[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/nicolas-verin-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/en\/wiki24\/nicolas-verin-wikipedia\/","headline":"Nicolas V\u00e9rin – Wikipedia","name":"Nicolas V\u00e9rin – Wikipedia","description":"before-content-x4 French composer after-content-x4 Musical artist Nicolas V\u00e9rin (born 21 June 1958) is a French composer and professor of music.","datePublished":"2016-08-09","dateModified":"2016-08-09","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/en\/wiki24\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/c9645c498c9701c88b89b8537773dd7c?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":100,"height":100},"url":"https:\/\/wiki.edu.vn\/en\/wiki24\/nicolas-verin-wikipedia\/","about":["Wiki"],"wordCount":6043,"articleBody":"     (adsbygoogle = window.adsbygoogle || []).push({});before-content-x4French composer       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Musical artistNicolas V\u00e9rin (born 21 June 1958) is a French composer and professor of music. His many influences, from jazz to electronics, from American to French music, give him an unusual style, apart from the main trends of French contemporary music, combining energy and subtleness.[1][2]While rooted in electroacoustic music and its approach based on composing with sounds rather than notes, he also wrote many instrumental pieces and specialized particularly in music mixing live performers and electronics, whether fixed sound or live processing.[3] At the basis of his work are the musical gesture and the life of sound and its morphology.[4] An improviser himself, his works often leave a creative space for performers, and he has collaborated on many occasions with famous improvisers.       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4V\u00e9rin received commissions from the French Ministry of Culture, Radio France, INA-GRM, Studios, Festivals and Conservatories. He was composer in residence in the Midi-Pyr\u00e9n\u00e9es region and was awarded the prize Villa M\u00e9dicis hors les murs. His music, published by \u00c9ditions Jobert and \u00c9ditions Fran\u00e7ois Dhalmann, has been performed and broadcast worldwide.Table of ContentsLife and work[edit]Beginnings[edit]Main career[edit]As performer[edit]Prizes[edit]Commissions[edit]Main compositions[edit]Recordings[edit]Selected writings[edit]References[edit]External links[edit]Media links[edit]Life and work[edit]Beginnings[edit]V\u00e9rin was born 21 June 1958 in Saint-Omer, France. After initial studies with private professors of piano, at the Martenot School and the Brest Conservatory, he obtained his Dipl\u00f4me de fin d’\u00e9tudes from the Conservatoire National de R\u00e9gion de Saint-Maur in piano, studies in chamber music, harmony. At age 12 he started guitar and a year later founds and leads a pop music group. This was to be followed by jazz piano, which he learned mostly on his own, but also with teachers (Matias Pizarro, Jimmy Cheatham, Fran\u00e7ois Couturier).       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4After his baccalaur\u00e9at, he followed a summer workshop in Cordes, near Toulouse, by INA-GRM, during which he decided to become an electroacoustic composer. He then studied music and science at the Universities of Paris VI\u2013Jussieu, Brest and Paris VIII\u2013Vincennes, where he obtained a licence de musique (B.A.). During this time, he organized with a fellow student the first electroacoustic music concert in the city of Brest.[5][6] He later attended musical academies Acanthes (Aix-en-Provence 1982), and Darmst\u00e4dter Ferienkurse (1992).