La boutique électroacoustique

Artistes Stephan Dunkelman

Ses compositions acousmatiques sont non seulement destinées aux concerts mais aussi à des expositions (Charlotte Marchal, sculpteur; Axel Miret, peintre), des chorégraphies (Michèle Noiret), des créateurs de mode (Azniv Afsar), des court-métrages (Jérôme Thomas) et pour le cinéma documentaire (André Dartevelle). Les collaborations avec des artistes d’autres disciplines, surtout visuelles, lui ouvrent des champs d’expérimentation pour enrichir et mettre au point l’‘espace’ que doit abriter une musique et lui permettent de développer les qualités imagiques des matières sonores pour ses musiques de concerts.

Stephan Dunkelman a obtenu un Diplôme supérieur de composition acousmatique (1999) du Conservatoire royal de Mons (Belgique) dans la classe d’Annette Vande Gorne.

Sa musique s’est distinguée à plusieurs concours internationaux: Prix de la musique pour multimédia au Concours de Bourges (2004); Prix du public ex æquo au Concours Métamorphoses 2000; Prix (1998) et mention (1993) au Stockholm Electronic Arts Award; Mention honorable au Prix Ars Electronica (1995); Finaliste au Concours Luigi-Russolo (1991).


Stephan Dunkelman

Bruxelles (Belgique), 1956

Résidence: Bruxelles (Belgique)

  • Compositeur
  • Journaliste

Sur le web

Stephan Dunkelman, photo: Eddy Pennewaert

Œuvres choisies

Parutions principales

empreintes DIGITALes / IMED 0263 / 2002


Artistes divers
Musiques & Recherches / MR 2000 / 2000
Artistes divers
empreintes DIGITALes / IMED 9837 / 1998


Artistes divers
Wallonie-Bruxelles Musiques / WBM 168 / 2010
  • Hors-catalogue
Artistes divers
Caprice Records / CAP 22057 / 2005
  • Hors-catalogue
Artistes divers
Court-circuit / COURT 2004 / 2005
  • Hors-catalogue
Tzadik / TZ 7198 / 2005
  • Hors-catalogue
Artistes divers
Effects Input / EI 10 / 1998
  • Hors-catalogue
Artistes divers
Acousmatica / CD 1296 / 1996
  • Hors-catalogue
Artistes divers
Mnémosyne musique média / LDC 278079-1 /
  • Hors-catalogue

La presse en parle


Jenn Sikes, Splendid E-Zine, mardi 17 décembre 2002

If you’re looking for music for your next salon gathering of MENSA members, you’ve found it in Rhizomes — music so highbrow that it’ll melt into your hairline. Despite its required accompaniment of burbles, bleeps, whistles and whines, it’s much more melodic than you might expect — as acousmatic music goes, anyway. Don’t be too surprised if the album and its creator end up becoming the focus of your conversation, rather than the background music for it.

If a George Lucas movie married a Claire Denis movie, this soundtrack would be the music for their Hitchcockish children. Metharcana sounds like its name, a children’s arcade experienced on meth, with a bunch of obscure references floating past your eyes. Sound bites of a woman whispering in French, fingers thrummed rapidly on a tight skin drum, coffee cups clanking against each other, video game noises… they’re all used to create an atmosphere of weird musical emptiness. The video game noises remind me of DJ Spooky tracks, but mostly this is the electronic type of experimentation you’d expect to find on a Schematic Records release. Rituellipses sounds like performance art — the kind of thing you’d hear while watching the Blue Man group do its thing. In fact, Dunkelman has composed for art exhibitions (Charlotte Marchal, sculptor; Axel Miret, painter), for art dance choreography (Michèle Noiret) and for fashion design (Azniv Afsar) — all of these artists, of course, members of the avant garde.

The sounds in Rituellipses could be billiard balls knocking against one another on a hard surface. You’ll wonder what the ritual is, and if the ellipse is part of the ritual or if it is the ritual, and then — if you’re like me — you’ll get a headache and sit down fast in case you get dizzy. While certain loops in this piece seem to have been repeated from an earlier movement, all of the musical ideas are pushing forward in a linear fashion; older themes are abandoned, newer ones taken up and pushed to their conclusion. As many electronic compositions of this variety focus on the idea of layering, this is a really interesting change of the format on Dunkelman’s part. And he always lives up to his name; these compositions are really dark, even when he’s experimenting with brighter tones, like a bouncing basketball and athletic shoes scraping on a gymnasium floor.

Whenever you listen to Dunkelman, you’re going to have to think hard — he’s a workout for the mind, as strenuous as solid house music is a workout for your hips. Rhizomes is definitely going to plant seeds of thought.

… a really interesting change of the format on Dunkelman’s part.

Portrait: Stephan Dunkelman

François Couture, All-Music Guide, vendredi 1 novembre 2002

Hailing from Belgium, Stephan Dunkelman is a composer of acousmatic music. Once a student of Annette Vande Gorne, he shows interests in space and time relations within sonic movement — common to many such composers working from inside academic institutions. His music shares similarities with the works of Francis Dhomont, Gilles Gobeil and Vande Gorne. His first solo album, Rhizomes, came out in 2002.

Born in Brussels in 1956, Dunkelman first studied at his hometown Conservatoire Royal de Musique. He completed degrees in Electroacoustic Composition and Music History in 1989 and 1990, moment at which he completed his first important works. Signallures, finalist at the Concours Luigi Russolo in 1991, brought him his first laurels and also became one of his first pieces made available (on the 1996 CD Acousmatica). Rituellipses, Metharcana and Dreamlike Shudder in an Airstream Part 1: for a crumpled woman also won international distinctions and were released on compilation CDs. While working on his graduate degree in acousmatic composition with Vande Gorne, Dunkelman multiplied collaborations with visual artists and choreographers, thus further exploring the spatiality of sound. He has worked with sculptor Charlotte Marchal, painter Axel Miret, choreographer Michèle Noiret and fashion designer Azniv Afsar. The prestigious Quebecer electroacoustic label empreintes DIGITALes had included his short piece Aquaéra 1 on the compilation CD Miniatures concrètes in 1998 and four years later released his first solo album, Rhizomes, which includes the aforementioned pieces plus a few more. The album launch was accompanied by feature concerts in Montréal (as part of the 11th Rien à voir festival) and Brussels.