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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

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.
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.
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.
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.
Our UK Event Listings service is now online....

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.
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.

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CD Details for Francis Dhomont: Cycle du son

Cycle du son Francis Dhomont
This Cycle celebrates sound (a major discovery of the twentieth century) and concrete music. It is a fiftieth-anniversary homage to the inventiveness of Pierre Schaeffer, who clearly created an upheaval in the world of music that has had no precedent.
In Stock
 Customer Reviews 
 Other Titles by Francis Dhomont 
 Audio Clips 
Track 1
Objets retrouves (1996)
Track 2
AvatArsSon (1998)
Track 3
Novars (1989)
Track 4
Phonurgie (1998)
 Sleeve Notes 

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 Cycle of Sound

This Cycle celebrates sound (a major discovery of the twentieth century) and concrete music. It is a fiftieth-anniversary homage to the inventiveness of Pierre Schaeffer, who clearly created an upheaval in the world of music that has had no precedent. Drawing on the same sound material which was forged from the first movement of Schaeffer’s Étude aux objets, as well as from a personal collection of sounds that have been stored away over the years, these four pieces go through a process where they develop out of each other, question each other, echo each other, and complete each other through allusions, commentaries, metonymies, and continuations. With poetic freedom they both evoke a historic journey and propose a connection between the object of sage Schaefferian observation and the wildest “metamorphologies” of sound art. Years after its composition, Novars, the third part of this cycle but the first to be composed, remains the section around which the entire work turns.

Cycle du son (Cycle of Sound) premiered on November 22nd, 1998 as part of the 5th “L’espace du son” Festival acousmatique international in Brussels (Belgium).

Track 1: Objets retrouvés (1996) | 5m20s

In memoriam Pierre Schaeffer

Both a lamento and a funeral march, this paraphrase of Pierre Schaeffer’s Étude aux objets is not without connection to ornate, figured choral style. Three voices (in the contrapuntal sense of the term), developed from elements drawn from the first movement of the Étude, embroider and animate the long values of the original subjects that make up the “choral,” which constitutes the fourth voice of this polyphonic composition. The choice of a classical form, so important in Bach, was a conscious one that was designed to honor the memory of Schaeffer. I like to think that he would have enjoyed the allusion.

[English translation: Tom Carter]

Objets retrouvés (Refound Objects) was realized in 1996 in the composer’s studio with sound material obtained from the Syter system of Ina-GRM, and it premiered on May 31st, 1996 at the “Hommage-Tombeau de Schaeffer” concert as part of Synthèse, the Festival international de musique électroacoustique de Bourges (France, 1996).

Track 2: AvatArsSon (1998) | 18m11s

in six connected parts: Fondation; Avatars; Voix; Aventures; Paysages; À suivre…

To “the inventors of the treasure” (Bayle, Berio, Chion, Dufour, Ferrari, Henry, Malec, Parmegiani, Reibel, Risset, Schaeffer, Stockhausen, Teruggi, Varèse, Xenakis, Zanesi, and others too numerous to name)

This presents an original aspect of the “new music” (as Schaeffer called it in 1950) one that, thanks to the concept of the sound object, brought about its accession to a multidimensional musical world. But it is above all a metaphor for, and a short cut across, some of the stages of the sound odyssey—heard for itself and for its unveiled “images” (Bayle)—and its performance. It also recalls the fertile guiding drift that allows the attentive ear to discover the furtive traces of homage.

[English translation: Tom Carter]

AvatArsSon was realized in 1998 in the Syter studio of Ina-GRM and in the composer’s studio, and it premiered on May 11th, 1998 as part of Ina-GRM’s “Cycle acousmatique” at the Grand Auditorium of Radio-France in Paris. AvatArsSon was a special commission of the Ministre de la Culture (France) and of Ina-GRM for the fiftieth anniversary of music concrète. AvatArsSon was awarded the first prize at the 2° Concorso Internazionale di Composizione Musicale Elettronica Pierre Schaeffer (Pescara, Italy, 1999) and, in a shorter version (14:20), the second prize at Musica Nova (Prague, Czech Republic, 1998). AvatArsSon was recorded in 2001 on the disc 2°/3° Concorso Internazionale di Composizione Musicale Elettronica Pierre Schaeffer.

