Soundscape & Siwash Rock

 

CDs  avail  Able @  CDBaby  &  itunes  &  HighLifeWorld

Music Hear   also   @ 

radio3.cbc.ca/#/bands/sylvi-macCormac

myspace.com/sylvimacCormac

http://www.reverbnation.com/sylvimaccormac

https://soundcloud.com/sylvi_maccormac

https://twitter.com/sylvimacCormac

Electroacoustics (including Soundscape Composition) stretches the boundaries of music by collaging sound, story and song, transforming sound sources with signal processing and combining them in creative ways. Diffusion extends familiar structures, by placing the listener inside the soundscape while inviting us on imaginary journeys.  sylvi macCormac

to hear ELECTRO-ACOUSTIC JUKE BOX (while quantities last): SONUS.CA

http://www.sonus.ca/app/ui/more.php?MediaID=2118
Echoes of Home: All the Way from Ireland (2000), 00:18:37
Program Notes: a portrait of a family with voices (spoken&sung), music, cat purring, clock ticking & train sounds.

SMALL BOY with Rex Smallboy from War Party

WHEELS : Voices of People with Dis Abilities

UTS’AM / WITNESS

UTS’AM / WITNESS & WEP CD 2004 for John Clarke Xwexwsélkn 1945-2003

  1. xálek’ sekyu siyám / chief ian campbell – sxwi7shenalkwlh (3:o2)
  2. sandy scofield – all my relations (2:14)
  3. veda hille – plants (2:56)
  4. bruce cockburn – child of the wind (4:o8)
  5. barry truax – island (3:o3 xrpt)
  6. sylvi macCormac – carving canoes (3:55)
  7. sandy scofield – broken land (3:35)
  8. hildegard westerkamp – beneath the forest floor (3:20 xcrpt)
  9. buffy sainte-marie – starwalker (3:o3)
  10. kinnie starr – red%x (4:oo)
  11. shel neufeld – midnight forest run (3:55)
  12. sylvi macCormac – horizon (5:oo)
  13. anthony mcnab favel – northern loon (1:55)
  14. sylvi macCormac – witness : round journey (18:oo) with Squamish Spirit, Journey & Honour Songs
  15. jeremy williams – wind in the cedars (2:oo)
  16. spakwus slúlem / eagle song dancers – takaya / wolf song (8:1o) telélsemkin siyám / chief bill williams, song & narration by s7áplék / Bob baker

for John Clarke Xwexwsélkn 1945-2003 – family & friends

mastered & produced by macCormac – sylvi.ca – in collaboration with co-producer T’Uy’Tanat Cease Wyss – technomedicinewheel.org artistic director Slanay Spakwus Nancy Bleck – www.nancybleck.com executive producer Telélsemkin Siyám Chief Bill Williams – www.squamish.net designers Slanay Spakwus Nancy Bleck & Terry @ emeraldcity.bc.ca photos by Slanay Spakwus, Shel Neufeld, John Clarke

Huy Chewx A / Thank You to Artists, Volunteers, Mountain Equipment Co-Op, EMI Canada, True North Records, Lisa Baile, Round House Community Centre & Squamish Nation.

(p) 2004 UTS’AM/WITNESS (c) Composers/Writers (socan / ascap) all proceeds to U/W & WILDERNESS EDUCATION PROGRAM

http://www.UTSAM-WITNESS.ca & http://www.WEPBC.ca

 

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SOUNDSCAPE is FoR the BiRDS aka
Field of Sound : is Stochastic a Dirty Word ?
Soundscape Workshop with sylvi macCormac

Sound Walk Hear :

Filmed in Coast Salish Territory, Canada 2013
during Kickstart Disability Arts and Culture
at the Roundhouse – www.roundhouse.ca
Thanks to Barry Truax et al for Teaching with Joy
Dedicated to Sylvia macCormac Murphy 1933-2013
Director : Gene Greenwood – http://www.fartingpuppy.com
Producers : sylvi macCormac & Gene Greenwood
http://www.SYLVI.ca/ – http://www.kickstart-arts.ca/
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SOUNDSCAPE is For the Birds : is Stochastic a Dirty Word ?
presentations
History of Electroacoustics – for Soundscape Workshop
https://prezi.com/bca7tetrw7bm/copy-of-history-of-electroacoustics/
SOUNDSCAPE is For the Birds : is Stochastic a Dirty Word ? – for Soundscape Workshop
https://prezi.com/jqyydnqfbrkv/soundscape-is-for-the-birds-aka-field-of-sound-is-stochasti/
VOICES & WHEELS – for Soundscape Workshop
https://prezi.com/7it-ykmitlel/voices-wheels/#
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sylvi macCormac has facilitated Soundscape Workshops

