Sound Structures Part 1 -Origines Andalusiae

Holly Gwynne-Timothy - Artistic Directorpresent

Sound Structures Part 1 - Origines AndalusiaeWith Guests - Sadaf Amini, Iranian Santur; Ben Grossman, Percussion;

Dr. Margaret Walker, Percussion.

Melos Period Instruments -in order of appearance after our guests:

Fahd Abou Zainedin - OudJoseph Haskour - PercussionEileen Beaudette - ViolaJason Hawke - Recorders, Tenor Viola da GambaKatie Legere - RecordersP. Jill Frick - RecordersJeff Hamacher - Bass Viola da GambaMichael Capon - Harpsichord

Dylan Lodge, Recording EngineerAmin Pourbarghi, filmmaker; videographerfor Origines Andalusiae YouTube.

Melos Choir:

Sopranos:Maureen Brites, Helen Cluett,Gilda DiCola Mills, P. Jill Frick, Jane Emrich,Tammy Everett, Ariel Zaichick.

Altos: Rean Cross, Brenda Gluska,Ruth Oliver, Ann Hunnisett Rouget,Maja-Lisa Thomson.

Tenors: Lucas Cmok Kehoe, Gordon Gwynne-Timothy, Neil Hobbs, Paul Malo,Paul Robertson, Edgar Tumak.

Basses: Graeme Campbell, James Edwards,Kris Michaelson, Alexandru Sonoc.

Melos gives thanks to Rev. Kris Michaelson and his parish of St. Paul’s Anglican Church forallowing us to resume rehearsing there as soon as the COVID-19 lockdown ended in February.Their beautiful sanctuary and incredible hospitality have been very uplifting for our choir andplayers. We also thank the parish of St. John the Apostle Catholic Church for generously allowingour choir, players and guests to record Origines Andalusiae in their Church. We thank RichardTalbot for art direction and design of Melos’ concert programs, season brochures and ads; ReneMilot, who created the artwork for Melos’ Voces Feminarum program; and Jameson Wood, Melos’Marketing coordinator, for his work on our website, social media and publicity. We thank Melos’Board of Directors under the excellent leadership of P. Jill Frick, Chair, and Paul Malo, Vice Chair.All our Board members play a vital role in the success of our programming. Particular thanks areowed to Paul Malo, Vice-Chair and head of fundraising, Tarja Jaatinen, treasurer, and PaulRobertson, marketing liaison, for seeing Melos through over two years of the pandemic withextra care and initiative.

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Origines Andalusiae Program

1) Iranian Santur solo by Sadaf Amini with BenGrossman, percussion. Original composition/improvisation by Sadaf Amini, based onQui venit ad me chant that follows.

2) Qui venit ad me non esuriet - Mozarabicchant, anonymous ca. 8th century; revived /gathered in a breviary ca. 1500; Spain. Sung byMelos Tenors & Basses. Solo verses: Alex Sonoc;Gordon Gwynne-Timothy; Paul Malo.

3) Iam nubes dissolvitur/ Iam novum sidus -Motet from the Las Huelgas Codex, 14thcentury. Sung by Melos Sopranos & Altos withMargaret Walker, bells.

4) Ja’at Moathibati - Andalusian muwashah byLisan al Din Ibn al-Khatib (1313 - 74), Granada,Spain. Arabic oud and solo voice by Fahd AbouZainedin with percussion: Joseph Haskour,darbuka; Margaret Walker, rikk. Holly Gwynne-Timothy, backup vocals.

5) Dervis Mustafa Peshrev Nihavent -Traditional Sufi dance from Turkey, astranscribed by Dimitrie Cantimir (1673-1723).

6) Esta Montaña d’Enfrente - TraditionalSephardic Romance ca. 15th century. Sungby Ariel Zaichick, in the Judeo-Spanishlanguage, Ladino.

