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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.
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.
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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 François Bayle: Son Vitesse-Lumière

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Son Vitesse-Lumière François Bayle
In 1958, François Bayle joined GRM and Pierre Schaeffer, eventually becoming Director of the merged INA-GRM until 1997. This works on this double CD of 'Son Vitesse Lumière' were composed between 1981 - 1985.
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56:08; 63:
15.00
Out of print
 Customer Reviews 
 Other Titles by François Bayle 
 Audio Clips 
Track 1_1
Grandeur Nature
Track 1_2
Grandeur Nature
Track 1_3
Paysage, personnage, nuage
Track 1_4
Paysage, personnage, nuage
Track 1_5
Paysage, personnage, nuage
Track 2_1
Voyage au centre de la tête
Track 2_2
Voyage au centre de la tête
Track 2_3
Voyage au centre de la tête
Track 2_4
Voyage au centre de la tête
Track 2_5
Le Sommeil d'Euclide
Track 2_6
Le Sommeil d'Euclide
Track 2_7
Le Sommeil d'Euclide
Track 2_8
Le Sommeil d'Euclide
Track 2_9
Le Sommeil d'Euclide
Track 2_10
Lumière ralentie
Track 2_11
Lumière ralentie
Track 2_12
Lumière ralentie
 Sleeve Notes 
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About the Music

foreword…

The following lines will certainly provide the ideal listener with food for thought:

All images are a result of the human mind.
Although we believe them to be a simple reflection of the outside world, they possess an inner,
spiritual principle.
It is the poet’s task to push those images slightly in order to make sure the human mind is working on them humanly, make sure they are human images, images that humanise the forces of the cosmos.
That then takes us to the cosmology of the human mind.
Instead of experiencing an innocent anthropomorphism,
man is given up to profound, elementary forces.

G. Bachelard — L’Air et les Songes


San Vitesse-Lumière - Light Speed-Sound

I . Grandeur nature 1980 31’49 (Life size)

Imagine an ‘object’ that is coming to ‘visit’ us from many light years away. Journey.
Approach. Images of speed. Soundscapes. First contact. Observations. Uneasy movements. Departures and discreet disappearances...
Why not ‘explain’ this piece in such a way? Everyone is free to give his own interpretation.
As for the music (don’t worry, it can’t be related!), it’s a question of transformation by compression, distension, disappearance, decomposition, synthesis and other rather alchemic operations… at that point I shall slip away, leaving the listener to read the lines by Bachelard quoted at the beginning of this text.

II. Paysage, personnage, nuage 1980 24’06 (Landscape, person, cloud)

The ‘object’, motionless, far away, is connected. It takes its sequence of information. But a sustained note discreetly shows that it is at work. The scene is bare. A desert, an oasis perhaps. Vocalic manifestations; then, suddenly, a commentary. My voice giving a speech... It comes in snatches, like interference on a radio. The scene continues. Interference from electric mirages. It seems to be burning, burning and crackling like the film from a great celluloid image.
But if I relate everything, what will there be left to listen to? Everything, in tact.

III. Voyage au centre de Ia tate 1981 20’25 (Journey to the centre of the head)

First of all, my love of Jules Verne (Espaces inhabitables, Jelta) and his symbols. And also the impossibility of not reflecting the surrealist experience inherited by my generation. We thus ‘see’ two sound images which come together and begin to converse and respond, adopting one another as two fragments of the same thing: the transformed image of chanting in a monastery, and the natural sound of a woman at home making coffee (inside the coffee-pot versus centre of the head!).
Indeed, this section is about ‘the inside’. The object moves inside us.
In the programme notes to a performance of part of this section (dedicated to Pierre Schaeffer, Pierre Henry and lannis Xenakis) I wrote: ‘Inside us we have as it were a harp producing silent sounds; the strings of that harp are set in movement by sounds from outside, which act as fingers. Music rises only when the former (the silent sounds) become audible through the skilful action of the latter (the fingers — the sounds from outside)...’

IV. Le sommeil d’Euclide 1983 20’37 (Euclid’s sleep)

Two ‘forms’ occupy the auditory space of this work. The first is radically modified to transcend perception, thus creating an illusion-space, a phantasmagorical effect. The second (including the substantial fragments into which it is broken up) is roughly shaken up; the ear can make out the degrees of order and disorder that are intentionally added to it.
The transformation of the first ‘form’ (derived from a short sample with a creaking pulley (consists of variously transposed progressive elongations and minute descending transitions. An instrument for freezing and mixing, designed by B. Maillard — a machine offering a wide range of serrated morphologies — was used for this process. The same instrument was used to treat the second ‘form’, consisting of samples of song and sounds accompanying the act of raising water by means of an Indian noria. The way the creaking of the pulley is reflected in the singing of the water-drawers already constitutes, I believe, a ‘natural transformation’. In contrast, the treatment of larger sections enabled me to obtain more definite curves and spatial gradations.

The fragments of the second ‘form’ also act as motifs in the general composition of the set to which this piece belongs, re-using the material from an earlier movement — Paysage, personnage, nuage — and extending the listening with the idea of working on the sound image, in turn an icon (or im-son, ‘im-sound’), a diagram (or di-son, ‘di- sound’), or a metaphor (me-son, ‘me-sound’).

The ‘sound snapshots’ that were presented in an almost natural state in part II, are ‘filtered’ here and given in the form of what I would call a ‘diagram’, in other words, designs that retain only a few signs of the original referent, and are reorganised and varied, solely from the viewpoint of the geometry of forms.

