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.  
2023-2024 Season
Bernard Parmegiani (Yves Daoust) — 21/09/2023
SOUNDWICH XVII— 02/11/2023
Roger Tellier-Craig— 07/12/2023
Theresa Transistor — 25/01/2024
Estelle Schorpp —14/03/2024

March 14, 2024

Estelle Schorpp

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

4750, Av. Henri-Juilien

Estelle Schorpp is a Montreal-based sound artist, composer and researcher. She holds a master’s degree from École Nationale Supérieure des Beaux-Arts de Paris. She also graduated from Université de Montréal with a master’s degree in Sound Creation and Composition during which she wrote a thesis entitled “Sonic interactive environments: an ecosystemic approach” and explored the potential of algorithmic systems through interactive sound installation.

She uses the tools and methods of research-creation to set up projects that take a critical and creative look at our relationship with the sound and media environment. Integrating concepts from disciplines such as sound studies, media theory, history of science, philosophy, acoustics and psychoacoustics, her polymorphous approach combines performance, sound installation and algorithmic composition, as well as academic communication and the writing of scientific articles.

She teaches at the Music Faculty of Université de Montréal (CA).

Her work has been presented in festivals such as La Biennale di Venezia (IT), Ars Electronica (AT), MUTEK (MX, CA, AR, JP), Akousma (CA), FIMAV (CA), Le Mans Sonore (FR), Exhibitronic (FR, DE), MuTeFest (FI) and in group exhibitions at the Centre d'Exposition de l'Université de Montréal (CA), Palais des Beaux-Arts de Paris (FR) and Exhibition Laboratory (FI). Her researches have been presented in several symposiums at ISEA22 (SP), CIRMMT (CA), Université de Montréal (CA) and EHESS (FR) and she has published articles as main author or co-author in Organised Sound, eContact! and Cahiers Louis Lumière. In 2016 she received the first Exhibitronic award for her electroacoustic composition Bagdad 9ème siècle. She is the recipient of several research-creation grants.

Courtesy La Biennale di Venezia, video Lucio Fiorentino

A conversation between a partially educated parrot and a machine
A performance for augmented gramophone and computer (2023)

Premiered on October 19, 2023, at Teatro Piccolo Arsenale during the 67th International Festival of Contemporary Music of La Biennale di Venezia.

Through the use of both original and digitalized birds recordings archives from the 1930’s, this performance explores the historical and sonic relationships between birds, humans and sound reproduction technologies.

In the late 19th century, Eldridge Johnson, head of Victor Records, said about the phonograph that it «sounded much like a partially educated parrot with a sore throat and a cold in the head» (Johnson, quoted in William Howland Kenney’s Recorded Music in American Life: The Phonograph and Popular Memory, 1890-1945). This is the same phonograph that Ludwig Koch used in 1889 to make the first recording of a bird in a zoo in Frankfurt. My aim was to unfold this comparison between an ill-behaved bird and a sound reproduction technology to tell a story where music is made together by historical and recent audio technologies, birds, and the humans that listen to them.

In A conversation between a partially educated parrot and a machine, I take turns interacting with iPads and a gramophone equipped with sensors. On the one hand, this emblematic historical audio technology reads the original shellac disks by Ludwig Koch in the 1930’s, on the other hand it becomes a physical interface sending data to live algorithmic processes.

The performance emphasizes on a dynamic back and forth between several kind of discourses (documentary, fictional, musical), technologies (computer and gramophone), and sounds (sounds of birds’ songs and sound reproduction artefacts).

Credits :
  • Research, Conception, Composition, Programming and Performance : Estelle Schorpp
  • Production : La Biennale di Venezia - CIMM, Centro Informatico Musicale Multimedia
  • Director : Lucia Ronchetti
  • Main mentor : Miller Puckette
  • Mentors : Kyoka, Brigitta Munterdorf, Thiery Coduys, Oscar Pizzo, Gerfired Stocker, Ali Nikrang, Yoko Shimizu
  • Sound engeneering and diffusion : Thierry Coduys and Adrien Zanni
  • Light Design: Tommaso Zappon
  • Sound archives : BBC