Archives GRM [Groupe de Recherches Musicales] (2005)

Archives GRM [Groupe de Recherches Musicales] (2005)
Contemporary | EAC (ape + cue) | 5CD 72:23-65:56-61:05-60:46-57:19 | booklets | 1.659MB

grm archives



Looking back over more than half a century, the pervasive evidence of a new Muse appears, that of technological art itself, forthrightly emerging since then. However, it undoubtedly fell to exponent Pierre Schaeffer, himself more critical or more ambitious, and certainly better placed than his predecessors the futurists of 1913, J. Cage or even E. Várese, to considerably enhance the scope of the first discoveries made then with sound and music, by linking the adventure he called concrete music with another, more general and unquestionable, thereby forming the background of our period, and enabling research/creation through audiovisual communication. Françoise Bayle

Packed as rar, served by RS with 3% recovery record, redirected through tinyurl
Four tiny parts at: tinyurl.com/6kp3f2 - /6a34np - /5ukxyf - /673mxy



The issue concerning rigorous or strict approach takes us to the very heart of what is involved. All the composers presented on this disc certainly experienced the paradox of concrete practice: the mixture of elation and dread its freedom elicits. In other words, whilst it was easy to see concrete music acted as a liberating process (by enabling a breaking away from a priori conceptions concerning score, instruments, players …) it was less easy to conceive the ultimate purpose of this freedom. Thus, it became tempting to reject and despise the triviality of its materials and the empirical nature of its structures. Régis Renouard Larivière

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Three tiny parts at: tinyurl.com/6f79dl - /5swlpo - /5gbyzk



While the GRM of the 50s and 60s is well known for its concrete and electroacoustic works, its research into perception and the creation of electronic sound manipulating devices, the GRM of the 70s comes'across less sharply, in particular with respect for the interest shown in musical computer technology. Yet in the 1970s already, at a time when the GRM had no computer technology to its name, its research team was thinking about the potential it might offer. In 1970, it participated in the Unesco conferences held in Stockholm, during which Pierre Schaeffer wrote, probably with the help of Francis Regnier, an important but highly critical text on computer technology, and which has been poorly understood and imprecisely situated in the historical development of the field: «Music and Computers*, in La Revue Musicale, Musique et technologie, published by Richard Masse in 1970. Yann Geslin

ps.: unfortunately the booklet copy of mine is erroneously paginated (2 copies of the same pages, so 2 pages are missing): btw the mixture of french and english scan pages give the total text!

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Four tiny parts at: tinyurl.com/5dq59d - /5qrhp3 - /5gwxku - /58xjfo



From the very beginning, music, whether vocal or instrumental, improvised or written, and up until the invention of recording processes, was listened to at the precise moment it was produced. The twentieth century changed all that, first of all with the appearance of recording media, which made it possible to listen to sound in a place and at a time other than those at which it was originally produced; then by the widespread use of electricity, which made it possible to invent new instruments and new ways of imagining and making music. Concrete music, electronic music, electroacoustic music, acousmatic music or contemporary electronic musics are all testimony to the same ambition: using electrical, electronic and computer-based technologies to invent the sounds of music. The invention of sounds is the invention of new forms of music, of new ways of looking at music, and is the logical consequence of the new opportunities that technology continues to provide us with. Daniel Teruggi

Packed as rar, served by RS with 3% recovery record, redirected through tinyurl
Four tiny parts at: tinyurl.com/68zhnv - /5fje4e - /5l3q4c - /6kd4hb



Did you know? At the periphery of the GRM, there has always been sound design work going on (theme tune, credit titles, etc.) as well as other musical gestures aimed at a wider audience. What this disc is seeking to demonstrate is a specificity of electroacoustic music: since the sound, the very essence of this art, is «signed», as it were, the composer never abandons his «soul» completely when he moves into a different register. Whether he is composing a waltz or a signature tune, or whether he is drifting in the waters of pop music, his presence and personality are still identifiable. This is a feature, which is by no means new, throughout the history of music. The real fans are able to pick out, among a thousand other sounds, a Parmegiani, a Bayle or a Savouret, and when you are familiar with the serious work of a composer, the pleasure of listening to it is only increased by knowing the less serious work. Christian Zanesi

Packed as rar, served by RS with 3% recovery record, redirected through tinyurl
Four tiny parts at: tinyurl.com/5jxrjy - /6sxqbw - /5hubw8 - /5bxdfr



ps. there are also 80 b&w pages of "archives grm en images", but scanning this booklet it's the same that destroing it (it's not stapled but all the pages are glued toghether on one side): so sorry, it's not here…. perhaps a good reason for buying this very neat set.