C0 note (16,35 Hz) — vibrating on liquid surface

D0 note (18.35 Hz) — vibrating on liquid surface

C0 note (16,35 Hz) — vibrating on liquid surface

F0 note (21.83 Hz) — vibrating on liquid surface

G0 note (24.50 Hz) — vibrating on liquid surface

A0 note (27.50 Hz) — vibrating on liquid surface



Annual Report

  • Year: 
  • Please describe your organization’s activities over the past year, including concerts, commissions, collaborations, publications: 


    1 – Permanent activity and service to members
    a) Monitoring and dissemination of information
    One of Futurs Composés' main activities consists in monitoring the field of musical creation, and more generally performing arts: provisions, draft laws, reports, appointments...
    This information is made available online in the members section, or directly forwarded to members when deemed important enough.
    The members section is a major pool of resources which is regularly updated and enhanced.
    The permanent staff is also available to network members to guide and inform them, or put them in contact with other resource persons depending on their needs.
    b) Communication tools
    A wide range of tools are available to network members which allow them to make the most of their activities.
    - On the website :
    • Diary : quarterly online updates on the members' activities
    • Member profiles: information and contacts for members
    • Job opportunities from network members
    - Two newsletters :
    • A widely circulated newsletter including an editorial on current events and/or activities within the network, each written by a different member. Four (randomly picked) member profiles are highlighted in every issue
    • A monthly newsletter distributed to "members" only, including an overview of professional events and actions by Futurs Composés and updates on the website, Facebook page and Webzine.
    - A Facebook page, where every member wishing to do so can publish news and post photos or promotional videos.

    2 – Meetings
    Network meetings encourage the sharing of experience and collaborations, contributing to the collaborative reflection on the aesthetic, artistic, institutional and economic aspects of musical creation.
    Workgroup : Laure Marcel-Berlioz (CDMC / pilot), Olivier Michel (Les Cris de Paris), Benoist Baillergeau (independent), Catherine Peillon (ONOMA - Empreinte Digitale), Claire Renard (composer), Marthe Lemut (Or Not...), Laurence Dune (production and promotion officer), Jean-Pierre Moreau (Le MIM), Woudi Tat (composer), Benoît Thiebergien (Centre International des Musiques Nomades / Les Détours de Babel), David Jisse (composer).

    a) Morning Meetings 2014
    >> Futurs Composés Morning Meeting #9
    Subsidies/support for international musical creation
    Friday, May 16th, 2014 at 10:45am, Hall de la Chanson, Parc de la Villette - Pavillon du Charolais
    Futurs Composés invites the Institut Français and the Bureau Export.
    In this age of globalisation, international development is more than ever a major challenge for the musical field. Along with conquering markets for physical and digital distribution, artist development is increasingly based on the distribution of their shows and image in foreign territories.

    Our guests:
    - Mathilde Bézard discussed actions by the Institut Français in the areas of classical and contemporary music.
    - Morgane Krikorian described the Bureau Export's subsidy system for classical and contemporary music, specifically support to contemporary creation through such funds as Berlin's Impuls Neue Musik or London's Diaphonique.

    >> Futurs Composés Matinee Meeting # 10
    Musical creation and small children
    Saturday, September 6th, 2014 at 10:00 am, Parc Floral, Outdoor meeting in the Patio of Pavillon 13, on the occasion of the Classique au vert and Pestacles festivals.
    Guests: Brigitte Lallier-Maisonneuve, director of Théâtre Athénor, Alexandre Levy, composer, artistic director of aKousthéa Cie
    Moderator > Laurence Chave, percussionist, teacher, artistic director of Suo Tempore.
    On the occasion of the performance of "Jardins miniatures" by Alexandre Levy/aKousthéa Cie, an installation and musical performances for young children, as part of the Classique au vert festival, a matinee meeting devoted to musical creation for small children. A performance will conclude the morning at 12am at the Maison du Bois.
    At a time when artistic actions and cultural mediation towards young audiences are encouraged by public partners, it seems interesting to raise the issue of the incidence of attentive listening on the contents of approaches for "young audiences".
    Broad topic… For this first meeting, we chose to focus on the "small children" audiences, that is, between ages 1-6.
    Sound installations, devices, shows, workshops, concerts, public awareness and participatory creation are different approaches for young audiences, which raise the question of whether not reaching this specific public is a potential risk.
    We approached this topic from the creators' perspective, by contrasting the views of a composer (Alexandre Levy) and a director (Brigitte Lallier-Maisonneuve) who will share their experience as artists in this field, but also as managers of venues.
    More specifically, they reflected on the following issues :
    • The relationship between musical creation and early childhood
    • What goals, what types of projects and which specific approaches to creation?
    • How to set up or adapt projects intended for young children ?
    • What type of participation or training of this public should be undertaken ?
    • Materials, objects, sounds to touch, participatory creations.
    • Shapes and shaping.

