Elizabeth Anderson
Avenue de Monte Carlo, 11
1190 Brussels, Belgium
e.anderson@skynet.be
An Interview with Annette
Vande Gorne, Part 2
Astratto: Annette Vande Gorne, renowned composer of electroacoustic music, discusses her multi-faceted career in a
two-part interview. In this second part of the interview, Vande Gorne reveals her compositional strategy for her current
project (her acousmatic opera Yawar Fiesta) as well as for other electroacoustic genres—notably, acousmatic works,
mixed works, and sound installations. Vande Gorne also discusses the fundamental importance of the art of interpreting
sound in space, and explains the instrument of interpretation (the acousmonium) and her use of it. Additionally, Vande
Gorne reflects on her teaching, most recently at the Conservatoire Royal de Mons, Belgium, where she conceived a
section of electroacoustic studies. During her tenure as professor of acousmatic composition, she has conveyed her
personal artistic aesthetic alongside the French electroacoustic aesthetic to several generations of composers in Europe
and beyond. Other topics in this part of the interview include Musiques & Recherches (Vande Gorne’s center for
electroacoustic music) and her well-known acousmatic festival L’Espace du Son.
In 2005 Annette Vande Gorne (Guarda la figura 1; B. 1946
in Charleroi, Belgium) began this in-depth interview
with Elizabeth Anderson at Musiques & Recherches
in Ohain, Belgium. It was subsequently translated,
edited, and updated through additional interviews
between 2005 E 2011.
In the first part of this interview (published in the
previous issue, CMJ 36:1), Vande Gorne discussed
her serendipitous discovery of electroacoustic music
In 1970, and reflected on her early experiences in
Paris with Pierre Schaeffer and Franc¸ ois Bayle. She
focused on her aesthetic philosophy and, in partic-
ular, highlighted the importance of the notion of
space in her works. Vande Gorne concluded the first
part of the interview by explaining how her appre-
ciation for poetry serves as a source of inspiration,
and how she works with text in order to reinforce
the expressive power of her electroacoustic works.
In the second part, Vande Gorne discusses her
current compositional project, her acousmatic opera
Yawar Fiesta, which is another outgrowth of her
work with text. Additionally, she recounts her expe-
riences in composing numerous acousmatic works,
as well as mixed works and installations. Vande
Gorne also discusses the art of the interpretation
of sound in space. She explains the acousmonium
and how she uses it. Throughout the interview,
Vande Gorne shares her personal and artistic aes-
thetic. Other topics include her center Musiques &
Recherches and her acousmatic festival L’Espace du
Son, which are explored in detail, in addition to her
Computer Music Journal, 36:2, pag. 10–22, Estate 2012
C(cid:2) 2012 Istituto di Tecnologia del Massachussetts.
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Figura 1. Annette Vande Gorne in the studio
“M ´etamorphoses d’Orph ´ee” in 2000. Photo by
Michel Vanden Eeckhoudt.
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long career as a professor of electroacoustic music
in Belgium.
Elizabeth Anderson: Your fascination with text has
inspired many of your electroacoustic works, includ-
ing an opera which you are currently composing.
Can you tell me about it?
Annette Vande Gorne: Vox Alia and Fragments
de lettre `a un habitant du Centre served as the
foundation for my opera, Yawar Fiesta, based on a
text by Werner Lambersy, which I am composing
for 7.1 channels. It is an acousmatic opera. There
are no singers on stage. When people heard this,
they told me, “It is not an opera!” Yes it is,
because the material comprises mainly the voice.
Singers sing, but only in the studio. The singers
improvise using, as a starting point, the prior
detailed analysis of the meaning and structure of
the libretto. Several recording sessions will provide
most of the raw material for the work.
There are characters, a text, and a story, E
there will be a decor. Tuttavia, the decor will
be projected—so as not to disturb the listening
experience—with a link between the spatial
movement of the music (in non-real time on a fixed
medium) and the decor and movements by the char-
acters. The characters will be mute, choreographed
mimes on stage, and their movements will be linked
with the space so as to make the expressive space
audible. The characters will speak from the loud-
speakers. With this idea, I discovered that space is
not only a musical parameter but also an expressive
one.
Così, I develop in my opera a vocabulary of
precise, multiphonic spatial figures that are chosen
according to the underlying meaning of, or the
numerous metaphorical images in, the text. A
this compositional stage, I think the opera will
be of a two- or two-and-a-half hour duration. It
is long enough to engage the full dimension of the
listener’s memory through sound signals, reminders,
variations, and leitmotifs.
Therefore, I composed Act III first, in which the
text is a kind of “moral” that synthesizes all themes.
Yawar Fiesta is constructed like an ancient Greek
tragedy in the style of Aeschylus: thesis, antithesis,
synthesis, with a dialogue between the Greek choir
and the chorypheus [a choir leader in ancient Greek
tragedies]. Using this strategy, I was able to gather
all of the motives that are taken from, and developed
In, Acts I and II. This is one of those good pieces
of advice that I received during my studies with
my former composition teacher, Jean Absil: one has
to know where one wants to go, to know the goal,
before starting the creative journey, which then
remains something of a permanent discovery. C ´esar
Franck is another Belgian composer whose many
musical aspects I feel close to: lyricism, colorful ver-
tical masses, polyphonic complexity, and the search
for structural unity. He paves the way to vast ar-
chitectures through his cyclical sonata form. These
architectures are, nonetheless, unified by recurrent
elements that run through all movements and are
continually transformed before finding themselves
united and superposed in the last movement.
Anderson: Tuttavia, text is not the only source of
inspiration for you. Your acousmatic work Ce qu’a
vu le vent d’Est (2003) was inspired by archetypes.
How did you compose Ce qu’a vu le vent d’Est?
Vande Gorne: I shall need to give some background
information first before I can answer that question.
