HISTORY

The EUPHON is a friction instrument, an evolution of the Armonica by B. Franklin (1706-1790) invented by Pr. Ernst Florenz Friedrich Chladni (1756-1827) in 1789. It is magnified from 1955 onwards by François Baschet (1920-2014) and Bernard Baschet (1917-2015), alongside Jacques (1918-2014) and Yvonne Lasry (1921), in the form of the Lasry-Baschet glass organ (1955). Frederic Bousquet was trained in sound sculpture by the latter, designer of the latest generation of Baschet crystals from 1999 to 2012 and custodian of their know-how.

For more information, please refer to the HISTORIOGRAPHY OF THE EUPHONE, intended for musicians, composers and sound designers, teachers but still turned towards a NEW GENERATION OF EUPHONE BUILDERS !

BOUSQUET, F., An approach to the instrument making of the Titanium Euphone through the study of the Lasry Baschet glass organ and the Cristal Baschet, extended to that of the Euphon by E. F. F. Chladni. Thesis, Frédéric Bousquet, University of Paris 8, 2018

 

 

The Euphon is an original musical instrument invented by Pr. E. F. F. Chladni (1756-1827) in 1789 and completed in 1790; which he considered to be an evolution of the Armonica by Benjamin Franklin (1706-1790). Its acoustic functioning (CHLADNI, E. F. F., Beiträge zur Akustik. Breitkopf und Hàrtel, Leipzig, 1821 fig. 39), which has been exhibited since 1801 in a dictionary of musical instruments, is based on the setting into vibration by glass bows (b) of cylindrical metal rods (a), embedded in a metal soundboard. The coupling system is initially provided by a sound box, but also by acoustic horns or tubes. Various effects and systems (reverberation plate, filament or spring reverberation) can be added to the instrument. As a friction instrument, the existence of anteriorities can be traced back to the family of verrophones and nail violins made during the High Middle Ages, as well as to the traditional instrument making of the Mbira. 

Euphone m. (From the Greek Bon; sound). 1819. 1823. 1839 A friction musical instrument of the harmonica genre invented by Doctor Chladni in Wittemberg in 1790. It consisted of a square case about three feet long and eight inches high, containing 42 small glass cylinders whose friction, and therefore vibration, took place on an inner mechanism (...). Excerpt from the Dictionary of Musical Instruments . Study of lexicology by Rowland Wright, 1941 

Fig. 2 glass bow & rods' Euphone connecting element 

 

Since the publication of Prof. Chladni's scientific research, thanks to a research grant awarded to him by Napoleon Bonaparte (1769-1821), the continuity of scientific research has contributed to the invention of metallic harps in the 19th century, under the impetus of Calhoun Deagan (1853-1954), in connection with the work of Albert Marloye (1785-1874), and then the research of Prof. Chladni. Henri Bouasse (1866-1953) consolidated the development of the instrumental family of vergeophones, notably with the invention of the Waterphone by Richard A. Waters (1935-2013). Various evolutions of the Euphone (French translation) - including Pr. Chladni complains that no reference is made to his invention (1) - such as the Clavicylindre or the Terpodion, by Ludwig Buschmann (1805-1864) and Johann Christian Dietz (1773-1849) of copies such as the Lasry-Baschet glass organ, by François (1920-2014) and Bernard Baschet (1917-2015) in collaboration with Jacques (1918-2014) and Yvonne Lasry (1921), and magnifications, the Cristal Baschet, accompany his writings, adding contemporary technologies to the instrument's construction. 

The academic rediscovery of the Euphon in 2010 offers considerable prospects for the establishment of the historiography of this instrument. The knowledge of the organotope of this instrument comes from organological data belonging to the field of instrument making extended to musical creation (repertoire, performers) and transmission (know-how, instrumental technique), distinguished according to production and prospective (transmission). It characterises the different phases of its development. The potential qualitative and quantitative adjustment of the organological factors that it brings together determine its degree of precision. Its knowledge, gathered by Frédéric Bousquet in his doctoral thesis entitled "Une approche de la facture instrumentale du Titanium Euphone à travers l'étude de l'orgue de verre Lasry Baschet et du Cristal Baschet, étendue à celle de l'Euphon de E. F. F. Chladni", supported at the University of Paris 8 in 2018, considerably enriches the design and contemporary making of the Euphone (Fig. 3 Titanium Euphone 2012, 6 octaves C0-C6), towards the consolidation of a dedicated repertoire.

TITANIUMSOUND

In 2005, the company STRUCTURES SONORES ATELIER BOUSQUET was created and placed under LICENCE BASCHET. In 2018, it merged with the company TITANIUMSOUND®, internationally recognised for having designed the FIRST TITANIUM MUSIC INSTRUMENT IN THE WORLD IN 2010, an invention that was acclaimed by the musical and scientific world. 

A world specialist in the design of EUPHONES® and LUDOPHONES®, Dr. Frédéric Bousquet has designed more than 40 educational, learning and concert models for Christian Henson (SpitfireAudio), Cliff Martinez, Johnny Ong, Mike Sheridan, Johan Soderqwist, Vincent Velasquez and David Walters.

Join us in the quest for EUPHONY!

Dr. Frédéric Bousquet

Frédéric BOUSQUET is an explorer of the sound world, world specialist of EUPHONE, born on March 22nd 1974 in Sens, France, based in Quézac (Parc Naturel National des Cévennes, UNESCO). He received a triple training in music (Toulouse Conservatory Prize in percussion), science (Doctorate in Aesthetics Science and Technology of Arts, University of Paris 8 - Master's Degree in Mechanical Design, Aeronautical Techniques, University of Bordeaux 1) and technique (sound sculpture, François and Bernard Baschet). Inventor (Soundwall®, Ludophones®), acoustic synthesist, producer (Jacques Higelin, Ensemble Stolon & INVENTŎR), Designer (Baschet crystal & Titanium Euphone), Master craftsman, musicologist, composer and musician, C. E. O. of TitaniumSound® (the world's first titanium musical instrument in 2010), President of SWB_Facteurs d'instruments Sans Frontières, musicologist teaching and research associate at the MUSIDANSE laboratory. As a musicologist, his field of research is Sound Ecology. He is regularly invited by international Foundations, Institutes and Universities for his work on musical pedagogy practices, sound heritage and experimental instrument making. In addition, he is an active member of the French instrument maker's union and of the Réseau Musique et Handicap, the SACEM and the SACD. Artist in residence at the Fondation Laborie in Limousin from 2009 to 2013 with Hope ensemble, he is currently an associate artist at the Genette Verte theatre in Florac (48) for the "Immersion Arts Sonores" programme (2018-2021). As a polistylistic euphone player, he rediscovers the original repertoire of his instrument and participates in the creation of a large repertoire, particularly in relation to the creation of contemporary and intermediate music. He interprets a number of transcriptions and adaptations spanning seven centuries of musical creation.  His playing is characterized by the sensitivity of touch specific to the instrument maker, put at the service of numerous collaborations, in connection with new technologies, sound aesthetics and the most varied arts. Accustomed to national and international stages and invited to prestigious festivals, he regularly performs in major heritage sites (Germany, England, Belgium, Brazil, Canada, China, Colombia, Korea, Denmark, Spain, United States of America, France, Greece, Italy, Ireland, Latvia, Morocco, Romania, United Kingdom, Norway, Netherlands, Switzerland). He invented the PROSPECTIVE MUSIC to support his commitment to sound ecology and accessibility for all to the world of sound.

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