-
symetry never happens in nature (entrelacs project with
michael northam), s/r, 2004
-low valley, edition..., 2004
-bruissements (on another kind of language: dedicated to andrei tarkovsky comp.), and/oar, 2003
-une topographie sonore... (from thomas koner's zyklop), mille plateaux, 2003
-sundew (on infernal proteus comp.), the ajna offensive, 2002
-descendre cinq lacs au travers d'une voilé (with alio die), aqua, 1998
the work of eric la casa, sound artist:
select discography:
-air.ratio, 2007
-cci 1 (on intransitive twenty-three comp.), intransitive recordings, 2004
-fonderie. paccard, collectif & cie, 2001
(based on recordings from the site of a foundry for making bells in annecy, france)
the work of eric cordier, sound artist:
select discography:
-osorezan: selected field recording 1993 - 2007, herbal international, 2007
-breizhiselad, erewhon, 2006
("yvonne loriod would accompanied birdsong expeditions with a tape recorder." from messiaen by peter hill and nigel simeone)
the ornithological activities of olivier messiaen (bird notation and recording):
"the catalogue d'oiseaux ostensibly returns to the naturalist intentions of portraying birds- all french birds- in their habitats, but there are the same structures of alternation and palindrome, along with further infiltrations of non-birdsong material. usually this material is justified as illustrative, but the mechanisms of illustration are codes peculiar to messiaen, the most important being his equivalence of colour and harmony."
(from modern music and after: directions since 1945 by paul griffiths, page 124)
"in his transcriptions, based on notation in the field, he tried to convey the melodies, rhythms and timbres of many different bird songs, and some of his later works were created very largely from this natural material.
the catalogue d'oiseaux for piano (1956-8), for example, is a collection of pieces, each painting a sound picture of a bird in its habitat, together with its companions, often at a particular time of day."
(from modern music: a concise history by paul griffiths, page 125)
"for me, the only real music has always existed in the sounds of nature... the harmony of wind in tress, the rhythm of waves on the sea, the timbre of raindrops, of breaking branches, of stones struck together, the different cries of animals are the true music as far as i am concerned." (this passage describes the bresson soundtrack very well)
(from olivier messiaen: music and color, conversations with claude samuel, page 135-139)
bell recordings:
jean-luc herelle: pastoral bells (clarines et sonnailles), sittelle, 1996
(recordings of bells worn by herds of cows and goats)
(i encourage listening to the robert bresson soundtrack while reading this post, "discovered" using techniques pioneered by steve roden)
