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3 CD Box Set: L'Oeuvre Musicale The complete works of Pierre Schaeffer, re-digitised and re-issued with newly discovered tracks.
Book and 3 x CDs: Solfege de l'Objet Sonore This book, accompanied by 285 tracks on 3 CDs of examples is a unique and indispensable resource work for all those interested in electroacoustic music. Examples by Parmegiani, Henry, Bayle, Xenakis, Luc Ferrari etc. illustrate Pierre Schaeffer's text.
Book: Audible Design by Trevor Wishart
5 CD Box Set: GRM Archive 5 CD Boxed Set containing music spanning half a century of GRM inspired compositions
12 CD Box Set: Parmegiani: l'Oeuvre Musicale The complete works of Bernard Parmegiani on 12 CDs
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Trevor Wishart - Globalalia/Imago

Trevor wishart - Globalalia/ImagoA re-issue of Globalalia which explores human speech and the syllables common to all, and Imago, which is constructed entirely out of the sound of 2 whiskey glasses being clinked together. Classic Wishart at his best!

Wishart writes: "In Globalalia, I wanted to use human speech, but focus on what we hold in common as human beings. Although the world’s languages contain many millions of words, these are constructed from a much smaller set of sounds, the syllables. I wrote to several friends asking them to collect voices from their local radio stations, and also recorded voices from TV stations via satellite dish, assembling sounds from 134 voices in 26 different languages. I then edited these into their syllables, ending with more than 8300 sources."

Francis Dhomont - Etudes Pour Kafka

Francis Dhomont - Etudes Pour KafkaA new release from Francis Dhomont, who in the opinion of many is the greatest living composer of electroacoustic music. This CD contains 3 studies which were the seeds from which many of his other works grew. Behind major works of the scope of … mourir un peu, Sous le regard d’un soleil noir, and Forêt profonde, in these studies Dhomont experiments with the themes, tries out sound materials, and unveils glimpses of the final work. Dhomont at his best!

Denis Smalley - Sources - Scénes

Denis Smalley - Sources - ScénesrOne of our most popular titles is back in stock. Denis Smalley is one of the UK's best known composers of electroacoustic music, and this CD is a personal favourite of ours - definitely a desert island disc. The music is simply stunningly beautiful, the production and sound quality are as good as it gets. If you don't already have this CD, don't put it off any longer.
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Parmegiani: l'Oeuvre MusicaleWe are fans of Bernard Parmegiani and so we now have all of his CDs in stock, including the newly released l'Oeuvre Musicale. If you don't know his music, we recommend that you make an acqaintence with it by listening to some clips and reading the comprehensive notes which we have on the site. Click here for links to his biography and all his CDs.
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Pierre Hanry: Labyrinthe We now stock a selection of the best electroacoustic CDs from the GRM Catalog, both historic and new - Electroacoustic Classics from Pierre SchaefferPierre Henry Luc Ferrari and  Jean-Claude Risset are just some of the new offerings.

One of our most popular GRM titles is Pierre Henry's Labyrinthe - Pierre Henry says of Labyrinthe - "For the first time during my journey and ventures into the world of creation, I dreamt of a breath of fresh air deriving from the electronic realm." This CD is a real retrospective of this pioneer of electronic music.
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New from Digital Music Archives - Download a continually expanding catalogue of electroacoustic music tracks!

You can now download a selection of single tracks of music from our website. All the tracks are encoded as top quality MP3s at 320k. All you have to do is go to our tracks page, add the ones you want to your shopping cart, and you will be presented with a webpage with links to the tracks as soon as your credit card payment has been authorised. You will also be sent an email with the links and a seven day period to download the tracks.
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We now have a listings page for concerts, festivals, conferences and workshops of electroacoustic music in the UK. We hope it will soon be the place to check up on whats happening and where. Its already up and running - click here! to check it out.
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Looking for a course in electroacoustic composition? - Try our links page for some of the best places in the UK. You'll also find links to organisations and institutes all over the world.

