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La Forme de l'esprit est un papillon
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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: La Forme de l'esprit est un papillon

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La Forme de l'esprit est un papillon François Bayle
The three works on this CD cover three periods in Bayles output - Trois rèves d'oiseau (1963 - 71), 'La forme de l'esprit est un papillon (2002 - 2004) and 'Minamenta' from 1989.
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56'40"
14.00
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 Customer Reviews 
 Other Titles by François Bayle 
 Audio Clips 
Track 1
ombrages et trouée
Track 2
coleurs inventées
Track 3
moqueur
Track 4
triste
Track 5
zen
Track 6
Mimaméta
 Sleeve Notes 
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About the Artist

François Bayle

bayle_portraitb. 1932, Tamatave — Madagascar


In 1958-60, François Bayle joined Pierre Schaeffer’s Groupe de Recherches Musicales in Paris, and between 1959- 62 worked with Olivier Messiaen and Kariheinz Stockhausen. In 1966, Pierre Schaeffer put him in charge of the GRM which, in 1975, became an integral department of the French National Audiovisual Institute (INA). He maintained this position until 1997.

In addition, it was François Bayle’s idea to create the Acousmonium (1974). He also originated the record series Collection lna-Grm, organizes concerts and radio broadcasts and still supports the development of technologically advanced musical instruments (Syter Grm tools Midi Formers Acousmographe).

In 1993, he founded the Acousmatheque, a repertoire of some 2000 works composed since 1948, and that also organises symposiums and composers’ portraits. Upon leaving the GRM in 1997, he created his own studio and the record label Magison.

To date, he has composed 97 works.
Recent compositions include Fabulae (1990-91), La main vide (The empty hand) (1994-95), Morceaux de ciels
(Pieces of heavens )(1996), Jeîta –retour (1985-99), Arc, pour Gerard Grise (1999), La forme du temps est un cercle
(Time’s form is a circle))1998-2001), La forme de l’esprit est un papillon (The mind’s form is a butterfly) (2001-03).

Releases:18 monographic CSs ) Magison Cycle Bayle (1 to 18)

Musique acousmatique, propositions ... positions — Buchet/Chastel, Paris, 1993.
Parcours d’un compositeur— M. Chion/Mssiqees et Recherches, Brussels, 1994.
L’image do son/Klangbilder— lmke Misch - Ch. v. Blumroder/Lit verlag, Munster, 2003.
François Bayle, portraits polychromes — M. de Maule/Ina, Paris, 2004.
Distinctions
SACEM Grand Prize for Composers, 1978— National Record Grand Prize, 1981 —Ars Electronica Prize, Linz, 1989
City of Paris Grand Prize for Music, 1996— Homage by the CIME of Sao Paolo, 1997— Charles Cros Presidential
Grand Prize, 1999.

Currently. President of the Symphonic Music Commission of the SACEM (since 2001).


About the Music


bayle_butterflyto the ideal listener...

Our conscious attention fluctuates, flutters like a butterfly, escapes our control, It lacks penetration.
Penetrating intuition results from thought’s expectations
This is the secret of attention.
according to A N. Whitehead - Process arid Reality—1929

It is pleasant to find this rather zen observation from the pen of an austere philosopher! Can consciousness, in its thwarted stream, breached with silence, fluctuations, neutral time lapses auspicious to forms’ invasions (or ingressions, according to the term coined by Whitehead), through a fortunate lack, open itself up to the presence of things? and to the spirit of sounds

And if it were precisely from this same suspension of thought that intuition looms up by surprise, whereas musical thought, not being formed (deformed) by language, better proves this by functioning freely, like in nature, through coherency and implication.

So we believe that water flows naturally, following capricious meanderings: merely an apparent fantasy! Rather, the carefree expression of the gradual and rectilinear rigor of a down ward path, and one that ignores hesitation. This is how the sonorous self-organizes.

Although a butterfly in flight isn’t unaware of this, this animal dimension of restlessness by which consciousness is derived from an imprecise memory of effort and of a vague hope: its reward. It is due to either one or the other of these uncertain whims, even though they are cast by desire and ideas, that musical figures function, those flowers conceived for (or stemming from) deep listening.

Yet the ‘perishing” as well as the “becoming” of any form
which auditory entities express so fully
—also affect memory, that place of valorizing metamorphoses.

Hence proceeds emotion, with the joy of losing and of finding (oneself).
F. B.


(The mind’s form is a butterfly)

n°95 — 2002-04 — 35’35” - octophony
-ombrages et trouées (shade and gaps)
-couleurs inventées (in vented colors)
Ombrages et trouées (Shade and gaps)

22’30” — 2002-04

Slip into a spark’s timing Like under a tree, settle in there

A large quiver will cover a rustling zone with its boughs, breached with light and colors.

The multi-resonant continuum emits forms. Markers, figures, signs are concealed there. Here or there, entangled dynamic entities emerge. Sometimes these “markers” rather reveal movements of the orchestrated hand-ear; elsewhere, some figures are born of meaningful will.
These listening ranges intend to maintain a meta stable balance, ready to create in the listener’s immediate memory an instantaneous precipitate at the first glint of attention.

