November 1998 due to a ruptured aneurysm. Musical style Grisey's music is often considered to belong to the genre of spectral music, which he is credited with founding along with fellow composer Tristan Murail, although he later disowned the label in interviews and writings. According to British journalist Tom Service, "His achievement has often been reduced to yet another of new music's fetishistic labels, 'spectralism' – a category that Grisey had rejected by the end of his life." Nonetheless, he spent much of his career exploring the spectrum of tone colour between harmonic overtones and noise. In addition, he was fascinated by musical processes which unfold slowly, and he made musical time a major element of many of his pieces. He expressed the opinion that: "We are musicians and our model is sound not literature, sound not mathematics, sound not theatre, visual arts, quantum physics, geology, astrology or acupuncture." Works (chronological) Passacaglia Pour Madame Darrow, for accordion (1966) Échanges, for prepared piano and double bass (1968) Mégalithes, for 15 brass players (1969) Charme, for clarinet solo (1969) Perichoresis, for 3 instrumental groups (1969–1970) Initiation, for baritone, trombone, and double bass (1970) Vagues, chemins, le souffle, for clarinet and orchestra (1970–72) D'eau et de pierre, for 2 instrumental groups (1972) Dérives, for 2 orchestral groups (1973–74) Les espaces acoustiques – II – Périodes, for flute, clarinet, trombone, violin, viola, cello, and double bass (1974) Les espaces acoustiques – III – Partiels, for 18 musicians (1975) Manifestations, for youth orchestra (1976) Les espaces acoustiques – I – Prologue, for viola and optional live electronics (1976) Les espaces acoustiques – IV – Modulations, for orchestra (1976–77) Sortie vers la lumière du jour, for electric organ and 14 musicians (1978) Jour, contre-jour, for electric organ, 14 musicians, and tape (1978–79) Tempus ex machina, for 6 percussionists (1979) Les espaces acoustiques – V – Transitoires, for large orchestra (1980) Solo pour deux, for clarinet and trombone (1981) Anubis-Nout, for Bb contrabass clarinet (1983) recorded by Ernesto Molinari, Fie Schouten, Carl Rosman Les chants de l'amour, for 12 voices and tape (1982–1984) Les espaces acoustiques – VI – Epilogue, for 4 solo horns and large orchestra (1985) Talea, for violin, cello, flute, clarinet, and piano (1986) Le temps et l'écume, for 4 percussionists, 2 synthesizers, and chamber orchestra (1988–89) Accords perdus: Cinq miniatures, for 2 horns (1989) Le noir de l'étoile, for 6 percussionists, tape, and