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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.

Think we've missed out on something? Email us at and let us know.

CD Details for Jean-Claude Risset: Sud-Dialogues

Sud-Dialogues Jean-Claude Risset
Risset is known as one of the main pioneers of computer music, together with Max Mathews and John Chowning. This CD contains 4 works - Sud (1985), Dialogues (1975), Inharmonique (1977) and Mutations (1969)
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 Other Titles by Jean-Claude Risset 
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Track 1
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Track 3
Track 4
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 Sleeve Notes 

About the Music

Sud - 1985 - 23'35

“Sud” was commissioned by the French Ministry of Culture at the request of the Groupe de Recherches Musicales (GRM) of the lnstitut National de l’Rudiovisuel (INR) The piece was realized at GRM.
“Sud” is based chiefly on sounds in the Calanques range at Marseilles. These sounds were processed by computer in Studio 123 at the GRM INA. I would like to thank Benedict Maillard and Yann Deslin who showed me how to use their impressive set of computer programs. My thanks also to Daniel Teruggi for intoducing me to Studio 116 where “Sud” was mixed.
The mixing elements also included seguences synthesized by computer at Marseilles using the MUSIC V program (Faculte des Sciences at Luminy and Mechanics and Acoustics Lab of CNNRS) In the first moments (and from time to time thereafter), “Sud” presents itself as a a sound photograph - a phonograph, to borrow François-Bernard Mache’s word - it alludes to Luc Ferrari, Knut Victor, Michel Redolfi, musician of the sea, Georges Boef and his abysses. and François Bayle’s “oiseau chanteur”.
The piece uses a small number of sound sequences - recordings of the sea, insects, birds, wood and metal chimes. brief “gestures” played on the piano or synthesized by computer which I multiplied by processing them in various ways (modulating, filtering, coloring. reverberating, spatializing, mixing and hybridizing). Cezanne wanted to “unite feminine curves with hilly shoulders”. Similarly, hybrid synthesis allowed me to work “in the very bone of nature” (Henri Michaux), to produce chimeras, hybrids merging birds and metal, or wood and sea sounds. I used this procedure mainly to transpose profiles and flows of energy. The pulse of recorded sea sounds is thus imprinted on certain other sounds, whereas at other times sounds reminding of breaking waves are unrelated to the sea.
A pitch scale (G - B - E - F Sharp — 6 sharp), first presented with synthetic sounds, is later used to color various sounds of natural origin. In the last part the scale becomes a genuine harmonic grid which resonates like an aeolian harp to birds and waves sounds. The
manifold sounds produced by computer can be located on a diagram resmbling a family tree: their layout in time brings several rhythmic levels into play and implies what might be called a logic of fluxes.

‘Sud” comprises three sections

9'45 The sea in the morning. The opening profile permeates the entire piece. Waking birds, from isolated peeps rising to a stretto.
Harmonic clouds.
Hybrid sounds emerge from the low frequencies.
Heat. Luminy, at the foot of Mount Puget real and imagined insects and birds.
5'49. A call — like a bell buoy animated by the sea.
Trepidations, drifts, north wind, tempest. telluric fire. or inner storms?
8'00. The sea’s profile becomes increasingly colored : noise turns into strident pitch.
Composite sounds in motion.
The harmonic grid emerges and vibrates under programmed impulses, birds raga, sea waves.
Ebb tide: the splash of the surf.

DIALOGUES - 1975— 10'30

Flute : Renaud François
Clarinet : Michel Arrignon
Piano : Carlos Rogue Alsina
Percussions : Jean-Pierre Drouet
Conductor : Michel Decoust

“Dialogues” combines four instruments (flute, clarinet, piano, percussion) with a tape of sounds synthesized by computer at the University of Marseilles
— Luminy.
It was created at the Ircam—Europalia session in 8russels by the soloists of Musigue Vivante conducted by Michel Decoust.

The composition is based on a nucleus of motives forming pitch and rhythm rows. The treatment of the motives gradually dissolves the rows and submerges them in residual harmonies. The piece attempts to bridge the worlds of instrumental and synthetic sound. The instruments and the tape carry on a dialogue they answer each other, clash with each other, extend each other or merge into each other. Thus, in the beginning, the flute and the clarinet stealthily emerge from the tape’s sounds; at one point the tape provokes the percussionist to react to its suggestions ; towards the end, the tape weaves and frays sound structures emanating from instrumental harmonies.

