Liner notes from LPs - Avant Garde Project

La fin du bruit
Synopsis ...t o map o u t
Erosphere i s my name fbr t h a t membrane o f nerves
which surrounds o u r w o r l d w i t h i t s network o f ,
waves modulating i n t o an i n f i n i t e number o f
frequencies;
that
cloud
of
infraand
supersensible heat r a d i a t i n g from m e g a b i l l i o n s o f
b i o l o g i c a l sources; t h a t r i n g where t h g f o r c e o f
t h i s cosmos o f d e s i r e c i r c u l a t e s .
We l i v e
destiny.
within
t h e erosphere and d e s i r e i s our
Audible v i b r a t i o n s a r e p a r t o f t h e continuum o f
t h a t general v i b r a t i o n a l s t a t e r a n g i n g from t h e
v e r y low frequency p u l s a t i o n
f o r example t h e
c y c l e o f a human l i f e
t o t h e extremery h o t and
e x c e s s i v e l y dangerous r a y s of cosmic space.
-
-
The geometrical laws which surge t o g e t h e r l i k e
waves on a wind-tossed sea
i n the vibrational
f i e l d , the laws o f t h e octaves, t h e g e n i s i s o f
a l l have an
the harmonics, t o n a l i t i e s , phases
i n t e n s e e x i s t e n c e i n t h e narrow t r a v e l i n g band o f
frequencies our ear discerns.
-
-
To express t h e g e n e r a l i t y o f these laws, t o make
them f e l t m u s i c a l l y , i s t h e dream - o r t h e d e l i r i u m - 'which m o b i l i z e d me i n EROSPHERE-.
Simply t o make i t f e l t .
For example,' by v i o l e n t l y c o n t r a c t i n g o r expanding
masses
o f sound events ( p l a y i n g back
a c o u s t i c images a t speeded-up o r slowed-down
rates) ;
' d i s t o r t i n g groups . o f frequencies on t h e computer
by p l a y i n g them through comb' f i l t e r s
c o n s i s t i n g o f hundreds o f f i n e t e e t h ;
making a c o u s t i c i m p r i n t s o f bodies on surfaces
(comparable t o Max E r n s t ' s f r o t t a g e s o r some o f
Yves K l e i n ' s p i c t u r e s ) ;
producing
reverberations
which s y n t h e s i z e
v i r t u a l spaces.
..let
us e x p l o r e t h e erosphere a l i t t l e f u r t h e r . .
1.
2.
3.
4.
0'00
1'50
4'45
9'30
1978-79
ENDNOISE
t h e "seven t e r r i t o r i e s "
electricity
5.
traffic
6.
crowd
7.
storm
8.
29'50
10'23
19'03
21'45
26'
end
sky
styrene song
sphere
b l u e eros.
F i n i s t h r e , l a n d ' s end, i s t h e name a n c i e n t t r a v e l e r s gave t o t h i s gradual c a v i n g - i n o f the cont i n e n t , t h i s d i s l o c a t i o n engulfed i n fog, beyond
which,
they sensed obscurely, t h e r e s t r e t c h e d an
endless sea...
t h e end
My t i t l e designates t h e l i m i t o f sound
o f s o l i d m a t t e r and t h e foamy f r i n g e where i t
dissolves i n t o silence.
Seven " t e r r i t o r i e s " a r e t r a v e r s e d i n a sweeping
arc. They a r e i n t e r s p e r s e d w i t h e l e c t r i c "skies".
Sounds o f t h e e a r t h and o f men: c o n f l i c t s , t r a f f i c 1 4 . Clouds o f pulsed matter, showers o f
brittle
r e f l e c t i o n s ( 5 ) . Textures and song,
p a t h e t i c f r i c t i o n ( 6 ) . G i r a t i o n , ascension ( 7 ) .
T h i s describes t h e symbolic s i d e o f t h i s composit i o n , a s i d e t o which Ia t t a c h a g r e a t d e a l o f
importance.
The musical s i d e c a l l s f o r some comments. For the
technique deployed here r a m i f i e s i n t o a v a r i e t y
o f dynamic species, i n t o work based on c o n t r a s t s
between l i n e s and masses, i n t o temperatures and
velocities.
