Wav File (2014)
Rupture and continuities of rhythm and tone are the two root principles of Cadences. Sound objects interrupt the development of rhythmic sequences that start again a little further on. These interruptions leave residue in the form of sound objects whose behavior is determined algorithmically. These residues are then used in the musical structure of the piece. The objects, sometimes tonal, form themselves when the melodic motifs attract our attention and which are then, in turn, interrupted by rhythmic sequences. These disruptions emerge from a certain auditory comfort and require us to refocus our attention on emergent sequences.
- Gilles Fresnais was a member of the GRM [Groupe de Recherches Musicales, INA]
from 1970 to 1974, and participated as an assistant in the electroacoustic music composition class at the Conservatoire National de Musique in Paris, France, headed by Pierre Schaeffer. He actively participated in producing the “Autodafé” soundtrack as well as producing performances by Maurice Ohana at Lyon Opera under the direction of Theodor Guschlbauer and Claire Gibault, and worked on movie soundtracks on behalf of GRM in the “cellule de musique pour l’image” (music cell for images). A resident of Québec since 1974, he has participated in many concerts and took up composing again in 2010 using new digital audio methods.
Text with images (PDF) p. 109