[7]Thereafter, he entered the electroacoustic music composition class of Pierre Schaeffer and Guy Reibel at Paris Conservatory where he got his degree in 1979. V\u00e9rin went on to study 5 years at the University of California, San Diego, where he obtained a Master of Arts (1982)[8] and a PhD (1986)[9] in composition and computer music. His main professors there were Roger Reynolds, Jean-Charles Fran\u00e7ois, Joji Yuasa, Robert Erickson, F. Richard Moore, Bernard Rands, Gordon Mumma, Julio Estrada.[10]Main career[edit]Upon returning to France, V\u00e9rin collaborated as musical assistant with Pierre Henry, for studio work, recording original sounds, processing sounds, and concert performances in major Festivals in France and Germany. The pioneer of musique concr\u00e8te invited him in his studio for a composition in 1988. V\u00e9rin is considered one of only two disciples of Pierre Henry.[11][12] and has performed his music in many occasions.[13][14]In 1988, he was chosen by Jean-Claude \u00c9loy to work at CIAMI (Centre d’informatique appliqu\u00e9e \u00e0 la musique et l’image, Rueil-Malmaison) in charge of the MIDI studio and the cmusic\/CARL environment.In 1989 he joined the creation department at IRCAM, where he works as a tutor. This involved coordinating the productions of invited composers (Michael Jarrell,[15]Micha\u00ebl Levinas,[16][17]Fr\u00e9d\u00e9ric Durieux, Hans-Peter Kunz) and teaching several courses of computer music (for the doctorate program of \u00c9cole des Hautes \u00c9tudes en Sciences Sociales and IRCAM’s Computer Music Curriculum) as well as participating in the beta-testing of Miller Puckette’s Max programming language.[18]In 1990, V\u00e9rin founded the association Ligys, which becomes a studio coop with composers Christine Groult and Jacqueline Ozanne, active in Paris for productions and a few concerts.[19] After the dissolution of Ligys, he founds in 2007 the association Impulsion.In 1992 V\u00e9rin was appointed Professor of Electroacoustic music at the Conservatoire National de R\u00e9gion of Chalon sur S\u00e2one (Burgundy), where he is tenured in 1998. From 2002 to the present, he is Professor of Composition and Electroacoustic Music at \u00c9cole nationale de musique et de danse d’Evry (Essonne).From 1992 to 1995, he is composer-in-residence in the Midi-Pyr\u00e9n\u00e9es Region. This includes a residence at LIMCA (Lutherie Informatique et Musique Contemporaine \u00e0 Auch), where he realizes two compositions.[20][21] He is appointed Musical Director for two editions of the Auch Danse\/Musique Contemporaines Festival (in Gascony), involving the programming of 8 concerts, some in relation to dance companies. The residence also included studio work at GMEA (Groupe de Musique Electroacoustique d’Albi-Tarn), resulting in an electronic music piece, In vino musica,[22] given daily for the show Musique des Vignes from October through November 1992 at the Centre Culturel de l’Albigeois.[23]In 2003\u20132004, V\u00e9rin is invited at IRCAM to do a new version of his work 11 avenue du Midi on the WFS system (sonic holography), installation presented at Nic\u00e9phore Days in Chalon 2004 (France), at IRCAM’s Festival R\u00e9sonance 2004[24] and in Leipzig in 2005.As performer[edit]Besides his compositional work, V\u00e9rin has also performed electronic music and improvisation.[25][26][27] He founded Duo Alchemia with Julien Feltrin (recorder), touring in France. With the improvised music trio DSV (C\u00e9cile Daroux\u00a0[fr]: flutes, Louis Sclavis: clarinets, Nicolas V\u00e9rin: electronics) he performed in France[28] (Festival Agora in 2002[29]), in Russia and United States.