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Denis Dufour | |
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Born | Lyon, France | 9 October 1953
Education | Paris Conservatory |
Occupation(s) | Composer, Music Educator and Artistic Director |
Known for | Acousmatic Art (invented the term), [1] [2] Futura Festival, [3] Motus |
Notable work | Notre besoin de consolation est impossible à rassasier, Bocalises |
Style | Perceptive morphology |
Awards |
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Website | Denis Dufour |
Denis Dufour (born 9 October 1953) is a composer of art music.
Year | Name of work | Medium type | Instrumentation | Length | Opus | Remarks |
---|---|---|---|---|---|---|
2021 | Zwei kurze Stücke | acousmatic | stereophonic acousmonium/loudspeakers | 14.14 | op.191 | |
2020 | Air | acousmatic | stereophonic acousmonium/loudspeakers | 09.09 | op.190 | text by Thomas Brando, from the cycle Les Acousmalides |
2019 | Missa pro pueris | acousmatic | stereophonic acousmonium/loudspeakers | 47.47 | op.189 | text by Thomas Brando |
2019 | Touché par l'air | mixed/solo | voice and stereophonic acousmonium/loudspeakers | 11.11 | op.188 | text by Thomas Brando, dedicated to Hém-Ish |
2019 | Spot 4 | instrumental/solo | piano four hands | 04.00 | op.187 | dedicated to Jacques Raynaut and Ludovic Selmi |
2019 | Abschied und Lebewohl | instrumental/solo | piano | 02.10 | op.186 | dedicated to Karlheinz Roschitz |
2019 | Koley Bāzār | acousmatic | stereophonic acousmonium/loudspeakers | 08.08 | op.185 | |
2018 | Amor Niger L. | mixed/solo | voice and stereophonic acousmonium/loudspeakers | 06.30 | op.184 | text by Thomas Brando, from the cycle Le Livre des désordres |
2018 | BlindPoint | acousmatic | stereophonic acousmonium/loudspeakers | 30.30 | op.183 | |
2017 | Les Cris de Tatibagan | acousmatic | stereophonic acousmonium/loudspeakers | 115.00 | op.182 | |
2016 | Tapovan | acousmatic | stereophonic acousmonium/loudspeakers | 18.18 | op.181 | text by Thomas Brando, dedicated to Tomonari Higaki |
2016 | Anamorphose | acousmatic | stereophonic acousmonium/loudspeakers | 10.10 | op.180 | |
2016 | Origine | acousmatic | stereophonic acousmonium/loudspeakers | 17.50 | op.179 | dedicated to Dieter Kaufmann |
2016 | In-quarto | instrumental/ensemble | 2 violins, viola and violoncello | 21.00 | op.178 | from the cycle Fantaisies romantiques et baroques/Plis de perversion |
2015 | Chambre 44 | mixed/ensemble | flute, alto saxophone, percussion, piano and stereophonic acousmonium/loudspeakers | 10.30 | op.177 | |
2015 | Túngara | mixed/solo | marimba and stereophonic acousmonium/loudspeakers | 06.30 | op.176 | from the cycle Fantaisies romantiques et baroques/Marais, dedicated to Philippe Spiesser |
2015 | Sprint | instrumental/ensemble | flute, percussion, violin, violoncello and contrabass | 11.00 | op.175 | from the cycle Le Livre des désordres |
2014 | Si tendre, si funeste | acousmatic | stereophonic acousmonium/loudspeakers | 05.17 | op.174 | hommage to Marguerite Duras |
2014 | Les Fleurs enchantées | mixed/ensemble | 3 flutes and stereophonic acousmonium/loudspeakers | 12.00 | op.173 | |
2014 | Fluorescence | instrumental/ensemble | 4 flutes | 13.00 | op.172 | hommage to Jean-Philippe Rameau |
2014 | Spot | instrumental/solo | piano | 03.30 | op.171 | from the cycle Fantaisies romantiques et baroques/Délicieux danger, dedicated to Nicolas Horvath |
2013 | Blue Rocket on a Rocky Shore | acousmatic | stereophonic acousmonium/loudspeakers | 31.31 | op.170 | text by Thomas Brando |
2013 | Stèle pour Pierre Schaeffer | instrumental/ensemble | flute, bass clarinet, alto saxophone, trumpet and violoncello | 05.00 | op.169 | from the cycle Fantaisies romantiques et baroques/Délicieux danger |
2013 | Dernier quatuor | instrumental/ensemble | 2 violins, viola and violoncello | 15.00 | op.168 | |
2013 | Aristée et Eurydice | acousmatic | stereophonic acousmonium/loudspeakers | 04.00 | op.167 | |
2013 | Quatuor “les héros anonymes” | mixed/ensemble | flute, oboe, viola, contrabass and stereophonic acousmonium/loudspeakers | 10.43 | op.166 | |
2013 | Cinq formes d'appel | instrumental/ensemble | trumpet and bass clarinet | 09.00 | op.165 | |
