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Journal articles 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

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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.
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11

Langlois, Philippe. "Musique contemporaine et cinéma : panorama d’un territoire sans frontières." Circuit 26, no. 3 (December 23, 2016): 11–25. http://dx.doi.org/10.7202/1038514ar.

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Musique contemporaine et images cinématographiques ont une histoire en commun qui s’est illustrée tout au long du xxe siècle par la richesse et l’inventivité qui ont résulté de leur rencontre. Dans le contexte cinématographique, la musique contemporaine ne se déploie plus seulement dans la sphère du cinéma expérimental et d’avant-garde, mais touche un plus large public du fait de son emploi de plus en plus fréquent dans le cinéma de fiction, le documentaire de création ou le cinéma d’auteur. L’influence de la musique concrète et électroacoustique après 1945, l’influence du courant minimaliste américain à partir de 1960-1970 et l’apparition du postmodernisme dans les années 1980 constituent les jalons qui ont décuplé l’étendue des possibilités de dialogue audiovisuel.
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12

Mcauliffe, Sam. "Studying Sonorous Objects to Develop Frameworks for Improvisation." Organised Sound 22, no. 3 (November 24, 2017): 369–77. http://dx.doi.org/10.1017/s135577181700053x.

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French musique concrète artist Pierre Schaeffer pioneered new ways of listening to and studying sound. His study and manipulation of recorded sounds to create music changed the way contemporary musicians, from a multitude of disciplines, approach making music. Additionally, Schaeffer’s treatise on acousmatic listening to sonorous objects has deeply influenced contemporary sound studies. In this article, I elucidate how musique concrète has informed my practice-led research project,Looking Awry– from which I will discuss two case studies. I outline how acousmatic listening to field recordings from everyday environments informed the development of performance strategies that guide improvised musical performance; a malleable practice that can be applied to a variety of performance settings.
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13

Cox, Geoffrey. "‘There Must Be a Poetry of Sound That None of Us Knows…’: Early British documentary film and the prefiguring of musique concrète." Organised Sound 22, no. 2 (July 12, 2017): 172–86. http://dx.doi.org/10.1017/s1355771817000085.

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Standard histories of electronic music tend to trace the lineage of musique concrète as lying mainly in the Futurists’ declarations of the 1910s, through Cage’s ‘emancipation’ of noise in the 1930s, to Schaeffer’s work and codifications of the late 1940s and early 1950s. This article challenges this narrative by drawing attention to the work of filmmakers in the 1930s that foreshadowed the sound experiments of Pierre Schaeffer and thus offers an alternative history of their background. The main focus of the article is on the innovations within documentary film and specifically the sonic explorations in early British documentary that prefigured musique concrète, an area ignored by electronic music studies. The theoretical and philosophical underpinnings of the documentary movement’s members, particularly their leader John Grierson, will be compared with those of Pierre Schaeffer, and the important influence of Russian avant-garde filmmaking on the British (and musique concrète) will be addressed. Case studies will focus on the groundbreaking soundtracks of two films made by the General Post Office Film Unit that feature both practical and theoretical correspondences to Schaeffer: 6.30 Collection (1934) and Coal Face (1935). Parallels between the nature and use of technologies and how this affected creative outputs will also be discussed, as will the relationship of the British documentary movement’s practice and ideas to post-Schaefferian ‘anecdotal music’ and the work of Luc Ferrari.
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14

Macé, Pierre-Yves. "La messe de terre de Michel Chion : de la liturgie à l’autoportrait." Circuit 26, no. 3 (December 23, 2016): 43–56. http://dx.doi.org/10.7202/1038516ar.

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Renommé tant pour ses essais sur le son au cinéma que pour ses compositions de musique concrète, Michel Chion (né en 1947) produit également un travail cinématographique et vidéo qui s’inscrit dans le prolongement de son écriture musicale. Oeuvre-somme d’une durée de 2 h 30 min,La messe de terreest une véritable « liturgie audio-logo-visuelle » qui associe la musique concrète à une composition très sophistiquée des images. Si l’oeuvre est dominée par la césure, le clivage entre ce que l’on voit et ce que l’on entend, sa trajectoire fait peu à peu converger l’image et le son dans la constitution commune d’une « architecture de temps ». Dans les marges du genre de la messe se laissent alors deviner les traces d’un autoportrait vidéo croisant lehome movieet le journal de travail.
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15

Pinheiro, Sara. "Acousmatic Foley: Son-en-Scène." International Journal of Film and Media Arts 7, no. 2 (December 13, 2022): 125–48. http://dx.doi.org/10.24140/ijfma.v7.n2.07.

