Academic literature on the topic 'Musique concrete'
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Journal articles on the topic "Musique concrete"
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Kaniža, Rijad. "Reshaping the Musical Experience: A Critical Examination of Musique Concrète and the Notion of ‘Music of Technology’." INSAM Journal of Contemporary Music, Art and Technology, no. 10 (July 15, 2023): 136–56. http://dx.doi.org/10.51191/issn.2637-1898.2023.6.10.136.
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The critical examination in this paper should point to a shift in a perspective in understanding musique concrète (concrete music) in relation to its historical evaluation, viewing it as a music of technology. The paper is based on the hypothesis that each technology in its materiality and functionality shapes the outcomes that arise from it, which is ultimately aimed at looking for the ‘human’ in the ‘composer-technology’ dichotomy. That is where the reshaping of the musical experience takes place. But it should be noted that the technology share will be questioned through only a few aspects of concrete music, which is why there is an open possibility for further research problems.
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Bertrand, Loïc. "The Language of Things: An archaeology of musique concrète." Organised Sound 22, no. 3 (November 24, 2017): 354–61. http://dx.doi.org/10.1017/s1355771817000516.
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This article considers the concept of a ‘language of things’, which Pierre Schaeffer developed in his early work, the Essai sur la radio et le cinema (1941–42). On the basis of a careful consideration of this text, it will appear that the ‘language of things’ engages a specific posture that shows, in the process of concrete music’s emergence, two distinct but interrelated aspects: one concerning things themselves and the other concerning language. It is this knot, this interwovenness, that we will try to understand in this article. The article will show that the promotion of noise is directly linked to the deconstruction of language and that these two processes, which can be precisely identified in Schaeffer’s early works, refer to a fundamental switch, signalling the birth of musique concrète.
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Bailey, Candace. "Keyboard Music in the Hands of Edward Lowe and Richard Goodson I: Oxford, Christ Church Mus. 1176 and Mus. 1177." Royal Musical Association Research Chronicle 32 (1999): 119–35. http://dx.doi.org/10.1080/14723808.1999.10540986.
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The circumstances surrounding the compilation of many seventeenth-century English keyboard manuscripts remain unknown. The most concrete information exists for the early-seventeenth-century repertory, and scholars have also identified several copyists from sources dating from the end of the century. Without considering the question of repertory, the focus on the earlier manuscripts can be explained in part for the following reasons. A few volumes are associated in some way or another with famous composers (for example, Thomas Tomkins and his autograph Conservatoire National de Musique (in Bibliothèque Nationale), Paris, (F-Pc) MS Rés. 1122), and others are noteworthy for their expansive contents (Fitzwilham Museum, Cambridge MS Mu 128, the famous ‘Fitzwilliam Virginal Book‘). Others are well known because their copyists are familiar personalities, such as British Library, London (Lbl) RM MS 23.1.4 and F-Pc MS Rés. 1185—both connected with Benjamin Cosyn, organist of Dulwich College and conspicuous for his knowledge of John Bull's music. However, the copyists of most mid-century keyboard manuscripts remain unidentified. Concrete information concerning the copyists of a few sources exists, but most identified copyists are unknown men or women—keyboard music in the hand of a prominent musician is quite rare.
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Rugeles, Alfredo. "Le rapport entre la musique contemporaine vénézuélienne dite « savante » et les musiques populaire et folklorique." Circuit 17, no. 2 (December 10, 2007): 43–53. http://dx.doi.org/10.7202/016838ar.
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Dans cet article, le compositeur et chef d’orchestre Alfredo Rugeles montre que le rapport entre la musique contemporaine dite savante et les musiques populaire et folklorique est une réalité bien concrète au Venezuela. Après avoir rappelé les principaux jalons de l’histoire de la composition en son pays, l’auteur cite de nombreux exemples de collaboration entre compositeurs de musique savante et interprètes de musique populaire. Il dresse la liste des principaux compositeurs du Venezuela, les regroupant selon leur appartenance à une génération, à une école ou à un courant stylistique. Il brosse également le tableau de la situation actuelle en plus de répertorier les différentes maisons d’enseignement et professeurs auprès desquels les jeunes compositeurs reçoivent leur formation ainsi que les différents festivals où leurs oeuvres sont présentées au public.
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Kang, Jiyoung. "What Does Sound Mediate in Music?: A Study on the Sound of Korean Contemporary Music in the 21 st Century." Korean Society of Culture and Convergence 45, no. 6 (June 30, 2023): 311–20. http://dx.doi.org/10.33645/cnc.2023.06.45.06.311.
