Summit meeting « dufouryterce »
Interview with Steven Hearn and Aymeric Lozet. Revue Octopus n°14. Pages 48 to 52. Spring 2002.
In this long cross-interview that puts him in front of Alexandre Yterce, Denis Dufour gives us a more radical point of view than what he is used to write. First, he explains why acousmatic music is a fertile ground for creation. The sharp work of the sound fixed on a support, the lack of standards or a leader allows the composer to express himself freely in a world entirely turned towards modernity. Unlike Yterce, Denis Dufour strives to live in this society. This is reflected in the pedagogy he develops since the beginning of his musical career. However, it extracts itself, takes a step back, denounces through creation, sometimes in a serious or violent way, this same society. Moreover, he explains that his work of composition often starts from impressions resulting from observation, feeling and apprehension of the outside world. The final work will be only one way to talk about it among an infinite number of other possible works.
Alexandre Yterce, leaves a large place to the unconscious, to an unimpeded enjoyment, transgressing to better go to the essential. If Dufour is more measured, his attentive observation of the world and the gradual development of an inner universe lead to dense creations, sometimes violent but fair in tone, and leave their mark on the minds.
The rest of the article discusses comparisons and filiations between acousmatic and electronic music, techno or other. Yterce talks about the very nature of techno music in its degrading aspect as a syndrome of an impeded society. Dufour prefers to recall the different stories of two musical environments that do not have the same issues. He insists on the institutional aspect of acousmatic music anchored from the beginning in a logic of so-called learned music. Techno, pop or rock music follows more a logic of popular music more linked to the functioning of an economic market. He denounces by the way the historical shortcuts made by some journalists and the unwelcome reappropriations. However, he recognizes the essential meeting point between acousma and techno: intuitiveness in writing, where music is elaborated as you listen to it.