Fabrice Marandola
Associate Professor, Area Coordinator (Percussion)
Performance Diplomas
- 1997, Percussion Diploma with High Honours (First Prize in percussion) from the Superior National Conservatory of Paris (class of Jacques Del茅cluse, Jean Geoffroy and Michel Cals)
- 1992-93, First Prize and Achievement Prize in percussion with unanimous jury, National Regional Conservatory of Paris (class of Fr茅d茅ric Macarez)
- 1991, First Prize in percussion with unanimous jury, centralized competition of the City of Paris (Conservatory of the 13th Arrondissement, class of Didier Benetti)
- 1989, First Prize in percussion at National Music School of Montlu莽on (class of Daniel Ardaillon)
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Music Teaching Diplomas
- 1995, Certificate of Aptitude (CA) as Instructor of Percussion (rank of professor)
- 1992, State Diploma (DE) as Specialized Artistic Teaching Assistant (percussion)
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University Degrees
- 2003, PhD in History of Music and Musicology, Very Honourable and Jury Commendation (鈥淢ention tr猫s honorable avec f茅licitations du jury鈥�): The Vocal Polyphonies of the Bedzan Pygmies of Cameroon: An Experimental Approach to the Scale System, under the direction of Professors Simha Arom (CNRS) and Louis Jambou (University of Paris IV-Sorbonne). Defended on December 8, 2003; jury: Professors Simha Arom, Louis Jambou, Nicolas Mee霉s, Jean Molino, Fran莽ois Picard and Jean-Claude Risset
- 1994, DEA in History of Music and Musicology, with High Honours (Un r茅pertoire instrumental et sa musique : le Kp贸n铆ngb贸 des Zand茅 de Centrafrique), University of Paris IV-Sorbonne
- 1993, Master鈥檚 Degree in Music, with High Honours (La musique de xylophone zand茅 鈥� Centrafrique), University of Paris IV-Sorbonne
- 1992, Licence (Bachelor) in Music, University of Paris IV-Sorbonne
- 1989, Baccalaureate A3 Music (with Honours); Honourable Mention in Music Education, at the Concours G茅n茅ral des Lyc茅es (national competition, Paris)
Percussion, Ethnomusicology
Musical Performance; Contemporary Music; Music and New Technologies; Pedagogy of Performance; Gesture and Music; Eye-tracking;
Ethnomusicology; Musical Analysis; Central African Music
鈥淎 percussionist is defined by the gesture of hitting.听 It is a completely physical gesture, varying from extreme subtlety to a forcefulness that engages the entire body.鈥澨�
At the age of 5 years old, his father鈥檚 drum set and the gift of a small African drum inspired Fabrice Marandola to make a grand declaration: he would become a drummer!
20 years later, having earned a First Prize in Performance from the Conservatory of Paris with Jacques Del茅cluse, and a PhD in Ethnomusicology from the Sorbonne, the dream of his youth has been more than adequately achieved. He has performed with the National Orchestra of France and the New Philharmonic Orchestra of Radio France.听He has taught percussion in Paris, Grenoble and Angers, all the while pursuing his passion for Ethnomusicology in Cameroon.
In 2005, Marandola moved to Montreal to become a professor at the Schulich School of Music of 海外直播b站.听 Dividing his time between teaching, performing and research, he also became Associate Director of Artistic Research of the Centre for Interdisciplinary Research in Music Media and Technology (CIRMMT) from听2009 to 2014. He quickly became part of the contemporary percussion scene in Montreal, co-founding Percussion Ensemble听Sixtrum and duo Akrostick.听 He has played with the NEM, SMCQ, and Kore, and directs the 海外直播b站 Percussion Ensemble. From 2014 to 2017, he is elected president of the board of directors of Le Vivier, an organism that regroups all of the ensembles dedicated to new music in Quebec.
In all of his activities, Marandola values exploration, risk, discovery and creativity.听 His approach constantly questions the role of the musician in society, and the future of music, as it becomes transformed more and more by technology. Above and beyond all, it is the pleasure - both intellectual and physical - of playing that guides his work; a pleasure shared with his fellow collaborators; a pleasure that he aims to share in the studio with his students, and on stage with the public.
