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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.
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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: Jalons

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Jalons Francis Dhomont
The title Jalons (Milestones) was taken from surveying because this disc surveys a musical landscape that extends over a space of fifteen years. While the very different eras and interests to which these eight works (from the years 1985, ’90, ’92, ’95, ’98, ’99, 2000 and 2001) bear witness are not comprehensive enough to constitute a retrospective, this disc is nevertheless a mini-panorama that completes other, more thematic, recorded releases; it also presents a few pieces that can be heard in concert only occasionally.
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 Customer Reviews 
 Other Titles by Francis Dhomont 
 Audio Clips 
Track 1
Vol d’Arondes (1999 rev. 2001)
Track 2
En cuerdas (1998)
Track 3
Les moirures du temps (1999-2000)
Track 4
Studio de nuit (1999)
Track 5
Lettre de Sarajevo (1995–96)
Track 6
Un autre Printemps (2000)
Track 7
Drôles d’oiseaux (1985–86, 2001)
Track 8
L’électro (1990)
 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, in Paris (France), he intuitively discovered with magnetic wire what Schaeffer would later call “musique concrète” and consequently conducted solitary experiments with the musical possibilities of sound recording. Later, leaving behind instrumental writing, he dedicated himself exclusively to electroacoustic composition.

An ardent proponent of acousmatics, his work (since 1963) is comprised exclusively of works for tape bearing witness to his continued interest in morphological interplay and ambiguities between sound and the images it may create.

The Conseil des arts et des lettres du Québec has recently awarded him a prestigious carreer grant. In 1999, he was awarded five first prizes for four of his recent works at international competition (Brazil, Spain, Italy, Hungary and Czech Republic). In 1997, as the winner of the Canada Council for the Arts’ Lynch-Staunton Prize, he was also supported by the DAAD for a residence in Berlin (Germany). Five-time winner at the Bourges International Electroacoustic Music Competition (France) — the Magisterium Prize in 1988 — and 2nd Prize at Prix Ars Electronica 1992 (Linz, Austria), he has received numerous other awards.

He is the editor of special issues published by Musiques & Recherches (Belgium) and of “Électroacoustique Québec: l’essor” (Québec Electroacoustics: The Expansion) — for Circuit (Montréal). Musical coeditor of the Dictionnaire des arts médiatiques (published by UQAM), he is also lecturer and has produced many radio programs for Radio-Canada and Radio- France.

Since 1978, he has divided his time between France and Québec, where he has taught at the Université de Montréal from 1980 to 1996. He is an Associate Composer of the Canadian Music Centre (CMC, 1989) and a Founding Member (1986) and Honorary Member (1989) of the Canadian Electroacoustic Community (CEC). Great traveller, he participates in sevral juries.

He now focuses on composition and theory.

The Acousmattitude of Francis Dhomont

What is immediately attractive about Francis Dhomont, fortunately, apart from appearances, is that he posses 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 exist without the other—one nourishing the other—we can explain this remarkably balanced case of acousmattitude…

—François Bayle, Paris, June, 23rd, 1991

About the Music

The title Jalons (Milestones) was taken from surveying because this disc surveys a musical landscape that extends over a space of fifteen years. While the very different eras and interests to which these eight works (from the years 1985, ’90, ’92, ’95, ’98, ’99, 2000 and 2001) bear witness are not comprehensive enough to constitute a retrospective, this disc is nevertheless a mini-panorama that completes other, more thematic, recorded releases; it also presents a few pieces that can be heard in concert only occasionally.

Track 1: Vol d’Arondes (1999, rev 2001) | 11m25s

to Annette Vande Gorne

Provence. A summer evening, the window open wide on the slowly darkening sky. Through this deep, blemishless blue, the flight of swallows: a strident, constantly changing feeding dance. The delicious night continues to fall. There are the sounds of the village preparing for the night festival; the echoes reach me. A jet begins its descent into Marignanne. How simple it all is!

It is a moment of pure, contemplative happiness, barely disturbed by a few familiar cares, which are quickly chased away. I think of Verlaine’s “The sky above the roof, so blue, so calm…”

This is music of memory: connotative, certainly, but not representational. It evokes and continues a previous work, Drôles d’oiseaux (1985-86), which provided some of the material for it.

The space, too, belongs to memory.

Vol d’Arondes (Flight of Swallows) was realized in the Métamorphoses d’Orphée multichannel studio (Ohain, Belgium) and was premiered on 21 November 1999 in the hall of the XL-Théâtre du Grand Midi (Brussels, Belgium) during the 6th International Acoumatic Festival. It was commissioned by Musiques & Recherches. The revised eight- track version (2001) was premiered on 15 December 2001 at Espace Go in Montreal (Quebec) as part of the “Rien à voir (10)” concert series. The version heard here is a stereophonic remastering—realized by the composer in June 2002—of the original eight- track composition.

Track 2: En cuerdas (1998) | 11m25s

to Arturo Parra

Commissioned by the Colombian guitarist Arturo Parra, En cuerdas (In the Strings) is the version for solo tape of Sol y sombra… l’espace des spectres, a work for guitar and tape that was co-written with Parra. The composition heard here is completely independent from that work.