2013 | In Paradisum | acousmatic | stereophonic acousmonium/loudspeakers | 06.40 | op.164 | |
2012 | Post mortem (Et puis paf !) | mixed/choral | choir of mixed voices and stereophonic acousmonium/loudspeakers | 08.21 | op.163 | text by Thomas Brando |
2012 | Accordéon | mixed/solo | voice and stereophonic acousmonium/loudspeakers | 03.24 | op.162 | from the cycle Fantaisies romantiques et baroques/Plis de perversion |
2012 | Selva | acousmatic | stereophonic acousmonium/loudspeakers | 06.40 | op.161 | |
2012 | Volver | acousmatic | stereophonic acousmonium/loudspeakers | 06.30 | op.160 | |
2012 | Syntagma | acousmatic | stereophonic acousmonium/loudspeakers | 13.00 | op.159 | dedicated to Iannis Xenakis |
2011 | Hentai | acousmatic | stereophonic acousmonium/loudspeakers | 10.32 | op.158 | text by Thomas Brando |
2011 | Variations acousmatiques | acousmatic | stereophonic acousmonium/loudspeakers | 14.26 | op.157 | |
2011 | Les Invasions fantômes | acousmatic | stereophonic acousmonium/loudspeakers | 32.50 | op.149 | text by Thomas Brando |
2011 | Poursuite | instrumental/ensemble | violin and violoncello | 09.30 | op.156 | |
2011 | Rivage de la soif | acousmatic | stereophonic acousmonium/loudspeakers | 10.00 | op.155 | text by Thomas Brando, from the cycle Les Acousmalides |
2010 | The Wall | acousmatic | stereophonic acousmonium/loudspeakers | 28.40 | op.154-a | |
2010 | Mur | multimedia | stereophonic acousmonium/loudspeakers and video | 28.40 | op.154-b | |
2010 | Ryoan-ji [Le jardin de Pierre de Kyoto] | acousmatic | stereophonic acousmonium/loudspeakers | 10.19 | op.153 | from the cycle Fantaisies romantiques et baroques/Délicieux danger |
2009 | La Chasse à l'ombilic | mixed/ensemble | narrator, violin, viola, violoncello and stereophonic acousmonium/loudspeakers | 11.06 | op.152 | text by Thomas Brando |
2009 | Gaillarde | instrumental/ensemble | ensemble of recorders | 06.30 | op.151 | |
2009 | Face aux ténèbres | mixed/ensemble | alto saxophone, percussion, piano and stereophonic acousmonium/loudspeakers | 10.14 | op.150 | from the cycle Le Livre des désordres |
2009 | L'Attente des nuages | mixed/solo | contralto and stereophonic acousmonium/loudspeakers | 38.15 | op.148 | text by Thomas Brando |
2009 | Augen Licht | acousmatic | stereophonic acousmonium/loudspeakers | 25.00 | op.147 | |
2009 | The Blob | acousmatic | stereophonic acousmonium/loudspeakers | 10.11 | op.146 | from the cycle Le Livre des désordres |
2008 | Acid Folk | mixed/ensemble | clarinet, violoncello and stereophonic acousmonium/loudspeakers | 42.00 | op.145 | |
2008 | PH 27-80 | acousmatic | stereophonic acousmonium/loudspeakers | 80.27 | op.144 | dedicated to Pierre Henry |
2008 | Heimliches Licht | mixed/solo | flute and stereophonic acousmonium/loudspeakers | 07.25 | op.143 | from the cycle Le Livre des désordres |
2008 | Noir | mixed/solo | piano and stereophonic acousmonium/loudspeakers | 06.00 | op.142 | from the cycle Le Livre des désordres |
2008 | Flamme | instrumental/orchestral | symphony orchestra | 03.30 | op.141 | |
2007 | Carosello | acousmatic | 16 channel acousmonium/loudspeakers | 08.14 | op.140 | |
2007 | Dionaea | acousmatic | stereophonic acousmonium/loudspeakers | 10.10 | op.139 | from the cycle Le Livre des désordres |
2007 | Spiritus / Stella | instrumental/ensemble | 2 viola de gambas | 10.00 | op.138 | from the cycle Le Livre des désordres |
2007 | L'Esprit en étoile | acousmatic | stereophonic acousmonium/loudspeakers | 14.44 | op.137 | from the cycle Le Livre des désordres |
2006 | Altitude | instrumental/solo | viola | 12.30 | op.136 | |
2005 | Oriflamme | instrumental/ensemble | saxophone and percussion | 12.00 | op.135 | |
2005 | Voix Off' | acousmatic | stereophonic+hexaphonic acousmonium/loudspeakers | 91.02 | op.134 | text by Thomas Brando |
2005 | Salves | mixed/ensemble | flute, saxophone, percussion, piano and stereophonic acousmonium/loudspeakers | 35.00 | op.133 | |
2004 | Deux rainettes vertes | mixed/ensemble | 2 guitars and acousmonium/loudspeakers | 10.10 | op.132 | from the cycle Fantaisies romantiques et baroques/Marais |
2004 | Secret plié en seize dans le coffre de hune | instrumental/ensemble | guitar, violin, viola and violoncello | 05.00 | op.131 | from the cycle Fantaisies romantiques et baroques/Plis de perversion |