    >> Futurs Composés Morning Meeting # 11
    New music-oriented platforms and applications : break, transformation or continuity ?
    December 12th, 2014 at CDMC
    his 11th morning meeting organised by the Futurs Composés, the national network for musical creation, is the first in a cycle dedicated to the transformations caused by the emergence of digital technologies on our professions and our working habits.

    To approach this issue, Olivier Michel, administrator of Cris de Paris, invited several speakers who shared their experience as initiators and developers of new tools and digital services.

    Several questions were put forward during the morning :
    • Which factors led to the advent of these companies and digital devices ?
    • What is the target audience of these tools, platforms and applications ?
    • What is their potential with regard to the development (especially economic) and expected impact on the discovery and dissemination of our music ?

    To answer this, three teams leading projects of Internet platforms and applications for touchpads and smartphones will answer these questions.

    Two applications
    > Géraldine Aliberti and Guillaume Terrien – Les Clés de l’écoute
    Les Clés de l’écoute is an educational application for touchpads aimed at children, but which can also be used by parents. The goal is to make one's own arrangement of a work by adding or removing instruments and by changing the volume of each instrument. The results are then shared by sending one's "creation" to the person of their choice.

    > Pauline Lambert – Les Talens Lyriques
    The « [email protected] - Les Talens numériques » project allows to form a digital orchestra, to compose in the baroque style by devising one's own variations on a work or performing a piece using innovative tools (touchpads and Leap motion capture cameras). This project is being tested in a Paris middle school (17th arrondissement) and later made available to a wider audience.

    A distribution platform
    > Hannelore Guittet and Clothilde Chalot – NoMadMusic
    NoMadMusic is a platform for music augmented by the creative and innovative use of new multimedia digital devices.

    b) Aquitaine Meeting

    Futurs Composés, the national network for musical creation, and the Conservatoire de Bordeaux Jacques Thibaud co-organise a day of meetings with Aquitaine-based musical creation professionals.
    « Oser CompOser Transmettre, Musiques de création, quel avenir ? » 3 days dedicated to musical creation in Aquitaine.
    Wednesday, November 19th : 2pm - Futurs Composés' general meeting at the Oara in Bordeaux.
    8.30pm - Proxima Centauri Concert at Le Rocher de Palmer as part of the NOVART festival.
    Thursday, November 20th, 2014 : 9:00am > 6:00pm – Meetings Day « Oser CompOser Transmettre, Musique de création, quel avenir ? » at the Atelier in the Conservatoire de Bordeaux.
    Friday, November 21st : 9.30am > 6pm - Creative Workshops day at the Conservatoire de Bordeaux.
    The aim of this decentralised Futurs Composés day is to extend its presence on the territory and to draw attention to the actions of Aquitaine-based professionals. It is also about raising awareness among territorial entities of the importance of musical creation in a society transformed by digital technology and communication. This meeting is moderated by Marthe Lemut of Or Not.
    > The morning is dedicated to issues related to the training of composers and passing on knowledge, and will be structured around five speeches and several musical moments.
    Opening speech : Fabien Robert, deputy mayor of Bordeaux in charge of Culture and Heritage.
    Moderator : Jean-Luc Portelli, director of the Conservatoire de Bordeaux.
    // Is there still a purpose for teaching composition ?
    - Fréderic Durieux, composer and composition teacher at the Conservatoire National Supérieur de Musique et Danse in Paris,
    - Robert Pascal, composer, professor emeritus at the Conservatoire National Supérieur de Musique et Danse in Lyon.

