Composer - Pianist - Electronic Musician
My music investigates:
Instrumentation: large ensemble and electronics
Program Note: This work explores the micro-synchronicity within a pulsation to create timbral and musical situations that are:
organic and/or synthetic,
mechanical and/or lyrical,
symmetrical and/or asymmetrical,
integrated and/or separated,
on-the-beat and/or off-the-beat,
a space where opposing concepts coexist, or not.
Instrumentation: Flt., Ob., Clar., Pno., Perc., Vln., Vla., Vc.
Program Note: "this is warm snow"
Instrumentation: Alt. Flt., B. Clar., Gtr., Perc., Vla., Vc., Mezzo Sopr. and Live Electronics
Program Note: In William Faulkner’s 1939 novel The Wild Palms (If I Forget Thee, Jerusalem), he presents two independent stories that alternate with each chapter. The stories never meet on a narrative level. Yet on a conceptual and thematic level, I perceived a certain unity between them. This idea served as a metaphor for the relationship between the ensemble and the electronics. The electronics include a fixed ‘tape’ part that is temporally and sonically independent from the instrumental ensemble. Thus, when played together, many of the relationships that might evolve may seem circumstantial. Yet at the same time, I hope a certain unity emerges within the mind of the listener. Furthermore, undivided represents another word for completeness or wholeness, As such, I reflected on the un/dividedness within the mind, between the body and the mind, between an organism and the environment, and between the listener and the listening experience.
Instrumentation: B. Clar., Ob., Hrn., Pno., Perc., Vla., Vc., Db., and Electronics
Program Note: This is the second work in a series that draws its title from Hermann Helmoltz’s classical acoustics text: On the Sensations of Tone as a Physiological Basis for the Theory of Music (1863). This book combines physics, physiology and psychological aspects of listening in order to explain the origins of musical notions of harmony and dissonance. In this series I am exploring a more physiological experience of sound, moving beyond historically conditioned notions of consonance and dissonance, and towards the ear becoming an active participant in the listening process rather than a submissive sense organ. Moments of ‘music’ become interspersed with sonic ‘situations’, whereby tension arises through the simultaneous juxtaposition of timbral qualities, suggesting a timbral counterpoint. Furthermore, I explore the evolutionary expectation of source sounds, the natural physiological responses of the ear (beatings, and virtual fundamentals) to certain acoustic stimuli, and the use of repetition and contextual placement of sounds to distort musical memory.
Instrumentation: Prepared Piano, and Electronics
Program Note: The piano represents a culturally ‘heavy’ musical instrument, which makes it very difficult to divorce its timbre from historical associations. By writing a piano piece that only a percussionist could play, new performative and timbre approaches to this instrument become explored. This work uses the entire physical body of the piano, not just the timbre produced by playing the keys, as a timbral and musical source. Through the use of mallets, the interaction created between the physical contact of a prosthetic object against the piano. The percussionist acts as an exciter, probing and exploring this sound structure in situ, or "in position." Here, catalyzed formants and electronic feedback processes take place within situations of calming intensity. Furthermore, the electronics metaphorically serve as a microscope expanding sounds contained within. More specifically, using spectral filtering and pitch shifters, pitch orientated contrapuntal lines within the spectral structure of the piano timbre are explored.
Instrumentation: for 10 intruments
Program Note: Ksana defines a Sanskrit word for ‘moment’. This moment can be considered a single mental experience or literally a measurement of a chronological instant. I began a triptych of works that explores this concept of ‘moment’ from various musical perspectives. Within this second iteration I explore the ‘moment’ from a microscopic point of view. One may consider the entire work as a representation of a single moment, or a single impulse, that was temporally stretched and internally observed. This single moment, however, contains within it, many musical ‘situations’. I composed each situation as an object in which gestural, ambient, discursive, and energetic processes occur, presenting, hopefully, a series of musical situations contained within a single moment.
Theoretically, this work is a prolational or mensural canon, often deployed in Renaissance music, whereby melodic streams of different rhythmic proportions become simultaneously juxtaposed. Instead of a melody of pitches, however, I use a series of timbre structures, creating a timbre ‘melody’. With each instrument having a timbre ‘melody’ and simultaneously layered with other instruments, we achieve a multi-layered textured stream whereby an ensemble / emergent sound occurs. Furthermore, by presenting horizontal constructions at different temporal proportions, I intend to create multiple temporal perceptions and perhaps lead the listener to the experience of a timeless whole.
