On extended, boundless, vibratory and in-the-now music

Experimental music & audio art research and studies, noise electronic & instrumental music and space-based & network music composition & improvisation.






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Jérôme Joy
http://jeromejoy.org/








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Biography(Edit)







../files/imgbio/bio_2012_JJOY_Nantes.jpg Jérôme Joy
Composer - experimental, electronic, electroacoustic and instrumental music
Tenured professor, National School of Arts (presently in Bourges (France), http://www.ensa-bourges.fr/ )
Ex-Ph.D. student, specialized / ad-hoc Ph.D in audio art & experimental music, Laval University Québec (CAN) (2011-2016)
Ex-Research director with Peter SinclairLocus Sonus - audio in art, research lab (2004-2016), http://locusonus.org/

Contacts: joy(at)thing.net — joy(at)nujus.net — jerome.joy(at)ensa-bourges.fr — support(at)locusonus.org — jerome.joy.1(at)ulaval.ca

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Download curriculum vitae 1982-2016 with works' list (French version with English abstracts) [pdf]




French versionEnglish versionGerman versionSpanish versionJapanese versionChinese version





Short Bio(Edit)

Jérôme Joy is a French composer and performer, living and working in Nantes (F). He studied at the Conservatory of Bordeaux (F) (instrumental and electroacoustic composition classes and master-classes with Luis de Pablo, François Rossé, Etienne Rolin, François Bayle and Ivo Malec). Since the beginning of the eighties, his work is based on sound intensity, duration and loudness as structure and de-structuring of music. He started as a performer, electronic / electroacoustic improviser and "microphonist" in 1982, and had developed a series of net projects along the 1990s. He's currently member of Qwat ? (percussion quartet), pizMO, MXPRMNTL, NoEnsemble, and ONSemble. After having teaching at Villa Arson in Nice France from 1992 to 2010, he is presently tenured professor at the National School of the Arts at Bourges and he was research co-director (2004-2016) -with Peter Sinclair- of Locus Sonus, audio in art, research lab, http://locusonus.org/ . From 2011 to 2016, he has been engaged in a ad-hoc Ph.D. in audio art & experimental music at Laval University Québec (title: ‘Internet Auditoria — Expanded Music / Music for Sonic Expanses : Music and Environmental Aesthetics — Earth-Mars Auditorium’).


Biography (Wikipedia article) (French version)




Statement(Edit)

Jérôme Joy is a French composer and performer, living and working in Nantes (F). He studied at the Conservatory of Bordeaux (F) (instrumental and electroacoustic composition classes, with Fusté-Lambézat (Darius Milhaud's student) and Éloy (GRM), and master-classes with Luis de Pablo, François Rossé, Etienne Rolin, François Bayle and Ivo Malec) and started as a performer, electronic / electroacoustic improviser and 'microphonist' in 1982. His meetings with La Monte Young, Rhys Chatham, Paul DeMarinis and Eliane Radigue along the 80s and 90s were decisive, as well as his conversations with Hamish Fulton, Malcolm Goldstein and Robert Barry. Since the beginning of the eighties, his work is based on sound intensity, duration and loudness as structure and de-structuring of music. He's currently member of pizMO, MXPRMNTL, NoEnsemble, ONsemble and Subtecture. From 1992 to 2010 he has been teaching at the National School of the Arts, Villa Arson in Nice France, and taught the sound practices at the sound department (AudioLab) after the Danish artist Lars Fredrikson. He is presently tenured professor at the National School of the Arts at Bourges (F) and, from 2004 to 2016, he was research co-director -with Peter Sinclair- of Locus Sonus, audio in art, research lab, http://locusonus.org/ . Occasionally he's teaching and has been teaching in Canada (UQÀM) and in USA (SAIC Chicago, visiting artist 2001-2005). He has been engaged in a specialized /ad-hoc Ph.D. in audio art & experimental music at Laval University Quebec, from 2011 to 2016 (title: ‘Internet Auditoria — Expanded Music / Music for Sonic Expanses : Music and Environmental Aesthetics — Earth-Mars Auditorium’).