The g e n e r a t i v e impe,tus ( a s a g a i n s t t h e music's
development) i s g i v e n by something t h a t p e r t a i n s
t o c a t e g o r i e s I have a l r e a d y t r i e d t o e s t a b l i s h
i n my c y c l e s l i k e llEXPERIENCE ACOUSTIQUE and SON
VITESSE-LUMIERE.
These works a r e t h e r e s u l t o f
t h e s p e c i a l treatment o f t h e m a t e r i a l s and the
psychoacoustic r e a c t i o n s they produce.
Thus t h e f i e l d o f metamorphoses o f a u d i b l e energy
i s based on a.vocabulary o f t r a n s f o r m a t i o n a l operations,
which
constitutes
the t h e o r e t i c a l
foundation o f a general music beyond a l l sound
and n o i s e categories.
The end o f noise, as suggested by t h e word end ,
has a double meaning: ( 1 ) as l i m i t , f r o n t i e r ,
r e s t i n g p o i n t , death; ( 2 ) as i n t e n t i o n , p r o j e c t ,
progress, p r i n c i p l e . Endnoise i s t h e f r i n g e o f
s i l e n c e , t h e s i l h o u e t t e o f t h e audible, t h e
t h e goal. J u s t as i t i s the
extreme l i m i t ,
substance ( t h e unconsciousness) o f form, the r o o t
growth!
o f procreation, o f gradual unfolding
from t h e beginning o f time.
from r a i n t o t h e w e l l s p r i n g
Through music, opposites a r e reconciled. Imight
have c a l l e d t h i s : "Endless noiset'.
-
-
Eros
bleu
BLUE EROS
1980
3150
Flames pushing up t h e i r t r a n s p a r e n t surfaces.
P l a s t i c i t y o f t h e i r curves.
F l u i d , gas, s o n i d plasma.
Harmonic w a t e r s p r i t e skin.
F a m i l i a r c h a r a c t e r o f t h e i r blaze. Where does i t
come from?
From t h e f a c t t h a t t h e generating body i s t h e
voice, speech a r t i c u l a t i n g i t s c o l o r e d congeries.
A l l t h a t remains i s the dynamic movement o f t h e
v e r b a l f l u x . Nonetheless a t r a i n e d e a r w i l l d i s cern the f o l l o w i n g drawn. o u t words by computer:
ciel
ciel fin
c i e l t r b s doux
b r u i t de t e r r e
tremblement f i n
terre
f i n douce
toupie
terre
fin
douce
ciel
...
...
...
......
...... ... ...
-
...
...
Side 2
26'
..,... ...
Side
Eros noir
2
.BLACK EROS
1900
2'45
I associate. the n o t i o n o f temperature w i t h t h e
harrnonic c l i m a t e produced by a cldud. Temperature, i n t h i s sense, i s t h e general case announced
by t h e terms temperedand temperament i n
t r a d i t i o n a l music.
I stumble across t h i s i d e a i n Claude LBvi-Strauss
'I.. . f i s h ,
l i k e so inany aesthetes, d i s t i n g u i s h
between
light
and dark perfumes, and bees
c l a s s i f y i n t e n s i t i e s o f l i g h t i n terms o f weight
- p e r c e i v i n g d a r k n e s s a s heavy and b r i g h t n e s s a s
bouyant
etc,
S t r a n g e a s t h e y sound, t h e s e speculalfions s u i t my
purpose. They g e n e r a l i z e f a m i l i a r e x p e r i e n c e s o f
q u a l i t y and s i t u a t e them al'ong e continuum.
D i s t a n c e . Speed. Pyesaure. D p ~ s i t ' y , Temperature.
Color. I n t e n s i t y . I a t t a c h p o r e i p p o r t a n c e t o
t h e s e q u a l i t a t i v e c a t e g o r i e s t h a n t o t h e quant i f i a b l e c a t e g o r i e a o f frequency and d u r a t i o n .
The t i t l e "Toy t o p ( t o u p i e ) i n t h e skyn i s a reminiscence o f
t h e B e a t l e a ' "Lucy i n t h e sky",
- ..."
...