Instrumentation: 2 Male Voices (Tenor and Bass), Oboe and Cello
Program Note: Bardo, a Tibetan term, defines a liminal or intermediate state between two existential planes. In the Tibetan Buddhist tradition, after death, one’s consciousness is taken through numerous bardo states and exposed to various images, deities, and karmic mirrors, leading the consciousness to its resultant rebirth or to enlightenment. My goal was to create a musical experience of one’s consciousness pulled between bardo states. Furthermore, during the death process, a monk reads a sacred text to the deceased as a guide through this bardo state. This text is known as, “The Great Liberation through Hearing.” From this text, and other mantras, I assembled the text for this piece imagining as if the voices were heard within, guiding the consciousness to its karmic goal.
A study on timbre building through additive strategies and perceptual fusion.
This work explores both sequential and simultaneous grouping principles defined within Auditory Scene Analysis (Bregman, 1990). Synchronicity, harmonicity and modulation congruency were controlled in order to produce varying degrees of perceptually fused timbre structures, indicating single or multiple sources.
Anthony Tan is a Canadian composer, electronic musician, and improvising pianist working within the intersections of modern composition, and experimental electronic music styles. As researcher his interests include timbre theory, live electronics, music perception, composer-performer paradigms, free improvisation, and genre fluidity. He holds a Ph.D. from McGill University, Montréal, Canada, and the Meisterklasse from the Hochschule für Musik Carl Maria von Weber, Dresden, Germany. He was a fellow of the Radcliffe Institute for Advanced Study, Harvard University (RI’17).
He has presented his music at festivals including the Warsaw Autumn Festival (Poland), Kontraklang (Germany), Tonlagen (Hellerau, Germany), Imatronic (ZKM, Germany), SMC Sound and Music Computing Conference (2014, Sweden), 2013 NYC electroacoustic festival (USA), ICMC - International Computer Music Conference (2009 Montreal, and 2010 New York), Matrix '10, '11, and ‘15 at the Experimental Studio (Germany), Domain Forget (Quebec), the IRCAM Computer Music workshops at Centre Acanthes (France), the National Arts Centre Composer's Program (Canada) and the Academie Internationale de Composition du Blanc-Mesnil (France). Also involved with music for contemporary dance, he has written for the Merce Cunningham School (USA), Tangente (Canada), and Ephemeral Industry (Canada) and the Bravo!FACT (Canada) dance movie commissions. Commissioned by numerous international ensembles, Anthony has written for Ensemble Recherche, the Dresden Philharmonie, LUX:NM, Architek Percussion, Ensemble Contemporaine de Montréal, Les Cris de Paris, Ensemble Cairn, L’Orchestre de la Francophonie Canadienne, Le Nouvel Ensemble Moderne, the New Orford String Quartet, Turning Point Ensemble, and New Music Concerts Ensemble.
Awards include the audience and jury prize from the ECM+ Generation 2014 tour, Stipendiums from the SWR Experimental Studio, the 2011 Giga-Hertz Förder Prize, the International Competition for live-electronics of the Hamburg Klangwerktage, and the Gold Medal in piano performance from the Royal Conservatory of Music. He previously served as Assistant Professor at the University of Colorado, Colorado Springs, and is currently Assistant Professor of Composition at the University of Victoria, Canada.