7) Ghaetta - dance from Tuscany, late 14thcentury. British Library MS: BL 29987. Solos:Sadaf Amini, santur; Eileen Beaudette, viola;Jason Hawke, recorder.

8) Una sañosa porfia by Juan del Encina(1468 - 1529). With santur taksim by Sadaf Amini;Reading of text by Tetiana Winchester.

9) Je ne vis onques by Gilles Binchois(1400 - 62). Holly Gwynne-Timothy, soprano;Eileen Beaudette, viola; Jason Hawke,tenor viol.

10) Con Amores la mi madre by Juan deAnchieta (1462 - 1523). Solo verse sung byTetiana Winchester with Eileen Beaudette, violaand Jeff Hamacher, gamba.

11)AVirgen que de Deus madre est, Cantiga#322 by King Alphonso X (1221 - 1284). Oudtaksim by Fahd About Zainedin. Vocal soli:Gilda DiCola Mills,Tammy Everett; Smallensemble refrain: P. Jill Frick; Maureen Brites;Ariel Zaichick; Brenda Gluska, Rean Cross.

Please join Melos for Parts 2 and 3 of this online Sound Structures Trilogy:

Part 2, April 15 - 24: Diaspora en Musica - 15th - 18th centuriesPart 3, April 30 - May 9: Circum Mediterraneum - Architectural photographyand talk by Dr. Peter Coffman: Hybridity in architecture, 6th - 17th centuries.

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INTRODUCTION by Holly Gwynne-TimothyPlease see following pages for notes and translations

Today’s program, Sound Structures Part 1-Origines Andalusiae is a loose connecting ofmonophony and early polyphony from theIberian Peninsula, from beautiful and distinctArabic, Jewish and Christian traditions thatflourished there between the 7th and 16thcenturies. This period includes the Umayyad(Muslim) conquest in 711 of the Southern part ofHispania, overthrowing the Christian Visigothickingdom, and forming Islamic states knowntogether as al-Andalus. Al-Andalus at its largestencompassed most of Spain, Portugal, and evenportions of Southern France, including Alpinepasses into Provence and the Italian Alps.The Muslims established a flourishing courtlyculture and dynamic economy in al-Andalus,from which Europeans gained immeasurablegifts intellectually, artistically and economically.Arabic culture and influence flourishedespecially in the first five hundred years ofUmayyad rule, generating major advances infields of science, math, architecture, and pivotaltechniques in surgery, pharmacology andagronomy. Even elements of fashion in textiles,interior decor and personal hygiene liketoothpaste and deodorant are credited byChristians as coming from their Muslimcounterparts.

During this 700 year period Muslims, Jews andChristians co-existed in spheres that were bothseparate and competing, yet also sharing andco-operating. Pluralism, as we may know it,especially for Jews, was not always easy orenjoyable. Generally speaking, however,religious freedom was more broadly tolerated inthe Muslim regions than in the Christian ones.These competing/sharing spheres,geographically compressed, were rife withpressing moves by Christian rulers to regaintheir footing and geographic control, andcountermoves by Muslims to maintain or evenexpand their domain. Battles, diplomatic

solutions, cross-cultural alliances, regionalattempts to suppress rights of the “other”, andhostilities bubbled in an intense political stew,so to speak. The aim of Christians to re-conquerIberia fully was realized under King Ferdinandand Queen Isabella in their victory at Granada in1492, by then the last Muslim Caliphate standing.

In sum, over these 781 years of al-Andalus’being, cultural exchange was part of the airmany people breathed, in spite of regionalhostilities and competition. On the level ofmusic, especially that which was documented ordepicted in certain communities, such as that ofCastilian King Alphonso X “El Sabio” there wasmuch mutual curiosity, sharing and learningfrom the other. The Persian santur you heartoday gave rise over time to the Europeanhammered dulcimer, the harpsichord and piano.The Arabic rebab (fiddle) and oud are theancestors of our violins, lute and guitars. Thehighly formal and beautifully rhyming poetryarising in courtly spheres in Europe in theMiddle Ages, and the notion of Courtly loveitself, were strongly influenced by the fruits ofArabic courtly life in al-Andalus.

