as a "revelation". His adoptive parents purchased an upright piano and helped provide occasional piano lessons when he was fourteen. His earliest known works date from this period, and he began to profit from his music around the same time; according to his adoptive sister Gisèle, he gave music lessons to his peers and played piano accompaniment for the ballet school in nearby Ahuntsic in his early teens. He also developed an interest in the organ, searching for various churches in the Pont-Viau neighbourhood where he could practice and perform. As he didn't receive much if any musical education from the Frères Maristae, he was almost entirely self taught. One of Vivier's schoolmates, Gilles Beauregard, recalled his fascination with playing and studying the works of Mozart, Tchaikovsky, Bartók and Schoenberg. Vivier is believed to have written a handful of songs for voice and piano, and several organ preludes before the age of twenty, nearly all of which have since been lost or destroyed. Vivier's friend Michel-Georges Brégent recalled a Bartók-inspired Prélude pour piano being written in 1967, but it was apparently destroyed by Vivier at a later time. Despite being a devout Catholic himself, Vivier eventually decided an expected career in the church would be impossible given his prior expulsion; he worked various odd jobs to stay financially afloat after leaving the novitiate, with positions at a hardware store, an Eaton's, and a restaurant in the Laval area. In the fall of 1967, he was finally able to enroll at the Conservatoire de musique du Québec à Montréal (CMQM). He studied piano with Irving Heller, harmony and counterpoint with Isabelle Delorme, fugue with Françoise Aubut-Pratte, and composition with Gilles Tremblay. Vivier was one of Tremblay's more enthusiastic and dedicated pupils, with Tremblay recalling, "He was eager to know. He was so eager to know that he was sometimes very tiring, because he would follow me in the corridors after the lessons and ask me questions." Tremblay, a pupil of Olivier Messiaen, refused to focus on specific historical periods and styles of music, believing the concept of music composition was all-encompassing. He analyzed contrasting genres with his students, including Gregorian chant, and the music of Johannes Sebastian Bach and Alban Berg. This unique outlook for the time inspired Vivier's future style in combining disparate influences. His Quatuor à cordes (1968), Ojikawa (1968) and Prolifération (1969, rev. 1976) are among the few