2020 - Present - Assistant Professor of Composition, University of Victoria, British Columbia, Canada
2017 - 2020 - Assistant Professor of Composition, University of Colorado, Colorado Springs, USA
2016 - 2017 - Fellow of the Radcliffe Institute for Advanced Studies, Harvard University, USA
2015 - Guest Artist - Montreal Contemporary Music Lab - Canada
2012 - 2014 - Private Instruction in Electronic Music Composition - Hochschule für Music Carl Maria von Weber, Dresden, Germany
2012 - Lecturer - Jazz Composition Tutorial - Contemporary Composition techniques - McGill University, Montreal, Canada
2009 - 2012 - Lecturer - Electronic Music Composition levels I and II - McGill University, Montreal, Canada
2008 - 2011 - Research Assistant - Centre for Interdisciplinary Research in Music and Music Technology (CIRMMT) - Expanded Musical Practice Axis, Canada
2009 - Teaching Assistant - Musicianship - McGill University, Montreal, Canada
2007 - 2008 - Teaching Assistant, Electronic Music Composition, levels I and II, McGill University, Montreal, Canada
2002 - 2009 - Historical Instrument Interpreter - National Music Centre, Calgary, Canada
2009 - 2015: Ph.D. - McGill University - Dissertation Supervisors: John Rea (Composition) and Stephen McAdams (Psychoacoustics)
2012 - 2015: Meisterklasse - Hochschule für Musik Carl Maria von Weber, Dresden - Mark Andre, Franz Martin Olbrisch, Clemens Gadenstätter, Michael Reudenbach
2009 - 2010: Exchange - Univerisité de Montréal - Philippe Leroux (Mixed music), Robert Normandeau (Analysis of Electroacoustic Music)
2006 - 2009: M.Mus. - McGill University - Sean Ferguson, Chris Paul Harman
2002 - 2006: B.Mus. - University of Calgary - David Eagle, Allan Bell, Hope Lee, Charles Foreman (Piano)
2020 - Pose VII - bass flute and electronics
- for Maruta Staravoitava (Germany)
2020/21 - solo guitar and electronics
- for Colin McAllister (USA)
2021/22 - solo violin and electronics
- for Ilana Waniuk (Canada)
2022/23 - Saxophone, percussion and electronics
- for Scapegoat (Canada/Austria)
2022/23 - string quartet and electronics
- for Quatuor Bozzini (Canada)
2023/24 - Piano, erhu, and electronics
- for PEP (Canada)
Theatreworks-UCCS Presents - USA, 2020
Turning Pont Ensemble, Vancouver, Canada, 2019
Bozzini Quartet + Erreur de Type 27, Quebec City, Canada 2019
LUX:NM, Berlin, Germany 2017
Hellqvist/Amaral/Hyde/Bierstone Project, 2017
Architek Percussion, Montréal, Canada 2016
Hayley-Laufer Duo, New York, USA 2016
New Music Concerts Toronto, Canada 2016
Noam Bierstone, Montréal, Canada 2016
Turning Point Ensemble. Vancouver, Canada 2015
Ensemble EXPERIMENTAL, Freiburg, Germany 2015
Ensemble Contemporaine de Montréal (ECM+), Montréal, Canada 2014
Dresden Philharmonie, Dresden, Germany 2014
Ensemble Recherche, Freiburg, Germany 2014
SWR EXPERIMENTALSTUDIO, Freiburg, Germany 2013
Codes Acces, Montréal, Canada 2012
Fondation Royaumont, Paris, France 2011
Dorothea Hayley, Montréal, Canada 2011
Live@CIRMMT, Montréal, Canada 2011
New Works Calgary, Calgary, Canada 2011
Bravo!FACT, Toronto, Canada 2010
New Orford String Quartet, Montréal, Canada 2010
Toca Loca Ensemble, Montréal, Canada 2009
L’Orchestre de la Francophonie Canadienne, Ottawa, Canada 2009
Rubbing Stone Ensemble, Calgary, Canada 2009
Merce Cunningham Company, New York, USA 2007
Side project for mellow felt-piano and minimal electronics
Ambient album in collaboration with Saxophonist, Improvisor, and Composer Joshua Hyde
This album presents two works within my 'Poses' series - a larger series of works, each for a solo performer and electronics.
This is an album of free-improvised piano music. In contrast to my written composition work, here I explore musical freedom - music without predefined structures and systematized musical parameters, neither embracing nor rejecting any stylistic or aesthetic values. Thus, the music here represents the mental state and physical abilities of a particular time and place culminating in an instantaneous composition.
Label: Polish Composer's Union
Catalog number : Polmic 133
Pose II: On the Shadows of Ideas(2013) - for Piano and Live Electronics
Performed by Rei Nakamura (Piano) and the SWR EXPERIMENTALSTUDIO (Electronics)
Rubbing Stone Ensemble
Catalog number : CMCCD19213
UnRavel (2009) - for Violin, Ondes Martenot samples, and live electronics
Performed by Donovan Seidle
Tan, A. (2019), "Reality Sounding: Annesley Black's not thinking about the elephants." Circuit: Musique Contemporaines 29, no.3 (2019): 73-90.
Tan, A. (2019). Memory and Synchronicity: Two approaches to Live Electronics. In Live Electronics im/in SWR Experimentalstudio. Wolke Verlag.
Tan, A. (2014, June). Timbre as Vertical Process: Attempting a Perceptually Informed Functionality of Timbre. In Electroacoustic Music Studies Network Conference (EMS14), Berlin, Germany.
Tan, A. (2015). Ksana: Compositional Control of Spectral Fusion as a Parameter of Timbre Functionality (Doctoral dissertation, McGill University Libraries).