François Buffet was born in 1980, live and works in Rouen and Paris (France). He studied musicology at the University of Rouen with Pierre Albert Castanet and Olivier Meston, and at the University of Paris-Sorbonne where he completed a degree in electroacoustic music under Marc Battier between 2000 and 2006. He also attended composition classes with Jacques Petit at the Conservatory of Rouen.

He has given workshops in computer music at the University of Rouen and Le Havre Art school. After a course at the GRM   (Groupe de Recherches Musicales, Paris) he took part in the development of the "Acousmographe" software, and carried out projects for the education ministry. He co-authored a book with François Bayle.

He works regularly with video artists in France and abroad. His work focuses essentially on acousmatic composition, with an emphasis on frequential harmony and global soundsacpes. His work has been played and broadcast in various festivals, shows and radios, including Electromania, Electrain de nuit (France Musique), Akousma (GRM, Paris), Banc d'essai (GRM, Paris), Multimédia exhibition (Modena, Italia), Festival Futura (Crest, France), Festival Tourneson (Le Havre, France), Störk Galerie (Rouen, France) and 106 expérience (Rouen, France). In 2013, he was laureate of the international acousmatic composing competition "Banc d'essai" organised by the GRM in Paris. In 2014 he was commissioned by the GRM to create En to pan.

French-Italian electroacoustic composer and improviser · Director and Co-founder of Alcôme · Electroacoustic composition professor in Burgundy, Chalon-sur-Saône's Conservatory of Music, France

Denis Dufour (b. 9 October 1953, Lyons), after studying the classics at the CRR in Lyons and the Paris Conservatoire (particularly with Pierre Schaeffer and Ivo Malec), he is recognized as a composer in the field of instrumental as well as electronic creation for concert[5] with more than a 160 works to his credit.[6] As one of the pioneers of the 'morphological' and expressive approach to sonic writing, his works employ a wide spectrum of parameters in all sonic dimensions.[7] Following Pierre Schaeffer and Pierre Henry, he contributed to the emergence of a genre that decisively connects artists and musicians.[8] The exploration of new structures of sound, the fluidity of a 'Baroque' style of phrasing, the mobility of his figures, and his love of the human voice and of certain dramatic narrative effects have fostered the emergence of a new kind of theatrical sound in his work, over and beyond his strictly musical discourse.[9]

Despite his large compositional output, from the late 1970s, he has been a teacher (at the Paris Boulogne-Billancourt (PSPBB) higher arts education centre,[10] the Regional Conservatories of Paris,[11] Perpignan,[12] Lyons), researcher (including Groupe de Recherches Musicales until 2000),[13] lecturer, and a host for several courses, workshops and masterclasses in France and abroad (particularly in Japan[14] and Italy[15]).

A tireless leader and advocate, with Jonathan Prager, of an approach to interpretation and spatialization on an acousmonium (system of sound spatialization – a loudspeaker orchestra) with sensitivity and accuracy as opposed to the rigidity of pre programmed multiphonics.[16] Founder and initiator of the TM + ensemble, his work Ourlé du lac à la première goutte de pluie (Pli de Perversion 2) performed at the ICMC in 1984 – is the first to use Syter,[17][18] one of the first real-time digital processing devices. Dufour was instrumental in identifying the need for space to check the parametres quickly and accurately. It was this observation that led to the development of the interpolations screen, which can memorise the status of all the system's parametres (a "snapshot", as we would now call it), and enables the user to move very quickly from one configuration to another by jumps or interpolations (gradual evolution).[19][20] He also contributed significantly to the realization of the Acousmographe, a software for graphical representation of sound phenomena, produced by Institut national de l'audiovisuel.

An organizer and artistic director of several events dedicated to contemporary creation (the series Acore in Lyons, Syntax in Perpignan, Musiques à Réaction in Paris, Futura Festival in Drôme), he also founded several structures, collectives and instrumental formations that continue to irrigate the musical life in France and abroad (Motus, Futura, Syntax, TM+, Les Temps modernes…). Through the exchange of experiences between artists of various fixed medium disciplines (musicians, visual artists, photographers...) he welcomed a trans-disciplinary public seen at the Futura Festival[21] in Drôme every summer since 1993. Since the early 2000s (decade), Dufour actively participated in the encouragement and development of acousmatic art in Japan.[22]

Through Motus in 1996, he initiated two of the most important acousmoniums performing regularly in France and in Europe.[23] Several annual interventions, particularly the invitation to the Palais de Tokyo[24] have contributed to the reputation of Motus in the world of contemporary art.