Toupie
dans
le ciel
TOY TOP I N THE SKY
1979
22'30
bundle o f l i n e s b e n t by t h e f o r c e o f t h e very
r a p i d r o t a t i o n s a r e d e r i v e d from t h e sounds made
by a n a n t i q u e t o y t o p -its b r e e z y s i r e n ' s whisper. Various f i g u r e s o f t h i s t y p e emerge d u r i n g
t h i s piece.
A wave o s c i l l a t e s o v e r two descending minor
t h i r d s . T h i s low-pitched o s c i l l a t i o n , always unchanging b u t a t t h e same time always v a r y i n g , r e v o l v e s amid a m u l t i t u d e o f h i g h - p i t c h e d d e s i g n s
i n s h e e t s o f i n c r e a s i n g d e n s i t y and m o b i l i t y .
The monotonous
unity
o f t h i s movement i s
o r g a n i z e d i n t o a s u i t e whose 27 parts c o n n e c t
imperceptibly i n v a r i a t i o n s of speed, depth,
a c c e l e r a t i o n and o r c h e s t r a t i o n . S k i e s d o t t e d w i t h
l i t t l e comets p u n c t u a t e t h e sound t e x t u r e a t
intervals.
I n t h e middle, a slow s l i d i n g motion p i c k s up
d i s t a n t harmonics from t h e b a s i c chord. Towards
t h e end t h i s s l i d i n g d i s s o l v e s i n flames.
A
Return t o Black Eros. Chromatic s c r o l l s . .
n o i s e . . . Sheaves. S i l v e r ashes...
...
tlreak-down o f the 27 variations :
top siren, theme a, theme b
large top
1st fairly rapid exposition
sweeping, crescendo
transposition and
inversion
sweeping, decrescendo
agitated repetition against a
sweeping, crescendo
decrescendo in space
counter-melody
(top theme) insert 1
crescendo repetition
space
ratata 10.01
counter-melody
rapid high, slow low
(large nonharmonic top) 2
very melodic and nimble
rele-ased
slow, two voices
(top theme) 3
slow repetition, for three voice:
(top theme) 4
repetition and anticipation
transposition, see n03
very melodic and vibrational
higher, sweeping base
transposition to the 3rd
(large top) 5
eros
release
and octave ending
theme a, theme b see beqinninq
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< a u l m
Acousmatic production or Composition, Procedure and creation
1 The e a r is o n e ' s guide. One s e l e c t s t h e o u t l i n e of a contour, t h e
imprint of i n energy, from t h e m a t e r i a l -sound- t h e e s s e r ~ t i a l l yephemeral
s t o r y o f the i r r e g u l a r o s c i l l a t i o n s of matter caught more o r l e s s by
s u r p r i s e , d i s t u r b e d , caressed o r agressed.
2 Thus the instrument i s no longer a sound o b j e c t o r scene, but a
f a i t h f u l o r deforniable e l e c t r o a c o u s t i c mold of t h e i r for111o r image.
The s e n s i t i v e Lear~~inal
p o i n t s of t h e body ( t h e e a r , t h e f i n g e r s ) come
i n contact -they e n t e r i n t o conversation- with v a r i o u s s e n s i t i v e p o i n t s
along tht? energy c i r c u i t : keys, c u r s o r s , b u t t o n s , tuning and/or untuning
devices on the e l e c t r i c a c o u s t i c c o n v e r t e r .
The hur~ian hand on t h e d i a l s , e t c , i s p a r t of t h e machine. l h e system i s
open.
I t i s t h e hand-machine hybrid t h a t a c t s (becomes a c t i v e , a r t i c u l a t e s ) .
4
Ttw ptlysio-psycl~ological l e v e l s of awareness p o r l i c i p a l e i n making
thc d e c i s i o n s , the s k i l l f u l o r f e v e r i s h choices of t h e hand-machine :
pleasure,
nervousness,
emotion,
capriciousness,
controlled
or
uncontrolled madness ( a c t i o n - a u d i t i o n ) .
But a l s o : reasoning, o r g a n i z i n g , e f f i c i e n c y , t h e e l e g a n t and f r u i t f u l
solution (operation-audition).
