jef chippewa is a composer, new music notation specialist, arts administrator and a fantastic cook. Sound objects and funky performance techniques are essential to his work, while theatricality and gestural choreography characterize the concert-theatre-fluxus work cabinet de curiosités, the live-notated something like this but not this and not that either and the single-upbow string trio al tallone. He is currently collaborating with improvising saxophonist Yves Charuest on a series of works exploring composed music and free improvisation (collaborators include Quatuor Bozzini and LUX:NM). chippewa’s work has been presented in concert venues, art galleries, festivals and trains by such ensembles as LUX:NM, CrossingLines and ensemble recherche. In 1999, chippewa founded shirling & neueweise, and has given seminars internationally on “New Music Notation: Score design, function and role”. Since 2005, he is Administrative co-Director of the Canadian Electroacoustic Community (CEC) and Coordinating Editor of their electronic journal, eContact!. chippewa is a member of the CEC, CLC, INM (Berlin) and CMC.

_EVENTS / NEW(S)_

[TXT] “Editorial.” eContact! 21.2 — Dematerialization of the Sounding Object: Conceptual approaches to sound-based artistic practices (July 2023).

[NWS] suboptimal outcomes (2023), for yves charuest and LUX:NM, is commissioned by yves charuest and LUX:NM, with the support of the canada council for the arts

[NWS] production complete for video recording of tautological responses to systemic redundancies (2021), performed by yves charuest (sx), lyne allard and céline arcand (vns), jean rené (va), émilie girard-charest (vc).  oscar peterson hall (concordia university, montréal CA): mark corwin (recording producer, digital editing and mixing); xavier madore (videographer), farid kassouf (video montage).

[SND] tautological responses to systemic redundancies (2021), performed by yves charuest (sx), lyne allard and céline arcand (vns), jean rené (va), émilie girard-charest (vc) at la chapelle saint-louis (montréal CA) on 21 february 2023.

_PUBLISHED TEXTS_

Editorial.” eContact! 21.1 — Out of the Studio and Onto the Stage: Live coding, laptop ensembles and LOrks (May 2022).

Editorial.” eContact! 20.3 — Shortwave Radio, CD Players, the Inner Ear and Waltzing Goldfish: Medium-specific practices in sound (Jan. 2020).

Typology and Problematics of Fixed Notation for the Representation of Electroacoustic and Digital Media: Preamble; Part I. Waveform display notation.” eContact! 19.3 — Notation for Electroacoustic and Digital Media: Visual representation, communication and transmission (Jan. 2018).

Editorial.” eContact! 19.3 — Notation for Electroacoustic and Digital Media: Visual representation, communication and transmission (Jan. 2018).

An Artist’s Reading of the New Funding Model Implemented by the Canada Council for the Arts in 2017.” eContact! 19.3 — Notation for Electroacoustic and Digital Media (Jan. 2018).

Editorial.” eContact! 18.3 — Sonic DIY: Repurposing the Creative Self (Dec. 2016).

Épater la bourgeoisie… whatever. On the obsolescence of subversion.” eContact! 16.4 — Experimental Practices and Subversion in Sound (Mar. 2015).

Miniature Form in Electroacoustic and (Instrumental) New Music: A typology supported by an audio gallery in order to establish a conclusive definition of ‘miniature form’.” eContact! 16.3 — TES 2013 (Dec. 2014).

Practicalities of a Socio-Musical Utopia: Degrees of ‘freedom’ in mathias spahlinger’s ‘doppelt bejaht’ (studies for orchestra without conductor).” Nutida Musik 3–4 / 2012–13 (Jun. 2013), trans. into Swedish by Andreas Engström.

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