1MoTown-583x960
2016, Feb 18, 9:30-11:00
One Mo’Town Music Fair, UBC Learning Exchange,
612 Main Street, Vancouver, BC V6A 2V3
http://learningexchange.ubc.ca/2016/01/13/feb-18-one-motown-music-fair/
2013 at Kickstart Disability Arts and Culture at the Roundhouse – www.roundhouse.ca
2008, SFU, Philosophy of Music, Dept of Education – http://www.SFU.ca
2001, originally presented to Audio Engineering Society, Vancouver Chapter
with Octophonic Presentation of ‘Witness: Round Journey‘ (20:00) 2000
composed with the Audio Box – http://www.RichmondSoundDesign.com
for Uts’am / Witness – http://www.utsam-witness.ca – http://www.AES.org

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60×60

60×60 is a project of Vox Novus
60×60 was created and founded by Robert Voisey to inspire, produce, promote, and disseminate the vast aesthetics and styles of contemporary composers being written by today’s living composers.
More about Vox Novus and Robert voisey can be found on their perspective websites:
www.VoxNovus.com
www.RobVoisey.com

60×60 (2014 / Pacific Rim Mix)
University Art Museum, 2/20/2014
California State University, Long Beach, California

60×60 (2012) Environmental Mix
Hildegard Westerkamp inside the Soundscape sylvimacCormac

60×60 (2012) Voice Mix
Hildegard Westerkamp inside the Soundscape sylvimacCormac

60×60 (2011 / Canada Mix)
WHEEL: Voices of People with Dis Abilities Sylvi macCormac

60×60 2011 Athena Mix
WHEEL: Voices of People with Dis Abilities Sylvi MacCormac

360 degrees of 60×60 Magenta Mix
This version of 60×60, called 360 degrees of 60×60, is sponsored in part by the International Computer Music Association (ICMA) – www.computermusic.org The works included in the mix were created specifically for the 2010 ICMC RED Edition (International Computer Music Conference) presented by Stony Brook University in New York City and Stony Brook. Six 60×60 mixes featuring 360 pieces from different composers throughout the world will presented during the conference and at remote concerts around the globe.

5bv

International Electroacoustic Music Festival

Fall 2010 IEAMF Festival
October 26, 27, 28
Brooklyn College
Three nights of electroacoustic music performances and installations at Brooklyn College.

Tuesday October 26
7pm, Levenson Hall

360 degrees of 60×60 (Magenta Mix)
Featuring Robert Voisey, Founder/Director of the 60×60 Project.
Sixty one-minute pieces by sixty composers, assembled into a continuous one-hour event. This performance features videos accompaniments for each work, created by video artist and composer Patrick Liddell.

60×60 (2008 / Canada Gallery Mix)

Small Boy Sylvi MacCormac

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ATTUALI TENDENZE DELLA SOUNDSCAPE COMPOSITION

CONSERVATORIO di MUSICA “G. VERDI” – COMO
Corso di diploma accademico
di primo livello in discipline musicali
Musica Elettronica e Tecnologie del Suono

Relatore:
Giorgio maestro KLAUER
Tesi finale di: Stefano LIETTI
Matr. 2592 Anno accademico 2012-2013