鈥淲ith Sixtrum, we work as explorers.听 We work with the living:听 Live composers. Live musicians. 听Today鈥檚 music brought to life.鈥�
Catherine听Leroux
Senior Research Chair
Chaire th茅matique Sorbonne-Universit茅s: 'Geste-Acoustique-Musique' (2015-2016)
Conseil Qu茅b茅cois de la Musique - Prix Opus
鈥淓v茅nement musical de l鈥檃nn茅e鈥� / "Musical Event of he Year"
- 2018-19, Rythmopolis; role: producer, musical director and co-designer
- 2009-2010, L鈥檈au qui danse, la pomme qui chante et l鈥檕iseau qui dit la v茅rit茅, opera by G. Tremblay; role: performer
鈥淐oncert de l鈥檃nn茅e 鈥� musiques contemporaine, moderne鈥� / "Concert of the Year - Contemporary and Modern Music"
- 2018-19, Grand concert 30猫尘别 anniversaire, dir. Lorraine Vaillancourt, co-production NEM/SIXTRUM; role : performer and delegate artistic director of SIXTRUM
鈥淐oncert de l'ann茅e musique actuelle, 茅lectroacoustique" / ""Concert of the Year - 'Musique actuelle' and听Electroacoustics"
- 2013-2014, De souffles et de machines II, Live@CIRMMT; role: co-producer (CIRMMT, Co-director/Artistic Research)
- "Livre de l鈥檃nn茅e"
- 2008-09, Circuit, vol. 18-3, Montr茅al, Les Presses de l鈥檜niversit茅 de Montr茅al; role: author of one chapter, "Pulau Dewata : des arrangements raisonnables ?", pp. 53-72
Acad茅mie Charles-Gros
- 鈥淕rand Prix du disque 鈥� Musique Contemporaine鈥�
- 2003, 颁丑补苍迟蝉鈥�, by C. Vivier with Les Jeunes Solistes (dir. Rachid Safir), Musique M茅dia/Les Jeunes Solistes(S206-NT 103); role: performer
- 鈥淐oups de Coeur musique Contemporaine鈥�
- 2017, Musique de chambre, works by Bruno Giner, Musicube (CUB1612); role: performer of Yoshihisa_in memoriam, solo marimba
- 2017, De la percussion, works by Philippe Leroux, Sixtrum Percussion Ensemble, Soupir 脡ditions (SOUPIR 5232); role: performer and delegate artistic director (Sixtrum)
Montreal English theatre Awards (METAS)
- 鈥淥utstanding PACT Production (Professional Association of Canadian Theatre)
- 2016-17, 础苍驳茅濒颈辩耻别, with theatre company Tableau d鈥橦么te and Black theatre Workshop; role: performer and co-composer (SIXTRUM)
- 鈥淥utstanding Contribution to Theatre鈥�
- 2016-17, awarded to SIXTRUM for its contribution to the production of 础苍驳茅濒颈辩耻别
Jeune Chambre de Commerce / Conseil des Arts de Montreal
- 2011, "Prix Arrimage鈥�, concert 尝耻尘颈猫谤别蝉, SIXTRUM
Research Articles and Book Chapters
2019,听F. Marandola,"". Journal of Eye Movement Research, 11(2):7. DOI 10.16910/jemr.11.2.7; ISSN: 1995-8692 鈥� published 30-03-2019, 24p.
2017,听F. Marandola, M.F. Mifune, F. Vahabzadeh,听鈥溾��, Cahiers d鈥檈thnomusicologie (30), Ateliers d'Ethnomusicologie, Gen猫ve, pp. 45-72.
2014, F. Marandola, 鈥溾��, Expressiveness in music performance: Empirical approaches across styles and cultures, Oxford University Press, D. Fabian, R. Timmers, E. Schubert (eds), book chapter, pp. 200-216
2013, G. Boutard, F. Marandola, 鈥溾��, Circuit, vol. 23:2, Montr茅al, Les Presses de l鈥檜niversit茅 de Montr茅al, G. Boutard (ed.), pp. 37-47
2012, F. Marandola, 鈥溾��, Xenakis Matters, Pendragon Press, S. Kanach (ed.), pp. 185-204
2011, A. Bouenard, M. Wanderley, S. Gibet and F. Marandola, 鈥溾��, Computer Music Journal, 35:3, pp. 57-72.
