48. Polytope XXI: A Tribute to Iannis Xenakis
- Fabrice Marandola (author)
- Myriam Boucher(author)
- Dominic Thibault (author)
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| Title | 48. Polytope XXI |
|---|---|
| Subtitle | A Tribute to Iannis Xenakis |
| Contributor | Fabrice Marandola (author) |
| Myriam Boucher(author) | |
| Dominic Thibault (author) | |
| DOI | https://doi.org/10.11647/obp.0390.50 |
| Landing page | https://www.openbookpublishers.com/books/10.11647/obp.0390/chapters/10.11647/obp.0390.50 |
| License | https://creativecommons.org/licenses/by-nc/4.0/ |
| Copyright | Fabrice Marandola; Myriam Boucher; Dominic Thibaut; |
| Publisher | Open Book Publishers |
| Published on | 2024-10-09 |
| Long abstract | Polytope XXI is the title of a concert presented by Montreal-based percussion sextet Sixtrum to pay tribute to Iannis Xenakis. It is also the name that composers Myriam Boucher and Dominic Thibault have given to their monumental instrumental project that was premiered during this concert in May 2022: a sort of giant, electronically augmented, audio-luminescent harp, whose strings are put in vibration by multiple means by the percussionists of Sixtrum during the concert. The project was inspired by the first Polytope imagined by Iannis Xenakis, an ‘electronic sculpture combining light, music, and structure’, that was presented inside the French Pavilion during Expo67—the World’s Fair that took place in Montreal in 1967. This original installation created an artistic work inscribed in space and made of multiple layers of sound and light, and was designed so that spectators could move freely within the installation itself. Polytope XXI inverts this approach and sets the installation on stage with the goal to make it mobile, so that changes in the perception of space, light and sound can still be experienced by the audience, while also taking advantage of modern technological capabilities (actuators, sensors, etc). Here, we present a live recording of the world premiere of this work. |
| Page range | pp. 729–732 |
| Print length | 4 pages |
| Language | English (Original) |
Fabrice Marandola
(author)Fabrice Marandola is an Associate Professor of Percussion and Contemporary Music at the Schulich School of Music of McGill University (Montreal). Previously, he was a Professor of Percussion at the conservatories of Angers and Grenoble in France, a pedagogy instructor at the Conservatoire de Paris, and an Invited Professor at the Crane School of Music (State University of New York (SUNY) at Potsdam, NY). A founding member of Canadian percussion ensemble Sixtrum, he has an active career on the New Music scene, commissioning, performing, and recording new works for solo and chamber ensembles. Marandola holds a PhD in ethnomusicology from Paris IV-Sorbonne and has conducted in-depth field research in Cameroon. He was the Director of the Centre for Interdisciplinary Research in Music Media and Technology of Montreal (CIRMMT) between 2020–4. In 2015–16, Marandola was Senior Research Chair at Sorbonne-Universités to lead a multidisciplinary research project on Musical Gesture (Geste-Acoustique-Musique).
Myriam Boucher
(author)Inspired by natural phenomena, Myriam Boucher merges the organic and the synthetic in her videomusic installations, immersive projects and audiovisual performances. Her polymorphic work explores the intimate dialogue between music, sound and image, transforming everyday landscapes into fantastical, living phenomena. Elements in her pieces can move in synchronization with waves of sound, and very fluidly shift from solid to liquid, fragment to flood, plastic to plasmic. A keyboardist turned visual artist working on the real-time dialogue between music and images, Boucher initially gravitated towards classical piano, jazz and then post-rock, before learning about, and then academically pursuing electroacoustics. Her research in videomusic composition proposes a classification of image/sound relationships as a building block towards an eventual grammar of the genre. Boucher approaches video much in the same way as she did music composition, through a visual interface that sees her fleshing out digital timelines. She is an Adjunct Professor in Composition and Digital Music at the Faculté de musique of Université de Montréal. Her research-creation activities integrate musical composition, improvisation, deep listening, sound ecology, site-specific creation, immersive technologies, and cross-disciplinary arts such as cinema, visual arts, poetry, and dance within interdisciplinary groups. Her research aims to understand and analyze the mechanisms of perception and representation in audiovisual works and multidisciplinary concerts integrating sound, music, image, and performers, with the perspective that art is a practice capable of transforming reality and generating new forms of sensitive representations.
Dominic Thibault
(author)Dominic Thibault is a studio-based electronic music composer, improviser, coder, and instrument creator, whether digital, acoustic, or both. He was recently appointed Assistant Professor at Université de Montréal to pursue research in Musiques Numériques. His research-creation takes shape in the studio and ranges from fixed-media composition to improvisation with feedback processes. Co-director of the Laboratoire Formes·Ondes, Thibault is an experienced teacher, an active member of the Observatoire interdisciplinaire de création et de recherche en musique (OICRM) and Center for Interdisciplinary Research in Music Media and Technology (CIRMMT) research centers.