Since the beginning of 80’s, his work explores the 'manufacturing' of listenings such as in-tempo and in-situ experiences and musical situations. This intention is an attempt to exceed the standardization of music & sound reception, by proposing long and physical sound immersive music works with unusual sound sources and processes : electronic and acoustic feedback, accidental and residual sounds, amplification and distortion, aleatoric processes of sound combination and surimposition, etc. His work is based on sonic matters of facts and on sound intensity, duration and loudness as structure of music. That allows the audience to be immersed into the vibrational structure of the environment through sound and music experiences. This way to develop a music 'by' and 'with' the environment reveal strong relationships between sound and space : to put them into vibration and into interaction. This is involving an active listening that is not dissociated of the sonic & spatial experience : a constant care has to be taken to discover and live various accidental and inferential variations as they occur and to engage modulations into listening (by moving, interfering, etc.). The oscillations between continuity and discontinuity, between masses and densities, and between transparencies and opacities, are the background of his music consisted of continuous sound, long & sustained tones and most of time at very extreme high volume. This intense and very loud music is a music of control (into and of what is uncontrolled and uncontrollable). The difficulty to maintain sound sustain and to engage thresholds of hearing and of audibility corresponds to transitory aspects of sound and to its nature of propagating and expanding in space. By working with noises and (altered) sound & tones, and consequently with their own organicity and materiality, he doesn't use formal (external-to-sound or not generated by the sound itself) methods and principles of composing and he emphasizes experiential and experimental approaches. His music works are inexpressive and don't 'say' anything than what they are and how they sound and resound. He's using recent technologies, computers (as instruments), and classical music instruments and notation as well, and he's playing in music venues, as well as outdoors (out in the open) and on Internet (with the use of telematic effects as 'acoustic' properties of the electronic space in networked music performances). The making of music (as well as the listening to music) is a critical, transgressive, and political activity, experience and social situation & conditions (in which we live and act). This has an impact on (his own) production and economics system of making art and music. His music is not 'spectatorial' and spectacular, and often it's engaging the intertwining of the roles of the composer(s), the performers and the listeners : composer as performer as listener as composer as performer as composer as listener ...

The contribution and importance of such a freed listening towards a social and generalised 'musicalisation' are, on one hand, related to the need of non-disconnection and continuity of our experiences into daily life and in the now (even if the music refers to a singular time and space) and, on the other hand, are correlated with a concept of what is unlimited in music. Thus composing and improvising (comprovising) join the same activity of making music and of 'manufacturing' of listenings, within sound & music processes he’s developing, each time different (what he is calling: 'music for sonic expanses', 'listening circuits', 'extended organology of sound', etc.). The processual construction of sound intensity and loudness organises itself into the duration and the course of the music and of the listening : composing the now by and into listening.

He’s currently member of the WLP World Listening Project board in Chicago, committee member of Avatar Québec, member of the research lab GRMS UQÀM Montreal, of the artist-run space Apo33 (Nantes), and member of the art-ivist community The Thing (since 1997). He was a co-founder of the instrumental ensembles Proxima Centauri (Bordeaux, F), NoEnsemble/ONsemble (Nantes, F) and Qwat? a percussion quartet (Nantes, F), and a founding member of improvisation & electronic music bands (pizMO, PacJap, Joystinckler, JOKTTJJEG, JJEL, MXPRMNTL) in France, in Canada and in Japan. He's also founder of several collaborative projects on Internet since 1995 (Collective JukeBox, nocinema.org, Sobralasolas !, RadioMatic, ForumHub, etc.). He has played, performed and lectured widely in Europe and internationally, and he has collaborated and performed with many musicians. His music is performed by soloists and several music ensembles in Europe : Proxima Centauri, Formanex, Oh Ton Ensemble, etc. In recent years Joy has written many articles and papers for international journals and soundart and music reviews. He is the recipient of several commissioned music and radio works, and of residency grants from music and art centers in North America, Europe, North Africa and Asia. His cds are available on www.metamkine.com, tiramizu.net, fibrr records, and lenomdelachose.org/ohm/.

Recent projects include : networked music performance and telemusic collective projects (‘Sobralasolas !’, nocinema.org, synema), noise instrumental & live electronic music and electro-acoustic music (‘Set of Re-Composed Folk Tunes’, 'Klar' a series of pieces for clarinets, ‘JOKTTJJEG’ noise quartet with Julien Ottavi, Kasper T. Toeplitz and Emmanuelle Gibello, ‘JJEL’ a duo in Montreal with Eric Letourneau, ‘pizMO’ electronic noise trio with Julien Ottavi and Christophe Havard, ‘MXPRMNTL’ a drone music project with Anthony Taillard and Christophe Havard, 'Noisense' a series for percussion players).

Recent research includes: ‘NMSAT Networked Music & SoundArt Timeline’, a huge online database of more than 3,000 historical references ; ‘Locustream’, a network of worlwide open streaming microphones, developed by Locus Sonus ; ‘Introduction to a History of Telemusic’, ‘Internet Auditoriums’, ‘Earth-Mars Auditorium’, research studies on noise music.

More recent projects include : 'Nothing at All', an exhibition with David Ryan, Palais de Tokyo, Paris (June-Sept 2016) including 'Alap' (a 9h-music with electronic feedback drones), 'Récit de Michael' (a philosophical and musical novel), etc. ; the release of a cd box of Christian Wolff's works performed by the ONsemble ; the preparation of a Earth-Mars music based on extreme delays (with the collaboration of Pauline Oliveros) ; etc.

