Paul Théberge

Théberge, Paul. Composer, teacher, b Brunswick, Me, 26 Sep 1953, naturalized Canadian 1989; BA (Dalhousie) 1976, MA (Concordia) 1987. He moved to Canada in 1971.

Théberge, Paul

Théberge, Paul. Composer, teacher, b Brunswick, Me, 26 Sep 1953, naturalized Canadian 1989; BA (Dalhousie) 1976, MA (Concordia) 1987. He moved to Canada in 1971. He studied composition and electronic music with Steve Tittle at Dalhousie University, composition with Samuel Dolin at the RCMT, west African drumming with Bob Becker, and north Indian vocal music with Pandit Pran Nath. He began PH D studies at Concordia University in 1987, conducting research in technological innovation in musical instrument design, consumer markets, and changes in musical practice. After various part-time teaching appointments at Concordia University and McGill University he taught 1990-1 in Carleton University's music department, then in 1991 joined the department of communication studies at Concordia University to teach sound theory, aesthetics, and production.

Théberge has received commissions from ARRAY (Parcel, 1979), the CBC (Les dix-huit heures, 1983), the Galliard Ensemble (Maelstrom, 1978), Robert Leroux and René Masino ('a void not filled with words,' 1984), Music Inter Alia (Remembering, 1985), and the NFB (Rhéa, Five Feminist Minutes, 1990), among others. His Études and Concert Sketch (1981) for string quartet has been published (Quebec CMCentre, no date). His compositions, which include works for music theatre and multi media, chamber ensemble, voice, choir, and electroacoustic instruments, have been performed and broadcast throughout Canada and in the USA, Europe, and the Middle East. In 1983 his Les dix-huit heures for radiophonic tape was the CBC submission to the Prix Italia competition and in 1985 the Music Gallery presented an entire concert devoted to his music.

Théberge has given papers at conferences and contributed to EMC. He is an associate of the Canadian Music Centre and a member of the CLComp and the Canadian Electroacoustic Community.

Writings

'Counterpoint: Glenn Gould and Marshall McLuhan,' Canadian J of Political and Social Theory, vol 10, no. 1-2, 1986

'The "sound" of music: technological rationalization and the production of popular music,' New Formations, vol 8, Summer 1989

'Consumers of technology: musicians as market,' ONETWOTHREEFOUR, vol 9, Autumn 1990

'Democracy and its discontents: the MIDI specification,' ibid