3.7 DE CONSTRUCTING ABUSE DI SYLVI MACCORMAC
De Constructing Abuse di Sylvi MacCormac è una composizione di 12’34”
inserita nell’album Raven Shadows del 2006 ed è stata commissionata da NAISA (New Adventures In Sound Art) e dal programma radio della CBC canadese Outfront per la manifestazione Deep Wireless: Radio Art without Boundaries, una kermesse di Radio Art in versione spazializzata presentata come parte delle performance di Radio Theatre al Latvian House di Toronto.
Sylvi MacCormac vuole evidenziare gli effetti psichici provocati dalle
aggressioni. Ha voluto scrivere questa composizione a favore delle persone vittime di violenza sia materiale che psicologica. “…Quando siamo aggrediti da una persona attraverso assordanti parole, gesti e suoni, inevitalmente rompiamo il nostro equilibro interno…”19.
La MacCormac utilizza la propria voce per esprimere pensieri e parole che
diventano loop per rappresentare le ossessioni nelle nostre teste ed usa il pitch shifting per abbassare la voce così da rappresentare sia la parte femminile sia quella maschile. La compositrice inoltre usa il suono del vetro rotto per rappresentare i cocci che si formano nel cuore e nell’anima di chi ha subito violenza ed il suondscape del mare per rappresentare la consolazione e la liberazione dalla violenza stessa. Nel brano sono inclusi una canzone della stessa autrice intitolata Ringing in Our Ears, dall’album Coastal Chants del 1992 and un soundscape registrato nel 2004.

Abusi Distruttivi da: Violenza Domestica

Io sono l’idiota del villagio che reca volumi di saggezza
un altro testo di analisi radicale eccentrico nella biblioteca
cercando qualcosa un rimedio una cura una tintura
per salvare le nostre anime, guarire il nostro essere
spezzato e tradito per aver sopportato la troppa vergogna
siamo tutti immersi nello scandalo
la mia bocca è chiusa e tuttavia le parole escono
perché io sono l’idiota del villaggio e il mio cervello non sarà muto
non sarà paralizzato, non sono l’unica persona
a prendersi la colpa con ulteriore biasimo
colpita e maltrattata pesantemente e ripetutamente
fino all’ultimo respiro quando tutta la rabbia fu troppo forte
e soltanto i suoni penetranti delle voci risuonavano
fermate tutto questo rumore
finchè non rimase più nulla e io lasciai
che i miei sensi nel cuore della notte
danzassero con gli angeli che brillano nel cielo
tu non mi hai colpita
tu hai buttato tutto tranne il lavello della cucina
finchè io non mi sono rannicchiata in un angolo
in fondo al frigorifero
sola fredda e tremante
i sogni cancellati la stima degradata
culturalmente folle clinicamente sana
bugie da decifrare nei libri di cronaca
io sono l’idiota del villaggio che ritorna
io sono l’idiota saggio che pensa al passato20

20 Mia traduzione dal testo inglese dal sito dell’autrice: www.sylvi.ca
19 MACCORMAC SYLVI, Raven Shadows, libretto di accompagnamento al cd.

Descrizione tecnica:
Nel brano vengono utilizzati effetti quali la normalizzazione, l’equalizzazione,
il delay, il riverbero, il gain, il pitch shift, il reverse, i loop, il Fade In ed il Fade Out e
la sintesi granulare.
Riepilogo:
0:00 Mobili scossi
0:04 Vetri rotti
0:09 Voce di donna
0:16 Gabbiani in lontananza ed effetti
1:19 Battito di ali
2:59 Movimento di cassetti pieni
3:02 Tazza mossa
3:24 Voce di uomo
6:22 Granulazione
6:26 Distorsione
6:47 Rumore dell’oceano con gabbiani
7:06 Pianoforte in sottofondo
7:22 Corvi
7:49 Poesia
9:44 Sirena per la nebbia
10:00 Canzone

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Deconstructing Abuse: from Battering in the Kitchen

i am the village idiot carrying books of wisdom
another eccentric radical scanning text in the library
looking for something a remedy a cure a tincture
to save our souls heal our (w) holes
broken and betrayed carrying too much shame
we are all implicit in the scandal
my mouth is shut and still the words come out
for i am the village idiot and my brain will not go dumb
will not go numb i’m not the only one
to take the blame along with another lashing
battered and abused overwhelmed and overused
till desperate spirits flew when all the rage was far too loud
and only piercing sounds of voices rang
stop that humming and finish scrubbing
till there was nothing left and i left
my senses in the middle of the night
to dance with angels that twinkle in the sky
you didn’t hit me
you threw everything but the kitchen sink
till i cowered in the vegetable box
at the bottom of the fridge
alone and cold and trembling
dreams erased esteem debased
culturally insane clinically intact
deciphering lies in books of fact
i am the village idiot coming back
i am the idiot savant staring back
© sylvi & see through publishing spring 1996 (socan)

