Every day sounds and musical effects are merged in Francis Dhomont's composition "Chiaroscuro".

I have been convinced for a long time that in electroacoustic music everything is right, as long as it produces sound. ln this sense, I use both synthetic sounds and acoustic ones from any source, be they processed or not, and digital media as well as the classical analog instruments of the traditional studio. This choice is both philosophical and aesthetic.

For me, the interesting aspects in computer music are the numerous possibilities of transformation and of 'micro-surgery' of sampled sounds that some programs permit, and in the metamorphoses they make available. In this respect, especially the ingenious programs developed by Bénédict Maillard at the 123 studios of INA-GRM in Paris, and those by Jean-François Allouis on SYTER (notably the various mixing and accumulation techniques) have allowed me to obtain a very rich spectro-morphological palette from only very few original sounds. In "Chiaroscuro", notably, I made a "brew" of micro-fragments and just controlled their velocity and inner space. "Novars", on the other hand, is based upon complex mutations of a fragment from the "Messe de Nostre Dame" by G. de Machaut, and upon innumerable variations of a single 15-second fragment I borrowed from P. Schaeffer, from which I selected the ones that offered the most distinctive figures. The original Schaeffer theme is only presented in the last few seconds.In this sense, "Novars" could be seen as an inversion of the "theme and variations" structure.

It must be noted that the real-time processing on the SYTER system allows for gestic activities that reveal the human presence and permits the finesse of instrumental phrasing (cascade programs, extremely fast variations of speed, simultaneous use of up to eight harmonizers, comb filters etc.). This has always seemed more convincing to me than the irreproachable but icy use of various processes. In this sense, I seriously believe that the phenomenological perception of music is a much safer conceptual tool than scientific models, of which the relations to artistic mechanisms are still to be proved.

As often in my works, certain materials stem from earlier works and find a new development here. I love to continue a discourse once started, to complete it. Furthermore - and as an hommage to the composers of the "Evénements du neuf" (the Montreal concert society) - José Evangelista, Denis Gougeon, John Rea and especially to the memory of Claude Vivier - I am guilty of some minor musical thefts that flash up here and there as - so I hope - deliberately enigmatic ideas. (Francis Dhomont)

Technical Background

HW: DEC PDP 11/60
SW: Independently written programs (Fortram, Mano Assembler)

Francis Dhomont (F), born 1926, has been working in the field since the early days of electroacoustic music. He is the author of theoretical papers and essays; editor of "L'espace du son", a series of special editions of the "Lien" magazine published by "Musiques et Recherches" in Belgium. He produced numerous "Acousmatèques" (Radio programs for INA-GRM, Radio France, Paris) and together with Diane Maheux he designed and produced the radio series "Voyages au bout de I'inoui" ("Voyage to the Unheard-of") for Radio Canada, Montreal. He is Associate Composer of the Canadian Music Centre and Founding Member and Honorary Member of the Canadian Electroacoustic Community.