INHARMONIQUE - 1977 - 14'39

Irene Jarsky, soprano

“Inharmonigue” combines a soprano voice with a tape of computer-synthesized sounds. The tape sounds consist mostly of “inharmonic” components, whose freguencies do not relate to each other as the numbers 1, 2, 3, 4... Such configurations are rarely found in instrumental and vocal sounds. The sounds’ internal structure brings out different relations between them.
The piece opens with noise bands in motion. Pure sounds emerge and gather in increasingly rich layers. The voice first appars in filigree, but it eventually breaks through the screen ot artificial sounds ; it elaborates on the note A. whose harmonics are taken up by the tape. Intervals broaden. The tape introduces imaginary bells. composed like chords, which later break up into fluid textures (this is obtained by transforming the temporal profile of its components without modifying their frequencies). The voice becomes sparse but increasingly dramatic. The tape distantly echoes the voice (recorded and modified on the computer). The singer’s breath is submerged by surging bands of noise.
The tape was synthesized by computer at IRCAM. “Inharmonique” is dedicated to Irene Jarsky, who inspired it and whose own research enriched the vocal part. Irene Jarsky premiered the piece in a concert of IRCAM’s “Passage du XXe siecle” series.

MUTATIONS - 1969 — 10'26

Commissioned by the GRM, Mutations’ comprises only computer-synthesized sounds.
“Mutations” attempts to capitalize harmonically on the possibility offered by the computer to compose at the very level of sound, Thus the broken chord of the beginning is followed by a gonglike sound which is the chord’s shadow: harmony mutates into timbre. The title refers to the transformations taking place in the piece, as well as to sonic developments akin to the mutation stops of the organ. The computer unfolds a sound texture based on a chord the texture consists of harmonics of the notes of the chord, which wax and wane. The textures which thus emerge from harmonic structures exhibit increasingly close-knit frequencies the upper scale gradually dissolves into a continuous flux. A serial soon gets blurred tone pitches fluctuate, then split into components: the pitch moves continuously between low and high while remaining on the same note. then it begins to rotate and rise in an endless spiral. The upward spiral is initially pale, then more brilliant. After a bridge using John Chowning’s frequency modulation for the first time in a music work, the spiral resumes with a choral quality, and it is scanned by recalls of earlier elements, which converge to a final point where the high and low components of the initial chords are released. (Cf. “Mutations, interview with Jean- Claude Risset”, in Barry Schrader, Introduction to Electronic Music, Prentice Hall, New Jersey 1992, pp. 19W/201).

Realized at Bell Laboratories, “Mutations” was honored at the Darmouth Electroacoustic Music Competition (19701. It inspired a film by Lillian Schwartz using lasers and computer animation (Golden Cine Eagle Award, 1973).

About the Artist

Jean-Claude RISSET 1938. Le Puy [France]

Music studies piano, composition with Andre Jolivetl. Scientific studies at the Ecole Normale Superieure, During the sixties, worked with Max Mathews in the United States to develop the resources of computer sound synthesis, imitation of instrumental timbres, sonic composition, pitch paradoxes, catalog of computer-synthesized sounds, composition of mixed works for instruments and computer. Implements computer sound synthesis systems at Orsay [1970-71], Marseilles-Luminy [1974-81] and IRCAM, Paris. as head of the computer department between 1975 and 1979. Presently researcher in Marseilles [Laboratoire de Mecanigue et d’Acoustique]. Music works for instruments. voice and computer. Scientitic and musicological articles. Received since 1963 numerous distinctions. among which the Ars Electronica Prize [1987], the Grand Prix National de Ia Musigue of France [1990]. the first prize for digital music [1981] the Euphonie d’Or [1992] and the Magisterium prize at the international Bourges competition, the gold medal of CNRS [1999].

Euvres principales / Main Works

1966 Instantanes, pour piano
1968 Musigue pour Ia piece de Pierre
Halet Little Boy, pour voix. instruments et bande*
1969 Mutations
1976 Dialogues, pour 4instruments et bande
1977 lnharmonique, pour soprano et bande - Moments Newtoniens pour 7 instruments et bands
1979 Songes*
1962 Passages, pour -I instruments et bande* - Aventure de lignes. pour instruments electroniques
1983 Contours*** * — L’autre face**** pour soprano et bands
196L1 Filtres, pour deux pianos
1986 FiItres II, pour flute et piano I - 5ud
1987 Voilements***, pour saxophone et bande
1988 Attracteurs stranges, pour clarinette et bande**** - Phases, pour orchestre
1989 Duo pour on pianiste, pour piano Disklavier interactif****
1991 Lurai. pour harpe celtigue et bande** Trois etudes en duo, pour piano Disklavier interactif** 1995 Invisible Irene”
1996 Invisible, pour soprano et bande****
1996 Mokee, pour voix, piano et bande* * * *
1997 FIvel **
1998 Elementa**
2001 Escalas pour orchestre

* sur CD Wergo 2013-50
** sur CD INA-GRM en preparation
sur CD INA C2000

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