List of Compositions

2012-07-23 LeadCoveRampCROP

Compositions Performed

current December, 2014

Black One and Black Two

duration: 8′ – 12′ each. Text score for three or more instruments.

Premiered December 28, 2014 at LaSaM Music’s Dark Listening concert, Merlin’s Sun Home Theatre, Victoria BC by instrumentalists George Tzanetakis, Paul Walde, Norm Adams and Tina Pearson with light projections and shadows by Timothy Gosley.

Hands Over Sky (2014)

duration: 14′. Composition for three or more performers connected through the networked Skype platform. Movement (hands), breath and voice.

Premiered December 15, 2014 at MediaNet Flux Gallery, Victoria, BC by networked performers David Arner, Viv Corringham, Leila Ramagopal-Pertl, Brian Pertl, Brenda Hutchinson, Randy Raine-Reusch and Tina Pearson with onsite performance by Grace Salez and Judith Price with technical direction by Kirk Schwartz.

PwRHm: Breathing the Network (with Helicopter) (2014)

duration: 9′. Breath-guided composition for 6 or more networked performers with the harmonic series virtual instrument Hummonica and virtual helicopter.

Premiered September 28, 2014 at the Net New Music Festival in Birmingham, UK by the Avatar Orchestra Metaverse and virtual copter performer Leif Inge (Norway).

Between Five and Six 2 (2014)

duration 1′. Solo for Hummonica, a tuned virtual electronic instrument built from sine tones of two harmonic series sets.

Premiere May 17, 2014, 60×60 (2012) UnTwelve Mix atMobius, Cambridge, Mass. USA.

Gentle Hands (2013)

duration 4′. Toy piano solo with breath. From Migration of Their Materials

Performed March 8, 2014 at Cluster New Music and Integrated Arts Festival, Winnipeg, Manitoba by Xenia Pestovia (Wales).

Migration of Their Materials (2013-2014)

duration 12′. Duo of tabla and toy piano, with combs, breath, paper and rocks.

Premiere February 15, 2014 , Innovations en Concert, Montreal, by pianist Xenia Pestovia (Wales) and percussionist Shawn Mativetsky (Montreal), commission through the Canada Council for the Arts 2013.

Hunt (3) (2013)

duration 22 minutes. Mixed ensemble of 3 or more sustain instruments + field recordings.

Premier December 1, 2013, Legacy Art Gallery, Victoria; subsequent performance at Surrey Art Gallery, Surrey, BC, November 15, 2014. (Experimental Music Unit: Paul Walde, George Tzanetakis, Tina Pearson)

Vocal Scan of the Widow Jane Mine (2013)

duration 12 – 30 minutes. Three or more voices.

Premiere July 2013, Widow Jane Mine, Rosendale, New York (Viv Corringham, Lisa B Kelley, Tina Pearson)

Breathing with PwRHm (2013)

duration 15 minutes. Six or more custom audiovisual virtual instruments and animations, video projection.

Premiere July, 2013, EMPAC, Troy, New York, Avatar Orchestra Metaverse

Breathe Listening (2012)

(commissioned by Peter Morin, for a button blanket dance, a projected river and a courthouse)

duration 60 minutes. Solo amplified inhaling and exhaling voice

Premiere October 2012, Maritime Museum, City of Victoria 150th Celebrations, Victoria, BC, Canada

In This Far Now (2012)

(with media artist Liz Solo)

duration 20 minutes. Hybrid reality w/ custom virtual instruments, animation, movement, field recordings, voice, accordion

Premiere July 2012, Liz Solo and Tina Pearson with the Avatar Orchestra Metaverse (Frieda Kuterna, Max D Well, Chris Whitkowsky, Andreas Mueller, Viv Corringham, Brenda Hutchinson); Sound Symposium, St. John’s Newfoundland, Canada

Music for Natural History (2012)

 I Mammoth in Blue (15 minutes)

 II Elk Concerto(20 minutes)

 III Shoreline Operetta (20 minutes

 IV Delta in White (15 minutes)

(with Paul Walde, commissioned by the Royal BC Museum, Victoria, BC)

Movements I and IV: Multichannel tape compositions for installation (field recordings and sine tones)

Movements II and III for mixed ensemble of voices, recorders, flutes, percussion, violins, trumpets, saxophones, clarinets, ocarina, guitars, slide whistles, trombones, cellos.

