007). Jusqu prsent Gerry a collabor avec de nombreux compositeurs et improvisateur hors pairs parmi lesquels
Evan Parker, Cecil Taylor, Mark Dresser, Anthony Davis, George Lewis, Derek Bailey, Leo Smith, Oliver Lake, Kenny
Wheeler, Frank Gratkowski, Michael Moore. Toute la diversit de ses collaborations, concerts et enregistrements est
accessible sur son site internet.
Aprs avoir rejoint le corps enseignant de la Musikhochschule Luzern en 2009, il sest tabli en Suisse o il vit
actuellement.

Christy Doran
Concert on the 10th of July, 8 PM, Le Znith
Concert le 10 juillet, 20h00, Le Znith

Christy Doran was born in Dublin, Ireland and has lived in Lucerne, Switzerland since his childhood. His father was an
Irish ballad singer, providing Christy with his first exposure to music. In the 1970s he was a founding member (along
with Fredy Studer, Urs Leimgruber and Bobby Burri) of the seminal Swiss band "OM". Tours throughout Europe,
radio/TV - appearances, workshops, music for ballet, theatre and film. Over the years, his career has included
countless solo concerts, in which he regularly pushes to the limits the capabilities of a single guitar. He has played in
duos with Marty Ehrlich, Harry Pepl, Fritz Hauser, Dave Doran, Dom Um Romao, John Wolf-Brennan, Robert Dick, Ray
Anderson, among others. After playing in a trio with Jasper vant Hof, he went on to form the "Christy Dorans May
84" septet with Norma Winstone, Trilok Gurtu, Urs Leimgruber, Rosko Gee, Dom Um Romao and Dave Doran. He has
been a member of the "Peter Warren Quartet" with Victor Lewis and John Surman, and "RED TWIST & TUNED
ARROW" with Stephan Wittwer and Fredy Studer (1985 - 1987). Christy Doran was also a co-founder of
"Doran/Studer/Burri/Magnenat," (later "Doran/Studer/Gerber/Magnenat") and member of a quartet with Bobby
Previte, Mark Helias and Gary Thomas. He played in a trio with Marilyn Mazur and Kim Clarke, as well as with Sibylle
Pomorins "Augeries of Speed" meeting Terry Jenour, Annie Whitehead, Kim Clarke, Herb Robertson, Kamal Sabir. As
a member of Urs Leimgrubers "Ensemble Bleu" he also played with Francoise Kubler, Louis Sclavis, Hans Koch. Other
performances have included work with Carla Bley, Albert Mangelsdorff, Bob Stewart, Edvard Vesala, Charlie Mariano,
Manfred Schoof, Irne Schweizer, Aldo Romano, Pirre Favre, Peter Schrli, Glenn Ferris, Wolfgang Dauner, Fernando
Sounders, Heiri Knzig, Julio Barreto, Sonny Sharrock, Jim Meneses, Keven Bruce Harris, Martin Schtz, Daniel
Mouton, Ronan Guilfoyle, Marc Peterson, Burhan Oecal, Werner Ldi, Christoph Baumann, Lars Lindvall, Mark
Halbheer, Urs Blchlinger, Gnter Mller, Lauren Newton, Tim Berne, Jim Black, Gunther Schuller, Airto Moreira a.o.

12

included those with Hank Roberts, Joe McPhee, Corin Curschellas, Hardy Hepp, Helmut Zerlett, Irne Lorenz, Boris
Salchak, besides several recordings with musicians mentioned above. Christy Dorans current groups include "Christy
Dorans New Bag" (founded Dec. 97) with vocalist Bruno Amstad, Wolfgang Zwiauer on electric bass, and Fabian
Kurattli on drums. the A.D.D. trio, and "Sperri-Doran-Weber" with Albert Mangelsdorff. Christy Doran also teaches
at the "Musikhochschule" of Lucerne/Switzerland.

Christy Doran est un guitariste irlandais n en Irlande et qui a vcu Lucerne depuis son enfance. Son pre tait un
chanteur de ballades irlandaises, grce qui Christy fut introduit la musique trs tt. Christy, tait un des membres
fondateurs du groupe suisse novateur OM, avec Fredy Studer, Urs Leimgruber et Bobby Burri. Le groupe a fait de
nombreuses tournes en Europe, est apparu de multiples fois la radio et la tlvision, a donn des ateliers de
musique et a accompagn ballet, thtre et cinma.
Il a aussi jou en duos avec Marty Ehrlich, Harry Pepl, Fritz Hauser, Dave Doran, Dom Um Romao, John Wolf-Brennan,
Robert Dick, Ray Anderson, entre autres. Il a fait partie du Peter Warren Quartet avec Victor Lewis et John Surman,
ainsi que RED TWIST & TUNED ARROW avec Stephan Wittwer et Fredy Studer (1985 - 1987). Christy Doran est
membre dun quartet avec Bobby Previte, Mark Helias and Gary Thomas ainsi que co-fondateur de
Doran/Studer/Burri/Magnenat (qui sera plus tard Doran/Studer/Gerber/Magnenat)
Il a jou dans des trios avec Marilyn Mazur et Kim Clarke, et avec Sibylle Pomorin dans "Augeries of Speed" o il
rencontre Terry Jenour, Annie Whitehead, Kim Clarke, Herb Robertson, Kamal Sabir. Aprs avoir jou dans un trio
avec Jasper vant Hof, il mit sur pied son propre septette Christy Dorans May 84 avec Norma Winstone, Trilok
Gurtu, Urs Leimgruber, Rosko Gee, Dom Um Romao et Dave Doran.
Ayant t membre de Ensemble Bleu, cr par Urs Leimgruber, Christy a eu loccasion de jouer avec Francoise
Kubler, Louis Sclavis, Hans Koch. Beaucoup dautres projets lont vu exercer son instrument dont certains avec Carla
Bley, Albert Mangelsdorff, Bob Stewart, Edvard Vesala, Charlie Mariano, Manfred Schoof, Irne Schweizer, Aldo
Romano, Pirre Favre, Peter Schrli, Glenn Ferris, Wolfgang Dauner, Fernando Sounders, Heiri Knzig, Julio Barreto,
Sonny Sharrock, Jim Meneses, Keven Bruce Harris, Martin Schtz, Daniel Mouton, Ronan Guilfoyle, Marc Peterson,
Burhan Oecal, Werner Ldi, Christoph Baumann, Lars Lindvall, Mark Halbheer, Urs Blchlinger, Gnter Mller, Lauren
Newton, Tim Berne, Jim Black, Gunther Schuller, Airto Moreira.
En solo ou en groupe, Christy a fait des tournes en Europe, Afrique du nord, Inde, les carabes, le Mexique, la Bolivie,
les USA et le Canada. Il a de multiples enregistrements avec Hank Roberts, Joe McPhee, Corin Curschellas, Hardy
Hepp, Helmut Zerlett, Irne Lorenz, Boris Salchak, parmi dautres avec les artistes sus-mentionns.
Christy donne galement dinnombrables concerts en solo, dans lesquels il pousse toujours plus loin les capacits de
son instrument.
Actuellement ses groupes incluent Christy Dorans New Bag (tablit en dcembre 1997) avec le chanteur Bruno
Amstad, Wolfgang Zwiauer la basse lectrique et Fabian Kurattli la batterie, A.D.D Trio et Sperri-Doran-Weber
avec Albert Mangelsdorff. En plus dtre un musicien actif, Christy Doran enseigne la Musikhochschule de
Lucerne.

13

Francis Vidil
Concert on the 11th of July, 8 PM, Temple
Concert le 11 juillet, 20h00, Temple

Francis Vidil is a french musician, born in 1961. He teaches at the Versailles Conservatory and also gives concerts
around the world. He is well known in both respects. Pianist, organist and improvisor, he is one of the very few who
can play organ and trumpet at the same time.
Francis Vidils teaching career at the Versailles Conservatory started in 1996. As soon as he arrived, he opened an
improvisation class, which is now one of the fundamental disciplines for the upper curriculum.
He has studied repertoire with Aldo Ciccolini and France Clidat, and improvisation with Andr Isoir, whose deputy to
the Grandes-Orgues de Saint-Germain-des-Prs in Paris he would become. For four years he accompanied at the Paris
Superior National Music Conservatory in Jean Koerners class. He was also named accompanying pianist for RadioFrance and for Syvio Gualdas percussion class at the Versailles Conservatory a class he will accompany for thirty
years.
On the 14th of May 2000 Francis Vidil was awarded the silver medal by the Academic Society for the Promotion of
the Arts and Sciences under the French Academys patronage and on July 10th 2009 he was named Honorary
Professor by decree of the Versailles mayor.
Moreover, he is the only candidate to have won both these prizes in the World Federation of International Music
Competition (WFIMC):
First Prize, International Improvisation Competition on the piano in Lyon, awarded by Pierre Cochereau, 1983
First Prize, unanimously and with congratulations of the jury, International Improvisation Competition on the piano
in Montbrison, awarded by Andr Isoir, 1995.
Putting aside his piano teaching in Versailles and around the world through masterclasses or workshops, Francis Vidil
also has 1200 recitals behind him, on organ and piano, in which he has always placed particular emphasis on
improvisation.

Francis Vidil, n en 1961, est un artiste franais, musicien aux multiples facettes, concertiste et professeur, connu
autant pour sa carrire en tant que pdagogue au Conservatoire de Versailles, que pour ses concerts autour du
monde. Pianiste, organiste et improvisateur, il est un des trs rares musiciens pouvoir jouer de lorgue et de la
trompette en mme temps.
Professeur de piano au Conservatoire de Versailles depuis 1996, Francis Vidil y cre, ds son arrive, une classe
dimprovisation qui fait maintenant partie des disciplines principales du cursus suprieur.
Il tudie le rpertoire avec Aldo Ciccolini et France Clidat, et limprovisation avec Andr Isoir, dont il deviendra le

14

daccompagnement au Conservatoire National Suprieur de Musique de Paris dans la classe de Jean Krner. Il est
paralllement nomm pianiste accompagnateur de la Matrise de Radio-France, et de la classe de percussions de
Syvio Gualda au Conservatoire de Versailles classe quil accompagnera pendant 30 ans.
Mdaille dargent de la Socit Acadmique de la Promotion des Arts, Sciences et Lettres, sous le patronnage de
lAcadmie Franaise, le 14 mai 2000, il est nomm professeur Hors Classe par dcret du maire de Versailles, le 10
juillet 2009.
Il est, en outre, le seul candidat avoir remport ces deux prix la World Federation of International Music
Competition (WFIMC) :
Premier Prix, Concours International dImprovisation au piano de Lyon, dcern par Pierre Cochereau, 1983
Premier Prix, lunanimit du jury et avec flicitations, Concours International dImprovisation au piano de
Montbrison, des mains dAndr Isoir, 1995
En plus de l'enseignement du piano et de l'improvisation, Versailles et dans le monde lors de stages ou de
masterclasses, Francis Vidil a plus de 1200 rcitals son actif, lOrgue ou au Piano, en mettant limprovisation
particulirement lhonneur.

15

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Ticket Prices Prix des billets

1 Evening Concert - Friday / Saturday

1 Concert du soir - vendredi / samedi

25 chf
25 chf

1 Day, included Evening concert

1 jour entier, inclus concert du soir

100 chf
100 chf

Pass for the entire Festival, included Evening concert

Pass pour tout le festival, inclus concerts du soir

200 chf
200 chf

Tickets are on sale at the Tourist Office,

as well as to "Office Festival" which will be installed at the Hotel Roc et Neige.
Les billets sont en vente l'Office du Tourisme,
de mme qu'au "Festival Office" qui sera install l'Htel Roc et Neige.
Hours Festival office - Heures d'ouverture du Festival Office :
Thusday, July 9 : 10:00AM-12:00PM - Jeudi 9 juillet : 10h00-12h00 et 17h00-18h00
Friday/Saturday/Sunday : 8:00AM-9:00AM - vendredi/samedi/dimanche : 8h00-9h00

Tourist Office contact - Contact de l'Office du Tourisme

Pays-d'Enhaut Tourisme, Place du Village 6, 1660 Chteau-d'Oex, Suisse - Tl. +41 (0)26 924 25 25

SCHEDULE OF EVENTS

DEROULEMENT DES EVENEMENTS

LEGEND
Performance [+]
Workshop-Workshop/Performance [++]
Academic Paper [*]
Presentation [**]
Panel [PNL]

LEGENDE
Concert [+]
Atelier / concert-confrence [++]
Confrence acadmique [*]
Prsentation [**]
Discussion thmatique [PNL]

! Please refer to the hours indicated on the appended at a glance schedule!

! Programmation sous rserve de modifications, prire de se rfrer aux heures exactes
indiques sur le programme annex !

21

Wednesday, July 8, 2015 Mercredi, 8 juillet 2015

1:00PM 13h00
Petit Palais, Montreux
Free improvisation for jazz improvisers
Pre-conference Workshop, hosted by the Montreux Jazz Festival [++]
Improvisation libre pour improvisateurs jazz
Atelier dans le cadre du Montreux Jazz Festival [++]
ISIM will be proudly represented at the prestigious Montreux Jazz Festival. Our society has been invited by the
Montreux Jazz Artists Fundation to present a workshop focusing on free improvisation, as part of the Montreux Jazz
Festival Workshop Sessions. Co-led by Ed Sarath, Richard Robeson, Billy Satterwhite and Raphael Sudan, whis
workshop will aim developing tools and improvisational strategies that goes beyond the traditional frame of jazz
improvisation.

Thursday, July 9, 2015

Jeudi, 9 juillet 2015

Registration
At The Hotel Roc et Neige
9:00AM - 1:00 PM
2:00PM - 6:00 PM

Enregistrement des participants

Htel Roc et Neige
9h00-13h00
14h00-18h00

Welcome Ceremony
The Hotel Roc et Neige
1:00 PM - 2:00 PM

Crmonie d'ouverture
Htel Roc et Neige
13h00-14h00

Reception - aperitif
Great Hall of Chteau-d'Oex
7:00-9:00 PM

Rception - apritif
Grande Salle de Chteau-d'Oex
19h00-21h00

2:00-3:00PM - 14h00-15h00
Htel Roc et Neige
Project ISIM [+]

Th.

Je.

Projet ISIM [+]

Ed Sarath, flugelhorn (The University of Michigan); Richard Robeson, 8-string baritone Ukulele (Wake Forest
University); Raphael Sudan, piano (Fribourg, Switzerland); Billy Satterwhite, Bass Ukulele (Austin, TX)
Ed Sarath, Bugle (University of Michigan) ; Richard Robeson, Ukull baryton 8 cordes (Wake Forest
University) ; Raphael Sudan, piano (Fribourg, Suisse); Billy Satterwhite, Basse Ukull (Austin, Texas)

22

3:00-4:00 PM - 15h00-16h00
Htel Roc et Neige
Tandem: The Unheard John Carter [+]

Th.

Je.

Tandem: Le John Carter jamais entendu [+]

Cara Thomas (woodwinds) and Raleigh Dailey (piano and electronics) are the improvising duo Tandem, a group dedicated
to exploring the ongoing dialectic between composed and improvised music. Tandem uses classic free jazz repertoire and
newly composed/improvised music to create a music based on strong personal interplay and deep listening. For the 2015
ISIM festival/conference, Tandem will present The Unheard John Carter, a program of little known and newly discovered
works by the master clarinetist and composer. John Carter's music is a striking confluence of free improvisation, extended
instrumental techniques, and composition informed by European, jazz, and folk traditions. Carter found unique solutions
to the integration of written and spontaneous material in his richly textured scores, and his music was a strong influence in
the development of free music in Los Angeles beginning in the 1970s. Tandem was created in an effort to share Carters
music and to explore its implications for contemporary music. Drawing partly on research from Daileys 2007 monograph
Folklore, Composition, and Free Jazz: The Life and Music of John Carter, Tandem will play some of Carters most unique
and ambitious works, many of which will be heard here for the first time.
Cara Thomas (bois) et Raleigh Dailey (piano et lectronique) forment le duo improvis tandem , ddi
l'exploration de la dialectique continue entre la musique compose et la musique improvise. Tandem utilise le
rpertoire free-jazz et la musique rcemment crite ou improvise pour crer une musique base sur un jeu
interactif trs personnel et une coute profonde. Pour le festival ISIM 2015, Tandem prsente Le John Carter jamais
entendu , un programme d'oeuvres peu connues et dcouvertes rcemment de ce grand clarinettiste et
compositeur. La musique de John Carter est une convergence frappante d'improvisation libre, de nouvelles
techniques instrumentales, et de composition influence par des traditions europennes, de jazz et de musique folk.
John Carter a trouv des solutions uniques pour intgrer des lments crits ou spontans dans ses partitions trs
riches en textures, et sa musique a t d'une trs grande influence dans le dveloppement de la musique libre Los
Angeles dans les annes 1970. Tandem a t cr dans un effort de partager la musique de Carter et d'explorer son
implication dans la musique contemporaine. En puisant en partie dans la recherche de Raleigh Daily en 2007 :
Folklore, Composition et Free Jazz : La vie et la musique de John Carter , Tandem va jouer quelques unes des
oeuvres les plus uniques et les plus ambitieuses de Carter, dont la plupart seront joues ici pour la premire fois.
Cara Thomas is a multi-woodwind performer and educator. Cara specializes in new music, free improvisation, and
extended techniques, and has developed an approach to teaching that fosters personal identity through improvisation.
Cara Thomas est une professeur et musicienne multi instrumentiste parmi les bois. Elle est spcialise dans la
musique moderne, l'improvisation libre et les techniques instrumentales tendues, et a dvelopp une approche de
l'enseignement qui favorise l'identit personnelle travers l'improvisation.
Raleigh Dailey is an internationally recognized pianist and composer. His most recent works are Mirage and Essays
for Solo Piano. Recent recordings include Measure From Zero (with Peter Evans), and the Opening Lines (with Tim
Daisy and Jason Stein).
Raleigh Daily est un pianiste et compositeur reconnu de manire internationale. Ses oeuvres les plus rcentes sont
Mirages et Essais pour piano solo . Des enregistrements rcents incluent Measures From Zero avec Peter
Evans, et The Opening Lines avec Tim Daisy et Jason Stein.

4:00PM-5:00PM 16h00-17h00
Htel Roc et Neige

Th.

Je.

Gasps & Fissures [+]

Haltements et Fissures [+]
Kyle Bruckmann
Gasps & Fissures is an exploration of meticulous scrutiny and illusion, hyper-extending a limited instrumental palette.
Subtle, often borderline microscopic sounds originating from oboe and English horn are grotesquely magnified to
sculpt music of claustrophobic intimacy and impossible physicality.

23

emerged out of then-nascent late-1990s developments in lowercase improvisation and eai, and was conceived as a
response to the paradoxes and absurdities of recording improvised music. Gasps & fissures as a live performance
employs re-worked recorded materials and disorienting amplification to provide an ever-evolving framework for
structured solo improvisation. All of my creative work is most at home in discomfort zones between genres and
practices territories of neither/nor and both/and. For me, its particularly disingenuous to deny a compositional
mindset when performing free improvisation as a soloist. For these reasons, Ive found that this piece continues to
prove fruitful as a framing for my ongoing development. With each performance, I re-examine and alter the prerecorded elements, respond to the context and acoustical setting, and seek ever-fresh ways to ride the knife-edge
between spontaneity and premeditation.
Haltements et Fissures est une exploration d'examination minutieuse et d'illusions, donnant une hyper extension
une palette instrumentale limite. Subtils, souvent peine audibles, des sons microscopiques provenant du hautbois
et du cor anglais sont grotesquement amplifis pour sculpter de la musique d'intimit claustrophobe et de physicalit
impossible.
Le CD de 2001 produit par 482Music (ralis lors d'une rsidence artistique au Experimental Sound Studio, Chicago)
est n des dveloppements naissants des annes 1990 dans l'improvisation minuscule et l'improvisation
lectro-acoustique , et a t conu comme une rponse aux paradoxes et aux absurdits d'enregistrer la musique
improvise.
Haltements et Fissures, dans sa version live , utilise des sons enregistrs retravaills et une amplification
dsorientante dans l'optique de donner un cadre en constante volution pour une improvisation solistique
structure. Tout mon travail cratif la maison se situe le plus souvent dans des zones d'inconfort entre des genres et
des pratiques - les territoires d'aucun/ni et tous les deux/et. Pour moi, il est particuliment peu sincre de refuser un
tat d'esprit compositionnel lorsqu'on excute de l'improvisation libre comme soliste. Pour ces raisons, j'ai trouv
que ces pices continuent de se montrer fructueuses pour donner un cadre aux lments que je vais dvelopper. A
chaque concert, je rexamine et modifie tous les lments prcdement enregistrs, en adquation au contexte et
l'acoustique, et je cherche des manires toujours fraches de marcher sur la corde raide, entre la spontanit et la
prmditation.
Oboist KYLE BRUCKMANN's work extends from a traditional Western classical foundation into gray areas
encompassing free jazz, electronic music and post-punk rock. He is a member of working groups including sfSound,
the San Francisco Contemporary Music Players, Splinter Reeds, and Addleds. From 1996-2003, he was a fixture in
Chicago's music underground; long-term projects include Wrack (a 2012 Chamber Music America New Jazz Works
grantee), the electro-acoustic duo EKG, and the avant-punk monstrosity Lozenge.
L'oeuvre du hautboiste KYLE BRUCKMANN s'tend des bases classiques traditionnelles aux zones d'ombres
englobant le free-jazz, la musique lectronique et le post-punk. Il est membre de plusieurs groupes incluant sfSound,
the San Francisco Contemporary Music Players, Splinter Reeds, et Addled. De 1996 2003, il fait partie des
incontournables de la scne musicale underground de Chicago. Parmi ses projets long terme, citons Wrack
(un orchestre de chambre ddi au jazz contemporain), le duo lectro-acoustique EKAG et la Monstruosit
avant-punk Lozenge .

5:00PM-6:00PM 17h00-18h00
Htel Roc et Neige
Communal Improvisation [++]

Th.

Je.

Improvisation collective [++]

The International Society for Improvised Music celebrates the opening day of their first European Event with a
communal collective improvisation led by Ed Sarath, Raphael Sudan, and other ISIM members. All musicians and
improvisers in attendance are welcome to participate in the ensemble.
La Socit Internationale pour la Musique Improvise clbre le jour d'ouverture de son premier Festival Europen
avec une improvisation collective dirige par Ed Sarath, Raphal Sudan et d'autres membres ISIM.
Tous les musiciens et improvisateurs participant au festival sont invits se runir dans cet ensemble.

24

Friday, July 10, 2015

Vendredi, 10 juillet, 2015

9:00 AM - 9h00
Council Hall Salle du Conseil

10

Fr.

Ve.

The Impermanence Imperative [*]

L'impratif de l'Impermanence [*]
Jonathan Stockdale
This paper will report on outcomes of a live experimental improvised performance research project to be delivered
together with the Impermanence Trio, as part of the 2015 Cheltenham Jazz Festival and co-funded by the UK Arts and
Humanities Research Council (AHRC). The paper will report on research underway with the Impermanence Trio
(Matthew Bourne, Riaan Vosloo, Tim Giles) whose work is largely unprepared and improvised. Reliance is placed on
each performers repertoire of possibilities and dynamic interaction, to construct a spontaneous musical narrative.
The Trio normally starts a performance from a blank sheet and with only a repertoire of possibilities; the research
strategy and method engages the audience, working collectively, to become a fourth member of the group with the
potential to influence the musical process and outcomes. Improvised performance involves a process of negotiation
that defines musical territory, but where the same artists work together over a period of time, their improvisations
tend to become increasingly predictable. The aim then, is to invite the audience to sit in as a new player, causing
the regular members of the group to re-evaluate and adapt their musical strategy. This benefits the Trio, as it disrupts
their otherwise ongoing process of familiarization, and the audience who get to play an active role in shaping the
musical outcomes.
Cette prsentation va traiter des rsultats d'un projet de recherche de performance improvise exprimentale donn
avec le Impermanence Trio , dans le cadre du Cheltenham Festival de Jazz 2015, grce au co-financement du
conseil britannique pour les arts et les recherches humaines. La prsentation fera un rapport sur les recherches en
cours de lImpermanence Trio (Matthew Bourne, Riaan Vosloo, Tim Giles), dont la musique est principalement nonprpare et improvise. La confiance est place dans le rpertoire de possibilits et d'interaction dynamique de
chacun des musiciens, afin de construire une narration musicale spontane. Le trio commence le concert avec une
page blanche , et avec uniquement un rpertoire de possibilits ; la stratgie de recherche implique le public qui
devient un quatrime membre du trio avec le potentiel d'influencer le processus et le rsultat musical. Les
performances improvises impliquent un processus de ngociation qui dfinit le territoire musical, mais lorsque les
mmes artistes travaillent ensemble un certain temps, leurs improvisations tendent devenir de plus en plus
prvisibles. Le but devient alors d'inviter le public devenir un nouvel acteur musicien, obligeant les membres du
groupe rvaluer et radapter leurs stratgies musicales. Ceci est bnfique au trio, car cela interrompt leur
processus de familiarisation constante, et est galement bnfique au public qui joue un rle actif dans la ralisation
du rsultat musical.
Jonathan Stockdale studied at Huddersfield University where he gained a first class honours in music, and then,
supported by a full British Academy scholarship, completed a DPhil in Electro-acoustic and Computer Music
Composition, at the University of York. Before completing his Doctoral studies, Jonathan was appointed Lecturer in
Music Technology at University College Salford (UCS), and was subsequently made Senior Lecturer and then Head of
School, Popular Music and Recording in 1994. Whilst at UCS, Jonathan established, with Professor Stan Hawkins, the
first degree programme in popular music and recording in the UK, with Beatles producer, Sir George Martin, as its
first patron.
In 1996 Jonathan joined Leeds College of Music as Head of Jazz Studies where he developed the first masters
programme in Jazz Studies. In 2000 he was appointed Director of Studies, and as well has having overall responsibility
for all academic programmes of the College, developed the research strategy for the institution, which resulted in the
establishment of two annual international conferences in new disciplinary areas, and a peer-reviewed journal.
In 2005 he was appointed Professor, and Head of the School of Music at the renowned Victorian College of
the Arts (VCA) in Melbourne, Australia. Shortly after, the VCA became a faculty of the University of Melbourne, and
as well as continuing in the role of Head of Music, Jonathan was appointed Associated Dean (Learning and Teaching),
and served as a member of the Curriculum Commission responsible for the University-wide Growing Esteem
transformation agenda. In 2008 Jonathan returned to the UK on appointment to the position of Principal at the Royal
Northern College of Music, and then took the opportunity to step back into the field to pursue interdisciplinary

25

Enterprise in 2012.
Following an early career working internationally as a composer and performer in the areas of jazz, popular and
contemporary music, Jonathan has devoted much of his time to educational development, leadership and
management. He has extensive experience as an examiner, in quality assurance, and as a consultant in the UK, the
Netherlands, Singapore, Hong Kong, China and Australia.
Jonathan Stockdale a tudi la Huddersfield University o il a gagn la premire place honorifique en musique
puis, aid par une bourse de la British Academy, il ralise un doctorat en musique lectro-acoustique et en
composition de musique informatique l'universit de York. Avant la ralisation de son doctorat, Jonathan tait
mandat comme confrencier en technologie musicale lUniversity College Salford, et a t nomm doyen des
confrenciers et responsable des enregistrements de l'cole en musique populaire. Durant cette priode, Jonathan
tablit, avec le professeur Stan Hawkins, la premire institutionalisation professionelle de l'enseignement de la
musique populaire et de l'enregistrement au Royaume Uni, avec comme premier parrain le producteur des Beatles,
Sir George Martin.
En 1996, Jonathan rejoint le Leeds College of Music comme doyen des Etudes Jazz, o il dveloppe le premier
programme Master . En 2000, il est nomm Directeur d'Etudes, tout en ayant la responsabilit des programmes
acadmiques de l'cole, en dveloppant la stratgie de recherche pour l'institution, qui a eu deux confrences
internationales dans de nouvelles res disciplinaires, de mme qu'un journal comme aboutissement.
En 2005, il est nomm professeur et directeur de l'Ecole de Musique la renomme Victorian College of the Arts
Melbourne, Australie. Peu aprs, cette cole est devenue une facult de l'Universit de Melbourne, tout en gardant
le rle d'cole de musique. Jonathan est ds lors nomm Doyen Associ (confrences et enseignement) et intgre la
Commission de programme d'tudes pour l'largissement de la rputation de l'universit.
En 2008, Jonathan retourne au Royaume-Uni pour prendre la position du Principal au Royal Northern College of
Music, puis saisit en 2012 l'opportunit de retourner sur le terrain pour une recherche interdisciplinaire comme
membre de l'University of West London Institute for Practice, Interdisciplinary Research and Entreprise.
En suivant une carrire prcoce internationale comme compositeur et interprte dans les sphres du jazz, de la
musique populaire et contemporaine, Jonathan a consacr beaucoup de son temps au dveloppement ducationnel,
au leadership et au management. Il a une grande exprience comme expert et consultant au Royaume-Uni, PaysBas, Singapour, Hong Kong, Chine et en Australie.

9:30 AM - 9h30
Council Hall - Salle du Conseil

10

Fr.

Ve.

Beyond Perfection: Escaping the Boundaries of Virtuosity in Free Improvisation [*]

Au-del de la perfection : chapper aux frontires de la virtuosit dans l'improvisation libre [*]
Amy Brandon
Extended techniques have long been a central component of free improvisation. Virtuosic soundscapes form part of
the performance practices of Derek Bailey, Bill Dixon, George Lewis and John Zorn, musicians who have greatly
extended the breadth of the possible on their respective instruments. But virtuosity is not vision, and technique is
not creativity. While virtuosity has been celebrated, emulated and expected in classical, jazz and other styles of
music, in free improvisation it is also problematic. Some of these same virtuosic free improvisors speak of the limiting
aspects of their celebrated abilities, the staleness of performing technique for technique's sake. However moving
beyond perfection, beyond the technical extremes of an instrument requires an even greater dedication to creativity
and exploration, sometimes at the expense of the approval of more traditional audiences. The pedagogical method of
'handicapping', defiance of audience expectations and the turning of physical limitations into creative possibilities are
all doorways to escaping beyond the emptiness of virtuosity as entertainment.

