Portrait of Prof. Pierre-Alexandre Tremblay Prof. Pierre-Alexandre Tremblay

p.a.tremblay@hud.ac.uk | 01484 473608



Biography

Pierre Alexandre Tremblay (Montréal, 1975) is a composer and a performer on bass guitar and sound processing devices, in solo and within the groups ars circa musicæ (Paris, France), de type inconnu (Montréal, Québec), and Splice (London, UK), as well as in ad hoc collaborations. Commissioned and performed world wide, his music is mainly released by the labels Empreintes DIGITALes and Ora.

He joined the University of Huddersfield in 2005, where he is now Reader in Composition and Improvisation as well as Director of the Electronic Music Studios. He previously worked in popular music as producer and bassist, and is also interested in videomusic and coding DSP.

He likes oolong tea, reading, and walking. As a founding member of the no-tv collective, he does not own a working television set. More information about him, including his next performances and sample of his music, can be found on his website www.pierrealexandretremblay.com

Research & Scholarship

- Electroacoustic and mixed-media composition, exploring creative interactions with technology in the studio (as instrument) and for the performer, as highlighted by his releases on Empreintes DIGITALes;

- Contemporary jazz composition, improvisation and performance, with or without electronics, as with [iks], ars circa musicæ, and Splice (published by Ora and Loop Records);

- Free improvisation on bass guitar and/or laptop, in solo, duet (with de type inconnu and light.box) or as a guest with other ensembles;

- Pop studio production and session playing, especially in Afro-American groove-based music;

- Video-music composition;

- Interactive installation;

- Creative use and subversion of technical means, mainly through custom DSP instrument designs, as highlighted in his technical publications.

Publications and Other Research Outputs

2013

Tremblay, P., Fincker, R., Smith, D. and Bonney, A. (2013) Splice: Silent Spoke [Audio]

Harker, A. and Tremblay, P. (2013) ‘Rethinking the Box: Approaches to the Reality of Electronic Music Performance ’. In: IRCAM Forum, 20-22 November 2013, IRCAM, Paris

Tremblay, P (2013) La marée [Audio]

Tremblay, P (2013) Still, Again [Composition]

Tremblay, P (2013) Mono no aware [Composition]

2012

Tremblay, P (2012) ‘Considérations pragmatiques en musique mixtes: une approche systémique de l’inter-influence entre la composition, l'interprétation et la technique’. In: Symposium: Sixty years of mixed music, 22nd - 23rd November 2012, Paris, France

Brooks, J., Brooks, J. and Tremblay, P. (2012) ‘Across The Great DivideJournal of Music, Technology and Education , 5 (2), pp. 145-157. ISSN 1752-7066

Tremblay, P. and Bonney, A. (2012) light.box [Audio]

Harker, A. and Tremblay, P. (2012) ‘The HISSTools Impulse Response Toolbox: Convolution for the Masses’. In: ICMC 2012: Non-cochlear Sound. : The International Computer Music Association. pp. 148-155. ISBN 9780984527410

Tremblay, P (2012) ‘Mixing the Immiscible: Improvisation within Fixed-Media Composition’. In: Electroacoustic Music Studies Conference Meaning and Meaningfulness in Electroacoustic Music, 11th - 15th June 2012, Stockholm, Sweden

2011

Tremblay, P. and Pohu, S. (2011) de type inconnu [Audio]

Tremblay, P., Fincker, R., Smith, D. and Bonney, A. (2011) Splice - Lab [Audio]

Tremblay, P (2011) Quelques reflets [Audio]

Carvalhais, M., Tudela , P. and Tremblay, P. (2011) @c - Homem Fantasma [Audio]

Tremblay, P (2011) La rupture inéluctable [Composition]

2010

McLaughlin, S. and Tremblay, P. (2010) ‘SpectralConway: Cellular Automata Off The GridInternational Computer Music Conference Proceedings , 2010, pp. 68-71. ISSN 2223-3881

Hewitt, S., Tremblay, P., Freeman, S. and Booth, G. (2010) ‘HELO: The Laptop Ensemble as an Incubator for Individual Laptop Performance Practices’. In: Proceedings of the International Computer Music Conference. New York: ICMA. pp. 304-307.

Tremblay, P. and Schwarz, D. (2010) ‘Surfing the Waves: Live Audio Mosaicing of an Electric Bass Performance as a Corpus Browsing Interface’. In: Proceedings of the 2010 International Conference on New Interfaces for Musical Expression (NIME10), Sydney, Australia. : NIME. pp. 447-450.