When I discovered electroacoustic music, I was
going through a very perturbed period in my life
for personal and musical reasons. You have to
understand that, from the age of seven, I felt I
was a musician, but I lived with Mozart, Ravel,
Monteverdi, Beethoven, Brahms, and all of the other
great classical composers. And I lived well. I was
very happy in this music and I had no desire to leave
it because there was a whole culture behind it. E
when I found myself in the electroacoustic world,
I had the impression of being among barbarians,
people who knew nothing of this culture. They
didn’t have the same culture. Their culture is more
current, whereas my culture is of the past. I also
adore history. I taught music history for 40 years and
always made the connection between the present
and the past, which interests me because we do not
really invent anything. We only reproduce the past
with other means. Ma, all the same, you can imagine
Quello, at the age of 28, it was a shock. The title of
my second work, Exil, was not for nothing. So, IO
accepted this exile and closed the door. I really ceased
Anderson
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composing instrumental music and music with a
notated score, except when I composed for a chorus.
The benefit of closing this door was that I
could open my “listening,” my mental universe,
to something else. And I produced things in this
new domain but, while doing so, I said to myself,
“This is something else; the past is finished. IO
need to go elsewhere.” Nevertheless, I always felt
a sort of remorse until Ce qu’a vu le vent d’Est,
a commission that I received for a concert in
which Debussy would be played, for which different
electroacoustic composers were asked to compose
a work in relation to Debussy. I told myself that I
would not take Debussy’s music and transform it to
make it into something else. No!
Tuttavia, I tried to see what I could pull out of
Debussy’s style in order to apply it to electroacoustic
composition. So, I made an analysis of La mer with
an electroacoustic ear, which taught me a lot and,
above all, gave me the satisfaction of seeing that
I could transfer Debussy’s type of composition to
the domain of acousmatic composition on a fixed
medium. I don’t know if it would have worked
with another composer. Debussy’s music has a
relationship with nature. There is movement in La
mer, the play of color, of timbre, and Debussy has
ways of making transitions that have nothing to do
with Beethoven’s transitions. And there is space. Tutto
these ingredients allowed me to compose a work that
is based on Debussy’s temporality and construction
with my sonorities. And I could not help slipping in
several extracts of Debussy’s music in an acousmatic
modo, like an experience that is remembered, or like
a trace. It was important for me to make a link,
which I thought was completely broken, between
the music of today—of this technological world—
and the world of this beautiful music from which I
thought I was definitely exiled.
On a practical level, and this is something I
explained in my article on Ce qu’a vu le vent d’Est
in the third volume of the review, LIEN, the com-
positional strategies were rooted in three different
sources that shared one central theme: the form of
the wave. These manifestations of the waveform in-
cluded the sandstorm, the culture of Iraq (the cradle
of ancient civilization and witness to many subse-
quent waves of foreign attempts at colonization), E
the music of Debussy. The waveform is a universal
archetype, and its shape is one of the driving forces in
natura. Therefore, many representations of it can be
found in human behavior and art. Although one can
perhaps most easily associate the waveform with the
movement of the sea, the wave phenomenon in the
form of a sandstorm was the inspirational starting
point for the work, as it influenced the structure of
the piece and the choice of materials. I think Ce qu’a
vu le vent d’Est works as an acousmatic composi-
tion because it functions with the same principles
of internal energy that are found in one of the
most natural and psychological of archetypes: IL
storm.
Anderson: You make a distinction between your
compositional aesthetic in Ce qu’a vu le vent d’Est
and in Figures d’espace, which you composed in
2004. What is the difference?
Vande Gorne: Figures d’espace was inspired by an
article I wrote about the possibilities of spatial inter-
pretation using the acousmonium. The title of the
article, “l’Interpr ´etation spatiale: essai de formali-
sation m ´ethodologique” (2002), is published in the
review Demeter on the Web site of Universit ´e Lille 3.
In the article, I discuss 16 spatial figures based on
my practice of interpretation. When one interprets
sound in space, one attempts to put in conjunction
what one hears of the work—for example, the mass,
the movement, the spatial placements whether they
are stereophonic or multiphonic, the highlights and
extrapolations—at the moment of the interpretation
in the concert hall. I also include the interpretation
of multiphonic works. At a concert performance, IO
am saddened to see certain composers placing all 8
O 16 faders on the mixing desk in an equal position
and then sitting down to listen (Guarda la figura 2).
I think this marvelous instrument of interpreta-
zione, the acousmonium, is underused. And when I
say acousmonium, I do not mean eight loudspeak-
ers. That is not an acousmonium. An acousmonium
is an instrument where spatial frameworks are
constructed. One begins the interpretation the mo-
ment one begins the setup of the acousmonium.
This setup must never be the same from concert
to concert. Piuttosto, the setup is dependent on the
acoustic and spatial topology of the premises and
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Figura 2. Bernard Parme-
giani rehearsing on the
Musiques & Recherches
acousmonium during the
L’Espace du Son festival at
the Th ´e ˆatre Marni,
Brussels, Belgium in 2004.
Photo by Pierre Gallais.
on the loudspeakers, which do not necessarily
have to be the same either. This is the European
conception. I know that in the English-speaking
cultural environment an acousmonium has only one
type of loudspeaker, but one loses the liberty in the
interpretation of timbre that different loudspeakers
provide.
I discuss the acousmonium and all its possibilities
in my article. Tuttavia, I also discuss the particular
movements at the console which enhance the
compositional techniques used to create the piece.
I interpret the compositional techniques that I
hear. Per esempio, if I hear a cross-fade, I make a
spatial cross-fade. If I hear inserts—remarkable ones,
of course—I highlight the insert with one pair of
loudspeakers which serve as soloists that appear and
disappear when the insert is finished. For me, spatial
interpretation is also a way to communicate the
composer’s compositional techniques and structures
to the public. Così, 16 spatial figures that I devised
through practice are described in this article.
