For Immediate Release – July 19, 2018

THE CANADIAN UNIVERSITY MUSIC SOCIETY ANNOUNCES THE WINNER OF THE 2018 STUDENT COMPOSER COMPETITION

The Canadian University Music Society is pleased to announce that Austin Leung is the winner of the 2018 STUDENT COMPOSER COMPETITION.

The jury selected Austin Leung’s energetic and playful string quartet, A Little Childish Fantasy, as the first prize winner.

Austin Leung is a Hong Kong-Canadian composer currently pursuing a Master of Music degree at the Royal Academy of Music, London.

Leung’s composition is distinctive in its manner of integrating contrasting musical materials in the same work. Materials range from tonal, expressive melodies to brutal contemporary noise. Such a compositional approach echoes Leung’s philosophical belief that the world is united, but also diversified. If the most contradicting musical materials can collaborate perfectly in a same piece of music, all humans, regardless of background or culture, should be able to coexist in the same world without discrimination, prejudice and war.

Recent performances of Leung's music include Music from the World by players from the Philharmonia Orchestra (UK), Prelude by the Winnipeg Symphony Orchestra (Canada), and Serenity by the Ostrava New Orchestra (Czech Republic).

The Student Composer Competition is open to any university student who is a Canadian citizen or landed immigrant or who is studying at a Canadian institution, does not yet hold a doctorate and does not hold a full-time teaching position. The competition takes place in conjunction with the annual meeting of the Canadian University Music Society.

 

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Indigenous Improvisation: Freedom and Responsibility is an international colloquium that brings together an array of Indigenous musicians and artists from Canada, the US, Norway, and Taiwan. Keynote speakers include Navajo composer Raven Chacon and Tagish art curator Candice Hopkins as well as Hopi lawyer and composer Trevor Reed. The colloquium takes place on July 4 & 5, 2018 at the MMaP Gallery, Arts and Culture Centre, St. John's, Newfoundland.  Keynote talks will be livestreamed from the MMaP Research Centre facebook page. For more information see: www.indigenousimprovisation.wordpress.com

On July 1, 2018, Dr Brian Power assumes the post of Vice-Provost and Associate Vice-President, Academic at Brock University for a five-year term.  Dr. Power will be known to some MusCan members for his long-time involvement in the Society, including National Treasurer of CUMS (later MusCan) from 2003-2010, Chair of the Standing Committee of Institutional Members from 2011‎-2015, and as an ongoing member of the editorial board of Intersections.   Dr. Power is a scholar of medieval and early renaissance music.  He is the co-editor of the book: The Sounds and Sights of Performance in Early Music (Ashgate, 2009), and is currently preparing a scholarly edition of the introits of Trent Codex 93, a manuscript source of liturgical polyphony dating from the mid fifteenth century (for A-R Editions).

 

Here is the relevant story from the Brock News:

 

https://brocku.ca/brock-news/2018/05/brian-power-appointed-vice-provost-and-associate-vice-president-academic/

 

Dear Members,

The Canadian University Music Society is pleased to announce the online publication of two new issues of Intersections

Volume 35, no.2, dated 2015, features 3 articles in French.  In the article entitled “Cadre pédagogique pour l’enseignement-apprentissage de l’improvisation musicale classique fondé sur la pratique des experts du domaine,” Jean-Phillippe Després (Université Laval) examines aspects of teaching and learning classical music improvisation. The second article in the volume, “Quels sont les paradigmes didactiques présents dans les méthodes de guitare destinées aux débutants: expérimentation d’une méthodologie d’analyse” (Isabelle Héroux, UQAM), provides a survey and analysis of classical guitar methods in use in Québec. The issue also veers into the intersection of musical structures and architecture with an article entitled “De la musique à l’architecture: Le mystère des pans de verre ondulatoires du couvent de la Tourette de le Corbusier et Xenakis” (Elisavet Kiourtsoglou, ENSAS Strasbourg, École d'architecture), which examines the ‘undulatory’ glass pieces created by Iannis Xenakis for the Tourette Convent.  In addition, there are book reviews touching on editorial principles in Early Music, popular music in Russia, jazz marketing, the writings of Wyschnedgradsky, Wagnerian opera and politics, and music halls in Paris.   

 

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