Premiere April 28, 2012, Royal BC Museum, Victoria, BC, Canada (LaSaM Music, George Tzanetakis, Grace Salez, John G Boehme, Alfons Fear, Grace Salez, Geraldine Bulosan, Sasha Opeiko, Dong Kyoon, Julia Zhu, Olie Dason, Steeve Bjornson, Andie Lemus, Paul Walde, Tina Pearson)

Iris (2011)

(commissioned by Friends of Government House, Victoria, BC; video by Grace Salez)

duration 18 minutes. Flute duo with piano

Premiere March, 2011, Government House, Victoria, BC, Canada

Metavention III (2010-2011)

(with Leif Inge)

duration 20 minutes Virtual cello, custom virtual instruments (tuned sine tones and machine sound, folk instruments)

Premiere January 2011 Nymusik World Music Festival, Oslo, Norway

Blue Bridge (Out) (2010)

duration 12 minutes. Mixed ensemble of sustain instruments (with or without recorded audio)

Premiere December 2010 LaSaM (George Tzanetakis, Anne Schaefer, Kelby MacNayr, Tina Pearson), Fort St. Cafe, Victoria, BC

 

Metavention II “We do not have to cultivate forgetfulness or the love of chance; we are the play of chance and necessity”

(with Leif Inge)

duration 30 minutes virtual giant pianos, custom virtual instruments (sine tones, field recordings, folk and invented instruments)

Premiere November 2010 Zeitgeist Festival, Muro Gallery, Geneva, Switzerland & Odyssey Simulator, Second Life

name (2010)

for dance by Jung-Ah Chung

duration 8 minutes. Solo voice with tuned glasses and bowed steel bowl

Premiere November 2010, In Song and Dance, Metro Theatre, Victoria, BC, Canada

Blue Bridge (In) (2010)

duration 60 minutes. Site specific Performance Action for one listener/notater and one transcriber

Premiere October 2010, OPEN ACTIONS, Johnson Street Bridge, Victoria, BC, Canada

Marie Antoinette Medusa (2010)

(for dance by Constance Cooke)

duration 20 minutes. Solo voice with dance by Constance Cooke.

Premiere October 2010 Romp Dance Festival, Victoria, BC, Canada

I Hear Here (2009 – 2010)

duration variable. Listening intervention for one or more performers in an outdoor public space.

Premiere September 2010 OPEN ACTIONS (with Grace Salez, John G Boehme, Judith Price), Mile Zero, Victoria, BC, Canada

 

Rotating Brains / Beating Heart (2010)

with Stelarc, Pauline Oliveros, Franziska Schroeder, Norman Lowrey, Andreas Mueller

duration 30 minutes. Custom virtual instruments (just intoned sine tones, tuned machine noise, brain waves, heart beats, breath, speech) with live saxophone, electronics and signal processing

Premiere September, 2010 @ Digital Resources for the Humanities and Arts Conference, Brunel University, UK

Subsequent November, 2010 @ Sound Play Festival, NAISA, OCAD University, Toronto, Canada

Whiteout (2010)

for dance film by choreographer Jennifer Mascall

duration 7 minutes. Electroacoustic (processed field recording samples, tuned glass instruments, bells, bowls)

Premiere August 2010, MediaNet’s Dance for the Camera, Open Space, Victoria, BC.

And Beethoven Heard Nothing (2010)

Facilitated Composition project*

duration (overall) 90 minutes. Mixed ensemble with piano and electronics. Collage of Beethoven fragments filtered through theatrical and compositional processes with live light projections. Co-directed by Dylan Robinson, with Tim Gosley (video).

Premiere May 2010 LaSaM Music (George Tzanetakis, Chris Reiche, Cathy Lewis, Alex Olson, Tina Pearson), Knox Presbyterian Church, Victoria, BC, Canada; Subsequent October 2010 Merlin’s Sun Theatre, Victoria, BC, Canada

Inside the Head (Oh Beethoven) (2010)

duration 12’ – open duration. Mixed ensemble (instruments and sounding objects)

Premiere May 2010 LaSaM Music (George Tzanetakis, Chris Reiche, Cathy Lewis, Alex Olson, Tina Pearson), Knox Presbyterian Church, Victoria, BC, Canada; Subsequent October 2010 Merlin’s Sun Theatre, Victoria, BC, Canada

Victoria Complaints Choir compositions

Facilitated Composition project*

Welcome to Canada (2010)

lyrics by Bharat Chandramouli, additional music by Ian Griffith

duration 2’30”. Choir with accordion, body percussion and simple percussion.

