Claude Schryer

Canadian composer Claude Schryer was initially active in modern traditional music before embracing electro-acoustics and, even more specifically, environmental/ecological soundscapes. He’s also a film soundtrack inventor, an improviser, and an administrator. Schryer was created in Ottawa but was raised in the tiny nearby city of North Bay, where he is at constant connection with character. As a kid he examined the piano as well as the clarinet. In 1981, he gained a Bachelor of Music level in composition on the Wilfrid Laurier School (Waterloo, Canada), learning with Owen Underhill. Several chamber works time from that period but stay unrecorded. Through the early ’80s, Schryer examined on the Banff Center for the Arts where he got touching interdisciplinary and experimental performers. His now developing curiosity about electro-acoustics led him to a two-year stay static in European countries where he discovered the trades from the artwork with Denis Smalley and Luc Ferrari. In 1989, he received his Experts degree in structure from McGill School in Montreal. For the time being, he previously co-founded the Band of the Electronic Music Studio room (GEMS) and Diffusion we MéDIA, and its own record label Empreintes DIGITALes with Jean-François Denis. He cumulated administrative game titles in the 1990s, from creative director from the 7e Printemps Électroacoustique celebration (1990-1992), to movie director from the Canadian Electroacoustic Community (1993-1994), to co-founder and leader from the Canadian Association for Sound Ecology. This 10 years also noticed him focusing increasingly more on environmental compositions and acoustic ecology. Following school of thought of R. Murray Schafer as well as the composers revolving all over the world Soundscape Project structured on the Simon Fraser School in Vancouver, Canada (Hildegarde Westerkamp, Barry Truax), his functions gradually turned from the change of audio to approach structure with unaltered audio resources. His most ambitious task was the “Musique Portuaire Pour Sirènes et Cloches” (Harbour Music for Horns and Bells), an in situ structure for six watercraft, two trains, as well as the bells from the Notre-Dame Basilica. A reworking of the piece could be noticed on Schryer’s Compact disc Autour (Empreintes DIGITALes, 1997).