//   BIOS



Lise Comtois a �tudi� en litt�rature � l'UQAM
et travaill� l'interpr�tation avec Madame Ridez, Jean-Luc St-Denis
(UdeM), Sebastien Bernier (cr�ation sc�nique) et Fran�ois Tessier
(chant); elle est �galement auteure de chansons et de po�sie; fait de
la traduction (pi�ce de th��tre) et travaille �galement au niveau de
la mise en sc�ne.

Mi est compositeur-interpr�te; a �tudi� en "Music Technology"
� McGill.  Au cours de ses �tudes il a �t� membre de g.e.m.s. (Group
of the Electronic Music Studio) et il a �t� directeur de programmation
de quelques concerts.  Pr�sentement associ� aussi avec UniSexe et No One
Receiving, il joue de la guitare et interpr�te de la musique en
utilisant des syst�mes informatiques.

Lo joue de la viola da gamba et il n'a pas encore quitt� son travail du jour.  Il a fait son bac en th�orie de la musique � l'universit� McGill en se concentrant sur le r�pertoire  du Renaissance et Baroque; ensuite il a continu� ses �tudes pour devenir un biblioth�caire musical.  Son implication avec No One receiving provient d'un d�sir � explorer des languages musicales autres que ceux qui ont �t� originalement con�us  pour viola da gamba.  Puisqu'il est int�ress� surtout en communication entre autres �tres, faire partie d'un ensemble musical est la cl� pour sa satisfaction musicale.

Hi �tait n� � Sendai, Japon.  Depuis son jeune �ge ses int�r�ts musicales �taient tr�s vari�s; en grandissant dans un milieu o� ses parents �coutaient soit Jimmy Smith jouant du Hammond B3 ou Chikuzan Takahashi jouant du Tsugaru Shamisen Japonais peut-�tre il n'y a pas de surprise que Hiroya a vite d�velopp� une appr�ciation pour Glenn Gould.  Malgr� le fait qu'il a fait son d�but musical � l'�ge de 9 ans avec la Sendai Philharmonic en jouant un concerto de Mozart il a change son attention de la musique des compositeurs mort vers celle des compositeurs vivants.  Dans ses �tudes et son implication dans la musique il a �t� int�ress� en possibilit�s de revitaliser la tradition orale dans la musique occidentale.  Par son implication avec No One Receiving il aimerait �tablir un nouveau mode de communication avec le public par l'improvisation libre et spontan�e. 




Lise Comtois studied literature at UQAM and worked her interpretation and performance skills under the wings of Mrs Ridez, Jean-Luc St-Denis (UofM), Sebastien Bernier (Cr�ation Sc�nique) and Francois Tessier (voice).  She has also written songs and poetry, translated a theatre play and directed some stage works.

Michal Seta is a composer/performer/improviser.  Studied music technology at McGill.  While at the university he was an active member of g.e.m.s. (Group of the Electronic Music Studio) and he curated a number of concerts.  Now he is associated with UniSexe and No One receiving and plays just intonation guitar and uses computer technology in his music.

Lo is a viola da gamba player who hasn't quit his day job (yet). He did his
undergraduate degree in music theory at McGill university focusing on
Renaissance and Baroque repertoire and then continued his studies to become
a music librarian.  His present involvment in No One Receiving comes out of
a desire to explore other musical languages than those originally intended
for the viola da gamba. As he is interested primarily in communication
between other beings, ensemble playing is key to his musical satisfaction.

Hiroya Miura was born in Sendai, Japan.  From early age, his musical
interests were scattered; growing up in the household where his parents
were almost only listening to either Jimmy Smith on Hammond B3, or
late Chikuzan Takahashi on Japanese Tsugaru Shamisen, perhaps it was no
surprise that he soon developed a deep appreciation in Glenn Gould's piano
playing.
Although he made his debut as a classical pianist with the Sendai
Philharmonic playing a Mozart concerto at age nine, he soon diverted his
attention from the dead composer's music to living composer's music.  In
his studies and involvement in new music, he has been wondering about ways
of revitalizing the oral tradition in the Western music.  With his
involvement with NoOneRecieving, he would hope to establish a new mode of
communication with his audience via spontaneous free improvisation.