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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 Bernard Parmegiani: l'oeil écoute

l'oeil écoute Bernard Parmegiani
We are great fans of Parmegiani - his music, while excellently crafted and produced, manages to take you on a musical journey that is totally involving from start to finish. If you are not familiar with his music, here's your chance!
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 Customer Reviews 
 Other Titles by Bernard Parmegiani 
 Audio Clips 
Track 1
l'oeil écoute
Track 2
la roue ferris
Track 3
espèces d'espace
 Sleeve Notes 

About the Artist


Among the catalogue of works by Bernard Parmegiani (60 opus) some of the titles testify more particularly to his musical path: Violostries (1965) Capture éphemére (1968), l’Enfer, after The Divine Comedy from Dante (1972), Pour en finir avec le pouvoir d’Orphée (1971-1972) De natura sonorum (1974-1975) La creation du monde (1982-1984) cycle Plain temps ( 1991-1993), Sonare (1996) La Memoire des sons (2000 2001).
Except for some mixed pieces, his work as a whole takes the form of music for ‘fixed sound’, coming within the scope of the immense repertoire of electro-acoustic music. This experience was to be further enhanced over some 35 years, taking into account that the music for television radio advertising and the stage provided the composer with the opportunity to display musical accomplishment by experimenting with new musical forms and new instrumental techniques. In this respect his most well- known work is undoubtedly the signature sound signal at Roissy-Charles-de Gaulle Airport.
In 1971 be mode a video film based on the music in L’oeil écoute featuring visual imagery processed through a synthesiser.

About the Music

L’OEIL ECOUTE 1970 18:58

An enduring reflection of the essence of time perceptible in its own right, can be established through the act of intimate listening where the self becomes immersed in re-living the experience of a journey or the immortalised passing of something disclosed as streaming images. As with all concrete music composers B. Parmegiani yields to this charm and in his works, it takes on the forms of continuous temptation marked throughout by a sense of the forbidden and by a certain fear. The listener is brought to wonder whether the composer actually intended to finish once and for all with the power of Orpheus.
In any case the train emerges as mans best friend and so it is here for Parmegiani the musician exploring and recasting dreamlike intricacy. Both through the effect of continuum and streaming images time is transformed into space literally transporting us.
What does this journey edge out towards? Where does it actually go? What are we crossing?
Such is the substance of the irnpressions and dreams evoked in a poem of space transporting us further for evermore.
The musical creation of Parmegiani is bounteous and broad in nature When not delicately distilled, brought in closer from afar or yet again built up from infinitely unprepossessng elements it is often boldly unveiled. We only need listen to the opening of l’oeil écoute, a sustained swirl and flurry emerging as a wave about to break, which we only just manage to glimpse at its approach, just like this train which we take at full speed surging forward headlong at the opening of the piece. At the very outset, on the one hand, everything is given in a single act, the music is already moving forward; and on the other the ghostly realm into which it takes us is already amply filed out.
We note that the large arbitrary breaks in tone Parmegiani achieves in l’oeil écoute and indeed throughout al his musical campositions, arise as searching encounters. As such they are gestures deriving from the sculptor himself. The blocks used are very imposing and the matter extremely dense...
The composer’s preference for this generously developed ghostly realm or space is also based on a specific creative foundation: it enables him to conceal things and thus especially allows him to disclose them to play on and with the ambiguity of their presence. Through its momentary and background quality the rather dense and complex matter in the piece gives rise to remarkable and constantly renewed perceptions of appearance and concealment able to assume utterly surprising forms since the interplay, mixing, blending and transparency of elements remains ever changing and is often highly unforeseeable. The surging fight of the potentiometers and balanced crescendos are all gradually chipped away at, carved out, transformed by the matter from which they are intended to extract specific essence. The entire work of B P. is imbued with such games of hide and seek and disclosure.

Philippe MION Extracts from: L’oeil écoute An Analytical Commentary
In Portrait Polychrome Bernard Parmegiani
Paris CDMC/INA-GRM 2002

LA ROUE FERRIS 1971 10:40

‘This bewitching and effective mechanical and organic piece unquestionably marks the absolute peak achieved in the repetitive manner of the composer which signfies his attempt to capture an everlasting moment. La Roue Ferris is the name used by Mexicans to refer to a large ring adorned with fireworks which spirals upwards and vanishes into the atmosphere as it burns. A wild device of madness, it symbolises the movement of time which is forever drawn out and cancelled by cyclical repetition.’ Regis Renouard Lariviere (1)
’It spirals up even further merging as well into its own resonance which it relentlessly maintains through variations. Wonder is born and dies, leaving us with an illusion of duration. It moves through twists and turns. Space takes hold of it. Nothing remains….
And the swifts spiral ever upwards in the freed space as if to extend this symbol of festivity.’ B. Parmegiani
(1) in Portrait Polychrome — Bernard Parmegiani Paris Coed. CDMC GRM/INA 2002

ESPECES D’ESPACE 2002 2003 – 21:47

This title, inspired by the writing of Georges Perec’ expresses my research into the possible evolution of some sounds relative to the space where they appear. A sound, like a signal can incite the imagination to prolong it in a musical style. As if in a state of reverie when listening to acousmatic musical pieces through the use of technical manoeuvre I am sometimes brought to mentally modify my listening vantage point. When the work itself suggests, I allow myself to become immersed in a to-ing and fro-ing amidst the sounds moving between more intimate or on the contrary more removed listening: an inside outside exploration focused on the space in which the sounds are situated. Just as the gardener must be familiar with the ground chosen for planting, I have chosen here to express an interest in certain kinds of space. Putting this more accurately, have often reduced this notion of space to a certain unique point which then becomes a place wherein sounds live and then pass over: the use of a materialogy which s expressly heterogeneous is intended to evoke contrasts aimed at creating diversified levels which reveal the spaces explored. Whether wide open or more intimate public or privaote, the particular nature of these spaces calls for the presence of a specific world of sound.
4 movements

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