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The purpose of this paper is to discuss the properties of sound in modern Korean music in the 21st century. This is an attempt to expand beyond the physical properties of sound into an abstract discussion and solve it within the field of media philosophy. This paper analyzes some works as research subjects, and discusses these works in connection with the concept of “immediacy”(Unmittelbarkeit) and “mediality”(Medialität) of sound. In this paper, it is confirmed that musique concrete could be classified as “phenomenal immediacy”, soundscape music as “medial immediacy”, and live-electronic music as “performative immediacy” according to the process by which sound is generated and processed and the way in which it is performed. confirmed that it could be. This is an attempt at a philosophical discourse on the relationship between sound and music, and is expected to open a new horizon of thinking about sound art in the future.
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Rossi, Jérôme. "Essai de caractérisation de l’évolution des musiques super-héroïques de Batman (1989) à The Dark Knight Rises (2012)." Revue musicale OICRM 5, no. 2 (November 30, 2018): 15–47. http://dx.doi.org/10.7202/1054146ar.
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Vingt-trois années séparent les musiques des filmsBatman(Tim Burton, 1989) etThe Dark Knight Rises(Christopher Nolan, 2012) avec les compositions respectives de Danny Elfman et Hans Zimmer. Si les compositeurs restent tous deux fidèles à une conception signalétique des thèmes, Zimmer propose toutefois un nombre plus élevé de matériaux thématiques, avec la présence d’un « ostinato identifiant » pour chacun des trois personnages principaux, en plus de leurs thèmes propres.Élaborée par une véritable équipe, la « narration sonore » constitue également un enjeu majeur de l’esthétique de Nolan et Zimmer avec l’élaboration, sur l’ensemble du film, d’un continuum bruit/musique, dont ce que nous avons appelé l’« effects underscoring » constitue l’une des stratégies les plus novatrices parmi celles proposées. L’« effects underscoring » est une technique compositionnelle par laquelle la musique se voit destinée à former un écrin émotionnel non plus aux voix, mais aux bruits lors de séquences où ce sont eux qui, par leur propriétés intrinsèques (organisation rythmique, caractéristiques timbrales), concentrent la signification dramaturgique d’un passage. Le travail minutieux sur les bruits, qui s’ajoute à une meilleure définition de ceux-ci grâce à la technologie numérique, « libère » la musique dans son rapport à l’image ; nous en observons les effets concrets en comparant les synchronismes et le maniement des ostinatos (longueur, pédales harmoniques, rythme harmonique) dans des scènes d’action empruntées aux deux films. Tandis que le travail d’Elfman se caractérise par une écriture vive et prompte à souligner tant les actions des personnages que les changements de plans, Zimmer se détache des évènements visuels en privilégiant une plus grande continuité musicale qui repose en partie sur ce nous avons appelé lestem scoring, soit une composition musicale conçue en plusieurs strates que le compositeur ou le mixeur peut à loisir déclencher ou taire en fonction de l’image.
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Ha, Byeongwon. "Nam June Paik’s Unpublished Korean Article and His Interactive Musique Concrète Projects." Leonardo Music Journal 29 (December 2019): 93–96. http://dx.doi.org/10.1162/lmj_a_01071.
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Nam June Paik was a pioneering creator of interactive sound art before he became a cult figure in the field of video art. While Paik gradually developed interactive sound art in West Germany, he wrote several articles about contemporary music in Europe. Specifically, a musique concrète article for Korean readers is significant as a seed of his interactive projects. This study examines the content of the music article and articulates the relationship between musique concrète and Paik’s interactive sound projects: Record Shashlik (1963) and Random Access (1963).
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Teruggi, Daniel. "Musique Concrète Today: Its reach, evolution of concepts and role in musical thought." Organised Sound 20, no. 1 (March 5, 2015): 51–59. http://dx.doi.org/10.1017/s1355771814000429.
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Musique concrète has become a well-known word and concept. The history of the concept permits us to understand how it evolved and how its inventor, Pierre Schaeffer, felt about it and its impact. The terms have gone through several transformations, the main one being that into the term acousmatique, which implied a change of perspective in the reach of the concept. Today musique concrète is an active concept, not generally applied to describe contemporary musical creation, however embedded in musical thought and theory.
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Schaeffer, Pierre. "Musique concrète et communication humaine." L Homme et la société 126, no. 4 (1997): 115–32. http://dx.doi.org/10.3406/homso.1997.2920.
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Daoust, Yves. "Pensée concrète, démarche abstraite." Circuit 11, no. 1 (October 2, 2002): 34–42. http://dx.doi.org/10.7202/004657ar.
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Résumé À travers un retour critique sur la typomorphologie schaefferienne, l’auteur expose son cheminement des dernières années, marqué par le souci d’opérer une jonction entre la démarche expérimentale qui caractérise la musique concrète et l’abstraction formelle liée plutôt à l’écriture instrumentale.
Dissertations / Theses on the topic "Musique concrete"
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Higgins, Anna-Marie. "Facilitating approaches for understanding musique concrete classroom composing in secondary schools in Ireland : towards a pedagogy." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648578.
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Colaruotolo, John. "RevealingReveilingReveling." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4782/.
