photo by Grace Salez

TINA M PEARSON is a composer, performer and facilitator whose interests in sonic phenomena, perception and modes of human interaction have led to roles in art, education and community development. Many of her projects engage the boundaries between languages, disciplines, technologies and cultures, and between creators, performers and audiences. Pearson’s work often includes eco-mimicry, micro intonation and telematics; and usually incorporates a focus on breath, and/or stretched modes of performance attention and practice.

Composition List

Pearson is active as a performer in acoustic, electronic, multidisciplinary and telematic settings in composed and improvised works with extended flute, vocalization, tuned glass, accordion, virtual instruments, amplified driftwood and objects. Her playing is guided by depth of listening and bringing to the fore voices, sounds and places that have been unspoken, unnoticed or forgotten.

Upcoming and Past Projects

Pearson has been commissioned to compose music for acoustic ensembles, new media performances and installations, choreographic works, networked virtual reality performances and film and video, including the recent site specific musical composition Root, Blood, Fractal, Breath from Contact Contemporary Music (Toronto), the dance-music-video performance work weighting from choreographer Lori Hamar (Victoria), and the audio-visual installation Absorb Media Net (Victoria). Her work has been presented internationally, including at the Network Music Festival (Birmingham UK), Contemporary Art Gallery (Vancouver), Vektor Game and Art Convergence (Toronto); Newfoundland Sound Symposium; Vancouver International New Music Festival; Firenze MultiMedia Festival (Italy); New Adventures in Sound Art Sound Play Festival (Toronto), International Society for Improvising Musicians (Denver), Women and Identity Festival (New York), NIME – New Interfaces for Musical Expression (Oslo), Cluster Festival (Winnipeg); Electric Eclectics (Meaford Ontario); among many others, and at conferences such as Brown University’s Art + Environment Symposium (Providence, USA); Digital Resources for the Humanities and Arts (Brunel, UK); Canadian New Music Network Forum (Vancouver); and the Deep Listening Art and Science Conference (Troy, New York).

Pearson was editor of the Canadian new music journal Musicworks, introducing its cassette component in 1983, and an instructor in Sound Studies at OCAD University in Toronto. She creates and performs with the global collective Avatar Orchestra Metaverse and with the Victoria, Canada group LaSaM. Pearson was also certified as Deep Listening® instructor by the late composer Pauline Oliveros.


Photo by Vid Ingelevics