26

l'improvisation libre. Les paysages musicaux virtuoses font partie des performances d'artistes tels que Derek Bailey,
Bill Dixon, George Lewis et John Zorn, musiciens qui ont largement tendu l'ensemble des possibles sur leurs
instruments respectifs. Mais la virtuosit n'est pas une vision, et la technique n'est pas de la crativit. Pendant que
la virtuosit tait porte au nu, encourage et attendue dans le monde du jazz, de la musique classique et d'autres
styles de musique, elle est galement problmatique dans l'improvisation. Quelques-uns parmi ces improvisateurs
virtuoses parlent des limites de cette capacit tant loue, et de la duret de faire talage de sa technique comme seul
objectif. Chercher aller au-del des extrmes techniques d'un instrument requiert une encore plus importante
concentration dvouer la crativit et l'exploration, parfois au dtriment d'un public plus traditionnel. Les
mthodes pdagogiques de donner des handicaps, de dfier les attentes du public et l'ide de transformer les limites
physiques en possibilits cratives sont des portes ouvertes pour s'chapper au-del de l'insignifiance de la virtuosit
divertissante.
Amy Brandon is a Canadian composition student, guitarist and improvisor. An alumnus of Carleton University,
Ottawa, she studied briefly in New York and is currently completing an M.A. at the University of Ottawa. She
performs and tours with several jazz and classical musicians including JUNO-award winner Mike Rud.

www.amybrandon.ca
Amy Brandon est une tudiante canadienne en composition, guitariste et improvisatrice. Etudiante la
Carleton University de Ottawa, elle a tudi brivement New York et termine actuellement un Master
l'universit d'Ottawa. Elle s'est produite en tourne avec plusieurs musiciens jazz et classiques, parmi
lesquels le laurat de JUNO Mike Rud. www.amybrandon.ca

10:00AM-11:00PM - 10h00-11h00
Salle de La Montagnarde

10

Fr.

Ve.

Unprepared Music for Pianos and Percussion [+]

Musique non prpare pour pianos et percussions [+]
Roger Braun, Andr Gribou, Anthony Di Sanza
Unprepared Music for Pianos and Percussion features completely improvised music by pianist Andre Gribou and
percussionists Roger Braun and Anthony Di Sanza. Exploring diverse instrumental combinations between the three
performers, the improvisations draw upon a wide array of influences, including contemporary classical, jazz, world
traditions, and popular music. A unique sound of the ensemble is the significant use of prepared piano and prepared
vibraphone, an area of specialty for the performers. The goal of the ensemble is to create spontaneous pieces that
range in style, form, and aesthetic.
Cette performance prsentera de la musique compltement improvise par le pianiste Andr Gribou, et les
percussionistes Roger Braun et Anthony Di Sanza. En explorant diverses combinaisons instrumentales entre les trois
musiciens, les improvisations suivront une large aire d'influences, incluant la musique contemporaine, le jazz, la
musique du monde, et la musique populaire. L'usage de piano prpar et de vibraphone prpar, une des spcialits
des musiciens, donne un son unique l'ensemble. L'objectif de ce groupe est de crer des pices spontanes qui se
distinguent dans le style, la forme et l'esthtique.
Roger Braun has performed throughout the United States and in Europe, Japan, and Korea, He can be heard on
numerous recordings, including Sticks and Stones: Music for Percussion and Strings which he produced. Brauns
compositions and arrangements have been performed world-wide and draw upon contemporary, jazz, and world
music influences. He holds degrees from the University of Michigan and Eastman School of Music and is Professor of
Percussion at Ohio University.
Roger Braun s'est produit en concert tout au long des Etats-Unis ainsi qu'en Europe, Japon et Core. On peut
l'entendre dans de nombreux enregistrements, incluant Sticks and Stones : Musique pour Percussions et Cordes ,
qu'il a produit. Ses compositions et arrangements, influencs par la musique du monde, tournent globalement
autour du jazz moderne, et ont t jous dans le monde entier. Il dtient un diplme de l'University of Michican et de
l'Eastman School of Music, et il est professeur lOhio University.

27

Variations with choreographer Mark Haim, performed globally with sold-out performances at the Kennedy Center and the
Seoul Dance Festival in Korea. He has composed numerous soundtracks for film, receiving an Emmy Award for Musical
Score in 2012. He holds degrees from the Hartt School of Music and the Juilliard School and is Professor of Music at Ohio
University.
Andr Gribou a donn de nombreux concerts aux Etats-Unis et de manire internationale, l'inclusion du duo
collaboratif Les Variations Goldberg avec le chorgraphe Mark Haim, qui a tourn dans le monde entier avec des
performances guichets ferms au Kennedy Center et au Festival de Danse de Soul, en Core. Il a compos de
nombreuses musiques de film, recevant un Emmy Award for Musical Score en 2012. Il dtient un diplme de la
Hartt School of Music de mme que de la Juilliard School, et est professeur de musique lOhio University.
Anthony Di Sanza, Professor of Percussion at the University of Wisconsin, has performed and presented master
classes throughout the United States, Europe and Asia. Active in a wide variety of Western and non-Western
percussive areas, he can be heard on over fifteen recordings. In 2010 his solo CD, On the Nature of was released on
the Equilibrium label. Also a composer, Anthony draws from Western and non-Western musical traditions in his
works for percussion.
Anthony Di Sanza, Professeur de Percussion l'universit du Wisconsin, a donn des concerts et des masterclasses
tout au long des Etats-Unis, de mme qu'en Europe et en Asie. Actif avec une large varit de de percussions
occidentales et non-occidentales, on peut l'entendre dans plus de 15 enregistrements. En 2010, il sort un CD solo
On the Nature of... , sous le label Equilibrium . Egalement compositeur, Anthony puise son inspiration dans la
musique occidentale et non-occidentale, pour ses oeuvres pour percussion.

10:00 AM - 10h00
Council Hall - Salle du Conseil

10

Fr.

Ve.

Seeing the Sound, Hearing the Images: From the Visual to the Sonic Through Explorations in Group Improvisation
[*]
Voir le son, entendre les images : Du visuel l'auditif travers des explorations en improvisation collective
[*]
Dr. Anthony D.J. Branker
The purpose of this study was to examine the classroom experiences of twenty college music students who worked
together to create group improvisations by interacting with artifacts of visual art. Resulting data were collected from
observing group rehearsal sessions and discussions, student responses to questions following weekly sessions, field
notes and informal jottings, and responses to post-study questions. Select meetings were recorded by audio and
videotape. When sharing their views on how interacting with visual imagery can impact music-making, students
acknowledged that the method introduced new approaches to creating music in improvisational settings and offered
alternative strategies for heightening communicative interaction. Students also recognized the challenges associated
with reconciling often-conflicting interpretations and that the creative tension between structure and freedom can
be difficult to negotiate. When visual imagery is used to stimulate sonic creation, such a method can: encourage
exploration and risk-taking; empower students to unearth new relationships between music and the visual arts; and
promote communicative interaction, collaboration and shared ownership. Findings suggest that interacting with
visual art in an effort to inspire group improvisation can provide students with the opportunity to re-imagine the
process of creative music-making thereby serving to facilitate the development of creative and critical thinking.
L'objectif de cette recherche tait d'examiner en classe les expriences de vingt tudiants en musique qui ont travaill
ensemble afin de crer des improvisations collectives en interaction avec des objets d'art visuel. Les donnes ont t
collectes en observant des rptitions de groupes et des discussions ; des rponses des tudiants des questions poses
aprs des sessions hebdomadaires ; notes de terrain et griffonnements informels ; et des rponses des questions
conscutives cette tude. Quelques rencontres ont t enregistres en audio et en vido. Lorsqu'ils ont partag leurs
ides sur l'impact de l'interaction visuelle sur la cration musicale, les tudiants ont observ que la mthode a donn
naissance de nouvelles approches pour crer de la musique dans un paramtre improvis, et qu'elle offrait des stratgies
alternatives pour rhausser l'interaction communicative entre les musiciens. Les lves ont galement reconnu le dfi
associ la rconciliation d'interprtations souvent en confrontation, et que la tension crative entre la structure et la

28

mthode peut : encourager l'exploration et la prise de risques, donner davantage de force aux tudiants pour dterrer de
nouvelles relations entre la musique et les arts visuels, et promouvoir une interaction communicative, de collaboration et
de proprit multiple. L'interaction avec les arts visuels dans une ide d'inspirer un groupe d'improvisation peut donner
aux tudiants l'opportunit de r-imaginer le processus de cration musicale, en facilitant le dveloppement de pense
crative et critique.
Dr. Anthony D.J. Branker holds an endowed chair in jazz studies and is director of jazz studies at Princeton University.
His work as a composer, educator, scholar, conductor, and performer has been featured on the international stage in
Finland, Poland, Brazil, Italy, Estonia, Denmark, Greece, China, Australia, Germany, United Kingdom, France, Canada,
Russia, Lithuania, and Japan as well as throughout the United States. Dr. Brankers research has been shared at
conferences of the International Society for Music Education, International Society for Improvised Music, Research in
Music Education, International Symposium on Assessment in Music Education, College Music Society, International
Jazz Composers Symposium, and he was program scholar for the Looking At: Jazz, Americas Art Form film series in
Princeton sponsored by the National Endowment for the Humanities in collaboration with Jazz at Lincoln Center.
Dr. Anthony D.J. Branker est le directeur des tudes de Jazz la Princeton Universit. Son travail en tant que
compositeur, ducateur, chef d'orchestre et musicien l'a amen sur la scne internationale dans de nombreux pays :
Finlande, Pologne, Brsil, Italie, Estonie, Danemark, Grce, Chine, Australie, Allemagne, Royaume Uni, France,
Canada, Russie, Lithuanie et Japon, de mme qu'aux Etats-Unis. Les recherches du Dr. Branker ont t partages aux
festivals de l'International Society for Improvised Music,Research in Music Education, International Symposium on
Assessment in Music Education, College Music Society, International Jazz Composers Symposium, et il a t engag
pour son expertise musicale superviser la srie de films Looking At: Jazz, Americas Art Form , subventionne
par la National Endowment for the Humanities, en collaboration avec le Jazz at Lincoln Center, Princeton.

10:00 AM - 10h00
Temple

10

Fr.

Ve.

The Practice and Practicing of Free Improvisation: a workshop exploring the relationship between
musicianship and improvisation [++]
Pratique instrumentale et pratique de l'improvisation libre : un atelier explorant les relations entre
capacit musicales et improvisation [++]
Casey Sokol
While the jazz musician has access to many practice materials and routinesmany of which are distillates of jazz
vocabularythe free improviser often has little by way of practice materials and, in fact, often either seems illdisposed to the idea of rigor in practice or they dont see the point of practice at all. Many improvisers may rightly
think: How can I play freely if my creativity is grounded in any kind of practice? This workshop will present materials
and exercises intended to provide clarity on this question by showing the benefits and applications of disciplined
practice of rhythm, melody, harmony, texture, memory, division of attention, listening skills, and more. We will work
with relational exercises (being more aware of other players), rhythm skills (using Carnatic solkattu syllables), and
many exercises for developing a more integrated, mobile attention, one in which thinking, feeling and moving can
come together in support of a deeper, more stable and more confident musical attention.
Alors que le musicien de jazz a accs de nombreux exercices pratiques routiniers dont beaucoup proviennent du
vocabulaire jazz l'improvisateur libre n'a pas vraiment l'habitude de s'exercer au quotidien et, parfois, semble
indispos la rigueur de l'exercice quotidien, ou n'y voit aucun intrt. Beaucoup d'improvisateurs pourraient penser
avec raison : comment pourrais-je jouer librement si ma crativit est conditionne par la routine de la
pratique ? Cet atelier va prsenter du matriel et des exercices dont l'objectif est de clarifier cette question en
montrant les bnfices et applications d'un exercice quotidien disciplin de rythmes, harmonies, mlodies, textures,
mmoire, rpartition de l'attention, capacits d'coutes et autre. Nous travaillerons sur des exercices relationnels
(tre davantage conscient des autres musiciens), capacits rythmiques, et de nombreux exercices pour dvelopper
une conscience plus grande de la manire dont la pense, le ressenti et le mouvement peuvent se combiner et
donner naissance une attention musicale plus profonde, plus stable et plus confiante.

29

Casey Sokol is an active performer of solo and group improvised music as well as classical and contemporary
chamber music. He is a professor of music at York University where he has been teaching courses in piano,
improvisation, and musicianship since 1971. He has performed, presented and led workshops in Japan, N. America, S.
America and throughout Europe. In 1976, together with the with the CCMC, Casey conceived and launched The
Music Gallery: Canadas first and still thriving space for the support of experimental and improvised music.
Casey Sokol est un musicien actif, improvisateur soliste et en groupe, tout en ayant galement une activit de
musique de chambre en musique classique et contemporaine. Il est professeur de musique la York University o il
donne des cours de piano et d'improvisation depuis 1971. Il donne des concerts et des ateliers au Japon, Amrique
du Nord, Amrique du Sud et en Europe. En 1976, Casey conoit et lance The Music Gallery , le premier espace
canadien pour le soutien de la musique exprimentale et improvise.

10:00 AM - 10h00
Htel Roc et Neige

10

Fr.

Ve.

Ditch Panther [+]

Ditch Panther [+]
Brad Linde, Erika Dohi
Saxophonist Brad Linde and pianist Erika Dohi improvise duets informed by their experiences in Baroque
counterpoint, 20th Century music and modern jazz. Free improvisation is developed from variations and themes from
original compositions inspired by Jimmy Giuffre, Lennie Tristano, Paul Motian, Stockhausen, Cage, and Ligeti.
Le saxophoniste Brad Linde et la pianiste Erika Dohi improvisent des duos gnrs par leurs expriences dans le
contrepoint baroque, la musique du 20me sicle et le jazz contemporain. L'improvisation libre se dveloppe comme
des thmes et variations d'oeuvres originales inspires par Jimmy Giuffre, Lennie Tristano, Paul Motian, Stockhausen,
Cage et Ligeti.
Japanese pianist Erika Dohi has performed at Les Nuits Musicales de Nice, International Academy of Music, Music X,
Carnegies Weill recital hall, Symphony Space, Steinway Hall, Gershwin Hotel, Cornelia Street Caf, and Caffe Vivaldi.
Among her awards are the Moray Piano Competition, Scotland and PTC Piano Competition in Osaka, Japan. Her
repertoire ranges from Bach to Debussy, Bartok, and Ligeti. She has performed with Jefferey Milarsky, Dave Liebman,
and eighth blackbird. Her degrees (BM, MM) are from the Contemporary Performance Program at Manhattan School
of Music. She has studied with Phillip Kawin, Garry Dial, Anthony DeMare, Christopher Oldfather, and Vijay Iyer.
La pianiste japonaise Erika Dohi s'est produite aux Nuits Musicales de Nice, International Academy of Music, Music X, de
nombreuses salles de New York telles que Carnegie's Weill Recital Hall, Symphony Space, Steinway Hall, Gershwin Hotel, Cornelia
Street Caf et Caf Vivaldi. Elle reoit des distinctions aux concours Moray Piano Competition, Scotland and PTC Piano
Competition Osaka, Japon. Son rpertoire s'tend de Bach Debussy, Bartk et Ligeti. Elle s'est produite en concert avec
Jefferey Milarsky, Dave Liebman et Eight Blackbird . Elle possde des titres acadmiques (Bachelor et Master) en performance
contemporaine la Manhattan School of Music. Elle a tudi auprs de Phillip Kawin, Garry Dial, Anthony DeMare, Christopher
Oldfather et Vijay Iyer.
Brad Linde is a saxophonist, bandleader, and presenter in the Washington DC metro area. He has worked with legendary musicians
including Lee Konitz, Teddy Charles, Barry Harris, Grachan Moncur III, Andrew Cyrille, Joe Chambers, and Dan Tepfer, Matt Wilson, Ethan
Iverson, and many others. As an improviser, he currently works in the duo DITCH PANTHER with pianist Erika Dohi and with cellist Janel
Leppin and guitarist Anthony Pirog in THIRD WHEEL. He composes for his trio UNDERWATER GHOST featuring Pirog and bassist Nathan
Kawaller and the quartet collective TEAM PLAYERS (w/ Billy Wolfe, Aaron Quinn and Deric Dickens). Other projects include GINGERBRED
(piano-less quartet w/ Carol Morgan) and the avant-trad jazz group DIX OUT (w/ Tara Kannangara, Quinn, Liz Prince, and Dickens). In 2010,
he founded and began co-directing the Bohemian Caverns Jazz Orchestra, a 17-piece big band in weekly residence at the historic club.
From 2011-2014, he was curator of the cutting-edge jazz series at the Atlas Performing Arts Center in Northeast Washington DC, presenting
artists including Mark Turner, Steve Coleman, Ambrose Akinmusire, Darcy James Argue and more. He is on faculty at Northern Virginia
Community College and is a contributor to Grove Music Dictionary and Capitalbop.com. He is in demand as a clinician and lecturer on
improvisation and jazz history. He was a participant in the Banff International Jazz and Creative Music Workshop 2013 and he studied with
Barry Harris and Lee Konitz, among others.

30

avec des musiciens lgendaires parmi lesquels Lee Konitz, Teddy Charles, Barry Harris, Grachan Moncur III, Andrew Cyrille,
Joe Chambers, Dan Tepfer, Matt Wilson, Ethan Iverson et d'autres encore. Comme improvisateur, il travaille actuellement
avec le duo Ditch Panther avec Erika Dohi, et dans le groupe Third Wheel avec le violonceliste Janel Leppin et le
guitariste Anthony Pirog. Il compose pour son trio Underwater Ghost (avec Billy Wolfe, Aaron Quinn et Deric Dickens).
Ses autres projets incluent Gingerbred (quartett sans piano avec Carol Morgan) et le groupe de jazz no-traditionnel
Dix Out (Tara Kannangara, Aaron Quinn, Liz Price et Deric Dickens). En 2010, il fonde et co-dirige le Bohemian Caverns
Jazz Orchestra , un big band de 17 membres en rsidence hebdomadaire au club historique Bohemian Caverns. De 2011
2014, il tait en charge des sries Cutting-Edge Jazz au centre Atlas Performing Arts Center Washington DC,
prsentant des artistes tels que Mark Turner, Steve Coleman, Ambrose Akinmusire, Darcy James Argue et d'autres. Il
enseigne la Northern Virginia Community College et est contributeur aux dictionnaires musicaux Grove Music
Dictionary et Capitalbop.com. Il est demand pour des prsentations et confrences sur l'improvisation et l'histoire du
jazz. Il participe au festival international de jazz de Banff et aux Creative Music Workshops 2013 . Il a tudi, parmi
d'autres, auprs de Barry Harris et Lee Konitz.

10:00 AM - 10h00
Great Hall of Chteau-dOex Grande Salle de Chteau-d'Oex

10

Fr.

Ve.

The Power of Infinite Sustain [**]

La force des notes infinies [**]
Vladimir Luchansky
This presentation/performance is about the use of long tones and sustained notes and the effect they create in
composition and improvisation. The performance of a semi-composed/semi-improvisational electro-acoustical etude
will demonstrate some of the principles of infinite-sustained notes and their affection on the listeners perception.
Ce concert-confrence traite de l'usage des notes longues et des notes soutenues, et de leur impact dans
l'improvisation et la composition. La dmonstration d'une tude lectro-acoustique semi-compose/semi-improvise
dmontrera certains principes de notes tenues l'infini et de leur impact sur la perception de l'auditeur.
Multi-instrumentalist Vladimir Luchansky was born in Novosibirsk, Russia, in 1990. Since 2009 he has been active
within the Siberian improvisational scene, where he has played in various combos with various local and visiting
musicians such as Oliver Lake, William Parker, Assif Tsahar (IL), Tim Hodgkinson (UK), Glen Hall (CA), Roman Stolyar,
Ilia Belorukov, Sergey Belichenko and others. On the other side, Vladimir performs solo ambient works, which are
also highly improvisational. Vladimir attended the ISIM 2014 festival/conference and performed at the New School
for Jazz and Contemporary music, and Spectrum in New York City with Roman Stolyar and Gordon Kurowski. In 2014
he was featured as a guest musician on Glen Halls album "Live in Siberia", along with other Siberian Improvisers.
Vladimir currently lives in Saint Petersburg, where he continues to work within contemporary Russian improvisation
field.
Le multi-instrumentiste Vladimir Luchansky est n Novosibirsk, Russie, en 1990. Depuis 2009, il a t actif sur la
scne improvise en Sibrie, o il a jou dans de nombreux ensembles avec des musiciens locaux ou des visiteurs,
tels que Oliver Lake, William Parker, Assif Tsahar (IL), Tim Hodgkinson (Royaume Uni), Glenn Hall (Canada), Roman
Stolyar, Ilia Belorukov, Sergey Belichenko et d'autres. A ct, Vladimir produit des oeuvres solistiques qui sont
majoritairement improvises. Vladimir a particip au festival ISIM 2014 la New School for Jazz and Contemporary
Music New York, ainsi qu'au club Spectrum (NY) avec Roman Stolyar et Gordon Kurowski. En 2014, il est musicien
invit sur l'album Live in Siberia de Glen Hall, parmi d'autres improvisateurs sibriens. Vladimir vit actuellement
Saint Ptersbourg, o il continue de travailler dans le champ de la musique contemporaine russe et l'improvisation.

31

11:00 AM-12:30 PM - 11h00-12h30

Salle de La Montagnarde
Trans-idiomatic Improvisation Workshop [++]

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Fr.

Ve.

Atelier d'improvisation trans-idiomatique [++]

Ed Sarath and Raphael Sudan will lead a workshop that exemplifies the power of improvisation to engage musicians
from all levels and all backgrounds in spontaneous musical creativity. Strategies for generating ideas, interacting with
fellow improvisers, silence and the art of not playing, rhythmic conception, approaches to pitch materials, and the
all-important challenge of endings will be among the topics covered.
Maximum 12 active participants, priority will be given to the students of the Ecole de Musique du Pays-d'Enhaut.
Some of the participants will have the opportunity to play as an opening part of the saturday night concert at the
Temple.
Ed Sarath et Raphal Sudan vont mener un atelier mettant en exergue le pouvoir de l'improvisation engager des
musiciens, quel que soit leur niveau et leur parcours, dans la cration musicale spontane. Stratgies pour gnrer
des ides, interaction avec des collgues improvisateurs, le silence et l'art de ne pas jouer, conception rythmique,
approche de l'intonation, et le dfi important que reprsente la fin d'une pice : tels seront les principaux sujets
abords.
Le nombre de participants actifs sera limit 12, avec une priorit pour les lves de l'Ecole de Musique du Paysd'Enhaut. Quelques participants auront l'opportunit de jouer en premire partie du concert du samedi soir au
Temple.

11:00 AM-12:00 PM - 11h-12h00

Council Hall Salle du Conseil

10

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Embodied Knowledge [**]

Connaissances incarnes [**]
Darryl Harper, Sonya Clark
This presentation will use in its first portion video and audio footage of selected improvised performances to explore the
ways that musicians use sound to dance, to orate, to critique, to inspire and to play. The second portion will investigate the
timbre of music played on a violin with bows made of different types of human hair. Anthems will be the chosen music
presented because they tend to indicate a sense of collective identity. The metaphor for individuality and collective
identity played on straight hair and curly hair will connect sound and body as the sound created by DNA resonates across
the strings of a violin. Special attention will be given to notions of race, use of the body, and the expression of irony.
La premire partie de cette prsentation montrera des extraits choisis de vidos et enregistrements de performances
improvises, afin d'explorer la manire dont les musiciens utilisent le son pour danser, s'exprimer, critiquer, s'inspirer
et jouer. La seconde partie va explorer les diffrents timbres d'un violon jou avec des archets faits de cheveux
humains. Les thmes musicaux seront choisis dans une ide de dmontrer une identit collective. La mtaphore de
l'individualit et de l'identit collective joue sur des cheveux raides ou boucls connectera le son avec le corps,
puisque le son cr par de l'ADN rsonnera -travers les cordes du violon. Une attention particulire sera porte aux
notions de races , de l'usage du corps, et de l'expression de l'ironie.
Darryl Harpers performance credits include dates with Orrin Evans, Tim Warfield, Dee Dee Bridgewater, Roscoe Mitchell,
Dave Holland, Uri Caine, and a two-year stint touring with Regina Carter. He has recorded seven albums as a leader on the
Hipnotic Records label. As a composer, Harper has published and recorded over two-dozen works. He has written a score
for the award-winning documentary film Herskovits: At the Heart of Blackness, and commissions for choreographers Li
Chiao-Ping and Ingo Taleb Rashid and visual artists Peter Bruun and Elisa Jimenez. Harper holds music degrees from
Amherst College, Rutgers University, and New England Conservatory. He has led projects including The Onus, Into
Something, and the C3 Project. Harper is chair of the Department of Music in the School of the Arts at Virginia
Commonwealth University.

32

Holland, Uri Caine, et une tourne de deux ans avec Regina Carter. Il a enregistr 7 albums sous le label Hypnotic
Records. En tant que compositeur, a publi et enregistr plus de 24 oeuvres. Il a crit une partition pour le film
documentaire prim Herskovits : Un coeur dans la noirceur , et des commandes pour les chorgraphes Li Chiao-Ping,
Ingo Taleb Rashid, et les artistes visuels Peter Bruun et Elisa Jimenez. Harper dtient des diplmes du Amherst College,
Rutgers University, et du New England Conservatory. Il a men des projets tels que The Onus , Into Something et
le C3 Project . Harper est le doyen du dpartement de musique de la School of the Arts, la Virginia Commonwealth
University.
Sonya Clark is Professor and Chair of Craft/ Material Studies in the School of Fine Arts at Virginia Commonwealth
University in Richmond, Virginia. She is known for using a variety of materials including human hair and combs in
multi-sensorial ways to address race, culture, class, and history. She has a MFA from Cranbrook Academy of Art and
was honored with their first Distinguished Mid-Career Alumni Award. She received a BFA from the Art Institute of
Chicago and also holds BA from Amherst College. Her informal education comes from her Jamaican grandmother
who was a professional tailor and the many traditional artists she has met in her international travels. She is the
recipient of several awards including a United State Artists Fellowship, Art Prize, and a Pollock Krasner Grant. Her
work has been exhibited in over 300 museums and galleries in Africa, Australia, Europe, Asia and the Americas.
Sonya Clark est professeur et doyenne la School of Fine Arts de la Virginia Commonwealth University Richmond,
Virginie. Elle est connue pour l'utilisation de peignes et de cheveux humains, une manire multi-sensorielle
d'voquer race, culture, classes et histoire. Elle dtient un Master de la Cranbrook Academy of Arts et a t honore
du titre distinctif de Premire lve en milieu de carrire . Elle reoit un Bachelor du Art Institute of Chicago, de
mme que du Amherst College. Son instruction informelle provient de sa grand-mre jamacaine, et de tous les
artistes traditionels qu'elle a rencontrs lors de ses voyages internationaux. Elle reoit plusieurs distinctions, telles
que United States Artists Fellowship , Art Prize , et la bourse Pollock Krasner. Ses oeuvres ont t prsentes
dans plus de 300 muses et galleries en Afrique, Australie, Europe, Asie et aux Amriques.

11:00 AM-12:00 PM - 11h00-12h00

Hall of the Hotel Htel Roc et Neige

10

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Gamification: Harmonic Series Geometric Imagery (HSGI) as a Platform to Collective Improvisation,

Creativity and Innovation [+]
Transformation ludique : Imagerie gomtrique de srie harmonique, une plateforme pour
l'improvisation collective, la crativit et l'innovation. [+]
Alina Licia Abraham
Research shows that in humans, both the perception of music and the use of visual stimuli fire-up activity in both
brain hemispheres, and also that the practice of music supports the brain & body integral (holistic) development. In
music performance (similar to sport), the focus of the mind and the relaxation of the body - allowing new levels of
performance simultaneously, appear easy and natural as if there was no effort and no stress involved along the
activity, at all. The exercise here would flash visual stimuli generated by Harmonic Series Geometric Imagery (HSGI)
on a screen (PowerPoint) igniting volunteer musician participants answer based on their internal hearing and
aesthetical preferences, to collectively elaborate an improvisation story, or dialogue. During the performance the
audience is invited to observe the states of the body and states of the mind of the musicians in this apparent game
with rules in which HSGI would be used similar to a semi-structured score. I believe that this open-ended space of
music improvisation would be characterized by flow & joyful play (similar to childrens play), and that the
gamification methodology would also be noticed inviting the audience to further ponder over the teaching strategies
of the mainstream education over the globe, today.

33

les deux hmisphres du cerveau, et que la pratique de la musique contribue au dveloppement holistique du corps
et du cerveau. Dans la performance musicale (et dans le sport), la concentration de l'esprit et la relaxation du corps
permettent un plus haut niveau de performance, qui parat facile et naturelle comme s'il n'y avait aucun effort ni
stress impliqus dans l'activit. L'exercice ici projetterait des stimulis visuels gnrs par l'Imagerie Gomtrique de
Srie Harmonique sur un cran, initiant la rponse des participants base sur leur coute interne et leurs prfrences
esthtiques, afin d'laborer collectivement une histoire improvise, ou un dialogue. Durant la performance, le public
est invit observer les tats du corps et de l'esprit des musiciens dans ce jeu dans lequel l'imagerie serait utilise de
manire similaire une partition graphique. Je crois que cet espace ouvert de musique improvise sera caractris
par un flux et un jeu plein de joie (similaire un jeu enfantin), et que cette transformation ludique sera galement
perceptible, invitant le public rflchir davantage aux stratgies globales d'enseignement aujourd'hui.

12:00PM-1:00PM - 12h00-13h00
Hall of the Hotel Htel Roc et Neige

10

Fr.

Ve.