URL: http://jeromejoy.org/





Reviews(Edit)

  • A study by Mario Gauthier (French version) :
    The compositional approach of Jérôme Joy is “pluri-multiform” in that it combines in an undifferentiated whole musical acoustic or electronic instruments, computer applications and a diversity of plurial sound practices such as electroacoustic music (aka concrete music), improvisation, performance, computer modelings, networkings, etc... This particular interbreeding generates perceptive unforeseeable objects in constant mobility.
    [... Continue reading ...]




Discography(Edit)


CDs audio(Edit)

  • Chemins pour flûte basse / Paths for bass flute (Christian Maestri, 1995)
  • Pièce stéréophonique pour clarinettes enregistrées (#29) / Stereophonic work for multiple recorded clarinets (Villa Arson, 1995)
  • Mégaphonies (Les Ateliers / CCCL Alexandrie 1997)
  • Mégaphonies (Sound Box 1.0, Kiasma Museum, 1997)
  • Montage (Octandre, 1999)
  • Duo Vocal (Erratum Musical #2, 1999)
  • Overwritten Solos (EAC, 1999)
  • pizMO / pefalm / (Yannick Dauby, Jérôme Joy, Julien Ottavi) (Tiramizu, 2003)
  • pizMO / nim / (Yannick Dauby, Jérôme Joy, Julien Ottavi) (33 RPM - Ten Hours of Sound from France, SFMOMA / 23five Incorporated, San Francisco, 2003)
  • Mono (Tiramizu, 2003)
  • picNIC / (Formanex ensemble, Jérôme Joy, Fabrice Gallis) (Fibrr Rec, 2004, fibrr 008)
  • pizMO / ip / (Yannick Dauby, Jérôme Joy, Julien Ottavi) (Tiramizu, 2005)
  • PacJap / d-system / (franco-japanese ensemble) (Tiramizu, 2005)
  • Metamedia (DVD NTSC, Ohm Avatar, 2007)
  • Sobralasolas ! ep.1 / (Caroline Bouissou, Dinah Bird, Björn Eriksson, Jérôme Joy, Kaffe Matthews, Gregory Whitehead) (Ohm Avatar, 2009, ohm 048)
  • Orient Express (DVDremix, Stéphan Barron, ®ien de spécial, 2010)
  • LocustreamMix (《Around 聽在》sound catalog, soundpocket, Hong Kong, 2010)
  • Sobralasolas ! ep.1, Série des Caroline (Les Essais de Caroline, Caroline en Silence, Caroline Boréale), Locked-Out in the Michigan Ave (Radiophonic Creation Day, USB key, 2010)
  • Sobralasolas ! ep.2 (extrait) / (Caroline Bouissou, Dinah Bird, Björn Eriksson, Jérôme Joy, Kaffe Matthews) (EBU Ars Acustica - Art's Birthday 2005-2010, 2011)
  • Asymphonie Monoton Silence (DVDr, limited edition, Christian Vialard, 2011)
  • Hum (extrait) (compilation CD Nantes is Noise, Apo33, Fibrr Records 2012, fibrr 010)
  • Springlike, (CD Silent Spring, WLP World Listening Project, Chicago, unreleased)
  • pizMO / blst, / (Christophe Havard, Jérôme Joy, Julien Ottavi) (CD Apo33, Fibrr Records 2013, fibrr 012)
  • Christian Wolff, cd box (forthcoming, 2016)

And in collaboration with Brunhild Meyer-Ferrari :

  • Chantal, ou le portrait d'une villageoise (1977-1978), de Luc Ferrari (Ohm Avatar, 2009, ohm 051)




VINYLS(Edit)

  • Shady Grove — LP vinyl — released on Paradise Records — featuring MXPRMNTL - Christophe Havard, Jérôme Joy, Anthony Taillard — a recording sound document realised by Neal Beggs and Fred Emprou, with David Michael Clarke, Romain Rambaud, Elsa Tomkowiak, Damien Moreira, Florian Sumi, Jérôme Joy, Anthony Taillard, Christophe Havard, Baptiste Fertillet, Charlie Jeffery, Benoît Travers — (Paradise Records 2013)




DVD / CDrom(Edit)

  • Proceedings : Colloque Métamedia, 23 Feb. 2007, Québec, Eds: Ohm Avatar 2007, ohm 043
  • NetzMusik/NetMusic, under the direction of Golo Föllmer, Wergo pub., Neuen Zeitschrift für Musik, Berlin, 2004
  • .Net arts/réseaux (Net arts/networks), under the direction of Jean-Philippe Halgand, Eds: AEC, 2000
  • Orient-Express, DVD Remix, published by Stéphan Barron ®ien de spécial, 2010








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