Premiere May 2010 CBC Radio One On the Island, Victoria, BC; Subsequent May 2010 street performances, Victoria, BC; May 2010 Open Space Voice++ Festival, Victoria, BC, Canada

Cars and Bikes (2010)

lyrics by Victoria Complaints Choir members, additional music by Ian Griffith

duration 2’30”. Choir w/ portable keyboard (accordion or other) and simple percussion

Premiere May 2010 street performances, Victoria, BC; Subsequent May 2010 Open Space Voice++ Festival, Victoria, BC

Homeless (2010)

lyrics compiled and edited by Grace Salez and Geraldine Bulosan

duration 3’30”. Choir with portable keyboard (accordion or other) accompaniment

Premiere May 2010 Street performances, Victoria, BC; Subsequent May 2010 Open Space Voice++ Festival, Victoria, BC

Brazilian Journals (2009)

texts by P.K. Page

duration 40’. Soundscape with tuned glass, bells and percussion, for performance of readings by PK Page.

Premiere June 2009, Merlin’s Sun Home Theatre, Victoria, BC

In Between Gold  (2008)

lyrics by Lyssa Pearson

duration 9 minutes. Voice with globe light fixture, percussion, bells, piano strings

Premiere November 2010 LaSaM (Chris Reiche, Kristy Farkas, Tina Pearson), Grace Lutheran Church, Victoria, BC

Tectonach (2007-2008)

duration 12’ – 20’ (variable). Mixed ensemble of pitched instruments with minimum one pitch-shifting keyboard.

Premiere November 2008 LaSaM (Chris Reiche, Kristy Farkas, Tina Pearson), Grace Lutheran Church, Victoria, BC

Subsequent June + December 2009 Orange Hall, Victoria, BC, Canada

PwRHm (2008)

(commissioned by the Deep Listening Institute, Kingston, New York)

duration 20 minutes. Online 3-D work w/ custom virtual instruments (harmonic series sine tones, tuned machine noise)

Premiere April 2008 Avatar Orchestra Metaverse, Women and Identity Festival, New York; Subsequent 2008-2012 ArtXxxtenxion new media festival Germany; U21 Global University Singapore; MediaNet Edges Festival of New Media, Victoria, BC; EMPAC, Rennselaer Polytechnic Institute, Troy, NY; International Society of Improvising Musicians Conference, Denver, Colorado; Spark Festival of Electronic Music, Minneapolis, USA; Sonic Art Research Centre, Belfast; New Adventures in Sound Art, Toronto, Canada; Sound Symposium, St. John’s, Canada; and others.

Quantal Strife Sound (2007)

Facilitated Composition project*. With contributions from Cathy Lewis and Chris Reiche

One (2007)

Vantage (2007)

Plateau (2007)

Of a Refrain (2007)

Many Trains (2007)

Sonic investigation of inquiry posed by pieces within the visual arts installation Quantal Strife, curated by Sally McKay.

Premiered January 2008, Victoria New Music Workshops, Victoria Symphony New Currents Festival, Open Space, Victoria, BC

Flight Through a Hole in the Wind (1996)

(commissioned by the Vancouver International New Music Festival)

duration 12 minutes. Solo flute with voice

Premiere June 1996 Vancouver International New Music Festival, CBC, Vancouver, BC, Canada; Subsequent October 1996 CBC Radio Two New Hours

Stretched Harmonic Time (1993)

duration 20 minutes. Electronic – installation

Premiere January 1993, Sonic Boom Festival, Vancouver Pro Musica, Western Front, Vancouver, BC Canada

moon of the running waters

duration 20’. Electroacousic (soundscape, electronics, live processing)

Premiere January 1993, Sonic Boom Festival, Vancouver Pro Musica, Western Front, Vancouver, BC Canada

Harmonic Time (1989)

duration variable (4 minutes – 60 minutes). Electronic – 8-FB01’s and computer

Premiere July, 1989 Simon Fraser University; Subsequent August,1989 Vancouver Community Arts Council

In the South She Dances Her Song (1988)

(composed for Gayle Young’s Amaranth)

duration 15 minutes. Solo tunable multi-stringed instrument with voice

Premiere December, 1988, Gayle Young (amaranth), Art Gallery of Burlington, Burlington, Ontario, Canada

moon of the breaking up of the ice (1988)

duration 45 minutes. Solo flute/voice, with soundscape recordings, wall/floor slide projections, movement

Premiere 1988, Baby Grand Theatre, Kingston, Ontario

Stone Spirits 1987

duration 12 minutes. Flute solo with voice and movement

Premiere 1988, Baby Grand Theatre, Kingston, Ontario; Subsequent 1989, Vancouver Community Arts Council