Threeways Project [+]

Projet trois voies [+]
Ewa Chico, Albert Karch, Andrzej Rejman
Threeways Project meets three individualities, their different paths, and their different ways of expression in music
which are crossing here and now. Threeways Project easily finds the similarities and differences and are open to the
endless sonic adventures, ancient and new, expected and unexpected, and open to what happens "by the way" when
the three meet in this only moment of existence here and now.
Le Threeways Project runit trois individus, avec leur diffrent parcours, et leurs diffrents moyens d'expression
dans la musique, qui se croisent a et l. Ce projet trouve dans les similarits et diffrences, une ouverture aux
innombrables aventures soniques, anciennes et nouvelles, prvisibles et imprvisibles, et saisit tout ce qui se produit
au passage , lorsque les trois musiciens se runissent dans un phmre moment d'existence.
Ewa Cicho plays different flutes, also uses her voice and extended vocal techniques when improvising. She takes
part in many artistic events, and with Andrzej Rejman and other improvising musicians has created MOTYLE
(Butterflies) project, which is performed with other Polish and abroad musicians. She has participated twice in the
Intuitiva" New Art Conference (Denmarks Intuitive Music Conference) co-organized by Carl Bergstrm-Nielsen in
Poland (2013, 2014). Developing her own musical path, she is an active musicologist and journalist.
Ewa Cicho joue de diffrents types de fltes, et utilise galement sa voix et des techniques tendues lorsqu'elle
improvise. Elle participe de nombreux vnements artistiques, et cre le projet Motyle (papillons) avec Andrzei
Rejman et d'autres improvisateurs, projet qui donnera lieu de nombreux concerts avec des musiciens polonais et
trangers. Elle participe deux reprises la confrence Intuitiva New Art (Confrence Danoise sur la musique intuitive)
co-organis par Carl Bergstrm-Nielsen en Pologne (2013-14). Suivant sa propre voie musicale, elle est une musicologue et
journaliste active.
Albert Karch (b. 1992) is currently studying in prestigious Rytmisk Musikkonservatorium in Copenhagen. This awardwinning young drummer has recently collaborated on a number of albums with Polish groups including
Jacana/Tarwid/Karch, chosen the best polish jazz album in 2014 and Marek Malinowski Quartet. So far collaborated with
well known Alina Mleczko, Wojtek Jachna to upcoming Philip Owusu, Sebastian Zawadzki or Kuba Wiecek to name a few.
Performed on a number of festivals around Europe, including Tete-a-tete New Opera Festival, JazzArt Festival, Jazz Jantar,
Copenhagen Jazz Festival. Busy with international tours he previously studied under Czesaw Bartkowski in State Music
Academy in Warsaw.

34

Copenhague. Ce jeune batteur prim a rcemment collabor pour plusieurs albums avec des groupes polonais parmi
lesquels Jacana/Tarwid/Karch, considr comme le meilleur album de jazz polonais en 2014, et le Marek
Malinowski Quartet . Il a galement collabor avec les trs rputs Alina Mleczko, Wojtek Jachna, Philip Owusu,
Sabastian Zawadzki ou Kuba Wiecek, pour ne nommer que ceux-l. Il s'est produit dans de nombreux festivals en
Europe, parmi lesquels le Tete-a-tete New Opera Festival, JazzArt Festival, Jazz Jantar, Copenhagen Jazz Festival. Avant
d'avoir sa vie occupe par de nombreuses tournes internationales, il a tudi auprs de Czesaw Bartkowski la
State Music Academy de Varsovie.
Andrzej Rejman is a composer, improviser, songwriter, and music producer. He produced and licensed soundtracks to
dozens documentaries and other TV productions, specializing in mood piano music. His music appears on over 50 CD's of
various genres. His international publishing credits include works for Canadian and American music libraries. He is very
active in the local improvisers' society, creating flashmobs and other initiatives of improvising artists from various fields
of art.
Andrzej Rejman est un compositeur, improvisateur, chansonnier et producteur. Il produit et ralise des musiques
pour de nombreux films documentaires et productions tlvises, en se spcialisant dans la musique d'ambiance au
piano. Sa musique apparat dans plus de 50 Cds de styles diffrents. Il a galement publi de nombreux ouvrages
internationaux pour des diteurs musicaux canadiens et amricains. Il est trs actif dans la socit d'improvisateurs
locale, crant des flashmobs et d'autres initiatives d'improvisateurs venant de diffrants champs artistiques.

12:00PM-1:00PM - 12h00-13h00
Great Hall of Chteau doex Grande Salle de Chteau-d'Oex

10

Fr.

Ve.

Variations and Deviations [+]

Variations et Dviations [+]
Billy Satterwhite
Variations and Deviations is a theme and variations style composition that uses free improvisation as a way to
depart from and create a bridge between each composed section. This piece was originally written as an
improvisation exercise for a small group of improvising musicians. The idea is to play through the main theme one
time as written, and then collectively deviate from it through improvisation before collectively moving to the next
variation. Once at the variations, one member or all members of the ensemble can play the variation as many times
as desired, but can also improvise harmonies, textures, rhythms, or effects. The ensemble moves between all of the
variations in the same manner. The ensemble already knows the destination of each improvised section and the
challenge is to creatively present some kind of deviation or counter statement that isnt contrived or pre-planned. For
this performance I will have a few other guests from the conference/festival join me. The piece may or may not be
rehearsed.
Variations et Dviations est une composition de type thme et variations qui utilise une improvisation libre
comme point de dpart et comme lien entre chaque section compose. Cette pice a t d'abord compose pour
servir d'exercice d'improvisation raliser en petit groupe. L'ide est de jouer un thme principal d'abord tel qu'il est
crit, puis d'en dvier collectivement travers l'improvisation avant de rejoindre la prochaine variation crite. Une
fois que la variation suivante est atteinte, un membre ou tous les membres peuvent la jouer autant de fois qu'ils le
souhaitent, mais peuvent galement improviser des harmonies, rythmes, textures ou effets. L'ensemble se dplace
entre chaque variation de la mme manire, en connaissant la destination de chaque section improvise. Le dfi est
de prsenter une espre de dviation ou d'antagonisme aux thmes prsents, sans que ce soit prmdit ou prprogramm. Pour cette prsentation, j'inviterai quelques autres participants du festival me rejoindre.
Bassist Billy Satterwhite lives in Austin, TX. He is one of Austins busiest and most in-demand upright bass players for
jazz and contemporary music. He has performed and recorded music of all styles, and has had the honor to share the
stage in different musical settings with a renowned and diverse group of musicians such as Douglas Ewert, Dave
Liebman, Roman Stolyar, Ed Sarath, Justo Almario, Gamin, Samir Chatterjee, John Fedchock, Bill Watrous, and many
others. He received a B.A. in Jazz Studies from Texas State University (2009) and a M.M. in Improvisation from the
University of Michigan School of Music, Theatre, and Dance (2012). While at the University of Michigan, Billy was a
student of ISIM president, Ed Sarath, and became involved with ISIM at their festival/conference in 2010 at the

35

coordinating the 2013 and 2014 ISIM events. In addition to a busy performance schedule, Billy keeps a private studio
of about 25 bass students of all ages. Billy will be performing on a Kala Ukulele Bass at the 2015 ISIM
festival/conference.
Le bassiste Billy Satterwhite vit Austin, Texas. Il est un des contrebassistes les plus demands de la ville, pour le jazz
et la musique contemporaine. Il a jou et enregistr de la musique de tout genre, et a eu l'honneur de partager la
scne dans des ensembles de diffrents types avec des musiciens renomms tels que Douglas Ewert, Dave Liebman,
Roman Stolyar, Ed Sarath, Justo Almario, Gamin, Samir Chatterjee, John Fedchock, Bill Watrous et d'autres. Il reoit
un Bachelor en jazz de la Texas State University en 2009 et un Master en Improvisation de l'University of Michigan
School of Music, Theatre and Dance en 2012. Durant ses tudes l'University of Michigan, Billy tudie auprs du
Prsident de ISIM Ed Sarath, et devient membre de la socit lors du festival 2010. En 2012, il joint le Staff en tant
que coordinateur administratif, et joue un rle majeur dans l'organisation des festivals 2013 et 2014. En plus d'un
agenda trs charg de concerts, Billy enseigne la basse dans un studio priv environ 25 lves de tous ges. Pour ce
festival 2015, il jouera sur une basse Kala Ukulele .

12:30PM-1:00PM - 12h30-13h00
Council Hall Salle du conseil

10

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Improvising in Paris before the Revolution: the feet revolt! [*]

Improviser Paris avant la rvolution : la rvolte des pieds ! [*]
Maria Christina Cleary, University of Leiden, PhD student
The single-action pedal harp was one of the most popular instruments in Paris before the French Revolution. It
provided not only musical pleasure in private and public stages, but also embodied cultural, political and erotic
pleasures too. This fashionable instrument was especially exciting as it was the first type of harp with pedals that
create the flats and sharps, worked by both feet, through a complex mechanical system. Improvising with pedals is
a great challenge, as it means that half the improvising happens through the hands and the other half through the
feet. To assist the harpists of the 18 th century, many harp treatises included musical formulas to modulate from
one key to another, combining the harmonic solutions with the necessary feet movements. However, other more
musical solutions can be found firstly in the form of preludes, either as an introduction to a sonata or simply as
stand-alone pieces, or secondly as written-out cadenzas within a piece. I will outline the historical evidence for
improvisational techniques on the single-action pedal harp, demonstrate with examples and then show how I
apply this knowledge to my own performances of classical music of the 18th and early 19th centuries.
La harpe action simple tait l'un des instruments les plus populaires Paris avant la Rvolution Franaise. Elle
procurait non seulement du plaisir musical sur des scnes prives et publiques, mais incarnait galement les plaisirs
culturels, politiques et rotiques galement. Cet instrument suscitait un grand engouement car il s'agissait du
premier type de harpe avec des pdales qui craient des dises et des bmols, en utilisant les deux pieds -travers un
systme mcanique complexe. Improviser avec les pdales est un grand dfi, car cela signifie que la moiti de
l'improvisation dpend des mains, et l'autre moiti dpend des pieds. Afin d'assister les harpistes du 18me sicle, il
existe de nombreux traits de harpes incluant des formules musicales afin de moduler d'une tonalit une autre, en
combinant les solutions harmoniques avec les mouvements de pieds. Pourtant, d'autres solutions musicales peuvent
tre trouves initialement dans des formes de prludes, comme une introduction une sonate ou simplement une
pice seule ou galement sous la forme d'une cadence crite l'intrieur d'une pice. Je vais souligner l'vidence
historique de techniques improvises sur cette harpe, dmontrer avec des exemples et montrer comment j'applique
cette connaissance pour ma propre pratique de la musique classique du 18me sicle et du dbut du 19me.
Native of Ireland, Maria Cleary holds degrees from Dublin, London, Den Haag and Bruxelles. She studied harp with
Susanna Mildonian. Maria has won many prizes as a solo performer, including the Utrecht Early Music Competition in
1997 (First Prize ex-aequo), the Nippon International Harp Competition in 1996 (sixth prize), and the Dutch National
Harp Competition in 1997 (second prize). As an orchestral player she has worked as Principal Harpist of the Koninklijk
Concertgebouworkest in Amsterdam. Maria was the harpist of the contemporary music ensemble MusikFabrik Kln
for five years, and also worked with Remix Ensemble Porto and Ensemble Prometheus Belgium. She has premired
more than thirty new pieces for ensemble and harp solo. Specialising in historical harps, Maria plays classical singleaction harps, baroque chromatic harps (arpa doppia and arpa de dos ordenes) and various medieval harps. She has

36

this instrument on recordings with the ensemble Tetraktys. Maria has performed as soloist with the Amsterdam
Baroque Orchestra, American Bach Soloists, Orchestra of the Antipodes Sydney, Bayerisches Staatsoper, Portland
Baroque Orchestra, Arion Ensemble Montreal, and the RTE Concert Orchestra. In 2014 she was a featured soloist at
the World Harp Congress in Sydney, premiering a Krumpholtz Concerto on the single-action harp. Maria has been
guest teacher at the Guildhall School of Music London, and conservatories in Singapore, Sydney, Melbourne,
Brisbane, Krakw, Geneva and Venice and has held a teaching post at the Conservatory of Music in Padua from 2005
to 2008.
She is currently completing a Ph.D. in Artistic Performing at Leiden University and the Orpheus Instituut Ghent,
working on the pedal technique of the 18th century single-action pedal harp.
Native d'Irlande, Maria Cleary dtient des diplmes de Dublin, Londres, La Haye et Bruxelles. Elle tudie la harpe
avec Susanna Mildonian. Elle gagne de nombreux prix en tant que soliste, incluant la Utrecht Early Music
Competition en 1997 (premier prix ex-aequo), la Nippon International Harp Competition en 1996 (6me prix),
et la Dutch National Harp Competition en 1997 (seconde place). Comme musicienne d'orchestre, elle a travaill
comme harpiste principale de l'ensemble de musique contemporaine MusikFabrik Kln durant cinq ans, et a
galement travaill avec le Remix Ensemble Porto et Ensemble Prometheus Belgium . Elle a cr plus de trente
nouvelles oeuvres pour ensembles et harpe solo. Spcialise dans les harpes historiques, Maria joue de la Harpe
action simple, harpe baroque chromatique ( arpa doppia et arpa de dos ordenes ) ainsi que diverses harpes
mdivales. Elle a dvelopp une harpe mdivale chromatique sur laquelle elle joue du rpertoire du 13me au
15me sicle, et a utilis cet instrument pour des enregistrements avec l'ensemble Tetraktys . Maria a jou
comme soliste avec le Amsterdam Baroque Orchestra, American Bach Soloists, Orchestra of the Antipodes Sydney,
Bayerisches Staatsoper, Portland Baroque Orchestra, Arion Ensemble Montral et le RTE Concert Orchestra. En 2014,
elle tait soliste au congrs mondial de la harpe Sydney, jouant la premire mondiale d'un concerto de Krumpholtz
pour la harpe action simple. Maria a t professeur invit la Guildhall School of Music London, ainsi qu' des
conservatoires Singapour, Sydney, Melbourne, Brisbane, Cracovie, Genve et Venise, et elle enseigne de manire
fixe au Conservatoire de Musique de Padua entre 2005 et 2008.
Elle complte actuellement un post-doctorat en performance artistique la Leiden University et l'Orpheus Instituut
Ghent, travaillant sur la technique de pdale du 18me sicle sur la harpe action simple.

2:00PM-3:00PM - 14h00-15h00
Salle de La Montagnarde

Fr.

10

Ve.

Trans [+]
Kyle Motl, Drew Ceccato, Robert Jedrzejewski
Although the practice of musical improvisation went out of fashion only briefly - as of the mid 19th century it was still
a vital part of European art music culture - the turn away from it at the turn of the century was decisive and in some
ways continues to resonate in contemporary music culture. Still, in recent years improvisation has steadily regained
ground as a legitimate mode of contemporary music making. This resurgence of interest in improvisation happened
in both Europe and America, but in many ways the two places evolved distinct cultures of improvised music. This
ensemble, formed with improvisers from the United States and Poland, is both an attempt to find a vocabulary
common to both cultures of improvisation, as well as an exploration of the aesthetic potential of their moments of
discord. As an ensemble we represent a diverse array of musical traditions: bebop, the American avant- garde,
Stockhausens Intuitive Music, as well as traditional European classical music.
We formed this ensemble while our cellist, Robert Jedrzejewski, was in residence at UC San Diegos music
department, where the other members are based (we represent the integrative studies, performance, and
composition areas).
Bien que la pratique de l'improvisation musicale ne soit sortie que brivement des coutumes au milieu du 19me
sicle, elle tait encore une part importante du dveloppement de la culture musicale en Europe la mise l'cart
de cette pratique la fin du 19me sicle a t dcisive, et continue quelque part de rsonner dans la culture de la
musique contemporaine. Pourtant, durant les dernires annes, l'improvisation a recommenc gagner du terrain,
s'affirmant comme une manire lgitime de crer de la musique contemporaine. Le regain d'intrt pour

37

distinctes d'un continent l'autre. Cet ensemble, form de musiciens de Pologne et des Etats-Unis, est la fois une
tentative de trouver un vocabulaire commun ces deux cultures d'improvisation, de mme qu'une exploration du
potentiel esthtique de leurs moments de discorde. Cet ensemble reprsente divers champs de traditions musicales :
le bebob, l'avant-garde amricaine, la musique intuitive de K.-H. Stockhausen, de mme que la musique classique
europenne.
Nous avons form cet ensemble lorsque le violoncelliste Robert Jedrzejewski tait en rsidence au dpartement de
musique de l'University of California, San Diego, o les autres membres de l'ensemble sont tablis dans les domaines
de la performance musicale et de la composition.
Woodwindist Drew Ceccato has been heralded as a powerful and provocative improviser and performer whose playing
embodies a strong sense of the avant-garde jazz and contemporary classical musical traditions. His playing focuses on
the spontaneous creation and consistent development of musical energy within composed and improvisational music.
In addition to woodwind performance, Ceccato is also an experienced electronic musician focusing on the processing of
digital signals in order to achieve a sound quality that is heavily influenced by hard science fiction. He has played with
artists including Roscoe Mitchell, James Fei, Henry Grimes, Abbey Rader, Fred Frith, Karl Berger, Nicole Mitchell,
Anthony Davis, Joe Maneri and Mark Dresser. Ceccato has participated in many festivals and conferences including
CEMEC electronic music festival, Signal Flow music festival, Society for Electro-Acoustic Music Conference, Deep
Listening Institute International Conference, International Computer Music Conference, Sounding Bodies published in
the ICMC conference proceedings on his work questioning biological and technical boundaries through the use of NK
complex adaptive systems. Currently, Ceccato lives in San Diego, CA where he is pursuing a Ph.D in music at the
University of California, San Diego where his research centers around the exploration of musical shepherding and
energy flow within improvised music.
Drew Ceccato est multi-instrumentiste autour des instruments vents (bois). Il est considr comme un
improvisateur puissant et provocateur, dont le jeu incarne fortement les traditions de l'avant-garde jazz et de la
musique contemporaine. Son jeu se concentre sur la cration spontane et le dveloppement permanent de
l'nergie musicale, dans la musique crite comme dans la musique improvise. En plus des instruments vents,
Ceccato est galement un musicien lectronique expriment qui se focalise sur le principe de signaux numriques,
dans l'ide d'obtenir une qualit sonore fortement influence par la science-fiction. Il a jou avec des artistes
incluant Roscoe Mitchell, James Fei, Henry Grimes, Abbeay Rader, Fred Frith, Karl Berger, Nicole Mitchell, Anthony
Davis, Joe Maneri et Mark Dresser. Ceccato a particip de nombreux festivals et confrences, parmi lesquels CEMEC
Electronic Music Festival, Signal Flow music festival, Society for Electro-Acoustic Music Conference, Deep Listening
Institute International Conference, International Computer Music Conference. Actuellement, Ceccato vit San Diego,
Californie, o il poursuit un Post-Doctorat en musique l'University of California. Ses recherches sont centres sur
l'exploration de l'introspection musicale et du courant nergtique dans la musique improvise.
Kyle Motl is a bassist, composer, improviser, and computer musician. Active in a variety of ensembles and settings,
Kyles work crosses the boundaries between idioms as wide as free jazz, contemporary concert music, and extreme
metal. Current interests include extended harmonic techniques for solo bass improvisation, electroacoustic
performance with live electronics and improvising software, modular compositional schemes, recursive and
generative structuring, and exploration of complex sonic spectra. Recent projects include a number of improvised
duos and trios, as well as co-led ensembles performing music that blurs the lines between composed and improvised
content. Kyle has performed alongside artists including Anthony Davis, Kidd Jordan, Mary Halvorson, Wadada Leo
Smith, Mark Dresser, and John Lindberg, among others. He is currently pursuing a DMA at UC San Diego, where he
studies bass with Mark Dresser.
Kyle Motl est bassiste, compositeur, improvisateur, et musicien informatique. Actif dans de nombreux ensembles,
Kyle franchit des frontires stylistiques aussi lointaines que le free-jazz, la musique contemporaine et le mtal
extrme. Ses centres d'intrts se situent entre la pratique de techniques harmoniques tendues pour l'improvisation
solo la basse et les performances lectroacoustiques utilisant des outils interactifs, des logiciels pour improviser,
des schmas compositionnels modulables, structures rcursives et gnratives, et l'exploration de spectres sonores
complexes. Parmi ses projets rcents figurent de nombreux duos et trios improviss, de mme que des ensembles
co-dirigs dont la pratique dissout les frontires entre les contenus composs et improviss. Kyle a perform avec des
artistes tels que Anthony Davis, Kidd Jordan, Mary Halvorson, Wadada Leo Smith, Mark Dresser, et John Lindberg. Il
poursuit actuellement un Master l'University de San Diego, o il tudie la basse avec Mark Dresser.

38

Music in Warsaw, Poland. He holds degrees in composition, performance, and pedagogy from the Krakow Academy of
Music and is a fellow of the Polish Ministry Council. His diverse projects and compositions are regularly performed all over
Europe.
Robert Jedrzejewksi est un artiste intuitif, improvisateur et violoncelliste, candidat un Doctorat l'universit
Frdric Chopin Varsovie, Pologne. Il dtient des diplmes de composition, performance et pdagogie l'universit
de Cracovie, et est membre du Conseil Ministriel Polonais. Ses divers projets et compositions sont rgulirement jous
dans toute l'Europe.

2:00-2:30 PM - 14h00-14h30
Council Hall - Salle du Conseil

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The role of piano improvisation in teaching harmony, using combined materials selected from the
Baroque period and jazz standard repertoire [*]
Le rle de l'improvisation au piano dans l'enseignement de l'harmonie, utilisant une slection de
matriaux de la priode Baroque et du rpertoire Jazz Standard. [*]
Monika Benedek
This research paper presents a part of my PhD research conducted in a Finnish university. The overall aim of research
was to explore how improvisation can be used as a functional pedagogical tool for a combined teaching of baroque and
jazz harmony for undergraduate music education students, and how improvisation influenced learning harmony in both
genres and various musical skills. Data was gathered through a teaching course over an academic year, with nine
students in two parallel groups at a Finnish university. Data concerning students previous experiences and the progress
and challenges to learning harmony during the course were gathered via five questionnaires and three harmony tests,
and compared with the researchers observations. Students development of piano improvisation skills both individually
and with the company of peers were evaluated in two improvisation tests before and after the course. Furthermore
video recordings provided the background data about students overall learning progress and challenges in the piano
improvisation exercises. Qualitative content analysis method was used to evaluate all data for each student, and
findings were presented as a chronological narrative of each students case. The results showed that piano
improvisation, especially with the company of peers, in which the melody, chord accompaniment, and bass were shared
between the students positively influenced the development of students harmony knowledge in both genres,
accompaniment skills, melody improvisation skills, and piano and aural skills. The peer improvisation exercises
improved students collaborative attitude and motivated (especially students with less musical skills) to join in the
improvisation exercises. Piano improvisation using combined materials from the Baroque period and jazz standard
repertoire motivated students to learn harmony.
Cette prsentation traitera d'une partie de mes recherches en Post-doctorat l'Universit de Finlande. Le but
principal de cette recherche tait d'explorer la manire dont l'improvisation peut tre utilise comme un outil
pdagogique fonctionnel, pour un enseignement combin de l'harmonie Baroque et Jazz pour des lves en classe
de bachelor, et la manire dont l'improvisation influence l'apprentissage de l'harmonie et d'autres capacits
musicales dans les deux genres. Les donnes ont t rassembles travers un cours d'une anne, avec neuf tudiants
dans deux groupes parallles, l'Universit de Finlande. Les donnes concernant les expriences antrieures des
tudiants, ainsi que le progrs et les dfis d'apprendre l'harmonie durant ce cours ont t collectes par le biais de
cinq questionnaires et trois tests d'harmonie, et compares avec les observations du chercheur. Le dveloppement
des capacits des tudiants pour l'improvisation au piano a t valu individuellement et en groupe lors de deux
tests d'improvisation, avant et aprs le cours. D'autres vidos ont fourni des donnes sur les progrs des tudiants
dans la pratique d'exercices d'improvisation au piano. J'ai utilis une analyse de contenu qualitatif pour valuer les
donnes de chaque tudiant, et les rsultats ont t prsents comme une narration chronologique de chaque cas.
Les rsultats ont montr que l'improvisation au piano - surtout en groupe, dans lesquels la mlodie,
l'accompagnement d'accords et la basse taient partags parmi les musiciens - a influenc positivement le
dveloppement des connaissances harmoniques des tudiants dans les deux genres, de mme que leurs capacits
d'accompagnement, d'improviser des mlodies, ainsi que les capacits pianistiques et orales. Les exercices

39

moins avancs. L'improvisation au piano utilisant des matriaux combins de l'poque baroque et du jazz standard a
motiv les tudiants apprendre l'harmonie.
Monika Benedek is currently completing her PhD in Music Education at the University of Jyvskyl, Finland. Her
dissertation was accepted for public examination in February 2015. She received her MMus and BMus degrees in Music
Education, Music Theory, Solfge and Choral Conducting from the Liszt Academy of Music, Hungary. She has been
teaching solfge, music theory & history, and choral conducting for the past 14 years at tertiary level in Finland and at
the Hungarian jazz vocational and tertiary program. She was a guest lecturer for instance at the Music Department,
University of Queensland, Australia, Zoltn Kodly Pedagogical Institute, Hungary and at the Berlin Brandenburg
International School, Germany. She has been leading classical and jazz choirs and currently completing a harmony book
with Professor David Vinden, Lecturer at Guildhall School of Music & Drama, London, UK, which will be published in
2015.
Monika Benedek termine actuellement son Post-doctorat en ducation musicale l'Universit de Jyvskyl,
Finlande. Son travail final a t accept pour l'examination publique en 2015. Elle reoit un Bachelor et un Master en
ducation musicale, thorie musicale, solfge et direction chorale la Liszt Academy of Music, Hongrie. Elle enseigne
depuis 14 ans le solfge, la thorie musicale, l'histoire de la musique et la direction chorale au niveau tertiaire en
Finlande et la Hungarian Jazz Vocational . Elle tait confrencire invite au dpartement de musique de
l'University of Queensland (Australie), l'Institut Pdagogique Zoltn Kodly (Hongrie) et l'Ecole Internationale du
Brandenburg, Berlin. Elle a dirig des choeurs classiques et jazz, et termine actuellement un livre sur l'harmonie
avec le Professeur David Vinden, confrencier la Guildhall School of Music & Drama de Londres, livre qui sera
publi en 2015.

2:30-3:00 PM - 14h30-15h00
Council Hall Salle du Conseil

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Gestural language as a system for the collaborative creation of music among learning disabled
performers, Denise White, Ulster University, Northern Ireland [*]
Lutilisation du langage des signes pour la cration collaborative de musique chez les interprtes avec des
problmes dapprentissage - Denise White, Universit dUlster, Irlande du nord. [*]
Denise White
This paper describes a novel system of creating and using a series of gestures to be used dur ing guided
improvisation performances with learning disabled musicians. Musical experience cannot be separated from
movement, thus, studying gestural language should be a high priority task in music research. Studying and
creating gestures used in music performances is not something new as indicated by Jazz composer Lawrence
Butch Morris and Soundpainter Walter Thompson, however, it is now a favourable moment in time to
investigate the impact of a created system of gestures for and by learning disabled musicians and performers.
Musical gestures is an eminently interdisciplinary topic, drawing on theories, ideas, and methods from
disciplines such as musicology, computer science, education and psychology therefore the research will be
appealing and relevant to a broad audience. The current research will investigate the following areas: Can a
range of gestures be developed which prompt creative improvised responses among learning disabled students?
What scope can be provided with each gesture? What range of improvisational responses will be acceptable as
coherent? This novel strategy and the music it produces raises an array of theoretical questions investigating
current teaching approaches within the learning disabled sector, new ways of making and thinking abou t music
by learning disabled students and the impact of developing creativity in education settings .
Cette thse dcrit la cration et lutilisation dune srie de gestes qui sont utiliss pour guider les musiciens aux capacits
dapprentissage diminues, crer une uvre improvise. Lexprience de la musique ne peut tre spare du
mouvement, il en suit que la recherche sur le langage gestuel devrait tre une priorit, au sein du domaine de la musique.
La cration et ltude de la gestuelle en musique nest pas une nouveaut, indiquent le compositeur jazz Lawrence Butch
Morris et le Soundpainter Walter Thompson, mais nous vivons dans une priode favorable l'tude de limpact que
peut avoir un systme de gestuelle cr par et pour les musiciens et interprtes aux facults diminues. De plus, la
recherche sur ce sujet aura une consquente influence dans dautres domaines tels que la musicologie, linformatique,

40

mthodes.
La recherche actuelle va dans plusieurs directions en se posant diffrentes questions : Pouvons-nous dvelopper des
gestes qui inciteraient des ractions improvises cratives chez des lves aux capacits dapprentissage rduites ?
Quelle pourrait-tre ltendue musicale de chaque geste ? Quelle sera la gamme des rponses improvises
cohrentes ?
Cette nouvelle mthode et la musique qui en provient posent un grand ventail de questions concernant
lenseignement aux personnes aux capacits dapprentissage rduites, les faons innovatrices de faire de la musique
avec ces personnes, ainsi que limpact du dveloppement de la crativit au sein du systme ducatif.
Denise White is the Founder and Director of the multi award winning learning disability organisation Something
Special based in the North West of Ireland. Mrs. White is a strategic and motivational leader in the field of music and
learning disability and has successfully secured almost 2m since 2007 for music and learning disability focused
projects. She has collaborated with Sir Richard Stilgoe and The Orpheus Centre in Surrey, produced a major
innovative musical which integrated the talents of learning disabled and non learning disabled students in a unique
performance that shone as one of the centre pieces of the Derry/Londonderry City of Culture 2013. She has also
presented at the International Music Education Research Centre in London. Mrs. White is an ambassador for those
with learning disabilities and has made real impact with policy makers, community leaders, educationalists and
health service professionals regarding her dynamic and radical teaching methods. Mrs. White has received wide
recognition for her work by receiving awards including Woman of the Year 2013, Woman in the Community 2013,
National Lottery Best Arts Group Runner Up 2012, Pride of Place All Ireland Innovation Award 2014.
Denise White est la fondatrice et directrice de lorganisation Something Special base en Irlande du nord, qui est
adresse aux personnes ayant des capacits dapprentissage rduites. Elle est un leader stratgique et motivante
dans les domaines de la musique et des handicaps, depuis 2007 elle a rcolt 2 millions pour des projets dans ces
deux domaines. Elle a collabor avec Sir Richard Stilgoe et le Centre Orpheus Surrey, produit un musical novateur
qui mlangeait les talents de personnes aux capacits rduites et de personnes aux capacits normales et qui fut une
des uvres matresses du Derry/Londonderry City of Culture 2013 et donn des prsentations lInternational Music
Education Research Centre de Londres. Denise White est une ambassadrice pour les personnes aux capacits rduites
et a fait beaucoup en politique, dans lducation et les services de sant pour ces personnes. Pour tout ce quelle a
fait, Denise White a reu de multiples prix dont Woman of the Year 2013, Woman in the Community 2013, National
Lottery Best Arts Group Runner Up 2012, Pride of Place All Ireland Innovation Award 2014.