2004 | Rainette verte | instrumental/solo | guitar | 06.00 | op.130 | from the cycle Fantaisies romantiques et baroques/Marais |
2003 | Sphère | instrumental/orchestral | large orchestra | 06.30 | op.129 | |
2003 | La Tour des murmures | acousmatic | 16 channel acousmonium/loudspeakers | 70.00 | op.128 | |
2003 | Silex | instrumental/ensemble | flute, clarinet, violin, viola and violoncello | 13.00 | op.127 | |
2003 | Le Tango de l'oubli | acousmatic | stereophonic acousmonium/loudspeakers | 04.02 | op.126 | |
2003 | Sotto voce | acousmatic | stereophonic acousmonium/loudspeakers | 15.22 | op.125 | text by Thomas Brando |
2002 | Géométrie mystique | acousmatic | stereophonic acousmonium/loudspeakers | 04.28 | op.124 | text by Thomas Brando, from the cycle Les Acousmalides |
2002 | Mille soleils | instrumental/orchestral | symphonic band | 18.00 | op.123 | |
2002 | La Terre est ronde | acousmatic | stereophonic acousmonium/loudspeakers | 11'05 | op.122 | Compact Disc: Motus Acousma M303006; dedicated to Jonathan Prager |
2002 | L’Ivre d’avril | acousmatic | stereophonic acousmonium/loudspeakers | 04.10 | op.121 | text by Thomas Brando, from the cycle Les Acousmalides |
2002 | L’Heure exacte | mixed/ensemble | clarinet, saxophone, trombone, piano and stereophonic acousmonium/loudspeakers | 13.00 | op.120 | |
2002 | Confession | instrumental/ensemble | soprano, flute, percussion and violoncello | 06.00 | op.119 | text by Thomas Brando, from the cycle Le Plaisir des chants difficiles |
2002 | Dédale | instrumental/ensemble | soprano, flute, percussion and violoncello | 07.10 | op.118 | text by Thomas Brando, from the cycle Le Plaisir des chants difficiles |
2002 | Préhistoire | instrumental/ensemble | soprano, flute, percussion and violoncello | 05.10 | op.117 | text by Thomas Brando, from the cycle Le Plaisir des chants difficiles |
2001 | Piano dans le ciel | acousmatic | stereophonic acousmonium/loudspeakers | 37.00 | op.116 | |
2001 | Panique au bord de l’eau | acousmatic | stereophonic acousmonium/loudspeakers | 06.05 | op.115 | text by Thomas Brando, from the cycle Les Acousmalides |
2001 | La Malédiction des flammes | acousmatic | stereophonic acousmonium/loudspeakers | 06.11 | op.114 | text by Thomas Brando; from the cycle Les Acousmalides; Compact Disc: Licences LCScd01 |
2001 | Berechit | acousmatic | stereophonic acousmonium/loudspeakers | 06.00 | op.113 | |
2001 | Spirale | acousmatic | stereophonic acousmonium/loudspeakers | 18.48 | op.112 | |
2001 | Nautilus | acousmatic | stereophonic acousmonium/loudspeakers | 07.44 | op.111 | |
2000 | Chanson de la plus haute tour | acousmatic | stereophonic double acousmonium/loudspeakers | 72.00 | op.110 | text by Thomas Brando; voice of Pierre Henry; dedicated to Pierre Henry |
2000 | Organa | acousmatic | stereophonic acousmonium/loudspeakers | 09.00 | op.109 | |
2000 | Caravaggio | acousmatic | stereophonic acousmonium/loudspeakers | 10.00 | op.108 | text by Thomas Brando, from the cycle Les Acousmalides, Licences |
2000 | La Nuit du Dibdak | acousmatic | stereophonic acousmonium/loudspeakers | 06.12 | op.107 | co-composed with Roberto Kenofsky; text by Marc Jaffeux; Compact Disc: Studio Forum |
2000 | L’Aile de l’abeille | acousmatic | stereophonic acousmonium/loudspeakers | 07.00 | op.106 | text by Marc Jaffeux |
1999 | Les Joueurs de sons | acousmatic | stereophonic+hexaphonic acousmonium/loudspeakers | 72.40 | op.105 | co-composed with Agnes Poisson |
1999 | Organe | mixed/solo | organ and stereophonic acousmonium/loudspeakers | 12.00 | op.104 | |
1998 | Orange-Cité | instrumental/ensemble | flute, clarinet, percussion, piano, violin, viola, violoncello and contrabass | 08.30 | op.103 | |
1998 | Cinq miniatures pour Barbe Bleue | instrumental/ensemble | soprano, bass, flute, clarinet, piano, violin, viola and violoncello | 12.00 | op.102 | text by Thomas Brando |
1998 | Terra incognita | acousmatic | stereophonic double acousmonium/loudspeakers | 25.42 | op.101 | Compact Disc: Motus Acousma M199005; dedicated to Pierre Schaeffer |
1998 | Lachrymae | instrumental/ensemble | 6 viols | 25.00 | op.100 | |
1997 | Beethov’étonne | acousmatic | stereophonic acousmonium/loudspeakers | 04.20 | op.099 | |