2009, C. Guastavino, F. Gomez, G. Toussaint, F. Marandola, E. Gomez, 鈥溾��, Journal of New Music Research, vol. 38, (2), pp. 129-138
2009, F. Marandola, "Apprentissage et improvisation dans les musiques d鈥橝frique centrale", Percussions, n掳 26, Paris, pp. 58-64
2008, S. Arom, N. Fernando, S. F眉rniss, S. LeBomin, F. Marandola & J. Molino, "", Cat茅gories et Cat茅gorisation. Une perspective interdisciplinaire, Frank Alvarez-P茅reyre (ed.), Peeters, SELAF, coll. Num茅ros sp茅ciaux, 33, pp. 273-313
2008, F. Marandola, "", Circuit, vol. 18-3, Montr茅al, Les Presses de l鈥檜niversit茅 de Montr茅al, pp. 53-72. The volume earned the Prix-Opus "Livre de l鈥檃nn茅e".
2007, S. Arom, N. Fernando, S. F眉rniss, S. LeBomin, E. Olivier, F. Marandola, Herv茅 Rivi猫re et O. Tourny, "Typologie des techniques polyphoniques", in Jean-Jacques Nattiez (茅d.), Musiques. Une encyclop茅die pour le XXIe si猫cle, vol. V "L'unit茅 de la musique", Editions Actes Sud, pp. 1088-1109
2005, S. Arom, N. Fernando, S. F眉rniss, S. LeBomin, E. Olivier, F. Marandola, Herv茅 Rivi猫re et O. Tourny, "Tipologia delle tecniche polifoniche", in Einaudi Enciclopedia della Musica, Vol. V 鈥淟'unit脿 della musica鈥�, Torino, Einaudi, pp. 1065-1068
2004, F. Marandola, "", Computer Music Modeling and Retrieval, Uffe K. Wiil (茅d.), coll. Lecture Notes in Computer Sciences, Springer Verlag, Berlin, vol. 2771, pp. 34-41, + CD-Rom
2000, F. Marandola, "", Forum de discussion 1, Music忙 Scient忙, pp. 97-106.
1999, F. Marandola, "", Journal des Africanistes, T. 69-2, pp. 109-119
1997, V. Dehoux, S. Le Bomin, N. Fernando & F. Marandola, "", Cahiers de musique traditionnelle - "Rythme" n掳10, Ateliers d'Ethnomusicologie, Gen猫ve, pp. 81-105
1995, N. Fernando & F. Marandola, "Le dernier des xylophones Mofou-Goudour (province de l'Extr锚me-Nord du Cameroun) ?", Percussions sans fronti猫res, n掳 42
1995, N. Fernando & F. Marandola , "Les xylophones d'Afrique subsaharienne", Percussions sans fronti猫res, n掳 40
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Proceedings
2017,听M. Mutio, F. Marandola, K. Ben Mansour, J. Andr茅 and F. Marin,听鈥溾��, in Computer Methods in Biomechanics and Biomedical Engineering, vol. 20, n. S1, S149鈥揝150
2016, L. Chen, S. Gibet, P.F. Marteau, F. Marandola, M. Wanderley, 鈥溾��, in Proceedings of the 3rd International Symposium on Movement and Computing, Thessaloniki, Greece
2014, I. Hattwick, P. Beebe, Z. Hale, M. Wanderley, P. Leroux & F. Marandola, 鈥溾��, in Proceedings of the International Conference on New Interfaces for Musical Expression, Goldsmiths, University of London, pp. 597-600.
2014, G. Boutard F. & Marandola, 鈥溾��, in Proceedings of the 9th Conference on Interdisciplinary Musicology 鈥� CIM14. Berlin, Germany 2014, 3 p.
2014, G. Boutard F. & Marandola, 鈥溾��, in Actes des Journ茅es d鈥橧nformatique Musicale 2014 (pp. 130鈥�134). Bourges.
2014, B. Bacon, M.M. Wanderley & F. Marandola, "", in Proceedings of the 2014 International Workshop on Movement and Computing, pp.听 112-117听