The constant ‘curve-linear’ trend of the masses and fragments in transition functions as a metaphor for ‘non-Euclidian’ dreams. Surely the famous Greek experienced the anti-world of dreams too. Or so, at least, I have taken the liberty of imagining...
This piece describes orbs, spiral steps, intertwined parallels.
The ‘object’ moves in its own particular way, following a logic to which we shall one day, no doubt, find the key, since music already provides us with a certain intuition.
Everything stems from the creaking of a pulley and the humming of a top. Pulley-top, digital treatments, the whole lyre of technology, unprejudiced by the good old ways of concrete music; on tape for greater precision.
Naturally, this movement is similar to a lullaby, or a nocturne.

V. Lumière ralentie 1983 21 ‘ 39 (Light in slow motion)


Counter-space. Inversion of the general title. End of the journey.
The ‘object’ has become wind. And half the duration of this piece is taken up by a pattern of interlacing winds. As little phonic resistance as possible. Melodies that are understood, variations in speed, gusts, lulls, whirlwinds, and air movements that may be conveyed by sound (speed-light). Then everything freezes, in straight lines, layers, stripes, projected colours, loops, with flying objects slowly passing through, observing.
Are they listening?
Change of scale; a peaceful night.
Suspension.
But we must end. The ‘object’ has to leave. Enough information. Or is its energy spent?
No time to waste. It goes, leaving behind just a trace, which soon evaporates.
And the earth goes on turning. Of course.

And the hostility of the days is still to be overcome.

F.B. — Translation: Mary Pardce

Dates of composition and first performance of the different versions

l and ll (1980)
First performed 23 March 1981, Grand Auditorium de Radio-France, lna-GRM Acousmatic Cycle.
III (1981)
First performed 23 April 1982, Grand Auditorium de Radio-France, lna-GRM concert for the European Broadcasting Union.
1 — II — III — IV and V) The first complete version — 1983)
First performed 18 November 1983, Palais des Sports Metz 112th International Contemporary Music Festival in Metz); IV et V : Paris premiere 30 January 1984,
Grand Auditorium de Radio-France, lna-GRM Acousmatic Cycle.
‘Deux milliards de kilomètres en 116 minutes’, version for the Atelier de Creation Radiophonique de Radio-France,. With the voices of Bernard Noel, Michel Cassé, Karlheinz Stockhausen, Paul Virilio, Francois Bayle and René Farabet reading short excerpts from Le Pays de Ia Magie by Henri Michaux.
Soundscapes : G Level, D. Toursière, M. Clary, H. Charnproux
Sound recording : Ch. Zanesi — Traitements Syter : J.-F. Allouis, D. Teruggi Digital processing : B. Mailliard, Y. Geslin, J.-F. Bernier
The narrative version marked the inauguration of the first edition of FAUST (Forum des Arts de l’Univers Scientifique et Technique) on 25 October 1986, Halle aux Grains, Toulouse...photos cover- sides front/rear and photos c & e: G. Bordenave... photos a & b : Genevieve Bayle.
The Chaillot version (new mixing) was first performed with the Acousmonium on 12 December 1988, at the Thétre National de Chaillot.... photo d: Genevieve Bayle.. photo I and photos booklet p. 1— 12-13 —24: B. Bruges—Renard.
The complete version and the others were accompanied by a registration lighting by Jacques Rouveyrollis and laser by Patrice Richard.

About the Artist

François Bayle was born in Tamatave, Madagascar, in 1932 and spent the first fourteen years of his life there and in the Comoros. He then moved to Paris, where he taught himself music. In 1958-60, François Bayle joined the Groupe de Recherches Musicales (GRM) and Pierre Schaeffer - Olivier Messiaen and Karlheinz Stockhausen (1959-62). In 1966 he became director of the GRM which became part of the Institut National de I’Audiovisuel (INA) in 1975. He was head of the Ina-ORM until 1997.
François Bayle was at the origin of the conception of the Acousmonium (1974), he established the Ina-GRM’s record collections, organised concerts and broadcasts and supported the development of musical instruments using advanced technology (SYTER, DAM Tools, Midi Formers, Acousmographe). In 1992 he founded the Acousmatheque. This ‘acoustic library’ now contains over 2,000 works written from 1948 onwards; it also organises seminars and provides composer portraits (‘Empreintes’).
Since the 1960s François Bayle has composed regularly and his works fall into several distinct periods. He himself refers to his works as ‘sound-Utopias exploring the genesis of sound forms and movements, the grammar of their formation, their relationship to events in the physical and psychical world.’

His principal works fall into the following periods:
1963-66: Instrumental sources
Trois portraits d’Un-Oiseau-Qui-N’existe-Pas
Archipelf or string quartet — Plurielf or orchestra and tape.
1967-70: Sound space
Espaces inhabitables — delta.
1970-72: Listening space
L’Expdrience Acoustique — La Divine Comedic
Trois réves d’oiseau.
1973-75: Acousmatic writing
Vibrations composées — Grande polyphonic.
1976-80: Formal questions
Camera oscura — Erosphère.
1981-85: New technologies:
Son Vitesse-Lumière — Les couleurs de Ia nuir.
1985-88: Metaforms and metaphors
Motion-Emotion — Aêr.
1988-94: New tools:
21 Théâtre d’Ombres — Fabulae.
1994-98: Multiphony:
La Main Vide — Morceaux de ciels.

Grand Prix des Compositeurs SACEM (1978)— Grand Prix National du Disque (1981 — Ars Electronica Prize (Unz 1989)— Grand Prix de Ia Ville de Paris (1996)— Tribute from the CIME (Sao Paolo 1997).
After leaving the GRM, in 1997, F. Bayle installs his own digital and multiphonic workroom- the Magison Studio –where he dedicates from now on all his aims towards research, writing and composition.

 Artist Email 
 Artist Website 
info@dma