    // From creation to performance
    - Jean-Louis Agobet, composer and composition teacher at the Conservatoire de Bordeaux,
    - Marie-Bé Charrier, teacher at the Conservatoire de Bordeaux and at the Pôle d'Enseignement Supérieur Musique et Danse de Bordeaux Aquitaine, artistic director of the Proxima Centauri ensemble,
    - Blandine Courel, deputy director of Performing arts at the Conservatoire de Bordeaux.

    > The afternoon is dedicated to the issue of the place of musical creation and punctuated with musical moments.
    Introduction : Karelle Ménine, writer and journalist.
    Moderator : Aude Tortuyaux, columnist for France Culture.
    // Insights
    For our introductory exchanges, we asked the speakers about the very notion of "music of creation", since in theatre for example, the word “creation” is used for new productions by repertory authors ; since the digital space has so deeply transformed our relationship to the creation and dissemination of these new musical works ; since disseminating information and reaching out to new audiences for this music is often the task of multidisciplinary venues.
    - Juan Arroyo and Nicolas Marty, composers trained in composition classes at the Conservatoire à Rayonnement Régional de Bordeaux,
    - Séverine Ballon, cellist,
    - Christine Dormoy, artistic director of La Compagnie Le Grain - Théâtre de la Voix,
    - Charles Guivarch, artistic administrator of the Opéra de Bordeaux,
    - Sophie Grelié, partner artist with Cie Eclats,
    - François Rossé, composer,
    // Roundtable discussion
    The second part of the discussion revolves around the notion of creation.
    - Joël Brouch, director of L’Oara, artistic agency for the Aquitaine region,
    - Marie-Michèle Delprat, director of the Théâtre des 4 Saisons in Gradignan,
    - Laurent Ginioux, director of the Pôle d’Enseignement Supérieur de Musique et de Danse de Bordeaux Aquitaine,
    - Christine Groult, composer,
    - Nathalie Negro, artistic director of PIANOANDCO,
    - Lilian Saly, director of Artistic creation and Heritage for the City of Bordeaux.
    Conclusion of the day by Eric Denut, delegate for music at the Direction Générale de la Création Artistique at the ministry of Culture and Communicatio.
    3 – Global level, ISCM - International Society for Contemporary Music
    Workgroup : François Bousch, Lionel Ginoux, David Hudry, Laure Marcel Berlioz, Olivier Sens, Leilei Tian, Lionel Bord.
    Futurs Composés joined the ISCM (International Society for Contemporary Music) en 2013.
    The World Music Days took place between 3-13 October 2014 in Wroclaw. Composer François Bousch represented the network at the 2014 general meeting.
    In late September 2014, Futurs Composés issued a call to works in partnership with the CDMC and assembled a selection committee to choose 6 works for the 2015 WMD, which will take place in Slovenia. The next edition of the WMD will be held from September 26th to October 1st, 2015 in Ljubljana.
    36 applications were received. Six composers were selected: Karl Naegelen, Stéphane Magnin, Samuel Sighicelli, Laurence Bouckaert, Raphaéle Biston and Hector Parra. Futurs Composés will promote these composers throughout 2014/15.
    The purpose of this workgroup is to assemble members of all the constituents of Futurs Composés to draw attention to our actions at the global level within the ISCM network, in particular through the following points :
    1. Highlight our yearly selection of six works for World Music Days
    2. Present our activities and projects during the ISCM’s General Meeting
    3. Send a composer in residence through the ISCM
    4. Set up international projects with other sections as part of the ISCM members’ fund
    5. Promote our music through the writing of articles and features to be published in World New Magazine
    6. Put forward our composers for the election of "Honorary Members"

    4 – Bien Entendu! A month for musical creation

    In 2014, Futurs Composés organised an unprecedented event, involving all 190 active members of the network (France, Belgium, Québec): national centres for musical creation, cultural exchange centres, State-subsidised theatres, festivals, publishers and labels, ensembles and companies, composers, independents, musicians, producers and distributors, information and training networks ...
    The event took place over 30 days, from March 13th to April 13th, 2014, both in France and abroad: vocal and instrumental music, sound and electro-acoustic arts, electronic music, experimental music, improvised music, multidisciplinary and multimedia performances, workshops, master classes, symposiums and debates, film/live music performances, etc., which showcase the diversity, freedom and inventiveness of today’s musical creation.
    • To make Futurs Composés, its missions and members to music professionals and their counterparts in other artistic disciplines, institutional partners, supervisory authorities and the press.
    • To position Futurs Composés as a reference institutional structure with expertise in issues related to musical creation.
    • Showcase the quality and amount of work by professionals of musical creation.
    • Showcase the diversity, richness and vitality of musical creation.

