Denis Dufour, after studying the classics at the CRR in Lyons and the Paris Conservatoire, he is recognized as a composer in the field of instrumental as well as electroniccreation for concert with more than a 180 works to his credit. As one of the pioneers of the 'morphological' and expressive approach to sonic writing, his works employ a wide spectrum of parameters in all sonic dimensions. Following Pierre Schaeffer and Pierre Henry, he contributed to the emergence of a genre that decisively connects artists and musicians. The exploration of new structures of sound, the fluidity of a 'Baroque' style of phrasing, the mobility of his figures, and his love of the human voice and of certain dramatic narrative effects have fostered the emergence of a new kind of theatrical sound in his work, over and beyond his strictly musical discourse. Despite his large compositional output, from the late 1970s, he has been a teacher, researcher, lecturer, and a host for several courses, workshops and masterclasses in France and abroad. A tireless leader and advocate, with , of an approach to interpretation and spatialization on an acousmonium with sensitivity and accuracy as opposed to the rigidity of pre programmed multiphonics. Founder and initiator of the TM + ensemble, his work Ourlé du lac à la première goutte de pluie performed at the ICMC in 1984 – is the first to use Syter, one of the first real-time digital processing devices. Dufour was instrumental in identifying the need for space to check the parametres quickly and accurately. It was this observation that led to the development of the interpolations screen, which can memorise the status of all the system's parametres, and enables the user to move very quickly from one configuration to another by jumps or interpolations . He also contributed significantly to the realization of the Acousmographe, a software for graphical representation of sound phenomena, produced by Institut national de l'audiovisuel. An organizer and artistic director of several events dedicated to contemporary creation, he also founded several structures, collectives and instrumental formations that continue to irrigate the musical life in France and abroad. Through the exchange of experiences between artists of various fixed mediumdisciplines he welcomed a trans-disciplinary public seen at the Futura Festival in Drôme every summer since 1993. Since the early 2000s, Dufour actively participated in the encouragement and development of acousmatic art in Japan. Through in 1996, he initiated two of the most important acousmoniums performing regularly in France and in Europe. Several annual interventions, particularly the invitation to the Palais de Tokyo have contributed to the reputation of Motus in the world of contemporary art. Recognizing the need to broaden the scope of a type of creation made in a studio, fixed on a medium and delivered for listening on loudspeakers, he combined the various genres into what he calls acousmatic art, which offers an open definition and which is beyond mere musical terrain. In his hands, acousmatic art came to being a fertile musical genre, which, consciously or not, influenced a number of musicians and artists. Very aware of promoting cross-practice, he is involved in multiple partnerships in the visual arts, the musical theatre, radio art – Hörspiel, installations and sound environments. A large number of his works use texts for which he collaborated with Michel Vincent, Jean-Christophe Thomas, Dominique Dubreuil, Marc Jaffeux and especially Thomas Brando with whom he has worked very closely on several compositions. His instrumental and mixed media works are published by and his acousmatic works by Opus 53.