1997 | Lux tenebrae | acousmatic | stereophonic acousmonium/loudspeakers | 22.14 | op.098 | Compact Disc: Motus Acousma M199005 |
1997 | Ebene Sieben | acousmatic | stereophonic acousmonium/loudspeakers | 25.40 | op.097 | Compact Disc: Motus Acousma M199005; dedicated to Karlheinz Stockhausen |
1997 | Le Petit oiseau va sortir | acousmatic | stereophonic acousmonium/loudspeakers | 14.00 | op.096 | |
1997 | Le Mystère des tornades | mixed/ensemble | oboe, harp, viola, violoncello and stereophonic acousmonium/loudspeakers | 25.30 | op.095 | |
1997 | Fanfare | acousmatic | octophonic acousmonium/loudspeakers | 06.41 | op.094 | |
1996 | Variations sur un thème de François Bayle | instrumental/ensemble | piccolo | 03.00 | op.093 | |
1996 | Trois transcriptions d’après Rameau | instrumental/ensemble | flute, oboe, clarinet, harp, piano, violin, viola and violoncello | 14.00 | op.092 | |
1996 | Une abeille et une perle | acousmatic | stereophonic acousmonium/loudspeakers | 13.22 | op.091 | |
1996 | Excusez-moi, je meurs | instrumental/ensemble | piano, percussion and violoncello | 06.30 | op.090 | from the cycle Fantaisies romantiques et baroques/Délicieux danger |
1996 | Nuage de Pierre | acousmatic | stereophonic acousmonium/loudspeakers | 05.05 | op.089 | from the cycle Fantaisies romantiques et baroques/Délicieux danger |
1996 | Bazar punaise | acousmatic | stereophonic acousmonium/loudspeakers | 41.26 | op.088 | text by Thomas Brando |
1996 | Elixir | acousmatic | stereophonic acousmonium/loudspeakers | 12.34 | op.087 | Compact Disc: Motus Acousma M303006 |
1995 | Hélice | acousmatic | stereophonic acousmonium/loudspeakers | 11.58 | op.086 | Compact Disc: Motus Acousma M303006 |
1995 | Exil | acousmatic | stereophonic acousmonium/loudspeakers | 12.39 | op.085 | Compact Disc: Motus Acousma M303006 |
1995 | Litanie pour les vierges | instrumental/choral | 2 treble choirs and 12 strings | 17.00 | op.084 | text by Thomas Brando |
1995 | Allégorie | acousmatic | stereophonic acousmonium/loudspeakers | 69.30 | op.083 | |
1995 | Avalanche | instrumental/solo | piano | 51.00 | op.082 | dedicated to François-Michel Rignol |
1995 | Golgotha | acousmatic | stereophonic acousmonium/loudspeakers | 26.50 | op.081 | texts by Thomas Brando and Marc Jaffeux |
1994 | Offrande ou l’être achevé | acousmatic | stereophonic acousmonium/loudspeakers | 17.00 | op.080 | text by Thomas Brando |
1993 | Où est maintenant la forêt ? | acousmatic | stereophonic acousmonium/loudspeakers | 26.28 | op.079 | Compact Disc: Motus Acousma M197001 |
1993 | Chrysalide | acousmatic | stereophonic acousmonium/loudspeakers | 29.05 | op.078 | Compact Disc: GRM Ina e5007 |
1993 | Flèches | acousmatic | stereophonic acousmonium/loudspeakers | 26.00 | op.077 | text by Thomas Brando |
1992 | Ataraxie | instrumental/ensemble | 2 recorder quartets and a recorder ensemble | 12.00 | op.076 | Compact Disc: MA 2005 |
1992 | En effeuillant la marguerite | instrumental/solo | oboe | 15.00 | op.075 | text by Marc Jaffeux |
1992 | Archéoptéryx | instrumental/ensemble | flute, oboe, clarinet, saxophone, trombone, accordion and piano four hands | 13.00 | op.074 | |
1992 | Cannibale | instrumental/ensemble | guitar and sampler with trigger | 07.00 | op.073 | |
1992 | Souvenir de craie | instrumental/ensemble | flute, oboe, clarinet, saxophone, trombone, accordion and piano four hands | 04.00 | op.072 | from the cycle Fantaisies romantiques et baroques/Délicieux danger |
1992 | Collection de timbres | mixed/solo | organ and stereophonic acousmonium/loudspeakers | 25.00 | op.071 | text by Thomas Brando |
1992 | Salamandre | instrumental/ensemble | flute, oboe, clarinet, harp, violin and violoncello | 07.30 | op.070 | from the cycle Fantaisies romantiques et baroques/Marais |
1991 | Crapaud brillant | instrumental/solo | harpsichord | 08.00 | op.069 | from the cycle Fantaisies romantiques et baroques/Marais |
1991 | Légende | acousmatic | stereophonic acousmonium/loudspeakers | 25.45 | op.068 | |
1991 | Charge maximale | acousmatic | stereophonic acousmonium/loudspeakers | 31.50 | op.067 | text by Thomas Brando |
1991 | Interruption | instrumental/ensemble | flute, synthesizer, violin, viola, violoncello, actor | 10.00 | op.066 | text by Thomas Brando |