This Hispano-Andalusian musical programby Melos was inspired initially by Melos’ pre-pandemic plan to collaborate with Dr. PeterCoffman, photographer and architecturalhistorian at Carleton University, in a programshowing cross-cultural influences and hybridityin architecture from the Hagia Sophia inIstanbul, around the Mediterranean and intoEurope. Melos was going to provide evocativeEarly Music, live, showing Moorish influencesas a kind of sub-narrative to Dr. Coffman’silluminating slideshow and lecture. The musicalselections were also inspired and facilitated bythe amazing talent we have here in Kingston inperformers like Sadaf Amini, Fahd AbouZainedin and Joseph Haskour. Ben Grossmanjoins us from Guelph with his inspiring talentand experience in cross-cultural collaborations,including study abroad in Turkey and immersive4 5

Melos extends our deepest thanks to our 2021-2022Corporate Season Sponsors:

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With special thanks to the Estate of Larry Gibson

PROGRAM NOTES & TRANSLATIONS:

1) Sadaf Amini’s expressive palette and musicalimagination shine through in virtuosicadaptations and interpretations on her santur,seamlessly unifying ancient expressions withcontemporary. Listen for the Phrygian andDorian motives in this piece, as preface to theMozarabic chant that follows.

2) Mozarabic (also called Visigothic or OldSpanish) chant originated on the Iberianpeninsula and remained in use in Christiancommunities, mainly in Toledo, through eightcenturies of Muslim rule of Spain, withincreasing influence of the Roman Catholic ritecreeping in, especially after 1492. CardinalCisneros, fearing the disappearance of theMozarabic rite, gathered much of it in twovolumes, a Missal and Breviary, around 1500.Many elements of the Roman rite wereembedded in this attempt at preserving theMozarabic. However the singing style andornamentation, carried on in aural traditionsin Toledo and other Mozarabic communities inSpain, speak to the Moorish influences whicharrived not long after Mozarabic the inceptionand, possibly, connects to Eastern roots ofChristian chant, as it was sung in Spain fromnear the beginning of the Christian era. The texthere is from John 6:35: Whoever comes to meshall not thirst. The final verses include the“Gloria Patri”or “Doxology” and a promise ofeternal life for the faithful.

3) Burgos is a city in Castile which is on one ofthe Pilgrimage routes to Santiago deCompostela. As such it was a much visited,“cosmopolitan” centre. The Cistercian conventof Las Huelgas, in Burgos, was founded in thelate 12th century by King Alphonso VIII. Builtalongside the royal residence, it came to functionas the Spanish Westminster Abbey. Kings andQueens were buried there and dignitaries visitedfrom other countries. The services were rich inmusic, and a Schola Cantorum and scriptoriumwere established for teaching sight singing,musicianship and producing manuscripts. LasHuelgas housed women of noble backgrounds

and permitted education beyond the confinesof Cistercian rules for women in monastic life.They were encouraged to write and singpolyphony, even though such activity wasforbidden for them as women. They had hands-on exposure to great polyphonic writing byrenowned composers from major centres likeNotre Dame de Paris. Some of Perotin’spolyphonic works from Notre Dame werecopied into the Las Huelgas manuscript,showing the convent to be a cultural centre thatwas open to important influences from otherparts of Europe.

Triplum (Soprano 1): Now, now, now the cloudsdissolve. Now the galaxy appears. Now the flower istorn from the thorn. Now out of of Mary he arises.Now true light is visible. Now the way is shown.Now for us pious Mary praysSo that we may enjoy glory.

Motetus (Soprano 2): Now, now, now a new star isborn. Now the galaxy appears. Now of Judea He isborn.Now of Mary He arises. Now heaven reaches(down) to us. Now may he give us rejoicing in thecourt of heaven, whose daughter and mother you are,Mary.