Think we've missed out on something? Email us at links@digital-music-archives.com and let us know.
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CD Details for Francis Dhomont: Cycle de l'errance

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Cycle de l'errance Francis Dhomont
Francis Dhomont is arguably the greatest living composer of electroacoustic music. Five-time winner at the Bourges International Electroacoustic Music Competition (France), he has received numerous other international awards. Points de Fuite, Mourir un Peu and Espace/Escape on this superb CD
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 Customer Reviews 
 Other Titles by Francis Dhomont 
 Audio Clips 
Track 1
Points de Fuite
Track 2
Marime
Track 3
Cartographi liminaire
Track 4
Un certain embarquement
Track 5
Theme de la fuite
Track 6
Transfert I
Track 7
En abime
Track 8
Transfert II
Track 9
Palimpseste
Track 10
Il ritorno
Track 11
Espace/Escape
 Sleeve Notes 
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About the Artist

Francis Dhomont studied under Ginette Waldmeier, Charles Koechlin and Nadia Boulanger. In the late 40’s. He intuitivelydiscovered what Schaeffer would later call musique concrete and consequently conducted solitary experiments with the musical possibilities of sound recording. Later, leaving behind instrumental writing, he dedicated himself exclusively to electroacoustic composition. Five-time winner at the Bourges International Electroacoustic Music Competition (France) — where he was also awarded the Magisterium prize in 1988 — and laureate of a Distinction 2nd Prize at the Prix Ars Electronics 1992 (Linz, Austria), he has received numerous other international prizes and awards. His theoretical texts and essays are regularly published in various international journals. He is the editor of “L’espace doson” (The Space of Sound) — two special issues published by Musiques Recherches (Belgium) — and of “Electro-acoustique Quebec: l’essor” (Quebec Electroacoustics : The Expansion) — Volume IV of Circuit (Montreal). He is also lecturer and the author of many radio programs for Radio-Canada and Radio-France. An ardent proponent of acousmatic art,his work (since 1963) is comprised essentially of works for tape bearing witness to his continued interest in morphological interplay and sense/sound ambiguities. Since 1978, he has divided his time between France and Quebec, where he has taught electroacoustic composition at the Universite de Montreal until 1996. He is an Associate Composer of the Canadian Music Centre (1989) and a Founding Member (1986) and Honorary Member (1989) of the Canadian Electroacoustic Community (CEC).Always active, he now focuses on composition and theory.

THE ACOUSMATTITUDEOF FRANCIS DHOMONT

What is immediately attractive about Francis Dhomont, fortunately, apart from appearances, is that he possesses nothing of the Cloven Viscount, the Italo Calvino hero whose two halves, misfortune and kindness, scatter along the way loss mixed with consolation. If that story has a happy ending — where, after a duel, both halves of the mini viscounts re-emerge as one reharmonized entity — and if this fable comes to mind at this moment it is because of a profound tendency towards this dichotomy characteristic of today’s composers, to which some do not escape, either by perverted coquetry — slandering and vituperating contemporary art while being in it themselves — or by naive proselytism — discrediting their work by making an irremediable gap between the ambition of their discourse and the aesthetical result. In the case of Francis Dhomont, the process is out of the ordinary. We have with him the interesting double union of a composer whose work is constant with consistent quality, varied but with unity of style, colored but with great coherence. And, as a bonus, he is a teacher who produces numerous quality good students, devoted to listening to others and thinking about their discourse, a constant mover and continuous analyst of the theories of an art which remains experimental, who encourages an art allowing as much musical as human exploration, both abundant qualities of this composer. Because each half may not exist without the other — one nourishing the other — we can explain this remarkably balanced case of acousmattitude.

Francois Bayle
Paris, June, 23,1991

ACOUSMATIC, WHAT IS IT?

