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Le festival Akousma présente Christian Bouchard, Marie-Jeanne Wyckmans et Martin Bédard

Wed 12 Oct 2022 • 07:00 pm Electroacoustic / Experimental / Contemporary
Usine C - Montréal À partir de 18 $
· by Rédaction PAN M 360

Christian Bouchard

Commence par la guitare électrique puis classique puis électrique puis électrique préparée puis… plus de guitare mais de l’électroacoustique! Études au Conservatoire de Musique de Montréal. Touche à la musique pour le théâtre, le film, l’installation, le direct avec le quatuor Theresa transistor, la musique électronique et principalement la musique électroacoustique. Remporte des prix de composition de concours nationaux et internationaux, le plus récent étant le Joseph-S. Stauffer du Conseil des Arts du Canada. Christian Bouchard travaille également comme preneur de son en cinéma et télé-série.

Christian Bouchard began with electric guitar, then switched to classical, then back to electric, then prepared electric… then he stopped playing guitar altogether and started electroacoustics. He attended the Conservatoire de Musique de Montréal where his studies, although primarily focused on electroacoustic music, also included music for theatre and film, installation, live performance with the Theresa Transistor quartet, and electronic music. He has won awards for composition in national and international competitions, the most recent being the Joseph S. Stauffer prize from the Canada Council for the Arts. He also works as a sound recordist for film and TV.

Marie-Jeanne Wyckmans

Rocourt (Belgique) – 1954. Bruiteuse professionnelle, sa passion pour le son et l’écoute l’amène à découvrir la musique acousmatique en 1984, lors du 1er festival acousmatique international «L’Espace du Son» à Bruxelles.

Elle obtiendra un premier prix (1990), puis le Diplôme Supérieur de composition acousmatique (1993) dans la classe d’Annette Vande Gorne aux Conservatoires Royaux de Bruxelles et de Mons.

Tout en poursuivant son métier dans le monde du cinéma, elle y adjoint la création sonore : composition de musiques acousmatiques, musiques d’application pour le spectacle, pour la danse, pour des expositions et pour la radio.

Cinema foley artist Marie-Jeanne Wyckmans’s passion for sound and listening pushed her to discover acousmatic music in 1984, at the 1st edition of the Festival acousmatique international L’Espace du son in Brussels (Belgium).

After graduating in film editing from a cinema school (Institut supérieur des arts [INSAS]), she earned, under Annette Vande Gorne’s direction, a First Prize (1990) from the Conservatoire royal de Bruxelles and a graduate diploma in acousmatic composition (1993) from the Conservatoire royal de Mons.

Her works are a reflection of her interest in imaginary worlds, like the worlds transmitted by the radio, which she listens to daily, and she relays those worlds as imagined landscapes where iconic and transformed sounds act as land features orienting listeners’ mental representations. They also convey her ability — honed in her career as a foley artist — to make non-instrumental sounds speak, to make them expressive, to manipulate sound bodies with precision and a keen attention to the tiniest eloquent variations they can offer. Landscape recordings and play-sequences have become the cornerstones of her works.

Martin Bédard

Mes travaux actuels se concentrent principalement sur l’approfondissement et l’exploration des possibilités discursives des musiques audionumériques. À une ère où la création sonore est marquée par la fascination pour les nouveaux contenants médiatiques, la recherche sur les notions de discours m’interpelle beaucoup. Mes architectures sonores questionnent la grammaire de l’organisation sonique et les éléments constituant les possibles discours de l’audible. Elles cherchent à explorer davantage de nouvelles rhétoriques par le biais d’interdisciplinarités médiatiques conceptuelles de nature audiovisuelle (cinéma), littéraire (Nouveau roman, Oulipo, rhétorique), artistique (arts visuels, architecture) ou scientifiques (sciences naturelles entre autres). À cet effet, j’ai déposé en 2012 une thèse (Du langage cinématographique à la musique acousmatique: écritures et structures) portant sur les arrimages possibles entre la grammaire cinématique et la musique audionumérique. 

My current work focuses mainly on deepening and exploring the discursive possibilities of digital audio music. In a time where sound creation is marked by a fascination with new media, research on the notions of discourse seems to me essential. My “sound architectures” question the grammar of sonic organization and the elements constituting the possible discourse of the audible. They seek to further explore new rhetoric through conceptual media interdisciplinarities between audiovisuals (cinema), literature (Nouveau roman, Oulipo, rhetorics), art (visual arts, architecture), and science (including natural models among other things). To this end, in 2012 I submitted a doctoral thesis — Du langage cinématographique à la musique acousmatique: écritures et structures (From cinematic language to acousmatic music: writing and structures) — on the possible relationships between cinematic grammar and digital audio music.

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