BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//132.216.98.100//NONSGML kigkonsult.se iCalcreator 2.20.4//
BEGIN:VEVENT
UID:20251119T130829EST-0604dOf3LF@132.216.98.100
DTSTAMP:20251119T180829Z
DESCRIPTION:The Doctoral Colloquium is open to all.\n\nDoctoral Colloquium:
  Imri Talgam\n\n\n \n\nPerforming Xenakis’ Polyrhythms: A Perception-Infor
 med Approach to Renotation\n\n \n\nAbstract:\n\n\n	Iannis Xenakis is known 
 for pioneering algorithmic composition and the use of controlled randomnes
 s in music. These techniques often produce excessive rhythmic complexity a
 nd present performers with qualitatively new challenges that border on the
  impossible. Mists (1980) for solo piano serves as a particularly rich cas
 e study\, with passages that prefigure the rhythmic intricacies of New Com
 plexity. In several passages\, Mists requires a single pianist to play fou
 r simultaneous polyrhythms in extremely dense settings\, with the differen
 t layers often out of phase with each other.\n\n	Faced with such extreme rh
 ythmic complexity\, performers must compromise and find approximations tha
 t preserve as much of musical structure as possible. Since most performers
  do not articulate their criteria for approximation\, considerable rhythmi
 c detail is lost. As an alternative\, I propose a methodological approach 
 to performance of rhythmic complexity using re-notation informed by theori
 es of metric perception.\n\n	The renotation methodology replaces the overwh
 elming amount of polyrhythmic detail with a quantization strategy\, in whi
 ch different interonset intervals (IOIs) are rounded off according to cont
 ext-sensitive perceptual categories that preserve the macro characteristic
 s of the textures. I examine several possible renotations\, depending on t
 he grouping cues or pulse layers that are taken as the tactus in the passa
 ge\, while relegating other layers to an a-metrical status. Since multiple
  versions may be beneficial in representing different aspect of the music\
 , I consider their advantages from the perspectives of both performers and
  listeners.\n\n	 \n\n	Finally\, Louis-Michel Tougas will present a first att
 empt to automate this renotation process using software (OpenMusic)\, whic
 h provides the user with an interface for determining the level of quantiz
 ation\, choice of metric layer\, and different symbolic representations in
  notation.\n\n	 \n\n	 \n\n	Biography:\n\n\n\n	\n		Imri Talgam is a pianist and r
 esearcher specializing in performance of 20th century and contemporary mus
 ic. Since winning first prize in the Concours de piano d’Orléans (France) 
 in 2014\, Talgam appeared as soloist around the world\, including with Ens
 emble Modern\, the Radio Orchestra of Saarbrücken\, and the Israeli Contem
 porary Players\, and worked with composers including Boulez\, Lachenmann\,
  Poppe\, Unsuk Chin\, and Eötvös. He is a recipient of the Yvar Mikhashoff
  prize together with Yair Klartag (2017). His recordings include a CD cent
 ered on the music of Nancarrow\, including transcriptions of Player-piano 
 studies.\n\n		Talgam’s research is focused on the use of cognitive research 
 to inform performance practice of rhythmically complex works. His doctoral
  thesis (advised by Prof. Joseph Straus at the CUNY Graduate Center) devel
 oped a re-notation of the Ligeti Etudes informed by rhythmic perception. H
 e is currently a postdoctoral researcher at ɬÀ﷬’s Schulich S
 chool of Music\, where he also teaches.\n	\n\n
DTSTART:20221111T213000Z
DTEND:20221111T233000Z
LOCATION:C-201\, Strathcona Music Building\, CA\, QC\, Montreal\, H3A 1E3\,
  555 rue Sherbrooke Ouest
SUMMARY:Doctoral Colloquium (Music): Imri Talgam
URL:/music/channels/event/doctoral-colloquium-music-im
 ri-talgam-342643
END:VEVENT
END:VCALENDAR