[30][31][32] Since the untimely death of C\u00e9cile Daroux, the group remains as a duo and renamed itself Ensemble C\u00e9cile. He performed with Vinko Globokar as electronic musician in the latter’s magnum opus Laboratorium,[33] in concerts at UC San Diego, Witten, and Cologne.V\u00e9rin appears also as improviser or electronic musician in several CDs (Xe symphonie by Pierre Henry, Pr\u00e9fixes by Micha\u00ebl Levinas, Congruences by Michael Jarrell, Improvisations pr\u00e9par\u00e9es with Mirtha Pozzi and Pablo Cueco) and performed with saxophonist Daniel Kientzy, actor Jean-Louis Jacopin, flutist James Newton, saxophonist Steve Coleman, pianist Anne-Marie Fijal.[34] He has performed the electronic part of mixed and acousmatic pieces by Pierre Henry[35] and many others.[36][37] As a pianist, V\u00e9rin was accompanist of choirs and singers, played in jazz groups (with Fran\u00e7ois Moutin and Louis Moutin, Philippe Botta and others).Prizes[edit]Villa Medicis Hors les Murs (Institut Fran\u00e7ais, CulturesFrance, 2001 and 2010)[38]Concours Luc Ferrari \u2013 H\u00f6rspiel 2, by La Muse en circuit\u00a0[fr] and Radio France (1997)[39]CEDS (New London, Connecticut, 1991)selections in many competitions including Sond’Arte (Lisbon 2009),[40] Bourges (1998, 1997, 1996, 1994, 1990), Olympia (Athens, 1989),[41] Leonie D. Rothschild (USA), etc.Commissions[edit]French Ministry of Culture (1992, 1994, 1997, 1999, 2003)[42]INA-GRM (1989, 1993, 2004, 2009)[43][44]Radio France (1991, 1996, 2004, 2012)Festivals (Dijon in 1996 and 2001,[45] Perpignan 1995, Nancy 1999)Studios (C\u00e9sar\u00e9 Reims 2012, Centre Henri Pousseur (CRFMW) Li\u00e8ge 2009,[46] GMEA 1991, GMVL 1990)Conservatories (Bagnolet 2007, CEFEDEM Dijon 2006, Evry 2003…)V\u00e9rin’s catalog consists of more than 60 works, ranging from solo instrument to symphonic orchestra, through electronic music (fixed sounds or live), stage music for theatre, dance. Several of his pieces are published by \u00c9ditions Jobert-Lemoine (Paris) and \u00c9ditions Fran\u00e7ois Dhalmann (Strasbourg).Main compositions[edit]Opus 4\tSolo violin piece I (7′ \u2013 1981)[47]Opus 7\tPleine Lune (26′ \u2013 1982) for electronics (four tracks) and projected images (by Dominique Piollet and Nicolas V\u00e9rin).Opus 8 Solo violin piece II (6′ \u2013 1983)Opus 10c\tSolo III (7′ \u2013 1998)Opus 12\tPetites variations pour piano (10′ \u2013 1985\u20132004)Opus 13\tUne nouvelle demeure pour Picasso (20′, 1985) music for the documentary film by Edmond Agabra[48]Opus 14\tCirios (12′ \u2013 1986) for 14 instruments (picc, fl, cl\/b. cl. b, t. sax, trpt, 2 trb, el. guit, synth, perc, vn, viola, vc. and cb.)Opus 15\tLa lueur et la fum\u00e9e (1 hour \u2013 1986\u20131993) Musical theatre for actor, synthesizer and 10 tracks to be mixed live on texts adapted from Charles Baudelaire’s Le Spleen de ParisOpus 16\tSuite pour Minnie (18′ \u2013 1986) for wind ensemble (20 musicians)Opus 17\tRetornelo (8′ \u2013 1987) for wind quintetOpus 18\tOmbres chinoises (18′ \u2013 1988) for non-professional instrumental ensemble (2\/2\/0\/0 1\/0\/0 4\/4\/3\/2\/1 or more)Opus 19\tMiroirs D\u00e9formants (11′) for oboe and electronics (four tracks)Opus 20\tP\u00e9rip\u00e9ties (14’30 \u2013 1989 \u2013 rev. 1995) for four flutesOpus 21\tTulipes aquatiques (5′ \u2013 1990) music for the art film by Unglee[49]Opus 22\tRhapsodie parisienne (28′ \u2013 1990) radiophonic piece (two-track tape) with Jean Dautremay, voice, Jean Pierlot, percussion, Nicolas V\u00e9rin, synthesizer.Opus 23\tProjections obliques (23′ \u2013 1990\u20131991) for solo flute and