5
Gestures can be d i r e c t e d , o r even replaced, by t h e i r o u t l i n e o r by an
equivalent nurnber-suite ( a l i n e c o n s i s t s of p o i n t s which a r e c l o s e
t o g e t h e r . Each point r e p r e s e n t s a value t h a t can be t r a n s l a t e d into, a
number. The s e r i e s of values r e p r e s e n t s t h e analogy of t h e g e s t u r e ' s
t r a j e c t o r y ) . The computer c a l c u l a t e s them and a s s i s t s i n forming sounds.
Or, i f one wishes, i n c r e a t i n g sounds from p a r t i c u l a r models.
6
Owing t o t h e high degree of p r e c i s i o n a t t a i n e d by t h e s e o p e r a t i o n s ,
an extremely l a r g e nurnber of which can be s t o r e d (and made u l t r a r a p i d by
the p r o c e s s e r s ) , new evolutionary p r o p e r t i e s of t h e m a t e r i a l s can be made
t o emerge.
Meta~eorphoses. We a r e rnoving towards a music t h a t is i n c r e a s i n g l y v i r t u a l
with respect t o physical causes and i n c r e a s i n g l y c l o s e t o imaginary
rnodel s
.
7 But a t t h e same time we a r e a b l e t o approach c l o s e r t o t h e s e c r e t
p r o p e r t i e s of t h e c a r . Even i n infancy our l i s t e n i n g apparatus r e v e a l s a s
yet unknown a p t i t u d e s , and t h e s e can be developed considerably.Dormant
f a c u l t i e s of f e e c i n g , apprehending, d i v i n i n g and dreaming a r e waiting t o
be r e l e a s e d . The deep laws of t h e world from which we came f o r t h have t o
be fathomed !
t
We l e a r n t o read, w r i t e and count. We must l e a r n t o hear and s e e a s w e l l ,
t o l i s t e n and understand. I n o r d e r t o r e a l i z e our "second n a t u r e " , t h e
f a c u l t y t o grasp s i g n s i n s t e a d of t h i n g s .
Acousmatic: from t h e Greek akousma: a u d i t o r y p e r c e p t i o n
inur definitions by r ran;ois Bdyle:
I ) PYTHACORAS, 6th century BC, created an ingeni0~S listening s~lustionb) p l a r ~ n ghlmsr]i
behind a curtain; there, in the dark and in total silence, he would sptai lo hls d~s:iples, thus
ennabling them t o develop their faculties\ of concentration. Acousmatlc 1s tt~eword h e usps to
designate both t.he situation and the disciples themselves.
A philosopher, mathematician and musician, Pythagoras left no writings.
?) In our times, with the development o f radio broadcasting in the 50's and the birth o f "nojsr
music" (with its main methodological Vestures first outlined b y P-Schaeffer), the poet and writer
Je:me
Peignot once stated on a radio program: " h a t words do we have to aesignate the distance
separating sounds from their source? ...Acousmatic noise is used in the dictionary to designate e
sound one hears without being able to determine what has produced it. Well, there you have the
definition of the sound object, that building block of Concrete music, the most general music there
is, the music
"
whose head i s heaven's neighbor
and whose feet rest in the kingdom of the dead
("Husique enide". a Croupe dr musique concrete program, 1955).
...
... ".
-
Acousmatic
projection
or
Performance, I n t e r a c t i o n s
1 Using t h e work-model ( p r e p a r e d on one o r more m a g n e t i c s u p p o r t s ) a s a
b a s i s , a r k i n f o r c e d image i s p r o j e c t e d , blown-up t o t h e dimensions o f a
c o l l e c t i v e l i s t e n i n g space. This p u b l i c a c t r e q u i r e s :
so~neone t o be i n c h a r g e
sollieone t o o b j c x t i f y a work t h a t up u n t i l now h a s been developed t o t h e
limits of s u b j e c t i v i t y
sonieone t o c f i s t r i b u t e an a c t i v i t y among a p r o f e s s i o n a l teani i n c h a r g e
of t h e equipment
, sorrieone t o s a t i s f y tile a c o u s t i c r e q u i r e m e n t s
so~neont: t o e n a b l e a ~ i ~ u s i c ac ol n c e p t t o emerge from t h e s e c r i t e r i a .
.
.
.
.
