Luc Ferrari and the composition of the real
Coordination David Jisse
When in 1963, in his composition Hétérozygote, Luc Ferrari introduced recognisably real sounds in amongst the abstract sounds resulting from contemporary experimentation with music, it was a kind of 'revolution', so provocative did such freedom seem and such a break with the 'laws' of the moment.
Fifty years have passed since then and the place of realistic sounds has become natural, nurturing a whole sector of musical composition to the point of becoming an art in its own right. Field recordings, aural landscapes, radiophonic creation... All sorts of classifications have been invented. Yet over and beyond the denominations:
How do composers of today reflect this evolution?
How do they use realistic sounds and how do today's technologies contribute to providing tools better adapted to this approach?
What is the future for a musical genre that transforms the composer into either an "aural journalist", to quote Luc Ferrari, or a visionary of new acoustic spaces working at last within a globality, without making a hierarchy between sounds that are musical and those that are not.
With the participation of Alain Savouret, composer, Eric la Casa, sound artiste, Michel Risse, composer and artistic director of Décor sonore, Eryck Abecassis, composer.
Partnership Cdmc – La Muse en Circuit, Centre national de création musicale