In 2004 I received an invitation to give a master
class on spatial interpretation for young musicians
in Luxembourg. I told myself it was the occasion
to research my article [laugh], E, in an almost
scholarly manner, I composed Figures d’espace,
which I call an ´etude because it allows for the
virtuosic use of a console. When composing it, IO
thought about the gestures that one makes at the
console. It’s a bit like how Liszt composed piano
works, not only to make music, but also to highlight
the virtuosity of the instrument. It was another way
to compose, which took into account space as a
factor of interpretation.
Anderson: You are quite well known as a composer
of acousmatic music. Have you also composed
mixed works?
Vande Gorne: Yes, In 1985 I composed Faisceaux, UN
work for piano and tape, where sounds of the piano
are used, although the compositional thought and
technique center on timbres as conveyed through
spectral content. The timbres range from white
noise to the progressive transformation of the piano
sound, taking into account the notion of interval,
notably the augmented fourth. Energy-motion
trajectories serve as the common points between
the instrument and the part on fixed medium. IL
pianist must also convey emotional states through
an improvisation on one note. It’s quite difficult.
The work evolves, spectrally, from white noise to
a non-amplified piano solo; the piano is amplified
up until the end. My goal with Faisceaux was to
sensitize the listener to the timbre of the sound
instead of the written melody. This necessitates a
transformation in the way one habitually listens to
the instrument, and it seems to me to be the goal of
mixed music.
Additionally, when I composed Tao I created
mixed versions of the movements Eau and Metal.
The mixed versions were for zheng and electroacous-
tic sound on a fixed medium that was destined for a
mixed performance. The zheng score in Eau makes
use of the instrumentalist’s own repertoire; in this
case, this is the repertoire of Violette Beaujean, who
is the only zheng player I know in Belgium. I first
composed the part on fixed medium. Then, I asked
Violette Beaujean to play Chinese songs for me that
were related to water, which she did. I chose one,
and she gave me the score, which I then reproduced
and cut up in certain areas, like I would cut up a
tape to do a montage. I saw that Chinese music
is very descriptive and very much in movement.
There was an energetic relationship between the
song and the part that already existed on the fixed
medium, because the song is about a fisherman
Anderson
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Figura 3. A section of the
score of the mixed version
of Eau for zheng and stereo
electroacoustic sound,
from the multi-movement
lavoro, Tao.
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and water. It actually worked well together. When
one hears it, one has the impression that the work
was composed the other way around—that the
tape part was created to accompany the Chinese
music (Guarda la figura 3).
In M ´etal, the zheng is used in a contemporary
fashion with very diverse techniques, including ones
that a traditional Chinese performer would not use,
such as adding chains around the strings in order
to add noise to the string sound. The instrumental
techniques create a symbiotic relationship, energet-
ically, with what the sound on fixed medium offers
us, whether it’s a type of percussion resonance, UN
smooth sound, a melodic profile, or a rebound, eccetera.
These sounds are reproduced with the zheng. I think
the links between the zheng and the sounds on fixed
medium justify their existence.
Anderson: Have you made sound installations?
Vande Gorne: I discovered sound installations in
2000. The principle with sound installations is to
know what’s going on around me, not to redo some-
thing or to find another way of doing something
with the same vision. I made an installation, Cosmo-
graphie (2003), with the sculptor Annie Liebabergh,
who works with latex and who makes enormous
suspended oscillating spheres, like a ceiling of plan-
ets of diverse dimensions. I was interested in seeing
what types of energetic relationships I could make
between the sculpture and the sound by finding
sonorities that would function as rebound, oscil-
lation, or swinging and swaying, which would be
identical to the motion trajectories the installation
proposed. I have always detested situations where I
14
Computer Music Journal
couldn’t perceive any relationship in an installation
between what I saw and what I heard. I would ask
myself why there was a visual aspect to what I
heard, or why there was sound to what I saw.
I used eight loudspeakers for Cosmographie. Ma
[laughs] I also had a strange preoccupation with the
guard at the installation. Why propose continuous
sound for a poor guard the whole day? So I decided
that the sound in the installation would be gated by
the passage of a beam of light or an image. Andr ´e
Defossez, who is competent in Max/MSP, took my
sounds and made me the software according to my
requirements. We discussed how to find a way that
would allow the sound files, which came from the
work itself (because it is a work: it is recorded onto
a fixed medium with silences and it can be heard
as such), to be taken and distributed in space with
certain modes of transformation according to the
way the public would play with the installation.
I think it’s interesting for a sound installation to
remain in the domain of the fixed medium but
provide a touch of interactivity that is equally
coherent for the visual as well as audible aspects of
the work.
Anderson: You are the professor of acousmatic
composition at the Conservatoire Royal de Mons.
Tuttavia, you have also conceived an entire section
of electroacoustic studies at the Conservatoire Royal
de Mons.
Vande Gorne: Currently, 13 professors specializing
in electroacoustic music teach 85 hours of classes
per week, more or less, at the Conservatoire Royal
de Mons, where a student can obtain a Masters
degree in five years. A doctorate is also possi-
ble. From my experience—which is to unsolder
culture and listening from what electroacoustic
music (in contrast to instrumental music) asks
for—in order to compose electroacoustic music
that is interesting (in other words, that pursues
another path than the one addressed by instru-
mental, melodic, harmonic, or rhythmic thinking)
one would need to investigate the Schaefferian
concepts. These concepts include notions of grain,
matter, morphology, energies, and movement, Tutto
of which are topics that one cannot find in the
instrumental culture. I think this can be effective
from an educational viewpoint. Electroacoustic
music needs to continue along this path and avoid
being reclaimed by instrumental music, or by
instrumental music which is aided by electroa-
coustic means, such as that which is practiced
at IRCAM [the Institut de Recherche et de Co-
ordination Acoustique/Musique], among other
places. Otherwise, de facto, the teaching of elec-
troacoustic music composition is considered as the
teaching of technology that assists instrumental
composition. I didn’t want this. I was fortunate
to experience the last years of this type of edu-
catione, until 1980, with Schaeffer who, at that
time, was retired and was perceived to be too old—
although he stayed another three years. Afterwards,
for other political reasons, the electroacoustic
composition class at the Conservatoire National
Sup ´erieur de Paris became a composition class for
mixed music and for compositional techniques that
are now integrated in the course of instrumental
composition.