1991 | Tom et la Licorne | mixed/ensemble | solo voices, vocal quartet, instrumental ensemble, stereophonic acousmonium/loudspeakers | 90.00 | op.065 | text by Thomas Brando |
1991 | Torrents du miroir | instrumental/ensemble | soprano, mezzo-soprano, counter-tenor, bass, flute, saxophone, horn, trumpet, trombone, violin and contrabass | 15.00 | op.064 | text by Thomas Brando; Compact Disc: ENM D03 |
1990 | Duel | instrumental/ensemble | 2 trumpets | 04.00 | op.063 | |
1990 | Le Labyrinthe de l'amour /2 | mixed/ensemble | jazz ensemble and stereophonic acousmonium/loudspeakers | 21.00 | op.062 | |
1990 | Alpage | instrumental/solo | electronic percussion | 09.00 | op.061 | text by Thomas Brando |
1990 | Chanson pensive | instrumental/ensemble | flute, bass flute, clarinet, basset horn, bass clarinet, viola and sampler | 20.00 | op.060 | |
1990 | Hérisson cathédrale | instrumental/ensemble | flute, clarinet, violin, violoncello, piano, celesta and harpsichord | 19.00 | op.059 | |
1989 | Cet été sur la plage (acousmatic version) | acousmatic | stereophonic acousmonium/loudspeakers | 12.00 | op.058-b | text by Thomas Brando, from the cycle Les Acousmalides |
1989 | Cet été sur la plage | mixed/solo | oboe and stereophonic acousmonium/loudspeakers | 12.00 | op.058-a | text by Thomas Brando |
1989 | Tu sa' ch'i' so | instrumental/ensemble | soprano, clarinet, violin, viola and violoncello | 19.00 | op.057 | text by Michelangelo |
1989 | Jeu délicieux | instrumental/ensemble | tenor and viola | 11.00 | op.056 | text by Denis Dufour |
1989 | Tulipe | mixed/solo | horn and stereophonic acousmonium/loudspeakers | 07.20 | op.055 | |
1989 | Notre besoin de consolation est impossible à rassasier | acousmatic | stereophonic acousmonium/loudspeakers | 67.22 | op.054 | text by Stig Dagerman; voice of Thomas Brando; Compact Disc: GRM Ina c1010 |
1988 | Noël toxique | acousmatic | stereophonic acousmonium/loudspeakers | 03.10 | op.053 | text by Thomas Brando |
1988 | Moirures éteintes de la galaxie (Cosmophonie) | instrumental/ensemble | clarinet, horn, percussion, violin, violoncello and 2 synthesizers | 20.00 | op.052 | from the cycle Fantaisies romantiques et baroques/Plis de perversion |
1988 | Grenouille écarlate | instrumental/solo | guitar | 08.00 | op.051 | from the cycle Fantaisies romantiques et baroques/Marais |
1988 | Douze mélodies acousmatiques | acousmatic | stereophonic acousmonium/loudspeakers | 25.41 | op.050 | Compact Disc: Motus Acousma M197002, dedicated to Michel Chion |
1988 | Etude pour synthétiseur | instrumental/solo | synthesizer | 03.30 | op.049 | |
1988 | Drapé de peaux de bêtes sur le corps des héros (L'Homme au masque de craie) | instrumental/orchestral | mezzo-soprano and orchestra | 20.00 | op.048 | text by Thomas Brando, from the cycle Fantaisies romantiques et baroques/Plis de perversion |
1987 | Nuit d'hiver | instrumental/ensemble | oboe, clarinet, horn, trombone, glockenspiel, harp and 2 violoncellos | 14.00 | op.047-b | |
1987 | Nuit d'hiver | instrumental/ensemble | oboe, clarinet, horn, trombone, glockenspiel, harp, 2 violoncellos and narrator | 14.00 | op.047-a | text by Dominique Dubreuil |
1987 | Messe à l'usage des vieillards | acousmatic | quadriphonic acousmonium/loudspeakers | 32.50 | op.046 | text by Thomas Brando; Compact Disc: Accord UnaCorda 202222 |
1987 | Musique à coudre | acousmatic | stereophonic acousmonium/loudspeakers | 41.30 | op.045 | co-composed with Brigitte Gardet |
1986 | Messe à l'usage des enfants | acousmatic | quadriphonic acousmonium/loudspeakers | 30.35 | op.044 | text by Thomas Brando |
1986 | Tandem oblique | instrumental/ensemble | flute and piano | 14.00 | op.043 | Compact Disc: Motus Aujourd’hui M298004 |
1986 | Psaume d'Adam | acousmatic | stereophonic acousmonium/loudspeakers | 10.45 | op.042 | text by Thomas Brando, from the cycle Les Acousmalides |
1986 | Deux cartes postales | acousmatic | stereophonic acousmonium/loudspeakers | 08.35 | op.041 | |
1986 | Exactement le contraire | multimedia | ballet and stereophonic acousmonium/loudspeakers | 69.00 | op.040 | |
1985 | Le Pistolet d'or | instrumental/ensemble | 2 violins, 2 violas and 2 violoncellos | 23.00 | op.039 | |