The term acousmatic appears frequently in the texts of this book. Yet, what does it mean? An English neologism, which comes from the French acousmatique, has its origins with Pythagoras (6th century BC) who was (it is said) delivering his — uniquely oral teaching behind a curtain to prevent his physical presence from distracting his disciples, allowing them to better concentrate exclusively on the content of his message. Closer in time to us, at the beginning of this century, one finds in the two-volume French dictionary Larousse pour tous:Acousmate, n.(from tEe Greek Akousma, what is heard). Imaginary sound or of which the cause is not seen. In 1955 the writer and poet Jerome Peignot, at the beginning of musique concrete, used the adjective acousmatic, meaning ‘a sound that we can hear without knowing its cause’, to designate “the distance that separates a sound from its origins” by obscuring behind the impassivity of the loudspeaker any visual element that maybe connected to it. In 1966, Pierre Schaeffer mused about giving his Traite des objets musicauxe (Treatise on Musical Objects) the title Traite d’acousmatique (Treatise on Acousmatic). Finally, around 1974, to mark the difference and to avoid any confusion with incidental or transformed musical instruments (ondes Martenot, electric guitars, synthesizers, real-time digital audio systems...), Francois Bayle introduced the expression acousmatic music as a specific kind of music, as the art of projected sounds which is “shot and developed in the studio, projected in halls, like cinema”. It is true that over the past twenty years, under the term electroacoustics there has been a proliferation of sound pieces which have little in relation to each other except a common use of electricity. It was therefore important to affirm, with precise terminology, aesthetic choices, a body of thought, and a language. It is also in this spirit that, since 1989, the Rencontresacousmatiques (Acousmatic Meetings) of composers in the south of France have been organized. Thus, this acousmatic music, or as Denis Dufour says: 'Acousmatic Art,’ was conceived from its beginnings to be heard without the use of visual intervention. It does not involve any instrumentalist onstage — with the exception of the person who projects the work during a public performance in order to maximize the use of the given space. It organizes morphologies and sonic spectra. “images ofsound” (Francois Bayle), coming from a multiplicity of sources, but that the absence of visual identification makes anonymous, unifies and prompts a more attentive listening. (Is it by pure coincidence that the hearing of blind people is reputed to be so refined?) It follows its very own mechanisms that, due to their newness, require coherence and intuition. It is a coso mentale. Finally, it fixes onto a medium (magnetic tape, computer disk or other) with precision and no maybes. The most subtle nuances chosen by the composer: what we hear doesn’t resemble what is wanted, it is what is wanted. This last point is very well presented by Michel Chion in his book, L’art des sons fixes, ou la musique concretement (The Art of Fixed Sounds, or Music in Concrete Terms). Further, let’s stress a fact that remains underrated. If music has always been closely associated with its reproduction by performers, as opposed to many other art forms that are once and for all fixed on a medium painting, literature, cinema, video...), it is due to the impossibility to do so differently, and not by choice. Never before. until this day, could one capture, keep, and reproduce a faithful image of sound phenomena. Before it was necessary to use a more or less precise symbolic notation to capture the ideas of composers. This gave birth to a quasi-universal practice that we have no reason to complain about or tire of. However, this situation is neither a fatality nor a law since today we know how to fix sound as we do for visual images or sets or text. To pretend the opposite is only to rely on habit and on the largely publicized fetichism of the performer. Acousmatic, the art of a century that prevents the disappearance of sound, is a new and autonomous art form which certainly finds in the compact disc—a genuine sound book—one of its most convincing vehicles. The works brought together here belong to this reality, still young but already engaged in the next millennium.

Francis Dhomont
Saint-Remy-de-Provence
August 1991 -
Montreal, October 1996

About the Music

CYCLE OF WANDERINGS

This acousmatic triptych recounts the Journey and some of its symbolic projections (escape, love, flight, space, the limit of disappearance, the loss of oneseif)while merging natural images with pure abstractions; metaphors of a metaphor, since in musicanytale is inherently a transposition. The composition of these three works spans a period of eight years; already, this suggests for me that the act of wandering both in its proper and figurative meanings — movement, change, mobility. roving dreams, upheaval, and revivals --- all weave the very material of life itself>

There are thus three sections to this Cycle de l’errance (Cycle of Wanderings) begun in late 1981 with Points de fuite (Vanishing Points), for which ... mourir un peu (... dying a little, 1984) is an extended commentary in nine movements and Espace/Escape (a bilingual anagram ---- ‘espace’ being French for ‘space’ (1989) is the final outcome definitively exploring spatial preoccupations.

