The Electrochoc concert series, presented jointly by the Conservatoire de musique de Montréal and Akousma ,

is a series of concert-discussions that introduces audiences to different aspects of electroacoustic music. The concerts also showcase the talent and creativity of the students invited by Martin Bédard and Louis Dufort (the series’ two artistic directors) from their composition classes.  
2022-2023 Season
Maxime Corbeil-Perron — 15/09/2022
SOUNDWICH XV— 03/10/2022
Roxanne Turcotte— 01/12/2022
Myriam Bleau — 16/02/2023
SOUNDWICH XVI— 16/03/2023
Woulg & Racine —13/04/2023

September 15, 2022

Maxime Corbeil-Perron


In collaboration with the Conservatoire de musique de Montréal

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Maxime Corbeil-Perron is an artist based in Tiohtià:ke/Mooniyang/Montréal whose artistic practice unfolds in a multiplicity of mediums: audiovisual performance, experimental cinema, electroacoustic composition, improvisation, sound art and installation.

As a director, he received the prize for the best experimental animation at the Ann Arbor Film Festival (2021), the prize for the best work of art and experimentation at the Rendez-Vous Québec Cinéma (Canada, 2020) and the grand prize experimental at the Festival Tous Courts (France, 2020). His work has been highlighted with the first prize at the MUTE festival (Italy), the Dérapages grand prize (Canada, 2022) and special mentions at the Festival du Nouveau Cinéma (Canada, 2019), the Aguilar Short Film Festival (Spain, 2019) and at VIDEOFORMES (France, 2020).

As a composer and sound artist, he received an honorary mention at the Prix Ars Electronica (2021). His works were also awarded the Medal of the Italian Senate by the biennial composition competition Città di Udine (IT, 2012, 2016). His work was also recognized by the Destellos Foundation (2nd prize, 2012), and by the Canadian JTTP competition (1st prize, 2011). He has received commissions for works from Continuum Ensemble, Ensemble SuperMusique, Ensemble d'Oscillateurs, Productions Totem Contemporain and Quatuor Bozzini.


Atomes (2010) 11:40
An acousmatic work combining synthetic, natural, electric and instrumental sounds. As a tribute to Japanese noise music, a Larsen effect (generated by the no-input technique) acts as a soloist, flying over a heterogeneous and molecular sound material.

Cubic (2016) 13:00
The genesis of this piece lies in a structural analogy, that of a melodic element which, like a cubist painting, is deconstructed and fragmented in a multitude of planes. This work opens its aesthetic code to various forms of electronic music.

Polychrome (2017) 12”
Excerpts from a suite of improvisations:


Wise constellations (2013-14) 9:30
Inspired by the poem and pictorial work of Paul Klee:

“Once emerged from the gray of night
Heavier and dearer and stronger
Than the fire of the night
Drunk with God and doubled over.

At present ethereal
Surrounded by blue
Soaring over the glaciers
Toward the wise constellations.”
Paul Klee, 1917-1918

Evelyne Ridyard : percussions
Ida Toninato ; saxophone baryton

Origami (2021) 4:3, couleur 2:00
Origami uses a multitude of perspectives and dimensions. In this case, its luminous fractals and geometry are liquefied by the cathode ray of a prepared television.

Displacement (2019) 16:9, couleur 9:00
A luminous weaving wavering between illusions, fear and wonder. An expressionist composition combining image editing, electroacoustic music and analog video synthesis.

[re]:generativ (2018-19) 16:9, couleur,  stéréoscopique (rouge/cyan)
An archaeomediatic audiovisual work, whose aesthetics offers an abstract compositional approach that tends towards naturalism, in the form of a return to nature as a source of abstraction. Like the sounds of this work, the light waves of analog video synthesis mingle with abstract and dreamlike synthetic landscapes, enhanced by an obsolete optical technology: anaglyph stereoscopy. The 3D visualization device is used here to experience abstract and surreal spaces, color modulation and stereoscopic optical textures.
This piece was composed using various experimental techniques such as generative sound algorithms. no-input, real-time sound processing and improvisation with analog and digital synthesis. Sonically, I wanted to create a work that crosses boundaries in terms of aesthetic codes, borrowing elements from minimalist contemporary electronic music, ambient, noise, concrete music and various electronic sub-genres.

