jef chippewa is a composer, new music notation specialist, arts administrator and a fantastic cook. Sound objects and funky performance techniques play an important role in his work, while theatricality and gestural choreography are integral to the concert-theatre-fluxus work cabinet de curiosités (2015), the live-notated something like this but not this and not that either (2017) and the single-upbow string trio al tallone (2018). He is currently collaborating on an ambitious project with improvising saxophonist Yves Charuest that explores the encounter between composed music and free improvisation. His work has been presented in traditional concert venues, art galleries, festivals and trains by ensembles such as LUX:NM, CrossingLines and ensemble recherche. In 1999, chippewa founded shirling & neueweise, a company specialized in New Music notation, and he has led seminars internationally on “New Music Notation: Score design, function and role”. Since 2005, he is Administrative co-Director of the Canadian Electroacoustic Community (CEC), Canada’s national association for electroacoustic practices, and Coordinating Editor of their electronic journal, eContact!
_EVENTS_
23 may — tautological responses to systemic redundancies, premièred by yves charuest and the quatuor bozzini at le carré 150 as part of the festival international de musique actuelle de victoriaville (canada)
2021 — something like this but not this and not that either, performed by LUX:NM in the SALT new music festival
details to follow, victoria (canada)
_NEWS_
suboptimal outcomes (2021), for yves charuest and LUX:NM, is commissioned by yves charuest and LUX:NM, with the support of the canada council for the arts
tautological responses to systemic redundancies (2021), for yves charuest and string quartet, is commissioned by yves charuest and the quatuor bozzini, with the support of the canada council for the arts
_PUBLISHED TEXTS_
“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.