Its sonic environment nevertheless remains one of strings that are plucked, rubbed and struck; but these are strings have been made virtual, transformed by computer processes and multiplied by electroacoustic writing. These are morphological variations that have been obtained primarily through the use of a variety of ‘instruments’ of the SYTER system at Ina-GRM (Paris, France).

Within this formal framework and the preliminary choices made with the software, I left myself, as always, a great deal of room for improvised “séquences-jeux.”

Certainly, these moments of pure intuition do not involve the sense of vertigo and the irreparable risks that are found in real improvisation, for the choices are made afterward, allowing only those ‘magic moments’ to remain. Half-way between chance and will, this is perhaps an attempt to reconcile Pascal’s “spirit of fineness and spirit of geometry.”

En cuerdas was realized in the composer’s studio in 1998 and was premiered on 15 May 1998 at the Festival international de musique actuelle de Victoriaville (Québec). It was commissioned by Arturo Parra with the assistance of the Canada Council for the Arts. I would like to thank Arturo Parra, whose many textures and sounds make up the materials of this piece, as well as Ina-GRM, which was kind enough to open wide the doors of the SYTER studio to me. En cuerdas won First Prize at the Hungarian Radio’s EAR ’99 International Competition of Electroacoustic Music (Budapest, Hungary) and was also a prizewinner at the competition Città di Udine (Italy, 1998). En cuerdas was recorded on the 1998 disc Contemporanea ’98 Vol 1 (Taukay 107) and on the 2000 disc Sonic Circuits VIII (Innova 117).

Track 3: Les moirures du temps (1999–2000) | 15m24s

to the composers and founders of Réseaux: Jean-François Denis, Gilles Gobeil, and Robert Normandeau

In the same way that the eye perceives the changing play of light on various shapes and textures of a given colour, the ear picks out the sparkles and shimmers that the minute variations of related sounds can produce.

“Uneven flattening of the grain, dull and bright areas, changing, gleaming and wavy aspects. Reflections.” These terms, borrowed from visual perception, find their equivalents in sound: instead of changes in space, changes in time. This is further pointed at by an anecdotal element, a sign of the passage of time, that punctuates the sound stream in three places: the beginning, the middle, and the end.

This scintillation was produced by processing much of the material with the SYTER real- time system at Ina-GRM in Paris. Certain characteristics, techniques and types of sound, chosen from the outset of the project because of their latent potentiality, were selected: these were harmonic timbre, accumulation, percussion/resonance, movement (trajectories, whirls), and dynamic contrast—the very things that give sound context and make it shimmer.

Les moirures du temps (The Shimmering Ripples of Time) was realized in the Syter studio at Ina-GRM (Paris, France) and in the composer’s studio in 1999 and was premiered (under the working title Cosa mentale) on 29 February 1999 as part of the “Rien à voir (5)” concert series produced by Réseaux. Les moirures du temps was commissioned by Réseaux with the assistance of the Canada Council for the Arts. It won First Prize at the Musica Nova (Prague, Czech Republic, 1999).

Track 4: Studio de nuit (1992) | 3m00s

Here we surprise the acousmotrope (by analogy with the heliotrope, that which turns toward hearing), engaged in his rituals and his creations, in a half-real, half-dreamed moment of nocturnal composition for Figures de la nuit, a work for radio commissioned by David Olds for the program ransfigured Night, on CKLN-FM in Toronto.

Along with the voice of the artist, we hear (in order of vocal appearance) those of Laurie Radford, Pierre Daboval, Justice Olsson, Marie Pelletier, Jean-François Denis, and Pierre Louet.

Studio de nuit (Studio at Night) was realized in the composer’s studio in 1992 and was premiered on 2 September 1995 as part of the Festival international d’art acousmatique Futura (Crest, France). Studio de nuit was recorded on the 1992 disc DISContact! 6.2 (CEC 92CD).

Track 5: Lettre de Sarajevo (1995–96) | 14m38s

to victims everywhere: the dispossessed, the sacrificed, the forgotten

What can be said about Sarajevo that has not already been said? Faced with a deluge of triumphant cynicism, I was unable to content myself with the formal, esthetic games that are so dear to the composer. Perhaps this musical narcissism, this elegant disengagement, and this haughty ignorance (deceitful, surely, but this shouldn’t surprise) now appear quite derisory compared to the anguish we witness daily; ridiculous and, finally, untenable. And so, naively, I wanted to speak about the horror and the shame.

The title came to me, sudden and obvious: “Letter,” which can tell of the magnitude of the disaster and which at that same time can send a cry in the desert of nations; “Sarajevo,” because this city, like all too many others, symbolizes the tragic incoherency of the return to barbarity in our age.

Even though they may be common, how can one remain deaf to such provocations? It is a pessimistic report that, six years later, recent events give no sign of refuting.