Ailehpo (1987)

soundscore for choreography by Mia Blackwell

duration 12 minutes. Flute, soundscape recordings, voice, percussion

Premiere 1987, Toronto, Ontario; Subsequent 1988 Edmonton Fringe Festival

A Measure for a Mayfly (1986)

duration 15-60 minutes (variable).

soundscape intervention for portable treble instruments (ocarinas, whistles, recorders, wood/bamboo flutes)

Premiere June 1986 New Music Co-op, Grange Park, Toronto, Ontario, Canada

Subsequent 1987, Elora Gorge Park, Elora, Ontario; 2009, Mount Douglas Park, Victoria, BC

Oxygen Tonic (1983)

Facilitated composition* project with David Mott

duration 80’ overall. Mixed ensemble of sustaining wind and stringed instruments with piano, percussion and gong

Threshold (1983)

duration 12 minutes. Mixed ensemble (open instrumentation)

Premiere March, 1983, New Music Co-operative (Anne Bourne, Gordon Monahan, Chris Devonshire, Steve Donald, Kim Ratcliffe, Vid Ingelevics, David Mott, Tina Pearson), Canadian Centre for Photography, Toronto, Canada

Subsequent November, 2008, LaSaM Music (Chris Reiche, Kristy Farkas, Tina Pearson), Victoria, BC, Canada

Creatures (1983)

duration 10 minutes. Mixed ensemble (open instrumentation)

Premiere March, 1983, New Music Co-operative (Anne Bourne, Gordon Monahan, Chris Devonshire, Steve Donald, Kim Ratcliffe, Vid Ingelevics, David Mott, Tina Pearson), Canadian Centre for Photography, Toronto, Canada

Colliding (1982)

for choreography by Toronto Independent Dance Enterprise (Paula Ravitz, Denise Fujiwara, Sally Lyons, Alan Risdell)

duration 60’. Piano, flute, voices, clarinet, tape

Premiere April, 1982, New Music Co-op (Miguel Frasconi, John Oswald, Robert W Stevenson, Tina Pearson and TIDE), Harbourfront, Toronto

 

Whitewater (1982)

duration 15 minutes (variable). Soundscape

Premiere April 1982, New Music Co-op / Toronto Independent Dance Enterprise, Harbourfront, Toronto, Canada

 

Understanding (1982)

duration 5 minutes. Voice, piano

Premiere April 1982, New Music Co-op / Toronto Independent Dance Enterprise, Harbourfront, Toronto, Canada

Subsequent July 2008, LaSaM Music (Cathy Lewis, Chris Reiche), Metro Studio, Victoria, BC, Canada

Circling Beats (1982)

duration 8 minutes. Two sustaining treble wind instruments

Premiere April, 1982, New Music Co-op / Toronto Independent Dance Enterprise, Harbourfront, Toronto, Canada

Subsequent May, October 2010, LaSaM Music, George Tzanetakis, Tina Pearson, Victoria, BC, Canada

Common Ground (1980)

(for choreography by Paula Ravitz)

duration 10 minutes. Trio for sustained treble instruments.

Premiere 1980, Don McMillan, Michael J Baker, Robert W Stevenson, Toronto Independent Dance Enterprise, Toronto, Canada; Subsequent 1980-83, Toronto, Kingston, Peterborough; Detroit, Michigan; Buffalo, NY.

RSVP (1979)

duration 10 minutes. Grand piano strings and keyboard (four or more hands)

Premiere 1979, Toronto, Canada; Subsequent 1980-‘84, Toronto, Kingston, Peterborough; Detroit, Mich., Buffalo NY

Saturn (1979)

(commissioned by Grant Strate, choreographer, for dance by Menaka Thakkar

duration 12 minutes. Treble sustained instrument trio with tabla, mrdangam or simple percussive instrument(s)

Premiere 1979, Toronto, Ontario, Canada

In Vitro (1979)

(40’ sound score for live voice and instruments with electronics) for Toronto Independent Dance Enterprise, with Paul Hodge, perf. various art and dance centres in South Ont., Montreal, New York 1978, ’79, ‘80.

______________________________________

ÈOnly compositions that received professional public performances are listed. A complete list of works is available upon request.

This list does not include improvisations or pieces primarily constructed from improvisatory performance.

*Facilitated Composition is a term used by Tina Pearson to describe work that bridges composition, guided and structured improvisation, oral transmission and collaboration; where the initial idea, overall structure and/or ultimate coordination is the purview of the “composer” but where input and interaction from and within the specific group of performers is an integral part of the manifestation of the work.