Recognizing the need to broaden the scope of a type of creation made in a studio, fixed on a medium and delivered for listening on loudspeakers, he combined the various genres into what he calls acousmatic art,[25] which offers an open definition (translated into several languages) and which is beyond mere musical terrain. In his hands, acousmatic art came to being a fertile musical genre, which, consciously or not, influenced a number of musicians and artists.[26] Very aware of promoting cross-practice, he is involved in multiple partnerships in the visual arts[27] (Galerie Lydie Rekow at Crest High School Art Perpignan, initial three years residence in the centre of contemporary art at the Domaine de Kerguéhennec, collaboration with visual artist Jaume Xifra[28] and with Richard Serra in Monumenta 2008.[29]

A composer of a variety of instrumental, vocal or acousmatic works[30] he has always been deeply involved in the transgression of genres, plunging his experiences in the field of dance, video, mixed works (combining instrument and fixed audio media), the musical theatre, radio art – Hörspiel, installations and sound environments. A large number of his works use texts for which he collaborated with Michel Vincent, Jean-Christophe Thomas, Dominique Dubreuil, Marc Jaffeux and especially Thomas Brando with whom he has worked very closely on several compositions. [courtesy: Wikipedia]

Hubert MICHEL, compositeur, diffuseur, régisseur son.
Et pourquoi pas un concert à domicile avec la Bétonneuse?
Renseignement : +33 (0)6 60 31 64 95

Né en France, en 1976. A grandi dans le Pays de Bray à Forges les Eaux dans le brouhaha du restaurant de ses parents. Il passait des heures avec le gros bouton de la radio. Il a en conséquence entendu un vaste champ musical, était curieux des fourmillements de bruits et de sons provoqués par le balayage des ondes entre les stations. En 1998, durant ses années d'étude technique, il découvre la musique électroacoustique. Elle permet d'allier écoute et pratique musicale avec l'utilisation de machines, sans le solfège traditionnel. Il décide de se consacrer à la composition de musique concrète. Sa musique prend sa source dans la captation de sons, de paysages sonores, de synthèses.

	Il compose donc en fonction des projets des musiques concrètes, des musiques électroacoustiques, des musiques anecdotiques, des musiques autobiographique, ou encore réaliste des créations radiophoniques.

	Depuis le début de sa pratique de la musique électroacoustique, il est fasciné par la possibilité de mettre en relief et en espace les sons. Au fil des années, inspiré du cybernéphone, il s'est constitué un système de diffusion pour la restitution spatiale des musiques électroacoustiques jouée en directe ou sur support  : La Bétonneuse. Il propose donc des concerts sur ensemble de haut-parleurs.

Par ailleurs,  développe une pratique du live-electronic avec le concrétophone. Cet instrument, lui permet de voyager léger, de s'adapter au différents système de sonorisation, et collaborer avec d'autre forme et d'autre artistes.

	Parcours
-DEM de composition / prix SACEM à Bourges suite à 4 années d'étude en conservatoire avec Roland Cahen, Christine Groult, Roger Cochini (2001).
-Collaboration avec deux centres nationaux de création musicale (assistant pédagogique à IMEB-2000-2001et responsable pédagogique à Césaré 2006-2012)
-Cours de composition et création sonore à Césaré, et à l'ESAD
-Titulaire du titre de régisseur de spectacle option Son délivré par le CFPTS
-Collabore avec des lieux culturels et compagnie artistique en tant compositeur et régisseur son.
- Collabore régulièrement avec PiedNu (Le Havre - 76) et est compositeur associé à Module Étrange.

Eric Broitmann is a composer and performer of Electroacoustic Music.

He studied with Roger Cochini at the academy of music in Bourges and with Denis Dufour at the academy of music in Paris.

His compositions have been played in various events and festivals (Le Forum de la jeune création musicale, Foliesphonies, Elektrophonie, L’espace du son de Musique et Recherche, Synthèse, Le Palais de Tokyo, Electromania, Futura).

He also compose for danse.
Eric Broitmann  collaborates with Motus  since 2008.
He organises évents, concerts and makes stages for Young school public.


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