It is indeed its own interest that will suddenly determine the shortest path among the configurations that join the constellations of outbursts perceiving them as accents of desire.

Accidents of attention circulate among the calls or rather “flit about like butterflies” from one to the other in a spiky, halting, multi-polar dance.

Five moments follow, one after the other, latticed with reminders, extensions
- formes espacdes (epars /dispars) spaced forms (scattered/ vanished) up to 230”, and also
- formes resserrees (resonances internes) constricted forms (internal resonances)2’30” to 516”,
- formes enchevbtrees (ec/ats d’intensites) tang/ed forms (bursts of intensities)5’ 16” to 1014”,
- formes contrastées (k/angfarben / troudes) contrasted forms (k/angfarben /gaps) 1014” to
1711”,- formes ondu/des (liens/ritourne/le) undulated forms (/inks/ritorne//e) 1711” to 2237”.

prottools scoreCouleurs inventées (invented colors)
13’05” - 2002-03

Two aural sensitivities, two conceptions of the butterfly-like form are expressed in this diptych : extended polymorphic space — in ombrages et trouées (shade and gaps); polychromatic time held in abeyance — in couleurs inventées (invented colors).

After the previous intensity, a moment of calm arises here. Only the “concrete immateriality” of the multiple image of colorful and shapely resonances is offered here for listening, only to let its volumes and brightness play (like red placed on well-drawn lips). The listening experience (already for more than twenty minutes !, under pressure by what preceded, suddenly depressurizes and dilates like a hot, rising gas.

In order to guarantee free anarchy and to maintain it as much as possible, figures of lines and points capture part of the attention and array five “micro-climates” on successive surfaces -couleurs claires (light colors) up to 31 3”, - couleurs sombres (dark colors) from 31 3” to 4’22”, - couleurs nocturnes (nocturnal colors) from 422” to 537”, - couleurs graves (solemn colors) from 537” to 6,1 2”,- couleurs e’clatees (bursting colors )from 61 2” to 6’58, up to a quasi-central moment, couleur-cristal(cristal-color) from 6’58” to 749”. The colorful listening then shifts to a dynamic listening, that takes over by its hammering up until the end with couleurs-mouvements (movement-colors) from 749” to 1157” and couleurs-temps (time-colors) from 1157” to 12’”.

Looking back, we see that these markers of the hand-ear gathered here constitute the generative core from which several aspects of the entire diptych originate. Scattered here and there, one finds traces, remote pre-echos that reveal the work’s organic thrust.

Hence the mind is nourished by fantasy (even to absurd levels) and will draw upon the innocent disparity of circumstances of that which germinates, bolted to the feverish flash of an idea’s invention that takes form and takes to flight, itself swept away in the wind of indifferent gods and demons.

bayle_booklet artTrois réves d’oiseau (Three bird dreams)


n°48— 10’— 1963-71
 
— moqueur — triste — zen
(— mocking — sad — zen)

Moqueur (Mocking), a remix of the third of the Portraits do l’Oiseau-Oui-N’existe-Pas (Portraits of the Bird-that-does-not exist) — n°1 5— 1963, originally conceived for the beautiful animated images of the painter Robert Lapoujade, is a “vintage”, an archive from my earliest years : my first work!
 
Instrumental figures written “for the microphone” (meaning, close-ups) are jostled, broken propelled in voluble bunches, incorporating true birdsongs with electronic ones, laughing and accents. The scene progresses in rebounding forms and in colorful strides that merge and land in cascades.

Triste (Sad) emerges, opposing dark and slow trajectories with irritated jabberings, achieved by a “hand-made” work method, directly on the turntable (a few decades before DJs’ common practice !.

The whole is balanced out by the third dream Zen, serene and silvery, appending on an harmonic tremolo the unreal lines of a real uirapuru, the Brazilian bird that announces a peaceful death (this moment is taken from l’ExpdrienceAcoustique (The Acoustic Experience)
—n°1O.
r.B

This colourful assemblage was created following a request from the choreographer Vittaro Biagi, who premiered it at the Opera de Lyon on January 22, 1972, along with Espaces inhabitables (uninhabitable spaces), P. Scbaeffer’s Etude aux Objets (Object Study) and B. Parmegiani’s L’Oeil écute (The listening eye)

Mimaméta

1984 — 1989 — 1O’46” - revision 2004

No, this is not a reference to some fabulous bird stemming from Borges’ chimera, nor an exotic offertory at each break of dawn l
If “meta” refers to later, or beyond, or around or remote, that is only a partial clue either on the choice (that may be surprising( of “classified” harmonies, but whose internal illumination, whose spectral granulation, provoke another perception. . or on the unfolding of a central melisma, that appears to be smoke, rising, indefinitely removed.

And with this “mi”, which could well announce the start of “micro”, whereby “ma” who designate “macro”, those two categories known for being irreconcilably symmetrical. Is that not enough already to nurture its interpretation?

Premiered in Sao Paolo, Brazil, November lOBS commissioned by the Biennale des Arts

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