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Pierre Alexandre Tremblay (Montréal, 1975) is a composer and a performer on bass guitar and sound processing devices, in solo and within the groups ars circa musicæ (Paris, France), de type inconnu (Montréal, Québec), and Splice (London, UK), as well as in ad hoc collaborations. Commissioned and performed worldwide, his chamber music is mainly released by the label Empreintes DIGITALes. He is a member of the London-based collective Loop.
He joined the University of Huddersfield in 2005, where he is now Professor of Composition and Improvisation as well as Director of the Music Studios. He previously worked in popular music as producer and bassist, and is also interested in videomusic and coding DSP.
He likes spending time with his family, drinking oolong tea, gazing at dictionaries, reading prose, and taking long walks. As a founding member of the no-tv collective, he does not own a working television set. More information about him, including his next performances and sample of his music, can be found on his personal website.
- Electroacoustic and mixed-media composition, exploring creative interactions with technology in the studio (as instrument) and for the performer, as highlighted by his releases on Empreintes DIGITALes;
- Pop studio production and session playing, especially in Afro-American groove-based music;
- Video-music composition;
- Interactive installation;
- Creative use and subversion of technical means, mainly through custom DSP instrument designs, as highlighted in his technical publications.
Tremblay, P (2017) ‘Tuning to Trust: System Calibration as Creative Enabler’. In: 43rd International Computer Music Conference 2017, 15-20 October 2017, Shanghai Conservatory of Music
Adkins, M., Scott, R. and Tremblay, P. (2016) ‘Post-Acousmatic Practice: Re-evaluating Schaeffers heritage’ Organised Sound , 21 (02), pp. 106-116. ISSN 1355-7718
Tremblay, P (2016) asinglewordisnotenough4 [Composition]
Tremblay, P (2015) asinglewordisnotenough3 [Composition]
Tremblay, P (2015) BWV1080:1(detail) [Composition]
Tremblay, P (2015) Multitudes synchrones [Composition]
Tremblay, P (2015) asinglewordisnotenough2 [Composition]
Tremblay, P (2015) asinglewordisnotenough1 [Composition]
Schwarz, D., Tremblay, P. and Harker, A. (2014) ‘Rich Contacts: Corpus-Based Convolution of Audio Contact Gestures for Enhanced Musical Expression’. In: Proceedings of the International Conference on New Interfaces for Musical Expression. : Goldsmiths, University of London, UK. pp. 247-250.
Tremblay, P (2014) Les pâleurs de la lune [Composition]
Tremblay, P., Fincker, R., Smith, D. and Bonney, A. (2013) Splice: Silent Spoke [Audio]
Harker, A. and Tremblay, P. (2013) ‘Rethinking the Box: Approaches to the Reality of Electronic Music Performance’. In: IRCAM Forum, 20-22 November 2013, IRCAM, Paris
Tremblay, P (2013) La marée [Audio]
Tremblay, P (2013) Still, Again [Composition]
Tremblay, P (2013) Mono no aware [Composition]
Tremblay, P (2012) ‘Considérations pragmatiques en musique mixtes: une approche systémique de linter-influence entre la composition, l'interprétation et la technique’. In: Symposium: Sixty years of mixed music, 22nd - 23rd November 2012, Paris, France
Brooks, J., Brooks, J. and Tremblay, P. (2012) ‘Across The Great Divide’ Journal of Music, Technology and Education , 5 (2), pp. 145-157. ISSN 1752-7066
Tremblay, P. and Bonney, A. (2012) light.box [Audio]
Harker, A. and Tremblay, P. (2012) ‘The HISSTools Impulse Response Toolbox: Convolution for the Masses’. In: ICMC 2012: Non-cochlear Sound. : The International Computer Music Association. pp. 148-155. ISBN 9780984527410
Tremblay, P (2012) ‘Mixing the Immiscible: Improvisation within Fixed-Media Composition’. In: Electroacoustic Music Studies Conference Meaning and Meaningfulness in Electroacoustic Music, 11th - 15th June 2012, Stockholm, Sweden
Tremblay, P. and Pohu, S. (2011) de type inconnu [Audio]
Tremblay, P., Fincker, R., Smith, D. and Bonney, A. (2011) Splice - Lab [Audio]
Carvalhais, M., Tudela, P. and Tremblay, P. (2011) @c - Homem Fantasma [Audio]
Tremblay, P (2011) La rupture inéluctable [Composition]
Tremblay, P (2011) Quelques reflets [Audio]
Hewitt, S., Tremblay, P., Freeman, S. and Booth, G. (2010) ‘HELO: The Laptop Ensemble as an Incubator for Individual Laptop Performance Practices’. In: Proceedings of the International Computer Music Conference. New York: ICMA. pp. 304-307.
Tremblay, P. and Schwarz, D. (2010) ‘Surfing the Waves: Live Audio Mosaicing of an Electric Bass Performance as a Corpus Browsing Interface’. In: Proceedings of the 2010 International Conference on New Interfaces for Musical Expression (NIME10), Sydney, Australia. : NIME. pp. 447-450.