De Constructing Abuse (12:30) 2004
commissioned by www.DeepWireless.ca and www.CBC.ca
on Raven Shadows CD 2006

https://itunes.apple.com/us/album/raven-shadows/id287938585

De-Constructing-Abuse

http://www.NAISA.ca/DeepWireless   &   http://www.CBC.ca/outfront

DEEP WIRELESS CD I 2004 includes Railway Lines : Trains of Thought (7:5o) Witness: Round journey (7:oo xrpt) does this SOUND like me ? (1:oo:oo) online  http://www.naisa.ca/deepwireless/Radio.html

Now in its third year, New Adventures in Sound Art is again producing the commission/residency opportunity as part of Deep Wireless, co-produced with CBC Radio’s “Out Front” and Charles Street Video. 2004 Deep Wireless artists are Marilyn Lerner, sylvi macCormac, Marion van der Zon and Richard Windeyer, with peices broadcast on CBC Radio from May 24-27 and spatialized versions presented on May 28th & 29th as part of the “Radio Theatre” performances at the Latvian House.De Constructing Abuse (12:30) by sylvi macCormac appears on Raven Shadows CD (2006)

Railway Lines : Trains of Thought (7:50) from Deep Wireless CD I also appears  online at Third Coast Festival

http://www.thirdcoastfestival.org/library/search?q=sylvi+macCormac

http://www.ThirdCoastFestival.org/behind_scenes_DeepWireless.asp

Radio Art from Canada – sylvi macCormac writes : Railway Lines: Trains of Thought stretches the Boundaries of Radio by collaging sound, story and song in an aural journey. This composition strives to extend the familiar structures of radio and music, by transforming sound sources with signal processing and combining them in creative ways, while inviting the listener into an imaginary journey along metaphoric Railway Lines. A child of Irish Immigrants who grew up on the West Coast of Canada, though no longer able to walk or play an instrument because of Multiple Sclerosis, I am “still brave” because of my community and because Electroacoustic Soundscape composition and “New and Improved” Radio provides me access to transcend Dis-Ability and continue to explore Fields of Sound. The Railway has both transported and run over many lives, both first nations and immigrants, in its quest for expansion and development. The Railway, while being sold out from under our feet, is still symbolic of various lines (commodities/communication/cultures) that break us apart and vibrant lines that bind us together as community in the unique and changing cultural horizon that is Canada.

 

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Acoustic Ecology

Ecology is the study of the relationship between individuals and communities and their environment. Acoustic or soundscape ecology is thus the study of the effects of the acoustic environment, or soundscape, on the physical responses or behavioural characteristics of those living within it. Its particular aim is to draw attention to imbalances which may have unhealthy or inimical effects. (Source: Barry Truax – Handbook for Acoustic Ecology CD-ROM Edition. Cambridge Street Publishing, 1999 – CSR-CDR 9901)
See also:
MacCormac, sylvi
1999
Reflections on Hildegard Westerkamp’s Talking Rain
Musicworks, No 74. Toronto: Music Gallery: 9-13.
Language(s): English

Keyword(s):

Acoustic Ecology ,  Soundwalk ,  Soundscape Composition ,  Acoustics

Abstract:

The author describes the work Talking Rain by Hildegard Westerkamp as a music as an intersection between sound and being, acoustics and ecology. This work mixed urban sounds and the sound of rain to demonstrate the possibility of living in ecological harmony.

 

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Voices on the Edge, Fifth Annual Festival of Women in New Music, features the International Women’s Electroacoustic Listening Room on March 11th, 2006 Cal State Fullerton, 2006 http://cec.concordia.ca/econtact/8_2/Madsen.html includes Voices of a Place: Hildegard Westerkamp inside the Soundscape (1998) from Voices & Wheels CD (2000) Voices of a Place orginally printed with article, Conversing with Nature: Reflections on Hildegard Westerkamps Talking Rain – Soundscape Minimalism MW ..74 1999 – http://www.musicworks.ca

 

 

