Welcome

Hildegard Westerkamp is a composer, radio artist and sound ecologist.
She presents soundscape workshops and lectures internationally, performs and writes.
  • "A magical fusion of sounds."
    Globe & Mail, Toronto
  • "There was more than just a hint of oracular mysticism in Westerkamp's art. There was a magic in those sounds.” Stephen Pedersen, Chronicle-Herald, Halifax
  • "Westerkamp's music balances a poetics of sound with social commitments that include feminism and environmental politics. Her compositions are critical enactments of acoustic space....All invoke attentive listening." Donna Zapf, Beiträge zur Neuen Music, Germany
  • "Westerkamp creates new possibilities for listening. One can journey with her sound to inner landscapes and find unexplored openings in our sound souls. The experience of her music vibrates the potential for change.”
    Pauline Oliveros,Kingston, N.Y., USA (about CD transformations)
  • "Mere words are inadequate to describe what took place when the symphony began....Waves of sound rolled back and forth across the harbour bringing thousands of downtown office workers to their windows. The Canada geese from Stanley Park were aroused and circled through the boats, honking loudly as they joined in." Ken Drushka, Harbour and Shipping) about the Harbour Symphony)

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Fantasie for Horns II performed at The Sound Festival, University of Aberdeen, October 22-25, 2020,

Fantasie for Horns II was performed at the Sound Festival, University of Aberdeen, October 22-25, 2020,

along with compositions by Bethan Morgon-Williams, Adrian Moore and Esa-Pekka Salonen,

in a concert entitled “Digital Horn” on October 23.

Ben Goldscheider, Horn & Pete Stollery, Electronics

For full festival program: http://www.sound-scotland.co.u...

Listen to concert online: https://www.youtube.com/channe...

Here is a review of the event:

Goldscheider’s earlier lunchtime concert (*****) pitted his remarkably focused, lyrical playing against live electronics from Stollery to magical effect. (It was all the more magical, in fact, because of its long-distance collaboration: Goldscheider had recorded his part alone in London, then emailed it to Stollery, who added the electronics separately.) The standout work among a concert of surprises was the 1978 Fantasie for horns II by Canadian Hildegard Westerkamp, which contrasted a live Goldscheider on orchestral horn against more prosaic signal horns recorded across the world – train horns, foghorns, factory horns, boat horns, even alphorns. It was a beautiful, deeply melancholy piece, brought wonderfully alive in Goldscheider’s supple, subtle performance, as though a refined concert instrument were calling for connection with its more functional siblings.
By David Kettle
Monday, 26th October 2020,
The Scotsman

Workshops

My workshops are essentially an enquiry into our relationship to place through listening and an enquiry into listening itself. Conscious attention to the soundscape is like learning a new language and conscious listening and soundmaking is a way of placing ourselves inside the workings of our cultures, societies and landscapes as involved, living participants.

A variety of listening and soundmaking activities offer ways to deepen our relationship to place and to explore what acoustically balanced sound existences might be. Some workshops may be conducted entirely without the use of technology, others may involve recording equipment, editing and mixing facilities, depending on the context and the focus. Soundwalks may be simple listening walks "by ear" or may also include the use of field recording equipment and/or ear protection. Other activities/actions may involve the creation of sound maps and sound scores, monitoring of and documenting a sound environment in a specific location and for a specific time span, writing of sound journals and many more actions/activities.

Not only is the focus of each workshop slightly different, but also the group of participants may vary greatly. Workshop themes, activities, length and participation are developed according to each context. Topics may range from sound ecology, to listening perception, soundscape composition, the use of music, sound design, noise, radio/media, music, silence, and so on.

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