1985 | Fantaisie soluble | instrumental/ensemble | clarinet, horn, percussion, violin, violoncello and 2 synthesizers | 14.00 | op.038 | |
1985 | Froncement des yeux de ton beau visage (1e lettre à Pinocchio) | instrumental/ensemble | violin, violoncello and synthesizer | 15.00 | op.037 | from the cycle Fantaisies romantiques et baroques/Plis de perversion |
1985 | La Cour des immortels du désir | multimedia | ballet and stereophonic acousmonium/loudspeakers | 71.05 | op.036 | |
1984 | Le Labyrinthe de l'amour /1 | acousmatic | stereophonic acousmonium/loudspeakers | 03.35 | op.035 | Compact Disc: Licences |
1984 | Paysage | mixed/solo | violoncello and stereophonic acousmonium/loudspeakers | 03.30 | op.034 | |
1984 | Ourlé du lac à la première goutte de pluie (Pli de perversion /2) | instrumental/ensemble | violin, synthesizer and real time transformation device | 14.00 | op.033 | from the cycle Fantaisies romantiques et baroques/Plis de perversion; Compact Disc: GRM Ina c1034 |
1984 | Quatuor “Non parmi les anges” | instrumental/ensemble | soprano, violin, viola and violoncello | 05.10 | op.032 | text by Thomas Brando, from the cycle Le Plaisir des chants difficiles |
1984 | Dix portraits | acousmatic | stereophonic acousmonium/loudspeakers | 38.20 | op.031-b | Compact Disc: Motus Acousma M197002 |
1984 | Dix portraits | mixed/ensemble | 3 synthesizers and stereophonic acousmonium/loudspeakers | 40.00 | op.031-a | |
1983 | Colloque | acousmatic | stereophonic acousmonium/loudspeakers | 15.07 | op.030 | |
1983 | Six mélodies | instrumental/ensemble | soprano and piano | 11.00 | op.029 | text by Jean-Christophe Thomas |
1983 | Vendredi, jour de liberté | multimedia | drama and stereophonic acousmonium/loudspeakers | 25.15 | op.028 | |
1983 | Suite bleue | acousmatic | stereophonic acousmonium/loudspeakers | 19.20 | op.027 | Compact Disc: Accord UnaCorda 202222 |
1983 | Le Lis vert | acousmatic | stereophonic acousmonium/loudspeakers | 37.00 | op.026 | Compact Disc: Motus Acousma M306011 |
1982 | Entre dames | acousmatic | stereophonic acousmonium/loudspeakers | 19.30 | op.025 | |
1982 | Lèvres serviles | instrumental/choral | female choir | 20.00 | op.024 | |
1982 | Rêve lisse | instrumental/ensemble | violin and 2 synthesizers | 12.00 | op.023 | Compact Disc: GRM Ina 9115/9116 |
1981 | Suite en trois mouvements | acousmatic | stereophonic acousmonium/loudspeakers | 21.13 | op.022 | Compact Disc: Motus Acousma M303006 |
1981 | Dune | instrumental/ensemble | 2 flutes | 08.30 | op.021 | |
1980 | La Galerie | mixed/ensemble | 3 sounding bodies, 3 synthesizers and stereophonic acousmonium/loudspeakers | 46.30 | op.020 | |
1980 | L'Apocalypse d'Angers | mixed/solo | narrator and stereophonic acousmonium/loudspeakers | 50.30 | op.019-b | text selected by Benjamin Duvshani from the Apocalypse of John |
1980 | L'Apocalypse d'Angers | acousmatic | stereophonic acousmonium/loudspeakers | 50.30 | op.019-a | text selected by Benjamin Duvshani from the Apocalypse of John; voice of Benjamin Duvshani |
1980 | J.a.ch.H.16 | mixed/ensemble | 3 synthesizers | 18.45 | op.018 | |
1979 | La Douceur a des cils | instrumental/ensemble | soprano, alto, tenor, bass | 18.30 | op.017 | text by Michel Vincent |
1979 | Un petit qui t'aime | mixed/ensemble | 3 percussionists and stereophonic acousmonium/loudspeakers | 15.30 | op.016 | |
1979 | Rond de jambe | acousmatic | stereophonic acousmonium/loudspeakers | 08.05 | op.015 | |
1979 | Le Cercle dans tous ses états | multimedia | ballet and stereophonic acousmonium/loudspeakers | 55.30 | op.014 | |
1979 | Cueillir à l'arbre un petit garçon | instrumental/ensemble | saxophone, synthesizer and real time transformation device | 14.00 | op.013 | |
1979 | Je voulais parler des oiseaux | mixed/ensemble | soprano, guitar and stereophonic acousmonium/loudspeakers | 40.00 | op.012 | text by Jean-Christophe Thomas and Denis Dufour |
1978 | Velours des dunes infoulées (Pli de perversion /1) | instrumental/ensemble | string instrument and synthesizer | 11.00 | op.011 | from the cycle Fantaisies romantiques et baroques/Plis de perversion |
1978 | Souvenir de Pierre | instrumental/ensemble | any 3 or more instruments | 05.00 | op.010 | from the cycle Fantaisies romantiques et baroques/Délicieux danger |