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This thesis explores the possibilities of communication in the context of a sound composition. In RevealingReveilingReveling, a series of questions concerning communication posed by John Cage, coupled with an extension of those questions posed by myself, are set to recorded sounds-in-the-world. The intention is to create a greater awareness of that which there is to listen in our world. The first part of this essay discusses influences of philosophical thought during the process of composing RevealingReveilingReveling. Two distinct twentieth-century thinkers that have impacted the creation of this piece and their areas of thought are Martin Heidegger: language and Being; and John Cage: sound, silence, and awareness. The second part of the essay is a structural analysis of the piece, discussing the recording of Cage's questions, sounds-in-the-world, sound-manipulation techniques and thought-processes, as well as periodic mention the aesthetic decisions made.
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Hirsch, Adam. "Hearing Beyond the Veil: Benjy Compson and the Acousmatic Experience." Oberlin College Honors Theses / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1400023673.
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Lindgren, Tonny, and Felix Almberg. "Undersökning av Musique Concrète." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-20060.
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Detta kandidatarbete undersöker Pierre Schaeffers (2012 [1952]) begrepp musique concrète samt dess metoder och tekniker. Musique concrète kan beskrivas som en samling kompositionsmetoder som utgår från inspelade ljud av omvärlden utan inblandning av musikinstrument, musikteori, eller ljud genererade från elektroniska källor. Vi använde Schaffers begrepp reduced listening, vilket är en lyssningsmetod där man bortser från ljudets källa och fokuserar på dess akustiska egenskaper, (vilket Michel Chion (1994) senare expanderade på). Jøran Rudi (2011) skriver om R. Murray Schafer’s begrepp Hi-Fi och Lo-Fi, vilket vi använde för att kategorisera ljuden som användes och platserna som spelades in. I designprocessen applicerade och experimenterade vi med metoder och tekniker från den aktuella forskningen för att utforska och dokumentera arbetsprocessen i gestaltningsprototyperna. Detta arbete resulterade i en samling kompositioner utefter Lo-Fi och Hi-Fi inom musique concrète där vi fick en bredare förståelse för de aktuella metoderna och teknikerna.This bachelor thesis examines Pierre Schaeffer’s (2012 [1952]) term musique concrète as well as it’s methods and techniques. Musique concrète can be described as a collection of compositional methods that uses recorded sounds from the surrounding world as a startingpoint, without the use of musical instruments, music theory, or electronically produced sounds. We used Schaeffer’s term reduced listening (which Michel Chion (1994) later expanded upon). Jøran Rudi (2011) writes about R. Murray Schafer’s term Hi-Fi and Lo-Fi,and these terms were later used by us to categorise and record sounds from the environment. Investigation and experimentation with the various methods and techniques ensued in the design process in order to explore and document the work process of the prototypes. This process resulted in a collection of musique concrète compositions stemming from the Lo-Fi och Hi-Fi processes through which we gained more knowledge and understanding of themethods and techniques involved.
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Thibault, Dominic. "My physical approach to 'musique concrète' composition : portfolio of studio works." Thesis, University of Huddersfield, 2014. http://eprints.hud.ac.uk/id/eprint/26447/.
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My recent practice-based research explores the creative potential of physical manipulation of sound in the composition of sound-based electronic music. Focusing on the poietic aspect of my music making, this commentary discusses the composition process of three musical works: Comme si la foudre pouvait durer, Igaluk - To Scare the Moon with its own Shadow and desert. It also examines the development of a software instrument, fXfD, along with its resulting musical production. Finally, it discusses the recent musical production of an improvisation duet in which I take part, Tout Croche. In the creative process of this portfolio, the appreciation for sound is the catalyst of the musical decisions. In other words, the term \musique concrete" applies to my practice, as sound is the central concern that triggers the composition act. In addition to anecdotal, typo-morphological and functional concerns, the presence of a \trace of physicality" in a sound is, more than ever, what convinces me of its musical potential. In order to compose such sounds, a back-and-forth process between theoretical knowledge and sound manipulations will be defined and developed under the concept of \sonic empiricism." In a desire to break with the cumbersome nature of studio-based composition work, approaches to sound-based electronic music playing were researched. Through the diferent musical projects, various digital instruments were conceived. In a case study, the text reviews them through their sound generation, gestural control and mapping components. I will also state personal preferences in the ways sound manipulations are performed. In the light of the observations made, the studio emerges as the central instrument upon which my research focuses. The variety of resources it provides for the production and control of sound confers the status of polymorphic instrument on the studio. The text concludes by reflecting on the possibilities of improvisation and performance that the studio offers when it is considered as an embodied polymorphic instrument. A concluding statement on the specific ear training needed for such a studio practice bridges the concepts of sound selection and digital instruments herein exposed.
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Huff, David Logan. "Sounds Themselves: Intersections of Serialism and Musique Concrète in Karlheinz Stockhausen's Elektronische Studie I." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707329/.
