FLOATING SOUND GALLERY

Vienna

Jérémy Hudry

After studying electroacoustic composition at the Nice Conservatory with Michel Pascal and instrumental composition with François Paris at Université Côte d’Azur (2008–2013), Jérémy Hudry explored different forms of sound art—from performance music to installation and concert-installation—at Villa Arson (Higher School of Art, France), where he completed a Master’s degree in 2010. He continued studying composition with Jean-Luc Hervé and Yann Maresz at the Boulogne-Billancourt Conservatory (2013–2016), followed by several years of independent research and creation in the Paris region outside institutional circuits. In 2023, he returned to study at the Royal Conservatory of Mons (Belgium) in the instrumental-composition program with Claude Ledoux, receiving a Master’s degree in composition with great distinction in 2025. At the same time, he follows the acousmatic-composition curriculum founded by Annette Vande Gorne, studying with Daniel Perez Hajdu, Régis Renouard-Larivière, and Roald Baudoux; he obtained a Bachelor’s degree with great distinction and is currently in the first year of the Master’s program.
He takes a close interest in the French spectral movement—Gérard Grisey, Tristan Murail, and later successors including Jean-Luc Hervé and Mauro Lanza, with whom he studied—as well as in Karlheinz Stockhausen, the research of Luigi Russolo and the Polish sonorists such as Penderecki, and Pierre Schaeffer’s solfège of the sound object and the musical-research program initiated by Schaeffer. He particularly appreciates works associated with the GRM—B. Parmegiani, P. Henry, G. Reibel, F. Bayle, B. Ferreyra—as well as research into sound synthesis conducted in other institutions by figures such as Risset, Chowning, and Max Mathews.
As part of his contemporary instrumental-composition studies at the Royal Conservatory of Mons, he wrote a Master’s thesis entitled “The Oscillatory Model,” unanimously praised by the jury. From a historical perspective, the thesis attempts a synthesis of the influences that the sonic model has had and can still have on composers: the influence of how sound is conceived and understood at a given time, together with evolving theories of sound—from simple vibration to noise, from acoustics to psychoacoustics, from Schaefferian phenomenology to the relationship between art and science—on musical composition.
In his view, “the sonic model” and the appetite for increasingly complex sonorities or organizations constitute a principle of emancipation and “expansion” of material that runs through musical forms from the Middle Ages and Renaissance (Galileo, Marin Mersenne), through the Classical era (Descartes, Rameau, Fourier), the industrial and cybernetic age (spectral music, generative grammars), and up to the technical revolution of fixed sound and the birth of relay arts: musics of total sound, sound arts, and phonographic arts.
During his studies, he attended seminars, lectures, and master classes given by internationally renowned composers including François Bayle, Francis Dhomont, Tristan Murail, Kaija Saariaho, Bernard Fort, Bertrand Dubedout, Mario Mary, and Jonty Harrison.