1978 | Trio | instrumental/ensemble | violin, mandolin, synthesizer and real time transformation device | 14.00 | op.009 | |
1978 | Bocalises, grande suite | acousmatic | stereophonic acousmonium/loudspeakers | 36.43 | op.008 | Compact Disc: Motus Acousma M306011 |
1977 | Bocalises, petite suite | acousmatic | stereophonic acousmonium/loudspeakers | 19.02 | op.007 | Compact Discs: Accord UnaCorda 202222; Eferp 97-2; GRM Ina c1000 |
1977 | Concerto | instrumental/orchestral | violin and orchestra | 18.00 | op.006 | |
1977 | Boucles | instrumental/solo | 10 string guitar | 05.00 | op.005 | |
1977 | Objet-danse | multimedia | ballet and stereophonic acousmonium/loudspeakers | 93.00 | op.004 | |
1977 | Le Crin s'ébruite | instrumental/ensemble | viola and percussion | 16.00 | op.003 | |
1977 | En sursaut | instrumental/ensemble | soprano and viola | 10.00 | op.002 | text by Denis Dufour |
1976 | Etude de composition /1 | acousmatic | stereophonic acousmonium/loudspeakers | 04.46 | op.001 |
Publisher | Year | Reference | Contents |
---|---|---|---|
EAP Records | 2013 | Denis Dufour PH 27-80 EAP Records N°01 | • PH 27-80 |
Licences | 2009 | Brûlures des langues I-X Licences LCScd01 | • La Malédiction des flammes |
Motus | 2006 | Bocalises Motus Acousma M306011 | • Bocalises, grande suite • Le Lis vert |
Licences | 2004 | Licences n° 2 Licences | • Le Labyrinthe de l'amour |
Ina GRM | 2004 | Archives GRM 4/5 · Le temps du temps réel GRM Ina c1034 | • Pli de perversion (excerpt) |
Motus | 2003 | La Terre est ronde Motus Acousma M303006 | • Elixir • Exil • Hélice • La Terre est ronde • Suite en trois mouvements |
Motus | 2002 | Terra incognita Motus Acousma M199005 | • Ebene sieben • Lux tenebrae • Terra incognita |
Studio Forum | 2001 | Virtual Zoo Studio Forum | • La Nuit du Dibdak |
Licences | 2000 | Licences n° 1 Licences | • Caravaggio • Entre dames |
Motus | 1998 | L’Air du large Motus Aujourd’hui M298004 | • Tandem oblique |
Ina GRM | 1997 | Les 50 ans de la musique concrète Ina GRM LMC 9798 | • Messe à l'usage des vieillards (excerpt) |
Motus | 1997 | Dix portraits / Douze mélodies acousmatiques Motus Acousma M197002 | • Dix portraits • Douze mélodies acousmatiques |
Motus | 1997 | Où est maintenant la forêt? Motus Acousma M197001 | • Où est maintenant la forêt? |
Eferp | 1997 | XIX° Concorso internazionale Luigi Russolo di musica elettroacustica Eferp 97-2 | • Bocalises, petite suite |
Ina GRM | 1996 | Chrysalide GRM Ina e5007 | • Chrysalide |
CEEPAME / Musicale Ecole / In-Octavio / DPM / GAMME | 2005 | Cultivons notre oreille F.E.R. 1 | • Bocalises (excerpt) |
Ina GRM | 1995 | La Collection CD GRM Ina ACM 1995 | • Notre besoin de consolation est impossible a rassasier (excerpt) |
MA | 1993 | L’Air du temps MA 2005 | • Ataraxie |
Accord UnaCorda | 1992 | Messe à l'usage des vieillards Accord UnaCorda 202222 | • Bocalises, petite suite • Messe à l'usage des vieillards • Suite bleue |
Ina GRM | 1991 | Notre besoin de consolation est impossible a rassasier GRM Ina c1010 | • Notre besoin de consolation est impossible a rassasier |
ENM | 1991 | Troisième concours de composition André Jolivet ENM D03 | • Torrents du miroir |
Ina GRM | 1984 | Concert imaginaire GRM GRM Ina c1000 | • Bocalises (excerpt) |
Ina GRM | 1984 | Dufour Geslin Cuniot Mion Parmegiani GRM Ina 9115/9116 | • Rêve lisse |
Ina GRM | 1982 | Pierre Schaeffer Parole et Musique GRM Ina 9106 | • Souvenir de Pierre |
REM | 1980 | Duo Delangle Saxophone et Piano REM 10864 | • Cueillir à l'arbre un petit garçon |
Musique concrète is a type of music composition that utilizes recorded sounds as raw material. Sounds are often modified through the application of audio signal processing and tape music techniques, and may be assembled into a form of sound collage. It can feature sounds derived from recordings of musical instruments, the human voice, and the natural environment as well as those created using sound synthesis and computer-based digital signal processing. Compositions in this idiom are not restricted to the normal musical rules of melody, harmony, rhythm, and metre. The technique exploits acousmatic sound, such that sound identities can often be intentionally obscured or appear unconnected to their source cause.