These last two works draw some of their material from Points de fuite, a communal well. This is perceptible particularly in the fourth movement of... mourir un peu, its longest section, Theme de is fuite (Theme of tlight( which is both a large scale reprise-variation of Points de fuite as well as the central axis for the eight other movements.

Under the title Mouvances—Metaphores Mobility—Metaphors) (on two discs: Cycle de l’errance and Let derives du signe now released separately) are united this around the common theme of movement as with virtual displacement of sound in geometric space or metaphorical transferences of meaning into the realms of imagination.

Cycle of Wanderings

Track 1: POINTS DE FUITE (1982) 12:21

To Jean-Louis Ostrowski

Term of perspective. The point of convergence of parallel lines,
Audition/reading on many levels:

1. technical (kinetic study: glides in tessitura, mutations of masses,
of densities; modifications of timbre; energetic eruption/dispersion
spatial mobility)
2. Impressionistic (encounters, crossings. fusion of heterogeneous events
which carry similar connotations; trajectories, velocities, displacements;
the hear and the distant; the passage)
3. symbolic (flight: running away; departure. wandering, lapse. obliteration.
The horizon, Kafka: Disappearing — America)
4. ad libitum...

Points de fuite (Vanishing Points) was realized at the composer’s studio in Montreal in 1981-82 and was premiered on June 13th. 1982. at the 12th Bourges International Electroacoustic Music Festival (France). Points do fuite was awarded 2nd Prize at the 12th Bourges International Electroacoustic Music Competition (France, 1984), 1st Prize at the Brock University Tape Music Competition (St Catharines, Ontario 1985), and was selected by the international jury of the International Society for Contemporary Music (ISCM) for the 1984 World Music Days in Montreal.

Tracks 2 - 10 ... MOURIR UN PEU (1984-87) 44:52

To Marthe Forget

in nine movements

1. Marine (Marine);
2. Cartographie liminaire (lntroductory Cartography);
3. Un certain embarquement (A Famous Embarkation);
4. Theme de la fuite (Theme of Flight);
5. Transfert I (Transfer I);
6. En abime (In the Abyss);
7. Transfert II (Transfer II);
8. Palimpseste (Palimpsest);
9. II ritorno (The Return)

Where one speaks once again of departures, journeys, farewells (“Leaving is already dying a little ); and also of escape, pleasure. initiatory journeys, imaginary space and again of absence, of the ‘petite mort’ (post-ecstatic physical collapse) and of the ‘grand voyage’.
It is not surprising that ... mourir un peu (... dying a little) was premiered in Marseille, amongst the relics of the ancient Phocaean harbor; the first movement, Marine, is a quick allusion to this voyage in time. The sea nearby — a symbol both inexhaustible and pluralistic — had to be present. It is, certainly, persistently ; the wave lends its energetic law to the whole and to the part: ebb/flow, growth/decline, apparition/disappearance.
The concrete slides into abstraction and then re-emerges ; anchoring points in reality and furtive evocations (heard or guessed?) appear sporadically.
This piece originates from Points de fuite (Vanishing Points) further developing it, and directly draws elements for the fourth movement, Theme de la fuite (Theme of Flight). This movement is the ‘peak of the wave’ made from curves of the increasing and decreasing durations of the nine movements.