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“Acousmatic Foley” is practice-based research on sound dramaturgy stemming from musique concrète and Foley Art. This article sets out a theory based on the concept of “son-en-scène”, which forms the sonic content of the mise-en-scène, as perceived (esthesic sound). The theory departs from the well-known features of a soundscape (R. M. Schafer, 1999) and the listening modes in film as asserted by Chion (1994), in order to arrive at three main concepts: sound-prop, sound-actor and sound-motif. Throughout their conceptualization, the study theorizes a sonic dramaturgy that focuses on the sounds themselves and their practical influence on film's story-telling elements. For that, it conveys an assessment of sound in film-history based on the “montage of attractions” and foley art, together with the principles of acousmatic listening. This research concludes that film-sound should be to sound designers what a “sonorous object” is to musique concrète, albeit conveying all sound’s fictional aspects.
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16

Baggio, Igor. "A música atonal livre de Berg como modelo de "Musique Informelle"." Revista Música 17, no. 1 (March 21, 2018): 130–53. http://dx.doi.org/10.11606/rm.v17i1.144604.

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O artigo consiste de um comentário crítico do ensaio Descobertas composicionais de Berg, escrito por Theodor Adorno em 1961, ano em que, como professor de composição, o filósofo também apresentaria sua célebre conferência Vers une musique informelle nos Ferienkursen de Nova Música em Darmstadt. Trata-se principalmente de assinalar a importância da música atonal livre de Alban Berg para a formulação mais concreta das principais características de uma musique informelle, já que no ensaio homônimo este conceito carece, em vários momentos, de uma ilustração musical mais precisa. Além disso, um tópico estético musical de relevância que abordamos ao longo do comentário é o referente à noção de organicismo estético, ao qual Adorno fornece uma nova interpretação tendo em vista a música de Berg e o ideal de uma música informal.
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Chlebowski, Piotr. "Szumy, zlepy... eksplozje. Pink Floyd i la musique concrète." Roczniki Humanistyczne 71, no. 12 (December 29, 2023): 41–58. http://dx.doi.org/10.18290/rh237012.3.

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Artykuł dotyczy różnych sposób realizacji efektów dźwiękowych, zwanych muzyką konkretną, w twórczości Pink Floyd, jednejo z najbardziej znanych i cenionych grup z kręgu brytyjskiego rocka progresywnego, wydającego płyty od 1967 r. „Konkretne” dźwięki w tej twórczości wchodzą w rozmaite relacje zarówno z dźwiękami preparowanymi elektronicznie, jak i dźwiękami realizowanymi w sposób bardziej tradycyjny. Nadto są poddawane rozmaitym procesom i manipulacjom studyjnym (swobodnemu montażowi, przyspieszeniom, wibracjom etc.). Obecność tych efektów ma charakter nierzadko systemowy i wielkoskalowy, decyduje nie tylko o obliczu poszczególnych utworów, o ich semantyce i formie, również o programie i kompozycji albumów, np. The Dark Side of the Moon (1973) czy The Wall (1979). Szkic podejmuje kilka wybranych zagadnień, takich jak: związek muzyki konkretnej z elektroniką (w kilku układach i postaciach), muzyka konkretna jako jeden ze sposobów kreowania sytuacji i scenerii, a także jej obecność w strukturze płyt jako skończonych dzieł muzycznych. Elementy muzyki konkretnej nie są w dorobku kwartetu z Cambridge jedynie efektownym ilustracyjnym ornamentem, choć i takie funkcje pełni ten chwyt w niektórych utworach. Przede wszystkim wyznaczają dźwiękom naturalnego świata niebanalne funkcje tożsame funkcjom przypisywanym tradycyjnej muzyce. Są przy tym ważnym składnikiem stylu Pink Floyd.
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18

Thomas, Jean-Christophe. "Nature and the GRM." Organised Sound 12, no. 3 (November 30, 2007): 259–65. http://dx.doi.org/10.1017/s1355771807001987.

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AbstractIt is a habit to invoke Aristotle when dealing, within the arts, with ‘Nature’ – that the Man–Artist (and not only the musician) would be, he says, ‘inclined’ to imitate. It is true, the history of music clearly attests to the temptation and of the ‘pleasure’ (as Aristotle also says) found in mimesis. We know that very lately in history musique concrète gives a new perspective to this question as well as to other questions, and changes the deal: because the sound objects of the world, of the whole world – the ‘noises’ – that needed to be imitated, can now be easily captured through technology, almost in a photographic way, and then they can be gathered, kept, and finally be composed. Hopefully Pierre Schaeffer, its genial inventor, has, concerning the question of nature within new music, a position that tears him apart, which is paradoxical, uncomfortable, fundamental: that the nature that is so easily captured, he does not want to exhibit; to understand the lessons, the hidden musical lessons, he only wants to examine it. This almost heroic model will only be partially followed by the composers (concrète, electroacoustic, acousmatic, anecdotical composers) who have been working during the last sixty years in this passionate domain. At the end of this article, the sketch of a typology, based on musical examples, tries to clarify the way nature is dealt with, when it appears in musique concrète.
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19

Denis, Sébastien. "(Dé)synchro-Shadok. Animation, musique concrète et ingénierie à l’ORTF." Intermédialités, no. 19 (October 9, 2012): 103–20. http://dx.doi.org/10.7202/1012658ar.