2
In t h e f i n a l s t a g e s of composing i n t h e s t u d i o , a mixing/dosing of
ttiu el.ernents was o b t a i n e d on a l i m i t e d number o f c h a n n e l s . With t h e
i n s t a l l a t i o n o f t h e equipment and t h e a c t u a l r e h e a r s a l s t h e e l e m e n t s a r e
d i s t r i b u t e d o v e r two, f o u r o r e i g h t m o d u l a t i o n c h a n n e l s which a r e i n t u r n
d i s t r i b u t e d o v e r e i g h t , s i x t e e n , t w e n t y , t h i r t y o r more p r o j e c t i o n
tracks.
3
The s o u n d - p r o j e c t o r s (more o r l e s s s p e c i a l i z e d l o u d s p e a k e r s ) a r e
p l a c e d a c c o r d i n g t o t h e i r c h a r a c t e r - , b a s s , l a r g e , medium, c l e a r , s h a r p ,
o v e r s h a r p - t h e i r o u t p u t , t h e i r c a l i b e r and t h e i r d i r e c t i o n - c o n v e r g i n g ,
diverging, d i r e c t , reflected, indirect...
4
Break-do~n of the projection space ( s t a g e , periphery, c e i l i n g ,
audience a r e a s ) :
a couple of speakers a r e placed i n each "screen" a r e a t o provide a
phase c e n t e r . Care s h o u l d be t a k e n t o b a l a n c e t h e c e n t e r s i n r e l a t i o n t o
the d i f f e r e n t l i s t e n i n g areas.
t h e phase s c r e e n s a r e d i s t r i b u t e d o v e r a t l e a s t t h r e e l e v e l s o f d e p t h :
c l o s e , middle and d i s t a n t .
t h e s o u n d - p r o j e c t o r s a r e a r r a n g e d by s i z e : v e r y l a r g e , medium and v e r y
small.
t h e s t e r e o p h o n i c c o u p l e s a r e p a i r e d on t h e c o n t r o l p a n e l i n a
c o n v e n i e n t r i g h t - l e f t a r r a n g e m e n t , k e e p i n g i n mind t h a t t h i s w i l l c o n t r o l
t h e a c o u s t i c mixing o f t h e phase s c r e e n s and t h e p r o j e c t o r l e v e l s .
.
.
.
.
5
Break-down o f t h e work:
During t h e p r e p a r a t i o n o f t h e s e q u e n c e s f o r t h e a c o u s t i c and m u s i c a l
performance ( i d e n t i f y i n g and numbering them), e s t a b l i s h t h e d u r a t i o n o f
t h e p a s s a g e s t h a t a r e t o b e e x e c u t e d f r e e l y and l o c a t e t h e f i x e d
p o s i t i o n s d e t e r m i n e d by t h e o v e r a l l s t r u c t u r e o f t h e work.
Using your memory, a timer and t h e s c o r e , work o u t t h e e x a c t sequence o f
the gestures..
.
Once t h e i n s t a l l a t i o n h a s been c h e c k e d , an a c o u s m a t i c c o m p o s i t i o n obv i o u s l y r e q u i r e s a s many p a r t i a l and g e n e r a l r e h e a r s a l s a s a n o r c h e s t r a l
work.
Acousmatic:
3 ) In h i s T r a i t 6 des O b j e t s Nusicaux ( 1 9 6 t ) , P i e r r e S ~ l > i = ~ lasSZTlites
cr
t h e term a r o u s n a t i r
with "reduced a u d i t l o n u : "
. t h e t a p e - r e c o r d e r has t h e Sam! f:7?tlon a r P ! llraqor2s' c u r t i r ~ n : 11
c r e a t e s new phenomena t o observe, but mainly i t c r e g t e s rtrs c0na:l:onl
o f ob$err.atlon ...".
More r e c e n t l y ' - i n 1974- r r a n c o l s Bayle e v l o y e d t h e t e r r t o designate a type o r music "Lhat
(1)
is "filmed", developed i n t h e s t u d l o and p r o j e c t e d i n a t h e a t r e l i k e a movie". He proposed uslng i t
i n s t e a d of t h e cumbersome end ungainly word " e l e c t r w c o u s t i c " , rendered o b s o l e t e by t h e appearance
instrunsnts
(on&
hrtenot,
rlectrlc
guitar,
synthesizers,
of
electroacoustic
stage
microprocessors...).