    The event consisted of over 250 performances (including 32 premieres in 2014) spread over a month on the entire national territory as well as abroad.
    • 101 concerts / recitals / operas
    • 37 musical shows / musical theatre / film with live music
    • 26 performances / sound walks / installations / exhibitions
    • 13 workshops / training courses / residences
    • 7 meetings / debates / conferences

    - Publication of a 88-page programme / paper brochure.
    - Edition of a two-sided poster / map of France
    - Creation of a Bien Entendu ! website
    - Implementation of media partnerships with: Radio France, Libération, Qobuz, Mouvement/Musiques.

    Debate at the BNF for the opening of Bien Entendu ! One month for musical creation
    Artistic creation in the context of cultural consumerism
    Futurs Composés organised a debate for the opening of Bien Entendu ! on Tuesday, March 11th at 5.30pm at the Bibliothèque Nationale de France in Paris.

    Music lovers are increasingly regarded as consumers, and audiences as attendance figures. How, in such a context, can artistic creation maintain its uniqueness and continue to offer discernment to audiences ?
    Despite being often seen by political decision-makers as luxuries, can artistic creation and innovation on the contrary contribute to economic development and "pollinate" in the cultural and social fields ?

    Speakers :
    Noémi Boutin, cellist, Bernard Cavanna, composer, Antoine Hennion, sociologist, Bernard Stiegler, director of the IRI (Institut de Recherche et d’Innovation).

    5 – Political group
    "Philosophical" workgroup : Led by Benoist Baillergeau and Catherine Peillon. This workgroup will lead in-depth discussions on the aesthetics of contemporary musical creation.
    Workgroup on the charter and political text : Benoît Thiebergien, Michaël Dian, Raoul Lay, Benoît Baillergeau. The charter and political text of Futurs Composés will be updated to facilitate a "political" positioning of the network on a consensual basis between lobbying and trade union action.
    Formation of the political watch unit : consisting of all board members. Information is passed on to the entire board (via an e-mail list). Every information is accompanied with one or several suggestions of actions.

    6 – Transmission / Education Group
    Members of the workgroup : Joseph Grau (pilot/flautist), Sébastien Béranger (composer), Valérie Alric (Editions Lemoine), Laurence Chave (composer), Laurent Gardeux (CFMI – Université Paris-sud 11), Claude Delangle (saxophonist), François Rossé (composer/musician), André Serre-Milan (C.R.E.A), Thibault Walter (composer/video artist), Laurence Chave (percussionist), Rut Schereiner (Ensemble Diagonal), Francis Faber (La Grande Fabrique), Christian Eloy, Valentin Villenave (composer) and Françoise Thinat (International Piano Competition, Orléans).
    In 2014, The Transmission workgroup initiated the meeting in Aquitaine, then part of the workgroup participated in the Rencontre group.
    At the request of Joseph Grau, the group is looking for a new pilot for 2015.

    7 – The Webzine
    > Members of the workgroup : Catherine Peillon (Onoma / L'Empreinte Digitale), Claudine Pellerin (MFA), Sébastien Béranger (composer), Nicolas Debade (GRIM), Nadia Ratsimandresy (Trio 3D), Kasper T. Toeplitz (composer), François Rossé, Alexandre Basely (vocal ensemble sequenza 9.3).
    > Members of the editorial board : Catherine Peillon, Sébastien Béranger, Nicolas Debade and Kasper Toeplitz.
    The « Présent Continu » webzine

    The workgroup will :
    • Be active in universities,
    • Raise awareness of this tool among journalists,
    • Organise further calls for thematic contributions,
    • Acknowledge and value written productions from network members,
    • Continue and expand actions implemented in 2014 (Collaboration with Cdmc), creation of an electronic flyer sent to members of the network, sending of newsletters to the entire mailing list when a new article is published, presence on social networks, dedicated sections in the network’s newsletters (internal or external), etc.).
    The goal for implementing these various actions and continuing those undertaken in 2014 is to increase and diversify the site’s audience, to attract new contributors and create original contents on a more regular basis at Présent Continu.