SFU 40 Celebrating Electroacoustic Music at Simon Fraser University 1965-2005http://www.SFU.ca – concert including Barry Truax, Jean Piché, Martin Gotfrit, Arne Eigenfeldt, Anne Holmes, Martin Bartlett, Hildegard Westerkamp, John Oswald, sylvi macCormac (Voices of a Place)

A Brief History of Electroacoustic Music at SFU The Electronic Music Studio at Simon Fraser University was founded by R. Murray Schafer when the university opened in 1965, the third such studio in Canada, after the University of Toronto and McGill. It was located in the basement of the SFU Theatre as part of the Centre for Communication and the Arts. Composers such as Schafer, Anthony Gnazzo, Peter Huse, Bruce Davis, Don Druick, Phillip Werren, David Keane and Micheline Coulombe Saint-Marcoux, among others worked there in the early days. Schafer moved the studio to the newly formed Department of Communication Studies in 1972 as the home of the World Soundscape Project, calling it the Sonic Research Studio and giving it a focus on environmental sound recordings. Barry Truax arrived in 1973 bringing an emphasis on computer music synthesis and composition and succeeded Schafer in 1975. With the creation of a contemporary music program a few years later, the studio in the SFU Theatre was revitalized and used for teaching, under the guidance of Martin Bartlett, Martin Gotfrit and Arne Eigenfeldt who added their interest in live electronics. Over the years, both studios have trained countless young composers and hosted international visitors, as well as the 1985 International Computer Music Conference. Numerous national and international awards, as well as published recordings, concert performances and broadcasts around the world have resulted from this activity. (from http://www.sfu.ca/~truax)

 

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De Constructing Abuse  (12:30) 2004

Commissioned   by   NAISA   &     CBC

http://www.NAISA.ca/DeepWireless   &   http://www.CBC.ca/outfront

DEEP WIRELESS CD I 2004 includes Railway Lines : Trains of Thought (7:5o) Witness: Round journey (7:oo xrpt) does this SOUND like me ? (1:oo:oo) online  http://www.naisa.ca/deepwireless/Radio.html

Now in its third year, New Adventures in Sound Art is again producing the commission/residency opportunity as part of Deep Wireless, co-produced with CBC Radio’s “Out Front” and Charles Street Video. 2004 Deep Wireless artists are Marilyn Lerner, sylvi macCormac, Marion van der Zon and Richard Windeyer, with peices broadcast on CBC Radio from May 24-27 and spatialized versions presented on May 28th & 29th as part of the “Radio Theatre” performances at the Latvian House.De Constructing Abuse (12:30) by sylvi macCormac appears on Raven Shadows CD (2006)

Railway Lines : Trains of Thought (7:50) from Deep Wireless CD I also appears  online at Third Coast Festival

http://www.thirdcoastfestival.org/library/search?q=sylvi+macCormac

http://www.ThirdCoastFestival.org/behind_scenes_DeepWireless.asp

Radio Art from Canada – sylvi macCormac writes : Railway Lines: Trains of Thought stretches the Boundaries of Radio by collaging sound, story and song in an aural journey. This composition strives to extend the familiar structures of radio and music, by transforming sound sources with signal processing and combining them in creative ways, while inviting the listener into an imaginary journey along metaphoric Railway Lines. A child of Irish Immigrants who grew up on the West Coast of Canada, though no longer able to walk or play an instrument because of Multiple Sclerosis, I am “still brave” because of my community and because Electroacoustic Soundscape composition and “New and Improved” Radio provides me access to transcend Dis-Ability and continue to explore Fields of Sound. The Railway has both transported and run over many lives, both first nations and immigrants, in its quest for expansion and development. The Railway, while being sold out from under our feet, is still symbolic of various lines (commodities/communication/cultures) that break us apart and vibrant lines that bind us together as community in the unique and changing cultural horizon that is Canada.