..
"For him t i e . F-Bayle), t h e terms ecousmatic music and ecousrr;?tic Concert a r e more s u l t e d Lo t h e
a e s t h e t i c s and t h e l i s t e n i n g and p r o d u c t i o n c o n d i t i o n s o f t h i s i n r l s i b l e music...".
tlichel Chion
Larousse de l a tlusique
1982 e d i t i o n
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5
'c O r t o
de terre
Ce t i t r e ( à "effet Max Ernst") avoue une tendance certaine de ma part à provoquer par surprise 1 'expérience sensitive. J u s t i f i e r 1 'ordre grammatical ou 1 'organisation de sons trop
l i b r e s , qu'aucun système ne saurait tout à f a i t contraindre, reste à f a i r e .
Cette note e s t alors u t i l e pour indiquer que l'oeuvre se donne comme une succession de
"climats", "de paysages", de " t r a n s i t s " .
S'enchaînent des températures harmoniques, des espaces clos, des mouvements sourds, u n moment d'affolement, des brillances, des reprises graves qui restent en suspend ...
Peut-être que l ' e s s e n t i e l à dire avec c e t t e espècedemusique que nous appelons acousmatique
r é v e i l l e (r6vCle) nos rcactions aux matières familières.
Les propriétés souterraines de l'écoute bousculent doucement l e s idées.
Pour l e compositeur une s e u l e v é r i t é - e t t o u j o u r s l e
"grand e x e r c i c e u - sera d'apprendre à écouter, c ' e s t à - d i r e à surprendre l e s cheminements i n s t i n c t i f s q u i
mènent du p u r "sonore" au p u r "musical". C ' e s t dans
l e s mouvements spontanés e t d i r i g é s de son i n t e n t i o n d'écoute, en a p p r o f o n d i s s a n t c e t t e f a c u l t é d ' y
v o i r à 1 'avance des formes ou d ' y t r o u v e r des repères
d ' o r g a n i s a t i o n , q u ' i l va e f f e c t u e r ses c h o i x i n t u i t i f s e t c o n s c i e n t s , déterminer son a c t i v i t é .
De c e t t e a c t i v i t é r é s u l t e ce q u ' i l e s t convenu d ' a p p e l e r mus ique.
Quel1e musique ?
Par exemple l a musique acousmatique, c e l l e q u i , p a r
d é f i n i t i o n , cache l e s gestes q u i l ' o n t p r o d u i t e . Paradoxalement c ' e s t dans c e t t e musique que l e geste
e s t l e p l u s présent. Non pas t e l l e m e n t comme cause
immédiate e t v i s i b l e de l a p r o d u c t i o n des sons, mais
comme énoncé d'une forme purement sonore. La musique
acousmatique c o n s t r u i t un domaine de s i g n i f i c a t i o n
dans c e t t e d i s p o s i t i o n .
ESPACES I N H A B I T A B L E S
Choregraphie Miml G A R R A R D
New-York 1969
Photo:
Peter
MOORE
F r a n ç o i s BAYLE
.
1932
.
Tamatave
.
Madagascar
Oeuvres p r i n c i p a l es
l"
ESPACES
INHABITABLES
Choregraphie
Lyon 1972
photo:
Vittorio
BlAGl
d
1967-68
Espaces i n h a b i t a b l e s
J e ï t a ou Yurmure des eaux
( P h i 1i p s P r o s p e c t i v e )
1969-72
L 1E x p é r i e n c e a c o u s t i q u e
Trois-rêves-d'oiseaux
D i v i n e Comédie, L e P u r g a t o i r e
1972-74
V i b r a t i o n s composées
Grande P o l y p h o n i e
(INA c o l l e c t i o n G R M)
Camera o s c u r a
C r i s t a l , pour o r c h e s t r e e t sons p r o j e t é s
(Radi O France)
Tremblement de t e r r e t r è s doux
Camera l u c i d a -
Charles SINCLAIR
1976-77
1977-78
Ces t i t r e s - parmi une c i n q u a n t a i n e de c e t a u t e u r
a p p a r t i e n n e n t au c a t a l o g u e de 1' INA 3 G R M .
-