Photo: Tomi Suovankoski

Electroacoustic music of François Bayle

Friday, August 31, 2018 - 18:00 to 20:35
Music Centre, Black Box
Free entry
L’ Expérience Acoustique (1969-72) - A concert of François Bayle’s classic work of electroacoustic music.

The first event of the Centre of Music & Technology of the Sibelius Academy of Uniarts Helsinki, celebrating its 20th anniversary autumn. The concert is focusing on  L’ Expérience Acoustique by François Bayle, diffused over an orchestra of more than 48 loudspeakers by the students and teachers of the 2018 course in Electroacoustic Sound Diffusion at the Sibelius Academy.

6.00–7.00 pm:
L’ Expérience Acoustique Parts I & II
I. L’Aventure Du Cri
II. Le Langage Des Fleurs


7.30–8.35 pm:
L’ Expérience Acoustique Parts III, IV & V
III. La Preuve Par Le Sens
IV. L’Epreuve Par Le Son
V. La Philosophie Du Non


François Bayle (b. 1932, Madagascar)

Composer of 103 works of electroacoustic music—most of them great classics of the genre—Bayle moved to Paris at the age of 22, where he worked as a teacher and started to study with Pierre Schaeffer, Olivier Messiaen and Karlheinz Stockhausen. Schaeffer made Bayle his assistant at the GRM (Groupe de Recherche Musicales) in 1960. Six years later he became head of this institution for a period of 30 years. Bayle developed the concept of acousmatic music on the basis of Schaeffer’s and Pierre Henry’s idea of musique concrète, exemplified in the work Symphonie Pour Un Homme Seul. He made his breakthrough with the work Trois portraits de l’Oiseau-Qui-N’existe-Pas. In the early 1970’s he invented the GRM’s loudspeaker orchestra, the Acousmonium. On leaving the GRM in 1997, he established his own digital studio Magison, where he has devoted himself to research, writing and composition.

The gigantic work L’Expérience Acoustique, made over a period of several years and first performed complete in 1974, was one of the important works that led to the birth of the GRM loudspeaker orchestra, the Acousmonium. Bayle developed ideas on sound diffusion that were very distinct from those of his contemporaries. He is interested in exploiting the special characteristics of different loudspeaker types and the microacoustics of unique performing venues, such as churches and disused spaces. His systems are a combination of proscenium and surround playback, usually assymmetrical. He invented the concept of the tweeter trees, suspended above the heads of the audience. In our performance we try to pay hommage to his pioneering ideas.

Further information:
Andrew Bentley,