2:00PM-3:00PM - 14h00-15h00
Htel Roc et Neige

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Cassino Brunel duo: Portraits , 5 Short Pieces for Improvised Clarinet and Piano [+]
Portraits , Cinq pices courtes improvises pour clarinette et piano [+]
Peter Cassino, Todd Brunel
The beginnings of improvisation are as early as the conscious effort to create the organized noise that nowadays we
value as music. It has sparked composers and performers imaginations, indirectly affecting the tastes of audiences. In
Western European music history through the 19th century improvisation was consistently the decisive element in vocal
as well as instrumental repertoire. The infectious sonorities of the 20th century American Jazz, rooted in African as well
as European art music traditions slowly diluted the calcified boundaries between improvised and notated scores, just as
they found possibilities to connect with each other and to incorporate Pop and Rock styles, too. Mr. Cassino's and Mr.
Brunel's Portraits, featured in this afternoons concert, explore a multidimensional range of miscellaneous personalities.
The atonal harmonies, the unanticipated melodic structures and rhythms neither imitate the Western European music
styles that were embraced before the dawn of industrialism, nor adhere to the many tendencies observed in Jazz. The
ensemble of bass clarinet and piano in Portraits rather celebrate the spontaneity of musical ideas in the absence of
tonal center.
Limprovisation est avenue en mme temps que le bruit organis que nous appelons musique. Limprovisation a
inspir de nombreux compositeurs et interprtes et leur musique, petit petit, a influenc les gots du public. Dans
la musique de louest de lEurope, limprovisation a t un lment important du rpertoire vocal et instrumental

41

Africaines et Europenne, ont flou le lien entre limprovisation et la musique crite, runissant les deux, tout en
liant aussi les styles du rock et de la pop. Portraits musicaux jous cet aprs-midi par Messieurs Cassino et Brunel,
explorent une grande varit de personnalits musicales. Leurs harmonies atonales, leur mlodies surprenantes et
leurs rythmes nimitent pas les styles musicaux de louest de lEurope, trs apprcis dans laire prindustrielle, ni ne
se conforment aux tendances observes dans le Jazz. Lassociation de la clarinette basse et le piano dans Portraits
clbre la spontanit des ides musicales qui se manifestent dans labsence de tonalit.
Peter Cassino
As a teenager in New York Peter studied with jazz pianist Eddie Costa. He moved to Europe when he was 21 where he
had the opportunity to play with a number of notable jazz players that incuded Benny Baily Leo Wright and others.
After spending most of the 60's in Europe, playing the piano, Peter returned to the United States to finish his
education and he completed a graduate degree from the New England Conservatory of Music in 1975.
He has extensive experience performing in the New England region and has played with Andrew Dangelo, Marty
Ehrlich, and others. Peter presently teaches and is Chair of the Department of Modern American Music, which he
created, at the Longy School of Music in Cambridge Massachusetts.
Durant son adolescence New York, Peter Cassino tudie le piano jazz avec le pianiste Eddie Costa. Plus tard, 21
ans, il se retrouva en Europe o il eut loccasion de jouer avec de nombreux musiciens jazz dont Benny Baily et Leo
Wright. Aprs avoir pass la majorit des annes 60 en Europe jouer, Peter retourne aux USA pour complter sont
ducation. Il a obtenu un Master du New England Conservatory of Music en 1975.
Il a beaucoup dexprience en tant que concertiste, concentr dans la rgion de la Nouvelle Angleterre, et il a jou
avec Andrew Dangelo, Marty Ehrlich, entre autres. Il enseigne et sige au Department of Modern American Music,
quil mit sur pied, la Longy School of Music Cambridge dans le Massachusetts.
Todd Brunel is a clarinetist, sax player, composer and producer who performs extensively as a classical and jazz
musician. He is a member of the Armenian folk jazz project Musaner, the Know Orchestra, the Eric Hofbauer Quintet,
the Sonic Explorers and the avante-funk band, Mr Brunel is the director of the Vortex Series for New and Improvised
Music and has been awarded grants by the Somerville, Cambridge, Arlington and Massachusetts Cultural Councils. He
holds a Master of Music degree from the Brooklyn College Conservatory.
Todd Brunel joue de la clarinette et du saxophone, il compose, produit et joue normment en tant que musicien
classique et jazz. Il est membre des Armenian folk jazz project Musaner, the Know Orchestra, the Eric Hofbauer
Quintet, the Sonic Explorers et the avante-funk band. M. Brunel est directeur du Vortex Series for New and
Improvised Music et a reu des subventions des associations culturelles de Somerville, Cambridge, Arlington et
Massachusetts. Il dtient un Master en Musique du Brooklyn College Conservatory.

3:00-4:00 PM - 15h00-16h00
Salle de La Montagnarde

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Imagination and Subconscious Mind [++]

Imagination et pense inconsciente [++]
Jaak Sikk
The workshop includes practical improvisation excercises that are directed to activating the potential of improvisers
mind. The main goal is supporting the interaction between different centres in brain and uniting them to create
improvised music. The workshop will end with a performance of all participants (best group size is 4-6).
Imagination has the ability to connect different parts of human brain. Imaginations can be directed by will and
therefore they can have a large scale effect on creativity and focusing. Through imagination excercises it is possible to
work with different fundamental values of music (rhythm, phrase, orchestration, timbre, communication).
Cet atelier inclut des exercices pratiques favorisant l'activation du potentiel de l'esprit de l'improvisateur. L'objectif
principal est de soutenir l'interaction entre les diffrents centres du cerveau et de les unir afin de crer de la musique
improvise. Cet atelier se terminera par une performance de tous les participants (taille idale du groupe : 4-6
personnes)
L'imagination a le pouvoir de connecter diffrentes parties du cerveau humain. Les imaginations peuvent tre

42

concentration. A travers des exercices d'imagination, il est possible de travailler avec diffrentes valeurs
fondamentales de la musique (rythme, phrase, orchestration, timbre, communication).
Jaak Sikk (14.04.1985) is currently teaching improvisation in the Estonian Academy of Music and Theatre. He holds
an MA in free improvisation and BA as a classical pianist. He is an active organizer and performer in Estonia. One of
the concert series he organizes, IMPRO-TULI, brings exciting performers from other countries to Estonia to perform
with local musicians. For several years Jaak has researched and discovered the depth of acoustic piano improvisation.
In his playing he mixes contemporary free with jazz, neo classical, and late impressionism. Clear polyphonic musical
lines, large forms, and a richness of overtones are features of his playing. Among other players he has played with
Ville Vokkolainen, Harri Kuusijrvi, Laura Remmel, Ernst Reijseger, Katri Tikka, Fredrik Brandstorp Olsen, Ted Parker
and others.
Jaak Sikk (14.04.1985) enseigne actuellement l'improvisation la Estonian Academy of Music and Theatre . Il dtient un
Master en improvisation libre, ainsi qu'un Bachelor en tant que pianiste classique. Il est un organisateur et musicien actif en
Estonie. Une des sries de concerts qu'il organise, IMPRO-TULI, invite d'intressants musiciens trangers jouer avec des
musiciens Estoniens. Durant plusieurs annes, Jaak a recherch et dcouvert la profondeur de l'improvisation sur un piano
acoustique. Dans son jeu, il mlange la musique contemporaine avec le jazz, no-classique, et impressionisme tardif. De claires
lignes mlodiques polyphoniques, de larges formes et une richesse d'harmoniques aigues constituent une partie de son jeu. Il a
jou, entre autres, avec Ville Vokkolainen, Harri Kuusijrvi, Laura Remmel, Ernst Reijseger, Katri Tikka, Fredrik Brandstorp Olsen
et Ted Parker.

3:00-4:00 PM - 15h00-16h00
Htel Roc et Neige

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Time and styles : illusions of the Now [+]

Temps et styles : illusions du Maintenant [+]
Raphael Sudan
One of Raphal Sudans dearest ambition is to place music in a modern musical context and breath new life into it, all the
while respecting long-lived musical traditions. For this Piano-Solo performance, he will improvise in a wide variety of styles,
revisiting therethrough many centuries of music. Baroque music could be side by side with a minimalistic piece ; a ballad
la Chopin may be seduced by a voluptuous tango ; and the severity of the sonata form might fade into a plucking of piano
strings.
Une des ambitions les plus chres Raphal Sudan est de replacer la musique dans un contexte musical actuel, de lui
redonner vie, tout en tenant compte des traditions ancestrales. Pour ce concert de Piano Solo, il va improviser dans
des styles varis, revisitant ainsi plusieurs sicles de musique. Ainsi, la musique baroque pourra ctoyer une oeuvre
minimaliste ; une ballade la Chopin pourrait se laisser sduire par un Tango langoureux ; et la svrit de la
forme sonate pourrait s'immiscer jusque dans le pincement des cordes du piano.
Raphal Sudan was born in 1985 in Fribourg, Switzerland. He grew up in a classical background all the while developing
his own stylistic eclecticism. He was awarded the Publics Choice Award in the Versailles Conservatory Improvisation
Competition (2009), and he fervently cultivates the art of classical and contemporary improvisation, as well as
composition.
He studied classical piano in the conservatoire de Fribourg (Master of Arts in Musical Performance), followed by
postgraduate studies at the Conservatori Liceu in Barcelona, and private lessons with Paul Badura-Skoda and Luiz de
Moura Castro.
In parallel to his classical studies he studied jazz piano in Fribourg, and classical and contemporary improvisation at
the Versailles Conservatory.
Aspiring teacher, member of the European Piano Teacher Association, Raphal Sudan teaches both piano and
improvisation at the Ecole de Musique du Pays-d'Enhaut in Chteau-d'Oex. He regularly gives Masterclasses in
Switzerland as well as abroad, for classical as well as improvised music. He has given numerous concerts in
Switzerland, Europe, Africa, Asia and North America and is frequently invited by orchestras as a soloist.
N en 1985 Fribourg, Raphal Sudan a grandi dans le berceau de la musique classique, tout en dveloppant un
large clectisme stylistique. Prix du Public au Concours dImprovisation du Conservatoire de Versailles (2009), il

43

Il tudie le piano classique au Conservatoire de Fribourg (Diplme dEnseignement et Master of Arts in Musical
Performance), poursuit ensuite un cursus postgrade au Conservatori Liceu de Barcelone et continue de se
perfectionner auprs de Paul Badura-Skoda et Luiz de Moura Castro. Paralllement, il tudie le piano jazz Fribourg,
et limprovisation classique et contemporaine au Conservatoire de Versailles.
Pdagogue la rputation grandissante, membre actif de l'European Piano Teacher Association, Raphal Sudan
enseigne le piano et l'improvisation l'Ecole de Musique du Pays-d'Enhaut, Chteau-d'Oex. Il donne rgulirement
des Masterclasses en Suisse comme ltranger, pour la musique classique comme pour limprovisation. Il a de
nombreux rcitals son actif, en Suisse, en Europe, Afrique, Asie et Amrique du Nord, et est frquemment invit par
des orchestres pour se produire comme soliste.

3:30-4:00 PM - 15h30-16h00
Council Hall Salle du Conseil

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The Black Blower of the Now: Coltrane, King, and Crossing Rhetorical Borders [*]
Le tlphone noir du maintenant : Coltrane, King, et le franchissement des barrires rhtoriques [*]
Barry Long
When Martin Luther King, Jr. described the fierce urgency of now at 1963s March on Washington, he at once drew
upon a shared cultural memory and social consciousness. In a manner as much musical as rhetorical, Dr. King
explicated his theme through a series of calls and responses on the riff, now is the time. Such forms draw upon a
centurys worth of practices embedded within the American musical and social fabric. John Coltranes recording of
Alabama less than three months after Kings legendary speech marked a seminal confluence of journalism,
rhetoric, and improvisation. The performance memorializes the tragic Birmingham church bombing through
Coltranes incorporation of Kings eulogy for the young girls murdered by the blast. Similarities in their spoken
cadences and melodic phrase lengths recall activist marriages of music and text dating back to the coded meanings of
spirituals, yet the instrumental nature of the performance and the written words initial non-musical utility mark a
significant departure. This paper will explore John Coltranes pivotal if involuntary role in shaping this changed
dynamic in black activism and in particular his incorporation of text as both inspiration and musical device.
Lorsque Martin Luther King Jr dcrivit l'urgence implacable de l'instant la Marche sur Washington de 1963, il a
puis dans une mmoire culturelle partage et dans une conscience sociale. D'une manire aussi musicale que
rhtorique, Dr. King expliquait son thme travers une srie de questions et de rponses sur la devise le moment
c'est maintenant . Ce genre de forme puise dans un sicle de pratiques tablies dans l'identit amricaine musicale
et sociale. L'enregistrement de Alabama par John Coltrane, moins de trois mois aprs le discours lgendaire de
King, marque une confluence sminale de journalisme, rhtorique et improvisation. La performance de Coltrane
matrialise le bombardement tragique de l'Eglise de Birmingham (Alabama) en y incorporant l'lgie de King pour les
jeunes filles tues par l'explosion. Les similarits entre les cadences verbales et la longueur des phrases mlodiques
rappellent le mariage activiste de la musique et du texte, faisant rfrence aux anciennes significations de la musique
negro spirituals ; et actuellement la nature instrumentale de la performance et des mots crits dont l'utilit
principale tait non-musicale marquent un nouveau dpart. Cette prsentation va explorer le rle pivot que Coltrane
a involontairement jou en donnant une forme cette nouvelle dynamique de l'activisme afro-amricain, et en
particulier dans son utilisation de texte autant comme inspiration que comme outil musical.
Trumpeter and flugelhornist Barry Long currently serves as an Associate Professor of Music at Bucknell University.
The first to receive a doctoral degree in Jazz Studies from the Eastman School of Music, his most recent performative
project, Freedom in the Air, incorporates iconic Civil Rights photography with spontaneously improvised reactions to
their powerful images. A recent fellow at Harvard's DuBois Institute, Longs research activities include publications for
Oxford and Prentice Hall.
Le trompettiste et joueur de bugle Barry Long est actuellement professeur associ la Brucknell University. Premier
laurat recevoir un doctorat en tude de jazz la Eastman School of Music, son projet de performance le plus
rcent, Libert dans l'air , utilise des photographies des droits civils avec des ractions spontanment improvises
ces images fortes. Rcemment membre du conseil au Harvard's DuBois Institute, ses activits de recherche incluent
des publications pour Oxford et Prentice Hall.

44

4:00-5:00 PM - 16h-17h00
Salle de La Montagnarde

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The Duet, Jokes in Real Time [+]

Le duo, blagues en temps rel [+]
Alberto Bellavia, Roberto Rebufello
The music of The Duet may be defined as contemporary, but it articulates in continuously changing moments. The
lyricism alternated to the total freedom is symptomatic as our roots are classics and as we still shelter, through the
listening and the studies, in the great musicians of the past. Jazz music often transpires into the compositions as this
kind of music is part of our life as musicians that love playing in real time with the different strategies of
improvisation. Little compliments and citations are often spontaneous games and research.
the duet is a particular condition where only a great agreement may create little magic moments. Research,
experimentation, and joy give us the chance to really play with music, the music we know better, the music we write,
the music we create. Often our tunes get from a little idea, from an ordinary theme of our everyday lives, so that in
the music of The Duet you can find so many kinds of music, a mix of effects and sounds expression of our moods.
La musique du duo peut tre considre comme contemporaine, mais elle s'articule en moments de changement
permanent. Le lyrisme altern la libert totale est symptomatique, puisque nos racines sont classiques et que nous
donnons beaucoup d'importance, travers l'coute et les tudes, aux grands musiciens du pass. La musique jazz
s'immisce souvent dans les compositions, car ce style de musique fait partie de nos vies de musiciens qui aiment
jouer en live avec diffrentes stratgies d'improvisation. Des petites citations et compliments sont souvent des jeux
spontans de recherche. Le duo est une situation particulire dans laquelle seule une grande complicit peut crer
de petits instants magiques. La recherche, l'exprimentation et la joie nous donne une chance de vraiment jouer avec
la musique, la musique que nous connaissons le mieux, la musique que nous crivons, la musique que nous crons.
Souvent, notre musique germe d'une petite ide, d'un thme ordinaire de notre vie au quotidien, et la musique du
duo contient par consquent de nombreux styles musicaux, un mlange d'effets et de sons exprimant nos humeurs.
Alberto Bellavia Piano
Roberto Rebufello Sax Alto, Soprano, Baritone
The Duet has performed: Carnegie Hall - Weill Recital Hall - New York, William A Morris School- Staten Island - New York Church Streer School For Music and Art, New York Bsendorfer Saal at Mozart's House Wien Kaisersaal Saal at Klavier
Galerie - Wien
Festival delle Colline - Toscana - Italy 2011, Barga Jazz 2009, Toscana Italy
Fara Music Festival 2013, Lazio Italy Oratory of St. Cecilia 2011, Perugia - Umbria - Italy.
The Music of The Duet is presented in several Italian radio broadcasts. Discography: Jokes in the Sky (Radar - Egea )
2010, La Stanza delle Marionette - 2011, The Duet live 2013
Le duo s'est produit en concert :Carnegie Hall - Weill Recital Hall - New York, William A Morris School- Staten Island
- New York - Church Streer School For Music and Art, New York Bsendorfer Saal at Mozart's House Wienne,
Kaisersaal Saal at Klavier Galerie - Vienne
Festival delle Colline - Toscana - Italy 2011, Barga Jazz 2009, Toscane Italie
Fara Music Festival 2013, Lazio Italie Oratory of St. Cecilia 2011, Perugia - Umbria Italie.
La Musique du Duo est prsente dans plusieurs missions de radio en Italie. Discographie : Jokes in the Sky
(blagues dans le ciel), 2010, La Stanza delle Marionette , 2011, The Duett live, 2013.

4:00-5:00 PM - 16h00-17h00
Temple

10

Fr.

Ve.

ImprovIsAnDo project: Jedan [+]

Projet ImprovIsAn'Do : Jedan [+]
Maja Radovanlija, Katarina Simon, Paquita Faguet, Yan Pang
ImprovIsAnDo project, Jedan, is another attempt to present music that is freely improvised in its basic idea, but
does draw inspiration/motives/rhythmic patterns from Balkan traditional music, Chinese tradition and Haiku poetry.
Jedan in Serbian means one, and it is suggesting the idea of bringing together musicians who live on two different
continents. Jedan also represents the idea of fusing the elements of Serbian and Chinese tradition with Haiku

45

This performance is going to combine Balkan traditional songs (e.g., Visoko drvo hlad nema), improvised music based
on several Balkan melodies and rhythmic/metric patterns, free improvisation, Haiku poetry and improvising using
objects (that are strongly identified with two above mentioned traditions; e.g., chopsticks, Serbian Orthodox rosary). In
this performance, I want to bring together musicians that I collaborate with in Minneapolis, US and in Belgrade, Serbia
and by choosing poetry and traditional songs, set a ground for variety of possibilities for performance outcome.
Le projet ImprovIsAn'Do, Jedan , est une nouvelle tentative de prsenter de la musique qui est librement
improvise dans son ide de base, mais qui tire son inspiration, ses mlodies et ses rythmes dans la musique
traditionnelle balkanique, les traditions chinoises et la posie Haiku. Jedan signifie en Serbe Un , et suggre
l'ide de ramener ensemble des musiciens qui vivent sur deux continents diffrents. Jedan reprsente galement
l'ide de fusionner des lments des cultures serbes et chinoises avec la posie Haiku, dans une performance
improvise. Cette performance va combiner des chansons traditionnelles balkaniques (par exemple Visoko drvo
hlad nema ), la musique improvise base sur sur des mlodies et rythmes balkaniques, la posie Haiku et
l'improvisation en utilisant des objets (qui sont fortement identifis aux deux traditions mentionnes ci-dessus :
baguettes chinoises, chapelet Serbe Orthodoxe). Dans cette performance, j'aimerais runir des musiciens avec
lesquels j'ai collabor Minneapolis, USA, et Belgrade, Serbie, et en choisissant la posie et les chansons
traditionnelles, installer un terrain propice gnrer de nombreuses possibilits de rsultats.
Paquita Faguet began musical and artistic training at the Conservatoire Regional de Poitiers, studying piano. Paquita
also studied musicology at the University of Humanities and Arts.
She obtained her Diploma of Professional Orientation in 2010. She also studied at the Centre for Advanced Studies of
Music and Dance, in Poitou-Charentes, where she worked with Carole Carniel-Petit, William Bensshimon, Jacqueline
Bensshimon, Catherine Schneider and Alain Villard. She also studies in Spain at Real Conservatorio de Musica de
Madrid. After coming to France, Paquita earned a National Diploma in piano teaching.
Paquita is active as a pianist, teacher, and improviser. She is involved in numerous projects, as a member of
ensembles, choir as accompanist or soloist. She also often collaborates with theater artists and dancers.
Paquita Faguet dbute ses tudes artistiques de piano au Conservatoire Rgional de Poitiers, puis les poursuit en
musicologie lUniversit des Arts et sciences humaines.
En 2010 elle obtient son diplme dorientation professionnelle. Elle tudie galement au Centre dEtudes de Musique
et de Danse, en Poitou-Charentes, o elle travaille avec Carole Carniel-Petit, William et Jacqueline Bensshimon,
Catherine Schneider et Alain Villard. Elle tudie galement en Espagne, au Real Conservatorio de Musica de Madrid.
De retour en France, elle reoit un premier prix en pdagogie du piano.
Actuellement, Paquita exerce lactivit de pianiste, professeure et improvisatrice. Elle est implique dans de
nombreux projets o elle uvre en tant que soliste, accompagnatrice, ou encore membre densembles et de churs.
Elle collabore galement avec des artistes du thtre et des danseurs.
Katarina Simon is a singer from Belgrade, Serbia, based in France. She inherited music interest from her grandmother
and mother -both traditional Balkan music singers. She is trained as a classical singer.
Katarina started her music education, as a pianist, and she still does perfom on piano, in a tango orchestra (Poitiers,
France).
Besides voice, she completed studies in ethnomusicology, and music theory/education, in Belgrade (Serbia). She
studied voice and improvisation, at the Music Conservatoire in Poities (France), where she lives.
Currently, she is working as a free lance singer in France (singing for Opera houses, in trio Belavilo, improvised music
ensembles, etc.) One of the latest projects of hers, is an improvised music duo with pianist/cellist Paquita Faguet.
Katarina Simon est une chanteuse originaire de Belgrade (Serbie) base en France.
Elle a hrit sa passion de la musique de sa grand-mre, puis de sa mre, toutes deux chanteuses de musique
traditionnelle des Balkans.
Katarina dbute son ducation musicale en tant que pianiste, et elle joue encore du piano dans un orchestre de
tango Poitiers (France).
A ct du chant, elle complte ses tudes Belgrade en tudiant lethnomusicologie ainsi que la thorie et pdagogie
musicale. Puis elle stablit Poitiers o elle poursuit ses tudes de chant et improvisation au Conservatoire de
Musique.
A prsent elle se produit comme chanteuse dans le trio Belavillo, ainsi que dans des opras ou encore des ensembles
de musique improvise. Son dernier projet est un duo de musique improvise avec Paquita Faguet, pianiste
violoncelliste.

46

Yan Pang is one of the most active composers of the new Chinese generation. She has released a number of
publications consisting of Glorious Times, published by the China Scientific & Cultural Audio-Video Publishing
Company in 2011, as well as score Solis Ortus", and article Comparative Music Analysis of Scene of Sichuan Opera
which were issued by China Peoples Cultural Art Publishing Company. She has been commissioned for performances
in Vienna, St. Petersburg, Prague etc. Pang has worked with renowned musicians all over the world, including Samuel
Adler at Julliard School, Mller-Siemens at the University for Music and Performing Arts, Vienna, Anekcahp at
Moscow Tchaikovsky Conservatory, and more.
Yan Pang est l'une des compositrices les plus actives de la nouvelle gnration chinoise. Elle a produit de nombreuses
publications parmi lesquelles Glorious Times , publie par la Compagnie Chinoise de publications culturelles
audio-visuelles en 2011, de mme que la partition Solis Ortus , et l'article Analyse comparative musicale de la
scne de l'opra du Sichuan , qui a t publie par la Compagnie Culturelle d'Edition Artistique du Peuple
Chinois . Elle est demande pour crer des performances Vienne, St Petersbourg, Prague, etc. Yan Pang a travaill
avec des musiciens renomms dans le monde entier, incluant Samuel Adler la Julliard School, Mller-Siemens
l'Universit de Musique et des Arts Scniques (Vienne), Anekcahp au Conservatoire Tchaikovsky de Moscou, et
d'autres encore.
Maja Radovanlija was born in Belgrade, Serbia. She started playing guitar at the age of nine. During her studies at
University of Belgrade, Maja became interested in improvised music, especially Balkan traditional music and jazz. She
holds Masters degree from Indiana University and is DM candidate in guitar performance. Recently, she has been
performing with various ensembles/composers/improvisers/projects (Minneapolis Guitar Quartet, ImprovE
Collective-Belgrade, Szilard Mzei, Jandek project, ImprovIsAndDo ensemble, Improvised Ecosystems, etc.). Maja
teaches guitar at the University of Minnesota, Minneapolis.
Maja Radovanlija est ne Belgrade, Serbie. Elle a commenc la guitare l'ge de 9 ans. Durant ses tudes
l'universit de Belgrade, Maja s'est intresse la musique improvise, spcialement la musique traditionnelle
balkanique et le jazz. Elle dtient un Master de l'Universit de l'Indiana, et est candidate pour un Doctorat en
performance de guitare. Rcemment, elle s'est produite en concert avec de nombreux ensembles, compositeurs,
improvisateurs, et projets. (Minneapolis Guitar Quartet, ImprovE Collective-Belgrade, Szilard Mzei, Jandek project,
ImprovIsAndDo ensemble, Improvised Ecosystems, etc.) Maja enseigne la guitare l'Universit du Minnesota,
Minneapolis.

4:00-5:00 PM - 16h00-17h00
Hall of the Hotel Htel Roc et Neige

Fr.

10

Ve.

Reciprocal Uncles [+]

Oncles rciproques [+]
Gianni Lenoci, Gianni Mimmo
Reciprocal uncles is an impro_based acoustic duo (Gianni Lenoci on piano and Gianni Mimmo on soprano sax)
focused on the relationship between texture, timbre. rhythm, melody, and harmony; the relationship between
technique (physical sound production) and formal direction; the relationship between contemporary concert music
as "real time" creation; the relationship between the specifics of listening circumstances and the work itself. The
output is an idiosyncratic improvised chamber music with sudden strokes of controlled (even not) violence. Music
finds its way among oblique narrations, with lyrical and dramatic moments, and intriguing harmonic textures. Tensive
and relaxed, sincere and cuttin edge, sculpting light atmospheres. Contemporary avant-jazz/experimental music
background and extended instrumental skills give a rich nuance palette, a multi-perspective idea of music and vivid
listening experience. Its a tri-dimensional walk that finds inspiration in the in/from the performance space and the
ambient. The goal is (again) to make distances with possible knowledge areas, keep the moment a fresh place to be
played, drive and push the music to an airy architecture and at the same time, belong to its force being involved in its
inner architecture. We do not know why, we only know it must be.

47

 Oncles rciproques est un duo acoustique improvis (Gianni Lenoci au piano et Gianni Mimmo au saxophone
soprano) centr sur la relation entre texture, timbre, rythme, mlodie et harmonie ; la relation entre technique
(production physique de son) et direction formelle ; la relation entre musique contemporaine en concert et
cration en temps rel ; la relation entre les conditions spcifiques d'coute et la musique elle-mme. Il en
rsulte une musique de chambre improvise, excentrique, avec des soudaines attaques de violence controle (ou
non !). La musique suit son cours travers d'obliques narrations faites de moments lyriques et dramatiques, et de
saisissantes textures harmoniques. A travers tensions et dtentes, leur musique est sincre et avant-gardiste,
sculptant l'atmosphre ambiante. Une grande matrise de la musique contemporaine, du jazz avant-gardiste et de la
musique exprimentale combine avec une matrise instrumentale tendue leur procure une grande palette de
nuance, une ide de la musique perspective multiple et une exprience d'coute vivifiante. C'est une promenade
tri-dimentionnelle qui trouve son inspiration dans l'ambiance et le lieu du concert. L'objectif est (encore une fois) de
crer des distances entre diffrentes aires de connaissances, de garder une place frache pour la musique venir, de
conduire et de pousser la musique dans une architecture spacieuse et en mme temps, puiser sa force dans sa
propre architecture interne. Nous ne savons pas pourquoi, nous savons uniquement qu'il doit en tre ainsi.
Pianist Gianni Lenoci graduated at "S. Cecilia" Conservatory in Rome in Electronic music and did his post graduate in
Piano (with a lecture/recital on Morton Feldman's piano works) at "N. Piccinni" Conservatory in Bari. Since 1990, He
is teaching performance, improvisation, and compostion in jazz classes at "Nino Rota" Conservatory in Monopoli
(Italy).
Le pianiste Gianni Lenoci est diplom du Conservatoire S. Cecilia de Rome en musique lectronique, et a ralis
une tude postgrade (avec un concert-confrence sur les oeuvres pour piano de Morton Feldman) au conservatoire
N. Piccinni de Bari. Depuis 1990, il enseigne la performance, l'improvisation et la composition dans les classes de
jazz au conservatoire Nina Rota Monopoli (Italie).
Gianni Mimmo is a soprano sax player and composer who works in the field of jazz. He does experimentation with
his own original projects, with highly disparate groups, working on relationship between music-text and music-image.
Mimmo has built an international reputation for his unique treatment of musical timbre and his exploration of
advanced techniques.
Quest is the key word that accompanies his essential and sincere work.
Gianni Mimmo joue du saxophone soprano, et est galement compositeur dans les champs du jazz. Il exprimente
avec ses propres projets originaux, des groupes trs disparates, la relation musique/texte et musique/image. Gianni
Mimmo s'est construit une rputation internationale pour son traitement unique des timbres musicaux et son
exploration des techniques instrumentales tendues. Qute est le mot-cl qui accompagne son travail sincre et
essentiel.

8:00 PM - 20H00
Le Znith

10

Fr.

Ve.

Evening Concert Concert du soir

Ronan Guilfoyle Trio

Ronan Guifoyle, bass
Gerry Hemmingway, drums
Christy Doran, guitar

48

Saturday, July 11, 2015

Samedi, 11 juillet, 2015

9:00-9:30 AM - 9h00-9h30
Council Hall - Salle du Conseil

11

Sa.

Sa.