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In the summer of 1953, Karlheinz Stockhausen began composing his first piece of elektronische Musik at the Westdeutscher Rundfunk Studio for Electronic Music in Cologne. Up to that point, Stockhausen's only experience with electroacoustic music was his time spent at the Radiodiffusion-Télévision Française the previous year, where he assisted Pierre Schaeffer and composed a piece of musique concrète. An early case study in the marriage of serial aesthetics and electroacoustic techniques, Studie I is a rigorously organized work that reflects Stockhausen's compositional philosophy of a unified structural principle in which all musical materials and parametric values are generated by and arranged according to a single governing series. In spite of this meticulously wrought serial structure, Studie I displays features that are the consequences of the realities of electronic sound production either imposing on the sonic result, or altering the compositional plan entirely. I use a three-part approach to my analysis of Studie I by examining Stockhausen's serial system, the electroacoustic studio techniques in use in 1953, and the original recorded realization through spectrographic analysis. Using this methodology, I expose the blurring of the supposed divide between elektronische Musik and musique concrète by exploring the features that lie between the serial plan and the technical processes Stockhausen used to realize Studie I.
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Nellans, Jeffrey David. "Shattered dreams." CardinalScholar 1.0, 2010. http://liblink.bsu.edu/uhtbin/catkey/1569022.
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This thesis is an electro-acoustic composition done using the techniques of music concrète. Along with the music is a paper that details the historical context of the piece, specific techniques and procedures used by the composer, and a general overview of the compositional form. “Shattered Dreams” is a 12’30” stereo journey through a soundscape where the sounds of cinderblocks and shattered glass abound. All of the original source material for the music was recorded by the composer using a pair of Neumann km184 microphones. These source sounds were then manipulated using Sound Forge 6.0 and Cubase 4. The processes of manipulation were chosen with regard to the original music concrète techniques laid out by Pierre Schaeffer and Pierre Henry at the Club d’Essai studio at Radiodiffusion-Télévision Française in Paris, France.School of Music
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Gayou, Évelyne. "Le GMR, Groupe de Recherches Musicales : des racines de la musique concrète à l'électroacoustique des années 2000 : histoire, oeurvres, concepts, outils: une synthèse." Paris 4, 2006. http://www.theses.fr/2006PA040014.
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L'histoire du GRM, fondé en 1958, au sein de la Radio Télévision Française, prend sa source à la radio, dès le début des années 1940. La première partie de cette recherche reconstruit la chronologie des événements : œuvres, publications, développements technologiques, élaborations de nouveaux concepts, évolution de l'institution. Les sept chapitres, un par décennie, prennent comme point de départ l'année 1948, date de naissance officielle de la Musique Concrète. Le premier chapitre est un peu particulier. Il s'attache à dégager les racines de la jeune musique concrète en remontant le temps, le plus loin possible, avant 1948, jusqu'aux mouvements futuristes des débuts du XXe siècle, ainsi qu'au dadaïsme, et au surréalisme. La seconde partie aborde l'histoire du GRM transversalement, suivant différentes thématiques. Un premier chapitre expose la prise d'identité de ce nouveau genre musical, et la lente évolution du Groupe de Recherche de Musique Concrète, vers un rôle d'École, à partir de 1951. Le second chapitre porte sur les concepts (écoute réduite, objet sonore, analyse typomorphologique. . . ), la pédagogie et les outils (des premiers phonogènes aux derniers logiciels GRM-Tools) développés au GRM, depuis cinquante ans. Le troisième chapitre expose la problématique de l'espace, du concert, et le lien au public. Le quatrième chapitre explore la lisière entre le musical et le visuel, à travers la question de l'écriture, une interrogation majeure qui se pose à tous les arts de support, aujourd'huiOriginating in radio at the beginning of the 1940's, the GRM was officially launched in 1958 by Radio Television Française. The first part of this research reconstructs the history, starting with the most visible manifestations: opuses, publications, technological developments. The research traces also the elaboration of new concepts and evolution of the movement. Beginning with 1948, the official birth date of the Concrete Music, the chronology is divided into seven chapters, one for each decade. The first chapter, however, moves back in time, delineating the roots of Concrete Music by recounting the events that preceded 1948 and eventually led to the dadaism and surrealism of the twentieth century. The second part of the research traces the themes of the GRM history. The first chapter identifies the emergence of this new musical genre and its slow progression from the Groupe de Recherche de Musique Concrete of the Paris Studio to its role as a musical School in 1951. The second chapter examines the concepts (reduced listening, sound object, typomorphological analysis. . . ). It traces the pedagogy and the tools (from the first phonogènes to the final software called GRM-Tools and Acousmographe) developed in the last fifty years. The third chapter studies the problems of space, concert presentation and connection with the audience. The fourth chapter explores the boundary between the Musical and the Visual, across the question of writing, a major issue in all the media arts today
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Reyna, Alejandro Jose. "La construction de l'hétérogène dans la musique de Luc Ferrari : lieu, récit et expériences. : analyses d’Hétérozygote, Far-West News et Chantal, ou le portrait d’une villageoise." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080107/document.
