about Terri

Terri Hron performs and creates music in a wide range of settings, often in collaboration with others. Bird on a Wire is her solo performance project. In absorb the current (2008) and flocking patterns (2011), she presented 14 new pieces for recorder and electronics that she commissioned from other composers. Now, for Nesting (2017), she is working with three choreographers to create a performance using movement, sound and video.

In Portrait Collection, Terri is curating a group of musicians with a rich experience of interpretation, improvisation and composition. In solo and group sessions, she studied their sounds and words, creating scores and samples from each session to remix in future ones, thus investigating the relationship and perception of time and space in this hybrid performance and installation work.

As Beta Lyræ, Terri and Cléo Palacio-Quintin network their own and others’ music into performances on augmented flutes. With Sam Davidson (music) and Michael Markowsky (visuals), Terri organises multi-media Spacemelt shows with numerous guest performers. She is herself a guest or soloist sometimes, appearing with groups like the Edmonton Symphony Orchestra, Ensemble Constantinople, Productions SuperMusique and the Pacific Baroque Orchestra.


Terri also composes music for and in collaboration with other performers. Projects in recent years include Sharp Splinter, a set of pieces for instrumentalists and electronics based on the archive of correspondence, audio and film that her family collected during the Cold War, and BitterSweet, a choral work with electronics, that highlights a recording of her grandfather, the Czech poet Jan Vladislav, reading his work. Other performers that she has written for include the rockeys duo, Ensemble Wapiti, Camille Hesketh.
She has a new electroacoustic album with Monty Adkins of collaborative works for her consort of renaissance recorders entitled Lépidoptères. She is also finishing an album-length work, Beads of Time Sounding, in collaboration with Hildegard Westerkamp that uses recordings of Terri improvising in the natural landscape of Hildegard’s childhood.
Terri studied musicology and art history at the University of Alberta, recorder performance and contemporary music at the Conservatorium van Amsterdam, and electroacoustic composition at the Université de Montréal. She investigates collaborative practices in the creation of electroacoustic music and the changes in temporal and spatial perception that accompany performing alongside digital media. She is currently conducting postdoctoral research as a visiting scholar at Wesleyan University. She has been the thankful recipient of a number of artist residencies (The Banff Centre, the Atlantic Center for the Arts, NoTAM, STEIM), awards (Musica Nova), grants (Canada Council for the Arts, Conseil des Arts et Lettres du Québec, Fonds de Recherche Société Culture du Québec) and scholarships (Social Sciences and Humanities Research Council of Canada).