 

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http://www.CBC.ca/insite/SOUNDS_LIKE_CANADA/2003/6/25.html

In a series on accessibility we spoke to Sylvi MacCormac. She’s a soundscape artist and musician who’s trying to break down some of those barriers through her work. She’s created the Wheels Project. That’s a collection of soundscapes and musical compositions featuring the voices of people with disabilities. http://www.vams.org

WATER RUSHIN’ THROUGH MY BRAIN Duration: 00:04:28 Work Name: WATER RUSHIN’ THROUGH MY BRAIN/ MacCORMAC

CANADA’s FAVOURITE SONG – Last week we asked you tell us about your favourite Canadian song. We’ll read some special letters and play some special Canadian music. THE HOCKEY SONG Duration: 00:02:09 Work Name: THE HOCKEY SONG/CONNORS, STOMPIN’ TOM

Host, St-Laurent, Bernard – Exec Producer, Sandell, Neil – Studio Producer, Parise, Michelle – Studio Tech, Hoffman, Kent

exerpted from www site of Sounds Like Canada

 

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Leif Brush’s soundsworks perspective by macCormac / sylvi, 2001 & 2003 http://www.freetoears.net/

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EARS : Electroacoustic Resource Site

http://www.ears.dmu.ac.uk/spip.php?rubrique12

Acoustic Ecology
[Disciplines of Study [DoS]  >  Acoustic CommunicationSoundscape Studies]

Ecology is the study of the relationship between individuals and communities and their environment. Acoustic or soundscape ecology is thus the study of the effects of the acoustic environment, or soundscape, on the physical responses or behavioural characteristics of those living within it. Its particular aim is to draw attention to imbalances which may have unhealthy or inimical effects. (Source: Barry Truax – Handbook for Acoustic Ecology CD-ROM Edition. Cambridge Street Publishing, 1999 – CSR-CDR 9901)

See also:
Acoustic Communication, Soundscape Studies

Bibliography includes:

MACCORMAC, Sylvi (1999). Reflections on Hildegard Westerkamp’s Talking Rain, Musicworks, No 74. Toronto: Music Gallery: 9-13. (English)

Keyword(s): Acoustic EcologySoundwalkSoundscape CompositionAcoustics

Abstract:

The author describes the work Talking Rain by Hildegard Westerkamp as a music as an intersection between sound and being, acoustics and ecology. This work mixed urban sounds and the sound of rain to demonstrate the possibility of living in ecological harmony.

About EARS – About the ElectroAcoustic Resource Site project

The ElectroAcoustic Resource Site (EARS) project has been established to provide resources for those wishing to conduct research in the area of electroacoustic music studies. EARS will take the form of a structured Internet portal supported by extensive bibliographical tools. To aid the greater understanding of the opportunities offered by these radical forms of sound organisation, as well as their cultural impact, the project will cite (or link directly to) texts, titles, abstracts, images, audio and audio-visual files, and other relevant formats. The project will strive to conceive of electroacoustic music in its widest possible sense, acknowledge the interdisciplinary nature of the field, and aspire to the greatest possible breadth and inclusiveness.

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2004 – CREATIVE RADIO: Documentary, Fiction, Story. Instructor:Joan Schuman, New School Univ, Dept of Journalism http://www.dialnsa.edu – curriculum includes Voices of a Place : Hildegard Westerkamp inside the Soundscape (1998) from Soundscape Minimalism : Music Works #74 1999 www.musicworks.ca

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2004 – Rivershed Society of British Columbia, Sustainable Living Leadership Program develops young leaders educating them in the principles and theories of sustainable living and community stewardship. “To create an enduring society, we need a system of commerce and production where each and every act is inherently sustainable and restorative … ” Paul Hawken – documentary video includes 100 MPH from Phoenix – http://www.rivershed.com/

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2004 – Sound for Walking Woman, a Video by Margaret Dragu & Lorna Boschman that documents an all-day community participation performance. Beginning and ending on the steps of the Vancouver Art Gallery, a group of Vancouver and Richmond citizens put on their walking shoes and dance, walk, and celebrate the pedestrian and bus lifestyle. Walking Woman = dance + live music + parade + tour + ecology + community + celebration and encourages the viewer to ask questions about the nature and limits of public art, spectacle, performance, community, and inclusion. Inspired by the visual art by Michael Snow bearing the same name, Walking Woman shows community art in action and is simply a whole lot of fun. http://www.vtape.org

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Canadian Music Centre – Electricities / Électricités CD 2003http://www.musiccentre.ca – including ” the gently haunting ambience of Sylvi MacCormac’s ‘penny: a process’ … ” Electricities/Électricités’ offers 37 new windows in a brief tour into the extraordinarily rich and divers history, geography and currents of Canadian electroacoustic music drawn from the huge catalogue of the Canadian Music Centre’s Distribution Service. ‘Electricities / Électricités’ travels through time, from Hugh LeCaine’s 1957 pioneering and artful experiments with the world’s first ‘Sackbut’ synthesizer on ‘The Burning Deck’ and Ann Southam’s sparse and elegant ‘Reprieve’ from 1979, to the cutting edge and ground breaking contemporary works of Robert Normandeau and Louis Dufort.”