Track 3: Novars (1989) | 19m07s

To music concrète and Pierre Schaeffer, its “unfortunate inventor”

Novars salutes the birth of music concrète, the ars nova of our century, through its use of the power of the computer. Far from being a pastiche, this piece bears witness to the fact that the latest tools have made it possible to transmit a language.

Without descending into simplistic symmetry, it may also be possible to suggest that, even across a span of six centuries, a relationship exists between Vitry and Schaeffer, two theoreticians of this “new art.”

An ear attuned to classical music can recognize the fragments of Pierre Schaeffer’s Étude aux objets and Guillaume de Machaut’s Messe de Nostre Dame. In effect, these roundabout borrowings—along with a third sound element, a kind of homage, or wry nod, in the style of Pierre Henry and his famous door—constitute all of the material that is needed to give birth to a multiplicity of variations.

A sign of change is that “spectromorphological” mutations (Smalley) give the sonorities of both ars nova and “the new music” (as Schaeffer called it in 1950) the sound of our time.

A sign of continuity is that something from the original works (their colors, their structure, and so on) are still present, and indestructible.

[English translation: Tom Carter]

Novars was realized in Studio 123 of Ina-GRM (Paris, France) and in the composer’s studio, and it premiered on May 29th, 1989 at the 11th Cycle acousmatique du GRM in the Grand auditorium of Radio-France (Paris). Novars was commissioned by Ina-GRM. The piece was selected by the International Computer Music Conference (ICMC ’90) in Glasgow (Scotland, 1990) and the International Society for Contemporary Music (ISCM) for the World Music Days in 1991 in Zurich (Switzerland). The jury of the Stockholm Electronic Arts Award also selected it for presentation at the awards concerts of the Stockholm Competition (Sweden, 1991). Very special thanks go to Pierre Schaeffer, who kindly allowed me to borrow some now-historic sound material; I am also grateful to Bénédict Mailliard, Yann Geslin, and Daniel Teruggi for their patience; without them it would have been impossible to carry out the work in Studio 123 and the Syter studio of Ina-GRM (Paris, France). Novars was included on the “Mouvances-Métaphores” 2-disc set (empreintes DIGITALes, IMED 9107/08) in 1991, and rereleased on “Les dérives du signe” (empreintes DIGITALes, IMED 9608) in 1996.

Phonurgie (1998) | 12m43s

To Inés Wickmann and her found objects

Phonurgie—“making, working, and creating sound”—presents, fifty years after the first gropings, and at the verge of the century under examination, one of the current states of this new art, which has become an independent art of sounds.

Unlike the other pieces in the Cycle, Phonurgie quotes no more than a passing subject of Schaefferian study, bringing the sound of this legacy to a close; on the other hand, the first part, Objets retrouvés, draws all of its material and its structure from it. Paraphrased elements from Novars can, of course, be found—elements that themselves paraphrase Étude aux objets, making them commentaries on commentaries—while the opening and conclusion make reference to AvatArsSon. Nevertheless, in this fourth homage, the allusions to the origins melt away before the original propositions; filiation is not renounced, but here the child, finally grown, reveals its identity.

While technology may have changed considerably and the “sound color” may no longer be the same, morphological thought and writing still remain, in all of their many forms, true to the ‘spirit’ of the first “concerts de bruit” (Noise concerts).

[English translation: Tom Carter]

Phonurgie was realized in 1998 in the Syter studio of Ina-GRM (Paris, France) and in the composer’s studio, and it premiered on September 25th, 1998 as part of the Inventionen ’98 festival (Berlin, Germany). The piece was commissioned by Deutscher Akademischer Austauschdienst (DAAD). Phonurgie won First Prize at CIMESP 1999 (São Paulo, Brazil) and First Prize at CibertArt 1999 (Valencia, Spain). In 1998 Phonurgie was included on the “Inventionen ’98” disc (RZ 10009/10) and in 1999 on the “III CIMESP 1999” disc (CD 199008708)

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