I began to teach electroacoustic composition at
the Conservatoire Royal de Li `ege in 1986. In 1987
I created a class of electroacoustic composition at
the Conservatoire Royal de Bruxelles and, In 1993,
a class at the Conservatoire Royal de Mons. In 2002
I decided to make a complete section that would
be independent from the traditional music courses
and traditional solf `ege. [Editor’s note: In French, IL
term solf `ege has a broader meaning than in English,
encompassing not just solmization syllables but also
music notation.] It’s the only section in a European
conservatory that does not require knowledge of
solf `ege for the entrance exam. The course material
includes compositional techniques destined for a
fixed medium, acousmatic composition, percep-
tual analysis, solf `ege des objets sonores, acustica,
electroacoustic literacy, semiology applied to elec-
troacoustic music, sound recording, techniques of
synthesis, interactive techniques, computer lan-
guages and environments, sound design, and the
analysis of perceptual sound-image ratios, among
other subjects. My aim was for students to have
an education that is recognized after a period of
five years and which is oriented, on the one hand,
to acousmatic music, E, on the other hand, A
mixed composition, interactive composition, O
Anderson
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sound design (which is not exactly composition but
it has to do with people who are in relation with
other arts: multimedia, dance, and theater). Above
Tutto, the goal is to develop the individual musical
personality of each student. Little by little students
become aware of their own artistic evolution. They
refine their listening and choose and construct their
style.
[Interviewer’s note: In 2002, there was a minis-
terial reform in Belgium that permitted high-level
artistic education to be considered on the same
level as universities, following the European model
put forth by the Bologna Accords in 1999, Quale
sought to standardize superior European education.
Belgium was one of the first countries to organize
its education according to the European model. IL
electroacoustic section of the Conservatoire Royal
de Mons gives the Conservatoire the additional qual-
ification of being a European establishment, Quale
permits exchanges with other European institutions
that specialize in high-level artistic education.]
Anderson: Could you describe the compositional
techniques that you call the techniques d’ ´ecriture?
This pedagogical method is rare, and I think it
is important for English-speaking composers of
electroacoustic music to understand it.
Vande Gorne: Before I discuss that, I need to explain
the essential point of my pedagogical view: I come
from the Latin world—contrary to the Anglo-
Saxon world, where one composes immediately.
In the Latin world, one does harmony exercises
each week for four or five years. Then one does
counterpoint exercises for two years, almeno,
and then fugue exercises for three years before
composing! In electroacoustic music, does one say,
“go compose?” No! One has to have knowledge
of the aesthetic tools, on the one hand, and the
technique of composition [techniques d’ ´ecriture],
on the other hand, in order to know where one
is going. Each exercise is a progression along that
sentiero. This is normal in Latin culture. One doesn’t
find this strange. And one follows this path, step by
step, because one feels these steps. I do not know
if you felt it like this, but I did. One feels that
one evolves little by little and begins to see more
clearly.
Anderson: And the listening!
Vande Gorne: E, inevitably, the listening goes
with it. The pedagogical path is, for me, both
pedagogical and mental. One starts by teaching
simple things, from a technological point of view,
and rightly so. One avoids putting the students
in front of ten plug-ins at first. Invece, one puts
students in front of a microphone and teaches
them to record. The students make play-sequences
[s ´equences-jeu] for the first trimester with a musical
constraint that’s different every week. Afterwards,
one teaches the technique of composition through
editing—the technique of composition and not
the technique of editing! This second part is very
Schaefferian, whereas the first part is Reibelian.
Anderson: Aha!
Vande Gorne: Yes, because Guy Reibel proposed
play-sequences, improvisations with sounding bod-
ies that replace the gestural expressivity, at the
center of musical invention. This is essential to
conserve. Since its origin, music has always un-
folded through the body. The improvisation of
phrased, formed, musical play-sequences that cor-
responds to archetypal models, especially physical
ones—for example percussion-resonance, friction,
accumulation of corpuscles, rebound, oscillation,
swinging and swaying, flux, pressure-deformation,
rotation, and spiral—become a rich, living reservoir
for composition itself.
The next phase is very Schaefferian in nature and
includes the techniques of montage. In montage, one
associates different sounds immediately, the one
next to the other. This phase takes a trimester. One
learns how to use software for montage. Tuttavia,
the interest for me is not the software but the
compositional process used to make the montage.
The third step is the mixing (superposition) and this
requires compositional thought, because when one
associates sounds one has to ask oneself how one
associates sounds, why one associates sounds, E
one needs to learn how to make transitions.
There are techniques that, over the last several
years, I developed into the form of an enormous
chapter on polyphony, which takes a trimester to
accomplish. I find that occidental music is rich
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by virtue of its complexity, or polyphony. So, IO
ask my students to think compositionally in a
way that generously surpasses the linear. This is
followed by a year, almeno, of weekly exercises on
transformation techniques that are associated with
synthesis techniques.
Che cosa, Anche se, is transformation? What type of
result do I wish to have? There are five principal
domains of transformation: pitch, timbre, dynamics,
time, and space. We are the architects of time and
we have software, which allows us to do a lot with a
little or, conversely, to do a little with a lot. Last but
not least, there is space and all the possibilities that
we have for making real or false spatial landscapes
and multiphonic composition. And after all that,
one can begin to compose.
Anderson: I would like, also, to ask you about your
center, Musiques & Recherches. It is one of the
only centers in Europe where there is such diverse
activity in the field of electroacoustic music. Can
you describe Musiques & Recherches?
Vande Gorne: [Smiles and laughs after a long,
deep breath.] I first need to give some background
in order to explain it. I finished my studies at
the Conservatoire National Sup ´erieur de Paris.