Lettre de Sarajevo (Letter from Sarajevo) was realized in the Syter studio at Ina-GRM (Paris, France) and in the composer’s studio in 1995-96 and was premiered on 22 February 1996 as part of the Présence 96 festival of Radio-France in the Grand Auditorium of the Maison Radio-France (Paris, France). A first version, presented in August 1995 at the Festival d’art acousmatique Futura (Crest, France) under the title Esquisse pour Sarajevo, received the assistance of the Canada Council for the Arts. Lettre de Sarajevo was commissioned by the État (France) for the Festival d’art acousmatique Futura (Crest, France). Lettre de Sarajevo was recorded on the 1996 disc Sonic Circuits IV (Innova 113).

Track 6: Un autre Printemps (2000) | 6m09s

to Uli A. and Antonio V.

In composing this music for film, I had to follow rules that differ from those of non- incidental music: there were thematic directions that had to be respected, constraints that were imposed by the material (Vivaldi, the viola, a dog, the sound of a stream, and naturalism) and by the timing, allusions and references that had to be incorporated, and so on.

Un autre Printemps does, of course, echo Vivaldi’s famous concerto, which forms the thread that runs through the film. But the thread wanders, changes, and is recycled, with the result that the baroque work becomes a simple yet rich sound source, and one full of cultural connotations. The important place accorded the movement of water and its mutations corresponds to the metaphor of the effusiveness of spring that is so present on the screen. But here the sound of nature questions the nature of sound: the representational and referential elements of the opening slide closer and closer toward abstraction, with the aid of the treatments that distort the source material, and the music regains its integrity. By the end, the sound will have rejoined the meaning.

This approach to finding the beauty in sound as a means of organizing and structuring it reminds me of when I carved wood to earn my living, drawing my inspiration from form inherent in it. I tried in both cases to reconcile will and chance, conception and perception, and nature and artifice.

Un autre Printemps (Another Spring) was commissioned by the German filmmaker Uli Aumüller for his film “Mein Kino für die Ohren” (My Cinema for the Ears), a co-production by ARTE and ZDF, and realized in the composer’s studio in 2000. Un autre Printemps was premiered during the European telecast of the film on 14 March 2001 and on 15 December 2001 as part of the Rien à voir (10) concert series in Montreal (Quebec). Thanks to Jean René, viola, for some strong materiologies. The work won 2nd prize at Hungarian Radio’s EAR ’01 International Competition of Electroacoustic Music (Budapest, Hungary). “Mein Kino für die Ohren” was recorded in March 2002 on DVD-Video by Bridge Records (Bridge 9117).

Track 7: Drôles d’oiseaux (1985–86, 2001) | 14m51s

to Françoise Barrière, Christian Clozier, Jean-Claude Leduc, and Valia and Patrick Lemoine

Fifteen years after I composed this purely electronic work—the only one I ever produced— I exhume it, as a curiosity. Invited to compose a work by the Groupe de musique expérimentale de Bourges (GMEB), I decided that as a guiding principle I would limit myself to the use of material generated by oscillators and other modules of the high- quality analogue synthesizer from the Charybde studio and to very few processing. I then added a number of elements produced at the Groupe de musique expérimentale de Marseille (GMEM) with the first version of the Synclavier.

But a more poetic image was guiding me, that of the forest as a magical symbol of our unconscious. This was my first foray into the “deep forest” that I had already been thinking about; in it a few reminders of that first effort can still be found.

Here is what I felt about it: “Today [artists] reveal the relativity of visible things; they express their belief that the visible is only an isolated aspect in relation to the universe as a whole, and that other, invisible truths are the overriding factors.” —Paul Klee, Berlin, 1920

Here are traces of luxuriance and dream-like exoticism, a bestiary of the imagination that does not hide its kinship with François Bayle’s Trois rêves d’oiseaux, Roger Cochini’s Lullaby, and Ivo Malec’s Bizarra. It is the fantasy-universe of the comic strip, or the fantastic one of fairy tales (in which no menace is excluded): the fantasmatic landscape of signs.

Drôles d’oiseaux (Strange Birds) was realized in the GMEB studios and in the composer’s studio in 1985-86 and was premiered on 2 June 1985 as part of Synthèse, the Festival international de musique électroacoustique de Bourges (France). It was commissioned by l’État (France) and the Groupe de musique expérimentale de Bourges (GMEB). The version heard here was reworked and abridged in the composer’s studio in 2001.

Track 8: L’électro (1990) | 1m06s

to Marie Pelletier

This piece is a little vocal game, resolutely optimistic, about the ineffable beauty of electroacoustic music, that marvelous art that will surely make the next millennium the Brave New World that we have been waiting for. It is also a brief stylistic exercise that mixes fragments of ancient voices with the voice of Marie Pelletier in order to recapture the spirit of Puzzle, a two-minute and ten-second clip realized in 1975. Twenty-eight years ago—how time flies!

It is a game on the multiple manipulations and recitations of the word ‘electroacoustic,’ as well as on the exultant conclusion: “Electro, you’re the best.”

L’électro (Electro) was realized in 1990 in the composer’s studio and was premiered on 30 August 1995 as part of the Festival international d’art acousmatique Futura (Crest, France). L’électro was recorded on the 1995 disc DISContact! II (CEC 95CD).

[English translation: Tom Carter]

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