Tremblay, P (2010) Ces énigmes lumineuses [Composition]

Tremblay, P (2010) Les trois petits c... [Composition]

Tremblay, P (2010) Trois lents effondrements [Composition]

Tremblay, P (2010) La nuée [Composition]

Tremblay, P (2010) For Ever Now Soon an End [Composition]

2009

Tremblay, P. and Constanzo, R. (2009) Drum and bass and the horse you ride in on. [Audio]

Tremblay, P. and McLaughlin, S. (2009) ‘Thinking Inside the Box: A New Integrated Approach to Mixed Music Composition and PerformanceInternational Computer Music Conference Proceedings , 2009, pp. 379-386. ISSN 2223-3881

Tremblay, P (2009) Un clou, son marteau, et le béton [Composition]

Tremblay, P (2009) Le Cauchemar De L'horloger [Video]

Tremblay, P (2009) Stase [Composition]

Tremblay, P (2009) Quelques courtes contemplations: I. craquer une allumette dans le noir, puis regarder la flamme danser [Composition]

Tremblay, P (2009) Sandbox#3 [Composition]

Tremblay, P (2009) Reflets de notre société crépusculaire [Composition]

2008

Hewitt, S. and Tremblay, P. (2008) ‘Sound Communication: A Standard Syntax for Inter-Application, Inter-Device And Inter-Player Communication Over OSC’. In: International Computer Music Conference ‘08, 24-29 August 2008, Belfast

Tremblay, P (2008) Heiko ou l’apparition du héros [Audio]

Tremblay, P (2008) De passage [Composition]

Tremblay, P (2008) Sandbox#2 [Composition]

Tremblay, P (2008) Le tombeau des fondeurs [Composition]

Tremblay, P (2008) Billows in a Ladle [Composition]

2007

Tremblay, P., Boucher, N. and Pohu, S. (2007) ‘Real-time processing on the road: a guided tour of [iks]'s abstr/cncr setup’. In: International Computer Music Conference ‘07, 27-31 August 2007, Copenhagen

Tremblay, P. and Bassal, D. (2007) ‘Le mixtering : modèle de travail pour une qualité sonore accrue en électroacoustique / Mixtering: A working model for an enhanced sound quality in electroacousticseContact! , 9 (3).

2006

Tremblay, P (2006) ‘Pragmatic Considerations in Mixed Music: a Case Study of La RageProceedings of the International Computer Music Conference , pp. 527-530. ISSN 0-9713192-4-3

Tremblay, P (2006) Alter Ego [Composition]

Tremblay, P (2006) Walk That Way. Tuesday, Turn. [Composition]

Tremblay, P., Stephan, N. and Brun, S. (2006) ars circa musicæ [Audio]

2005

Tremblay, P (2005) La rage for drummer and electronics [Composition]

Esteem

- Guest lectures and masterclasses at New York University, Université de Montréal, festival Jazz à Vienne, University of Leeds, CEGEP St-Laurent, Queen-Mary University, London College of Communication, Technische Universität Berlin, Strasbourg Conservatoire, Radio Jazz Research Conference in Burghausen;

- External Examiner for PhD (Birmingham, Manchester);

- consultant on artistic panels for the Canada Council for the Arts, Musicaction, and for various computer music conferences.

- academic review panels for Organised Sound and the AHRC

- Music Chair of the International Computer Music Conference, Huddersfield, 2011;

- co-curator (with Professor Monty Adkins) and production manager of the electronic music festival Electric Spring

- member of the board of the British Section of the International Society for Contemporary Music

- Associate Composer of the Canadian Music Centre

- Fellow of the Higher Education Academy

- Higher Education Funding Council for England (HEFCE) - Science Research Investment Fund (SRIF) - major funding for establishing a research lab in immersive sound.

- Arts and Humanities Research Council (AHRC) - Practice Led and Applied Research - grant to support the Thinking Inside the Box project.

- regular project grant holder from the Canada Council for the Arts and the British Council

Research Degree Supervision

Pierre Alexandre is interested in supervising any composition project that explores creative subversion of technological means, usually taking the form of a portfolio of original works comprising:

- Electroacoustic and mixed-media composition;

- Video-music composition;

- Interactive installation;

- Performance and DSP instrument design.

Current Research Students

Nicolas Bernier - Portfolio of Works Towards a Cohesive Compositional Approach of a Pop-Influenced Music Descending from Classical Tradition

Sebastian Berweck - Performance of Works for Piano and Electronics (co-supervised by Dr Philip Thomas)

Julian Brookes - The Laptop as an Adequate Interface for Experimental Music: Exploring Bounded Improvisation, Site Specific Performance and Supermodernity (co-supervised by Dr Aaron Cassidy)

Ashley Green - Portfolio of Interactive Minimal Improvisatory Works

Scott Hewitt - Methods of Laptop Ensemble Improvisation

Dominic Thibault - Portfolio of Works Exploring Ways of Performing the Studio

Recently Graduated Research Students

Scott McLaughlin - Emergent music, composing from the bottom up: a commentary on recent compositions (co-supervised by Dr Bryn Harrison)

Adam Jansch - Reanimation, reference, repeatability: a portfolio of works exploring strategies for freeing the record from fixity (co-supervised by Professor Mathew Adkins)

Enterprise Activities

On-going collaboration with Huddersfield-based internationally renown all-valve guitar amplifier builder Matamp on the use of DSP tools to improve elements of the preamplifier design.

Administrative Responsibilities

Director of the Music Studios

Teaching and Professional Activities

Module Leader for

  • Interactive Sound Design 1

  • Computer Composition 2

  • Computer Composition 3

Also teach on the following modules

  • Improvisation

  • Individual Projects

Last updated Thursday 6 March 2014
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