Annette Vande Gorne. Following her classical studies at the Royal Conservatories of Mons and of Brussels, and her studies with Jean Absil, Annette Vande Gorne chanced upon acousmatics when on a training position in France. Instantly convinced, by the works of François Bayle and Pierre Henry, of the revolutionary nature of this art form (disruption of perception, renewal of composition through spectromorphological writing and listening conduction, historical importance of the movement), she took a few training positions to grab its basics, then studied musicology (ULB, Brussels) and electroacoustic composition with Guy Reibel and Pierre Schaeffer at the Conservatoire national supérieur in Paris.

She founded and manages Musiques & Recherches and the Métamorphoses d’Orphée studio (Ohain, 1982). She also launched a series of concerts and an acousmatics festival called L’Espace du son (Brussels, 1984; annual since 1994), after assembling a 80-loudspeaker system, an acousmonium, derived from the sound projection system designed by François Bayle. She is the editor of the musical aesthetics review Lien and Répertoire ÉlectrO-CD (1993, ’97, ’98), a directory of electroacoustic works. She also founded the composition competition Métamorphoses and the spatialized performance competition Espace du son. She gradually put together Belgium’s only documentation centre on that art form, available online at electrodoc.musiques-recherches.be

She gives numerous spatialized acousmatic music performances, both of her own works and the works of international composers.

Professor of acousmatic composition at the Royal Conservatory of Liège (1986), then Brussels (’87), and Mons (’93), she founded an autonomous Electroacoustic Music section at the latter, later (2002) integrated to the European graduate studies framework. Since 1999, she has been managing an international summer training session on spatialization and — since 1987 — on electroacoustic composition.

Her works can be heard in every festival and on every radio program presenting fixed media-based (previously ‘tape’) music.

Haïkus:Jeux répétéshomage to Pierre Henry – takes Pierre Henry’s repetitive writing at the beginning of Dziga Vertov’s film The Man with the Camera (1929) as a reference. The sitar, used in this work, is played by Mark Bogaert, a jazz musician whose creativity in the art of improvisation I thank.

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Haikus:Automne was realized in 2019 and 2020 at the Métamorphoses d’Orphée studio of Musiques & Recherches in Ohain (Belgium). The parts Jeux mécaniques, Jeux étendus, brouillard and Jeux répétés were commissioned by Ars Musica for its 30th anniversary and premiered on 16 November 2019 during the concert Ciné-concert: Hommage à Pierre Henry in the framework of the Ars Musica festival at the Palace in Brussels (Belgium).