McLaughlin, S. and Tremblay, P. (2010) ‘SpectralConway: Cellular Automata Off The Grid’ International Computer Music Conference Proceedings , 2010, pp. 68-71. ISSN 2223-3881
Tremblay, P (2010) For Ever Now Soon an End [Composition]
Tremblay, P (2010) La nuée [Composition]
Tremblay, P (2010) Trois lents effondrements [Composition]
Tremblay, P (2010) Ces énigmes lumineuses [Composition]
Tremblay, P (2010) Les trois petits c... [Composition]
Tremblay, P. and Constanzo, R. (2009) Drum and bass and the horse you ride in on. [Audio]
Tremblay, P. and McLaughlin, S. (2009) ‘Thinking Inside the Box: A New Integrated Approach to Mixed Music Composition and Performance’ International Computer Music Conference Proceedings , 2009, pp. 379-386. ISSN 2223-3881
Tremblay, P (2009) Un clou, son marteau, et le béton [Composition]
Tremblay, P (2009) Le Cauchemar De L'horloger [Video]
Tremblay, P (2009) Stase [Composition]
Tremblay, P (2009) Quelques courtes contemplations: I. craquer une allumette dans le noir, puis regarder la flamme danser [Composition]
Tremblay, P (2009) Reflets de notre société crépusculaire [Composition]
Tremblay, P (2009) Sandbox#3 [Composition]
Hewitt, S. and Tremblay, P. (2008) ‘Sound Communication: A Standard Syntax for Inter-Application, Inter-Device And Inter-Player Communication Over OSC’. In: International Computer Music Conference 08, 24-29 August 2008, Belfast
Tremblay, P (2008) Heiko ou lapparition du héros [Audio]
Tremblay, P (2008) De passage [Composition]
Tremblay, P (2008) Le tombeau des fondeurs [Composition]
Tremblay, P (2008) Sandbox#2 [Composition]
Tremblay, P (2008) Billows in a Ladle [Composition]
Tremblay, P., Boucher, N. and Pohu, S. (2007) ‘Real-time processing on the road: a guided tour of [iks]'s abstr/cncr setup’. In: International Computer Music Conference 07, 27-31 August 2007, Copenhagen
Tremblay, P. and Bassal, D. (2007) ‘Le mixtering : modèle de travail pour une qualité sonore accrue en électroacoustique / Mixtering: A working model for an enhanced sound quality in electroacoustics’ eContact! , 9 (3).
Tremblay, P (2006) ‘Pragmatic Considerations in Mixed Music: a Case Study of La Rage’ Proceedings of the International Computer Music Conference , pp. 527-530. ISSN 0-9713192-4-3
Tremblay, P (2006) Alter Ego [Composition]
Tremblay, P (2006) Walk That Way. Tuesday, Turn. [Composition]
Tremblay, P., Stephan, N. and Brun, S. (2006) ars circa musicæ [Audio]
Tremblay, P (2005) La rage for drummer and electronics [Composition]
- Guest lectures and masterclasses in many institutions worldwide, including New York University, Université de Montréal, festival Jazz à Vienne, Queen-Mary University, Technische Universität Berlin, and Strasbourg Conservatoire;
- 2014-15 Edgar-Varèse guest professorship at the Electronic Music Studio of the TU Berlin
- External Examiner for PhD in many prominent British universities;
- consultant on artistic panels for the Canada Council for the Arts, Musicaction, and for various computer music conferences.
- academic review panels for grants, international journals and conferences including Organised Sound, Computer Music Journal, and the AHRC.
- Music Chair of the International Computer Music Conference, Huddersfield, 2011;
- Director and production manager of the electronic music festival Electric Spring
- member of the board of the British Section of the International Society for Contemporary Music
- Associate Composer of the Canadian Music Centre
- Fellow of the Higher Education Academy
- Higher Education Funding Council for England (HEFCE) - Science Research Investment Fund (SRIF) - major funding for establishing a research lab in immersive sound.
- Arts and Humanities Research Council (AHRC) - Practice Led and Applied Research - grant to support the Thinking Inside the Box project.
- regular project grant holder from the Canada Council for the Arts and the British Council
Pierre Alexandre is interested in supervising any composition project that explores creative subversion of technological means, usually taking the form of a portfolio of original works comprising:
- Electroacoustic and mixed-media composition;
- Video-music composition;
- Interactive installation;
- Performance and DSP instrument design.
Current Research Students
- Rodrigo Constanzo - Making Decisions in Time: The Composition and Performance of Improvised Music (co-supervised by Dr Bryn Harrison)
- Jean-François Laporte - Using Robotics, Computer Science, Electronics, Pneumatics and Acoustics to Create a New Kind of Cybernetic Musical Instrument.
- Hans Leeuw - The emancipation of the performer in electroacoustic music research
- Olivier Pasquet - Portfolio of Composition: Time and Spatial Structures Through Electronic Music Compositions
- Stephen Harvey - Aurality and the Modern Urban Landscape
Recently Graduated Research Students
- Julian Brooks - The F/LOSS laptop as instrumental interface in the composition and performance of experimental music (co-supervised by Dr Aaron Cassidy)
- Dominic Thibault - My Physical Approach to Musique Concrete Composition Portfolio of Studio Works (http://eprints.hud.ac.uk/26447/)
Director of the Music Studios
Director of the Huddersfield Immersive Sound System
Director and production manager of the Electric Spring Festival
On sabbatical for the 2014-15 academic year