Afterwards, I worked for a year at the phonoth `eque
at GRM [Groupe de Recherches Musicales], at the
request of Franc¸ ois Bayle. He had received funds to
mark the anniversary of French cultural heritage
and he wished to organize the repertoire of works
that were composed at GRM, Quale, incidentally,
was the first studio in the world. It was founded
In 1948 E, In 1951, officially became a studio of
musique concr `ete.
I also forgot to say that I have an education as a
musicologist. I studied musicology for three years
at the Universit ´e Libre de Bruxelles and, in the
beginning of the fourth year, when I was asked
what would be the subject of my dissertation, IO
responded that I wished to write a dissertation
on systems of spatialization and the relationship
between music and space. “Who do you expect
to judge that subject?” asked the professor. I said
to myself, “Well, if there is no one capable of
judging this type of research in a Belgian university
in Brussels, in means that I am in a society that
is quite reactionary, so I will stop these types of
studies.”
Tuttavia, the education in musicology permitted
me to catalog this repertoire in a respectable way.
I realized the importance of archives. And I also
realized the phenomenal quantity of works that
were composed at GRM and that are still there. So,
In 1980, I found myself in Paris, my studies finished,
and in front of a Cornelian dilemma. Having had a
foot in the door at GRM, I asked myself whether I
should stay in Paris, where I had an apartment, or to
return to my own country, Belgium, and give birth
there to something that did not exist. For cultural
patriotism, I chose the latter solution. I saw it like
Caesar: to prefer to be first in one’s hometown rather
than second in Rome. I don’t know if it was the
best solution, but it was the one I chose and it was
necessary to take responsibility for it. So, In 1982, IO
immediately founded a professional analog studio. IO
thought, and I still think the same way today, that it
is better to spend money on professional tools that
will last over time rather than spending less, Ma
purchasing tools more frequently.
I founded Musiques & Recherches to compose
and especially to bring in other composers, notably
Belgian composers of instrumental music, whom I
invited to use the studio to compose works. I was a
technician for them because I knew the use of the
studio. I also wanted to exchange ideas with them. IO
organized my first festival in 1984, which consisted
Di 20 concerts in 10 days. It was the official opening
of Musiques & Recherches to the international
mondo. I understood that it would be advantageous
for Musiques & Recherches not to function on
Belgian territory alone, but to be open, immediately,
to all possible international opportunities. Questo era
important because the electroacoustic world is a
minority, one which is not known and not very
accepted by “official” music. I thought it would be
better to work with similar types of artists and give
them tools for composition and diffusion with the
acousmonium—which is very important for me—
instead of bringing in local composers to work and
afterwards shutting their tapes in a drawer. Musiques
& Recherches has been an international organization
since 1984, by virtue of the festival L’Espace du Son,
and by virtue of the reviews it has published.
Anderson
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As a musicologist, I know that a type of music
exists only if there are texts that surround it. If
non, it disappears from history. It only appears in
history when it is supported by theory, by long-term
actions, and by all these actions I aim toward the
long-term. This is a result of my education. E
while working in the archives at GRM, I discovered
an enormous number of texts that no one knows
about and yet that are there in the archives. People
wrote a lot. Schaeffer wrote an enormous amount.
He was, first, a writer before being a musician. Così,
it became necessary to create an aesthetic musical
revisione: LIEN. I called on international composers,
and I hired an editor-in-chief who would take the
responsibility for each volume. I also attributed a
subject to each volume.
The first two volumes are entitled L’Espace
du Son (edited by Francis Dhomont), which were
published in 1988 E 1991, rispettivamente. The third
volume, published in 1991, is entitled Vous avez
dit acousmatique? The fourth volume, published
In 1994 and titled Parcours d’un compositeur,
is dedicated to Franc¸ ois Bayle, one of the most
important composers in the field of acousmatic
music. His compositional work and his theoretical
research to define the concept “acousmatic,” as well
as to find other modes of composition that would be
adapted to him, was very influential and beneficial
to me during the course of my artistic evolution.
Michel Chion and I have questioned Franc¸ ois Bayle
at length, from the perspective of the chronological
journey of his works.
Musiques & Recherches then published Elec-
troCD in 1993 and updated it in 1995 E 1997. It
is a list that includes all the electroacoustic works
that have been commercially released on disc. E
it was from this work, between 1994 E 2000, Quello
I got the idea to make a database on the Internet
[electrodoc.musiques-recherches.be—a site dedi-
cated to documentation on electroacoustic music
that links works with documents]. Currently, our
electrodoc database comprises more or less 6,500
creators, 10,700 works, E 5,850 books and articles.
IL 2006 volume of LIEN is entitled L’analyse
perceptive des musiques ´electroacoustiques. Noi
then edited the third volume of L’Espace du Son
In 2010. This volume addresses the technical,
analytical, and compositional evolution of the
relationship between sound and space 20 years
onwards.
The review will continue, but on the Internet.
What I discovered while doing the article for
the Universit ´e Lille 3 is that today’s method is
much less expensive, and permits a wider distri-
bution, than the paper version. Così, the latest
volumes and previous editions of LIEN can be
downloaded from the Musiques & Recherches Web
site [http://www.musiques-recherches.be]. The arti-
cles appear in the language of the author, and each
volume is illustrated by a different Belgian artist.
There are also sound examples from time to time.
The idea is to find ways of creating ”thinking,” or
ways to diffuse “thinking” about acousmatic music.
The other activities are the usual ones proposed by
a center: the organization of concerts and festivals,
the diffusion of music. At first, we organized
these concerts ourselves, and we do it with the
acousmonium, which is mobile. We try to diffuse
the music that is created in this studio, music that is
commissioned by or produced in the studio, Quale
is not necessarily Belgian music. We do not have a
lot of funds for commissions, but we have what is
necessary to invite composers for residencies, Quale
is important. The second important aspect is that
the works by these composers must be diffused.
One of the roles of Musiques & Recherches is to
participate in this diffusion by way of all types of
events that permit the work realized in this studio,
by Belgians and other composers, to be known.