Pedagogic processes of free improvisation: CLIC experience [*]

Processus pdagogiques d'improvisation libre : l'exprience CLIC [*]
Alexandre Remuzzi Ficagna, Fbio Furlanete
In this paper we report the pedagogical experience within Collective of Contemporary Free Improvisation (CLIC in
Portuguese acronym), in the context of Music undergraduate course of Londrina State University (UEL), in Brazil. In
2012, one of the authors, with a background on games and musical interaction, took the subject Musical Creation
Laboratory II and focused it on Free Improvisation (Improv). This experience created a demand by some students
who wanted to improve their knowledge, so CLIC was created. CLIC members have the opportunity to practice
Improv, participate in study groups and research activities. In its first year they took part into the basic training group,
and later they were able to settle independent groups, still linked to Collective, and developed their own artistic
work.
In 2014, the other author of this proposal joined Collective and brought a pedagogical approach from instrumental
music composition. The approaches of both authors allowed the development of exercises and activities designed
specifically to overcome the participants difficulties. In this proposal, we will describe the process that took place
with the base group established in early 2014, which led to the formation of Grupo Novo one year later.
Dans cette prsentation, nous exposerons une exprience pdagogique dans le cadre d'un Collectif d'Improvisation
Libre Contemporaine (CLIC, en acronyme portugais), dans le contexte d'un cours de niveau Bachelor de la Londrina
State University (UEL), au Brsil. En 2012, l'un des auteurs, avec un parcours personnel sur les jeux et interactions
musicales, a choisi le sujet Laboratoire de Cration Musicale II et a concentr ce thme sur l'improvisation libre.
Cette exprience a suscit un vif intrt parmi les lves qui voulaient accrotre leurs connaissances, d'o la cration
du CLIC . Les membres de cet ensemble ont l'opportunit de pratiquer l'improvisation, de participer des groupes
d'tudes et des activits de recherche. Durant la premire anne, les tudiants ont pris part un groupe
d'entranement de base, et plus tard ils ont t capables d'instaurer des groupes indpendants, toujours en lien avec
le collectif, afin de dvelopper leurs propres identits artistiques.
En 2014, l'autre auteur de cette prsentaiton a rejoint le collectif et y a amen une nouvelle approche pdagogique
pour la composition de musique instrumentale. L'approche des deux auteurs a permis le dveloppement d'exercices
et d'activits spcialement conues pour surpasser les difficults des participants. Dans cette prsentation, nous
dcrirons le processus de dveloppement du groupe de base tabli dbut 2014, qui a conduit la formation du
Grupo Novo un an plus tard.
Alexandre Remuzzi Ficagna (b. 1983, Brazil) is a lecturer at Music and Theater Department of Universidade Estadual
de Londrina (UEL), in Brazil, where he teaches subjects related to musical structure and musical creation. He was
awarded with Funarte Prize for Classical Composition in 2010 and 2014 editions. Also his work Escondido num
ponto (2012) received special mention at G.E.R.M.I. Prize 2012 edition. Since 2014, Ficagna works with Collective of
Contemporary Free Improvisation (CLIC).
Alexandre Remuzzi Figagna (1983, Brsil) est un confrencier au dpartement de Musique et Thatre, de l'universit
de Londrina au Brsil, o il enseigne les sujets en relation avec la structure et la cration musicale. Il a reu le prix
Funarte Prize for Classical Composition en 2010 et 2014. Son ouvrage Escondido num ponto (2012) a reu une
mention spciale au prix G.E.R.M.I en 2012. Depuis 2014, Ficagna travaille avec le Collective of Contemporary
Free Improvisation (CLIC).

49

Theater Department at Universidade Estadual de Londrina (UEL), in Brazil. He is also Director of Collective of
Contemporary Free Improvisation (CLIC in Portuguese acronym), a group of people dedicated to the practice and
research of free improvisation. His time is divided between performing, teaching and writing about musical
interaction over the web, games and music improvisation.
Fbio Furlanete (1972, Brsil), est un saxophoniste, compositeur et professeur de musique. Il est directeur du
dpartement de Musique et Thatre, de l'universit de Londrina au Brsil. Il est galement Directeur du Collective of
Contemporary Free Improvisation (CLIC), un groupe ddi la pratique et la recherche dans l'improvisation libre.
Il spare son temps entre l'enseignement, la performance musicale, et l'criture sur l'interaction musicale entre le jeu
et l'improvisation.

9:30-10:00 AM - 9h30-10h00
Council Hall - Salle du Conseil

11

Sa.

Sa.

The role of listening in the creative process of collective free improvisation [*]
Le rle de l'coute dans le procd cratif de l'improvisation collective [*]
Fbio Furlanete
The purpose of this paper is to show the ways in which listening occurs in free improvisation and its role in the
creative process according to our study. In our work, we address the models found in the literature that describe the
process of creation in improvisation from a point of view inherited from artificial intelligence. In that point of view
listening is regarded simply as the reception of the acoustic signal, happening before the creative process stricto
sensu occurs. In those models, it is seen as passive signal reception and separated from the evaluation, preparation
and decision phases of the creative process. On the other hand, in some Acousmatic Music authors researches we
find models that address the listening as the central element of creativity. For them, the very articulation of the
sound continuum during the listening is a fundamental part of the process. In our work, we present a comparison of
the two approaches as presented in the literature and discuss how the concept of feedforward can be used to reach a
synthesis between the two views.
Le but de cette prsentaiton est de montrer les diffrentes manires dont l'coute se manifeste dans l'improvisation
libre, et son rle dans le procd cratif en rapport avec notre tude. Dans notre travail, nous abordons les modles
dans lesquels la littrature dcrit le processus de cration improvise du point de vue de l'intelligence artificielle. De
ce point de vue, l'coute est considre simplement comme la rception d'un signal acoustique, qui intervient
strictement parlant avant le processus de cration. Dans ces modles, c'est considr comme une rception passive
d'un signal et est spare des phases d'valuation, de prparation et de dcision dans le processus cratif. D'un autre
ct, dans certaines musiques acousmatiques, les recherches de lauteur trouveront des modles qui considrent
l'coute comme l'lment central de la crativit. Pour eux, l'articulation du continuum sonore elle-mme est une
part fondamentale du processus. Dans cette prsentation, nous monterons une comparaison de ces deux approches
telles qu'abordes dans la littrature, et parlerons de la manire dont le concept de Feedforward (=regard vers
l'avant) peut tre utilis pour atteindre une synthse entre ces deux vues.

9:00-10:00 AM 9h30-10h00
Htel Roc et Neige

11

Sa.

Sa.

The Historical Origin of Communication in Improvisation [**]

L'origine historique de la communication dans l'improvisation [**]
Davide Monti
My presentation investigates the musical communication processes in the period when we have evidence that
improvisation began to be recognised separately from composition. This occurred from the late Renaissance. At this
time improvisation was a common skill for every musician; whereas the process of writing down a piece to become a
fixed composition was for few. An improvisation was considered good when the emotional intentions of the musician
found the right musical form. In the same way today's improvisers aim -consciously or unconsciously- to find the right
balance between form and content: the more this process is balanced, the more effective and heart-felt is the

50

language effectively: this is what makes some improvisation not convincing. Through historical research one can
understand the rhetorical structure of music; that music functions like a language which expresses the affects. A cultured
person during the Renaissance was educated in the arts of rhetoric, theatre, fencing, painting, dancing, and used these
skills as a means of expression. Performers today need to have multidisciplinary skills in order that they can awake the
expressive codes that are embedded in our cultures and can enrich communication between performer and listener.
Ma prsentation examine le procd de communication musicale une priode durant laquelle nous avons des
preuves que l'improvisation commenait tre reconnue sparment la composition. Ceci s'est droul la fin de
la Renaissance. A cette poque, l'improvisation tait une comptence normale pour chaque musicien ; alors que le
procd de rdiger une oeuvre par crit afin de devenir une composition dfinitive tait trs rare. Une improvisation
tait considre comme bonne lorsque les intentions motionnelle's du musiciens trouvaient la forme musicale
juste. De la mme manire que les improvisateurs d'aujourd'hui visent consciemment ou non trouver le bon
quilibre entre forme et contenu : plus ce procd est quilibr, plus efficace et touchante devient la
communication. Ceci n'est pas une conclusion courue d'avance. Les musiciens ne matrisent pas toujours totalement
l'organisation efficace du langage musical, et ceci explique que certaines improvisations ne soient pas convaincantes.
A travers des recherches historiques, nous pouvons comprendre la structure rhtorique de la musique ; que la
musique fonctionne telle un langage qui exprime des affects. Une personne cultive durant la Renaissance
connaissait les arts de la rhtorique, du thtre, de l'escrime, de la peinture, de la danse, et utilisait ces comptences
comme des moyens d'expression. Les musiciens d'aujourd'hui doivent galement possder des capacits
multidisciplinaires afin d'exprimer les codes expressifs ancrs dans nos cultures, et d'enrichir la communication entre
le musicien et l'auditeur.
Davide Monti, baroque violin
After a primary music degree from the Conservatory of Parma, Davide specialised in historical performing practices
with numerous professors including E. Gatti, E. Parizzi and S. Richie. He researches historical practices with the desire
to discover the freshness hidden in manuscripts and the early prints of the 17th and 18th centuries. Davides playing
has evolved and developed thanks to many occasions to collaborate with great musicians of our time, each
noteworthy for their own individual approach to music: from Ton Koopman to Alberto Rasi, Michael Radulescu,
Gabriel Garrido, Emma Kirkby, Roberta Invernizzi, Gemma Bertagnolli, Stefano Veggetti, Lars Ulrik Mortensen, Sergio
Vartolo and John O'Donnell. Davide has taught on many occasions, giving master classes in Italy, France, Ireland,
Norway, the Czech Republic, Austria, Japan, Singapore, Australia, and Canada, focusing on improvising on melodic
instruments according to historical informed practices, considering this subject a key element of the baroque
approach. He is also working on a comparative study of all representative codes of the Theory of the Affects which
are expressed through various art forms: musical rhetoric, iconography, theatre and dance in Italy during the 17th
century. Davide is known for his energy and charisma, and for creating a special sound. He performs throughout the
world as soloist/director, or leader of orchestras, as well as small ensembles, receiving great reviews. Remarkable
tours are the ones in Argentina and Brasil (2005-2006) as well as his numerous tours in Australia and his recent work
with the Tafelmusik Baroque Orchestra, Toronto.
Davide Monti, Violon Baroque
Aprs avoir reu un diplme du Conservatoire de Parme, Davide s'est spcialis dans les pratiques historiques auprs
de nombreux professeurs parmi lesquels E. Gatti, E. Parizzi et S. Richie. Il recherche des pratiques anciennes avec le
dsir de dcouvrir la fracheur cache dans les manuscrits et les premires impressions du 17me et du 18me sicle.
Le jeu de Davide a volu et s'est dvelopp grce de nombreuses occasions de collaborer avec de grands
musiciens de notre temps, tous remarquables pour leur approche personnelle de la musique : de Ton Koopman
Alberto Rasi, Michael Radulescu, Gabriel Garrido, Emma Kirkby, Roberta Invernizzi, Gemma Bertagnolli, Stefano
Veggetti, Lars Ulrik Mortensen, Sergio Vartolo et John O'Donnell. Davide a donn de nombreuses masterclasses en
Italie, France, Irlande, Norvge, Rpublique Tchque, Autriche, Japon, Singapour, Australie et Canada, en se
concentrant sur l'improvisation sur instruments mlodiques selon des pratiques historiques, considrant ce sujet
comme un lment cl de l'approche de la musique baroque. Il travaille galement sur une tude comparative de
tous les codes reprsentatifs de la Thorie des Affects, qui s'exprime dans diffrentes formes d'art : rhtorique
musicale, iconographie, thtre et danse en Italie durant le 17me sicle. Davide est connu pour son nergie et son
charisme, et pour la cration d'un son particulier. Il donne des concerts dans le monde entier comme
soliste/directeur, ou leader d'orchestres ou de petits ensembles, recevant de nombreux comptes-rendus logieux. Il a
effectu de remarquables tournes en Argentine et au Brsil (2005-2006) de mme que nombreuses tournes en
Australie, et un travail rcent avec le Tafelmusik Baroque Orchestra, Toronto.

51

10:00-10:30 AM - 10h00-10h30
Council Hall - Salle du Conseil

11

Sa.

Sa.

Milhaud, Wolpe, and Cowell: Avant-Garde Improvisations in the Early Twentieth Century [**]
Milhaud, Wolpe et Cowell : improvisations avant-gardistes au dbut du XX sicle [**]
Andrew Wilson
Aleatory techniques, experimental performance, and the concept of open form are usually associated with art music
of the second half of the twentieth century. Although earlier examples, such as Duchamps use of chance in his
Erratum Musical (1912-13), have been partially researched, they often remain correlated with quasi-anecdotal
experiments by Dadaists and non-musicians. This paper will examine some of the experimental and improvisatory
approaches to music composition and performance in the first decades of the twentieth century. I will argue that the
period witnessed a non-negligible interest among musicians in creative processes which bear striking similarities to
those used since the 1950s (i.e. aleatory techniques, experimental music, open form). I will then analyse three
examples, Milhauds Cocktail aux Clarinettes (1921), Wolpes gramophone performance (probably 1920), and
Cowells Mosaic Quartet (1935), and discuss their specific characteristics as well as their similarities with related ideas
in post WWII art music. I will assert that these three musical examples are inherently improvisatory as they stage a
creative process which induces variation and an unpredictable end result. Finally, I will also briefly address the
reception of these concepts in the 1920s-30s and mention other contemporaneous modes of improvisation.
Techniques alatoires, performance exprimentale, et le concept de la forme ouverte sont souvent associs avec
la musique de la seconde moiti du vingtime sicle. Bien que des exemples antrieurs, tels que l'usage de l'Erratum
Musical (1912-1913) par Duchamp, aient t partiellement investigus, ils sont souvent mis lis des expriences
anecdotiques de Dadaistes et de non-musiciens. Cette prsentation va traiter d'approches improvisationnelles et
exprimentales la composition et la performance au dbut du vingtime sicle. Je vais soutenir que cette priode
tmoigne d'un intrt non-ngligeable pour les processus cratifs qui contiennent de frappantes similitudes avec
ceux utiliss depuis 1950 (p.ex. : techniques alatoires, musique exprimentale, forme ouverte). Je vais ensuite
analyser trois exemples, le Cocktail aux Clarinettes de D. Milhaud (1921), la Grammophone Performance de
Wolpe (probablement 1920) et le Quartet Mosaique de Cowell (1935) ; je vais traiter de leurs caractristiques
spcifiques et de leurs similitudes, et les mettre en relation avec la musique qui suivra la 2me Guerre Mondiale. Je
vais affirmer que ces trois exemples musicaux sont intrinsquement improvisationnels, puisqu'ils gnrent un
processus cratif qui induit des variations et un rsultat final imprvisible. Finalement, je vais galement brivement
traiter de la raction du public par rapport ces concepts entre 1920 et 1930, et mentionner d'autres modes
contemporains d'improvisation.
Andrew Wilson, born in 1968 in Neuchtel, Switzerland. After initial studies in Computer Sciences and training as a
classical and jazz pianist, Andrew Wilson worked as an English teacher and translator (2001-2014). He was also active
until 2009 as a pianist: concerts, solo performances and as a member of various jazz and pop-rock groups. After
returning to university studies in 2004 he obtained in 2012 a Master of Arts in Musicology at the University of Basel.
Since then, Andrew Wilson has been researching his PhD topic Concepts of improvisation and their impact on early
twentieth century art music.
Andrew Wilson est n en 1968 Neuchtel, Suisse. Aprs de premires tudes en sciences informatiques ainsi qu'un
cursus comme pianiste classique et jazz, il travaille comme professeur d'anglais et comme traducteur (2001-2014). Il
tait galement actif comme pianiste jusqu'en 2009 : concerts solo et en groupe avec de nombreux ensembles jazz et
pop-rock. Il retourne ensuite aux tudes universitaires, et obtient un Master en Musicologie en 2012, l'Universit
de Ble.

52

10:30-11:00 AM - 10h30-11h00
Council Hall - Salle du Conseil

11

Sa.

Sa.

Improvising to The Three Musketeers: The Politics of Collaboration With Two+ Pre-existing Partners
[**]
Improviser sur Les Trois Mousquetaires : la politique de collaboration avec deux ou plusieurs
partenaires pr-existants [**]
Tina Chancey
It could be said that all improvisation, whether free or guided, requires the same skills in different proportions:
intense concentration, immersion in the moment, memory, spontaneity and responsiveness. Collaboration with a
fixed element such as a film may alter the proportion of skills used, and may make other skills moot. Yet we call it
collaborative improvisation because theres an interaction: the improvised music changes the audiences experience
of the film, and the films action changes both the audiences and the performers experience of the music. In
Hesperus silent film projects we deal with two fixed elements; not only the film (here, Douglas Fairbanks Three
Musketeers from 1921), but also the chosen musical repertoire (here, music from the 16 th c. French renaissance
theater). Also, our score must further the action while addressing some structural weaknesses of the early multi-reel
melodramasslow pacing, bad cutting, overly-long scenes and over-blown acting technique drawn from the stage.
And finally, we must respect early music performance practice guidelines, which are such a fundamental part of the
genres identity. This paper will reveal the balancing act that goes into creating an early music silent film score, and
how a creative interpretation of key philosophical principles makes the results effective as well as authentic.
Nous pourrions dire que toute l'improvisation, libre ou conditionne, requiert les mmes capacits dans diffrentes
proportions : concentration intense, immersion dans l'instant prsent, mmoire, spontanit et ractivit. La
collaboration avec un lment fixe tel qu'un film peut altrer la proportion des comptences utilises, et peut en
invoquer d'autres. Actuellement, nous appelons cette dmarche improvisation collaborative puisqu'il y a une
interaction : la musique improvise change l'impression du film par le public, et l'action du film change la perception
de la musique par le public et par le musicien. Dans les projets de films muets de Hesperus, nous jonglons avec deux
lments fixes : non seulement le film (Ici : Les Trois Mousquetaires de Douglas Fairbanks, 1921) mais galement
sur un rpertoire musical choisi (Ici, de la musique de la renaissance Franaise, 16me sicle). De mme, notre
partition doit suivre l'action mme si elle comporte des faiblesses structurelles des aux dbuts du cinma
longueurs, mauvaises coupures, mouvements ralentis et jeu exagr des acteurs. Et finalement, nous devons
respecter les conventions des performances musicales de l'poque, qui sont une part fondamentale de l'identit.
Cette prsentation va traiter de l'quilibre que requiert la cration de musique pour un film ancien, et comment une
interprtation crative de principes philosophiques fondamentaux peut donner un rsultat authentique et efficace.
Tina Chancey directs HESPERUS, known for its live, improvised early music scores to period silent film masterpieces
such as The Mark of Zorro and Robin Hood. She plays early and traditional fiddles, produces recordings, writes
articles, teaches and arranges music. She performs with Toss the Feathers, Trio Pardessus and Trio Sefardi; formerly
with the Folger Consort and Blackmores Night. Dr. Chancey received three WAMMIES and a Lifetime Achievement
Award in Education by Early Music America. www.tinachancey.com
Tina Chancey est la directrice de HESPERUS, connu pour ses musiques improvises dans les styles anciens pour
accompagner des chefs-d'oeuvres du cinma tels que Le Masque de Zorro et Robin des Bois. Elle joue sur des
instruments anciens et traditionnels, produit des enregistrements, crit des articles, enseigne la musique et crit des
arrangements. Elle se donne rgulirement en concert avec Toss the Feathers , Trio Pardessus et Trio
Sefardi ; anciennement avec Folger Consort et Blackmores Night . Dr. Chancey a reu trois WAMMIES et un
titre honorifique en Education par Early Music America . www.tinachancey.com

53

10:00-11:00 AM - 10h00-11h00
Temple

Sa.

11

Sa.

Oppositional Consciousness : Applied Cultural Work in Sites of Opposition [++]

Conscience Oppositionnelle : Travail Culturel Appliqu dans des sites d'Opposition [++]
Sharmi Basu, Marshall Trammell
This workshop aims to create intersectional conversations around resistance, music, race, gender, and spirituality. We
will highlight the cultural work that we conduct via our workshop series Oppositional Consciousness (OpCon) and open
up discussion regarding our series. To continue the legacy of oppositional consciousness, appropriate interventions to
oppression, and the establishment of emancipatory sites of opposition, we are investigating a process called
Decolonizing the Imagination created by Chicana feminist Chela Sandoval. This work has been developed to (1) decode
experiences & interventions pertaining to oppressive factors in society; (2) acquire a shared identity, vernacular and
worldview amongst allies; and (3) deploy healthy and critical formations of both emancipatory technologies and
engagement democratic solutions. OpCon also uses musical resistance strategies based in improvisation influenced by
the theories of George Lewis. As an Arts Practicum for musicians and non-musicians alike, we unravel imprinted
ideologies of dominance and harm rampant in our society and consciousness. Utilizing the modified Harm Free Zone
framework, social science methods (worksheet) and developing & enacting OpCon, we can better analyze and address
causes & inflections of harm embedded on our communities, our world-views & on the bandstand.
Cet atelier vise crer des conversations intra-lments autour des concepts de rsistance, musique, race, genre et
spiritualit. Nous mettrons en vidence le travail culturel que nous dirigeons dans une srie d'ateliers rguliers
Conscience Oppositionnelle (OpCon) et ouvrirons la discussion sur ces ateliers. Pour continuer l'hritage de conscience
oppositionnelle, des interventions appropries l'oppression, et l'tablissement de sites mancips de l'opposition,
nous creusons la piste d'un processus appel Dcolonisation de l'imagination cre par la fministe Chicana Chela
Sandoval . Ce travail a t dvelopp pour (1) dcoder les expriences et interventions ayant trait aux facteurs
oppressants de la socit ; (2) acqurir une identit partage, vernaculaire et globale parmi les allis, et (3) dvelopper de
saines formations critiques de technologies d'affranchissement et d'engagement des solutions dmocratiques. OpCon
utilise galement des stratgies de rsistance musicale, dinfluences improvises, bases sur des thories de George Lewis.
En tant que pratique artistique pour musiciens et non-musiciens, nous dmlons des idologies ancres de dominance et
de mal effrein dans notre socit et notre conscience. En utilisant le cadre Zone sans mal , des mthodes de science
sociale et en dveloppant et agissant au sein de OpCon, nous pouvons mieux analyser et aborder les causes et inflexions
des maux ancrs dans nos communauts, nos vues du monde gographique et musical.
Sharmi Basu is an Oakland born and based queer South Asian woman of color creating experimental music as a
means of decolonizing musical language. She attempts to catalyze a political, yet ethereal aesthetic by combining her
anti-colonial and anti-imperialist politics with a commitment to spirituality within the arts. She is a MFA graduate
from Mills College in Electronic Music and Recording Media and has worked with Fred Frith, Roscoe Mitchell, John
Bischoff, Dr. Nalini Ghuman, Maggi Payne, and more. http://www.sharmi.info
Ne Oakland, Sharmi Basu est une trange femme de couleur, sud-asiatique, crant de la musique exprimentale
comme moyen de dcoloniser le musical langage. Elle essaye de catalyser une esthtique politique et thre en
combinant sa vue anti-coloniale et anti-impriale avec un engagement spirituel travers les arts. Elle dtient un
Master for the Arts du Mills College in Electronic Music and Recording Media et a travaill, entre autres, avec Fred
Frith, Roscoe Mitchell, John Bischoff, Dr. Nalini Ghuman et Maggi Payne. http://www.sharmi.info
Marshall Trammell is a cultural producer & Creative Music percussionist for 20+ years and responsible for such Bay
Area music series as Decolonizing the Imagination. He was recruited for a MFA Fellowship in Electronic Arts at
Rensselaer Polytechnic Institute in 2004. He now sits on the Board of Directors of the Merced County Arts Council in
California. Mr Trammell has shared a stage with John Tchicai, Roscoe Mitchell, Pauline Oliveros, Jon Jang, Francis
Wong, India Cooke, Dylan Carlson of Earth and more. http://mrtrammell.wix.com/researchstrategies
Marshall Trammell est un producteur culturel, percussionniste de musique crative depuis plus de 20 ans, et
responsable de sries de concerts et d'activits musicales telles que Dcoloniser l'Imagination . Il a t recrut
pour effectuer un Master of Arts en arts lectroniques l'Institut Polytechnique Rensselaer en 2004. Il est
actuellement membre du Conseil des Arts du Cont de Merced, en Californie. Mr. Trammell a partag la scne avec,
entre autres, John Tchicai, Roscoe Mitchell, Pauline Oliveros, Jon Jang, Francis Wong, India Cooke et Dylan Carlson.

54

10:00-11:00 AM - 10h00-11h00
Htel Roc et Neige

11

Sa.

Sa.

Beyond Jamming - A Historical and Analytical Perspective on the Creative Process [+]
Au-del des jam sessions Une perspective historique et analytique du Processus Cratif [+]
Monika Herzig, Peter Kienle
The process of the jazz jam session was analyzed from a historical and social perspective based on literature reviews,
oral histories, interviews, and survey results. The analysis produced seven factors that facilitate the successful
outcome of a jazz jam session. The factors include individual competence and knowledge of the field, practicing
improvisation as the ability to overcome self-consciousness, establishing a mentoring system and role models,
democracy and collaboration, leaders and sidemen, community support, and a continuous evaluation system. Each
factor was defined and exemplified towards a model for group creativity with suggestions for further research and
applications. Currently, the second stage of the investigation is in progress in collaboration with Maks Belitski,
Lecturer in Entrepreneurship at the Henley Business School in Leicester, UK and Matthias Mroewski, M.A.,
Programme Manager, Technische Universitt Berlin, Germany where we transfer and exemplify the seven factors
using innovative business start-ups and the UK Innovation survey and investigate implementation methods in general
entrepreneurship training. For this presentation, we will introduce the study and give updates from the second stage
to the audience. Furthermore, participants will pinpoint and discuss observations of these factors during live
performance segments with Monika Herzig and Peter Kienle.
Le processus d'une jam-session de jazz a t analys d'un point de vue historique et analytique bas sur des revues
littraires, des histoires de traditions orales, des interviews, et des rsultats d'enqutes et de questionnaires.
L'analyse a produit sept facteurs qui facilitent un rsultat russi d'une jam-session de jazz. Les facteurs incluent :
comptence individuelle et connaissance de la matire, pratique de l'improvisation en tant que capacit de dpasser
la gne et les inhibitions, tablissement d'un systme de mentorat et de rles, dmocratie et collaboration, meneurs
et suiveurs, soutien communautaire, et systme d'valuation continue. Chaque facteur a t dfini et illustr afin de
devenir un modle pour la crativit en groupe, avec des suggestions de recherches et d'applications ultrieures.
Actuellement, la seconde tape des recherche est en cours, en collaboration avec Maks Belitski, Confrencier en
Esprit d'Entreprise la Henley Business School de Leicester, Royaume-Uni, et Matthias Mroewski, Manager du
programme de Masters la Technische Universitt de Berlin, Allemagne, o nous transfrons et illustrons les sept
facteurs un utilisant des entreprises start-up innovantes et le Questionnaire d'Innovation du Royaume-Uni , et
creusons de nouvelles mthodes de mise en oeuvre dans la formation gnrale d'Esprit d'Entreprise. Pour cette
prsentation, nous montrerons notre tude et donnerons des mises jour de la 2me tape. Les participants
pourront identifier et dbattre des observations de ces facteurs lorsque Monika Herzig et Peter Kienle joueront des
extraits musicaux.
Monika Herzig holds a Doctorate in Music Education and Jazz Studies from Indiana University where she is a Senior
Lecturer in Arts Administration. She teaches courses on the Music Industry, Community Arts, and Creative Thinking
Techniques. Her research focus is on jazz as a model for creativity and entrepreneurship. She is also the author of
David Baker A Legacy in Music, published in 2011 by IU Press. Forthcoming is Chick Corea: A Listeners Companion
with Rowan & Littlefield, 2016. As a touring jazz artist, she has performed at many prestigious jazz clubs and festivals,
such as the Indy Jazz Fest, Clevelands Nighttown, Louisvilles Jazz Factory, the W.C.Handy Festival, Jazz in July in
Bloomington and Cincinnati, Columbus Jazz & Rib Fest, to name just a few. Groups under her leadership have toured
Germany, opened for acts such as Tower of Power, Sting, the Dixie Dregs, Yes, and more.
She has released more than a dozen CDs under her leadership on her own ACME Records as well as Owl Studios. Her
awards include a 1994 Down Beat Magazine Award for Best Original Song, as well as grants from the NEA, the Indiana
Arts Commission, MEIEA, among others. Her newest project The Whole World in Her Hands features the worlds
leading female jazz instrumentalists including Leni Stern, Jamie Baum, Jane Bunnett, Linda Oh, Jennifer Vincent, Anna
Butterss, Mayra Casales, Reut Regev, Lakecia Benjamin, and Arianna Fanning and is set to be released 2016. Thomas
Garner from Garageradio.com writes, I was totally awed by the fine musicianship throughout. More info and sound
samples at www.monikaherzig.com
Monika Herzig dtient un Doctorat en Education Musicale et en Etudes de Jazz de l'Universit de l'Indiana, o elle est
Confrencire et Doyenne en Administration des Arts. Dans son enseignement, elle traite de l'Industrie Musicale, les
Arts Communautaires, et les Techniques de Pense Crative. Ses recherches se centrent sur le jazz comme un modle

55

musique , publi en 2011 par Indiana University Press. Un nouvel ouvrage sera paratre chez Rowan & Littlefield,
en 2016 : Chick Corea : un compagnon d'coute . En tant qu'artiste de jazz, elle a donn des concerts dans nombre
de prestigieux clubs et festivals de jazz, tels que Jazz in July in Bloomington and Cincinnati et Columbus Jazz &
Rib Fest pour ne nommer que ceux-l. Des groupes sous sa direction ont tourn en Allemagne, en premire partie
de vedettes internationales telles que Tower of Power , Sting , the Dixie Dregs et Yes . Elle a produit plus
d'une douzaine de Cds, parus sous sa direction dans son propre label et chez Owl Studios. Ses distinctions incluent un
Prix pour la Meilleure Chanson Originale (Down Beat Magazine, 1994), de mme que des bourses de la NEA ,
the Indiana Arts Commission et MEIEA , parmi d'autres. Son projet le plus rcent, The whole World in Her
Hands (Le monde entier dans ses mains) compte parmi les plus influentes des femmes musiciennes de jazz, parmi
lesquelles Leni Stern, Jamie Baum, Jane Bunnett, Linda Oh, Jennifer Vincent, Anna Butterss, Mayra Casales, Reut
Regev, Lakecia Benjamin et Arianna Fanning, et sa sortie est prvue en 2016. Thomas Garner, de Garageradio.com
crit J'ai t totalement subjugu par la belle musicalit tout au long de l'coute. Plus d'informations et extraits :
www.monikaherzig.com
Guitarist and bassist Peter Kienle is a native of Germany, where he studied jazz guitar at the Jazz School Munich. He
left the school when his free jazz group Super Susy was offered a 7-night-a-week engagement in one of the finest
restaurants in Strasbourg/ France. In 1983, he founded the fusion jazz group BeebleBrox in Albstadt, Germany, where
he also worked extensively as a musician, engineer, and producer at Tonstudio Albstadt. His studio work led to two
European tours with mallet player Bill Molenhof in 1987 and 1988. In 1988, he moved with his future wife and
keyboardist Monika Herzig to Tuscaloosa, Alabama where he was soon in demand as a guitarist and bassist and also
recorded two albums with BeebleBrox. In 1991, the couple relocated to Bloomington, Indiana, where Monika
completed her doctorate in music education at Indiana University and now is a faculty member. Since then, Peter
completed two European tours with BeebleBrox and recorded five more albums as a leader. He also added the
Chapman Stick to his intrumentation and founded Freesome, 3rd Man, Kwyjibo, Splinter Group, and Earplane all
projects featuring his unique compositions. Peters versatility on guitar, bass, and chapman stick, as well as reading
skills, keep him in high demand in the area as a sideman as well as composer, transcriber, and copyist. His solo CD
Peters Money has received high praise from Jazziz, Jazz Times, and other publications.
Le guitariste et bassiste Peter Kienle est n en Allemagne, o il a tudi la guitare jazz la Jazz Hight School Munich.
Il quitte l'cole lorsque son groupe de free jazz Super Susy s'est vu offrir un engagement de 7 nuits par semaines
dans un restaurant renomm de Strasbourg, France. En 1983, il cre un groupe de jazz fusion BeebleBrox
Albstadt, en Albstadt. Son travail de studio l'a conduit donner deux tournes Europennes avec le percussioniste
Bill Molenhof en 1987 et 1988. Cette mme anne 1988, il dmnage avec sa future pouse, la claviriste Monika
Herzig, Tuscaloosa, Alabama, o il sera vite demand comme guitariste et bassiste, et o il enregistre deux albums
avec BeebleBrox. En 1991, le couple dmnage Bloomington, Indiana, o Monika effectue un Doctorat en
Education Musicale la Indiana University , dans laquelle Peter est actuellement membre de la facult. Ds lors, il
refait deux tournes Europennes avec BeebleBrox et enregistre cinq albums en tant que leader. Il ajoute le Chapman
Stick aux instruments qu'il pratique, et fonde les groupes freesome , 3rd man , Kwyjibo , Splinter Group
et Earplane - tous ces projets utilisant ses propres compositions originales. La polyvalence de Peter sur la guitare,
basse et chapman stick, de mme que ses capacits de lecture, font de lui un musicien trs demand comme
accompagnateur de mme que comme compositeur, transcripteur et copiste. Son album solo Peter's Money a
reu de nombreuses loges de publications telles que Jazziz et Jazz Times.