clarinet, live electronics and ensemble (Midi keyboard, tpt, trb, perc., vn, cb)Opus 24\tM\u00e9talmorphose (16′ \u2013 1990) for percussion and electronics[50]Opus 25b\tDe tr\u00e8s pr\u00e8s ou de tr\u00e8s loin… (9’45 \u2013 2001) for fixed soundsOpus 26a\tChass\u00e9-crois\u00e9 Ia (8′ \u2013 1991) for clarinet (+ bass cl.) and viola + adaptations Ib for clarinet (+ bass cl.) and cello and Ic for clarinet (+ basset horn) and viola[51][52]Opus 27\tIn vino musica (19′ \u2013 1992) electronics (six tracks) with optional wine-tasting installation[53]Opus 29\tInstabile (17′ \u2013 1992, rev. 1996) for ensemble (fl, oboe, cl\/b. clar, F horn, 2 perc., pno\/el. kbd., vn, vc) and live electronics[54][55]Opus 32a\tDi un temporale… (22′ \u2013 1994) for orchestra (2 fl (+ picc + alto fl), 2 oboe (+ E.H.), 2 cl (+ b. cl.), 1 bn, 1 cbn, 2 F. H., 2 tpt, 1 tbn, 1 tuba, 2 perc, 1 hrp, strings (min. 6\/6\/4\/4\/3) and electronicsOpus 32b\tTemporale che non c’\u00e8 (17’30) for orchestra (2 fl (+ picc + alto fl), 2 oboe (+ E.H.), 2 cl (+ b. cl.), 1 bn, 1 cbn, 2 F. H., 2 tpt, 1 tbn, 1 tuba, 2 perc, 1 hrp, strings (min. 8\/6\/4\/4\/3)Opus 33\tSuite en mouvement (12′ \u2013 1995) 3 pieces for clarinets and electronics, for students 1st to 3rd cycleOpus 34\t11, avenue du Midi (13′ \u2013 1995) radiophonic pieceOpus 35\tuna rosa… una rueda… (23′ \u2013 1995) for speaker, ensemble (fl, 2 cl, sax, tpt, tb, perc) and electronics, on Federico Garcia Lorca’s poem “Oda a Salvador Dali”Opus 36a\tMariposa clavada que medita su vuelo (17′ \u2013 1996) for flute and electronics (four tracks)[56]Opus 36b\tThyrcis (9’50 \u2013 2002) for solo fluteOpus 38\tChass\u00e9-crois\u00e9 II (8′ \u2013 1997) for violin and piano[57]Opus 39a\tKhamsin (20′ \u2013 1997) for drum kit and electronics[58]Opus 39b\tSamo\u00fbm (17′ \u2013 1997) electronics[59]Opus 40\tChass\u00e9-crois\u00e9 III (8′ \u2013 1998) for two violins[60]Opus 42\tBora (19′ \u2013 1999) for saxophone (soprano and barytone) and electronicsOpus 44\tChinook (18′ \u22121999) for electric guitar and electronicsOpus 45\tP’hioni (20′ \u2013 2000) for contrabass and electronicsOpus 47\tSolid Noid (25′ \u2013 1992\u20132005) for Midi piano, Disklavier and live electronicsOpus 48\tVents du Monde (28′ \u2013 1999\u20132003) for saxophone, electric guitar, contrabass, drums and live electronicsOpus 49\tParties diverses (15′ \u2013 2002\u20132004) concerto for Ondes Martenot and orchestra (strings + 2 horns)Opus 50\tChass\u00e9-crois\u00e9 IV (10′ \u2013 2004) for flute and percussion (vibraphone and 6 gongs)[61]Opus 51\tInterleaved tracks (15′ \u2013 2004) for bass clarinet and live electronics[62]Opus 52\tJard\u00edn de acero (26′ \u2013 2007) for soprano, clarinet (also Eb and bass), percussion, piano, violin and celloOpus 53\tImpulsions (15′ \u2013 2008) 3 pedagogical pieces for strings and electronics, for students 1st to 3rd cycleOpus 54\tTrois \u00e9tudes d’espace (19’30 \u2013 2009) electronics (eight tracks)Opus 55\tNow and Then and Now (10’20 \u2013 2012) for recorder flute (Paetzold contrabass, tenor and soprano) and live electronicsOpus 56\t\u00c9toile filante (2′ \u2013 2011) for Bb clarinet, written in memory of C\u00e9cile DarouxOpus 57\tHyst\u00e9RAProt\u00e9ron (3’36 \u2013 2012) for contrabass clarinet and electronicsRecordings[edit]Solo IV. OuSonMuPo \u2013 Disque Premier. Art3mix 0101. CD. 2011.[7] Miroirs d\u00e9formants, M\u00e9talmorphose, Mariposa clavada que medita su vuelo, P’hioni. Nicolas V\u00e9rin \u2013 Four works for soloists and electronics. INA-GRM 475122. CD. 2005.