1. MARINE 2:07 Overture. Massalia/Marseille.
2. CARTOGRAPHIE LIMINAIRE 3:35 Opening credits, first drafts, articulation of volume.
3. UN CERTAIN EMBARQUEMENT 5:27 yes, yes, the one with all of its transports
4. THEME DE LA FUITE 8:55 To escape. to disappear: she flight and the takeoff; “A rolling stone..”
5. TRANSFERT I 6:30 Passage from a place, from one order to another. From the earth’s center to
its surface.
6. EN ABIME 5:14 Mirror games, asymptote. The fall to the bottom of the sky.
7. TRANSFERT 4:10 New crossing. From earth to sky and beyond the looking glass.
8. PALIMPSESTE 3:26 Strata and holes of the memory. deletion, blanks. Death and mourning go on,
furtively. Recapitulation.
9. IL RITORNO 2:29 + 2:39 (5:08) In the steps of Ulysses.

...mourir un peu was realized at the studio of the Groups de musique experimentale do Marseille (GMEM, France) and at the composer’s studio in Montreal in 1984, and was premiered on June 21st, 1984 at the Jardin des vestiges in Marseille (France). The fourth movement, Theme de la fuite (Theme of Flight) was ‘recommended’ at the 2nd Electroacoustic Music International Rostrum (TIME) in Stockholm (Sweden, 1988) and was first released on the Anthology of Canadian Music Electroacoustic Music compact discs set on the Radio Canada International label (ACM 37 CD 1-4). Three other movements — Transfert I (Transfer 1), En abime (In the Abyss), and Theme de la fuite --- were selected by the 1986 International Computer Music Conference (ICMC). Den haag (Netherlands). The 3rd movement, Un certain embarquement (A Famous Embarkation), is part of the Here and Now/En nos femps et lieux CD compilation, a celebration of Canadian music produced by the Canada Council for the UN ‘s Sath anniversary [SRC-CDSP 4513). Thanks to Pierre Schaeffer and Pierre Henry who have kindly allowed the brief but pregnant quotations from Erotica (from Symphonie pour on homme seul, 1959), as well as to Laurent Lafran for certain sound recordings, nor forgetting Gesualdo, Mauduit, and Schubert for their involuntary participation.,,, mourir un peu was commissioned by the French government (Direction de la musique) and the GMEM.

Track 11: ESPACE/ESCAPE (1989) 19:22

To Jean-Francois Denis and Claude Schryer

“As soon as we become immobile, we are elsewhere; we dream in a vast world. Immensity is the movement of immobile man. Immensity is one of the dynamic aspects of peaceful daydreaming.” —Bachelard, The Poetics of Space

Space.
Open, intimate, confused spaces. Broken spaces. whirling.
Indecisive edges of the space.
Space-refuge, enclosed, maternal, space of reminiscence and
of associations.
Tumult or murmur in the space of a thousand reflections.
Escape
The flight always engenders a vertigo of multiple elsewheres.
Here.... There..

Attempted encounter of heterogeneous elements related by two criteria : one is sonic and denotative (the place of sound in space), the other symbolic and connotative (referring to the theme of wandering), both alluding to movement.
These criteria determine the form and are its cement. The multiplicity of materials embody the ideas of ‘space’ and mobility’. This work integrates into its structure active elements of spatialization which have a semantic value.

Espace/Escape was realized at the composer’s studio in Montreal in 1989 and was premiered on November 11th, 1989 during the Canadian Electroacoustic Community (CEC) festival, the 2nd CEC Electroacoustic Days, 'convergence', in Banff Alberta, Canada). It was awarded mentions at the Stockholm Electronic Arts Ward in 1992 and at the Prix Art Electronica (Linz, Austria) in 1993. Espace/Escape was selected by the 1991 International Computer Music Conference (ICMC) in Montreal, by the 5th International Symposium on Electronic Art (ISEA) in helsinki (1994) and by the International Society for Contemporary Music (ISCM) for the 1996 World Music Days in Copenhagen. A short sound recording — authentic “sound shooting” (Michel Chion) — used in this piece was offered by composer Christian Calon ; Dhomont thanks his friend for the gift, hoping to have made good use of it. This piece was commissioned by Claude Schryer for The Banff Centre for the Arts and realized with the assistance of the Canada Council.

 Artist Email 
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