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Forms of Sound Festival

Explorations in Music and Sonic Arts

What is the meaning of sound?  The 2018 Forms of Sound Festival presents music that transforms the human voice, music drawn from sounds in our environment, musicians performing on stage and over the network and music that evokes place and forgotten events. 

Featured performers include the University of Calgary Orchestra with conductor Edmond Agopian, chamber ensembles and soloists including among others Tim Borton, percussion, August Murphy, flute, and pianists Rachel Kreyner and Daniel Szefer.

Wednesday, February 7, 2018 at 8 PM
Thursday, February 8, 2018 at 8 PM

Adults $12 & Students/Seniors $9
Tickets available on-line or at the door

Wednesday, February 7

Encounters in the Republic of Heaven
..... all the colours of speech ..…
by Trevor Wishart (UK)

Based on speaking voices recorded in the North East of England.
A sonic opera in 4 Acts, it combines portraits of individual speakers and the community of voices to create speech that waltzes, speech that locks in harmony, and clouds of speech that circle the audience, culminating with speech that transforms into song.

Thursday, February 8

Through a Window* - for six musicians
by Naithan Bosse

A network music composition exploring the nature of presence in a computer-mediated environment.
Musicians are distributed across three different performance sites on campus and connected using the university research network. Computer processing allows the sounds at one location to be manipulated before arriving at the other locations creating a somewhat mysterious relationship between the sites. A short note in one location could be stretched to an infinite drone in another. Delicate sounds such as breath or creaking paper can be greatly magnified. The result is a manifold composition in which some elements are shared between the sites and others are unique to each location.

Two Soliloquies* - for piano
by Lauro Pecktor de Oliviera
featuring pianist Daniel Szefer

Soliloquies I and II are part of an ongoing project of composition for solo instruments.  They are loosely related to aspects of speech that deal not only with rhetoric, but also through oration. In this sense, each piece explores specific characteristics in its so called building blocks (that is, motive, melody, harmony, rhythm, etc.); as a result, the performance is intended as a soliloquy.

okâwîmâw wanipaliw (Mother Lost)*
by J. Alex. Young

This piece began with my contemplation of the concept of “Indigenous Voice” and what it means to me as a Métis composer. I then began to view Indigenous voice as something that has been silenced or repressed, and therefore needing to be reclaimed. I felt that the Highway of Tears movement powerfully embodied the act of silencing or ignoring the “voice” of Indigenous women through brutality. This form of marginalization of Indigenous voice has historically occurred with the extirpation of cultural voice of Indigenous daughters who were removed from their homes and placed in the Residential School system. The resulting piece is okâwîmâw wanipaliw (Cree meaning Mother Lost) which coalesced these three concepts into a lament for the silenced and discounted Indigenous women’s voices. As the burden of these forms of loss become inundated with grief the music transforms into voices of the Indigenous community that begin to break the silence and band together in thunderous protest.

Illuminating the Windsor Hum - part 1*
by Brian Garbet

The five main sections of this surround sound work follow a narrative on noise pollution that includes soundscapes of parklands, a steel mill, and an aquatic environment while focused on the Windsor Hum phenomenon. This acousmatic excerpt draws on field recordings from the Detroit River/Zug Island area.

Northwest Passage - for orchestra
by Brian Garbet

Inspired by a short recording of a ferry horn blast in Horseshoe Bay, BC found in the World Soundscape Project collection at SFU. In the original recording you can hear the sound travel across the water and echo back off the mountainous terrain. This is both the foundation and point of departure for the piece on many levels including the evocation of an imaginary voyage.

* denotes world première performance