franÃ§ois-bernard mÃ¢che (born april 4, 1935, clermont-ferrand) is a french composer of contemporary music. born into a family of musicians, he is a former student of Ãmile passani and olivier messiaen and has also received a diploma in greek archaeology (1957) and a teaching certificate (agrÃ©gation de lettres classiques, 1958). he was a member of the groupe de recherches musicales in paris from 1958â63. he has composed electroacoustic, orchestral, chamber, choral, vocal and piano works. he has been a member of the acadÃ©mie des beaux-arts since 2002 and occupies the chair of the late iannis xenakis."mÃ¢che, franÃ§ois-bernard", living composers project. mÃ¢che's music, myth and nature, or the dolphins of arion (musique, mythe, nature, ou les dauphins d'arion) (1983, 1992 isbn 3-7186-5321-4), which as a whole argues for a return in composition to mythic thought, includes a study of "ornitho-musicology" using a technique of nicolas ruwet's langage, musique, poÃ©sie (1972) paradigmatic segmentation analysis, shows that birdsongs are organized according to a repetition-transformation principle. one purpose of the book was to âbegin to speak of animal musics other than with the quotation marksâ,mÃ¢che (1992). music, myth and nature, or the dolphins of arion, p.114. isbn 3-7186-5321-4. and he is credited by dario martinelli with the creation of zoomusicology. the book also describes the conception and composition of pieces by mÃ¢che, where, "as a starting point, he borrows a tonal model from reality which he then submits to a highly intricate process leading to abstraction." this technique leads daniel durney to describe mÃ¢che as "one of the rare exponents of the naturalistic trend in music." models often include human speech and bird song. given the extensive use of birdsong made by messiaen, mÃ¢che avoided using birdsong recordings in his own work until 1969: naluan for ensemble and tape from 1974, "systematically explores" the model of birds;mÃ¢che (1992), p.189. while sopiana of 1980 pits recordings of malayan shamas, icterine warblers and marsh warblers against the virtuosity of a live flute and piano. recordings of birdsong, insect sounds, and other natural phenomena such as raindrops are integrated into le printemps du serpent for large percussion ensemble of 2001. earlier in mÃ¢che's composing career, recording of a poem by the modern greek poet giorgos seferis, read by mÃ¢che himself, formed the basis of the orchestral work la peau du silence (1962), and that of a text by paul Ãluard for le son d'une voix for small orch
1935_births 20th-century_classical_composers 21st-century_classical_composers French_classical_composers Living_people Members_of_the_AcadA(c)mie_des_beaux-arts Pupils_of_Olivier_Messiaen