11:00AM-12:00PM - 11h00-12h00
Council Hall Salle du Conseil

11

Sa.

Sa.

Improvisation Around Set Events in Performance Art [**]

Improvisation autour d'vnements programms dans l'art de la performance [**]
Mia Theodoratus
One of the most powerful aspects of free improvisation is to take your audience along for the ride. Throughout my
improve work in NYC I have collaborated with musicians, dancers and other performance artists. The most rewarding
concerts were conceived with planned events occurring alongside the unfettered free improvisation. This will be a
video and audio sampling of those works. The first works I did were safe with planned events based on location,
gesture or sound cues. Examples will be from two shows with Butoh dancers. The first was Kali with Maikiko,

56

Chasma on the River Festival. Katherine and I decided add more risk to a performance of Madame May, which is
about an aging call girl. The work was conceived in 1998 and has been performed at Howl, Galapagos Art Space,
Roublad and the Gershwin Hotel. The audience was treated like they were the Madames clientele throughout the
piece. The latest work gathered Susan Allen, Michael Evans, Lary Seven, Masami Tomihisa, Eric Schemerhorn and
myself for a structure improvisation labeled Sirens in Surround Sound, performed at Theatre 80 St Marks in NYC.
The instruments included two concert grand harps, 4 marimbas, various mallet instruments, and a Celeste place on
stage and surrounding the audience. First I planned interruptions like changing ticket procedure, starting before the
crowd entered and had alarm clocks set to ring in 7-10 minute intervals under audience seats. 35 minutes in we
passed out tuned hand bells to the audience. After everyone became involved with the bells, Lary Seven started an
air raid siren from outside the theatre on St Marks and entered the performance space. As he came closer the
audience went from a loud din to totally silence.
This presentation will discuss details about the concepts, process and most importantly, the audience reactions.
L'un des aspects les plus puissants de l'improvisation libre est d'inviter son public pour le concert. A travers mon
travail d'improvisation New York, j'ai collabor avec des musiciens, danseurs et d'autres artistes. Les concerts les
plus gratifiants ont t conus avec l'intervention planifie d'lments apparaissant durant l'improvisation libre
ininterrompue. Cette prsentation montrera des extraits audio et vido de ces travaux. Les premiers ont utilis
prudemment l'apparition d'lments planifis utilisant des indices gestuels, sonores ou gographiques, et je
montrerai des exemples de deux spectacles avec des danseurs buto (danse japonaise) : Kali , avec Maikiko, donn
lors du premier New York Fringe Festival et Elements avec Katherine Adamenko, donn lors du festival
Chasma on the River . Katherine et moi-mme avons dcid d'ajouter des lments plus risqus la performance
de Madame May , qui traitait d'une prostitue devenant ge. L'oeuvre a t conue en 1998 et donne en
spectacle Howl , Galapagos Art Space , Roublad et au Gershwin Hotel. Le public tait trait comme s'il
tait la clientle de Madame. La dernire oeuvre a rassembl Susan Allen, Michael Evans, Lary Seven, Masama
Tomihisa, Eric Schemerhorn et moi-mme pour une improvisation structure appele Sirnes dans le son qui nous
entoure , et a t donne en spectacle au Thtre 80 St Marks New York. Les instruments, parmi lesquels deux
grandes harpes de concert, 4 marimbas, diffrents instruments claviers et un clesta taient placs de manire
entourer le public. Initialement, j'avais prvu des interruptions comme un changement de procdure la billetterie,
commencer avant l'entre du public, et installer des alarmes qui sonnent toutes les 7-10 minutes sous des siges du
public. Aprs 35 minutes, nous avons donn des cloches manuelles au public. Au moment o tout le monde
commenait s'impliquer avec les cloques, Lary Seven a lanc une sirne de raid arien depuis l'extrieur du thtre
et est entr dans l'espace de performance. Lorsqu'il s'est approch, le public est pass d'un bruyant vacarme un
silence complet. Cette prsentation parlera de dtails lis ces concepts, processus, et surtout : des ractions du
public.
Mia Theodoratus is a composer, improviser and harpist. Her goal is to express life through the harp using classical
technique infused with the dynamics of free bop and the rhythm/feel of rock. Mia has a MFA from California Institute
of the Arts in harp performance, a BFA from University of Texas at Austin, TX and has studied at Peabody
Conservatory. Her main teachers include Susan Allen, Amiya Dasgupta, Jeanne Chalifoux, Alice Chalifoux and Jody
Guinn. When Mia moved to NYC she formed Vardo with singer Dawn McCarthy and began playing in clubs like
CBGB's, Coney Island High, the Cooler and the Mercury Lounge and was featured on WFMU and WKCR. Mia has
composed music for the Flight of the Conchords on HBO, Rubicon on AMC and Million Dollar Listing on Bravo. As a
musician she has worked with Charlie Hayden, Roscoe Mitchell, Leona Naess, Ray Chew, Antony & the Johnsons,
Susan Allen, the Citizen's Band at Deitch Gallery SoHo, Baikida Caroll, Brandee Younger, Gelitin and Avery Brooks.
Mia Theodoratus est compositrice, improvisatrice et harpiste. Son objectif est d'exprimer la vie travers la harpe en
utilisant des techniques classiques baignes des dynamiques du free bop et des rythmes et impressions du rock. Elle
dtient un Master of Arts en performance la harpe, de la California Institute for the Arts , de mme qu'un
Bachelor de la University of Texas Austin. Elle a galement tudi au Peabody Conservatory . Parmi ses
principaux professeurs, nommons Susan Allen, Amiya Dasgupta, Jeanne Chalifoux, Alice Chalifoux et Jody Guinn.
Lorsque Mia a dmnag New York, elle a cr le groupe Vardo avec le chanteur Dawn McCarthy et a
commenc jouer dans des clubs comme CBGB's , Coney Island High , The Cooler et The Mercury
Lounge . Elle a compos de la musique pour The Flight of the Conchords sur HBO, Rubicon sur AMC et
Million Dollar Listing sur Bravo. En tant que musicien de scne, elle a travaill avec Charlie Hayden, Roscoe
Mitchell, Leona Naess, Ray Chew, Antony and the Johnsons, Susan Allen, the Citizen's Band la Deitch Gallery
SoHo , Baikida Caroll, Brandee Younger, Gelitin et Avery Brooks.

57

11:00AM-12:00PM - 11h00-12h00
Temple

11

Sa.

Sa.

Zagros [+] Zagros [+]

Shahriyar Jamshidi
Shahriyar Jamshidi tries to present the different music genre from Middle-East as well as the capability of Kamancheh
(Spiked-fiddle) that has not been recognized well in West. This music is based on improvisation. Zagros includes the
instrumental and vocal pieces of Kurdish music; these patterns will be used for the Kamancheh solo. First, Commit to
Memory of My Nation, a piece of improvisation in D-Minor. In this piece, melodies and rhythm frequently change.
The melody travels and extends on modal tunes to familiarize the listeners with the dynamic culture of Middle- East.
Second, Improvisation on Khorshidi (Chahargah) Mode, one of the common modes of Kurdish and Iranian music. The
improvisation is an epic free rhythm, and there will be an attempt to create it on stage at the time. Third,
Improvisation on Shur (Bayat) mode, this improvisation section will be played in poly-metric beats. With this
performance, Shahriyar tries to display capabilities of Kamancheh in improvisation without an accompanist and
presents his music and instrument as a potential component of contemporary music. He hopes the cultures will be
tied by creation of music at the 2015 ISIM Festival.
Shahriyar Jamshidi va prsenter diffrents genres musicaux du Moyen-Orient, de mme que les capacits du
Kamnche (sorte de vile pique), instrument peu connu l'ouest. Cette musique est base sur l'improvisation.
Zagros inclut des pices instrumentales et vocales issues de la musique Kurde ; ces lments seront utiliss pour
le Kamnche solo. D'abord, en engagement la mmoire de ma Nation, une improvisation en r mineur. Dans cette
pice, les mlodies et les rythmes changent frquemment. La mlodie voyage et se dveloppe sur des tons modaux
pour familiariser l'auditeur la culture dynamique du Moyen-Orient. Ensuite, une improvisation sur un mode
Khorshidi , l'un des plus frquents dans la musique Kurde et Iranienne. L'improvisation est un rythme libre pique,
que j'essaierai de crer sur le moment, sur scne. En 3me, une improvisation sur un mode Shur , qui utilisera des
mesures composes. Avec cette performance, Shahriyar dmontrera les capacits du Kamnche dans l'improvisation,
sans accompagnement, et prsentera cette musique et cet instrument comme une composante potentielle de la
musique contemporaine, en esprant que les diffrentes cultures puissent se rapprocher et se lier par la cration de
la musique lors du festival ISIM 2015.
Shahriyar Jamshidi, Kamancheh player, composer, vocalist in Middle-Eastern music and founder of the Dilan
Ensemble. He holds a Bachelor of Music from the Tehran University of Art. Over 24 years of his career, he has been
attempting to recreate the classical Kurdish music in an understandable way to younger generations. He considers
this effort as a cultural bridge between past and future. He has released, Alvanati, Call of the Mountains and A Yellow
Flower.
Shahriyar Jamshidi est joueur de Kamnche, compositeur et chanteur dans la musique du Moyen-Orient, et
fondateur du Dilan Ensemble . Il dtient un Bachelor en Musique de la University for the Arts de Thran.
Durant 24 ans de sa carrire, il a tent de recrer la musique classique Kurde de manire abordable pour les plus
jeunes gnrations, et considre cet effort comme un pont culturel entre le pass et le futur. Il a enregistr
Alvanti , Call of the Mountains et A Yellow Flower .

11:00AM-12:00PM 11h00-12h00
Htel Roc et Neige

11

Sa.

Sa.

Face to Face: Composition in the Moment [+] Face Face : Composition en temps rel [+]
Yakir Arbib
Born with Synesthesia and Perfect Pitch, Yakir Arbib possesses the ability to create entire musical compositions on
the spot without any prior preparation. His ability to "see" musical tones as distinct colors guides him in his creative
process as he visualizes a "landscape" of colors and sits down at the piano to create a new piece of music. In an
intense and intimate face to face solo recital Arbib will perform improvisations on themes from his latest original
compositions - utilizing original forms such as the "Ars Nova Exercise", the "Poly-temporal Fugato" as well as

58

be inviting his audiance to give him any challenge or musical theme - where upon he will proceed to improvise new
compositions on the spot based on the themes that are given to him!
N avec la synesthsie et l'oreille absolue, Yakir Arbib possde la capacit de crer une composition musicale entire
sur scne sans aucune prparation antrieure. Sa capacit de voir les tons musicaux comme une couleur distincte
le guide dans le processus cratif comme s'il visualisait un paysage de couleurs, et s'asseyait au piano pour crer une
nouvelle oeuvre musicale. Dans un intense et intime rcital solo face face , il va improviser sur des thmes issus
de ses dernires compositions originales, utilisant des formes originales comme l'exercice Ars Nova , Fugato
poly-temporel ainsi que des formes traditionnelles telles que Toccata et Fugue , Thme et Variations , etc.
Dans la seconde partie du concert, il invitera le public lui donner des thmes musicaux ou des dfis, partir
desquels il improvisera des oeuvres nouvelles bases sur les thmes qu'on lui aura donns.
Yakir Arbib is an international award winning pianist and composer equally versed in both classical music and Jazz.
Four-time winner of the America-Israel Cultural Foundation for young talents (2006-2009), winner of the "Massimo
Urbani International Jazz Award" (2008) and signed since 19 years with European "Philology Jazz Records", Arbib
tours the world giving recitals of original music, and receives commissions by international ensembles like "ALEA III",
"Jerusalem Symphony Orchestra", "Triple Helix" and "Stradivari String Sextet". He holds a BM Cum Laude in Piano
and Composition from "Berklee College of Music" in Boston.
Yakir Arbib est pianiste, laurat de prix internationaux et compositeur, galement dou dans les styles classiques et
jazz. Quatre fois laurat de la fondation Amricano-Isralienne pour les Jeunes Talents (2006-2009), prix du
"Massimo Urbani International Jazz Award (2008) et sous contrat depuis 19 ans avec le label europen Philology
Jazz Records , il parcourt le monde en donnant des rcitals de ses propres compositions, et reoit des commandes
d'ensembles internationaux tels que Alea III , l'Orchestre Symphonique de Jerusalem, Triple Helix et
Stradivari String Sextet . Il dtient un BM Cum Laude en piano et composition du Berklee College of Music ,
Boston.

12:00PM-1:00PM - 12h00-13h00
Temple

11

Sa.

Sa.

The Bob Hallahan - David Pope Duo [+]

In their piano and saxophone performance, Hallahan and Pope will offer pieces that make connections between
traditional jazz styles, world music, extended saxophone techniques, and meditative practice. Among their selections
will be compositions by Thelonious Monk, and their own compositions. Central to the performance, the duo will
perform a tribute to the late Yusef Lateef (one of Popes mentors) with an interpretation of his composition Morning.
Dans ce concert de piano et saxophone, Hallahan et Pope vont proposer des pices qui crent des connections entre
les styles de jazz traditionnels, la musique du monde, les techniques tendues pour le saxophone, et les pratiques de
mditation. Ils prsenteront une slection de compositions de Thelonious Monk, de mme que leurs propres
compositions. Au centre de cette performance, le duo fera un hommage Yusef Lateef (un des mentors de Pope) en
interprtant une de ses compositions, Morning .
The Hallahan-Pope Duo has performed extensively, including in 2011 at Washington D.C.s Kennedy Center. Teaching
full-time at James Madison University in the U.S., they have played collectively in Denver, New York, Istanbul,
Moscow and St. Petersburg. Hallahan has worked accompanying Clark Terry, Joe Henderson, and Sheila Jordan. A
regarded authority on multi-phonic technique and pedagogy, Pope is known for columns on creativity and
improvisation (Saxophone Journal, Saxophone Today), and his blog Practice Monster.
Le Hallahan-Pope Duo a donn de nombreux concerts, notamment en 2011 au Kennedy Center de Washington DC.
Enseignants plein temps la James Madison University, ils ont jou ensemble Denver, New York, Istanbul, Moscou
et St Ptersbourg. Hallahan a travaill en accompagnant Clark Terry, Joe Henderson et Sheila Jordan. David Pope est
considr comme une rfrence en technique multi-phonique et en pdagogie, reconnu pour ses articles sur la
crativit et l'improvisation (Saxophone Journal, Saxophone Today) et son blog Practice Monster .

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12:00-1:00PM - 12h00-13h00
Salle de La Montagnarde

11

Sa.

Sa.

People brassing by [+] Gens de Brassage [+]

Park Stickney, Violaine Contreras de Haro
Two agile musicians, Park Stickney and Violaine Contreras de Haro, explore the world of French singer/songwriter
Georges Brassens. They will borrow his themes and will find inspiration in the singers unequaled groove to take the
audience on a trip through his melodies. Of course, improvisation comes first in this musical moment based on the
most recognisable (and also some of the most surprising) songs. Multiple flutes, a pedal harp and, perhaps the
audience will participate. Together, Park and Violaine offer us lively, spontaneous, instinctive and improvised music.
Deux musiciens tous terrains explorent le monde de Georges Brassens. Reprenant ses thmes, sinspirant de son
ingalable groove , Violaine Contreras de Haro et Park Stickney vous emmnent en voyage travers ses
mlodies. Un moment o limprovisation est reine, base sur les chansons des plus connues aux plus surprenantes.
Fltes multiples, harpe pdales et, pourquoi pas, participation du public.selon humeur de linstant ! Ensemble,
Park Stickney et Violaine Con treras de Haro offrent au public une musique vivante, spontane, instinctive,
improvise.
When Park Stickney, an unavoidable jazz harpiste and globe-trotter, and Violaine Contreras de Haro, an all-round
flutiste who enjoys investigating different sounds, met in Switzerland a colourful duo was born. A duo united by
shared melodies, twisted songs and rethought sonatas Park and Violin hop from one style to another creating
sincere fleeting atmospheres. And, most of all, they enjoy sharing these moments with the audience.
Park Stickney, incontournable harpiste jazz globe- trotter et Violaine Contreras de Haro, fltiste jonglant avec les
fltes et les sons se rencontrent en Suisse, dans les coulisses dun petit thtre. Cest alors que nait un duo color de
mlodies partages, de chansons bidouilles, de sonates trafiques Park et Violaine sautent dun style lautre,
crant des ambiances instantanes et empreintes de sincrit. Ils aiment partager ces moments magiques avec le
public.

12:00-1:00PM - 12h00-13h00
Htel Roc et Neige

11

Sa.

Sa.

AQUACELLO - Pure Intuitive Act [++] AQUACELLO pur acte intuitif [++]
Robert Jedrzejewski
As Karlheinz Stockhausen puts it in Ritual of the Super Formula: "The essential aspect of my music is always religious
and spiritual; the technical aspect is mere explanation. I have often been accused of vague mysticism. These days,
mysticism is easily misunderstood as something vague. But mysticism is something that cannot be expressed with
words, that is: music! The purest musicality is also the purest mysticism in a modern sense. Mysticism has a very
incisive capacity to see right through things. To this end, the intellect is a piece of equipment that serves intuition.
Intuition, clearly, is not innately present in man, but constantly infiltrates him, like the rays of the sun. Thinking is a
way of formulating things, of translating intuition in terms of our equipment, and our practical world an application
to the realms of perception. The act of artistic creation is happening here and now, it is action or reaction. In one
particular moment, an idea materialises in real time by assuming a physical form. The body of the performer, his
mind and perception are the biological layer of composition which is subordinate to the creative drive, the
Bergsonian lan vital.
A la manire dont Karlheinz Stockhausen met en rituel la super formule L'aspect essentiel de ma musique est
toujours religieux et spirituel ; l'aspect technique est une simple explication. J'ai souvent t accus d'une sorte de
mysticisme. Aujourd'hui, le mysticisme est souvent faussement interprt comme quelque chose de trs vague. Mais
il s'agit de quelque chose qui ne peut pas tre exprim avec des mots, c'est a : la musique ! La plus pure musicalit
est galement le plus pur mysticisme dans un sens moderne. Le mysticisme a une capacit trs incisive de voir -

60

clairement, n'est pas naturellement prsente dans l'homme, mais l'infiltre constamment, comme les rayons du soleil.
La pense est une manire de formuler les choses, de traduire l'intuition en termes d'quipement, et notre monde
matriel une application des royaumes de la perception. L'art de la cration prend place ici et l, c'est une action
ou une raction. A un moment prcis, une ide se matrialise en temps rel en prenant une forme physique. Le corps
du musicien, son esprit et sa conception sont les couches biologiques de la composition qui sont subordonnes la
conduite crative, l' lan vital bergsonien.
Robert Jedrzejewski - intuitive artist and doctoral candidate at the Fryderyk Chopin University of Music in Warsaw,
Poland. He studied cello and composition at the Academy of Music in Krakow, Poland and computer music by IRCAM
in Avignon, France. Co-founder of SALULU duo of improvising composers and co-organiser of INTUITIVA New Art
Conference. Author of WAWA LULU Intuitive Art Fest in Warsaw, Poland.
Robert Jedrzejewski est un artiste intuitif et candidat un doctorat la Fryderyk Chopin University of Music
Varsovie, Pologne. Il tudie le violoncelle et la composition l'Acadmie de Musique de Cracovie, et la musique
lectronique par IRCAM Avignon, France. Co-fondateur de SALULU duo de compositeurs improvisateurs et coorganisateur de INTUITIVA confrence sur l'art moderne. Auteur de WAWA'LULU , festival d'Art Intuitif
Varsovie

12:00-1:00PM - 12h00-13h00
Great Hall - Grande Salle de Chteau-dOex

11

Sa.

Sa.

Investigating Americana in Contemporary Improvisation through a Re-Imagining of Aaron Copland's 'Billy

The Kid Suite [+] [*]
Examiner la musique Americana dans l'improvisation contemporaine travers une r-imagination de
la suite Billy the Kid d'Aaron Copland [+] [*]
Malcolm Lynn Baker
The presentation will begin with a brief explanation of the arranging process; how various sections of the piece were
re-set for improvisation, what orchestrational options were considered, and how themes were either kept whole or
manipulated to provide improvisatory frameworks. There will then be a performance of the work (ca. 22 mins.),
followed by a discussion of the work from the performers viewpoints, additional information from other musicians
involved/associated with Americana in improvisation, and audience Q &A.
Cette prsentation commencera avec une courte explication du processus d'arrangement : comment les diffrentes
sections de la pice seront ramnages pour l'improvisation, quelles sont les options d'orchestration, et comment
les thmes sont laisss intacts ou sont manipuls afin de donner un terrain propice l'improvisation.
Puis, la pice sera joue en entier (environ 22 minutes), suivie d'une discussion sur l'oeuvre du point de vue des
musiciens, commente par des informations additionnelles et questions/rponses entre le public et les participants.
Malcolm Lynn Baker is an active performer and clinician, performing on Soprano and Tenor Saxophones, and
Percussion in Lynn Baker Quartet, the free-improvisation trio Rhythmic_Void, performing with and directing the
Rocky Mountain Jazz Repertoire Orchestra. His clinician appearances at colleges, universities, high schools, and
festivals have taken him across North American and to Asia. He is a Origin Records recording artist and his debut
release Azure Intention, was released September 2010 and appears on many Best Jazz CD of 2010 lists. His recent
release, LectroCoustic, is an anthology of compositions inspired by African-American dance grooves. Lynn Baker is
also the Director of the Jazz Studies and Commercial Music Program at the Lamont School of Music, University of
Denver, where he directs the Lamont Jazz Orchestra, coaches combos, and teaches Jazz Improvisation and
Composition, Jazz History, and Jazz Techniques classes. Lynn holds degrees from the University of Oregon and
Western Oregon University and has also studied at Mt Hood Community College with Larry McVeigh and at Indiana
University with David Baker, Dominic Spera and Eugene Robinson. Before coming to Denver in 1993 Lynn taught at
Indiana University and before that Carleton College, and universities in Oregon. Lynn is an award-winning composer,
performer, and educator winning the 1987 Westside Composer Award (Minneapolis, MN), the 1995 COVisions Award
for Jazz Composition, the 1980 Ruth Loraine Close award in performance (University of Oregon), and the 2005
Downbeat Magazine award for Outstanding Achievement in Jazz Education College Level and students and
ensembles from Lamont are frequent Downbeat Student Music Award winners.

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Malcolm Lynn Baker est un musicien actif sur scne et comme leader d'ateliers, jouant sur saxophone soprano et
saxophone tnor, ainsi que de la percussion dans le Lynn Baker Quartet , le trio d'improvisation libre
Rythmic_Void . Il dirige le Rocky Mountain Jazz Repertoire Orchestra. Ses apparitions comme leader d'ateliers
dans des gymnases, universits et hautes-coles l'ont fait voyager travers l'Amrique du Nord, ainsi qu'en Asie. Il
enregistre sous le label Origin Records, et a enregistr ses dbuts Azure Intention , sorti en 2010, et considr
plusieurs fois comme le Meilleur CD Jazz de l'anne. Sa dernire parution, LetroCoustic , est une anthologie de
compositions inspire par des grooves dansants Afro-Amricains. Lynn Baker est galement le Directeur des Etudes
de Jazz et du programme de Musique Commerciale la Lamont School of Music de l'Universit de Denver, o il
dirige le Lamont Jazz Orchestra , coache des plus petits groupes musicaux, et enseigne l'Improvisation et la
Composition Jazz, l'histoire du Jazz, et les classes de Techniques de Jazz. Il dtient des diplmes de la University of
Oregon et de la Western Oregon University , et a galement tudi au Mt Hood Community College avec
Larry McVeigh, ainsi qu' l'Universit de l'Indiana avec David Baker, Dominic Spera et Eugene Robinson. Avant de
s'installer Denver en 1993, Lynn a enseign au Carleton College et dans des Universits en Oregon, puis
l'Universit de l'Indiana. Il reoit plusieurs distinctions comme compositeur, musicien de scne et enseignant,
notamment le 1987 Westside Composer Award (Minneapolis, MN), le 1995 COVisions Award for Jazz
Composition , le 1980 Ruth Loraine Close award en performance musicale (University of Oregon), et le 2005
Downbeat Magazine award pour d'impressionnants rsultats dans l'enseignement du Jazz. Les tudiants et groupes
musicaux de la Lamont School of Music sont souvent laurats du Downbeat Student Music Award .

2:00-3:00 PM - 14h00-15h00
Salle de La Montagnarde

11

Sa.

Sa.

Duo: Susan Allen (California) Roman Stolyar (Siberia) [+]

The story of this international improvising duo started in 2005 when Californian harpist Susan Allen visited
Novosibirsk, Russia and met local composer and pianist Roman Stolyar. Their first performance together was so
successful that they recorded CD called Trialog released on Siberian jazz label Ermatell. Then, in 2007, Roman was
invited by Susan for doing workshops in California Institute of the Arts, and duo performed in concert hall REDCAT in
Los Angeles downtown. Since that time the duo has performed many times in Russia, Europe and USA. In 2011 Susie
and Roman recorded their second CD Together. The music of the duo, both expressive and intelligent, can be a good
example of that how improvisation unites musicians from different parts of the world and proves the significance of
improvisation as a common language. Participating in the ISIM meeting in Switzerland, Susie and Roman are
celebrating the 10th anniversary of their creative collaboration.
L'histoire de ce duo international d'improvisation a commenc en 2005 lorsque la harpiste californienne Susan Allen
visite Novosibirsk, Russie, et rencontre le pianiste/compositeur local Roman Stolyar. Leur premier concert ensemble
tait si russi qu'ils ont enregistr un CD appel Trialog , sorti sous le label de jazz sibrien Ermatell . Puis, en
2007, Roman a t invit par Susan pour donner des ateliers au California institute of the Arts , et le duo a donn
un concert au REDCAT Concert Hall Los Angeles. Ds lors, le duo a donn de nombreux concerts en Russie,
Europe et USA. En 2011, Susie et Roman enregistrent leur second album ensemble. La musique du duo, la fois
expressive et intelligente, peut tre une bonne illustration de l'improvisation unissant des musiciens de diffrentes
parties du monde, et montre la signification de l'improvisation comme un langage commun. Par leur participation au
festival ISIM en Suisse, Susie et Roman clbrent le 10me anniversaire de leur collaboration crative.
Susan Allen is well known throughout the Americas, Australia, Europe, Russia and Asia for her world premiere
performances of new and improvised music for harp on television, radio and at major music festivals. Susan's work in
improvised music has taken her to the Verona Italy Jazz Festival and the Stockholm Jazz and Blues All Star Festival, in
many instances in collaboration with jazz great, Yusef Lateef. Allen has improvised alongside saxophonist/composer
Anthony Braxton, sitarist Amiya Dasgupta and trumpeter/composer Ismael Wadada Leo Smith. She has also
performed with drummer Albert "Tootie" Heath (Modern Jazz Quartet), violinist L. Shankar (WOMAD Artist), jazz
great Dave Brubeck, guitarist Kevin Eubanks (NBC Tonight Show bandleader), Harpeggione virtuoso Erik Hinds, along
with Russian greats Sergey Letov, Arkady Freeman, Roman Stolyar and Sergey Belichenko.
Susan Allen est connue travers les Amriques, l'Australie, l'Europe, la Russie et l'Asie pour ses crations en
premire mondiale d'oeuvres contemporaines et de musique improvise, la TV, Radio, et dans des festivals

62

Blues All Star Festival de Stockholm, souvent avec le grand saxophoniste de jazz Yusef Lateef. Susan Allen a
improvis aux cts du saxophoniste/compositeur Anthony Braxton, le joueur de cythare Amiya Dasgupta et le
trompettiste/compositeur Ismael Wadada Leo Smith. Elle a galement jou avec le batteur Albert Tootie Heath
(Modern Jazz Quartet), le violoniste L. Shankar (artiste WOMAD ), Dave Brubeck, le guitariste Kevin Eubanks
(Leader du groupe de l'mission TV Tonight Show , NBC), le virtuose de l'arpeggione Erik Hinds, de mme que
plusieurs grands musiciens russes tels que Sergey Letov, Arkady Freeman, Roman Stolyar et Sergey Belichenko.
Educated both as jazz pianist and contemporary composer, Siberian improviser Roman Stolyar melts various styles
and genres in his playing from ancient polyphony to modern counterpoints and clusters. One of key figures in
Russian improvised music, he has collaborated with many outstanding musicians, including Dominic Duval, William
Parker, Vinny Golya, Glen Hall, Weasel Walter, Assif Tsahar, Martin Kuchen, Carl Bergstroem-Nielsen, and many
others. His improvisational workshops have garnered him an international reputation, and have led to many
invitations to create and implement workshops for organizations and universities around the world, including the
University of Michigan, Mannes College, the California Institute of the Arts, Chateu dOex Music School in
Switzerland, and the Versailles Conservatory. He is an author on the first Russian book on teaching free improvisation
- Modern Improvisation: A Practical Guide for Piano.
Ayant reu la fois une ducation de pianiste de jazz et de compositeur contemporain, l'improvisateur sibrien
Roman Stolyar mlange diffrents styles et genres dans son jeu de la polyphonie anciene aux contrepoints
modernes et accords blocs (clusters). Personnage phare de la musique improvise russe, il a collabor avec
d'extraordinaires musiciens tels que Dominic Duval, William Parker, Vinny Golya, Glen Hall, Weasel Walter, Assif
Tsahar, Martin Kuchen, Carl Bergstroem-Nielsen et bien d'autres. Ses ateliers d'improvisation lui ont donn une
rputation internationale, et l'a amen tre invit enseigner dans des ateliers pour des organisations et
universits dans le monde entier : University of Michigan, Mannes College, the California Institute of the Arts, Ecole
de Musique du Pays-d'Enhaut (Chteau-DOex, Suisse) et le Conservatoire de Versailles.