[63][8] Solo Violin Piece II, Espejito, Chass\u00e9-Crois\u00e9 Ic, Petites Variations pour Piano, Thyrcis, Chass\u00e9-Crois\u00e9 II, P\u00e9rip\u00e9ties. Chass\u00e9s-crois\u00e9s, Duos and solos by Nicolas V\u00e9rin. NVCD01. CD. 2003. re-issued on cdbaby [9]Chass\u00e9-crois\u00e9 III. Contemporary Violin duets, by J\u00e1nos N\u00e9gyesy and Pa\u00efvikki Nykter. AuCourant Records 0010-1. CD. 2000.Oui. Arr\u00eats fr\u00e9quents. Vand\u0153uvre 9813. CD. 1998.[64]Solo III. Paysaginaire Concr\u00e8tement. Paysaginaire PAYSA9810. CD. 1998.Solo Violin Piece I. Dedications to J\u00e1nos N\u00e9gyesy. Neuma 450-95. CD. 1995.11, avenue du Midi. H\u00f6rspiele 2. Radio-France\/La Muse en circuit\u00a0[fr]. CD. 1995.In vino musica. Musique des vignes. GMEA MP01. CD. 1992.Selected writings[edit]“C\u00e9cile Daroux\u00a0: le t\u00e9moignage de Nicolas V\u00e9rin”. Tempo Fl\u00fbte no. 7, pp.\u00a043\u201345, St-Clair sur Epte, 2012.“Approaching contemporary music”. Pulse Field, Georgia State University, Atlanta, 2003.“Entretien avec Pierre Henry“. Ars Sonora Revue no. 9, p. 20. Paris, 1999.“Quelles notes de programme pour la musique d’aujourd’hui\u00a0?”. M\u00e9dia et Information. L’Harmattan, Paris 1998.“Interview de Steve Reich”. Ars Sonora Revue no. 7, p. 7, Paris, 1998.” Congruences et l’\u00e9lectronique”. Les cahiers de l’Ircam no. 1, pp. 67\u201377, Paris 1992. ISBN\u00a02-90948703-2“Archipelago de Roger Reynolds”. Inharmoniques no. 8, pp. 178\u2013205. IRCAM, Paris, 1991. ISBN\u00a02-909487-00-8“Spatialisation: interpr\u00e9tation, composition, improvisation\u00a0?“. Dhomont, Francis, ed. Lien, special issue “L’espace du son”, pp.\u00a053\u201355. Musiques et Recherches LIEN. Ohain, Belgium, 1989, reprinted in 1998References[edit]^ Thion, Michel (1994). “La musique contemporaine en France en 1994”, p. 67. Chroniques de l’AFAA no. 5, AFAA, Paris. ISBN\u00a0286545-120-8^ Contemporary Composers Index^ Solomos, Makis (2000). “Die neuesten Entwicklungen der zeitgen\u00f6ssischen Musik in Frankreich”, pp. 85\u201386. Musik und Aesthetik, vol. 4, no. 16, Stuttgart^ Classical Composers Index^ Ouest-France, Rennes, 31 April 1977[full citation needed]^ Le T\u00e9l\u00e9gramme, Morlaix, 31 April 1977[full citation needed]^ Steenhuisen, Paul (2005). “Darmstadt 1992 \u2013 the Understory”, p. 85, “Circuit: musiques contemporaines”, vol. 15, no. 3, Presses de l’Universit\u00e9 de Montr\u00e9al^ Master of Arts, UCSD^ PhD Thesis, UCSD^ \u00c9ditions Jobert^ Pierre Henry, quoted in Gilly, C\u00e9cile and Samuel, Claude (1991). Acanthes An XV, Van de Velde, Paris. ISBN\u00a02858681732^ Chion Michel (2003). “Pierre Henry”, p. 88. Fayard, Paris. ISBN\u00a0978-2-213-61757-2^ Tousignant, Fran\u00e7ois,”Une tr\u00e8s grande interpr\u00e9tation”. Le Devoir, Montr\u00e9al, 11 November 1999^ Festival Futura 1998^ Congruences (1989) de Michael Jarrell, Elements d’analyse technique, by Nicolas V\u00e9rin, Francis Courtot, Michael Jarrell, IRCAM (Research institute\u00a0: France) ed. IRCAM, 1990 (41 pages)^ Levinas, Micha\u00ebl and Castanet, Pierre-Albert (2002). “Le Compositeur Trouv\u00e8re\u00a0: \u00e9crits et entretiens (1982\u20132002)”, pp. 94\u201397. L’Harmattan, Paris. ISBN\u00a02747528162^ Levinas, Micha\u00ebl (1994). “Transients of Attack and Hybrid Sound: Toward a New Mixity”, pp. 13\u201315. Leonardo Music Journal, vol. 4. Cambridge, Massachusetts: MIT Press.^ Puckette, Miller (1991). “Combining Event and Signal Processing in Max Graphical Programming Environment”. Computer Music Journal, vol. 15, no. 3^ Dallet, Sylvie, and Veitl, Anne (2001). “Du sonore au musical: cinquante ann\u00e9es de recherches concr\u00e8tes (1948\u20131998)”, p. 43. L’Harmattan, Paris. ISBN\u00a02747503402 [1]^ Pistorio, Elisabeth.”Croisements chor\u00e9graphiques et musicaux en Gascogne”. R\u00e9volution\u00a0[fr] no. 723, pp. 48\u201349, 6 January 1994^ Wernert, Marie-Laurence. Sud Ouest, 4 October 1993^ Thion, Michel. R\u00e9volution, no. 673, p. 40. 