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La série Les Shadoks de Jacques Rouxel, produite en France entre 1968 et 1974, est emblématique de l’esprit expérimental de Pierre Schaeffer, à la tête à l’époque du Service de la Recherche de l’ORTF. Si la série est largement axée sur la désynchronisation entre image et son pour mettre en valeur la musique concrète, Schaeffer a pour sa part tenté de synchroniser ses équipes avec des découvertes technologiques (notamment l’animographe) tout en désynchronisant l’organisation de son service et en resynchronisant le public avec un esprit moderne, en rupture avec le conformisme audiovisuel des années Pompidou.
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Lebrat, Soizic, and Raphaël Godeau. "Ope 1000, genre opéra-chantier. Contribution à la réflexion sur la recherche-création musicale." Les Cahiers de la Société québécoise de recherche en musique 10, no. 2 (November 28, 2018): 37–45. http://dx.doi.org/10.7202/1054090ar.

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En amont de la mise en relation concrète du droit avec la musique improvisée se pose la question de la représentation de l’une et de l’autre, et de l’une par rapport à l’autre à l’intérieur d’un lieu et d’une temporalité circonscrite aux conditions d’une recherche et d’une création publique. L’intérêt d’un tel rapprochement réside dans la tension intellectuelle que cette collaboration fait naître, et qui inscrit l’improvisation dans une temporalité plus spéculative.
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21

Sunabacka, Karen. "Electroacoustic Music Studies Network 2008: Musique concrète—60 Years Later." Computer Music Journal 33, no. 1 (March 2009): 70–73. http://dx.doi.org/10.1162/comj.2009.33.1.70.

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22

DAVIES, HUGH. "A history of sampling." Organised Sound 1, no. 1 (April 1996): 3–11. http://dx.doi.org/10.1017/s135577189600012x.

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Since the mid-1980s commercial digital samplers have become widespread. The idea of musical instruments which have no sounds of their own is, however, much older, not just in the form of analogue samplers like the Mellotron, but in ancient myths and legends from China and elsewhere. This history of both digital and analogue samplers relates the latter to the early musique concrète of Pierre Schaeffer and others, and also describes a variety of one-off systems devised by composers and performers.
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Rieppi, Thomas. "iReal Pro. Un outil technologique utilisé à des fins didactiques pour soutenir les recommandations de la recherche scientifique dans l’enseignement instrumental." Revue musicale OICRM 4, no. 1 (June 26, 2017): 150–58. http://dx.doi.org/10.7202/1040303ar.

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Cet article propose des façons concrètes d’intégrer à l’enseignement d’instruments de musique des recommandations issues de la recherche scientifique sur l’utilisation des technologies. En fait, il guide les praticiens sur l’utilisation du logiciel iReal Pro à l’aide d’exemples concrets modelés à partir de cours de percussions. Pour terminer, je reviens autour d’observations pédagogiques quant à l’intégration des technologies dans mes leçons de percussion et sur la manière dont leur utilisation a pu remédier, en partie, au décalage mis en avant dans la recherche scientifique.
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Mikawa, Makoto. "FORMAL DESIGN AND MATERIAL IN MAURICIO KAGEL'S ANTITHESE FÜR ELEKTRONISCHE UND ÖFFENTLICHE KLÄNGE." Tempo 68, no. 270 (September 4, 2014): 57–67. http://dx.doi.org/10.1017/s0040298214000369.

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AbstractIndifferent to the aesthetic dispute between the Parisian musique concrète and the Cologne elektronische Musik schools in the mid twentieth century, Mauricio Kagel took a synthetic approach to his second electroacoustic composition Antithese by combining these compositional principles. His aim was not to offer an eclectic solution to the controversy, but to express his musico-political and musico-social commentary. A close observation of Kagel's sketches, archived at the Paul Sacher Foundation, suggests that his choice of compositional materials and painstaking structural plan were shaped by his critical view of the politics of electroacoustic music.
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Gayou, Évelyne. "The GRM: landmarks on a historic route." Organised Sound 12, no. 3 (November 30, 2007): 203–11. http://dx.doi.org/10.1017/s1355771807001938.

