INA grm & 3537 are pleased to present two concerts highlighting sound creation across generations in the electroacoustic, acousmatic and experimental music. With the Acousmonium, a loudspeaker orchestra that diversifies the types of speakers, in terms of “sound color”, “range”, “acoustic dispersion” the music is spread to the entire concert room and the listener is placed in front of a powerful orchestra embodied by the speakers.
Concert #2 · INA grm presents: students of the Master degree Création Musicale et Arts Sonores - Acousmonium
This concert will conclude a week of workshop on the Acousmonium with the students of the Master degree Création Musicale et Arts Sonores, and will be an opportunity for them to present their graduation works.
March 31, 14:00 - 15:30
Doors open at 13:45, concert starts at 14:00
Free tickets on shotgun only - no entrance accepted without tickets - Limited capacity
35-37 rue des Francs-Bourgeois, Paris 75004
• Denise PAKES « In Between », 12’12
• Diego ALVAREZ « Catatumbo », 7’15
• Julia ABADIÉ « La horde noctilienne », 8’
• Mohamed Ali FAHEM « Hara-kiri », 10’-13’
• Alex BERNARD « Exit22 », 12’13
• elda wicker « Une chapelle brisée au milieu des nuages », 13’18
Pioneer in concrete, electroacoustic, acousmatic and experimental music, INA’s Groupe de Recherches Musicales (INA grm) has been a unique laboratory for experimentation since 1958, where artists and researchers work together in the same spirit of exploration of sound in all its forms. While pursuing its production, transmission and research activities, INA grm has never ceased to promote the unique character of its approach to major cultural institutions and networks in France and abroad.
The question of the concert presentation of concrete and then electroacoustic works has been a matter of reflexion since the 1950s. This issue took a decisive turn at the GRM with the idea, formulated by François Bayle, to develop a loudspeaker orchestra, which became the Acousmonium in 1974.
The term “Acousmonium” derives from the word “acousmatic”, term “found” by Jérôme Peignot, used by Pierre Schaeffer and later by François Bayle to specify the concrete approach with the concept of acousmatic music. “Acousmatic” is any noise, any sound, that one hears without seeing the causes from which it comes.
The fundamental idea behind the Acousmonium lies in the exploitation of the specificities of the loudspeakers and their setup in space. Indeed, Bayle decided to diversify the types of speakers, in terms of “sound color”, “range”, “acoustic dispersion” and to use the qualities of each speaker in a musical way. The music is spread to the entire concert hall and the listener is placed in front of a powerful orchestra embodied by the speakers.
For the listening experience to be complete, a musician will “play” the music at the control desk (the mixing board), meaning she/he will choose the best strategy for diffusing the musical piece following the sound developments of the music. The work, originally fixed and played from a magnetic tape, is now played as an audio file from a computer. The composer or performer will therefore have the possibility to play in real time on the sound levels, dynamics and spatial distribution of her/his music—thanks to the different linear faders of the mixing desk.
About INA grm
Visit their website: https://inagrm.com/fr
@inagrm : https://www.instagram.com/inagrm/
Master Création Musicale et Arts Sonores : https://www.ina-expert.com/masters/master-creation-musicale-et-arts-sonores.html