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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 François Bayle: Jeita

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Jeita François Bayle
Jeita, or Waters Murmur is a reworked version of one of Bayle's earliest pieces (from 1970). One of Bayle's great qualities is his ability to make 'musique concrete' sound like a live performance - something which is very evident on this CD.
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56:03
12.50
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 Customer Reviews 
 Other Titles by François Bayle 
 Audio Clips 
Track 1
Water's Murmur
Track 2
fossil bells
Track 3
murmer of stone bees
Track 4
mouth of shade
Track 5
daydream of multiplication
Track 6
the ship Nadir
Track 7
oracle
Track 8
Warers' Murmur
Track 9
vertical water
Track 10
elsewhere
Track 11
daydream of resonance
Track 12
'etching'
Track 13
water lace murmur
Track 14
water intervals
Track 15
murmured writings
Track 16
oracle
Track 17
Waters' Murmur
Track 18
Water's Murmur
Track 19
Water's Murmur
Track 20
Water's Murmur
 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_butterfly
Foreword
by François Bayle

The model listener does not exist ... especially not for the music of this volume, in which the echo of waters and of shade will speak to each and everyone their mother-tongue:
the language of their origins.

Yet there is a possible misunderstanding which must be avoided: the murmurs of waters or of waves, the rhythmical patter of droplets, the thrill of whispers, the ‘noises’, for all their evocative power, make no attempt to describe. In the words of Magritte’s famous title, this is not a cave!
There was one stunning cave though, which I was fortunate to see as yet entrodden. It was first opened to the public with an inaugural concert, in which I brought into play such a fabulous acoustic instrument an immense ear in the cavity of which, by some extraordinary chance, we were the first eardrums.

But from this marvelous experience there had to remain a recollection in a reflexive form. Back in the studio, out of many spools the echoes of stalactites, the rustle of waters, the songs of workers on the site, or some excerpts of the concert  I composed 17 studies, each one being based on a dynamic pattern selected from this material. Should this be called ‘concrete’? Probably, as regards the operative mode and the resources of the sound recorded.

Yet with this music (from the 1970’s) I had my heart set on starting an ‘abstract’ method neither causal nor narrative of dealing with sound organisation. In arranging displays of energies, it seems to me that I gave new prospects to the idea of development: the acousmatic horizon opened up, onto a music of harmonized forms and movements. This specific cave therefore became the symbolic one where, sheltered from chance and time, nature labours to create innumerable models.

Returning to this work a few decades later, I drew a renewed version of it, owing to the improvement of sound technique, but with truthfulness to the music and all possible closeness to the original.
In the two studies entitled Jeita-a Return however, I wanted to highlight this ‘return’ (to the 17th and the 1st studies) by working on variations — the echo of a drama. Between Jeita, Waters’ Murmur and Jeita-a Return, The Noise’s Infinite” offers a broader dynamic movement, which was nevertheless conceived in a near spirit. ...Now, temporal figures, be reborn!
1999

‘Jeita or Waters Murmur first came out in the good old time of LPs, thanks to the vogue of a famous silver series – ‘prospective 2t st century’ and it went successfully through numerous re-editions, which ran out of stock with the outcome of the CD industry, already a long time ago. For this restoration, Emmanuel Favreau’s Audio clean device (lna-Grm) has been incomparable!

The Musician of sound
by Gérard D. Khoury

Outside, water is but a rustle, [or the bliss of fertility.
Pearls on the leaves of trees, threads into the cracks of the earth, spurting out to the light of valleys,
bursting in a cascade,
surging into the sea,
it weaves the gamut of sounds, answers the assembly of birds.
Inside, in an echo,
Waters’ Murmur
is still muffled,
matter streams down in the shade, opens out in serration,
protected by the endless night.
Outside, millenia overstride centuries, gilgamesh pursues his dream
of immortality
in the cedar tree forest.
State-cities precede empires, invasions follow battles,
and Alexander is at the gates of Tyr.
Inside, the cave preserved from covetous assaults
is an impregnable citadel, a vault sheltered from timeand space,
peopled with stalactites, columns, pillars, gours, draperies
and the cry of bats.
Outside, cyclamens and anemones are sprinkled on the hills of Adonis. Men cleave to myths and gods — Bel, Yahve or Allah - waiting to exist by and for themselves.
Inside, nature sleeps in its chalice, silence hems duration:
drop after drop, he limestone hardens, rises into stalagmites and the patter of the instant becomes eternity.
Outside, from one age to another, tumult and war, violence and horror, blood and woe, absurd mankind, nonetheless pursuing some tireless hope.
Inside, the concretions, a protective cocoon, wall in noises, prisoners of space, awaiting their revelation.
Outside, one day in our time, the explorer and his team, busy about the cave, discover its opening miraculously,
The Musician of Sound by Gerard D. ichouly *
enter it lit up by their torches, marvel at the pristine beauty.
Ecstasy of the senses — they cry out their joy.
The echo is immense
and time abolished:
night and day overlap, acute listening turns the slightest noise
into the image of a sound.
Inside, anxiety grips them When some danger is lurking, a fall of stones or a bulky rock,
lurching over a scree,
expectation of a sound explosion. A menace which reminds them
of the risk of chasms,
but the inebriating night
goes to their heads —
0 bliss of being!
when all is calm and controlled in the womb of the earth.
Outside, he came on the ship Nadir, to set foot on a favorable shore,
the musician of sound.
Jeita had ever expected him, the visitor from elsewhere,
the collector of inaudible matter, the harbinger of new music.
Inside, he discovered the concordance between the unspoiled transmission and his new language of sounds. No more description but a music springing from the
unconscious of the cave
as from the innermost of being.
Outside, the musician freed what was sheltered within. Nature turned into sound. forsaking the meanders of narration, he presented the ear
with the language of stone flowers.
inside and outside then combined, for the lapse of an inaugural concert:
light assaulted shade,
and music made uninhabited spaces resound.
After the chimes of fossil bells came the murmur
of mineral bees,
after plays of water
the mouths of shade,
multiplying the dream,
enhancing the oracle,
and sealing for ever
the union of emotion and dream in a pure music.
may 1999


