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INA-GRM: Groupe de Recherches Musicales
INA-GRMINA-GRM (Institut National Audiovisuel, Groupe de Recherches Musicales) GRM- a Paris studio formed by Pierre Schaeffer in 1951 to foster and encourage the development of electronic music, later assisted by François Bayle, who headed its director in 1966. GRM incorporated with INA (another branch of the Office de Radio Television Francaise) in 1974. --http://www.furious.com/perfect/ohm/inagrm.html [Aug 2004]
First Concert of Musique Concrète
March 18, 1950
First concert of musique concrète, Paris, Auditorium of the Ecole Normale de Musique. First performance of Symphonie pour un homme seul by Pierre Schaeffer and Pierre Henry. --http://www.ina.fr/grm/presentation/dates.en.html [Aug 2004]
--http://www.ina.fr/grm/presentation/dates.en.html [Aug 2004]
First appearance of the term musique concrète in Pierre Schaeffer's Journal de recherche. 20 June Pierre Schaeffer's Concert de bruits was given its very first performance on the radio. Radio Paris, Club d'Essai. 3 October First private performance using record players and a loudspeaker. Paris, Studio Devèze 1950
First concert of musique concrète, Paris, Auditorium of the Ecole Normale de Musique. First performance of Symphonie pour un homme seul by Pierre Schaeffer and Pierre Henry. 1951
Creation of the phonogène à coulisse and the phonogène chromatique.
First sound projection using spatial relief.
First Groupe de Recherche de Musique Concrète - GRMC.
1952 Timbre Durées by Olivier Messiaen: the first work using division of space, realised on a three-deck tape recorder by Pierre Henry. 1953
First "Décade internationale de musique expérimentale" organised by the Groupe de Recherche de Musique Concrète de la Radiodiffusion Télévision Française at Unesco
First opéra concret performed at Donaueschingen : Orphée 53 by Pierre Schaeffer and Pierre Henry
1954 Déserts by Edgar Varèse : the first time an orchestra and "organised sounds" on tape were brought together ; Théâtre des Champs Élysées, Paris, conductor Hermann Scherchen. 1955 Première of Maurice Béjart's ballet Symphonie pour un homme seul, to the music of the same name by Pierre Henry ; Ballets de l'Étoile, Théâtre de l'Étoile, Paris. 1958 Designation of the Groupe de Recherches Musicales - GRM 1960
Creation of the Service de la Recherche de la Radiodiffusion Télévision Française, of which the GRM became a part.
The GRM settled in at the Studio in the rue de l'Université.
1961 A full-scale course organised by the GRM and directed by Pierre Schaeffer et Luc Ferrari. 1965 The Service de la Recherche de l'ORTF moved to the Centre Bourdan in the rue du Recteur Poincaré, Paris ; the new digital synthesis studios of the GRM were at the same address. 1966
Publication of Pierre Schaeffer's Traité des Objets Musicaux.
The term acousmatique was first used in that work.
A class devoted to "electroacoustic" composition and musical research was opened at the Paris Conservatoire.
The professors were Pierre Schaeffer, then Guy Reibel.
1973 Creation of an "orchestra of sound projectors" : the Acousmonium. François Bayle's L'Expérience Acoustique was presented at the inaugural performance. 1974 First experiments with music by computer (B. Mailliard - P-A. Jaffrenou - B. Durr). 1975 Creation of the Institut National Audiovisuel (INA) of which the Groupe de Recherches Musicales (GRM) became a part as the Département de Recherche et de Création Musicales. The Maison de Radio France (Broadcasting House) became its home. 1978 Production of a series of LPs: INA Collection GRM, followed by a budget series : Série Gramme
(over 30 references and many important record awards up till 1985).
1979 First Cycle Acousmatique - Maison de Radio France - Grand Auditorium (Ivo Malec - F. Bayle - G. Mâche) 1982 Creation of the Bibliothèque de Recherche Musicale, a series directed by François Delalande, co-published by Buchet-Chastel/INA Publications - Paris. 1984 Conception et realisation (J-F. Allouis) of the SYTER processor : a real-time, interactive, open audiodigital system for visualising, analysing, processing and recording sounds. 1985 First CD of contemporary music pressed in France -the Concert Imaginaire- the first in a series of CDs devoted to musique acousmatique (many national and international awards, almost 50 references in 1997). 1986 Publication of Recherche Musicale au GRM, a quadruple issue of the Revue Musicale. 1988
Pompidou Centre/Ircam/GRM co-production : Music of the 50s, a series of 12 concerts.
Tools for the generation and control of MIDI events were developed using the MAX programme at the IRCAM (S. de Laubier).
Concerts to mark the 30, 40 ans le GRM. - Théâtre National de Chaillot, Salle O. Messiaen.
1989 First Concours International de Composition Acousmatique L. Petitot at the Centre Noroit in Arras. 1990
Presentation at the MIM (Marseille) and demonstration of transcriptions of musique acousmatique on the Acousmographe, a tool for graphic representation of sound.
GRM Tools, the creative processing of sound material: software for the transformation and synthesis of sound in real time (H. Vinet).
Inauguration of the Acousmathèque, a "library" containing over 5,000 tapes including 1,500 works composed by over 200 composers since 1948.
First of the monthly Empreintes (D. Teruggi). First annual research seminar (F. Delalande).
First and second Forum Electro-CD (1994 and 1996).
Emmanuel Favreau joined the GRM and launched the new GRM Tools (Editor's Choice Winner 1997).
First interactive CD-Rom : Les Musicographies (D. Besson), co-produced by the Festival des 38èmes Rugissants.
Selection of works by the GRM presented in the Hector music programme produced by Radio France (satellite channel).
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