electrocd

Track listing detail

Masques et dichotomies

Roxanne Turcotte / Roxanne Turcotte

  • Year of composition: 2021
  • Duration: 10:12
  • Instrumentation: synthetizer and 16-channel fixed medium
  • Publisher(s): Ymx média

Binaural

  • 48 kHz, 24 bits

“If you want to say something and have people listen then you have to wear a mask.”

— The British painter Banksy conveys his messages through a form of urban art that stokes curiosity and makes him very popular despite his desire to remain anonymous.

Research work on subliminal and psycho-acoustic effects: masking, filtering and strong bass webs; muted, evolving sounds; beatings, inversions, electroacoustic treatments and couter-melodies; electronic and acoustic timbres.

When heard through a mask, a voice sounds muted, dull like the night. These acoustic variations can be heard in TV and radio interviews since the beginning of the pandemic in late 2019. I ventured to reproduce these sound effects by using an equalizer on a voice recording, changing the timbre of that voice according to the types, thicknesses, sizes and number of plies of the fabric of an imaginary face mask, and then make the original vocal timbre clear and more distinguishable. Coughing and sneezing are placed on various spatial planes. Snatches of conversations recorded with an ambisonic recorder have been integrated as well.

A sound made by a cicada saved from a cat’s jaw acts as a connection between reality and dream. The insect makes that dry sound in my hand as it comes to its senses, and then flies away. Waves, used as a structuring device, move in all directions to Nature’s delight, leaving coastline residents adrift. And then, silence comes.

[English translation: François Couture, vii-21]


Masques et dichotomies [Masks and Dichotomies] was realized in 2021 at the composer’s studio (Studio Séducson) in Montréal and was premiered on February 27, 2021 at the concert La Grande Nuit 2021 — Au-delà de la notation broadcast online live from Agora Hydro-Québec as part of the Montréal / Nouvelles musiques (MNM) festival in Montréal. Thank you to Fannie and her friends.

Premiere

  • February 27, 2021, Binaural version for online listening: Montréal / Nouvelles Musiques 2021: La Grande Nuit 2021 — Au-delà de la notation, Montréal (Québec)

Composition

Au rythme des lucioles

Roxanne Turcotte

  • Year of composition: 2019-21
  • Duration: 2:56
  • Instrumentation: synthetizer and 16-channel fixed medium
  • Publisher(s): Ymx média

Binaural

  • 48 kHz, 24 bits

High-pitched sounds fly around like tiny ephemeral lights perceptible through the rhythms and internal space of the work. Clicking sounds appear only to disappear right away to fake a bioluminescence effect. The misaligned street lamps in semidarkness create halos that are slowly fading away, making room for the rustling of the next batch of ephemeral insects from the Lampyridae family.

An electroacoustic counterpoint that gets close to a choir is built from various sound sources and projected into the space. Imagine small beings, like white-tail rabbits, reawakening, people disappearing under a starlit night sky, or others perfectly still while watching the gently agitated scene. And finally, the long awaited glimmer of hope, a reflection!

The idea for this piece came to me on an evening stroll as I was fascinated by the show put on by fireflies all around me. And here I was thinking these insects were endangered! It was a perfect summer evening of 2017, the magical moment of a meteor shower that comes back every year like constellations in the sky. Let’s turn off the street lamps so we can observe them well.

[English translation: François Couture, vii-21]


Au rythme des lucioles [To the Fireflies’ Rhythm] was realized in 2019 at the composer’s studio (Studio Séducson) in Montréal and was premiered on May 3, 2021 at the concert Les oiseaux de Nias copresented by Le Vivier and Productions RTM at Salle Pierre-Mercure of the Centre Pierre-Péladeau in Montréal. This concert was broadcast online on 26 Mai 2021. Thanks go to Bruno Galante and Audrée Southière.