2:00-3:00PM - 14h00-15h00
Council Hall Salle du Conseil

11

Sa.

Sa.

The Art of the Trio: Improvisation, Interaction, and Intermusicality in the Jazz Piano Trio [**]
Lart du trio : improvisation, interaction, et inter musicalit au sein du trio de piano jazz[**]
Michael Mackey
The nonverbal communication of improvising musicians in collaborative performance is arguably one of the most
important facets of jazz. However, jazz transcription practices tend to focus solely on solo improvisation, thereby
neglecting the improvised processes of interaction that reciprocally inform and inspire both solo and
accompaniment. Using Ingrid Monsons theory of intermusicality as a point of departure, I examine the
interdependence of musicians in the jazz piano trio format and reveal the communicative dialogue coded in the
melodic, harmonic, and rhythmic content. In this presentation, I focus my attention on the Bill Evans Trio (19591961), which inspired seismic shifts in the ways musicians utilize improvisation as a vehicle for interaction in jazz
performance by championing ensemble cohesiveness and inventiveness over solo prowess. I examine my full trio
transcriptions of the Bill Evans Trio performing Cole Porters All of You, as recorded live in 1961 at the Village
Vanguard, to compare the trios conceptual framework to the original song form and to delineate the improvised
interactions between musicians on the bandstand. By utilizing the Bill Evans Trio as a case study, the implications of
intermusical analysis are then extended to applications in research, pedagogy, and performance practice.
La communication non verbale entre musiciens improvisateurs au cours dune performance en collaboration est, sans
nul doute, lune des facettes les plus importantes du jazz. Cependant, les pratiques du jazz tendent se focaliser
essentiellement sur limprovisation solo, en ngligeant les processus dimprovisation interactifs qui informent et
inspirent la fois le solo et laccompagnement.
En prenant comme point de dpart la thorie dIngrid Monson sur linter musicalit, jexamine linterdpendance des
musiciens au sein du trio de piano Jazz et rvle le dialogue cod dans le contenu mlodique, harmonique et
rythmique. Dans cette prsentation je concentre mon attention sur le trio Bill Evans(1959-1961)qui a inspir les
musiciens utiliser limprovisation comme un vhicule dinter action dans la performance jazz, en faisant le choix de
la cohsion de lensemble et sa capacit crative plutt que sur les prouesses solo. En me basant sur la performance

63

ligne directrice du trio la forme originale du chant et souligne les interactions improvises par les musiciens. En
prenant pour tude le trio Bill Evans, les implications danalyse inter musicale sont ensuite largies la recherche, la
pdagogie et la performance scnique.

Michael Mackey is a Ph.D. Candidate (ABD) and Teaching Fellow in Jazz Studies at the University of Pittsburgh. He is
also adjunct accompanist in Point Park Universitys Conservatory of Performing Arts and Director of Music at Holy
Child Catholic Church. Previously, Mackey was Director of Bands in the South Fayette School District, where he taught
instrumental lessons and ensembles at the middle school and high school for eight years.
Michael Mackey est professeur de jazz luniversit de Pittsburgh. Il est galement accompagnateur au
Conservatoire de lUniversit de Point Park, et matre de chapelle lEglise Catholique Holly Child. Auparavant, il a
dirig les fanfares de lcole Fayette o il a enseign durant huit ans.

2:00-3:00PM - 14h00-15h00
Htel Roc et Neige

11

Sa.

Sa.

Improvisational Structures for Student Laptop Ensembles [**]

Structures dimprovisation pour ensembles dtudiants munis d'ordinateurs portables [**]
Jeffrey Albert
This presentation outlines various improvisational structures designed for use in an undergraduate laptop ensemble
made up of students who are not necessarily experienced in computer music making or improvisation. The Loyola
University New Orleans ElectroAcoustic Ensemble is a laptop ensemble made up of 12 undergraduates, who are most
often Music Industry Studies majors. Some of these students are active musical performers, but some are training for
careers as business people in the music industry and have little or no performance experience. This fact combined
with the nature of some of the laptop based instruments makes improvisation a critical part of many of the groups
pieces. Experience has shown that many students seem to become more inhibited when there is less structure to the
plan for improvisation. Completely free improvisations are usually unsuccessful, so a variety of structures have been
developed to guide and encourage these novice improvisers through the experience. The presentation gives
examples of these structures, and discusses their development within the ensemble, as well as showing examples of
the computer based instruments, and video of the group performing the pieces.
Cette prsentation offre un aperu des structures dimprovisation destines un ensemble dtudiants munis
d'ordinateurs portables, sans tre forcment familiers de la cration musicale ou de limprovisation sur ordinateur.
Lensemble lectro acoustique Loyola de lUniversit de New Orleans est compos de 12 tudiants. Certains dentre
eux sont des interprtes actifs du milieu musical, mais dautres sentranent dans le but dune carrire dans le milieu
des affaires, au sein de lindustrie de la musique, et nont donc que peu, voir aucune exprience scnique.
Lexprience a montr que plusieurs tudiants se montrent inhibs lorsquil y a moins de structure dans
limprovisation. Les improvisations compltement libres savrent gnralement infructueuses, et donc de
nombreuses structures ont t dveloppes pour guider et encourager ces improvisateurs dbutants. La prsentation
offre des exemples de ces structures et examine leur dveloppement au sein de lensemble, tout en montrant des
exemples dinstruments sur ordinateur et une vido du groupe interprtant les diffrents morceaux.
Jeffrey Albert is a musician, music technologist, and educator. He is an Assistant Professor of Music Industry
Technology at Loyola University New Orleans, and was the first graduate of the Ph.D. program in Experimental Music
and Digital Media at Louisiana State University. Jeffs areas of research include the intersections of improvisation and
technology, performance paradigms for live computer music, and audio pedagogy. In 2013, the Paris based record
label Rogue Art released his CD, The Tree on the Mound, which features Kidd Jordan, Hamid Drake, and Joshua
Abrams.

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musicale lUniversit de Loyola, New Orleans. Il a t le premier tudiant diplm en musique exprimentale et
mdias musicaux et digitaux lUniversit de lEtat de Louisiane. Son champ dinvestigation inclue les croisements
entre improvisation et technologie, les paradigmes de la performance pour la musique sur ordinateur, et la
pdagogie .de lcoute. Dans son CD The tree on the mound (Paris 2013, label Rogue Art) figurent Kidd Jordan,
Hamid Drake et Joshua Abrams.

2:00-3:00PM - 14h00-15h00
Great Hall of Chteau dOex Grande Salle de Chteau-dOex

11

Sa.

Sa.

The Mandelbrot Duo - Galaxy for Violin and Cello [+]

Duo Mandelbrot : Galaxie pour Violon et Violoncelle [+]
Rupert Guenther: violin (Australia) , Penelope Gunter-Thalhammer: cello (Austria)
Galaxy is a musical journey, traversing and appreciating, from the micro in the unique eco- systems on the Earth,
then moving out through our skies into the macro of the solar system with its orbiting planets and their various
moons, and still light years further out into the vast spiralling mass of stars and star-systems which make up the Milky
Way galaxy. The improvised music unfolds as an intuitive, spontaneous expression of feeling, yet draws on an acute
awareness of structure: the use of tonalities, style, rhythms and textures needed to convey the emotional and
spiritual content and intentions of each segment of the music.
This concert allows classical improvisation to be experienced and appreciated in a chamber music setting, showing
how two artists can work together harmoniously in creating one giant tapestry as a coherent musical work in concert.
Giving the work a pre-determined title illustrates how improvisation can be incorporated in concert programming in
much the same way as any traditional repertoire would be.
Galaxy est un voyage musical traversant les micro systmes de notre terre pour se dplacer vers le ciel, les macro
lments du systmes solaire, avec ses plantes en orbite et leurs nombreuses lunes, puis des annes lumires plus
loin, vers limmensit des toiles en mouvement qui composent la voie lacte. La musique improvise se droule
comme un sentiment spontan et intuitif, et dessine pourtant avec clart une conscience de structure, grce
lemploi des tonalits, du style, des rythmes et textures dvelopps pour vhiculer le contenu motionnel de chaque
fragment de musique. Ce concert permet limprovisation classique dtre apprcie au sein dun cadre de musique
de chambre. Il montre de quelle faon deux artistes peuvent travailler ensemble, de faon harmonieuse, pour crer
une immense tapisserie sonore durant le concert. Le fait de donner luvre un titre prdtermin montre combien
limprovisation peut tre incorpore dans la programmation dun concert, de la mme faon que le rpertoire
traditionnel.
Rupert Guenther is a full-time specialist in classical music improvisation performance and pedagogy. Major
commissioned performances and recordings include Melbourne International Festival, the Australian Broadcast
Corporation (ABC) and Tate Britain (London).
He has taught masterclasses at leading universities including Vienna
University for Performing Arts (Austria), The Guildhall School of Music & Drama (London), The Reflective
Conservatoire International Conference at the Guildhall School of Music & Drama, and the European String Teachers
Association (ESTA) International Conference (Sweden).
Rupert Guenter travaille plein temps comme pdagogue et spcialiste de la performance improvise. Ses
performances et enregistrements majeurs incluent le festival international de Melbourne, the Australian Broadcast
Corporation (ABC) et Tate Britain (Londres). Il a donn des masters classes dans des universits de pointe telles que
lUniversit de Vienne pour les Arts de performance, The Guildhall School of Music & Drama (Londres), The Reflective
Conservatoire International Conference (Guildhall School of Music & Drama), et European String Teachers Association
(ESTA) International Conference (Sude).
Penelope Gunter-Thalhammer, born: Australia. Studied cello: Andre Navarra, Vienna University. Improvisation
masterclasses with Julyen Hamilton (dance) and Barre Phillips (bass). Improvisation performance collaborations
include: violin, didgeridoo, singer, dance, spontaneous poetry and art in Austria, Italy, Germany, Switzerland, France,
Australia and UK.
Teaches cello, classical improvisation, chamber music, pedagogy, and Flow at Vorarlberg State Conservatorium,
Austria, Austrian Master Classes, and St Paul Summercourse, Austria.
Orchestras include Camerata Zurich, State Orchestra Vorarlberg, and Melbourne Symphony Orchestra.

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Penelope Gunter- Thalhammer est ne en Australie. Elle a tudi le violoncelle avec Andr Navarra lUniversit de
Vienne, limprovisation avec Julyen Hamilton (danse) et la contrebasse de jazz auprs de Barre Phillips. Ses
collaborations au sein de performances dimprovisation incluent le violon, le didgeridoo, le chant, la danse, la posie
spontane. Elle sest produite en Autriche, Italie, Allemagne, Suisse, France, Autriche et Grande Bretagne. Elle
enseigne le violoncelle, limprovisation classique, la musique de chambre et la pdagogie au Conservatoire National
de Vorarlberg(Autriche) et donne des cours dt ST Paul (Autriche). Elle a collabor avec la Camerata Zurich,
lorchestre national de Vorarlberg, et le Melbourne Symphony Orchestra.

3:00-4:00PM - 15h00-16h00
Salle de La Montagnarde

Sa.

11

Sa.

Neuroleptic Trio [+]

Neuroleptic Trio is the band from Subotica/Serbia formed by musicians having more than twenty years of experience
of playing in various bands, such as: Sherbert Underground, Panix, Gyass, Earth While Sky Band, Wroom etc., and
cooperation with such authors like Lajko Felix, Olah Vince, Mezi Szilard. We have also been making music for theatre,
performances, video art and short films. In November 2007 we gathered to create a studio session based on pure
improvisation. There we have noticed that the Trio would be our magic number for good music correspondence.
Since then Neuroleptic Trio has been developing a concept of improvisation by three musicians playing various
instruments and using different techniques.
Neuroleptic trio est un groupe de Subotica/Serbie, form de musiciens ayant plus de vingt ans dexprience au sein
densembles tels que Sherbert Underground, Panix, Gyass, Earth While Sky Band, Wroom etc., en collaboration avec
des auteurs tels que Lajko Felix, Olah Vince, Mezi Szilard.
Nous avons aussi fait de la musique pour le thtre, des performances, des vidos et des courts mtrages. En
Novembre 2007 nous nous sommes runis pour crer en studio une sance dimprovisation. Cest l que nous avons
compris que le trio reprsenterait notre chiffre magique pour une bonne correspondance musicale. Ds lors
Neuroleptic Trio na cess de dvelopper un concept dimprovisation cre par trois musiciens aux techniques
diffrentes employes sur des instruments varis.

3:00-4:00PM - 15h00-16h00
Council Hall - Salle du Conseil

11

Sa.

Sa.

Mixing Modes: Free Improvisation in a University Choral Curriculum [**]

Mlange des modes : Improvisation libre dans le cadre d'une Chorale Universitaire [**]
Dr. Carole J. Ott
In large university ensembles, primary emphasis is typically placed on a single mode of performing that requires
learning repertoire and stylistic traditions, building individual and ensemble skills, and presenting performances.
Modes of performing that involve improvisation are largely absent, leaving ensemble members unaware of their
ability to create music spontaneously. For several semesters, choral ensembles at the University of North Carolina at
Greensboro have been exploring free improvisation in response to these questions: How can new modalities of
performing be introduced into an existing large ensemble structure? How can the skill of interpretation be balanced
with an exploration of spontaneous musical creation? How can performances blend improvisatory with traditional
modes of performing? This interactive session will introduce the techniques used to establish a culture of
improvisation in the choral setting and provide ideas for incorporating improvisation within the framework of
traditional choral performance. Recordings of solo, chamber, and large ensemble improvisations will be shared as
well as student reflections on the importance of this transformational work in their creative lives.
Dans les grands ensembles universitaires lon insiste sur une faon de jouer qui ncessite un rpertoire, des traditions
de style, des capacits de jeu individuel et densemble. Limprovisation est largement absente de ces ensembles,
privant ainsi les membres de toute cration spontane. Durant plusieurs semestres les formations chorales de

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Comment introduire au sein dun grand ensemble de nouveaux modes dexcution musicale ? Comment la capacit
dinterprtation peut-elle tre contrebalance par une exploration de la cration musicale spontane ? Comment
mlanger au sein dun concert la performance improvise et traditionnelle ? Cette session interactive prsente les
techniques employes pour tablir une culture de limprovisation au sein du chur et propose des ides pour
incorporer limprovisation dans le cadre de la performance chorale traditionnelle. Des enregistrements solos ou de
musique de chambre, ou encore des improvisations faites par de grands ensembles seront mises en commun, ainsi
que des rflexions formules par des tudiants sur limportance de ce travail sur leur vie crative.
Dr. Carole J. Ott is Associate Director of Choral Activities at the University of North Carolina at Greensboro. Her
degrees include the Master of Music and Doctor of Musical Arts in conducting from the University of Michigan where
she studied with Jerry Blackstone. She also holds a Bachelor of Music in Music Education from the University of
Cincinnati College-Conservatory of Music. At UNCG, Dr. Ott directs the University Chorale, Womens Glee Club, and
teaches undergraduate and graduate conducting.
Dr Carole J Ott Est la Directrice associe des activits chorales de lUniversit de North Carolina, Greensboro.
Diplme en musique elle obtient un doctorat de direction lUniversit du Michigan o elle tudie auprs de Jerry
Blackstone, et un Bachelor en pdagogie musicale au Conservatoire de Musique d lUniversit de Cincinnati. Elle
dirige la chorale universitaire de Cincinnati, le Club Womens Glee et enseigne lart de la direction aux tudiants.

3:00-4:00PM - 15h00-16h00
Temple

11

Sa.

Sa.

Improvisation: teach, practice, celebrate! [++]

Improvisation : enseignement, pratique, clbration ! [++]
Gordon Clements
Improvisation is often associated very specifically with jazz music. However, it is a vital component of everything we
do in life and can be thought of as the art of reaction. In this workshop we will explore improvisation as a necessary
skill in all subjects and disciplines. We'll practice it as a vehicle to develop imagination, conversation, interaction and
variety. Well also discuss success. What is it? How can it be measured and what are the important factors. Well
celebrate our own success in real-time on-the-spot spontaneous creation. Participants will be encouraged to bring
anything and leave all shyness at home. Much of what happens in education can be mindless. However, to be
successful in life we must think, act and be creative. An important goal in education should be to help students think
more creatively and react in ways that challenge the norm, explore the unexpected and move things in unpredictable
directions. The skill and practice of Improvisation does exactly this.
Limprovisation est souvent associe de faon spcifique la musique jazz. Pourtant elle reprsente un lment vital
pour tout ce que nous accomplissons durant notre vie, et pourrait tre considre comme lart de la raction. Dans
cet atelier nous allons explorer limprovisation en tant que capacit ncessaire tout sujet et discipline. Nous allons
la mettre en pratique comme moyen de dvelopper limagination, la conversation, linteraction. Nous parlerons
galement d e la russite. Peut-elle tre mesure ? Quels en sont les facteurs importants ? Nous clbrerons notre
propre russite dans la cration spontane de linstant prsent. Les participants seront encourags collaborer et se
dfaire de toute timidit. Bien des choses dans le domaine de lducation peuvent tre irrflchies. Cependant, pour
russir dans la vie, nous devons tre, penser et agir de faon crative. Un but important de lducation serait daider
les tudiants .penser de faon plus crative et ragir en dfiant les normes, en explorant linattendu et en se
dirigeant vers des directions non prvisibles. Cest prcisment tout lart de limprovisation.
Gordon Clements; Classical and Jazz Performer on Clarinet, Saxophone, & Flute; Wind Ensemble and Big Band
Conductor; Educator, clinician and festival adjudicator
Mr. Clements has worked as a soloist on numerous recordings and released six of his own on the international
market. He has shared the stage as a soloist with many of Canadas top jazz musicians. In classical performance, Mr.
Clements is well known for his bass clarinet and saxophone work with the Victoria Symphony. He has been a clinician
for Keilwerth Saxophones and Buffet Crampon Clarinets and in 2009 was inducted into the Victoria Music Hall of
Fame.

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directeur dun big band, pdagogue, directeur artistique de festivals. A enregistr de nombreuses uvres en tant que
soliste et publi de nombreuses crations. Se produit comme soliste avec les meilleurs jazzmen du Canada, et,
comme clarinettiste et saxophoniste classique, avec le Victoria Symphony Orchestra. Intronis au Temple de la
Renomme Musicale de Victoria en 2009.

4:00-5:00PM - 16h00-17h00
Salle de La Montagnarde

11

Sa.

Sa.

A Rare Form of Kleptomania (for violin and computer)

Une drle de kleptomanie (pour violon et ordinateur)
Jorge Variego
The work is a derivative composition from pieces by other composers. It is a homage that celebrates many preexisting compositions without fixing to any of them. An idea formed by many other ideas with only one unique
element, this very performance.
Cette uvre est drive des uvres dautres compositeurs. Cest un hommage ces pices sans toutefois y rester
trop accroch, une ide forme de beaucoup dautres ides qui ont toutes en commun cette performance unique.
Jorge Variego was born in Rosario, Argentina. He is currently Lecturer in Music Theory/Composition at the University
of Tennessee. Pursued research at the Institute of Sonology and was faculty at Valley City State University and at the
University of Florida. He participated in music festivals such as MATA, SEAMUS, EMS, Holland Festival, Sonoimgenes,
and released two solo CDs, Necessity (Albany-2010) and Regress (CMMAS-2013). His music was included in Pendulum
(PARMA 2014). More: www.jorgevariego.com
Jorge Variego est n Rosario en Argentine. Il enseigne la thorie de la musique et la composition luniversit du
Tennessee. Il a aussi fait de la recherche lInstitut of Sonology et a t professeur aux universits de City State et de
Floride.
Il a particip de nombreux festivals musicaux, MATA, SEAMUS, EMS, Holland Festival, Sonoimgenes et il a
enregistr deux CDs solo, Necessity (Albany-2010) et Regress (CMMAS-2013). Sa musique a t incluse dans
Pendulum (PARMA-2014). Plus dinfo sur : www.jorgevariego.com.

4:00-5:00PM 16h00-17h00
Salle du Conseil - Council Hall

11

Sa.

Sa.

Uniqueness and the unpredictable: Movement Quality and Improvisation in Music Practice and The
Feldenkrais Method
Lunicit et limprvisible : La qualit du mouvement et limprovisation dans la pratique de la musique
et la mthode Feldenkrais
Corinna Eikmeier
In a research project I compared improvisation and the feldenkrais-method. The descriptions of the body sensation
during improvisation are similar to the sensations many people have after Feldenkrais courses. The same persons
remember their moving sensations during interpretation mainly negatively. I conclude from that: not alone are the
technical playing movements a cause for this, but it is the inner attitude while playing music, the perception, listening
and the willingness to completely embrace the present situation. The main research questions of the project were:
Which specific manners of action are significant for improvisation? What mutual effect is there between the specific
improvisational manners of
action and the quality of movement while playing music? Which improvisational
manners of action are being dealt with implicitly in Feldenkrais-Method? Which possibilities of comparison can be
detected between the learning strategies used in Feldenkrais-Method and improvisational manners of action?
During the research process I created a qualitative research design inspired from the qualitative heuristic and artistic
research. In the lecture I will present the research design and give an overview over the results.

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des participants des deux activits sont trs similaires : les mmes personnes se remmorent les sensations qui
relvent du mouvement ngativement. Jen ai conclu que, non seulement, en tait la cause les mouvements du jeu
musical mais aussi lattitude en jouant la musique, la perception, lcoute et le courage de compltement
sabandonner au moment prsent. Les principales questions au cur de ce projet taient : Quelles manires daction
sont importantes en improvisation ? Quel est le dialogue entre la manire daction et la qualit du mouvement en
jouant de la musique ? Quelles manires daction improvistes sont traites par la mthode Feldenkrais ? Quelles
comparaisons pouvons-nous faire entre lapprentissage par la mthode et les manires daction de limprovisation ?
Le projet a aboutit par la cration dun modle de recherche qualitatif inspir de la recherche heuristique et
artistique qualitative.
Dans ce sminaire je prsenterai ledit modle de recherche et je donnerai une vue globale des rsultats.
Corinna Eikmeier (born 1969 in germany) studied Violoncello, Contemporary Music, Improvisation and did a
Feldenkrais training. She takes part in several interdisciplinary projects, teaches Feldenkrais and Improvisation at
University of Music Hannover and freelances as a cello teacher. From 2007 to 2009 she was a Dorothea Erxleben
scholar, working on a project about feldenkrais and improvisation. Since 2010 she has been working on her PHD. The
working title of her dissertation is: Influence of improvisatory methods on the quality of the playing movements of
musicians. Parallels between the Feldenkrais method and improvisation as a mode of work. Further information:
www.corinna-eikmeier.de
Corinna Eikmeier, ne en Allemagne en 1969, a tudi le violoncelle, la musique contemporaine, limprovisation et a
pris part la mthode Feldenkrais. Elle sinvestit dans de multiples projets interdisciplinaires, enseigne la mthode
Feldenkrais et limprovisation luniversit de musique Hannovre et est une professeur indpendante de
violoncelle. De 2007 2009, elle tait une spcialiste Dorothea Erxleben (programme promouvant lgalit des
chances) et sous cette appellation travaillait sur un projet propos de la Feldenkrais et limprovisation. En 2010 elle a
commenc travailler sur son doctorat. Sa thse porte sur Linfluence des mthodes dimprovisation sur la qualit
des mouvements chez les musiciens : des parallles entre la mthode Feldenkrais et limprovisation comme mode de
travail.. Plus dinfos sur : www.corinna-eikmeier.de

4:00-5:00PM 16h00-17h00
The Hall of the Hotel Htel Roc et Neige

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Sa.

Sa.

Reading movement through music/ making music through kinesthetic response [++]
Dchiffrer les mouvements par la musique/cration de musique par rflexes kinesthsiques [++]
Amy Chavasse, Ed Sarath
Starting with the premise that improvisation begins with paying attention, presence and availability, this workshop
will cultivate urgency and desire around creating/composing in the moment. Tools for creating movement, in
collaboration with music, will be offered and explored. Simple but layered exercises will offer participants ways to
play with the physical act of inhabiting and moving in space and time; a radical re-imagining of how we move while
listening and hear while moving. Intentionality, density, duration, sequencing and repetition are common
formulations for both music and movement. Chavasse and Sarath will lead participants through warming up into
composing practices that culminate in creating short compositional studies. Participants are invited to shift back and
forth between moving and making music/ sound in equal and ephemeral partnership.
Performance Improvisation:
Drawing on their extensive histories as improvisers and collaborators, Chavasse and Sarath will create an improvised
performance. The state of not knowing and attending to what emerges will provide the score for a performance of
approximately 30 minutes in duration. The performance can occur multiple times as an experiment in different
approaches.
En posant lhypothse que limprovisation commence par lattention, la prsence et la disponibilit, cet atelier
cultivera lurgence et le dsir qui entourent la cration ou la composition dans le moment prsent. Des outils utiliss
pour la cration de mouvement en collaboration avec de la musique seront prsents et explors. Des exercices
successifs permettront au participants dexprimenter avec leur volution dans lespace-temps ; une nouvelle
reprsentation du mouvement accompagn de musique et de lcoute accompagne de mouvement. Lintention, la

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Chavasse et Sarath mneront les participants dans des exercices dchauffements la composition qui aboutiront
la composition de courtes tudes. Les participants seront invits se mouvoir puis faire de la musique dans un
rapport mutuel et phmre.
Performance :
Chavasse et Sarath creront une performance improvise en mettant en pratique ce quils ont appris au cours de leur
nombreuses improvisations, individuelles et ensemble. Leur prsence dans lInconnu et leur attention et disponibilit
envers les sons qui mergeront sera assez pour une performance dune dure de 30 minutes. Celle-ci pourra se
manifester plusieurs fois par exprimentation avec diffrentes approches.
Amy
Chavasse,
choreographer,
performer,
educator,
improviser,
and
Artistic
Director
of
ChavasseDance&Performance is currently an Associate Professor at the University of Michigan. Shes also been guest
artist/ faculty at Bennington, Middlebury, Arizona State, UNC-Greensboro, Cornish and UNCSA. Her work has been
presented throughout the U.S.- NYC, (Gowanus Art + Production, Dance New Amsterdam, Dixon Place, 100 Grand,
Judson Church, WaxWorks, Triskelion, BAAD Ass! Womens Festival), and Jacobs Pillow Inside/Out. Internationally,
she has taught and her work has been produced in Cuba, Lithuania, Vienna, Colombia, Vancouver BC, Buenos Aires,
the American Dance Festival/ Henan (China) and The Beijing Dance Festival in 2012-13. She has been on the faculty at
Florence Summer Dance since 2007, and regularly teaches at Duncan 3.0 in Rome, and in Giovinazzo, Italy. She
danced in the companies of Laura Dean Dancers and Musicians, Bill Young and Dancers, and others and in many
independent projects in NYC and beyond. BFA- University of NC School of the Arts; MFA- University of Washington.
www.chavassedanceandperformance.com
Amy Chavasse, chorgraphe, interprte, ducatrice, improvisatrice et directrice artistique de
ChavasseDance&Performance, est actuellement une professeure associe de lUniversity of Michigan. Elle a aussi t
invite comme artiste ou enseignante Bennington, Middlebury, Arizona State, UNC-Greensboro, Cornish et UNCSA.
Ses uvres ont t prsentes au travers des Etats-Unis NYC, (Gowanus Art + Production, Dance New Amsterdam,
Dixon Place, 100 Grand, Judson Church, WaxWorks, Triskelion, BAAD Ass! Womens Festival), et Jacobs Pillow
Inside/Out.
Au niveau international, elle a enseign et ses uvres ont t reproduites Cuba, en Lithuanie, Colombie, Vienne,
Vancouver BC, Buenos Aires, au American Dance Festival/ Henan (China) et The Beijing Dance Festival en 2012-13.
Depuis 2007, elle est membre du corps enseignant au Florence Summer Dance, et elle donne rgulirement des
cours au Duncan 3.0 Rome et Giovinazzo, en Italie. Elle a dans pour les compagnies Laura Dean Dancers and
Musicians, Bill Young and Dancers, parmi dautres et de nombreux projets indpendants New York City et ailleurs.
Elle dtient un Bachelor de luniversit de caroline du nord et un Master de luniversit de Washington.
www.chavassedanceandperformance.com

8:00PM 20h00
Temple

11

Sa.

Sa.

Evening Concert Concert du soir

Francis Vidil
Opening : performance of the Trans-idiomatic Improvisation Workshop's participants
Premire partie : participants de l'atelier dimprovisation trans-idiomatique

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Sunday, July 12, 2015

Dimanche, 12 juillet, 2015

10:00AM 11:00AM - 10h00-11h00

Htel Roc et Neige

12

Su.

Di.