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L’objectif de cette thèse est de comprendre comment Luc Ferrari construit l'hétérogénéité de sa musique. Le compositeur conçoit la création comme un espace dans lequel, d'après ses mots, des idées qui n’ont pas « fatalement de liens entre elles » se rencontrent. L’œuvre devient alors un espace de cohabitation, de frottement, dans lequel d’autres composantes partagent l’espace avec « la musique », au sens étroit du terme. Avec les propositions lieu, récit et expériences, il sera question de tentatives pour caractériser ces composantes autres qui constituent l’hétérogène ferrarien. Dans la première partie, « musique et lieu », nous voyons comment les œuvres deviennent, par moments, des lieux. Des espaces réels, extérieurs, en rapport à un vécu. Á ce propos nous analyserons Hétérozygote. Dans la deuxième partie, « musique et récit », nous étudions l’importance que le compositeur donne à la narration dans ses œuvres, partant de sons anecdotiques jusqu’à l’évolution générale de scénarios. Avec l’analyse de Far-West News, nous mesurons comment Luc Ferrari construit des œuvres qui s’appuient tout autant sur une forme musicale que sur le développement des histoires. Enfin, avec la troisième partie « musique et expériences », nous voulons faire référence à une confluence de vécus : les anecdotes présentées par Luc Ferrari résonnent dans le vécu des auditeurs, qui déversent leurs expériences au sein des œuvres. Par l’expression de son vécu, Luc Ferrari appelle et travaille avec ces expériences subjectives des auditeurs, qui partagent aussi l’espace des œuvres. L’œuvre à analyser dans cette partie est Chantal, ou le portrait d’une villageoiseThe objective of this thesis is to understand how Luc Ferrari builds the heterogeneity of his music. The composer conceives creation as a space in which, according to his words, ideas that do not “necessarily have links between them” meet each other. Pieces then become a space of cohabitation, of friction, in which other components share space with "music", in the narrow sense. The propositions “place, story and experiences” are attempts to characterize these others components that constitute the heterogeneous of Ferrari’s music. In the first part, "music and place," we see how pieces become, at times, places. Real spaces, externals, in relation to a lived experience. In this part we will analyse Hétérozygote. In the second part, "music and story", we study the importance that composer give to the narrative in his work, starting from the sons anecdotiques to the general evolution of scenarios. With the analysis of Far-West News, we measure how Luc Ferrari’s works rely as much on musicals forms as on the development of stories. Finally, with the third part, "music and experiences", we want to refer to a confluence of experiences: the anecdote of the composer resonates in the experience of the listeners, who dump their experiences into the pieces. Through the expression of his experience, Luc Ferrari calls and works with these subjective experiences of listeners, who will also share the spaces of works. To explain this idea, we will analyse Chantal, ou le portrait d’une villageoise
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Bossis, Bruno. "La vocalité artificielle : un nouvel espace pour l'imaginaire : Etude des modèles de simulation et de traitement vocaux dans les répetoires des musiques éléctroacoustique et informatique." Paris 4, 2003. http://www.theses.fr/2003PA040204.
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Quels rapports les compositeurs entretiennent-ils avec la simulation et le traitement de la voix ? Qui veut en comprendre les enjeux artistiques doit examiner aussi bien les moyens et les modèles utilisés que leurs conséquences stylistiques. Le fil conducteur de cette recherche est donc l'étude des apports des processus artificiels à la vocalité dans les musiques électroacoustique et informatique de façon à définir, consolider et prolonger le concept de vocalité artificielle. Au-delà de la mise en évidence des conditions nécessaires à l'émergence de la vocalité artificielle et de son épanouissement, il convient de montrer l'existence de gestes musicaux propres ou influencés par l'utilisation de procédés mécaniques. Enfin, les paradigmes de la vocalité artificielle - entre rupture et continuité, entre figuration et décorporéification, entre évidence et paradoxe - nourrissent son devenir et ouvrent la perspective de son espace imaginaireWhat relationship do composers have with the voice simulation and processing? To understand the artistic implications behind the techniques of voice simulation and processing, we shall examine the means and the models employed, as well as their stylistic consequences. The vital lead in this research is therefore the study of the contributions made by artificial processes in association with vocality to the electroacoustic and computer musics so as to define, consolidate and prolong the concept of artificial vocality. Beyond exposing the conditions required for the emergence of artificial vocality and its blossoming, we shall point out the existence of musical gestures that are either distinct or influenced by mechanical processes. Finally, the paradigms of artificial vocality - between rupture and continuity, figuration and disembodiment, ambiguity and paradox - nourish the future of artificial vocality and open the perspective of its imaginary space
Books on the topic "Musique concrete"
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Vetter, Michael. Musik: Texte und Bilder zur Einführing in die Kunst sich in Nichts zu verlieben. Petersberg: Verlag Via Nova, 1995.