Credit : Rémy Ogez

November 3ʳᵈ, 2022


7:30pm Conference / 8pm Concert
In collaboration with the Conservatoire de musique de Montréal

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Charles Harding - biography

Charles Harding (he/him) is an emerging sound maker living in Tiohti:áke / Mooniyang / Montréal. His current focus spans various artistic disciplines including algorithmic composition, soundscape design, and creative coding. Having spent many years studying electroacoustic composition he has been fortunate to inherit a deep inner joy for breaking the paradigms of his perception, to hear old sounds as new, and to welcome new perspectives from which to navigate his experience in the world. Over the past several years he has had opportunities to showcase research, projects and collaborations involving immersive and interactive audiovisual installations at the likes of ImageFest in Colombia and Visiones Sonoras in Mexico. More recently, he released a collection of soundscape pieces called Rain Beast, a collage of field recordings documented in New Brunswick and Montréal between 2018 and 2021. As part of a greater meditation on connecting technological mediums in artistic practice to notions of Anthropocene, this collection reflects upon the dissonances of nature and industry in the south of NB. Although his practice is deeply intertwined with technological tools, he always seeks to build links to nature and organic material, framing everyday sights and sounds to be heard in novel ways.


Unsequestered - 8’21 - Soundscape

reflects upon the modern difficulty of trying to escape to places detached from the presence of other humans. The space and setting of recordings for this piece is the public area of O’dell park, located in Fredericton, New Brunswick. With field recording contributions collected on a sound walk with composers Erin Goodine, Emily Kennedy, and Mark Kleyn, in January 2021, this composition draws the listener through a story of forest sounds and the interruptions of human traffic ever-present along the park’s Arboretum Trail. Inspiration for this piece can be directly attributed to some works by Barry Truax such as Pacific Fanfare and Island as well as several of his papers relating to field recording and granular synthesis in composition. It is encouraged that the listener tries to imagine that the forest is asking a question of the audience. The content of the question can only be known when the audience truly listens.

Tin Can Elsa & Southern NB - 9’20 - Soundscape

East Coast Song Sparrows, New Brunswick Southern railway, gentle waves at Tin Can Beach, drips and ripples at the Irving Nature Park, the hum of a pulp mill, tropical drips from storm Elsa, and sounds from the family home backyard on the city of Saint John’s lower west side. The combination of these sounds might seem warmly familiar to someone from the city as they represent an integral portion of the overall soundscape. Those unfamiliar with the city may, more abstractly, find themselves immersed in a slurry of coastal nature and industry. Saint John is a mainly blue-collar port-city in the South of New Brunswick. It is home to the massive and problematic Irving oil corporation whose industries span the province with refineries, shipyards, clearcutting operations, and pulp mills. The dissonance of this corporation is highlighted with an assemblage of significant mechanical soundmarks that are starkly juxtaposed by a rolling, diverse landscape of agrestal nature, stony beaches and vast ocean space. The vision for this composition was to project the blend of nature and industry constantly at odds in the city. My nostalgia from having lived in the city is addressed with the inclusion of a droning tonal base derived from a piano recording collected from my family home, a compositional echo.

This piece was composed using material collected from several soundwalks in Saint John NB throughout the summer of 2021. Inspiration for the piece came from primer listenings of Hildegard Westerkamp’s Kits Beach Soundwalk and Barry Truax’s Pacific Fanfare and Island as well as many meditations on identifying some of the significant soundmarks of Saint John collected through field recording sessions.

The 2 pieces are part of the album Rain Beast which was released on the New Brunswick label Countain Downstairs in June 2022.

Operaa - biography

Operaa is the pseudonym of Montreal based producer and sound artist Tatum Wilson. His work examines themes of escapism, depersonalization, and healing through experimental compositions that blend influences of ambient, minimalist, and electroacoustic music.


A Loss for More Than Words - 20’ - Acousmatic

A Loss For More Than Words
is for a lover, a point of focus, a body that propped you. It’s the soundscape when reaching for life 2.0, giving ears to turmoil, the comedown staring at the face of what hurts. You can mute what's terrene, you can exit from here still lucid, for a moment- yet like a memory that's far but legible, it's always fading, never gone.