Maleva Duo [+]

Duo Maleva [+]
Pedro Gonzalez, Carla Genchi
For this performance we aim at showing our work and our understanding of multimedia improvisation. It will be 20
minutes of free improvisation mixed with interactive video scores. We really believe in improvisation as a way of
acting, a really powerful weapon for nowadays life, as the ability to engage in moment to moment creative activity.
Although the two of us have been trained as classical musicians, we integrate improvisation as a tool and a common
basis for interdisciplinary relationships. We think that our concert could be a good example of what is blossoming
right now from the new generation of improvisers.
Pedro Gonzales et Carla Genchi
Pour ce concert, notre but est de montrer notre travail et notre comprhension de l'improvisation multimdia. Ce sera 20
minutes d'improvisation libre mlanges avec des partitions vido interactives. Nous croyons dur comme fer
l'improvisation comme un art de vivre, une arme trs puissante pour la vie aujourd'hui, comme une capacit de vivre
l'instant prsent, au moment d'une activit cratrice. Bien que nous soyons tous deux issus de la branche classique, nous
utilisons l'improvisation comme un outil et une base commune pour les relations interdisciplinaires. Nous pensons que
notre concert pourrait tre un bon exemple de ce qui bourgeonne actuellement parmi les nouvelles gnrations
d'improvisateurs.
Pedro Gonzlez is a violinist, composer and improviser from Spain. During the two last years he has been focusing his
activity on the creation of multidisciplinary pieces; performing contemporary repertoire and improvised music using
electronics and video, exploring the possibilities of his instrument and the relationship between music and other arts.
Pedro studied violin composition and improvisation in Barcelona, Stockholm and Tallinn with Kai Gleusteen, Abel
Toms, Helena Tulve, Anto Pett, Richard Barret, Agust Fernndez, Taavi Kerikmae and Scott Miller. He has played in
different orchestras and chamber groups over Europe.
Pedro Gonzales est in violoniste, compositeur et improvisateur d'Espagne. Durant les deux dernires annes, il s'est
focalis sur la cration d'oeuvres multidisciplinaires, en jouant du rpertoire contemporain et de la musique
improvise en utilisant des outils lectroniques et vido, en explorant les possibilits de son instrument et les
relations entre la musique et les autres formes d'art. Pedro a tudi le violon, la composition et l'improvisation
Barcelone, Stockholm et Tallinn avec Kai Gleusteen, Abel Toms, Helena Tulve, Anto Pett, Richard Barret, August
Fernndez, Taavi Kerikmae et Scott Miller. Il a jou dans divers ensembles et orchestres de chambre en Europe.
Carla Genchi was born in Isernia, October, 28th 1983. She studied singing and composition in Italy, Austria and in the
Netherlands. Since 2005 she started to have a strong interest for contemporary music, radical and jazz
improvisation:she had many masterclasses with J. Leandre, L. Newton, M.Stockhausen, P. Madsen, E. Colombo, T.
Hosokawa, S. Scodanibbio, G. Scurti, P. Damiani , S. Battaglia, L. De Pablo, S.Potts, B. Morris (New Musical
Observatory, SantAnna Arresi). Nowadays she has been selected for a Master in Contemporary Music, Improvisation
and Composition (CoPeCo) that it is to be held in four different countries (Estonia, Sweden, France and Germany)
Professor David Vinden, Lecturer at Guildhall School of Music & Drama, London, UK, which will be published in 2015.
Carla Genchi est ne Isernia, Italie, le 28 octobre 1983. Elle a tudi le chant et la composition en Italie, Autriche et
aux Pays-Bas. Depuis 2005, elle a dvelopp un grand intrt pour la musique contemporaine, le jazz et
l'improvisation : elle suit de nombreuses masterclasses avec J. Leandre, L. Newton, M.Stockhausen, P. Madsen, E.
Colombo, T. Hosokawa, S. Scodanibbio, G. Scurti, P. Damiani, S. Battaglia, L. De Pablo, S.Potts, B. Morris (New Musical
Observatory, SantAnna Arresi). Actuellement, elle a t slectionne pour un Master en Musique Contemporaine,
Improvisation et Composition (CoPeCo) qui sera tenu dans quatre diffrents pays (France, Allemagne, Estonie et
Sude) avec le professeur David Vinden, confrencier la Guildhall School of Music & Drama de Londres.

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Council Hall Salle du Conseil

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Improvisation, Diversity, and Spirituality [PNL] Improvisation, diversit et spiritualit [PNL]

Led by Ed Sarath, Dr. Anthony Branker, Kathleen Camara
This panel explores the close connection between improvisatory creativity, cultural diversity, and spirituality. A core
connecting thread is that improvisation is a fundamental kind of creative expression that cuts across stylistic and
cultural boundaries and provides a means for individuals to access deep dimensions of spiritual awareness, meaning,
purpose, and cultural identity. Spirituality in this context is viewed in terms of peak experience, flow, and
interconnectedness with fellow musicians and listeners, with some consideration made of mystical experience and
the insights improvisation may have to offer our understanding of the nature of human consciousness. Attention will
also be devoted to the pedagogical ramifications of the improvisation/diversity, spirituality relationship.
Cette table ronde explore la proximit entre la crativit de limprovisation, la diversit culturelle et la spiritualit. Le
principal fil conducteur est que limprovisation est une expression crative fondamentale qui outrepasse les
frontires stylistique et culturelles et est un moyen pour ltre humain daccder des dimensions profondes de
conscience spirituelle, de sens, de but, et didentit culturelle. Dans ce contexte, la spiritualit est vue comme une
exprience phare, comme un courant, une inter-connectivit qui passe entre les musiciens et le public, avec lide
que lexprience mystique et les processus dimprovisation offrent quelque chose de plus notre comprhension de
la nature de notre conscience humaine. Lattention se portera aussi sur les ramifications pdagogiques entre
limprovisation, la diversit et la relation spirituelle.
Ed Sarath is Professor of Music and Director of the Program in Creativity and Consciousness Studies at the University
of Michigan. He divides his time between teaching, scholarship, performing, composing, recording, speaking, and
spearheading leadership initiatives that aim to bring this expanded vision to musical study and education at large.
His most recent book,Improvisation, Creativity, and Consciousness: Jazz as Integral Template for Music, Education,
and Society (SUNY/Albany, 2013), is the first to apply to music principles of an emergent, consciousness-based
worldview called Integral Theory to music. He designed the BFA in Jazz and Contemplative Studies, the first degree
program at a mainstream academic institution to include a significant meditation and consciousness studies
component.
He founded and serves as President of the International Society for Improvised Music
(www.isimprov.org). Recent keynote addresses include conferences at the National Association of Schools of Music
and Society for Consciousness Studies. His composition Brahma, Vishnu, Shiva, for 90-voice choir, string orchestra,
and jazz soloists, represents his bridging of diverse stylistic horizons. His recording New Beginnings features the
London Jazz Orchestra playing his large ensemble compositions and his solo flugelhorn work.
Sarath has presented master classes in improvisation at music schools and conservatories around the world and
published in journals in wide-ranging disciplines. He is a fellow of the National Endowment for the Arts, American
Council of Learned Societies, Ford Foundation, and the National Center for Institutional Diversity. He is the recipient
of the Harold R. Johnson Diversity Award at the University of Michigan.
Ed Sarath est professeur de musique et directeur du programme Creativity and Consciousness Studies lUniversit du
Michigan. Il partage son temps entre lenseignement, la recherche acadmique, linterprtation, la composition, les
enregistrements, les confrences, la promotion dinitiatives de leadership qui tendent promouvoir cette vision largie aux
tudes musicales et lducation dans un sens large. Son dernier livre, Improvisation, Creativity, and Consciousness: Jazz as
Integral Template for Music, Education, and Society (SUNY/Albany, 2013), est le premier appliquer les principes de cette
vision du monde mergente base sur la conscience, appele thorie intgrale , la musique. Il a dvelopp le BFA
(Bachelor of Fine Arts) en jazz et tudes contemplatives, le programme de diplme de premier cycle incluant de manire
significative ltude de la mditation et de la conscience, qui peut tre obtenu dans les institutions acadmiques
conventionnelles. Il a fond et prside la Socit Internationale de Musique Improvise (www.isimprov.org). On compte
parmi ses rcentes interventions des confrences lAssociation Nationale des Ecoles de Musique et la Socit d Etudes
de la Conscience. Sa composition Brahma, Vishnu, Shiva , pour chur 90 voix, orchestre cordes et solistes de jazz,
est reprsentative de son rapprochement dhorizons stylistiques diffrents. Son enregistrement New Beginnings
prsente lOrchestre de Jazz de Londres jouant sa panoplie de compositions ainsi que son travail de soliste au bugle.
Sarath a conduit des masterclass en improvisation dans des coles de musique, et des conservatoires tout autour du
globe et publi des articles dans des revues couvrant diverses disciplines. Il est membre du Fond National pour les
Arts, du Conseil Amricain des Socits Erudites, de la Fondation Ford, et du Centre National pour la Diversit
Institutionnelle. Il a reu le Prix de la Diversit Harold R. Johnson lUniversit du Michigan.

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Kathleen (Kate) Camara, Ph.D., is Associate Professor and Director of the Consortium for Research and Evaluation
in Arts and Youth Development at Tufts University, Medford, MA, where she teaches courses in Arts and Childrens
Development, Childrens Musical Development, Teaching Through Story, Drama, and Improvisation, Research
Methods, and Program Evaluation. She is on the faculty of the Eliot-Pearson Department of Child Study and Human
Development, and is affiliated faculty in the Department of Music, the Tisch College of Citizenship and Public Service,
Africana Studies, and Peace and Justice Studies. She received her Ph.D. from Stanford University in Psychological
Studies and Program Evaluation and her M.A. in Theater from Northwestern University. Her current research focuses
on how collective participation in music promotes positive youth development.
Using qualitative and quantitative methods and analyses, she conducts research and program evaluations in
collaborations with Berklee College of Music, Boston Conservatory, and deCordova Museum. Her work has been
presented at ISME, CMS, ISAME, ISIM, JPS, and NAfME conferences. She has taught pre-K through college level
students, and teaches private piano and voice lessons. Previous to her work at Tufts, she acted in professional
theater, directed childrens and youth theater programs, and worked with teachers in Head Start programs teaching
music and drama. Her passion for the inclusion of arts in the education of children and youth led her to her current
research and evaluation work. In her presentation at ISIM 2015 she will share the stories that emerge from the
narrative inquiry methods used to examine the impact of music making on the lives of over 400 youth from
underserved communities throughout the U.S. The youth are part of a national network of after-school music
programs offering instruction in music theory, musicianship and youth ensembles, and focused on the learning of
contemporary music. Contact: kathleen.camara@tufts.edu.
Kathleen ( Kate ) Camama, Ph.D., est professeur associe et directrice du Consortium pour la Recherche et
lEvaluation en Art et Dveloppement de la Jeunesse lUniversit de Tufts, Medford, MA, o elle donne des cours
tels que les Arts et le Dveloppement de lEnfant, le Dveloppement Musical de lEnfant, lEnseignement par la
Narration, le Thtre et lImprovisation, les Mthodes de Recherche et lEvaluation des Programmes.
Elle travaille la Facult Eliot-Pearson dans le Dpartement de lEtude de lEnfant et du Dveloppement Humain,
et est affilie la facult du Dpartement de la Musique, au Tisch College of Citizenship and Public Service,
lAfricana Studies, et laccociation Peace and Justice Studies . Elle a obtenu son doctorat en psychologie et
valuation de programmes lUniversit de Stanford, et son doctorat en thtre lUniversit Northwestern. Ses
recherches se concentrent sur limpact positif de la participation collective en musique sur le dveloppement de la
jeunesse.
Au moyen de mthodes et danalyses qualitatives et quantitatives, elle conduit des recherches et mne des
valuations de programmes en collaboration avec le Collge de Musique Berklee, le Conservatoire de Boston, et le
Muse de de Cordova. Son travail a t prsent lors de confrences au ISME, CMS, ISAME, ISIM, JPS, et NAfME. Elle
a enseign des programmes pr-scolaires auprs de collgiens ( ?), et donne des cours privs de piano et de chant.
Avant de travailler Tufts, elle a jou dans le milieu professionnel du thtre, dirig des programmes de thtre pour
les enfants et les jeunes, et travaill en collaboration avec des enseignants de musique et de thtre auprs de la
petite enfance.
Her passion for the inclusion of arts in the education of children and youth led her to her current research and
evaluation work. In her presentation at ISIM 2015 she will share the stories that emerge from the narrative inquiry
methods used to examine the impact of music making on the lives of over 400 youth from underserved communities
throughout the U.S. The youth are part of a national network of after-school music programs offering instruction in
music theory, musicianship and youth ensembles, and focused on the learning of contemporary music. Contact:
kathleen.camara@tufts.edu.
Sa passion pour lintgration des arts dans lducation des enfants et adolescents la mene ses recherches et
travaux dvaluation actuels. Dans sa prsentation lISIM 2015, elle partagera les rcits qui mergent de ses
mthodes denqutes narratives utilises pour examiner limpact de la composition musicale sur la vie de plus de 400
adolescents issus de communauts dfavorises dans tous les Etats-Unis. Les jeunes font partie dun rseau national
de programmes de musique para-scolaires qui offre des cours thoriques de musique, des cours de sens musical et
des ensembles de jeunes, et qui se concentre sur lapprentissage de la musique contemporaine. Contact :
kathleen.camara@tufts.edu.
Dr. Anthony D.J. Branker holds an endowed chair in jazz studies and is director of jazz studies at Princeton University.
His work as a composer, educator, scholar, conductor, and performer has been featured on the international stage in
Finland, Poland, Brazil, Italy, Estonia, Denmark, Greece, China, Australia, Germany, United Kingdom, France, Canada,
Russia, Lithuania, and Japan as well as throughout the United States. Dr. Brankers research has been shared at

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Music Education, International Symposium on Assessment in Music Education, College Music Society, International
Jazz Composers Symposium, and he was program scholar for the Looking At: Jazz, Americas Art Form film series in
Princeton sponsored by the National Endowment for the Humanities in collaboration with Jazz at Lincoln Center.
Dr. Anthony D.J. Branker occupe une chaire dote dtudes de Jazz et est directeur des tudes de Jazz lUniversit
de Princeton. Son travail de compositeur, dducateur, de chercheur, de chef dorchestre et dinterprte a t
prsent sur les scnes internationales en Finlande, en Pologne, au Brsil, en Italie, en Estonie, au Danemark, en
Grce, au Royaume-Uni, en France, au Canada, en Russie, en Lithuanie, et au Japon, tout comme travers les EtatsUnis. Les recherches du Dr. Branker ont t partages lors de confrences la Socit Internationale pour lEducation
musicale, la Socit Internationale de Musique Improvise, la Recherche en Education Musicale, au Symposium
International dEtude de lEducation Musicale, la Socit de Musique des Collges, au Symposium International des
Compositeurs de Jazz, et il a t actif dans la programmation du film documentaire Looking At : Jazz, Americas Art
Form Princeton, sponsoris par le Fond National pour les Sciences humaines en collaboration avec le club Jazz
at Lincoln Center .

10:00-11:00AM - 10h00-11h00
Temple

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Weblogmusic: A Platform for Time-Shifted Ensemble Improvisation [**]

Weblogmusic : une plateforme pour limprovisation de groupe en diffr [**]
Jeff Morris
Weblogmusic (http://weblogmusic.org) is a web-based platform for time-shifted improvisation, in born-digital
ensembles, using the asynchronous and episodic but still conversational structure of a weblog to shape the
performance process. The project contains a number of mixes, each of which presents a unique performance realized
in a web browser window. A mix contains several tracks, each containing one performers contribution, reacting to
those that came before it. In performance, four tracks are randomly selected from within the given mix and are
played in tandem, forming a quartet ensemble. Each performance functions both as a live performance and as a
pedagogical tool for improvisation, as the viewer is welcome to play along with the improvising ensemble. This
format allows us to explore the aesthetics of liveness, mediation, causality, and the human sense of presence and
interaction.Weblogmusic
Weblogmusic(http://weblogmusic.org) est une plateforme en ligne pour limprovisation en diffr, pour des
ensembles de forme numrique, qui utilisent la structure conversationnelle dun blog de manire pisodique et non
synchronise pour donner forme un processus dinterprtation. Le projet contient un certain nombre de mix,
chacun prsentant une performance unique ralise dans une fentre de navigation internet. Un mix contient
plusieurs pistes, chacune comprenant la contribution dun interprte, ragissant aux interventions prcdentes. Pour
lexcution, quatre pistes sont slectionnes de manire alatoire partir des mix donns et sont joues en tandem,
formant des quartets. Chaque interprtation fonctionne comme une prestation en direct ainsi que comme un outil
pdagogique dimprovisation, tant donn que le spectateur peut se joindre lquipe dimprovisateurs. Cette
formule permet dexplorer la valeur esthtique du vivant, de la mdiation, de la causalit et du sens humain de la
prsence et de linteraction.
Jeff Morris (http://morrismusic.org) is director of the PerfTech program at Texas A&M University (USA). He builds
performance situations that allow audiences to consider the impact of mediation on the human experience:
presence, authenticity, and the passing of time. He uses live performance to ask, What does it mean to be human in
the twenty-first century? Jeff curates the Fresh Minds Festival of audiovisual art and Weblogmusic (a web-based
platform for time-shifted improvising ensembles; http://weblogmusic.org).
Jeff Morris (http://morrismusic.org) est directeur du programme PerfTech lUniversit A&M au Texas (USA). Il
construit ses interventions de manire permettre aux auditeurs de considrer limpact de la mdiation dans
lexprience humaine : la prsence, lauthenticit, et la temporalit. Il utilise la prestation en direct pour poser la
question : Quest ce que cela signifie dtre humain au XXIme sicle ? . Jeff soutient le Fresh Minds Festival de
lart audiovisuel et Weblogmusic (une plateforme en ligne pour des groupes dimprovisation en diffr ;
http://weblogmusic.org).

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11:00AM-12:00PM - 11h00-12h00
Htel Roc et Neige

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Lovers Goat II presents Be Hear and Now [+]

La chvre de l'amoureux II prsente Sois entendu ici et maintenant
Sze Ka Yan and Nelson Hiu
Our approach will be conceptual improvisation with the environmental sound informed by experimental modern
classical, free improvisation and avant- gard jazz aesthetics.We will perform in an indoor area, will improvise with the
sound we hear, and respond to it. Also, we would like to use the found objects we can find on site to be part of our
instruments. To improvise music with the environmental sound, hear the now and dance with it. Also, to create an
atmosphere to let the audience to open their ears, also their bodies to watch and observe the sounds around them.
Enjoy the music and sounds dance through their bodies and connect themselves to the immediate environment.
Enjoy the now and embrace it.
Instruments we may use: Dong Xiao, Melodica, Violin, Tibentan Chimes, Voices and Found Objects.
Notre approche sera une improvisation conceptuelle avec les sons environnementaux, inclus dans les esthtiques de
la musique moderne exprimentale, de l'improvisation libre et de l'avant-garde jazz. Nous utiliserons les sons que
nous entendrons et y rpondrons. De mme, nous utiliserons des objets trouvs sur place pour les intgrer nos
instruments, afin d'improviser avec les sons environnementaux, d'couter le maintenant et de danser avec
l'instant prsent. Nous essaierons de crer une atmosphre afin d'inviter le public ouvrir leurs oreilles et leurs sens,
pour observer le mouvement sonore qui les entoure. Savourez la musique et les sons qui dansent travers le corps,
et connectez-les l'environnement immdiat. Savourez l'instant et joignez-vous lui !
Nous utiliserons des instruments parmi les suivants : Dong Xiao, Mlodica, Violon, Cloches Tibtaines, Voix humaines
et objets trouvs.
Sze Ka Yan and Nelson Hiu together Lovers Goat II are an experimental improvisational duo using found sounds,
various orthodox instruments as well as found objects and recorded digitally manipulated sound collage. 2 human
beings cosmic dust, Trying to echo, sketch, search and redefine our inner & outer existence. Using sound visuals &
text. Their approach of improvised music are conceptual improvisation informed by experimental modern classical,
free improvisation and avant garde jazz aesthetics.
Sze Ka Yan et Nelson Hiu forment dans La chvre de l'amoureux II un duo exprimental qui improvise en utilisant
les sons, diffrents instruments orthodoxes de mme que des objets trouvs et des manipulations de sons
enregistrs digitalement. Deux tres humains, poussires cosmiques, qui s'essaient donner un cho, un sens
notre existence interne et externe, en utilisant son, effets visuels et texte. Leur approche de la musiuque improvise
est issue de la musique exprimentale contemporaine, l'improvisation libre et l'esthtique de jazz avant-gardiste.

12:00-1:00PM - 12h00-13h00
Salle de la Montagnarde

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Papapitufo [+]
Jean-George Linsig, guitar; Fred Bintner, drums; Pierre Sottas, bass
The band was started a few years ago and brought back recently. The music is largely improvised around set themes
that serve as a meeting point, and is influenced by rock and funk. The repertoire is a bucolic off track walk between
a Sunday afternoon picnic and motocross.
Jean-Georges LINSIG (guitare), Fred BINTNER (batterie) et Pierre SOTTAS (basse). Ce projet est n il y a quelques annes,
mis en sommeil et rveill dernirement. Le principe du trio est de proposer une musique improvise organise autour de
thmes servant de points de repre, le tout dans une esthtique puisant lnergie du rock, du funk et les concepts du jazz.
"Le nouveau rpertoire est une sorte de promenade champtre non-balise mlangeant djeuner sur lherbe et
motocross.".

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The guitarist received his diploma as a professional guitarist from the Bern Jazz School, where he studied under
Francis Coletta, Thomas Sauter and Andy Scherrer. He has been playing on stage for a number of years as a sideman
as well as in the studio. Moreover he works on his own projects: MINGMEN and PAPAPITUFO. His passion for groove
and improvisation make him a apte musician in such styles as jazz, funk, rock and metal. At the moment, JeanGeorges teaches guitar and jazz harmony, hosts workshops for the EJMA (School for Jazz and Modern Music) and is
also an active musician.
Diplm de la Haute Ecole des Arts de Berne (Swiss Jazz School). Il est actif sur scne depuis plusieurs annes en tant
que sideman sur scne et en studio ainsi quavec ses propres projets, MINGMEN et PAPAPITUFO.
Sa passion du groove, de limprovisation libre et de la guitare en font un musicien laise dans des styles aussi
varis que le jazz, le funk, le rock et le mtal
Fred Bintner
The drummer studied at the Paris conservatory where he received his Masters in Musicology. He also has a drum
teacher diploma from Paris Dante Agostini School. He is a musician for the republican guard of Paris, and has been in
a great number of bands: Black Harmony (Gospel/Paris), Sista D, K-rine and China (Dee Dee Bridgewaters daughter)
(USA/Paris), UP Wilson (USA), Boney Fields and the Bones Project (USA), Lucky Peterson (USA), Fred Wesley (USA),
and Fribourg Jazz Orchestra (Switzerland).
Master en Musicologie Paris IV, Prix de Percussion et Batterie (Conservatoire de Paris et Ecole D Agostini). Concerts et
enregistrements avec : Boney Fields, UP Wilson, fribourg jazz orchestra (Bob Minzer, Lew Soloff, NY Voices, Irakere,
James Morrison ...), Lucky Peterson, Jerry Leonide, Cdric Duchmann
Pierre Sottas
The bass guitarist has a diploma for bass and arranging from the Bern School of Arts and has been touring Swiss and
European venues for some years. Hes taken part in many a projects such as Montreux Jazz on the road, Tribute to
Frank Zappa, i.Trio, Loraine Cotting and The Music of Billy Cobham feat. Billy Cobham.
Bassiste et arrangeur diplom de la Haute Ecole des Arts de Berne, il parcourt les scnes suisses et europennes
depuis de longues annes. Il a derrire lui de nombreux projets tels que Montreux Jazz On The Road, Tribute to Frank
Zappa, i.Trio, Loraine Cotting, The Music Of Billy Cobham feat. Billy Cobham, Espresso From Hell pour en citer
quelques uns.

12:00-1:00PM - 12h00-13h00
Hall of the Hotel Htel Roc et Neige

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Alinearity [+] Alinarit [+]

Raul Masu and Fabio Morreale
Alinearity is performed using Chimney, a laptop application developed by one of the authors. Chimney shares the
control over the performance between the musician and the computer. Specifically, the musician part of the control
is reduced to (i) selecting the musical objects that could be played during the execution, and (ii) placing them in a two
dimensional space. An algorithmic random walker unsystematically roams throughout this two dimensional space: as
it encounters an object, the sound associated to that specific object will start playing with a sound level which is
proportional to its distance to the walker. Under these conditions, the musician cannot organise a temporal structure.
Thereby, the music is no longer organised according to the phraseological temporal structure, and the sound objects
become the focus of the composition. This new perspective requires new compositional strategies to be been
adopted. The compositional approach adopted in this performance is grounded in the proposal of John Cage, who
suggested that the four main aspects of the compositional process are material, method, structure, and form. Cage
considered the structure as the single element that cannot be improvised, as opposed to form, which can be only
improvised. Chimney forces the composer to devise a different approach, finding a new balance between
composition and improvisation. By using Chimney, the structure can no longer be composed, as music temporal
direction is not under musicians control, nor it is deterministic.

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harmonic factor. Each excerpt is recorded using an ad hoc synthesizer developed in MaxMsp. Harmony has two main
tonal centres, i.e. Gmin and C#; the excerpts belong to one specific scale or use the common notes. Their
combinations alternate music with a clear tonal polarity, polytonality, and modality. The samples can either be long
pedal notes or melodies having a strong melodic identity, in which case they can either be very short patterns
resembling a minimalist aesthetics, or short themes. Timbre is controlled by two parameters: envelope and noisiness.
The structure and the form are the result of an integration of a compositional act, an extemporaneous performative
act, and an aleatory element introduced by Chimney.
La performance Alinarit se droulera grce l'utilisation d'une application informatique dveloppe par un des
auteurs : Chimney , qui partage le contrle d'excution musicale entre le musicien et lordinateur. En fait, la part
de contrle du musicien est rduite (i) slectionner les objets musicaux jouant durant lexcution, et (ii) les mettre
dans un espace bi-dimensionel. Un curseur se promne de manire alatoire dans cet espace en deux dimensions :
la rencontre dun objet, le son associ cet objet commence jouer un volume proportionnel sa distance au
curseur. Dans ces conditions, le musicien ne peut pas organiser une structure temporelle. La musique nest ainsi plus
construite de manire respecter une structure de phrase temporelle, et les objets sonores deviennent le point
central de la composition. Cette nouvelle perspective appelle adopter de nouvelles stratgies de composition.
Lapproche compositionnelle lie cette technique est base sur la proposition de John Cage qui dfinit quatre
aspects principaux au processus de composition : le matriel, la mthode, la structure et la forme. Cage a dtermin
que la structure tait le seul lment ne pouvant pas tre improvis, contrairement la forme qui elle ne peut tre
quimprovise. Chimney contraint le compositeur inventer une approche diffrente, trouver un nouvel quilibre
entre la composition et limprovisation. En utilisant Chimney, la structure ne peut plus tre compose, car la
direction temporelle de la musique nest ni sous le contrle du musicien, ni non plus dterministe. La mtacomposition est forme de 30 petits extraits de musique monodique, chacun associ un facteur de timbre, de
mlodie et dharmonie particulier. Chaque extrait est enregistr au moyen dun synthtiseur ad hoc dvelopp avec
MaxMsp. Lharmonie a deux centres toniques principaux, par exemple Sol mineur et Do# ; les extraits appartiennent
une gamme spcifique ou utilisent les notes habituelles. Leurs combinaisons font alterner la musique avec une
polarit tonale claire, une polytonalit et une modalit. Les chantillons peuvent tre soit des notes longues tenues
ou des mlodies ayant une identit mlodique forte ; dans ce dernier cas, le motif peut tre une courte phrase
minimaliste ou un thme succinct. Le timbre est contrl par deux paramtres : lenveloppe et le bruit. La structure
et la forme rsultent de lintgration de lacte de composition, dune action dimprovisation, et dun lment
alatoire introduit par Chimney.
Raul Masu is studying electronic music with Mauro Graziani and composition with Cosimo Colazzo at the
Conservatory of Trento, Italy. He attended master classes with Lawrence Casserley, Martin Parker, Agostino DiScipio,
Luca Francesconi, and Torres Maldonado. He collaborates with the ExperientialMusicLab (University of Trento, Italy).
He has published in a scientific journal and in several international conferences in the fields of music and emotions,
sound synthesis and human computer interaction. As a member of the SuperSantos design research group he won
the jury price of the student competition at CHIPLAY conference 2014. He played at the MaerzMusic festival in Berlin
in the Intonarumori orchestra led by Luciano Chessa. He composed the soundtrack for the documentary Braids of the
University of Trento. He was awarded at international composition competition Claxica.
Raul Masu tudie la musique lectronique auprs de Mauro Graziani et la composition avec Cosimo Colazzo au
conservatoire de Trente en Italie. Il a suivi des masters class de Lawrence Casserley, Martin Parker, Agostino DiScipio,
Luca Francesconi, et Torres Maldonado. Il a collabor avec lExperientialMusicLab (Universit de Trente, Italie). Il a
publi des articles relatifs au domaine de la musique et des motions, de la synthse du son et de linteraction entre
lhumain et lordinateur, ceci dans une revue scientifique et lors de confrences internationales. En tant que membre
du groupe de recherche SuperSantos, il a gagn le prix du jury au concours des tudiants lors de la confrence
CHIPLAY 2014. Il a jou dans lorchestre Intonarumori dirig par Lucian Chessa lors du festival MaerzMusic de Berlin.
Il a compos la bande originale du documentaire Braids of the University Trento . Il a t rcompens lors de la
comptition internationale de composition Claxica.

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defended his Ph.D. thesis, Designing New Experiences of Music Making at the Department of Information
Engineering and Computer Science of the University of Trento. He holds a B.Sc. and a M.S. in Computer Science and
an M.S. in biomedical data processing. His main research interests are interactive art, and design and evaluation of
musical interfaces. He has published in scientific journals and in several international conferences in the fields of
human computer interaction, music and emotions, interactive art and sound synthesis. He has been serving in the
program committee of several international conferences.
Fabio Morreale est post doctorant luniversit de Trente en Italie. Il a dfendu avec succs sa thse de doctorat
dbut 2015 sur le thme Esquisser de nouvelles expriences dans la cration musicale dans le dpartement des
techniques de linformation et de linformatique de lUniversit de Trente. Il a un Baccalaurat universitaire en
sciences, un Master en informatique et un Master en traitement de donnes biomdicales. Ses principaux intrts de
recherche touchent lart en interactivit, la conception et lvaluation des interfaces musicales. Il a publi des
articles dans des revues scientifiques et lors de plusieurs confrences internationales, dans le domaine de
linteraction entre lhumain et lordinateur, la musique et les motions, lart en interaction et la synthse du son. Il a
collabor dans diffrents comits organisant des confrences internationales.

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