    Appendix 1 – Programme for Rencontres d’Aix - Accord Majeur

    300 structures meet to stand up for creation and musical heritage


    Thursday, July 10th, 2014 at Hôtel Maynier in Oppède


    Dissemination of music in the digital era

    It is a self-evident notion that the advent of digital technology has deeply transformed our societies. This transformation affects creation, modes of communication and consumption, the economy and politics. It imposes itself on the public, artists and cultural players alike. In the field of heritage and creative music, it questions indifferently issues related to creation, production and distribution.
    The questions raised by the ubiquitous presence of digital technology are consequently at the centre of Accord Majeur members’ immediate and future concerns.

    10.15am Opening plenary, with the participation of :
    Bernard Foccroulle, director of the Festival d’Aix-en-Provence
    Michel Orier, director of artistic creation for the ministry of Culture and Communication (subject to change)
    Laurence Allard, lecturer, sociologist, IRCAV-Paris 3 / Lille 3
    Alain Fleischer, director of Le Fresnoy - National studio of contemporary arts

    WORKSHOP 1: Creation, creators and new forms

    Creation, on the one hand, the form in which it is presented to the public on the other hand, are two deeply connected issues.
    − A new way of creating ?
    How do the creators seize digital devices to serve their art ? Has musical creation changed under the influence of new technologies ?
    − New forms ?
    New forms of performances have appeared. Do they bring about a new relationship to time, to image, to the stage and to the audience themselves ?
    Moderator :
    David Jisse, producer for France Musique
    Speakers :
    Roland Auzet, composer
    Rose Bardonnet Lowry, executive director of the Orchestre de Picardie, initiator and major figure in the European cultural networks ONE and ACT
    Jean-Stéphane Michaux, producer at Camera Lucida
    Yann Robin, composer
    Wilfried Wendling, composer, director of La Muse in circuit

    WORKSHOP 2: The incidence of digital technologies on the access to music

    Whether for information, learning or leisure, habits have deeply changed and continue to transform in keeping with technological evolutions. How do digital technologies bring about new ways to access music ? Do they turn the audience member from a consumer to an active user ?
    Moderator :
    Edouard Fouré Caul Futy, producer for France Musique
    Speakers :
    Marilyne Clare-Charrier, research project manager, Orange Lab
    Joost Fonteyne, director of the Festival de Flandre Courtrai
    Lorraine Villermaux and Clément Lebrun, Les Talens Lyriques

    WORKSHOP 3: Music distribution/dissemination relative to traditional and digital media

    Traditional media and digital channels now cover a wide range of realities which have become difficult to distinguish since they are implemented in a very complementary manner.
    How can music take advantage of the complementarity between traditional and digital media to improve their distribution ? Are distribution and promotional methods transformed ?
    Has the "nature" of audio-visual musical “objects” changed as new conditions of production were appearing ?
    Moderator :
    Arnaud Laporte, producer for France Culture
    Speakers :
    Clotilde Chalot, co-founder of NoMadMusic
    Emelie de Jong, director of the Arts & Entertainment division at ARTE France
    Camille Domange, head of digital programmes department at the ministry of Culture and Communication
    Yves Riesel, CEO of Qobuz
    Jean-Romain Sales, manager of Oxymore Prod

    WORKSHOP 4: Digital technology as a potential for growth : what perspectives for creators, producers and distributors ?