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AbstractThe year 1958 witnessed the birth of the institution GRM, nurtured by the French Radio and Television service (RTF). However, the fifty years of the GRM cannot be dissociated from the preceding period, datable from 1942, when Pierre Schaeffer began experiments with radiophonic sound which led him to musique concrète while bringing into existence the institutional infrastructure of the group. We can therefore see the Studio d'Essai (1942–46), the Club d'Essai (1946–60) with its Groupe de Recherche de Musique Concrète (GRMC, 1951–58) as forebears of the GRM. The fundamental principle, which lies in working with sonic material directly on the recording media through a precise listening to recorded elements, led Schaeffer to affirm that there is another way to access music other than from notation.He used this powerful idea as the fixed point on the compass for all his research. Linked from its origins to the broadcasting services – RTF until 1964, ORTF up to 1974, then INA ever since – the GRM has constantly adapted its theories and its ideas to successive technological developments: smooth disks (shellac records), magnetic tape, computer memory. A fruitful period at the Service de la Recherche (1960–75) allowed Schaeffer and his team to systematically examine the world of sounds from their own listening experience. The Traité des Objets Musicaux (Treatise of Musical Objects) bears witness to this research. Since 1975 another adventure has been under way: that of the preservation and making available of works and discoveries gathered over the years – an exceptional heritage which continues to grow and interest an ever larger public.
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Girard, Bernard. "La ville, matériau artistique." Environnement urbain 8 (December 9, 2014): 97–105. http://dx.doi.org/10.7202/1027740ar.

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Au début des années cinquante, des peintres sont sortis de leur atelier pour aller arracher des affiches. Quelques années plus tard, des compositeurs sont partis à la recherche de sons urbains qu’ils ont intégrés tels quels dans leurs oeuvres. En faisant de la ville une réserve de matériaux, ces artistes, affichistes et compositeurs de musique concrète, ont profondément modifié notre regard sur celle-ci. Ils nous ont amenés à porter un jugement esthétique sur ce qui apparaissait n’être que des nuisances. Ils ont contribué à l’esthétisation de l’espace urbain et à la découverte d’une nouvelle beauté : celle de la ville « canaille ».
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ANDERSON, LAURA. "Musique concrète, French New Wave cinema, and Jean Cocteau'sLe Testament d'Orphée(1960)." Twentieth-Century Music 12, no. 2 (August 26, 2015): 197–224. http://dx.doi.org/10.1017/s1478572215000031.

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AbstractJean Cocteau (1889–1963) is recognized as one of France's most well-known film directors, directing six films over a thirty-year period. This article argues that his film soundscapes occupy a unique position in the history of French film sound, providing a key link between contemporary experimentation in art music and the sonic experimentation of the New Wave filmmakers. This argument is best exemplified byLe Testament d'Orphée(1960), which represents the apotheosis of Cocteau's artistic output as well as the stage at which he was most confident in handling the design of a film soundscape. Indeed, Cocteau was comfortable with the selection and arrangement of sonic elements to the extent that his regular collaborator Georges Auric became almost dispensable. Nevertheless, Auric's willing support enriched the final film and Cocteau created a highly self-reflexive work through his arrangement of the composer's music with pre-existing musical borrowings. Cocteau's engagement with contemporary developments in film and art music can be heard throughout this film, highlighting his position as a poet simultaneously establishing himself in the canon of art and looking to the future.
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Battier, Marc. "What the GRM brought to music: from musique concrète to acousmatic music." Organised Sound 12, no. 3 (November 30, 2007): 189–202. http://dx.doi.org/10.1017/s1355771807001902.

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AbstractSixty years ago, musique concrète was born of the single-handed efforts of one man, Pierre Schaeffer. How did the first experiments become a School and produce so many rich works? As this issue of Organised Sound addresses various aspects of the GRM activities throughout sixty years of musical adventure, this article discusses the musical thoughts behind the advent and the development of the music created and theoretised at the Paris School formed by the Schaefferian endeavours. Particular attention is given to the early twentieth-century conceptions of musical sounds and how poets, artists and musicians were expressing their quest for, as Apollinaire put it, ‘new sounds new sounds new sounds’. The questions of naming, gesture, sound capture, processing and diffusion are part of the concepts thoroughly revisited by the GRMC, then the GRM in 1958, up to what is known as acousmatic music. Other contributions, such as Teruggi's, give readers insight into the technical environments and innovations that took place at the GRM. This present article focuses on the remarkable unity of the GRM. This unity has existed alongside sixty years of activity and dialogue with researchers of other fields and constant attention to the latter-day scientific, technological and philosophical ideas which have had a strong influence in shaping the development of GRM over the course of its history.
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Ranallo, Vincent. "Une célébration sonore de l’Esprit : à propos d’Oralléluiants." Circuit 20, no. 3 (November 4, 2010): 43–58. http://dx.doi.org/10.7202/044860ar.