4) Ja’at Moathibati - Andalusian Muwashah,poetry by Lisan al Din Ibn al-Khatib (1313 - 74),Granada. Melodic interpretation of NouadWadie’ Haddad, Lebanese singer, known asFairuz. This song, so beautifully executed byFahd Abou Zainedin, Joseph Haskour, andMargaret Walker, is a result of the ardentpreservation by Arabs of their poetic heritage,which is thought by many to have had itspinnacle in al-Andalus. Passages of Ibn al-Khatib’s poetry are beautifully carved in stone inthe walls of Alhambra Palace. Lisan al Din Ibnal-Khatib left a rich legacy of poems which areinterpreted in a myriad of ways and melodiesacross the Arab-speaking world to this day.Some Early Music groups strive to replicate thestyle of performance that Ibn al-Khatib mayhave known in al-Andalus. Fairuz is adored andrespected for her interpretations today. As for

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learning about historic approaches to percussionand vielle a roue. We are very lucky in Melos tolearn and enjoy the musical riches of our fellowKingstonians and guests who share theirperspectives, life experience and skill sogenerously with us. In this way we continuelearning and deeply appreciating the gifts ofpluralism and collaboration that our societyoffers us now.

The pandemic, however, and its restrictionson singing groups, travel, and large indoorgatherings forced us to carve up our programwith Dr. Coffman into three smaller, virtualprograms, rather than one long, in-person show.Scheduling challenges meant that Dr. Coffman’sslideshow had to be the third and final elementin the trilogy, rather than the prefatory base toour musical plans. Pulling the music away fromthe slideshow revealed two starkly differentmusical and cultural narratives, one of whichI called “Origines Andalusiae”, referring to theal-Andalusian/ Moorish influences so audible inthe region prior to the Alhambra Decree of 1492,galvanizing brutal expulsions and forcedconversions of Jews and Muslims in Spain.The second program, “Diaspora en Musica”touches on lost culture and terrain by Muslimsand Christians around the Mediterranean;but focusses mostly on the music of the lateRenaissance and Baroque eras in Spain and Italy,wherein the Catholic Church and Empire-drivenaristocracies fuelled the patronage of beautifulmusical disciplines, most notably what we callWestern counterpoint, or, Classical music. In thismusic, nonetheless, we still hear the rhythmicand ornamental gifts, of the music of al-Andalus.

As a choir and community in Kingston lovingWestern Classical music, it is sobering to askourselves what happened to the Jews andMuslims of “Hispania”. As war wrought byRussia imperils Ukraine, touching on thesuffering wrought by Ferdinand and Isabella’s“re-conquest”, their co-creation of the RomanCatholic Empire in Latin America, post-1492,feels only too current. However, it is moving toask ourselves: to whom do we owe our artisticdebts? How do our artistic roots connect us?How amazing it is to feel in “roots music” suchshared emotional and spiritual movement!This is one way we can make amends and dobetter. We look at the history both head on andindirectly, through the lens of beautiful artforms, praying and moving towards an agewhen we no longer have to learn harsh lessonsof conquest, cruelty and their attendant shame.

Please explore the richness, gifts and tensions inour histories further with us; tune in for Parts 2and 3 of our Sound Structures Trilogy.melos-earlymusic.org

We are so grateful to all who made theseSound Structures programs possible, mostnotably the Government of Canada, throughits nourishing of our varied inheritances andcollaborations. And to KFLA Public Healthfor guiding us in our attempts at safe music-making under the pandemic. Masks anddistance aside, it is above all a joy to singand play together again after two years ofso little opportunity to perform.It is a privilege to have the gorgeousaccompaniment of Melos’ players and ourguests, and to feel the hope, through yourviewing, of a renewed Early Music audience.

kingdom to Ferdinand and Isabella. Ensuingverses are disturbing; we leave them out as theyappear to be appealing to the vanity andimperial ambitions of the Catholic monarchs.