2010 F. Marandola (ed.), Xenakis : Arts/Science, Proceedings, Montreal, October 1, 2010, ISBN : 978-0-7717-0699-8, 30 p.
2008a, C. Guastavino, F. Marandola, G. Toussaint, F.Gomez & R. Absar, "", Proceedings of the fourth Conference on Interdisciplinary Musicology (CIM08), C. Tsougras, R. Parncutt (Eds.), Thessaloniki, Greece, 2-6 July 2008
2008b, C. Guastavino, G. Toussaint,听 F.Gomez, F. Marandola & R. Absar, "", Proceedings of the fourth Conference on Interdisciplinary Musicology (CIM08), C. Tsougras, R. Parncutt (Eds.), Thessaloniki, Greece, 2-6 July 2008,听
2007, F. Marandola, "L鈥檈xp茅rimentation en ethnomusicologie ou comment aller au-del脿 du langage", Proceedings of IHM 2007, 19猫尘别 Conf茅rence de l鈥橝ssociation Francophone d鈥橧nteraction Homme-Machine (Paris, France, 13-15 novembre 2007),听ACM Press, International Conference Proceedings Series
2007, R. Absar, F.Gomez, C. Guastavino, F. Marandola & G. Toussaint, "Perception of meter similarity in flamenco music", Proceedings of the 2007 annual conference of the Canadian Acoustical Association, October 9-12 2007, Montreal, QC, Canadian Acoustics, 35(3), pp. 46-47
2007, S. Arom, N. Fernando & F. Marandola, "An Innovative Method for the Study of African Musical Scales: Cognitive and Technical Aspects", Proceedings SMC'07, 4th Sound and Music Computing Conference, 11-13 July 2007, Lefkada, Greece, Charalampos Spyridis and al. (茅d.), National and Kapodistrian University of Athens, pp. 107-116
2005, S. Arom, N. Fernando & F. Marandola, "An innovative Methodology for the Study of African Scales: Cognitive and Technical Aspects", Post-proceedings of the XVIIIth European Seminar for Ethnomusicology, R. Astraukas (茅d.), Lithuanian Academy of music and Theatre, Vilnius, pp. 161-173
2003, S. Arom, N. Fernando & F. Marandola, "A cognitive approach to Bedzan Pygmies vocal polyphony and Ouldeme instrumental polyphony: methodology and results", Proceedings of the 5th Triennial ESCOM Conference, R. Kopiez et al. (茅ds), Hanover University of Music and Drama, ISBN: 3-931852-67-9, pp. 457-466
2003, F. Marandola, "The Study of Musical Scales in Central Africa: the Use of Interactive Experimental Methods", Proceedings of the international workshop Computer Music Modeling and Retrieval (CMMR' 2003), Montpellier, pp.47-55
Performance
- In prog. Des Puces et des Drums, works by R. Normandeau, S. Provost and L. Radford, Sixtrum Percussion Ensemble, CIRMMT Series/ElectroCD, 2 DVD
- 2017, De la percussion, works by P. Leroux, Sixtrum Percussion Ensemble, Soupir (S232)
- 2017 Musique de chambre, works by Bruno Giner (F. Marandola: Yoshihisa_in memoriam, solo marimba), Musicube, CUB1612, 2017, 2 CDs.听
- 2014, Baobabs, by Robert Normandeau, on the CD 顿么尘别蝉 dedicated to his works, Empreintes DIGITALes, IMED 14128, 2014
- 2012, Concertino Nervoso, works for percussion by A. Petit, CIRMMT/Le Chant du Monde 鈥� Harmonia Mundi/MFA, 1 CD, LCD 278 1155
- 2010, Op茅ra F茅茅rie - L鈥檈au qui danse, la pomme qui chante et l鈥檕iseau qui dit la v茅rit茅, by G. Tremblay/P. Morency, Chants Libres, CL 2010, 1 DVD.听
- 2010, Higglety Pigglety Pop! or There Must Be More to Life, music by J.F. Messier, Warner Home Video/National Film Board of Canada, 1 DVD
- 2008, Georges Delerue听: 艗uvres pour piano et instruments divers, 芦听Mouvements听禄 by G. Delerue, for solo percussion and piano, DCM CL205
- 2003, 颁丑补苍迟蝉鈥� by C. Vivier with Les Jeunes Solistes (directed by R. Safir), Musique M茅dia/Les Jeunes Solistes, S206-NT 103, 2 CD.听
- 2002, Sixth Symphony of G. Mahler with French National Orchestra (directed by Bernard Haitink), Na茂ve-Radio-France, 1 CD
Ethnomusicology
- 2002, N. Fernando & F. Marandola, Nord Cameroun 鈥撎齅usique des Ould茅m茅, Au rythme des saisons, collection In茅dit, W 260104
- 2000, N. Fernando & F. Marandola, Cameroun 鈥撎齈ygm茅es Bedzan de la plaine Tikar, collection In茅dit, W 260095
- 1996, N. Fernando & F. Marandola , Cameroun听鈥撎鼺l没tes des Monts Mandara, collection OCORA Radio-France, C 560 110
Film
- 1999, N. Fernando & F. Marandola, Une harpe ould茅m茅, coll. CNRS-Audiovisuel, 16min.