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1932-, Bayle François, and Zanesi Christian, eds. La musique concrète de Michel Chion: Essai. Rives: Metamkine, 1998.
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De la Motte-Haber, Helga, 1938-, ed. Inventionen '98: 50 Jahre musique concrète : Symposium 25.-26. September 1998 im Gemeindesaal der Parochialkirche Berlin. Saarbrücken: Pfau, 1999.
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Wired Society Music Festival and Conference (1986 Toronto, Ont.). Proceedings of the Wired Society Music Festival and Conference. [Toronto]: Music Gallery, 1986.
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Proto, Frank. The death of Desdemona: For double bass and stereo tape. Cincinnati, Ohio: Liben Music, 1987.
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Sylvie, Dallet, Veitl Anne 1966-, and Centre d'études et de recherche Pierre Schaeffer., eds. Du sonore au musical: Cinquante années de recherches concrètes (1948-1998). Paris: L'Harmattan, 2001.
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Robert, Martial. Ivo Malec et son studio instrumental. Paris: L'Harmattan, 2005.
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Marchetti, Lionel. La musique concrète de Michel Chion: Suivi d'un entretien de Michel Chion avec Christian Zanési. Rives: Metamkine, 1998.
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John, Cage, Thoreau Henry David 1817-1862, and Kunsthalle Bremen, eds. John Cage, Essay: Kunsthalle Bremen 1998. Bremen: Kunsthalle Bremen, 1998.
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Ampuja, Outi. Kuultava menneisyys: Suomalaista äänimaiseman historiaa. Turku: Turun historiallinen yhdistys, 2005.
Find full textBook chapters on the topic "Musique concrete"
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Magnus, Cristyn. "Evolutionary Musique Concrète." In Lecture Notes in Computer Science, 688–95. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11732242_65.
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Christodoulou, Anna-Maria. "Exploring the Electroacoustic Music History Through Interactive Sonic Design." In Current Research in Systematic Musicology, 259–70. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-57892-2_14.
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AbstractAlgorithms and related technologies are widely used for many musicology-related tasks, such as music analysis or even music composition. The use of algorithms in music analysis may be crucial for a deeper understanding of music theory and history, yet experiential knowledge is proposed here as a more interactive way to take a journey through music history and, more specifically, the evolution of electroacoustic music. From acousmatic music to serialism and from Musique Concrète and Elektronische music to Post-Schaefferian Electronica, numerous techniques have been developed for sound generation and manipulation. In this chapter, SuperCollider is used as a tool to create an interactive composition and to provide a walkthrough of electroacoustic music through live coding. The musicological aspects of the different composition techniques of this music style are explored through their integration into the algorithmic composition.
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Smith, Neil. "Musique Concrète Instrumentale." In Mathias Spahlinger, 54–82. Intellect, 2021. http://dx.doi.org/10.1386/9781789383348_3.
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"musique concrète, n." In Oxford English Dictionary. 3rd ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/1055219281.
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"Discographie sommaire." In La musique concrète, 165–66. Presses Universitaires de France, 2020. http://dx.doi.org/10.3917/puf.schae.2020.01.0165.
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"Bibliographie sommaire." In La musique concrète, 167–68. Presses Universitaires de France, 2020. http://dx.doi.org/10.3917/puf.schae.2020.01.0167.
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Manning, Peter. "Paris and Musique Concrète." In Electronic and Computer Music, 19–38. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780195144840.003.0002.
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Manning, Peter. "Paris and Musique Concrète." In Electronic and Computer Music, 19–38. Oxford University Press, 2013. http://dx.doi.org/10.1093/acprof:oso/9780199746392.003.0002.
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Willey, Robert. "Musique Concrète Étude (Intermediate)." In The Music Technology Cookbook, 111–14. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0017.
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This chapter describes a lesson in which students create a one-minute piece of electronic music by editing, looping, reversing, changing pitch, changing speed, and spatializing a recording of a noninstrumental sound. This compositional activity was designed for first-year college music composition and audio production majors. First, this activity will help students learn to use a microphone to record their owns sounds and/or download open source material. Second, without the need to have experience with notation, melody, and harmony, this lesson allows students to engage with fundamental issues that composers face and can broaden their concept of what constitutes a piece of music.
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"Chapter 6 Musique Concrète." In The Sea on Fire: Jean Barraqué, 64–68. Boydell and Brewer, 2003. http://dx.doi.org/10.1515/9781580466196-007.
Full textConference papers on the topic "Musique concrete"
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Morris, Simon. "Musique concrete." In the 7th international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1279740.1279849.
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Kerr, Vicki. "Performing nature unnaturally: Musique concrète and the performance of knowledge - one seabird at a time." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.129.