21 January 1993^ Giral, Esp\u00e9rance. “Musique des vignes \u2013 le go\u00fbt des sens”. La D\u00e9p\u00eache du Midi, 8 November 1992^ IRCAM Festival R\u00e9sonance 2004^ L’Alsace-Le Pays, 26 July 1999[full citation needed]^ Les Derni\u00e8res Nouvelles d’Alsace, 26 July 1999[full citation needed]^ “Center for New Music and Audio Technology”, UC Berkeley^ B. FZ. “La Perfection de l’improvisation”. Les Derni\u00e8res Nouvelles d’Alsace, 8 August 2011^ Dahan, \u00c9ric. “Sclavis \u00e9lectronique”. Lib\u00e9ration, 8 June 2002 [2]^ Woodard, Josef. DownBeat, May 2002[full citation needed]^ University of California, Irvine^ Center for New Music and Audio Technology, UC Berkeley^ “Vinko Globokar: Laboratorium“ (work details) (in French and English). IRCAM.[failed verification]^ France-Musique concert and broadcast of 25 April 2007^ Zvonar, Richard (2005). “A History of Spatial Music”. eContact! 7.4, Canadian Electroacoustic Community [3]^ “Trois-Epis\u00a0: \u00e0 l’\u00e9coute des sons”. L’Alsace-Le Pays, p. 7, 26 July 1999.^ “Larsen et Cerb\u00e8re”. Les Derni\u00e8res Nouvelles d’Alsace, p. 30, 26 July 1999.^ Agenda de la musique contemporaine, Centre de documentation de la musique contemporaine, Paris, April 2010. [4]^ Jeux pour l’Oreille, 1997 edition^ Sond’Arte Competition 2009^ Longchampt, Jacques. “Olympiades de composition \u00e0 Ath\u00e8nes \u2013 Lumi\u00e8res d’Italie”. Le Monde, p.22. 3 June 1989^ Commandes d’Etat on the CDMC’s Website^ Gayou, Evelyne (2007). “GRM, le Groupe de Recherches Musicales. Cinquante ans d’Histoire”, p.242. Fayard, Paris. ISBN\u00a09782213635613^ Program notes of GRM’s concert in Paris, 5 December 2009^ Lalitte, Philippe (2012). “Histoire d’un brise-glace\u00a0: le festival Why Note et son public” in Festivals et soci\u00e9t\u00e9s en Europe XIXe-XXIe si\u00e8cles, sous la direction de Philippe Poirrier, Territoires contemporains, nouvelle s\u00e9rie \u2013 3 –[5]^ Centre Henri Pousseur^ Olschofka, Felix J. (2009). “A comparative analysis of works for solo violin and violin with electronics”, UCSD. [6]^ Forum des Images^ L’heure exquise^ Bonnaure, Jacques. La Lettre du musicien no. 98. Paris, January 1991^ Heizmann, Mathias. Les Derni\u00e8res Nouvelles d’Alsace. 21 July 1997[full citation needed]^ Densit\u00e9 93^ “In vino musica”, Les Inrockuptibles. December 1996^ Marty, Eric. “San Francisco Contemporary Chamber Players and CNMAT in concert”. Computer Music Journal. 22:4, p. 76, Winter 1998.^ Ulrich, Allan. San Francisco Examiner, p. B3, 11 February 1998^ Bonnaure, Jacques. La Lettre du musicien no. 175. March 1996^ Heizmann, Mathias. Les Derni\u00e8res Nouvelles d’Alsace. 18 July 1997[full citation needed]^ Roy, Jean-Louis. Euridyce d\u00e9livr\u00e9e. Dijon, January 1998^ Electronic Music Festival in Corfu, Greece, 29 October 2010^ Heizmann, Mathias. Les Derni\u00e8res Nouvelles d’Alsace. 23 July 1998[full citation needed]^ Radio broadcast on France-Musique^ INA-GRM Webreport 14^ Gervasoni, Pierre. Le Monde. 29 August 2006[full citation needed]^ Gervasoni, Pierre. Le Monde. 30 May 1998.[full citation needed]External links[edit]Media links[edit]     (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4"},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/en\/wiki24\/nicolas-verin-wikipedia\/#breadcrumbitem","name":"Nicolas V\u00e9rin – Wikipedia"}}]}]