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Co-Op Radio: Changing Times (42:30) 2002 with Radio Archives Interviews Field Recordings

w Christopher Clapper homeless on th streets & Buffy Sainte-Marie bkwrds

(NOT for SALE) Co-op Radio Sound Art Vol IIhttp://www.coopradio.org

does this SOUND like me ? w th voices of 21 artists w dis abilities (1:00:00) 2001 composed for KickstART! Society for Disability Arts & Culture http://www.s4dac.org Outside the Lines: self portaits by artists with disabilities – Pendulum Gallery 2001 KickstART! : Celebration of Disability Arts & Culture – Roundhouse 2001 CBC AM http://www.cbc.ca/SoundslikeCanada (June 25/July 28) 2003 5th WHEEL see http://www.reachdisability.org/vams/vams_wheels.html

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sylvi5Witness: Round Journey (20:00) 2000  http://www.utsam-witness.ca Huy chewx a / Thank you for the honour and for listening. This is my attempt at an expression of the essence of Uts’am / Witness through sound. “We have never stopped being nature” (Slhalnãy Sp’ãkwus Nancy Bleck ). We will never stop being nature unless nature itself ceases to exist. We are voices of the city, country, forest and wilderness.

Soundscape composed with Squamish Spirit Song, Journey Song and Honour Song as sung by Telálsemkin Siyám (Chief Bill Williams), Kwalucton, William Nahanee, Aaron Nelson-Moody et al. Wilderness Soundscapes and Voices were recorded around the Elaho River, the Carnegie & Roundhouse Commmunity Centres Vancouver BC Canada 97-99. Voices: Telálsemkin Siyám, Nancy Bleck Slhalnãy Sp’ãkwus, John Clarke Xwexwsélkn , Amir Ali Alibhai, Paul Hundal, Joan, Drew Leetham, William Nahanee, Aaron Nelson-Moody, Shel Neufeld, a young english boy, Marie Preissl, Bob Turner, Ceise Wyss and a young squamish girl.

Thanks also to http://www.SFU.ca/~Truax for guidance and http://www.richmondsounddesign.com for the Audio Box. This is a stereo mix of an octophonic work composed w th Audio Box @ SFU 2000. CD will be available with proceeds to http://www.utsam-witness.ca & http://www.wepbc.ca

Uts’am & Cedar Woman Exhibition w Fabric Installation by Andrea Zimmer, RoundHouse 2001 Audio Engineering Society ,Vancouver Chapter, Landmark 2001 – Witness: Round Journey & Talk “Field o Sound: is Stochastic a Dirty Word ? Soundscape Composition w the Audio Box” LEAPS (Live Electronic Arts Performance Series) Van Pro Musica w photos in slow dissolve by John Clarke Xwexwsélkn 2000 Emily Carr IAD, Faculty presentation of Witness: Round Journey with the photography of Nancy Bleck Slhalnãy Sp’ãkwus 2000

2004 Deep Wireless I CD – Round Journey (7:10 xcrpt) with Railway Lines: Trains of Thought – http://www.deepwireless.ca

 

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W.A.T.E.R.S. Women and the Environment Radio Series 1996

A radio series distributed internationally and broadcast on Vancouver Co-op Radio 102.7FM Theme Music: Sylvi’s song Coastal Chant from Coastal Chants 1992 – http://www.coopradio.org

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The Shape Shifter 1992 Spirit Song Theatre production
Writer: Ronnie Way, including music by Paul Horn and Sylvi

 

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Song for Carmanagh 1990 by Tippy Agogo on Sounds of Our Voices WC 2 Compilation for Western Canada Wilderness Committee with Tippy Agogo, Jenny Allen, and John Mann (Spirit of the West)