The highly empathetic duo performance of Joane Hétu and Jean Derome focused instead on the word-sound and the instrument noisemaker continuum. Jean Derome, equipped with a small table full of noisemakers—from children’s toys through to small bells and whistles—blurred the distinction between a toy and an instrument. In a silent concert hall, is a Japanese fan rubbed against a microphone now a proper instrument? Indeed,these smail instruments were integrated into an overall sonic structune with all the hallmarks of a high-art musical work, complete with unison melody playing and clear beginnings, middles and ends. Jean’s flute and sax playing was rich and lyrical, with no hint that we were expected to take his sound creations in toto as toy-like, as incidental or children’s music Joane’s high overtones on the sax melded into her vocalizations, which themselves mouved between preconceived text and pure vocal improvisation, often bereft of even phonetic reference. Do these sounds take on meaning, Iike words, when found both alongside words and as parts of a structural whole redolent with meaning? Would one consider many of these sounds to be inviting of aesthetic evaluation if heard in a different context?