Ever since my initial contact with acousmatic music, I was wary: music should not stem from an illimitable palette of audio processing applied to sound, but rather from the arrangement and the construction of sound in time. In Tous les parapluies sont à Madagascar (my first acousmatic composition), most of the sounds come from instrumental sources and were treated with minimal transformations.

[i-07]

Awards

• 2nd prize, CEC, Jeu de temps / Times Play (JTTP) 2003, Canada