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Books on the topic 'Musique concrete'

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Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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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2

1932-, Bayle François, and Zanesi Christian, eds. La musique concrète de Michel Chion: Essai. Rives: Metamkine, 1998.

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3

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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4

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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5

Proto, Frank. The death of Desdemona: For double bass and stereo tape. Cincinnati, Ohio: Liben Music, 1987.

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6

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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7

Robert, Martial. Ivo Malec et son studio instrumental. Paris: L'Harmattan, 2005.

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8

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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9

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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10

Ampuja, Outi. Kuultava menneisyys: Suomalaista äänimaiseman historiaa. Turku: Turun historiallinen yhdistys, 2005.

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11

Teruggi, Daniel. Francis Dhomont. Paris: Institut national de l'audiovisuel, 2006.

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12

Francesco, Galante, Pestalozza Luigi, Favaro Roberto, Teatro alla Scala, and Associazione "Gli Amici di Musica/Realtà.", eds. Musica e tecnologia domani: Convegno internazionale sulla musica elettroacustica : Teatro alla Scala, 20-21 novembre 1999. Lucca: Libreria musicale italiana, 2002.

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13

Dallet, Sylvie. Pierre Schaeffer: Itinéraires d'un chercheur : bibliographie commentée de l'oeuvre éditée = a career in research : a commented bibliography of published works. Montreuil: Ed. du Centre d'études et de recherche Pierre Schaeffer, 1996.

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14

Dallet, Sylvie. Itinéraires d'un chercheur: Bibliographie commentée de l'œuvre éditée de Pierre Schaeffer = A career in research : a commented bibliography of published works. Montreuil: Ed. du Centre d'études et de recherche Pierre Schaeffer, 1997.

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15

1960-, Denis Jean-François, and Concordia Electro-Acoustic Composers' Group, eds. Q résonance: Magnétothèque du Groupe électroacoustique de Concordia. Montreal: Concordia Electroacoustic Composers' Group = Groupe électroacoustique de Concordia, 1988.

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16

Kim-Cohen, Seth. In the blink of an ear: Towards a non-cochlear sonic art. New York: Continuum, 2009.

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17

Kim-Cohen, Seth. In the blink of an ear: Towards a non-cochlear sonic art. New York: Continuum, 2009.

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18

Kim-Cohen, Seth. In the blink of an ear: Towards a non-cochlear sonic art. New York: Continuum, 2009.

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19

Cornelia, Lund, and Lund Holger 1967-, eds. Audio visual: On visual music and related media. Stuttgart: Arnoldsche Art Publishers, 2009.

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20

LaBelle, Brandon. Background noise: Perspectives on sound art. New York: Bloomsbury Academic, 2015.

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21

Russolo, Luigi, Hugo Ball, and André Breton. Surrealism, Dadaism, Musique Concrete: Three Manifestos. Lulu Press, Inc., 2019.

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22

Sound unseen: Acousmatic sound in theory and practice. Oxford University Press, USA, 2014.

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23

Lehrbaß, Oliver. Grundlagen der musique concrète. GRIN Verlag GmbH, 2007.

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24

De la musique concrète à la musique même. Memoire du livre, 2001.

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25

Nadrigny, Pauline. Voile de Pythagore: Du Son a L'objet. Classiques Garnier, 2021.

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26

Voile de Pythagore: Du Son a L'objet. Classiques Garnier, 2021.

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27

Lysaker, John T. Music for Airports and the Avant-Garde. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190497293.003.0003.

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Chapter 2 places Music for Airports within the context of a “sonic turn” that occurs among various avant-garde trends in twentieth-century Euro-American music. A brief history begins with Debussy, accelerates with musique concrète and John Cage’s regard for the activity of sounds, and closes with consideration of La Monte Young and Terry Riley. The chapter insists that this history, in its technological and compositional advances, makes the experiments on Music for Airports possible. Ongoing references to chapter 1’s observations concretize the album’s relation to the Euro-American avant-garde.

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28

Journal de mes sons: Suivi de préfaces et manifestes. Paris: Actes sud, 2004.

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29

Kulezic-Wilson, Danijela. Sound Design is the New Score. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190855314.001.0001.

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Sound Design Is the New Score explores film soundtrack practice that blurs the boundary between scoring and sound design, subverting long-established hierarchical relationships between dialogue, music, and sound effects. The new methods associated with this practice rely on the language and techniques of contemporary popular and art music rather than traditional Hollywood scoring and mixing practices, producing soundtracks in which it is difficult to tell the difference between score and ambient sound, where pieces of pre-existing musique concrète or electroacoustic music are merged with diegetic sound, sound effects are absorbed into the score or treated as music, and diegetic sound is treated as musique concrète. The book argues that the underlying principle that binds together all the different manifestations of this practice is a musical approach to soundtrack conceived as an integrated whole. The aesthetic concerns of this practice, demonstrated in a resistance to the familiar tropes of classical narrative and scoring, are illuminated through the concept of the aesthetics of reticence, which encourages an intellectual, affective, and sensuous engagement with film. The sensuous aspect of this practice is theorized using the concept of the erotics of art, arguing that the sensuousness of film form—its sonic and visual textures, composition, rhythm, movement, and flow—is much more complex and sophisticated than simply being an emphasis on excessive sensory stimulation facilitated by the use of digital technology or the aesthetics inspired by it.

