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Over recent years, I’ve been developing performance systems that use transducers and custom-built mechanisms as integrated instruments in live performance. The work that’s come out of this builds around malleable qualities of fibrillation and pulsation, using these as a kind of live connective tissue within a body of instruments. There’s something tectonic that transducers can achieve, creating an underbelly of sound that’s as much about body-feel as it is about audible sound. Playing through these layers is my way of digging into these very physical aspects of sound that have a permeating intensity in live performance.

 

Bio

Sabrina Schroeder (b. 1979 in BC, Canada) writes music for mixed ensembles, often using transducers and self-built mechanics as integrated instruments in live performance. She’s been an active member of composer-performer collectives presenting scored and improvised music, a back-up-band coordinator for teens in mental health housing, and works collaboratively in a range of interdisciplinary settings.

Her recent Stircrazer series, initiated as a self-performed show at the Parkhaus im Malkastenpark gallery in Dusseldorf, builds around malleable qualities of fibrillation and pulsation, using these as a live connective tissue within a body of instruments. Building out of this series, her solo performances have been recently featured at the Vancouver New Music Festival, the Institute of Contemporary Art (ICA) in Boston, and in a new duo project Inner Helmet with Mauricio Pauly.

Recent and upcoming residencies include the Banff Leighton Studios, Cité Internationale des Arts in Paris, Experimentalstudio des SWR in Freiburg, Villa Romana in Florence, and the Civitella Ranieri Foundation in Umbria.

She has been on the faculty of the iEAR (Integrated Electronic Arts) department at Rensselaer Polytechnic Institute in Troy, New York, the Royal Northern College of Music in Manchester UK, and the Summer Classical Music Programs at the Banff Centre for Arts and Creativity.

Schroeder completed a BMus at the University of Victoria (2001); an MA at Wesleyan University (2006); and a PhD in composition from Harvard University (2016).

She is currently Assistant Professor of Composition at Simon Fraser University’s School for the Contemporary Arts in Vancouver, Canada.