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 research-creation project, where, at first, Terri mostly played recorder and electronics, often with Juan Parra Cancino. In absorb the current (2008) and flocking patterns (2011) they presented 14 new pieces for recorders and electronics by other composers.i Now, for NESTING (2015), Terri is working with artists from various visual and embodied practices to integrate video and movement into her musical performances.ii

In Portrait Collection, Terri is composing for eight instrumentalists, each with a rich experience of interpretation, improvisation and composition.iii In private or public, solo and group sessions, she studies their sounds and words, creating scores and samples from each session to remix in future ones. Terri is slowly defining portraits of each player, placing them in time and space. The performers at any given session are sometimes live, other times recorded, with Terri brining the whole in a touch of processing.

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

Terri also composes music for and in collaboration with other performers.  Sharp Splinter is 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.iv  Bittersweet, a choral work with electronics,  is a setting of a radio recording of Terri’s grandfather reading his poetry. Recent and current collaborations include choreographer Lina Cruz, Monty Adkins, Camille Hesketh, Jasna Velickovic and Paula Matthusen.

Terri studied musicology and art history at the University of Alberta, recorder performance and contemporary music at the Conservatorium van Amsterdam, and is currently finishing her doctorate in composition at the Université de Montréal. She is researching how to compose idiomatically for specific performers within collaborative creations of mixed electroacoustic music.vi She gives courses in electroacoustic music at the Université de Montréal, and masterclasses in a wide variety of settings. She has been the thankful recipient of numerous artist residencies, awards, grants and scholarships.vii


i For Bird on a Wire 1: absorb the current: Jim Altieri (USA), Ronald Boersen (Netherlands/Israel), Juan Parra Cancino (Chile/Belgium), Peter Hannan (Canada), Laurie Radford (Canada) and Peter Swendsen (USA). Album released in 2009.

For Bird on a Wire 2: flocking patterns: Daniel Blake (USA), Jorrit Dijkstra (Netherlands/USA), Jenny Olivia Johnson (USA), Emilie Cecilia LeBel (Canada), Paula Matthusen (USA), Darren Miller (Canada), Robert Normandeau and Elliott Sharp. Album recorded in surround and released in 2012.

ii Hannahbeth Fischer (USA), choreography; Philip Fortin (Canada), camera; Marie-Eve Laflamme (Canada), accessories.

iii Daniel Blake, saxophone (New York); Katelyn Clark, harpsichord/organetto (Montreal), Peter Evans, trumpet (New York); Mary Halvorson, guitar (New York); Dana Jessen, bassoon (Oberlin, OH); Adam Kinner, saxophone (Montreal); Philippe Lauzier, bass clarinet (Montreal) & Cléo Palacio-Quintin, (hyper)flute (Montreal). This is a New York/Montreal-based band.

iv written for Luciane Cardassi, Rosabel Choi, Katherine Dowling, piano (Canada) and Andréa Tyniec, violin (Canada).

v Written for and with Luciane Cardassi, piano (Canada) and Ronelle Schaufele, viola (Canada).

vi Supervisor: Isabelle Panneton. Visiting research at NOTAM (Norway) and the University of Huddersfield (UK). She is funded by the Social Sciences and Humanities Research Council of Canada.

vii Including the Alberta Foundation for the Arts, The Atlantic Center for the Arts, The Banff Centre, the Canada Council for the Arts, le Conseil des Arts et des Lettres du Québec, and the Prins Bernhard Cultuurfonds.