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L’exploration de la partition d’Oralléluiants de Gilles Tremblay offre l’occasion de confirmer que la vie spirituelle est inhérente à l’acte musical. Celui-ci, pour le compositeur québécois, est à la fois la capacité de percevoir les potentialités de la musique du monde qui l’entoure et le désir de les rendre transparentes à une lumière qui les dépasse. Dans Oralléluiants, un objet sonore concret, une feuille d’aluminium, fournit un matériau qui sera graduellement transmué en pur mouvement jubilatoire. Cet objet est également à la source d’une réflexion dans cet article sur le rapport de l’interprète avec son instrument et sur la nature particulière de la musicalité induite par l’art de Tremblay.
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Manning, Peter. "The Influence of Recording Technologies on the Early Development of Electroacoustic Music." Leonardo Music Journal 13 (December 2003): 5–10. http://dx.doi.org/10.1162/096112104322750719.

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From the earliest experiments with the manipulation of 78-rpm disks during the 1920s, the technology of recording has played a major role in the evolution of electroacoustic music. This has extended not only to the recording and reproduction of materials but also to key components of the compositional process itself. Although such influences have become less prominent with the advent of digital technology, their impact during the formative years of electroacoustic music was significant and far-reaching. This article examines some key aspects of the pioneering era of creative development through the early 1950s, with particular reference to the Bauhaus sound artists, Pierre Schaeffer and musique concrète, and the Cologne studio for elektronische Musik
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Bailly, Daniel. "Soundscape - eine Möglichkeit kreativer Betätigung für Kinder und Jugendliche mit geistiger Behinderung?" Musik-, Tanz- und Kunsttherapie 16, no. 3 (July 2005): 107–20. http://dx.doi.org/10.1026/0933-6885.16.3.107.

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Zusammenfassung. Nachdem ich im ersten Teil dieses Beitrags (im letzten Heft) die grundlegenden Begriffe Geistige Behinderung, kreative Betätigung und Soundscape erläutert bzw. definiert habe, möchte ich nun mein Augenmerk auf die praktische Realisierung von Soundscape im Unterricht richten. Die didaktischen Überlegungen nehmen zunächst Bezug auf die Richtlinien des Schulministeriums (NRW) und zeigen, dass eine Unterrichtsreihe ‘Soundscape‘ durchaus anhand der Richtlinien zu begründen ist. Dann werden verschiedene musikimmanente und außermusikalische Aspekte genannt, die von einer intensiven Beschäftigung mit Soundscape tangiert werden können. Es folgen konkrete Vorschläge zur praktischen Umsetzung im Unterricht und einführende Erläuterungen zur produktionstechnischen Umsetzung. Zum Schluss gebe ich einen Ausblick, das Soundscape Thema auf das Terrain der musique concrète zu erweitern.
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Turrini, Nicola. "Il velo e la conchiglia." Chiasmi International 25 (2023): 259–74. http://dx.doi.org/10.5840/chiasmi20232531.

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The essay intends to revisit certain phenomenological themes present in the theoretical work of Pierre Schaeffer, based on his most important and influential book: the Traité des objets musicaux. A French engineer and composer, Schaeffer was the initiator – from the point of view of its musical practice, and its theoretical analysis – of one of the most important musical avant-gardes of the 20th century, musique concrète. The objective of the article will be to consider Schaeffer’s main reference – the phenomenology of Edmund Husserl – and suggest that Maurice Merleau-Ponty’s phenomenology could be a prism that helps to understand and expand the heterogeneous and incomplete research project the French composer documented extensively in his writings.
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Cseres, Jozef. "In Between as a Permanent Status: Milan Adamčiak's Version of Intermedia." Leonardo Music Journal 19 (December 2009): 31–34. http://dx.doi.org/10.1162/lmj.2009.19.31.

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Milan Adamčiak is a Slovak composer, cellist and musicologist; creator of acoustic objects, installations and unconventional musical instruments; a performer, visual artist and experimental poet. Traditionally trained but influenced by Cagean and Fluxus poetics, he created from the late 1960s until the mid-1990s a large body of work that transgressed the conventional definitions of art creativity and quickly moved toward the concepts of opera aperta, action music and various intermedia forms. At the same time he was experimenting with electronic media, he created several pieces of electroacoustic music and musique concrète, but it was primarily live electronics that fit the principles of his radical poetics. The author considers Adamčiak's intermedia in the context of philosophical and aesthetical thought, revealing mutual correspondences, apparent as well as hidden.
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HIGGINS, ANNA-MARIE, and KEVIN JENNINGS. "From Peering in the Window to Opening the Door: a constructivist approach to making electroacousticmusic accessible to young listeners." Organised Sound 11, no. 2 (August 2006): 179–87. http://dx.doi.org/10.1017/s1355771806001464.

