What the GRM brought to music: from musique concre`te to ...

202 Marc Battierattitude towards composition. Managing flows, makingimages emerge from sound – all that evolved from theend of the 1960s, but it is Bayle who translated thecompositional option into a conceptual formation.It was during these decisive years that the compositionaltendency, designated by the term ‘acousmatic’became stronger; the term approved by Schaeffer at theend of the 1950s (and which afterwards passed intogeneral use) was adapted to describe music recordedonto sound media. This exists without any visualinformation for the public. According to his owntheory, the effort of causal recognition collides with aconstant erasure organised by the creator. When Baylerecovered the term in the middle of the 1970s, hecommented on the perpetuation of the model. One cansee by this action the choice between music recorded ona given medium and other forms of musical presentation;for example, mixed music allying instruments andan electroacoustic constituent without distinction eitherthrough a medium or live, direct, which continuallyexpanded elsewhere during this period. Bayle promotedthe term acousmatic above all to make visible the newtheoretical status of the musical object. Schaefferquickly realised this, when he declared to Bayle thatuntil then the musical object gave life to time, but afterBayle had further evolved Schaefferian ideas, it was timethat gave life to the musical object.REFERENCESBayle, François. 1993. Musique acousmatique. Propositions …positions. Paris: Buchet-Chastel and Institut national de lacommunication audiovisuelle.Bayle, François. 2003. L’image de son. Technique de monécoute/Klangbilder. Technik meines Hörens. Münster: LitVerlag, Bilingual edition.Chion, Michel. 1983. Guide des objets sonores. PierreSchaeffer et la recherche musicale. Paris: INA/BuchetChastel.Chion, Michel. 1998. Le Son. Paris: Nathan.Dufourt, Hugues. 1999. ‘Pierre Schaeffer: le son commephénomène de civilisation’, in Ouïr, entendre, écouter,comprendre après Schaeffer. Paris: Buchet/Chastel, pp.69–82.Gayou, Évelyne. 2006. ‘Le GRM, Groupe de recherchesmusicales. Des racines de la musique concrète àl’électroacoustique des années 2000. Histoire, oeuvres,concepts, outils: une synthèse’, doctoral thesis supervisedby J.-Y. Bosseur, Université Paris-Sorbonne.Risset, Jean-Claude. 1999. ‘Pierre Schaeffer: recherche etcréation musicales et radiophoniques’, in Ouïr, entendre,écouter, comprendre aprèsSchaeffer. Paris: Buchet/Chastel,pp. 69–82.Schaeffer, Pierre. 1952. A la recherche d’une musique concrete.Paris: Seuil.Schaeffer, Pierre. 1966. Traité des objets musicaux. Essaiinterdisciplines. Paris: Seuil.Teruggi, Daniel. 1998. ‘Le système SYTER. Son histoire, sesdéveloppements, sa production musicale, ses implicationsdans le langage électroacoustique d’aujourd’hui’, doctoralthesis, Université Paris 8.Thomas, Jean-Christophe (ed.). 1999. Ouïr, entendre, écouter,comprendre après Schaeffer. Paris: Buchet/Chastel.Thomas, Jean-Christophe, Philippe, Mion, and Jean-Jacques, Nattiez. 1982. L’envers d’une oeuvre. Denatura sonorum de Bernard Parmegiani. Paris: Buchet/Chastel and Institut national de la communicationaudivisuelle.