I organized and produced a number of radio programs on CITR Radio in Vancouver, Canada between 1995 and 1996.

     In 1997, the American College Band Directors National Association gave me the opportunity to workshop one of my orchestral compositions for wind ensemble. Many young American band musicians and students came to Richmond, Virginia to participate. I conducted my Natural Distortions for wind orchestra.

     In May of 1999, I presented a concert in Amsterdam featuring young musicians. The music was all ‘new’ music written by composers from the Concerten Tot en Met collective. The compositions created for this event, were for choir and for drum band.

• In 1997, Toronto’s New Music Concerts featured my The ART of Japanese Bed-fighting for voices, percussion and tape. The concert contained works from Canadian composers from abroad presented live to air from The Glenn Gould Studio at the Canadian Broadcasting Corporation.

• In 1997, my set of piano miniatures, entitled Egregious Quiddity, were performed at Lincoln Center, New York, by the American Guy Livingston.

• My composition, entitled Breathe, was featured in the Festival for Contemporary Recorder Music in Salzburg, Austria in 1999. This is a work for soprano, alto, tenor and bass recorders with interactive electronics.

• In Köln, Germany, my composition, Slip of the tongue, for trumpet, percussion and tape was performed in 1999 by the German ensemble Musik Fabrik. The concert featured works from past students of the Dutch composer Louis Andriessen.

• The Mexican Ensemble 3, a trio consisting of flute, bass clarinet and piano, premiered my If...in Paris in Mexico City in 2001. The work also calls for guitar.

What does it mean to create a new instrument; or perhaps a better question is, what is it about ‘traditional’ instruments that allows us to refer to them as instruments?

What if your new instrument has nothing of the physical quality of a traditional instrument, neither keys nor buttons; how does the player control and subsequently relate to this immaterial device?


     My Sonic Jumper is just such an instrument. The performer wears a body-suit containing a number of tiny sensors that survey movement and send corresponding data to a computer. Sound and body movement combinations are created and synchronized using Voltage to MIDI interface technology. Using my Sonic Jumper, I will explore how one ‘feels’ or perceives the physical sensation inherent in music, and subsequently, how music or sound in combination with an observed movement can trigger a physical reaction in the listener.
     Ultimately, this project will address the issue that a human being’s capacity to digest and produce sound is linked to the comprehension of, appreciation and dislike for sound. I believe that exploring our relation to sound, either as agents or receivers, can help us to discover what makes our ability for sound-making( and music-making) so unique. The ramifications of this will have a direct impact on how the roles of sound and music are valued within a given society.

Please follow the sonic jumper link on the front page to find out more.

     You can catch the premier of my Rogues’ Gallery for bayan and wind orchestra on December 8 in Tilburg, The Netherlands; and there will be a few subsequent performances in the spring of 2003 - to be announced. By the way, the bayan is an instrument of Russian origin and most closely resembles the Italian-designed button accordion. The bayan and accordion have distinct timbral qualities. In fact, there are conflicting opinions as to the merits of one over the other.

     My series of miniatures for piano, entitled Egregious Quiddity, has recently been expanded. I have composed three new miniatures, which will be premiered in January, 2003, at the UNESCO headquarters in Paris, France. Please come to see Christine Cornier-Langlois interpret these ‘love’ songs.

     If you are in Vancouver, Canada in March of 2003, you might want to catch my
The poet of rhythm and skunk,
DJ Ninja Mastermix Coldcut Panic
A.K.A. Sven Love my Body
A.K.A. The Garage Man and Coma Dan
being premiered by the local Symposium Ensemble. This is a composition for alto saxophone, amplified violoncello, vibraphone and piano.

     My current project - Sonic Jumper - has showings in Canada and Amsterdam in the month of May, 2003. Improvisation and audience interaction will be the principle activities.

for digital musical instruments (soprano t-stick, tenor t-stick, rulers)
March 2008
Pollack Hall, Schulich School of Music, McGill University

The epilogue to R. Murray Schafer's Patria Cycle
August 2008
Haliburton Forest and Wildlife Reserve

for solo t-stick sonor-jo
September 2008
Codes d'accès et Le Vivier

note: Web site design is only a hobby of mine and I do not often update information on my sites. I am sorry if my ‘things to come’ are, in reality, things ‘about the past’.