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A casual listener may not have the relevant cognitive tools to relate to electroacoustic music as an independent art form. Even music students who have had several years' formal training may not know how to listen purposefully to it. The authors investigate the hypothesis that by engaging in the composition of musique concrète, students will become more informed listeners to electroacoustic music in general. This study describes a teacher and ten 16-year-old high school students who use a digital audio editor (Cool Edit Pro) to manipulate sound and to structure sound events. A variety of teaching approaches are tested. Having experienced the creative process, the participants display a growing ability to engage in higher-order critical thinking skills in relation to electroacoustic music.
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Pieptănatu, Anca-Teodora. "About Electroacoustic Music: From the Beginning Until Our Days." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (December 30, 2023): 199–206. http://dx.doi.org/10.24193/subbmusica.2023.2.14.

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"In this article, we will follow the development of electroacoustic music. This article focusses especially on the instruments that contributed to the apparition of this genre of music, starting with the beginnings, before the twentieth century. This will help us understand the evolution of musical instruments and how important they are when it comes to making music. What is more fascinating about electro acoustic music will be presented in the article, focusing on some of the pioneers of this type of music, and how electro acoustic music turned into what nowadays we call techno music. Also, we will follow the development of the instruments used back in the days to the processor which we use in the creation of electronic music. Keywords: electroacoustic, technology, musique concrète, Theremin."
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Platonova, O. A. "Electroacoustic Experiments of the Art Zoyd and Their Implementation in Soundtracks for Silent Films." Art & Culture Studies, no. 2 (June 2021): 230–51. http://dx.doi.org/10.51678/2226-0072-2021-2-230-251.

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The article is devoted to the work of Art Zoyd, a French group whose experimental style is often defined by modern researchers as “la musique nouvelle” (from the French — “new music”) and is viewed through the prism of the genre-style dialogue between rock and contemporary academic music. The idea of “metamusic”, expressed in the co-creation of several composers, as well as in the unity of visual, plastic, and musical components, is also important for understanding the style of the group. This trend is especially closely related to the personality of one of the founders of the group, Gerard Hourbette, who combines the gift of a composer with the talent of a programmer. The obvious reliance on the achievements of electroacoustic music, the desire to combine the scientific understanding of the phenomenon of sound with the implementation of practical musical projects (expressed in the creation of the research and creative center Art Zoyd Studios), make him related to the figure of the pioneer of musique concrète and the founding father of Groupe de Recherches Musicales, Pierre Schaeffer. The idea of the synthesis of the arts is reflected in the innovative multimedia performances of the group, as well as in the soundtracks to silent films. The article analyzes the sound scores for the films Nosferatu by Friedrich Murnau, Häxan by Benjamin Christensen, The Fall of the House of Usher by Jean Epstein.
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Iazzetta, Fernando, Rodolfo Caesar, José Augusto Mannis, Alexandre Fenerich, and Lílian Campesato. "Jogo de Encontros: a experiência do Personne." ARJ – Art Research Journal / Revista de Pesquisa em Artes 2, no. 1 (June 30, 2015): 1–35. http://dx.doi.org/10.36025/arj.v2i1.7029.

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Este texto traz uma reflexão acerca do trabalho do Personne, uma reunião de artistas interessados na produção de trabalhos que envolvem o repertório da música contemporânea e das artes sonoras, em sua articulação com outras formas artísticas. O grupo nasceu do projeto de transcriação da Symphonie pour un homme seul, obra referencial da musique concrète, para uma versão instrumental. Neste projeto e nos trabalhos subsequentes, transparece a criação voltada para a experimentação, no sentido de uma exploração da prática de cada um de seus integrantes, sem que haja qualquer desejo ou tentativa de formalizar essa prática. Assim, o texto apresenta as reflexões e indagações de cinco integrantes do Personne que, partindo dos próprios trabalhos do grupo, acabam por projetar suas concepções críticas em relação à música e às artes sonoras em geral.
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Seo, Jeong-Eun. "Sound Unseen or Sound Seen : Dis-acousmatic Meanings of Helmut Lachenmann’s musique concrète instrumentale." Journal of the Science and Practice of Music 40 (October 31, 2018): 105–41. http://dx.doi.org/10.36944/jspm.2018.10.40.105.

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39

Dallet, Sylvie. "De la musique concrète à l'objet sonore : genèse et paradoxes de la recherche schaefferienne." L Homme et la société 126, no. 4 (1997): 109–13. http://dx.doi.org/10.3406/homso.1997.2919.