Pauline Patie - biography

Pauline Patie is a French composer of electroacoustic music. Based in Montreal, she is studying for a master's degree in composition at the Department of Digital Music of the Université de Montréal. Her work has been awarded the Marcelle-Deschênes 2021 prize (Université de Montréal), and has received honorable mentions at the international electroacoustic music competitions MusicaNova (Prague) and Destellos Foundation (Argentina).

Interested in the trance effect, her work explores the combination of discomfort and appeasement for the listener. She thus questions the mysterious reactivity of the body to immersion and its causality..


Cent Sens - 15’ - A/V

Our way of perceiving the world has been influenced by visual and sonic codes since our early childhood. With this performance, I have tried to explore my subjectivity through an expressive discourse based around abstract sounds and shapes.

The piece was premiered at Usine C (Montréal) during Akousma 18, on October 12, 2022.

Pablo Geeraert - biography

Pablo Geeraert is a young Belgian composer born in Brussels, and currently based in Montreal. He explores composition as a means to discover and experience the complex yet exciting dimensions that music can offer. Influenced and fascinated by a wide variety of musical genres, his work tries to blend them into modern and kinetic-driven pieces. Moving from contemporary acousmatic to popular discourses, his music focuses on sound sculpture and experiential narratives as primary aspects. Collaboration within different artistic contexts is a crucial part of his creative research. The intricacies found in the visual medias, contemporary dance choreographies, and other multidisciplinary practices serve as inspiration and motivation to broaden and reinforce his artistic identity.

Having recently graduated with BFAs in Music Production (BIMM Berlin) and in Electroacoustic Studies (Concordia University), he is currently finishing a master’s degree in Electroacoustic Composition at the Conservatoire de Montréal.


Edges Order - 24’13 - Acousmatic

Edges Order
is a piece that was finished very recently. I would probably need to step back a little before I could write a program note. I am still questioning what it is, what it says, and the work process necessary to its creation.

I know that it is a first try at developing the long form and discovering new structural organisations. The piece tries to exist inside a non-affirmed slowness. The different musical elements take their time to evolve, yet they are pushed to do so. Edges Order is imperfectly coherent. Its discourse seems dichotomic without being entirely so. A variety of functional parameters evolve over the duration of the piece without ever being completely unified nor separated.

It is a work that allowed me to explore, deconstruct, and even challenge my own musical thinking. It is part of an ongoing and never-ending artistic research. It doesn’t try to define who I am as a composer, but rather to expand the box of tools necessary to keep on exploring and discovering music.

December 1ˢᵗ, 2022

Roxanne Turcotte

7:30pm Conference / 8pm Concert
In collaboration with the Conservatoire de musique de Montréal

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After studying piano at the Conservatoire de musique de Montréal and Université de Montréal, Roxanne Turcotte specialized in composition and music technology. In 1988, she became the first female acousmatician to receive a master’s degree in electroacoustic composition from the Université de Montréal, where she studied under Marcelle Deschênes and Francis Dhomont. She also studied instrumental composition with Serge Garant.

She has completed programs in pedagogy (Université du Québec à Montréal) and in technology (Musitechnic and the SAT), as well as residencies such as the Académie Sampo in Saint-Étienne (France) for mixed music production. Her musical approach in her composition and sound design rests on an artistic integration drawing on film and theatre production. She is involved in creating music for television, video, radio, dance, stage arts, media arts, and circus arts, and in creating sound, music, and visual installations. She has been a member of juries for composition prizes, and she regularly provides composition training and workshops. Since 2020, she has also taught music to young people. With grants from the Canada Council for the Arts (CCA) and the Conseil des arts et des lettres du Québec (CALQ), Roxanne Turcotte has more than ten solo and collaborative records to her name along with several publications. She has given many concerts with a number of music ensembles, and she has toured in Canada, in the US, and internationally. Roxanne Turcotte was awarded the SOCAN Jan V. Matejcek award for new classical music in 2021.


Artefacts 1

Objects heralding a journey, an introspection for an orchestra of loudspeakers, instruments and projections. In Artefacts 1, we find works from different periods that were spatialized using the SpatGris application and reassembled for this event. A selection of works that have a strong representation in my imagination.