    Digital economy is seen as a new Eldorado, both real and fantasised. How can those working in the music field become integrated into this economy ? Do they contribute to it ? Do they benefit from it financially ? Is a fair economy possible ?
    Moderator :
    Aude Tortuyaux, columnist for France Culture
    Speakers : Eric Denut, music delegate within the General directorate of artistic creation
    Alexandre Lenot, director of RF8, Radio France
    Catherine Peillon, manager of Onoma, Editions musicales et Empreinte digitale
    Malika Séguineau, general delegate at PRODISS, Union du spectacle musical et de variété

    3.30pm – 5.20pm Closing plenary

    • Workshop feedback
    • Closing debate with the audience : Artistic and cultural decentralisation in the age of digital technology, with the participation of :

    Arnaud Laporte, producer for France Culture (moderator)
    A rapporteur of the "CultureNum" programme (Festival of Aix-en-Provence and Rencontres économiques)
    André Loechel, president of Réseau Villes Numériques
    Jean-Pierre Saez, director of the Observatoire des Politiques culturelles in Grenoble
    Representatives of the State and territorial authorities (tba)
    5.20pm – Conclusions
    Appendix 2- ISCM

    Futurs Composés press release

    Futurs Composés Selection
    ISCM - World Music Days 2015 - Slovenia

    Futurs Composés, the French Section of the International Society for Contemporary Music - ISCM, selected the work of six composers following the call for works launched for the next ISCM - World Music Days.

    The network is proud to present to you the six works which will be submitted to the selection committee of the next ISCM - World Music Days :

    - Raphaèle Biston – Fluide for flute, piano, violin and cello
    - Karl Naegelen – Comme un seul homme for solo percussion
    - Laurence Bouckaert – Limen music for 8 tracks in octophony
    - Stéphane Magnin – A corps 5 pieces for full orchestra
    - Samuel Sighicelli – Troubled garden for large orchestra
    - Hèctor Parra – InFALL for large orchestra

    The International Society for Contemporary Music – ISCM includes over 50 member countries worldwide and advocates and promotes contemporary music.

    Every year, a member country is in charge of organising and hosting the World Music Days, a yearly event with meetings, exchanges and music. The next edition will be held from September 26th to October 1st, 2015 in Slovenia.
    Futurs Composés, the French Section of the ISCM, will be there to represent the full range of French musical creation and will promote the six works and composers it has selected. Futurs Composés will highlight their work during the 2014/2015 season, and more specifically on the occasion of the second edition of "Bien Entendu ! Un mois pour la création musicale".
    Information :

    Appendix 3 - Webzine

    In April 2013, the network launched a webzine fully dedicated to musical creation.
    Numerous articles, interviews, columns and musical selections have already been published :
    This webzine is a venue for sharing ideas, opinions and questions which we urge you to make your own :

    // Présent Continu TO…
    > Make up for the lack of media coverage of online musical creation.
    > Support music criticism and musical analysis.
    > Encourage exchange and discoveries.
    > Promote musical creation and be a privileged witness to it.

    // Présent Continu IS…
    > A webzine entirely dedicated to musical creation.
    > An online space with no imposed format (written, audio, video), tone or subject matter.
    > A multimedia-friendly medium suited for music : lively, contemporary and allowing online sharing of music, videos and images.
    > A project at the heart of immediacy of subject matters (concert reviews can be published within a week of the event for example) and reactions (possibility of comments).

    // Présent Continu WHAT ?
    > You are a writer and wish to publish articles on a suitable platform.
    > You have released a CD, a DVD, a book etc. and wish to have it reviewed.
    > You have worked with a director, a composer, a teacher, etc. on projects and have produced written material which has no online home once the project has been launched.
    > You organised a symposium or a meeting and have kept a written record of it.
    > You have filmed interviews with artists, professionals or politicians and are looking for a suitable medium to make them available.
    > You have photos of shows or concerts and are looking for the best way to use them.
    Submit them for publication !

    // Présent Continu HOW ?
    > You can submit for publication your writings, videos or photographs all year round or enter our regular calls for contributions.
    > Two types of written contributions : feature articles / news in brief and current events. You can submit essays, reviews, news, interviews, etc.
    > Note that project outlines, press kits and other communication tools are not considered written contributions and so will not be published on Présent Continu. The webzine is not a medium for self-promotion but for reflections, questions and exchanges.
    > The editorial board will review and accept or refuse contributions on the basis of the editorial policy and writers’ charter. (Which can be found at :
    > A newsletter shares the latest news related to the webzine.



Content posted to the ISCM website reflects the viewpoint of individual submitters; its appearance herein does not imply official endorsement by the ISCM, its Executive Committee, or the Delegates to its General Assembly.