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Kakinuma, Toshie. "Sneezing Toward the Sun: The Human Voice in the Musique concrète of Toru Takemitsu." Contemporary Music Review 37, no. 1-2 (March 4, 2018): 20–35. http://dx.doi.org/10.1080/07494467.2018.1453334.

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Shimizu, Yoshihiko. "The Creative Quest into Temple Bell Sonorities: Works of Musique Concrète by Toshiro Mayuzumi." Contemporary Music Review 37, no. 1-2 (March 4, 2018): 36–48. http://dx.doi.org/10.1080/07494467.2018.1453335.

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42

Chartier, Daniel. "Du silence et des bruits : le Nord est silencieux." Les Cahiers de la Société québécoise de recherche en musique 14, no. 1 (June 6, 2013): 25–34. http://dx.doi.org/10.7202/1016195ar.

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L’imaginaire du Nord, de l’hiver et du froid se déploie en un système de signes qui forme un ensemble cohérent posant une relation variable avec le réel. Certaines formes évoquent cet imaginaire par le biais de la figuration ou de la description, alors que d’autres – la poésie, l’art abstrait et la musique – s’en servent plutôt comme d’une structure sémantique qui permet de se dégager de tout renvoi concret à la géographie ou au climat. Lorsqu’elle se voit intégrée à la narration, la musicalité littéraire du monde froid pose problème : elle surgit dans un imaginaire où est valorisé non la sonorité, mais le silence. Dès lors, la « musicalité » du Nord et de l’hiver, du moins du point de vue de la littérature, apparaît comme un contrediscours : elle devient bruit, fracas et grincements dans l’univers horizontal du silence. Le silence compte parmi les caractéristiques premières de l’imaginaire du Nord : il s’insère dans un réseau de signes autour de l’immensité, du froid, de la neige, de la blancheur, de l’horizontalité, de l’éternité et de l’absence de repères, bref autour d’un lieu défini par la culture occidentale comme celui d’une absence humaine. L’objectif de cet article est d’étudier, dans un corpus représentatif de l’imaginaire du Nord constitué de quelques centaines d’oeuvres littéraires, le rôle que joue la sonorité dans le système de signes de l’imaginaire du Nord et de l’hiver, de manière à proposer une typologie du silence, des sons et des bruits du monde froid, tel que le pose la littérature. Cette étude permet ainsi d’apporter une perspective différente au rapport entre le Nord, la musique et la musicalité, tel que ces dernières sont reprises dans un autre genre, discursif et écrit.
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Ledger, Kate. "Electric Spring, Huddersfield, 22–26 February 2017." Tempo 71, no. 281 (June 21, 2017): 93–95. http://dx.doi.org/10.1017/s0040298217000377.

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In the heart of the University of Huddersfield's Creative Arts Building sits the unassuming Phipps Hall, which has given itself over to five days of total electronic sound immersion. The University has grown accustomed to attracting pioneering artists in contemporary music over the last four decades, both to its in-house research centre CeReNeM, and to the Huddersfield Contemporary Music Festival every November. The relatively younger Electric Spring Festival takes place every February and is now able to stand alongside its older sibling, offering the public an impressive and diverse programme of composers and artists specialising in electronic sound manipulation. This year was no exception. Running from 22 to 26 February, there was something to suit everyone, from improvised live-coded dance music to classic musique concrète masterpieces. From its conception in 1995, the aim of the festival has been to offer breadth and surprise to its audience.
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Hegarty, Paul. "Noise threshold: Merzbow and the end of natural sound." Organised Sound 6, no. 3 (December 2001): 193–200. http://dx.doi.org/10.1017/s1355771801003053.

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When we ask what noise is, we would do well to remember that no single definition can function timelessly - this may well be the case with many terms, but one of the arguments of this essay is that noise is that which always fails to come into definition. Generally speaking, noise is taken to be a problem: unwanted sound, unorganised sound, excessively loud sound. Metaphorically, when we hear of noise being generated, we understand it to be something extraneous. Historically, though, noise has just as often signalled music, or pleasing sound, as its opposite. In the twentieth century, the notion of a clear line between elements suitable for compositional use (i.e. notes, created on instruments) and the world of noises was broken down. Russolo's ‘noisy machines’, Varèse and Satie's use of ostensibly non-musical machines to generate sounds, musique concrète, Cage's rethinking of sound, noise, music, silence . . .
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Goldman, Jonathan. "Structuralists contra Serialists? Claude Lévi-Strauss and Pierre Boulez on Avant-Garde Music." Articles 30, no. 1 (May 24, 2011): 77–94. http://dx.doi.org/10.7202/1003500ar.