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Migratory seabirds are an unseen conduit between marine and terrestrial systems, carrying the nutrients they consume at sea into the forests where they breed. Acting as environmental sentinels, their health and reproductive success provide early warning signals of deteriorating marine eco-systems as the climate changes, and fish stocks decrease. Aotearoa New Zealand is the seabird capital of the world, with ~25% of all species breeding here and ~10% exclusively so. They play a critical role in maintaining healthy ecosystems, with their long-term well-being is closely interconnected with our own prospects for a sustainable future. Now predominantly restricted to off-shore islands due to predation and habitat destruction, seabirds and their familiar sounds have become less available in an age when the unprecedented global movement and planetary spread of the human population has culminated in unsustainable fishing, predators and habitat destruction. Inspiring mythology, song, poetry and stories, birds have been significant in shaping our understanding of how our natural environment has come to be known and understood. This paper speculates upon how we learn to communicate and cooperate with these precious taonga, and what might be learned from such an exchange through creative practice. Reflecting upon what birds might tell us, musician Matthew Bannister and I, a visual artist, have taken our cue from seabirds sharing our local environment on the west coast of Aotearoa - from the petrel (peera) through to the gannet (tākapu). Working on the premise that bird vocalisation is a performed negotiation that includes defence of territory and mate attraction, a bird’s call is a form of communication that effectively says “Come here” or “Go away”, which arguably is true of music – marking a social space and time to invite or repel. Rather than limiting bird calls to functionalist categories of explanation, we ask whether seabirds can communicate and exchange information about environmental changes using a malleable vocabulary, comprised of unique acoustic units arranged and re-arranged sequentially for greater communicative depth. Granting a high level of agency and creativity to birds as opposed to believing a bird only avails itself of stereotyped ‘speech’ to survive an accident-rich environment, places greater importance on responses that are improvised directly upon environmental stimuli as irritant rather than as a signal. Matthew explores bird calls via musique concrète, sampling recordings of seabirds to abstract the musical values of bird song conventions – a human response to the ‘other’ in jointly formed compositions, reflecting a living evolving relationship between composer and bird. In further developing our research into a multimedia artwork, I shall extend a technique used for electroacoustic composition (granular synthesis) to video portraits of composer/performer and bird. In applying granular synthesis techniques to video, tiny units of image and sampled sound are reassembled within the frames. Through the mixing of existing synthesised sequences, performer/composer and bird become active participants in the making and remaking of a shared environment, articulating the limits of space/territory to find new ways to be heard within it.
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Kerr, Vicki. "Interpretar la naturaleza de manera antinatural: Musique concrète y la realización del conocimiento – un ave marina a la vez." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.129.g228.
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Las aves marinas migratorias son un conducto invisible entre los sistemas marinos y terrestres, que transportan los nutrientes que consumen en el mar a los bosques donde se reproducen. Actuando como centinelas ambientales, su salud y éxito reproductivo proporcionan señales de alerta temprana del deterioro de los ecosistemas marinos a medida que cambia el clima y disminuyen las poblaciones de peces. Aotearoa es la capital mundial de las aves marinas, contando con el 25% de todas las especies que se reproducen y el 10% que lo hacen exclusivamente. Desempeñan un papel fundamental en el mantenimiento de ecosistemas saludables, incluido el apoyo a los bosques de Aotearoa, que durante mucho tiempo han dependido de los nutrientes marinos para sustentar su crecimiento. Ahora predominantemente restringidas a las islas costeras debido a la depredación y la destrucción del hábitat, las aves marinas y sus sonidos familiares se han vuelto menos disponibles, en una época en la que el movimiento global sin precedentes y la expansión planetaria de la población humana ha culminado en la pesca insostenible, los depredadores y la destrucción del hábitat. Las aves, que inspiran mitología, canciones, poesía e historias, han sido importantes para dar forma a nuestra comprensión de cómo se ha llegado a conocer y comprender el entorno natural de Aotearoa, Nueva Zelanda. Este artículo especula sobre cómo aprendemos a comunicarnos y cooperar con estos taonga pasados por alto, y qué se podría aprender de tal intercambio a través de la práctica creativa. Reflexionando sobre lo que las aves podrían decirnos, el músico Matthew Bannister y yo, un artista visual, hemos seguido el ejemplo de las aves marinas que comparten nuestro entorno en la costa oeste de la Isla Norte de Nueva Zelanda, desde el petrel (ión) de cara gris hasta el alcatraz (tākapu). Partiendo de la premisa de que la vocalización de las aves es una negociación realizada que incluye la defensa del territorio y la atracción de la pareja, la llamada de un pájaro es una forma de comunicación que dice efectivamente “Ven aquí” o “Vete”, lo que podría decirse que es cierto para la música, marcando un espacio social y un tiempo para invitar o repeler. En lugar de limitar los cantos de las aves a categorías funcionalistas de explicación, nos preguntamos si las aves marinas pueden comunicarse e intercambiar información sobre los cambios ambientales utilizando un vocabulario maleable, compuesto por unidades acústicas únicas, dispuestas y reorganizadas secuencialmente para una mayor profundidad comunicativa. Otorgar un alto nivel de agencia y creatividad a las aves en lugar de creer que un ave solo se vale de un “habla” estereotipada para sobrevivir en un entorno rico en accidentes otorga mayor importancia a las respuestas que se improvisan directamente sobre los estímulos ambientales como irritantes en lugar de como una señal. Con este fin, Matthew explora los cantos de los pájaros a través de musique concrète, que utiliza los sonidos cotidianos como material musical. Utilizando grabaciones de aves marinas, sus muestras abstraen los valores musicales de las convenciones del canto de las aves: una respuesta humana al “otro” en composiciones formadas conjuntamente, que reflejan una relación viva y evolutiva entre el compositor/intérprete y el pájaro. Para desarrollar aún más nuestra investigación en una obra de arte multimedia, extiendo una técnica utilizada para la composición electroacústica (síntesis granular) al dominio visual. Los retratos en video originales del artista y el pájaro se desnaturalizan reorganizando, repitiendo y mezclando secuencias sintetizadas existentes, para construir una nueva estructura acústica y visual que aísla o disloca la apariencia y el comportamiento de la lógica de causa y efecto de la vida misma.