Jeita or Waters’ Murmur 1970 .39’50

This “itineraryI in the form of a suite of 17 studies on the dynamic metamorphoses of sound matter, is scrupulously based upon jottings-down taken from nature. The names of the various studies are intended for the listener’s eyes ; the composer’s real intentions as to sounds and hearing are hidden in the indications given below.
1 Waters’ Murmur light and quick, as against intense and broad...
2 fossil bells a design of intervals, a play of multiplied resonances
3 murmur of stone bees a tissue of delicate throbbings, equilibriums and accidents...
4 mouth of shade a play of co ors, trajectories
5 daydream of multiplication the unity of sound given as the coherent equivalent of multiple cells...
6 the ship Nadir smooth sheets (preparation), then volute fringes (paths)...
7 oracle verbal hasard, premeditated figures, light gusts... shock...
8 Waters’ Murmur a spiral descending into three zones of color...
9 vertical water a play of opposed energies, of relaxation-compressions...
10 elsewhere the standard interval of a descending second frequently repeated...
11 daydream of resonance a long fluctuation, a harmonic fan...
12 ‘etching’ from white to black, color values and plastic durations...
13 water lace murmur balancing of renuous, halting equilibriums: the value of an instant.
14 waterintervals intervals of tempi, of pitches, of energies, of colors...
15 murmured writings down-strokes, syllabes, cells in multiplication...
16 oracle sigh-accents and a sudden resolution into energy figures...
17 Waters’ Murmur two figures consisting of intervals and rumblings evoking the pano
(Chopin, Debussy)...
Gerard D. Khoury, a writer, a historian of the contemporary Middle East.

The Noise’s Infinite 1980-99 (index 18) I0’SS


The concrete source which amuse the animal ear, the electronic trajectories with their analogical heat and the audionumurcel colours with their shimmering reflections all present their own inimitable qualities.
Surfaces make up space and like mirrors facing one another, they open up the auditory perspective of their long corridors with infinite curves.

.bayle 1970Jeita - a Return 1985-99 (index 19- 20) 5’25


In 1985 for a concert in the Olivier Messiaen auditorium at the Maison de Radio France, François Bayle revised the composition of Jeita, which appeared to have been a premonitory work. And he added two variations dedicated to the memory of the cave walled in during the Lebanon war.

waters’ oracle I
a repeat of movement 17, but in the form of four variations with murmurs.

waters’ oracle 2
a repeat of movement 1, surrounded by rustling voices and murmured variations.

”as soon us one enters them caves reply with murmurs and menaces...” Bachelard wrote, and he
added “. . it all depends on the frame of mind of the person who questions them’.

Chance the secret decision of subterranean causalities inspired we with various murmurs, which l called oracles’. Sinister drawings. They vent their curses wildly, in gusts. Black birds amidst innocent flocks. As if stirred again by the fortuitousness of encounters, one day I opened Paul Klee’s diary and read about another analogy: “the human uanimal — a clock of blood”.

Straight away I realized that I had duplicated this large machine which turns time into form-flowers by means of billions of busy and regular drops an immense clock and I had created a man-size one for the ear. With the dimensions of a clock of blood Elsewhere Real Klee also talks of ‘a place where our brain and the universe meet’ and renders it with its proper color. And Cézanne notes that nature is “inside’.

Considering the extent to which listening is malleable, it seems to me more accurate — and tragically evident today to reverse the object into the subject. There is no cave any more, but someone in there.

Let us hear ‘delta’, listen to it again through this pulsing and precarious image...

FB 1985

François Bayle’s owes its originality to the fact that all his musical activity is devoted to the exploration of the ‘acousmatic’ world, a phrase he spread about. This is the vast sphere in which the keen admirer of Jules Verne, Paul Klee, Gaston Bachelard end René Thom revolves. He was born in Temeteve in 1932 end educated in Bordeaux, bet he did not follow the traditional curriculum of musical studies. It was on his own, at work end from experiences with the sound proper, that Bayle discovered and trained himself. Though in his early works he still resorted to traditional instruments together with the tape, he eventually gave up almost all references to them. By means of a new grammar and in the field of sound transformation only, F B. constantly broadens his language end seeks to set up an imaginative logic of thought end expression.

After Brigitte Massin in Encyclopedia Universalis  (Paris Albin Michel)
The speleologist Semi Karkabi discovered the upper cave of Jette with a team of Lebanon’s Speleo-Club in 1959. He took an active pert in the fitting-out of this splendid site. The design of the galleries end of the auditorium was entrusted to the architect Ghassan Klink. Sami Karkabi asked François Bayle to compose the music for an inaugural concert.
He also took the photographs illustrating this CD.

Translation Marrielle D. Khoury

 Artist Email 
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