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The adepts of serial music since the end of the 1950s seemed destined to ally themselves with structuralist thought—the broadly defined intellectual movement that profoundly marked the social sciences and humanities. The importance of the metaphor of language to the serialist project of Pierre Boulez in particular seemed sufficient to pave the way towards a conceptual alliance between avant-garde music and structuralist thought. Nevertheless, Claude Lévi-Strauss’s acerbic pronouncements on serial music as well as musique concrète that appeared in the famous “Overture” to The Raw and the Cooked (1964) made it clear that Lévi-Strauss was no friend of the serialist project. Drawing on recent research by Jean-Jacques Nattiez, Nicolas Donin, and Frédéric Keck, this article will argue that the serialist compositional project of the postwar era, embodied primarily in the figure of Pierre Boulez, can be considered “structuralist” in the sense of the intellectual movement promulgated by Claude Lévi-Strauss, despite the latter’s denunciation of serial music.
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KANE, BRIAN. "Relays: Audiotape, Material Affordances, and Cultural Practice." Twentieth-Century Music 14, no. 1 (February 2017): 65–75. http://dx.doi.org/10.1017/s1478572217000068.

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AbstractThis article considers the relationship between audiotape's material affordances and the audibility of cultural practices. Not all changes in the materiality of sound media are audible to listeners, and not all changes in the audibility of cultural practices require changes in their material support. Thus focus on the affordances of sound technologies – those possibilities of sound technologies that may or may not be engaged by its users, and the wide range of practices that such technologies support – can help to connect materiality and audibility. I address the affordances of audiotape by examining a number of small case studies where established sonic practices encounter a transition from phonography to audiotape: musique concrète and the tape loop, serialist composition, and Les Paul's use of overdubbing. Finally, I consider the nature of the audiotape archive and its mode of access in order to pose some general questions about the meaning and use of audiotape's affordances.
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Kane, Brian. "L’Objet Sonore Maintenant: Pierre Schaeffer, sound objects and the phenomenological reduction." Organised Sound 12, no. 1 (April 2007): 15–24. http://dx.doi.org/10.1017/s135577180700163x.

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AbstractThe work of Pierre Schaeffer (theorist, composer and inventor of musique concrète) bears a complex relationship to the philosophical school of phenomenology. Although often seen as working at the periphery of this movement, this paper argues that Schaeffer's effort to ground musical works in a ‘hybrid discipline’ is quite orthodox, modelled upon Husserl's foundational critique of both ‘realism’ and ‘psychologism’. As part of this orthodoxy, Schaeffer develops his notion of the ‘sound object’ along essentialist (eidetic) lines. This has two consequences: first, an emphasis is placed on ‘reduced listening’ over indicative and communicative modes of listening; secondly, the ‘sound object’ promotes an ahistorical ontology of musical material and technology. Despite frequent references to Schaeffer and the ‘sound object’ in recent literature on networked music, concatenative synthesis and high-level music descriptors, the original phenomenological context in which Schaeffer's work developed is rarely revisited. By critically exploring Schaeffer's theorising of the ‘sound object’, this paper aims at articulating the distance between contemporary and historical usage of the term.
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Black, Colin. "International Perspectives on the Historic Intersections of Electroacoustic Music and the Radio Medium." Organised Sound 19, no. 2 (June 30, 2014): 182–91. http://dx.doi.org/10.1017/s1355771814000120.

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Radio studios including Club d'Essai de la Radiodiffusion–Television Française (Paris), Studio für Elektronische Musik (Cologne), BBC Radiophonic Workshop (London) and others have historically played a key role in the development of international approaches to electroacoustic music. Nevertheless few publications explore the pre-musique-concrète sound-based experimental works of the 1920s and 1930s arising from activities undertaken at radio studios, or the dimensions, properties, implications and impact of the radio medium itself. This article explores the impact of the radio medium on creative practice and argues that radio art is not inherently a subset of sonic art, as it may first appear when nuanced from electroacoustic music practice, but can be viewed as its own art form with idiosyncratic international standpoints and transdisciplinary properties. In addition to a historical discussion, this article offers an insight into the potential for radio art practice to cross-pollinate with music practice and explore new creative territory and hybrid working modalities.
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Hyde, Joseph. "Musique Concrète Thinking in Visual Music Practice: Audiovisual silence and noise, reduced listening and visual suspension." Organised Sound 17, no. 02 (July 19, 2012): 170–78. http://dx.doi.org/10.1017/s1355771812000106.

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Burns, Kristine H., and Colby Leider. "Uli Aumüller: My Cinema for the Ears: The Musique Concrète of Francis Dhomont and Paul Lansky." Computer Music Journal 27, no. 2 (June 2003): 115–16. http://dx.doi.org/10.1162/comj.2003.27.2.115.

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