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Kerr, Vicki. "Interpretar a Natureza de forma não natural: A música concreta e a performance do conhecimento – uma ave marinha de cada vez." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.129.g229.
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As aves marinhas migratórias são um canal invisível entre os sistemas marinho e terrestre, transportando os nutrientes que consomem no mar para as florestas onde se reproduzem. Atuando como sentinelas ambientais, seu sucesso reprodutivo e de saúde fornecem sinais de alerta precoce de deterioração dos ecossistemas marinhos, à medida que o clima muda e os estoques de peixes diminuem. Aotearoa é a capital mundial das aves marinhas, com cerca de 25% de todas as espécies se reproduzindo aqui e cerca de 10% exclusivamente. Elas desempenham um papel crítico na manutenção de ecossistemas saudáveis, incluindo o apoio às florestas de Aotearoa, que há muito tempo dependem de nutrientes marinhos para sustentar seu crescimento. Agora predominantemente restrito a ilhas off-shore, devido à predação e destruição de habitats, as aves marinhas e seus sons familiares tornaram-se menos disponíveis em uma época em que o movimento global sem precedentes e a disseminação planetária da população humana culminaram em pesca insustentável, predadores e destruição de habitats. Inspirando mitologia, música, poesia e histórias, os pássaros foram importantes na formação de nossa compreensão de como o ambiente natural de Aotearoa, Nova Zelândia, veio a ser conhecido e compreendido. Este artigo especula sobre como aprendemos a nos comunicar e cooperar com esses taongas esquecidos, e o que pode ser aprendido com essa troca por meio da prática criativa. Refletindo sobre o que os pássaros podem nos dizer, o músico Matthew Bannister e eu, artista visual, seguimos o exemplo das aves marinhas que compartilham nosso ambiente na costa Oeste da Ilha do Norte da Nova Zelândia — desde o petrel de cara cinza (íon) até o gannet (tākapu). Trabalhando com a premissa de que a vocalização dos pássaros é uma negociação realizada que inclui a defesa do território e a atração dos parceiros, o canto de um pássaro é uma forma de comunicação que efetivamente diz “venha aqui” ou “vá embora”, o que provavelmente é verdadeiro para a música — marcando um espaço social e tempo para convidar ou repelir. Em vez de limitar o canto dos pássaros a categorias funcionalistas de explicação, perguntamo-nos se os pássaros marinhos podem se comunicar e trocar informações sobre as mudanças ambientais usando um vocabulário maleável, composto de unidades acústicas exclusivas, organizadas e reorganizadas sequencialmente para maior profundidade comunicativa. Conceder um alto nível de agência e criatividade aos pássaros, em oposição a acreditar que um pássaro só se vale da “fala” estereotipada para sobreviver em um ambiente rico em acidentes, dá maior importância às respostas que são improvisadas diretamente sobre os estímulos ambientais como irritantes, em vez de como um sinal. Para tanto, Matthew explora o canto dos pássaros via musique concreta, que usa sons do cotidiano como material musical. Usando gravações de pássaros marinhos, suas amostras abstraem os valores musicais das convenções do canto dos pássaros — uma resposta humana ao “outro” em composições formadas em conjunto, refletindo uma relação viva em evolução entre o compositor/artista e o pássaro. Ao desenvolver ainda mais nossa pesquisa em uma obra de arte multimídia, estendo uma técnica usada para composição eletroacústica (síntese granular) para o domínio visual. Retratos de vídeo originais do artista e do pássaro são desnaturados por meio do rearranjo, loop, repetição e mistura de sequências sintetizadas existentes, para construir uma nova estrutura acústica e visual que isola ou desloca a aparência e o comportamento da lógica de causa e efeito da própria vida.