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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: De Natura Sonorum

De Natura Sonorum Bernard Parmegiani
Parmegiani writes: With De Natura Sonorum I have begun a new period. After experimenting with the relation between the sound material and the form of its development, I have become interested in the writing of sounds - souns whose ink, so to speak, is taken from materials I try to combine and/or contrast in order to observe their nature.
Out of print
 Customer Reviews 
 Other Titles by Bernard Parmegiani 
 Audio Clips 
Track 1
Track 2
Track 3
Géologie Sonore
Track 4
Dynamique de las Résonance
Track 5
Etude élastique
Track 6
Conjugaison du timbre
Track 7
Track 8
Natures éphémères
Track 9
Matières induites
Track 10
Ondes croisées
Track 11
Pleins et déliéres
Track 12
Points contre champs
 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

Suite in twelve movements
l do not understand this language, but nevertheless the nature of sound here is to inundate the ear, and well beyondd it to awaken a familiar murmur. I listen and the more I listen, the more I increase in size. I grow denser. This music does not construct one of those large transparent things outside, making the sky less empty, it borrows from Time itself rushing in. And Time becomes stronger, pushing the murmur I spoke of in front of it, as all flowers in front of it, and flowers with rustlings, and them in their midst, magnifying them are bubbles of silence, which are of course the intensity of the sound and its fermentation. The whole work corresponds to the Other, that which emits the audible, without imposing a meaning But in the time where the liquidity itself sp reads throughout the ear and where the swelling continues, the conscience suddenly becomes aware of a change. With the music of Bernard Parmegiani something in us is freed and comes out of passivity. This thing, which I know now was blocked without my knowing where, is the buzzing and Time within the flesh - a humming of millions of closed mouths between the cells. What is the murmur made up of? The body develops a tongue in listening to this music, and there is within it great movement of the sound material. Only, it is all simply material at the bottom of an open mine. The ear at the present moment also appears to be less an organ for hearing than a room for exchange; a sound lung. The murmur circulates within it and is charged with music; the unformed is organized and Time returns. It is music that makes the organic breathe, lifts it up and stretches it... Music that questions... Liquid music, but like energy... Music that makes the ear’s “bt)Ond” work, but touching the inner side... Music that awakens the liveliness in living...”
Bernard Parmegiani (1927, Paris)
The instantaneousness of the ephemeral, the mobility and changeableness of the repetitive: these are the themes that have helped to give birth to a dozen of my works, from Violostries (1963) to Pour en finir avec le pouvoir d’Orphee (1974).
With De Natura Sonorum 1 have begun a new period. After experimenting with the relation between the sound material and the form of its development, I have become interested in the writing of sounds - sounds whose ink, so to speak, is taken from materials I try to combine and or contrast in order to observe their nature,
Thus a dialectical contradiction emerges from the contrast between a living and natural sound (that remains diffuse in nature) and an artificial sound (a notion that suggests a “taste for an improved naturalness” as C. Rosset puts it).
This music, intended to be as “general as possible flows through a continuous metamorphosis, digging its own bed, thanks to successive inductions generating the artificial from the natural.
Does listening to this constant transition from one state to another tell us anything about the nature of sound?
The first series is made up of five movements, most of which bring electronic and instrumental sounds, and less often concrete ones, into relation, generally in couples.
I lncidents/Resonances brings sympathetic resonances of concrete sound events with processes that allow variable continuousness (prolongation of sound) of electronic sources into controlled play. The “incidents” arc opposed to punctual “accidents” of the second movement.
2. Accidentals/Harmonics often very brief events of instrumental origin arc brought in to modify the harmonic timbre from the continuum that they undercut or on which they are superposed. Elsewhere, the placing with pitches reduced to a minimum creates a zone of attention to other phenomena generally masked by the melodic form applied to the instrumental play.
3. A Geological sonority resembles flying over a landscape in which the different “sound’ levels will emerge on the surface one after the other. Electronic and instrumental sounds become confused in fusion, seen from such a height
4. Dynamic of the resonance is a microphonic exploration of a single sound body that is made to resonate by means of different types of percussion
5. Elastic study juxtaposes sounds coming from the different “playing” of elastic of instrument skins (gold-beaters skin, zarb) and vibrating strings and different instrumental gestures analogous to this “playing:’ but created by the use of electronic generators of white noise.
6. Timbre conjugations last movement of this series uses the same material to apply rhythmic forms on a continuum of which the timbre is in continual variation
‘The second series falls back on electronic and concrete means whilst the instrumental sources only appear in a fleeting way.
lncidences/pulsations is a son of recall of the first movement and leads very rapidly to’
8. Ephemeral nature interplay of short-lived instrumental and electronic sounds rather more individualised by the form of the internal trajectory than the material itself.
9. Induced matter just as molecular effervescence creates transformations of state, it would appear that the different stages of the sound material’s states here are products of each other, as if by induction 10. Intermixed wavelengths the audible vibrations of pizz interfere with the waves that we imagine “visible” like water droplets on a surface of the same material,
11. Full and free can he listened to as a study of the damped energies of bodies set into motion then rebounding. Such are the hollow “bubbles’ and the points bringing into relationship the heaviness of some, and the very fine movements of others,
12. Points versus fields here we have the idea of perspective of different sound themes that weave a sort of field network. imprison the repeated punctuated elements of the foreground and absorb them progressively so as to give free reign to the fields and melodic sound that opens out.
Traduction Michael TaIor

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