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Sylvaine Leblond Martin (Kostajnšek): Biography

Sylvaine Leblond Martin (Kostajnšek)
1956 -
Region: Québec

Sylvaine Leblond Martin (Kostajnšek)

Sylvaine Leblond Martin was born in Quebec, in East-Angus on August 11 1956, from French-Canadian parents, Donat Martin of Saint-Ours, and Adrienne Leblond of Rivière-Trois-Pistoles; she has two elder brothers, Pierre and André. In 1963 the family moved to Montreal, where Sylvaine started to take piano lessons at the École de musique Vincent d'Indy, while at the same time she began to do classical dance with the Grands Ballets Canadiens. In the first year she showed more interest in improvising music on her piano than in playing musical pieces, just as she preferred inventing dances, choreographing, to dancing with her classmates.

This need to create does come from her father, famous storyteller, who excelled at drawing horses, and who had owned a cinema during several years when living in East-Angus, the Grand Théâtre, before resolving himself to go back to his profession of agronomist. Her mother, Adrienne, a nurse by profession, loved reading very much and shared this taste with her three children. Pierre and André will be captured by the cinema, when Sylvaine will be dedicated to music.

Thus, after a few years at the Université de Montréal, from 1976 to 1981, where she studied composition with Serge Garant, and after a year of study, in 1982, at the Conservatoire de musique du Québec à Montréal, where, she learns composition with Gilles Tremblay and practices electro-acoustic composition with Micheline Coulombe Saint-Marcoux, and finally, after meeting and enjoying the very beneficial ascendancy, pushing to an extreme creativity, of her friend Claude Vivier, she decides to live in Europe and to continue the self-taught composition. In 1983, she moved to France where she composed using serialism musical techniques learned from Serge Garant. However, it diverts this language constantly, not respecting the rules of eviction of octaves and fifths and of repetitions of heights in the same series. In this, the influence of Claude Vivier is obvious.

In search of a musical language that is more natural to her, she decided to settle in Vienna to live directly the atmosphere that was that of the three Viennese, Schoenberg, Berg and Webern and try to draw personal conclusions. She discovers that there were two schools, before and after Schoenberg, and, meeting Professor Füssl of the Musikhochschule, who was a pupil of Gustav Mahler, realizes that these two schools overlapped and both confronted and respected each other.

Back in Canada, for two years, from 1990 to 1992, she finished a Bachelor's degree in musical composition at the Université de Montréal with Michel Longtin, thus ending her self-taught period. Then, back in France, she enrolled at l’Université Paris 8 in musicology. At the level of doctoral studies she bifurcates in Sciences de l’information et de la communication and carries out a PHD on « Enseignement à distance de la musique ». Her musical knowledge means that, in post-doctoral research missions in North Africa, she is asked to introduce students to the digital encodings of texts and digital encodings of oral traditional music of the Maghreb countries (Algeria, Morocco, Tunisia), then of the Mashriq - Middle East (Lebanon)

This dual artistic background, as a composer and musicologist / ethnomusicologist, and as a scientist in Sciences de l’information et de la communication researcher, opens up new perspectives for her original musical creation: in fact, she returns to the idea of ​​improvisation, which is the compositional technique at the base of oral traditional music in the world, while being guided and supported by a now scientific approach to artistic things. Her latest piece is Tüs, for piano, which accompanies the theatrical creation Passions, by Hyunjoo Lee, Korean living in France, actress and ethnoscenologist, who designed a free adaptation of the Cantique de Mesa - Partage de Midi of Paul Claudel. This collaborative work is presented in the Off of Festival d’Avignon 2018. From now on, Sylvaine Leblond Martin is divided between research missions and musical composition with equal happiness.



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