Description
The CIRMMT, OICRM, and BRAMS (COBS) student committees are pleased to invite you to the fourth inter-university student symposium, merging the three research centres under the theme “(Re)connection: Toward innovative perspectives on music practice, research and creation.” The symposium will be held at the Schulich School of Music at McGill University.
Schedule
| Time | Activity | Room | Presenter/Artist |
|---|---|---|---|
| 8:30-9:00 | Welcome table | Wirth Lobby | |
| 9:00-10:00 | COBS session 1 | Tanna Hall | |
| 10:00-11:00 | COBS session 2 | Tanna Hall | |
| 11:00-11:30 | Coffee break | Wirth Lobby | |
| 11:30-12:15 | COBS session 3 | Tanna Hall | |
| 12:15-13:00 | Keynote | Tanna Hall | P. A. Tremblay |
| 13:00-14:30 | Lunch | Wirth Lobby | |
| 14:30-15:30 | COBS session 4 | Tanna Hall | |
| 15:30-16:30 | COBS session 5 | Tanna Hall | |
| 16:30-17:30 | Posters & coffee break | Wirth Lobby | |
| —— | —— | —— | —— |
| 20:00-21:00 | Concert | Tanna Hall | improv@CIRMMT |
Keynote Address
Beyond cohabitation: towards a rich interdisciplinarity in music-technology research
Too often, interdisciplinarity is considered a hurdle in a grant application, a box to tick. Even when the intention is genuine, rarely music technology projects go beyond one discipline servicing the other.
What happens when we go candidly yet rigorously beyond cohabitation, from multi- to interdisciplinarity; from science-as-research to a plurality of research practices; from a service model to one that embraces the complex interrelation between disciplines across their porous barriers?
Music technology research has a great potential to be truly interdisciplinary, not as add-on nor an in-between, but as a field in itself, a fluid third stream. Such endeavour is possible only if we go beyond a mere cohabitation of the parent disciplines, dissolving taxonomies, challenging epistemic commitments, towards hybridizing as a way to evolve.
This keynote will propose to go to the roots of the next big questions of our respective fields, and embrace the richness and complexities of their agonistic diversity. We hope to generate constructive ways forward for rich interdisciplinary music technology research projects.
Pierre-Alexandre Tremblay
Huddersfield, UK
Pierre Alexandre Tremblay (Montréal, 1975) is a composer with a keen interest for creative coding and a performer on bass guitar and sound processing devices, in solo and within various ensembles. Commissioned and performed worldwide, his chamber music is mainly released by the label Empreintes DIGITALes. He is a member of the London-based collective Loop.
He formally studied composition, bass guitar, analysis and studio production in Montreal. He joined the University of Huddersfield in 2005, where he is now Professor of Composition and Improvisation, and leads the FluCoMa (Fluid Corpus Manipulation) project, funded by the EU’s Horizon 2020 research and innovation programme. FluCoMa instigates new musical ways of exploiting ever-growing banks of sound and gestures within the digital composition process, by bringing breakthroughs of signal decomposition DSP and machine learning to the toolset of techno-fluent computer composers, creative coders and digital artists.