The winning works at the Sound in Space Composition Competition (Boston, MA, USA, 2011) are Anagoge by Andrew Babcock (1st prize), Champs de fouilles by Martin Bédard (2nd prize), and A glass is not a glass by Adam Basanta (3rd prize).

The Musica Nova 2011 International Electroacoustic Music Competition (Prague, Czech Republic) recently announced its laureates: Antonio Scarcia, Chien-Wen Cheng, Martin Klusák, Diana Salazar, Roderik de Man, Monty Adkins, John Young, and Alla Zahaïkevych.

The Sound in Space festival will take place at the Fenway Center of the Northwastern University in Boston (USA) on November 17 - 19, 2011. This festival has a competition component with two concerts with the six finalist works — four of which are by Montréal composers: Adam Basanta, Martin Bédard, Simone D’Ambrosio, and Ana Dall’Ara-Majek. The festival also presents two portrait concerts — Daniel Teruggi, and Ludger Brümmer — and a few conferences and workshops.

Robert Normandeau will premiere his most recent work La part des anges on November 26, 2011 during the Imatronic festival in Karlsruhe (Germany). At the same event, the day before, is programmed a performance of the choreography Effraction de l’oubli by Camille Mutel for which Gilles Gobeil composed the music.

The 24 Tage Neuer Musik in Weimar festival will take place in Weimar (Germany) on November 2 - 5, 2011 and will feature, amongst others, the 65 anniversary of Annette Vande Gorne — portrait concert on November 4 — and the 85 anniversary of Francis Dhomont — portrait concert on November 5.

Although the music of Elainie Lillios is firmly rooted in the new stream of musique concrète-derived aesthetics, her work offers much for fans of other forms of abstract electronica to sink their teeth into. Like the work of many of her peers also documented by Montréal’s scene-defining empreintes DIGITALes label, each piece here is dynamic and gestural, with real-world sounds transforming and dissolving through unpredictable electronic processing trajectories. Lillios favours granular processing techniques that shatter sounds into particles and then sprays them out like clouds of dust or casts them across the soundscape like handfuls of pebbles. While others have employed this technique extensively, Lillios does so especially adeptly, achieving a balance between preserving the source material while conjuring a wide palette of unanticipated sonic colours. Her work often settles into an intimate mode with the use vocal source sounds. Though attractive, this feature can also occasionally feel overly prescriptive and literal, like with the texts in Listening Beyond. Elsewhere, such as in Arturo, textual aspects are perfectly intertwined with the sound world of the piece, only adding to the intrigue. Said intimacy and balance, as well as her penchant for resonant, droning atmospherics and dramatic contrasts, make Entre espaces a worthwhile listen.