This allows people to find out how these composers
work and also promotes an environment where
the composer can develop a relationship with the
students, which also seems important to me.
We also program music that is produced else-
Dove, for instance, prize-winning pieces from other
composition competitions. We engage in interna-
tional exchanges with students and professors from
other electroacoustic composition courses, from
which students and professors at the Conservatoire
Royal de Mons may benefit. All this is the result
of a genuine artistic choice: because of my respect
for the public audience, there is no “anything goes”
programming, nor a “favor-for-favor” policy. I am
keen to propose works that I believe are of quality.
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Consequently, we have a truly open-minded audi-
ence that comes again and again for concerts; questo è
not an audience that consists solely of professionals
and students.
I must say that a genre exists when there is
a life around it. It dies if there is no life. Questo
begins with the word. The French are very strong
in this, almost to the point of making battles and
chapels with words, but they are right. I say it
is necessary to continue to call “acousmatic” the
actions that stay in the vein of the acousmatic.
The installation I made is acousmatic. But one
needs to say the word. If one ceases to say the
word, the thing will cease to exist, as well as
all the life around it. The competition nourishes
this idea. It’s about acousmatic composition. E
composition and interpretation are linked together.
The life of these works can only exist when one can
educate interpreters that can perform them. E
the permanence of this art can only exist if there
are young interpreters who take the repertoire in
hand and who can perform it in any circumstance
and any frame. It’s also useful to have competitions
with important prizes, because it’s necessary to have
money behind them in order to justify the existence
of the competitions.
That’s why, every other year, Musiques &
Recherches proposes a competition for acousmatic
composition where the prize-winning works are per-
formed and appear on a CD. The First Prize winner
receives a substantial monetary award, as does the
First Prize winner of the spatialized interpretation
competition. We are the only ones to organize this
kind of spatialized interpretation competition. Both
competitions take place during the international
acousmatic festival L’Espace du Son.
Anderson: Let’s talk about your festival L’Espace du
Son.
Vande Gorne: [Laughs.] So, the festival! Why a
festival? Well, it’s a festive moment, as the name
indicates. It’s a moment where people meet each
other, especially people who might or might not
know each other, but who are in the same field,
such as composers of electroacoustic and non-
electroacoustic music, interpreters, and the public.
A festival engenders these types of meetings. It also
offers the opportunity to organize small colloquiums
and composition workshops, which permit a useful
exchange of ideas. The festival began in 1984, E
we functioned without any subsidy until 1996.
The festival includes four or five days of concerts
by important and young composers. I think the
notion of a portrait concert by invited composers is
important. I prefer to access the artists, to know who
they are through the works they present. And with
the carte blanche concert, the composers’ choices
of works also tell who they are.
For the past several years I have also organized a
cycle of concerts. The cycle consists of one concert
per month and each concert has an enormous
luxury: two days of rehearsal which also includes
the spatialization course for the conservatory
students on an acousmonium with 44 channels.
The cycle is called Saison acousmatique. (The word
acousmatic is repeated once more.)
Anderson: The conferences you organized were also
very important. You always invited people in from
the exterior. Could you explain those, as well as the
workshops you organize at Musiques & Recherches?
Vande Gorne: The conferences are for professional
and pedagogical use. They are specialized and allow
an opening to the wider world. I think it’s essential
to invite people who have something to say. I don’t
see education as being tied to one professor, but as
being tied to a trend. Ovviamente, I will more easily
invite someone with an outlook that is similar
to mine, as opposed to someone who composes
instrumental music and regards acousmatic music
as an accessory. The opening to the public is also
important because music can only exist if the
public knows it. There are two ways to reach the
public. One is through concerts. Another is through
open workshops for the public and particularly for
the young public. This is why I organize a yearly
workshop for the initiation of electroacoustic music
composition. I have organized it from the beginning,
and anyone can register for it. I have had participants
from the age of 12 O 13, and I remember one lady
who was over the age of 60.
Since 1995 I have also organized a yearly work-
shop on interpretation. It hasn’t had the success I had
hoped for, because people do not yet understand the
Anderson
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importance of interpretation. There is also a work-
shop on Max/MSP which, as a sign of the times, È
more successful today than the workshop on the ini-
tiation of electroacoustic composition techniques.
The workshops are open to everyone. They are not
workshops for specialists. They are directed toward
the public—in contrast to conferences, which are
directed to professionals.
Anderson: What closing thoughts would you like
to add as a composer, professor, and pioneer in the
international world of electroacoustic music?
Vande Gorne: I would like to add one thing that
seems important to me. If electroacoustic and, par-
ticularly, acousmatic music could be in the plan of
social and artistic life as Denis Dufour and Francis
Dhomont prefer to have it, it would be an art which
is apart, a sound art which is detached from the
preoccupation of the term “music.” It would be an
art like photography, like all the other types of art
and their corresponding—and changing—media; for
esempio, the evolution made by the art of represen-
tation on a stage, from the theater to the cinema
to the video. One can, at that moment, say that
art on a fixed medium, and particularly acousmatic
music, which has a particular relationship with the
imagination, could be considered to be an art form
apart from music. Somehow, in creating a section of
electroacoustic music that is separate from instru-
mental composition at the Conservatoire Royal de
Mons, I went in that direction.
When I see the world of techno music, Dove
the presence of a computer is normal, I think it’s
a pity when I see a person walk on stage in order
to press the play button on the computer. It would
be better to consider the interpretation on another
level, so why not through spatialization? There is
much to do in this domain. It’s possible to consider
techno music or ambient music as an art apart. Why
non? Nevertheless, having had a formal education,
I consider all sound to be music. E, like Var `ese
said, I think that all organized sound is composed
music.
