La estética de la música acusmática en la obra de François Bayle

Resumen

The aesthetic basis of acousmatic music is presented from the writings and works by French composer François Bayle (Tamatave, 1932-). Acousmatic music deals with three of the main issues that guided composers in the 20th century: timbre, space and listening. Bayle is inspired by the concept of sound flow developed from Husserl¿s analysis upon time. The specific nature of his music is in the concept of ¿image-of-sound¿ that is defined by the icon, index and symbol, which represent a progression from concrete to abstract. Morphology creation, temporal evolution and sound spatiality lead our critical study of Bayle¿s works. An interactive process between the concrete or fi gurative world of recorded sounds and the abstract or virtual world of electronic sounds characterizes the acousmatic music morphology. We demonstrate that time organization in Bayle¿s works is essential for a good comprehension of acousmatic music, and we divide it in three ways: discrete time, time based on independent moments, and circular time. On another hand the performance, which spatially distributes sound material during the concert, enhance the perceptive experience. It is a subjective space and not a constructed one, in which the listener is a resonant subject with the space surrounding him. Finally, we analyze Substance du signe (1971) and Grande Polyphonie (1974) with the help of the theoretical tools we developed previously.