Ouverture - 4’31 - Création

8,9,10 Histoire à dormir debout
*De la fenêtre – Texte: Étienne Lalonde

Musée sonore attractif - 10’03 - Création (version mixte)
Musée sonore – Attractions  
Saxophone: Michel Dubeau

Petit ange - 3’05
Pour petit Gabriel

Voices taken from "Urban Fantasy" (Sylvie Deguy, Laurent Poitrenaux and Sophie-Caroline Schatz) - Arrangements for a melodica and a saxophone. Melodica: Roxanne Turcotte - Saxophone: Michel Dubeau

Les désordres - 16’33 - Création (version mixte)
Tant de catastrophes et d’histoires non réglées!

  • Delirium - 1'57
  • Capharnaüm - 3’29
  • Tout en rouge - 2’57
  • Micro-trottoir - 3’38 – Vox pop: Isabelle Tanguay
  • Zone d'exclusion - 4’32 – Shakuhachi: Michel Dubeau

Il y a 40 ans et pourtant... - 8’24
Plus ça change, plus c’est pareil
  • Y---OW - 4’28)
  • Amore - 3’56 - Quelques phrases d’Élise Turcotte

Les réverebères - 8’27
J’allume des réverbères pour la prospérité

  • Le piano d'Horowitz - 5’04 - Première publique (mxite)
  • Tango déconstruit - 3’23 - Première publique en salle

Hommage à Marcelle Deschênes - 7’56 -
Ribambelle sound creation assembled from excerpts borrowed from former students of Marcelle Deschênes (Serge Arcuri, Louis Dufort, Robert Normandeau, Jean Piché, Stéphane Roy, Michel Smith, Michel Tétreault, Pierre-Alexandre Tremblay , Roxanne Turcotte)

Description des extraits

Serge Arcuri: Chronaxie (1984)
Louis Dufort: Pointe-aux-Trembles (1996-97)
Robert Normandeau: Matrechka, Pourpre (1986) - “The first piece that I composed with her, Matrechka, won two prizes at the Bourges competition, the benchmark in the field, which she herself had won in 1978 with Moll, a work that I play every year in my history lesson.”
Jean Piché: Prélude pour fête foraine (1972)
Stéphane Roy: Janvier-Quêtes de chaleurs (1989) - “On a poem of the same name by Paul-Marie Lapointe. Composed during my master's degree at the University of Montreal, under the direction of Marcelle Deschênes.”
Michel Simth: Style de bougalou (1990) - “Like those games where you discern the differences between two almost identical drawings, Style de bougalou can be compared to traditional and popular musical works, except that…”
Michel Tétreault: Alnitak (1994)
Pierre Alexandre Tremblay: Fugue; qui sent le temps? (1997)
Roxanne Turcotte: Love you (1986)

February 16, 2023

Myriam Bleau

7:30pm Conference / 8pm Concert
In collaboration with the Conservatoire de musique de Montréal

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Myriam Bleau is a composer and digital artist based in Montréal. Using music and sound as a point of departure, she has created audiovisual performances, video works, installations, and interactive devices that articulate sound, light, and movement. Her work investigates performance, both as a codified cultural manifestation and as an embodied (re)enactment of human and non-human systems, notably through machine learning. It explores the porosity between the virtual and physical worlds, and between notions of the natural and synthetic. It has been recognized and presented internationally, in festivals such as Prix Ars Electronica (Austria), Sónar (Spain, Hong Kong), MUTEK (Mexico, Canada, Argentina, Japan), Scopitone (France), Transmediale (Germany), and Café Oto (UK).



"to give names to nameless things" (2023) ~21'
For bass clarinet, trombone and digital instruments programmed with Supercollider.
Charlotte Layec - bass clarinet • Kalun Leung - trombone

Inspired by "Eros the Bittersweet", Anne Carsons' essay about desire, "to give names to nameless things" refers to the triangulation of metaphor, which brings together "two heterogenous things close to reveal their kinship". In this new point of convergence, ever fleeting, both the literal meaning and the novel meaning are held in tension "by the metaphor's way of looking at the world".

Hypermobility - Variations (2022-2023)   ~30'
Studies and explorations based on the audiovisual performance Hypermobility. Digital synthesis programmed with Supercollider.

Credit : Augustina Isidori