This is why I continue to say that the word
“music” also applies to this art. I think it’s important
to find this relationship, this link with Ce qu’a vu
le vent d’Est. If we detach acousmatic music
completely from the instrumental musical world,
and from the world of electroacoustic music in
general—for example, live electronics, mixed music,
laptop, computer music and processing—and if we
say that we are doing a completely different thing, IO
think the result will be that we will isolate ourselves
instead of participating in a general movement. Questo
is on an institutional level. On a personal level, IO
think of myself as a musician, nothing else. Questo
is an aspect of the term “acousmatic” and its
utilization, which I hope will be permanent.
I would also like to add that I wish that there
were more musicians in the world of technology.
I attend so many conferences, such as the Interna-
tional Computer Music Conference, among others,
which are so wonderful theoretically and so poor in
terms of sound and musical quality. I would like to
find ”resonators,” other people, who, when present-
ing theory, give another image of electroacoustic
music in general: a more personal, individual, E
more creative artistic image. These days, this has
enormous consequences on the sociological level.
In music festivals, technology is at the service of
instrumental music. The word “music” is associated
with the word “instrument.” When political,
university, or other powers have something to
do with electroacoustic music, they only see it
on a technological level, by virtue of the fact
that the actors of this music only speak about
technology. Consequently, one will never find
electroacoustic music in music festivals, since the
actors themselves do not present it like music.
For this reason, electroacoustic music (almost
“tape music”) is presented in specialized festivals
outside of the contemporary musical world and
contemporary musical festivals.
I would like to end this long interview, for which
I thank you, on a more personal and artistic note.
When, at the age of 25, I chose to engage in
the path of acousmatic music, I didn’t know at
what point it would disrupt my musical listening
and the concepts and habits of composition and of
interpretation acquired during my studies. A r ´esum ´e
in the form of a non-hierarchical list, perhaps,
permits a clearer vision.
Improvisation with sounding bodies (largely
reaching beyond musical instruments) and the
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direct rapport with bodily gesture are a principal
source of material and immediate musicality.
A vocabulary of models, especially physical
ones—while changing the way I listened to music,
whatever music it might be—has the advantage of
proposing archetypes to the listening experience,
and this permits a form of communication with any
listener.
The use of sonic archetypes and images, or their
traces, or their most abstract evocation, calls to the
imaginary and provokes an interior cinema, Quale
orients the listening and meaning perceived by the
listener.
The linear association of sonic elements made of
different materials and morphologies creates unique
figures that are unexpected and surreal.
I reunify material that is very diverse, by applying
a new common character to it. Frequently, it’s the
pitch or frequency, but often it’s also the color or
spectra, the duration—the elongation, fragmenta-
zione, granulation—or the space. It can be compared
to the image of a society that, when giving itself
the same goal to attain (Per esempio, an identical
activity or an ideal) unifies disparate individualities.
Space becomes a fifth musical parameter, COME
much as through different scales of width and
illusory depth (stereo), as in complex and superposed
figures in a three-dimensional space (multiphony).
This struck me from my very first acousmatic
listening experiences. The immediate desire, from
1972, to interpret this music through space, thanks
to the acousmonium, is a logical consequence. IO
play freely with the disposition of loudspeakers on
the premises (which is not necessarily a concert
hall), the number of loudspeakers (Musiques &
Recherches has 80), the diversity of their colors,
their frequency responses, and their strengths.
Paradoxically, each concert of fixed sounds [sons
fix ´es], according to Michel Chion, becomes a unique
event. Each spatializing interpreter gives the same
work a style, a different meaning, that reflects his
or her musical perception. We verify this fact during
each biannual edition of the only competition for
spatial interpretation in the world, which Musiques
& Recherches organizes.
The infinite number of possibilities proposed by
today’s software has modified my compositional
technique towards the creation of new polyphonies
and massive, or airy, textures. The weaving of
stained glass or mosaic textures, complex designs,
divergences and convergences, rhythms and speeds,
and the superpositions of images are new paths of
research.
What has most fundamentally modified my
approach to composition is to be able to listen and
re-listen and, Perciò, deepen my listening of the
music that is in the process of being born. Perception
becomes the guide. There is nothing new under the
sun since Husserl and phenomenology! It is the
acousmatic modality—slow, meticulous work in
the studio.
I am no longer the master of hidden calculations,
abstracts, of arbitrary and reasoned processes, Ma,
instead, I allow myself to be modified, and to modify
the project according to the sounds, the found
objects [objets trouv ´es] that the studio generates.
The music constructs itself little by little as if it
were outside of me, through my choices, in the same
way that novelists are led by their characters.
Every new work thus becomes an uncertain
adventure, a dive into the unknown, where I know
neither the goal, nor how the work will develop, nor
the alpha or omega, each of which has its doubts and
victories, and which one begins, courageously, con
every work. I am only a sounding board.
Appendix 1: Bibliography
M ˆache, G., e A. Vande Gorne, eds. 1980. R ´epertoire
acousmatique: 1948–1980 [Acousmatic Repertory:
1948–1980.] Paris: Cahiers Recherche/Musique and
Ina-GRM.
Vande Gorne, UN. 1983. “Vous avez dit ‘bizarre’ ?" [“You
Said ‘Bizarre’?"] In Documenta Belgicae 1. Brussels:
´Editions PMA, pag. 140–155.
Vande Gorne, UN. 1988. “Naissance et ´evolution d’une
nouvelle dimension du son: l’espace.” [“Birth and
Evolution of a New Dimension of Sound: Space.”] In F.
Dhomont, ed. LIEN: L’Espace du Son I. Ohain: ´Editions
Musiques et Recherches, pag. 8–15.
Vande Gorne, UN. 1988. “Les deux c ˆot ´es du miroir : la
mari ´ee est-elle trop belle?" [“The Two Sides of the
Mirror: Is the Bride Too Beautiful?"] In F. Dhomont, ed.
LIEN: L’Espace du Son I. Ohain: ´Editions Musiques et
Recherches, pag. 43–47.