A terrible and hopeless struggle is being foughtNow I will never know joy again,Now my ill fate is being ordained.

Fate has arrangedTo take away my successful leadershipFor the brave Lion of SpainComes threatening me with evil.

9) Je ne vis onques by Gilles Binchois (1400 - 62).A love song set in Rondeau form, a fixed poeticand musical form of the late middle ages. Weperform simply the first and last verses,simplifying the form to ABAB. This is anunusual song in that detailed chronicling of itsdebut performance comes down to us in writing.It was performed at a lavish banquet at Lillehosted by Philip, Duke of Burgundy. At thebanquet, Philip swore members the Order of theGolden Fleece to a crusade against the Turks.The love song was noted for its beauty by aguest at the occasion, Mathieu d’Escouchy. Itwas sung by a 12-year old boy mounted on acostumed “stag”, with a man under the costume,acting as the body/ legs of the animal. Hecarried the boy and simultaneously sang thetenor part, which Eileen Beaudette plays here onviola. Although the piece has also been ascribedto Dufay over the years, it is thought Binchoiswas the true composer.

I have never seen the equal of you, my gracious lady,For your beauty, upon my soul, is unequalled by anyothers.

Your very great sweetness awakens my spirit,And my eye opens up my heart, which I may say boldly.For I am prepared to serve you, unequalled by others.

10) Con amores la mi madre by Juan deAnchieta (1462 - 1523).This strophic song set to a four-part,contrapuntal texture, is a villancico, a Spanishform of madrigal, influenced by the Italianfrottola (a proto-madrigal form of the 15thcentury). Secular villancicos’ texts often wererustic in nature, with dance-like, upbeatrhythms. The structure of repetition andhomophonic texture of most villancicos makesthe music easy to learn: ABAABA or, ABBABBA. By the 16th century, sacred villancicos

were in vogue, and spread to Latin America, inpart due to popularity, but also due to thepedagogic potential of their repetition, withsimple texts, conveying the religious lessons in amemorable and enjoyable way. The Catholicservice of Matins was structured in three parts,with three lessons and three responsories. Thusvillancicos with sacred texts, especially those forFeast days, were performed up to nine times in aservice. Latin American villancicos wereadapted for outdoor performance before theMass, with costumes and dances on feast days.Thus the villancicos in Latin American countriesshow broad-ranging expression, according toregion and custom. By the 20th century thevillancico form fell out of favour in Spain andLatin America; the term is now used to describea Spanish Christmas carol. Con amores byAnchieta has more contrapuntal interest thanmany villancicos and is an example of a lateform of the genre. The text touches on thesimple, vernacular voice of the kharjas in theAndalusian muwahshat, often revealing thewoman’s voice (the kharja is the last refrain ofthe muwahsah); and it connects the confessionaltone of many Sephardic and Italian lullabies,wherein the daughter discloses romantic woesto her mother.

With love, my mother, with love I went to sleep.So thus sleeping, I dreamt of that which my heart wasconcealing,The love that consoled me with more than I deserved.

The grace put me to sleep,Which love gave me with love,It gave rest to my pain,The loyalty with which I served it.

11) AVirgen que de Deus madre est, Cantiga#322 by Alphonso X “El Sabio” (1221 - 1284).This monophonic song is fromAlphonso elSabio’s large collection of devotional “cantigas".Alphonso documented 420 poems set to music,each of which mentions the Virgin Mary, andwhich contain countless accounts of a range ofher miracles. Two of the surviving versions ofthe Cantigas collection contain detailed andcolourful illustrations that are invaluable sourcesof insight in to the cult of saints in general,especially of St. Mary. They also provideprecious glimpses into Alphonso’s brilliantlycultivated, multi-cultural community, includingimages of people playing a range of musicalinstruments, including Arabic instrumentalistsalongside Christian instrumentalists. One image

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our performance in Melos, Fahd brings histraditional Arabic oud training to the fore withhis own virtuosic improvisations, in complexcross-rhythms with his voice. Those of usfamiliar with Flamenco guitar immediatelyrecognize its source here. We know that oud,darbuka and rikk were among instrumentsplayed at Ibn al-Khatib’s time. Al-Andalus wasa renowned production centre for excellentmusical instruments, such as the oud;Andalusian artisans’ products were exportedwidely.