Premiere

  • May 3, 2021, Les oiseaux de Nias, Salle Pierre-Mercure — Centre Pierre-Péladeau, Montréal (Québec)

Composition

Les oiseaux de Nias

Roxanne Turcotte / Roxanne Turcotte

  • Year of composition: 2017-19, 20
  • Duration: 29:54
  • Instrumentation: 5 wind instruments, 25 bird calls and immersive (31-channel) multichannel fixed medium
  • Publisher(s): Ymx média

Binaural

  • 48 kHz, 24 bits

On the Island of Nias, off Sumatra in Indonesia, golden-voiced singing birds, such as the Sumatran laughing-thrush, the red chattering lory with its blackish-green tail, and the black-winged starling, are unfortunately captured every year for the benefit of a singing contest. A “tweet mania” where birds sadly disappear from the forest to go live in tiny cages. (Taken from and inspired by the feature story “Indonésie, l’éveil d’un archipel” broadcast in January 2016 on the television programme Thalassa on TV5.)

Exotic birds are caught illegally every year in the tropical forests to be sold on markets aimed primarily at Westerners. Parrots are hidden inside plastic bottles. Beautiful songbirds are exploited solely for the pleasure of the human ear. Southeast Asia is full of these rare and sought-after bird species.

Nature’s rites make some noise under this silence, no matter the location. There is a forest where, somewhere, birds are hiding from predators. Bird trafficking carries on to satisfy unprincipled aficionados.

Elsewhere, we listen to them, we enjoin them to be carefree. Let’s record them and observe them. In groups, birds show solidarity and a lack of hierarchy: a call to freedom and to saving our vital spaces.

At the heart of this piece’s theme is a behavioural and comparative study on how gregarious birds behave and how opposition manifests among human beings.

Les oiseaux de Nias draws a parallel between types of gathering among living beings and references the very troubling incidence of human activity on Earth’s ecosystem.

The great challenge for this work, which developed from acoustic/electronic coexistence, was to establish unity between fixed pre-spatialized sounds, the amplified, modified and spatialized sounds of the five soloists, and the choir of 25 acoustic bird calls.

I recorded the birdsongs while trekking and travelling. Added to acoustic sounds are sound objects I made: small fluorescent birdhouses on sticks with a mini-loudspeaker and a switch, modified whistle-straws that produce multiple frequencies simultaneously so as to reveal spontaneous chords.

This musical fantasia also includes visual and theatrical elements, and it calls for audience participation. It was first designed for a performance at the Satosphère of the Société des arts technologiques (SAT) in Montréal (Québec), a hemispheric hall fitted with a 31-channel, 157-loudspeaker sound system.

[English translation: François Couture, vii-21]


Les oiseaux de Nias [The Birds of Nias] was realized in 2017-2019 at the composer’s studio (Studio Séducson) in Montréal and was premiered on February 26, 2019 at the concert D’un espace à l’autre presented at the Satosphère of the Société des arts technologiques (SAT) as part of the Montréal / Nouvelles musiques (MNM) festival in Montréal. Set design: RB Breton Parisi; staging, lighting design: François Doyon. Thanks go to Walter Boudreau and Aïda Aoun of the SMCQ. This work was revised in 2020. Thank you to: the “Bird Calls Choir” including a group of children from the school École de la Samare (recorded bird calls); Fannie Doyon-Turcotte, Michel Lacroix and Cédric Quilleré (field recordings); Canadian Music Centre in Québec (graphic production of the score); David Ledoux and Robert Normandeau at Faculté de musique of the Université de Montréal (spatialization using SpatGRIS inside the loudspeaker dome and rehearsal); Audrée Southière (recorded narration); the five soloists Michel Dubeau, Julien Grégoire, Claire Marchand, Sonia Paço-Rocchia, Guy Pelletier; and a very special thank you to Élisabeth Cathy (cute bird sound). Long Pipe design, building, and programming: Sonia Paço-Rocchia; design and building of the other sound objects: Roxanne Turcotte. Finally, thank you to the Canada Council for the Arts (CCA) (composition, first live performance).

Premiere

Composition

Revision

About this recording

Le présent enregistrement sonore a été réalisé le 23 octobre 2020 au Studio Fast Forward à Montréal. Merci à: Frédéric Salter (prise de son), Bernard Beninger. Merci au Conseil des arts et des lettres du Québec (CALQ) (fixation). Trois mixages — multicanal, stéréo ambisonique et stéréo binaural — ont été réalisés en novembre et décembre 2020 au studio de la compositrice (Studio Séducson) à Montréal.

