François Bayle

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Acousmonium designed by François Bayle

François Bayle (born April 27, 1932 in Tamatave , Madagascar ) is a French composer of electroacoustic music . At the center of his scientific activity and artistic production is acousmatics .

biography

Bayle grew up in Madagascar and the neighboring Comoros Islands before going to school in Bordeaux . After initially composing instrumental works, the composer, who was musically influenced by Pierre Schaeffer , turned almost entirely to electroacoustic music . In 1958 he joined the Groupe de recherches musicales (GRM for short) and studied with Olivier Messiaen in 1959 and from 1961 to 1962 also with Karlheinz Stockhausen as part of the Darmstadt International Summer Courses for New Music . Bayle established himself as director of the Groupe de recherches musicales as early as 1966 and made a decisive contribution to the incorporation of the institute into the French archive for audiovisual media and digital archive database Institut national de l'audiovisuel (INA). In 1974 Bayle designed the loudspeaker orchestra Acousmonium of the GRM, which conceived acoustically differentiated as well as tonally and visually different types of loudspeakers for a spatial arrangement. In 1992 the composer founded the Akusmathek , an institution in which more than 2000 compositions are made accessible to the public. In 1997, Bayle left the GRM to devote himself to his own studio, Magison . In the course of his career he has helped to develop and promote various technologies ( Syter , GRM tools, Acousmograph ). In 2006 Bayle was awarded an honorary doctorate from the musicological institute at the Philosophical Faculty of the University of Cologne .

Acousmatics

→ Main article: Acousmatics

In Bayle's understanding of the term, the acoustic cause and effect of electroacoustic music are hidden in acoustics , since the means of sound generation, analogous to Pythagoras , whose students took part in lessons behind a curtain without visual information, cannot be perceived and identified. One speaks of a situation of "pure hearing". Acousmatic music can therefore only be played back on a sound carrier.

In 1974, Bayle suggested using the term acousmatics to denote the special listening conditions of music played back purely on a sound carrier. The term electroacoustic music was no longer suitable to denote musical work in the studio since electroacoustic musical instruments existed and therefore a new term was needed for this type of music. Bayle has since used the term musique acousmatique to denote the music that is created in the studio and projected in the concert hall .

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From a technical point of view, the composer divides his acousmatic work into three sections:

  1. 1963–1994: The stereophonic montage / mixing on tape (work examples: Purgatoire, L'Experience Acoustique, Grande Polyphonie, Camera oscura and Erosphere ).
  2. 1980–1994: The inclusion of "programmed procedures" using digital tools; from 1988 with the addition of Syter ; from 1994 with the MIDI Former (work examples: Eros, Son Vitesse-Luimere, Theater d'Ombres, Fabulae ).
  3. From 1995: The phase of the "dynamic carrier medium" and the multiphonic digital montage with the addition of GRM-Tools and Pro Tools (work examples: La Main Vide, Morceaux de Ciels, Si loin, si proche ).

For the sound of his compositions, Bayle draws on childhood experiences in the African jungle , which "brought him very early on the trail of the natural laws that settle conflicts and organize the myriads of sounds, of insects, birds and rhythms." A first significant work is Espaces Inhabitables (1967), which is divided into five individual movements and which, paradigmatically, determines specific moments of Bayle's compositional individuality as representative of the composer's musical oeuvre. On the one hand, the epistemological reflection of the work, referring to the musical organization based on the nature-related knowledge, and, on the other hand, the images of earth or landscape that sound like a bond with nature, as well as cosmic analogies, the formation of a fantasy world, whose existence is based on noisy sound events with their original significance of the music concrète is fused, the characterological compositional style Bayles. The 17-part suite Jeîta Ou Murmure Des Eaux (1970), with the sound recordings from the stalactite cave of the Jeita grotto, electroacoustically transformed into acousmatic sound images, also demonstrates a nature-conscious musical understanding.

In the cycle L'Expérience Acoustique (1970–73), consisting of 14 individual pieces organized in five chapters, Bayle sees his work as an acoustic experiment:

“What is interesting about an experience is first of all the absence of prejudice: you don't know what an experience will be, you just have to 'have the experience'. So I assume that an experience is a test, a test of sensations. It is not the work of thinking, it is first of all a work of feeling "

In line with the double meaning of the French noun experience with it is both the experiment , with the composer acoustic fundamental research, as well as the acoustic experience he empirically investigated and can participate in the handset with the reception of the resulting work, addressed. The compositions that followed the acoustic experience of this pioneering work, such as Vibrations Composées (1973) and Grande Polyphonie (1974), have now been created in an "acousmatic notation" which, compared with the radical years of awakening, are characterized by a greater serenity.

