Electroacoustic Music 26

Various Artists - Archives GRM, INA 30th Anniversary (2006) {5CD Set, INA-GRM ina c 1030}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.69 Gb | MP3 @320 -> 862 Mb
Full Artwork @ 300 dpi (jpg) -> 140 Mb | 5% repair rar
© 2006 INA-GRM | ina c 1030
Modern Classical / Electronic / Musique Concrète / Experimental / Electroacoustic

For the 30th birthday of INA, the GRM has decided to present in this CD box some of his archives. INA - GRM (Institut National de l'Audiovisuel - Groupe de Recherches Musicales) in Paris, France, is the pioneering organisation of electroacoustics, acousmatics and musique concrète, with a history going back many decades, as active today as ever, recording and releasing a long string of historically important, but also new and innovative, electracoustic works, while also engaging in research into new techniques and teaching. The Acousmonium of the GRM is utilized giving renowned concerts of electroacoustic music.

Bernard Fort - Compositions Ornithologiques (1996) {38e Rugissants Productions 38R002}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 317 Mb | MP3 @320 -> 183 Mb
Full Artwork @ 300 dpi (png) -> 26 Mb | 5% repair rar
© 1996 38e Rugissants Productions | 38R 002
Musique Concrète / Ambient / Electroacoustic / Birds

Co-founder and head of the Musiques Vivantes de Lyon group. He teaches acousmatic composition at the National School of Music in Villeurbanne, and divides the rest of his time between composition and ornithology. His musical work is entirely devoted to the acousmatic genre for indoor or outdoor concerts, dance, young audiences. In composition, he has always been interested in the limits between abstraction and figuration, natural and cultural. His research focuses mainly on the modes of representation of electroacoustic music.

Jean-Claude Risset - Sud, Dialogues , … (2001)
Avant-garde/Electronic | EAC (FLAC + CUE + LOG) | Scans | 263 MB

About the Artist:
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].

Since his earliest projects nearly two decades ago, Polish composer Michal Jacaszek has kept some proximity to film music. Initially, his output simply felt cinematic by nature; densely detailed electroacoustic textures on releases like Lo-Fi Stories (2004), Treny (2008) and Glimmer (2011) evoked dimly-lit worlds within themselves, vignettes of the imagination. Over time his interest in sound design and collaboration would manifest actual film projects and commissions, some of which have earned him awards. Jacaszek’s practice — an amalgamation of ambient, classical, and musique concrete — deploys field recordings, acoustic samples, poetry, and baroque instrumentation to paint pictures, oftentimes melancholic, nostalgic, tragic. His 2020 album, Music For Film, marks the naturally-occurring intersection of his identities as a solo artist and a film score artist. The collection is now sequenced and released as a single autonomic movement.

Dominique Lawalrée - Le Choix Du Titre Est Un Faux Problème (1977) {LP WLS003) (Released on VINYL but not CD)
FLAC (tracks) - 16bit/48kHz - VINYL RIP -> 235 Mb | MP3 @320 -> 104 Mb
Full Artwork @ 300 dpi (jpg) -> 6 Mb | 5% repair rar
© 1977 Editions Walrus | WLS 003
Classical / Neo-Classical / Post-Minimalism / Experimental / Piano / Organ

Rare and excellent lp by Belgian contemporary minimalist composer Lawalree. Belgian composer, keyboard player and educator Dominique Lawalrée, born in Brussels in 1954, studied music in Namur and began composing in 1973. With a name inspired by his love of The Beatles (I Am the Walrus, 1967), Lawalrée launched Walrus records in 1976 when he was only 22 years-old. Walrus was the vehicle of choice for the release of his own music, though he also published a great 2xLP compilation with Baudouin Oosterlynck, Eric de Visscher and Robert Fesler in 1984 (W.L.S. 012/13).

Here is IL CORPO NEL SOGNO, the new work from OTEME, Observatory of Emerged Lands, almost a divertissement halfway between chamber music, singer-songwriter songs, Rock-In-Opposition, electroacoustic music. What Stravinsky, Messiaen and Feldman would have happily written if they had loved drum'n'bass. What Dylan could still hypothesise if he were interested in the avant-garde of the 1900s. The recurring dream of Bach who predicted the arrival of Battisti and Panella.

Pierre Schaeffer - Solfège de l'objet sonore (1967) {3CD Set, Ina-GRM ina c 2010/11/12 rel 2005}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 481 Mb | MP3 @320 -> 311 Mb
Full Artwork @ 600 dpi (jpg) -> 523 Mb | 5% repair rar
© 1967, 2005 Ina-GRM | ina c 2010/11/12
Classical / Electroacoustic / Electronic / Musique Concrète

It is a well-established fact that our approach to music is generally twofold: this is the physicists' as well as the musicians' doing. One the one hand, music is considered to be based on acoustics, or even mathematics, which ought to give it the status of a science; on the other hand , it is acknowledged that it proceeds from psychological and sociological phenomena which, over the ages, have developed into an art, itself depending on various crafts. There is no longer any contradiction between the two approaches so long as one is prepared to accept them jointly, with enough insight to respect the methods proper to each end of the "chain."