My tormentor came from the gloominess of the duskLike a glistening star upon the horizon.

Then I said: “You illuminated me, my best visitor,Didn’t you feel afraid of the guards in your way?”

Then tears fell from her eyes before answering me:the one who goes on board should not fear to bedrowned.

5) Dervis Mustafa Peshrev Nihavent - Sufidance, as transcribed by Dimitrie Cantimir(1673-1723), a Moldavian statesman, historianand ethnographer, who owned a palace inIstanbul. He spent much time in Turkey over 23years, observing and transcribing 350 pieces ofmusic, gathering them in a collection calledEdvar-iMusiki. He presented the collection as agift to Sultan Ahmed III. We thank members ofAlpharabius for introducing us to this collectionin 2019, and for coaching us in our continuedwork on it with new Melos members.

6) Esta Montaña d’Enfrente - SephardicRomance, pre-1492, al-Andalus. In the lead upto and aftermath of the Alhambra Decree, about200,000 Jews converted to Catholicism, mostlyunder force. About 40,000 Jews fled the IberianPeninsula on foot, and settled in Eastern Europe,and around the Levant. Some Jews did settle inJewish communities in other parts of WesternEurope; and some returned to Spain in ensuingyears, speaking to the pull of geographicalhomes. The Sephardic aural tradition of song isstrong and manifests itself uniquely in eachregion where it is practised. Women are centralin the mastering, preservation and passing on ofthis sung tradition. This Romance, Esta Montañad’Enfrente,was likely preserved aurally bySephardim who fled to the Balkans. Anyonewith more information on its source, would bemost welcome to contact Holly atmeloskingston@gmail.com .

Verses 1, 3 and 4:

The mountain before me stands illuminated andburning.It is there that I lost my love; I sit and I cry.

Secrets to be discovered, secrets of my life,I want the sky as my paper, I want the sea as my ink.

The trees are as quills, to write down my sorrows.No one knows of my pain, neither strangers norrelatives.

7) Ghaetta - late medieval, Tuscan dance.The British Library manuscript 29987 containsthe first, fully-notated instrumental dances onrecord in Western music history, of whichGhaetta is one. Dating from around 1400 theyprovide excellent insight into the nature ofvariation and ornamentation that waspresumably au-courant among accomplishedplayers at the time, hence their being writtendown. They also display ornamental figures andrepeat structures in which can be heard MiddleEastern influences. Like most of the music ofIberia pre-15th century, we find it as a single lineof music, a monophonic melody; we embellishupon the tune, and vary the texture to bring it tofull life.

8) Una sañosa porfia by Juan del Encina, fromthe Cancionero de Palacio, ca. 1500, a collectionof over 460 pieces of Spanish music, of virtuallyall styles spanning roughly 1470-1505, ultimatelyresiding in the Royal Library of the Royal Palaceof Madrid. Over 60 of Encina’s works are in thiscollection, more than any other composer,showing his prominence in the music of thistime. Encina was a musician and playwright,credited with the founding of Iberian drama,who worked in a number of courtly settings. Hewas the son of a shoemaker and the grandson ofJewish “conversos” (converts). His life has someapparent contradictions: he was talented andambitious enough to gain work in Rome at theVatican, gaining the support of two differentPopes. He was an active chaplain, yet heforfeited job security as maestro di cappella bynever being ordained. He was a potential masterof musical forms suited to the Church music,worked in the Church; but he apparentlycomposed or published no Church music. Thetext of the first two verses of Una sañosa porfiaare the imagined thoughts of Abu AbdullahMuhammed XII, the last Nasrid ruler of theEmirate of Granada, as he sees the approachingCastilian forces and prepares to surrender his