In Bayle's creative periodization, the most concise phase in the 1980s is characterized by "meta-forms and metaphors ". The methodological approach in the composition process differentiates between original musical forms ( meta forms ) and the projective figures ( metaphors ) transformed from them , in order to describe the acousmatic form process based on metaphorical work titles. In the work Motion-Emotion (1985), on the one hand, motion describes the musical temporal-spatial course, while emotion describes the expression of subjective sensations during the listening experience. With reference to "Metaforms and Metaphors", the title refers back to a basic acousmatic question, as the difference between the metaform sound and the metaphor sensation is contrasted.

Works (selection)

  • Espaces Inhabitables (1967)
  • Jeîta Ou Murmure Des Eaux (1970)
  • L'Expérience Acoustique (1970–73)
  • Divine Comedie (1972)
  • Grande Polyphonie (1974)
  • Tremblement De Terre Très Doux (1978)
  • Les Couleurs De La Nuit (1982)
  • Motion-Emotion (1985)
  • Théâtre D'Ombres (1988)
  • Fabulæ (1990-92)
  • La Forme De L'Esprit Est Un Papillon (2002-04)
  • Rien N'Est Réel (2010)
  • Figures sans origine (2015)

A complete overview of works can be viewed on Bayle's homepage.

Discography (selection)

  • Erosphère , CD (1990)
  • L'Expérience Acoustique , CD (1994)
  • La Main Vide , CD (1996)
  • Morceaux de Ciels / Théâtre d'Ombres , CD (1998)
  • Camera oscura / Espaces inhabitables , CD (2000)
  • La forme de l'esprit est un papillon , CD (2003)
  • Érosphère , DVD with accompanying book. (2010)
  • 50 Ans D 'Acousmatique , contains 15 CDs in a cardboard slipcase as digipak with works from the period 1963 to 2012. (2012)
  • L'Expérience Acoustique , DVD with accompanying book. (2013)

A full discography can be found on Bayle's homepage.

literature

  • François Bayle: Musique acousmatique. propositions… positions. With an introduction by Michel Chion . Institut National de lïAudiovisuelle (INA) & Éditions Buchet / Chastel, Bry-sur-Marne & Paris 1993
  • Christoph von Blumröder : “François Bayles Musique acousmatique”. In: ders. (Ed.): Compositional stations of the 20th century. Debussy, Webern, Messiaen, Boulez, Cage, Ligeti, Stockhausen, Höller, Bayle (= signals from Cologne. Contributions to the music of the time , vol. 7). LIT VERLAG, Münster 2004, pp. 186–213.
  • Christoph von Blumröder: “Musique concrete - electronic music - acousmatics. Concepts of electroacoustic music ”. In: Tobias Hünermann, Christoph von Blumröder (eds.): Topographies of the history of composition since 1950 (= signals from Cologne. Contributions to the music of the time , vol. 16). Verlag Der Apfel, Vienna 2001, pp. 196–206.
  • Christoph von Blumröder, Marcus Erbe (ed.): Le monde sonore de François Bayle. The sound world of François Bayle. Encounters at the University of Cologne from 2005 to 2010; International Musicological Symposium The Sound World of Acousmatic Music, October 9th to 12th, 2007 (= Signals from Cologne. Contributions to the Music of Time , Vol. 18). Verlag der Apfel 2012.
  • Christoph von Blumröder, Imke Misch (Ed.): Composition and Musicology in Dialogue IV (2000-2003). François Bayle. Sound images. Technique of my hearing. Bilingual edition French and German. Second, corrected and expanded edition (= Signals from Cologne. Contributions to the music of the time , vol. 8). LIT VERLAG Berlin 2007.
  • Pierre Schaeffer : Traité des objets musicaux. Essai interdisciplines . Editions du Seuil, Paris 1966.
  • Christoph von Blumröder:  The electroacoustic music, a compositional revolution and its consequences (= signals from Cologne contributions to the music of the time. Volume 22). Verlag Der Apfel, Vienna 2017,  ISBN 978-3-85450-422-1