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30

Eno, Brian. Ambient 4: On land. 2004.

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31

Surrealism, Dadaism, Musique Concrète : Three Manifestos: With a Special Appendix by Marsden Hartley. Lulu Press, Inc., 2023.

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32

Ivo Malec et son studio instrumental. Paris: L'Harmattan, 2005.

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33

La maison de sons de Pierre Henry: Pierre Henry, peintures concrètes et musique. Lyon: Fage, 2010.

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34

Smigel, Eric. Sights and Sounds of the Moving Mind. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0006.

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American experimental filmmaker Stan Brakhage revolutionised independent cinema by cultivating a new poetic idiom designed to document the subjective vision of the eye behind the camera. Committed to an inclusive account of the lived visual experience, he augmented the cinematic vocabulary by including components such as hallucination, dreams, closed-eye images and optical feedback, capturing these ephemeral elements using a wide variety of ‘home-made’ modifications to the filming process, including erratic hand-held camera movement, distortion of focus and changing camera speeds. Although most of his projects are silent, he corresponded with composer James Tenney to explore intersections between cinema (“moving visual thinking”) and music (“sound equivalent of the mind’s moving”). When employing a soundtrack, Brakhage gravitated towards musique concrète, which he regarded as an audio analogy for cinematic montage, and he devised a unique brand of audiovisual counterpoint based on the rhythmic interplay of the psychophysiological processes of sight and sound.

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35

Ouïr, entendre, écouter, comprendre après Schaeffer. Paris: Buchet/Chastel ; Bry-sur-Marne, 1999.

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36

Ouir, entendre, comprendre... Buchet Chastel, 2000.

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37

Sound der Zeit: Geräusche, Töne, Stimmen, 1889 bis heute. Göttingen: Wallstein Verlag, 2014.

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38

Laurie Anderson : Nothing in My Pockets: A Diary. Dis Voir, 2009.

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39

Sound der Zeit: Geräusche, Töne, Stimmen - 1889 Bis Heute. Wallstein Verlag, 2014.

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40

Basart, Ann Phillips. Serial Music: A Classified Bibliography of Writings on Twelve-Tone and Electronic Music. University of California Press, 2021.

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41

Cox, Christoph, and Daniel Warner, eds. Audio Culture. Bloomsbury Publishing Inc, 2017. http://dx.doi.org/10.5040/9781501318399.

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The groundbreaking Audio Culture: Readings in Modern Music (Continuum; September 2004; paperback original) maps the aural and discursive terrain of vanguard music today. Rather than offering a history of contemporary music, Audio Culture traces the genealogy of current musical practices and theoretical concerns, drawing lines of connection between recent musical production and earlier moments of sonic experimentation. It aims to foreground the various rewirings of musical composition and performance that have taken place in the past few decades and to provide a critical and theoretical language for this new audio culture. This new and expanded edition of the Audio Culture contains twenty-five additional essays, including four newly-commissioned pieces. Taken as a whole, the book explores the interconnections among such forms as minimalism, indeterminacy, musique concrète, free improvisation, experimental music, avant-rock, dub reggae, ambient music, hip hop, and techno via writings by philosophers, cultural theorists, and composers. Instead of focusing on some “crossover” between “high art” and “popular culture,” Audio Culture takes all these musics as experimental practices on par with, and linked to, one another. While cultural studies has tended to look at music (primarily popular music) from a sociological perspective, the concern here is philosophical, musical, and historical. Audio Culture includes writing by some of the most important musical thinkers of the past half-century, among them John Cage, Brian Eno, Ornette Coleman, Pauline Oliveros, Maryanne Amacher, Glenn Gould, Umberto Eco, Jacques Attali, Simon Reynolds, Eliane Radigue, David Toop, John Zorn, Karlheinz Stockhausen, and many others. Each essay has its own short introduction, helping the reader to place the essay within musical, historical, and conceptual contexts, and the volume concludes with a glossary, a timeline, and an extensive discography.

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42

In the blink of an ear: Towards a non-cochlear sonic art. New York: Continuum, 2009.

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43

In the Blink of an Ear: Toward a Non-Cochlear Sonic Art. Bloomsbury Publishing Plc, 2009.

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44

De Gaulle et la diplomatie par l'image. Bry-sur-Marne: Institut national de l'audiovisuel, 2010.

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