John Towner Williams is an American composer and conductor. In a career that has spanned seven decades, he has composed some of the most popular, recognizable, and critically acclaimed film scores in cinema history. He has a distinct sound that mixes romanticism, impressionism and atonal music with complex orchestration. He is best known for his collaborations with Steven Spielberg and George Lucas and has received numerous accolades including 26 Grammy Awards, five Academy Awards, seven BAFTA Awards, three Emmy Awards and four Golden Globe Awards. With 54 Academy Award nominations, he is the second-most nominated person, after Walt Disney, and is the oldest Oscar nominee in any category, at 92 years old.
Hans Florian Zimmer is a German film score composer and music producer. He has won two Oscars, four Grammys, and has been nominated for three Emmys and a Tony. Zimmer was also named on the list of Top 100 Living Geniuses, published by The Daily Telegraph in 2007.
Osvaldo Noé Golijov is an Argentine composer of classical music and music professor, known for his vocal and orchestral work.
The Royal Conservatory of Music, branded as The Royal Conservatory, is a non-profit music education institution and performance venue headquartered in Toronto, Ontario, Canada. It was founded in 1886 by Edward Fisher as The Toronto Conservatory of Music. In 1947, King George VI incorporated the organization through royal charter. Its Toronto home was designated a National Historic Site of Canada in 1995, in recognition of the institution's influence on music education in Canada. Tim Price is the current Chair of the Board, and Peter Simon is the President.
Acousmatic music is a form of electroacoustic music that is specifically composed for presentation using speakers, as opposed to a live performance. It stems from a compositional tradition that dates back to the origins of musique concrète in the late 1940s. Unlike acoustic or electroacoustic musical works that are realized from scores, compositions that are purely acousmatic often exist solely as fixed media audio recordings.
The music industry refers to the individuals and organizations that earn money by writing songs and musical compositions, creating and selling recorded music and sheet music, presenting concerts, as well as the organizations that aid, train, represent and supply music creators. Among the many individuals and organizations that operate in the industry are: the songwriters and composers who write songs and musical compositions; the singers, musicians, conductors, and bandleaders who perform the music; the record labels, music publishers, recording studios, music producers, audio engineers, retail and digital music stores, and performance rights organizations who create and sell recorded music and sheet music; and the booking agents, promoters, music venues, road crew, and audio engineers who help organize and sell concerts.
The National Film Award for Best Music Direction is an honour presented annually at the National Film Awards by the National Film Development Corporation of India to a musician who has composed the best score for films produced within the Indian film industry. The award was first introduced at the 15th National Film Awards in 1967. At the 42nd National Film Awards, an award for "Best Background Score" was instituted. It was however discontinued after that, and it was not until 2009 that the category was re-introduced. Later, during the 70th National Film Awards both the categories — Best Background Score and Best Background Music were clubbed together and named as "Best Background Music". A total of 51 awards—including award for Best Background music—to 40 different composers.
Andrew Lewis is a British composer known mainly for his acousmatic music, that is, electroacoustic music heard only over loudspeakers, though he also composes some chamber and orchestral music.
Monty Adkins is a composer, performer and lecturer in electroacoustic music.
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My Love: Essential Collection is the third English-language greatest hits album by Canadian recording artist Celine Dion. It was released by Columbia Records on 24 October 2008 as the follow-up to her previous English-language compilation, All the Way... A Decade of Song (1999). In the album's liner notes, she dedicated this collection of songs, recorded between 1990 and 2008, to her fans who supported her throughout the years. My Love: Essential Collection was released as a single disc, consisting of Dion's most successful singles, including: "My Heart Will Go On", "Because You Loved Me", "The Power of Love" and "It's All Coming Back to Me Now". The two-disc edition, entitled My Love: Ultimate Essential Collection, has been further expanded to include more hits and rare songs that have not previously appeared on her albums. Both editions include one new track, "There Comes a Time". The album was not released in Japan, where Sony Music Entertainment instead released Complete Best.
Natasha Barrett is a British contemporary music composer specialising in electroacoustic art music. Her compositional aesthetics are derived from acousmatic issues. In addition to acousmatic concert music, she composes for instruments, live electronics, sound installations, multi-media works, real-time computer music improvisation, has made soundscapes for exhibitions, and music for contemporary dance and theater. Since 2000 her work has been influenced by spatialisation as a musical parameter, and the projection of 3-D sound-fields. She currently lives in Norway.
Music Biennale Zagreb is an international festival of contemporary music in Zagreb, Croatia, organized by the Croatian Composers' Society. The Biennale, founded by Milko Kelemen and held every spring of the odd years since 1961, has become one of the most important festivals of contemporary music in Europe.
Edward Charles Wright is a British composer known largely for electronic and mixed media sound art.
Lucio Garau is an Italian composer of contemporary music and pianist.
Willis Earl Beal is an artist and musician.
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