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10shows a musician playing a North Africandarbuka, like ours used in this program. It is theonly surviving image in a European manuscriptshowing this type of drum. This Cantiga mightincrease our sense of being boggled by theMedieval mindset: Do we laugh at this story ofthe rabbit bone lodged in the glutton’s mouth,and released in a moment of intercessory mercyby Mary after his friends and family all give himup for dead; or do we take it as a cautionary taleagainst rapid gorging, and renew our sense ofawe for Mary’s power? I suspect the MedievalChristian responded in all of these ways.

BIOS:

Sadaf Aminiwas born in Tehran, Iran, where, atthe age of 12, she began studying the Santur, andlater entered Tehran Music School. In 2012, shereceived her Bachelor’s degree in Iranian MusicPerformance from Tehran University. During herstudies, she trained with Masters of Music andSantur. She received her Master’s Degree inMusic Technology and Digital Media, Universityof Toronto, 2018. She has performed at variousmusic festivals, collaborated with diverseensembles at multiple concerts and in albumrecordings. She is interested in combiningIranian melodies and instruments with othergenres of music, and collaborating withmusicians from different backgrounds. Inaddition to freelance performing on Santur,Sadaf works at the Isabel Bader Centre inKingston as a stage technician and box officeassistant.

Sadaf was a winner of the YGK EmergingMusician Competition in 2019; she is arecognized virtuoso and a mesmerizingperformer, expressing her feelings through herown compositions.

Ben Grossman In addition to being an AssociateArtist in the Toronto Consort, Ben is a busymusician and sound artist: improviser, studiomusician, composer, and noisemaker. He worksin many fields, having played on over 100 CDs,soundtracks for film and television, sounddesign for theatre, installations, work designedfor radio transmission, and live performancesspanning early medieval music to experimentalelectronica. Ben's tools of choice are electronics,percussion, and, especially, the hurdy gurdy(vielle à roue), a contemporary electro-acousticstring instrument with roots in the European

middle ages. Through extended techniques,live-looping and processing, Ben seeks to use itas a physical interface into improvised soundcreation, spontaneous composition and theexploration of acoustics, form and extendedaesthetics.

In 1997 Ben studied Turkish music (oud andpercussion) in Istanbul and has done vielleworkshops and lessons with Valentin Clastrier,Matthias Loibner, Maxou Heintzen and SimonWascher as well as working on Deep Listeningand improvisation with Anne Bourne. With anabiding interest in pushing the limits of hisinstruments and pushing the boundaries ofwhatever venue or medium in which he works,Ben's solo CD, Macrophone was released in2007 and features a unique two disc form forsimultaneous, aleatoric playback.

Margaret Walker is an ethno/musicologisttrained in piano, Indian classical kathak danceand percussion. A graduate of the RoyalConservatory Professional School (now theGlenn Gould School), she also holds a doctoratein ethnomusicology from University of Toronto.She conducted fieldwork in India in the early2000s, where she studied kathak dance and tabladrumming and her book India’s Kathak Dancein Historical Perspective was published in 2014.Margaret is currently Professor of music historyand culture at Queen’s University where sheserved as Director of the School of Musicbetween 2010 and 2015. She was instrumental inthe creation of Queen’s new DAN School ofDrama and Music. In addition to being a regularpresenter at scholarly conferences, she haswritten many scholarly articles for publicationson topics ranging from Indian folk traditions tomusic cognition. She has participated in twointernational research teams exploring globalmusic history and her current work takesquestions of global and decolonized musichistory into the classroom in a cluster ofinterrelated projects on curriculum andpedagogy. Margaret is also a member of theKings Don Taiko drumming ensemble inKingston.

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