Recording

Mixing

Le bruit des soupirs

Roxanne Turcotte

  • Year of composition: 2014-17, 18
  • Duration: 9:48
  • Instrumentation: 16-channel fixed medium
  • Publisher(s): Ymx média

Binaural

  • 48 kHz, 24 bits

What is hiding behind that longing sigh that speaks so loudly to my ears? Short news reports in the form of soundscapes parleying under a street lamp. What ties ground and sky together are the scope of our anchoring, delicately drawing us up toward our story, travel diaries filled to the last page, the crossroads of our multifaceted lives, and our secret gardens. Le bruit des soupirs is a tight arrangement of audio segments first designed in 2014-15 for a greeting cards sound installation. Each segment, however short, reveals an ideology, a battle, sometimes with a bit of humour through various timbral colours.

Our inner silences dictate occasionally noisy behaviours and reflections. Human battles, debates, failures and sideslips are changed by the ideas, passions, desires and beauties of the world. Exotic bird songs, nature sounds and Creole words from the Seychelles Islands transport us into a wonderland, despite a black shadow cast by a luxury hotel dumping toxic waste in a waterway close to dwellings.

[English translation: François Couture, vii-21]


Le bruit des soupirs [The Sound of Sighs] was realized in 2014-2017 in the composer’s studio (Studio Séducson) in Montréal and was premiered on June 2, 2017 as part of the Klang! électroacoustique 2017 festival in Montpellier (France). This work was revised in 2018. Thank you to Michel Dubeau (recorded shakuhachi). Additional thanks go to the Canada Council for the Arts (CCA); François Doyon (photographs et video for the installation version); Arthur, Bénédicte and Paulo (voices recorded in the Seychelles).

Premiere

  • June 2, 2017, Klang! électroacoustique 2017: Concert 3, Salle Molière — Opéra Comédie, Montpellier (Hérault, France)

Composition

Revision

Mixing

Tango déconstruit

Roxanne Turcotte

  • Year of composition: 2017
  • Duration: 3:22
  • Instrumentation: multichannel fixed medium
  • Publisher(s): Ymx média

Binaural

  • 48 kHz, 24 bits

Visual sounds without pictures. Sensations and perceptions. A mountain road on a tango tune. A street lamp illuminates a rhythmic and polyphonic deconstruction of a Latin-American music genre I am particularly fond of, a genre that makes me travel in a welcoming sphere.

A short tribute to an exceptional woman, Argentinian composer Beatriz Ferreyra, who stepped into the world of electroacoustic music through the Groupe de recherches musicales (GRM) of the ORTF’s Service de la recherche, then directed by Pierre Schaeffer.

[English translation: François Couture, vii-21]


Tango déconstruit [Deconstructed Tango] was realized in 2017 at the composer’s studio (Studio Séducson) in Montréal and was premiered on February 27, 2021 at the concert La Grande Nuit 2021 — Au-delà de la notation broadcast online live from Agora Hydro-Québec as part of the Montréal / Nouvelles musiques (MNM) festival in Montréal. Tango déconstruit was composed from a piece — realized using a frequency modulation (FM) synthesizer — taken from a suite composed in 1985 for the performance Mime machine by Québécois mime artist Claude St-Denis.

Premiere

  • February 27, 2021, Binaural version for online listening: Montréal / Nouvelles Musiques 2021: La Grande Nuit 2021 — Au-delà de la notation, Montréal (Québec)

Composition

Les oiseaux de Nias 2

Roxanne Turcotte / Roxanne Turcotte

  • Year of composition: 2017-19, 20
  • Original work: Les oiseaux de Nias
  • Version: Arr. Roxanne Turcotte, 2020
  • Duration: 17:01
  • Instrumentation: stereo fixed medium (binaural)
  • Publisher(s): Ymx média

Binaural

ISRC CAD502110024

  • 48 kHz, 24 bits

Les oiseaux de Nias 2 was realized in November 2020 at the composer’s studio (Studio Séducson) in Montréal from the source sound recordings of the three-movement work Les oiseaux de Nias (2017-19, 20). Les oiseaux de Nias 2 exists only as a binaural stereo version.

Composition

Mixing