Web links

Individual evidence

  1. ^ SL:  Bayle, François. In: Ludwig Finscher (Hrsg.): The music in past and present . Second edition, personal section, volume 2 (Bagatti - Bizet). Bärenreiter / Metzler, Kassel et al. 1999, ISBN 3-7618-1112-8 , Sp. 552 ( online edition , subscription required for full access)
  2. ↑ top v .: "Biographical Landmarks" in: Supplement to Compact Disc 50 ans d'acousmatique , ina Editions by GRM, 2012, p. 100.
  3. ^ See in Karlheinz Stockhausen at the international summer courses for new music in Darmstadt 1951-1996. Documents and letters compiled and commented by I. Misch and M. Bandur, Kürten 2001.
  4. ↑ top v .: "Biographical Landmarks" in: Supplement to Compact Disc 50 ans d'acousmatique , ina Editions by GRM, 2012, p. 100.
  5. ↑ Tutschku, Hans: For the interpretation of multi-channel electroacoustic works on loudspeaker orchestras - some thoughts on GRM-Acousmonium and BEAST: http://www.tutschku.com/content/interpretation.de.php , accessed on May 9, 2015.
  6. ↑ top v .: "Biographical Landmarks" in: Supplement to Compact Disc 50 ans d'acousmatique , ina Editions by GRM, 2012, p. 100.
  7. ↑ Honorary doctorate from the Philosophical Faculty of the University of Cologne: http://phil-fak.uni-koeln.de/19581.html , viewed on May 9, 2015
  8. ↑ Keyword: "acousmatique / akusmatisch" in: Blumröder, Christoph von; Misch, Imke and (Ed.): Composition and Musicology in Dialogue IV (2000-2003). François Bayle. Sound images. Technique of my hearing. Bilingual edition French and German. Second, corrected and expanded edition = Signals from Cologne. Contributions to the music of the time , vol. 8, p. 181.
  9. ↑ Bayle, François: “The acousmatic music or the art of projected sounds” in: Composition and Musicology in Dialogue IV (2000-2003). François Bayle. Sound images. Technique of my hearing. Bilingual edition French and German. Second, corrected and expanded edition = Signals from Cologne. Contributions to the music of the time , vol. 8, ed. by Imke Misch and Christoph von Blumröder, LIT VERLAG Berlin 2007, p. 153.
  10. ↑ Bayle, François: "Where are the pictures created?" in: Blumröder, Christoph von; Misch, Imke and (Ed.): Composition and Musicology in Dialogue IV (2000-2003). François Bayle. Sound images. Technique of my hearing. Bilingual edition French and German. Second, corrected and expanded edition = Signals from Cologne. Contributions to the music of the time , vol. 8, p. 51.
  11. ↑ Bayle, François: Supplement to the compact disc Trois Rêves D'Oiseau & Mimameta , Agon PV725001, Paris 1997, p. 6.
  12. ^ Blumröder, Christoph von: "François Bayles Musique acousmatique" in: Compositional stations of the 20th century. Debussy, Webern, Messiaen, Boulez, Cage, Ligeti, Stockhausen, Höller, Bayle = signals from Cologne. Contributions to the music of the time , vol. 7, ed. by Christoph von Blumröder, LIT VERLAG Münster 2004, p. 194.
  13. ↑ François Bayle in 2005 in a lecture at the University of Cologne on L'Expérience Acoustique (in: The sound world of François Bayle = signals from Cologne contributions to the Music of Time, Vol 18, Vienna 2012, p. 3).
  14. ^ Blumröder, Christoph von: "François Bayles Musique acousmatique" in: Compositional stations of the 20th century. Debussy, Webern, Messiaen, Boulez, Cage, Ligeti, Stockhausen, Höller, Bayle = signals from Cologne. Contributions to the music of the time , vol. 7, ed. by Christoph von Blumröder, LIT VERLAG Münster 2004, p. 200.
  15. ^ O. V .: "Production" in: Supplement to the Compact Disc 50 ans d'acousmatique , ina Editions by GRM, 2012, p. 100.
  16. ^ Blumröder, Christoph von: "François Bayles Musique acousmatique" in: Compositional stations of the 20th century. Debussy, Webern, Messiaen, Boulez, Cage, Ligeti, Stockhausen, Höller, Bayle = signals from Cologne. Contributions to the music of the time , vol. 7, ed. by Christoph von Blumröder, LIT VERLAG Münster 2004, p. 202.
  17. ↑ Lariviere, Regis Renouard: "catalog of works by François Bayle" in: Supplement to Compact Disc 50 ans d'acousmatique , ina Editions by GRM, 2012, p. 143.
  18. ↑ Catalog des œuvres de François Bayle: http://www.magison.org/oeuvre.html , accessed on May 9, 2015
  19. ↑ Magison: Publications de François Bayle: http://www.magison.org/publications.html , accessed May 9, 2015
personal data
SURNAME Bayle, François
BRIEF DESCRIPTION French composer of electroacoustic music
DATE OF BIRTH April 27, 1932
PLACE OF BIRTH Tamatave , Madagascar