Anderson
21
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Vande Gorne, UN. 1991. “Espace et structure, propositions
pour une ´ecriture de l’espace.” [“Space and Structure,
Suggestions for Spatial Composition.”] In F. Dhomont,
ed. LIEN: L’Espace du Son II. Ohain: ´Editions Musiques
et Recherches, pag. 125–126.
Vande Gorne, UN. 1991. “Pro-positions.” [“Pro-posals.”] In
UN. Vande Gorne, ed. LIEN: Vous avez dit Acousmatique?
Ohain: ´Editions Musiques & Recherches, pag. 13–14.
Vande Gorne, UN. 1993. “Vous avez dit ‘bizarre’?“ [“You
Said ‘Bizarre’?"] In Musiques d’aujourd’hui. D ´eparte-
ment de la Creuse: Conseil g ´en ´eral de la Creuse,
pag. 41–53.
Vande Gorne, UN. 1993 (updated in 1995, 1998, E
In 2001). “ElectrO-CD, r ´epertoire des musiques
´electroacoustiques.“ [“ElectrO-CD, Repertory of Elec-
troacoustic Music.”] LIEN. Ohain and Paris: Musiques
& Recherches and Ina-GRM. Available online at
electrodoc.musiques-recherches.be. Accessed 14
Gennaio 2012.
Vande Gorne, UN. 1995. “Une histoire de la musique
´electroacoustique.” [“A History of Electroacoustic Mu-
sic.”] In L. Poissant, ed. Esth ´etique des arts m ´ediatiques
Tome 1. Montreal: Presses de l’Universit ´e du Qu ´ebec,
pag. 291–317.
Vande Gorne, UN. 1996. “Les genres ´electroacoustiques,
essai de classement.” [The Electroacoustic Genres, An
Attempt at Classification.”] (unpublished manuscript).
Vande Gorne, UN. 1999. “Ars `ene Souffriau.” In The New
Grove Dictionary of Music and Musicians. Oxford:
Oxford University Press.
Vande Gorne, UN. 1999. “L ´eo K ¨upper.” In The New Grove
Dictionary of Music and Musicians. Oxford: Oxford
Stampa universitaria.
Vande Gorne, UN. 1999. “Analyse po¨ı ´etique de ‘La langue
inconnue’ par Franc¸ ois Bayle.” [“Poietic Analysis of ’La
Langue Inconnue‘ by Franc¸ ois Bayle.”] In La musique
´electroacoustique. Paris: Ina-GRM and ´Editions
Hyptique. CD-ROM.
Vande Gorne, UN. 1999. “Festival Synth `ese 1999, quelques
billets d’humeur.” [“Festival Synth `ese 1999, Several
Tickets of Mood.”] In Les cahiers de l’ACME.
September–October, pag. 34–38.
Vande Gorne, UN. 2002. “L’interpr ´etation spatiale, essai de
formalisation m ´ethodologique.” [“Spatial Interpreta-
zione, An Attempt at Methodological Formalization.”]
DEMETER. Lille: Universit ´e Lille 3. Available online
at demeter.revue.univ-lille3.fr. Accessed 14 Gennaio
2012.
Vande Gorne, UN. 2006. “Francis Dhomont en quelques
mots.” [“Francis Dhomont in a Few Words.”] In ´E.
Gayou, ed. Portraits polychromes: Francis Dhomont.
Paris: Ina-GRM, pag. 99–100.
Vande Gorne, UN. 2006. “Catalogue comment ´e des œuvres
de Francis Dhomont.” [“A Commented Catalogue on
Works by Francis Dhomont.”] In ´E. Gayou, ed. Portraits
polychromes : Francis Dhomont. Paris: Ina-GRM, pag.
101–117.
Vande Gorne, UN. 2009. “Musique acousmatique,
continuit ´e ou rupture?" [“Acousmatic Mu-
sic, Continuity or Rupture?"]
(Keynote lec-
ture for the Symposium ´electroacoustique de
Toronto 2009) eContact! 11(4).Available online at
cec.sonus.ca/econtact/11 4/vandegorne keynote.html.
Accessed 14 Gennaio 2012.
Vande Gorne, UN. 2010. “L’espace pour quoi faire?"
[“Space, For What?"] In A. Vande Gorne, ed. LIEN:
´Editions Musiques &
L’Espace du Son III. Ohain:
Recherches. Available online at musiquesrecherches.be/
index.php?option=com flexicontent&view=items&cid=
5&id=16&Itemid=24&lang=fr. Accessed 14 Gennaio
2012.
Appendix 2: Discography
Vande Gorne, UN. 1993. Tao. DIFFUSION i M ´eDIA, IMED
9311—collection empreintes DIGITALes.
Vande Gorne, UN. 1994. Annette Vande Gorne/Werner
Lambersy—Le Ginkgo/Architecture Nuit/Noces
Noires. DIFFUSION i M ´eDIA, Sonart IMSO 9504.
Vande Gorne, UN. 1998. Impalpables. IMED 9839—
collection empreintes DIGITALes.
Vande Gorne, UN. 2000. Vox Alia: Amoroso [Another Voice:
Loving]. Recorded on the compact disc Pr ´esence II.
Productions electro Productions (PeP).
Vande Gorne, UN. 2003–2004. Techniques d’ ´ecriture sur
support [Techniques of Composition on Fixed Medium].
Radiophonic documentary in four parts. Musiques &
Recherches.
Vande Gorne, UN. 2004. Ce qu’a vu le vent d’Est [Che cosa
the East Wind Saw]. Recorded onto the compact disc 4◦
Concorso Internazionale di Composizione Elettronica
“Pierre Schaeffer,” Accademia Musicale Pescarese.
AMP 2004—cdm 04/05.
Vande Gorne, UN. 2008. Exils [Exiles]. IMED 0890—
collection empreintes DIGITALes.
Vande Gorne, UN. (2010). Yawar Fiesta (op ´era): Combatti-
mento [Yawar Fiesta (opera): Combat]. Included on the
compact disc ElectroAc. Wallonie Bruxelles Musiques,
WBM 168.
22
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