Patrick Ascione (Paris, France, 22 October 1953 - Calvados, France, 21 November 2014) was a French composer of electroacoustic and acousmatic music.
Contents
Patrick Ascione (Paris, France, 22 October 1953 - Calvados, France, 21 November 2014) was a French composer of electroacoustic and acousmatic music.
Patrick Ascione (Paris, France, 1953) began composing in 1976 and shortly after joined the team of the Institut International de Musique Electroacoustique de Bourges (IMEB, France) which he left in 1984. At the same time he started composition by computer at IRCAM (Research institute and coordination acoustics / music). He has pursued his activities independently and has produced a series of pieces, the majority of which have been commissions from the Groupe de recherches musicales of the Institut national de l'audiovisuel (Ina-GRM) in Paris (France).
He taught acousmatic composition at the Conservatoire of La Rochelle, a course of electroacoustic music composition at the Conservatoire of Cherbourg in 2003 by means of the DRAC Basse-Normandie, and was active as an instructor in the CeFEDeM in Normandy. He participated on international juries for acousmatic composition competitions in France and abroad.
Two distinct esthetic periods characterized his work. During the first, from 1977 to 1987, he placed an emphasis on the ties unifying acousmatic music and painting, ties arising from the use of a common permanent working surface which permitted the painter to directly place his colors on the canvas in the way the composer immediately captures sonorities on 'magnetic tape'. He expressed this analogy and attempted to explore its ramifications in virtually all the works of this period (Métamorphose d’un jaune citron, 1978, Bleus et formes, 1981...).
In the second period, from 1987 to the present, following upon this initial preoccupation, he presented the idea of a ‘spatial polyphony’ (a ‘polyphony’ of spaces and not uniquely of sounds). He inaugurated this path in 1989 with Espaces-paradoxes, composed for 16 channels of speakers. The concert works thus developed have as their objective the mastering and integration of the spatial dimension of the piece from the very beginning of its elaboration in the studio via adequate multi-speaker techniques.
A number of his pieces have been awarded prizes and mentions in international competitions: Fontaines (La Défense/SACEM, France, 1978); Métamorphose d’un jaune citron (Bourges, France, 1979); Lune noire (Noroit-Léonce Petitot, France, 1989); Espaces-Paradoxes, (Ars Electronica, Linz, Austria, 1994). He was also a recipient of the ‘Léonard de Vinci Prize’ for Canada from the French Minister of Foreign Affairs (1991).
 | Wikimedia Commons has media related to Patrick Ascione . |
| General | |
|---|---|
| National libraries | |
| Other | |
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 montage. It can feature sounds derived from recordings of musical instruments, the human voice, and the natural environment as well as those created using synthesizers and computer-based digital signal processing. Compositions in this idiom are not restricted to the normal musical rules of melody, harmony, rhythm, metre, and so on. The technique exploits acousmatic sound, such that sound identities can often be intentionally obscured or appear unconnected to their source cause.
Acousmatic sound is sound that is heard without an originating cause being seen. The word acousmatic, from the French acousmatique, is derived from the Greek word akousmatikoi (ἀκουσματικοί), which referred to probationary pupils of the philosopher Pythagoras who were required to sit in absolute silence while they listened to him deliver his lecture from behind a veil or screen to make them better concentrate on his teachings. The term acousmatique was first used by the French composer and pioneer of musique concrète Pierre Schaeffer. In acousmatic art one hears sound from behind a "veil" of loudspeakers, the source cause remaining unseen. More generally, any sound, whether it is natural or manipulated, may be described as acousmatic if the cause of the sound remains unseen. The term has also been used by the French writer and composer Michel Chion in reference to the use of off-screen sound in film. More recently, in the article Space-form and the acousmatic image (2007), composer and academic Prof. Denis Smalley has expanded on some of Schaeffers' acousmatic concepts. Since the 2000s, the term acousmatic has been used, notably in North America to refer to fixed media composition and pieces.
Horacio Vaggione is an Argentinian composer of electro-acoustic and instrumental music who specializes in micromontage, granular synthesis, and microsound and whose pieces are often scored for performers and computers.
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 introduction of musique concrète in the late 1940s. Unlike musical works that are realised using sheet music exclusively, compositions that are purely acousmatic often exist solely as fixed media audio recordings.
Bernard Parmegiani was a French composer best known for his electronic or acousmatic music.
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.
Founded in 1986, La Communauté électroacoustique canadienne / The Canadian Electroacoustic Community (CEC) is Canada's national electroacoustic / computer music / sonic arts organization and is dedicated to promoting this progressive art form in its broadest definition: from "pure" acousmatic and computer music to soundscape and sonic art to hardware hacking and beyond.
Hans Tutschku is a German composer.
Francis Dhomont is a French composer of electroacoustic / acousmatic music.
Yves Daoust is a Canadian composer who is particularly known for his works of electroacoustic music. He currently resides in Montréal.
Jonty Harrison is an electroacoustic music composer born 27 April 1952 in Scunthorpe, UK, and currently living in Birmingham, UK.
Annette Vande Gorne is a Belgian electroacoustic music composer currently living in Ohain, Belgium.
François Bayle is a composer of Electronic Music, Musique concrète. He coined the term Acousmatic Music.
Christian Zanési is a French composer.
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.
Françoise Barrière was a French editor, writer and composer.
Marc Battier is a French composer and musicologist.
Denis Dufour is a composer of serious music.
Nicolas Vérin is a French composer and professor of music. His many influences, from jazz to electronics, from American to French music, give him an unusual style, apart from the main trends of French contemporary music, combining energy and subtleness.
The International Confederation of Electroacoustic Music (ICEM), or Bourges International Confederation of Electroacoustic Music, formerly Groupe de musique expérimentale de Bourges, is a music organization in support of electroacoustic music, including computer music.
