Palombini, Carlos

1993a

Pierre Schaeffer: from Research into Noises to Experimental Music

Computer Music Journal: Vol. 17, no. 3. Cambridge, MA: MIT Press: 14-19.

URL: http://www.mitpressjournals.org/loi/comj

Language(s): English

Keyword(s):

Musique Concrète Schaefferian Theory Serialism Sound Source Source Recognition Electroacoustic Music Radiophonics Timbral Composition

Abstract:

The development of Pierre Schaeffer’s early creative and theoretical works, through various stages: from the relay-arts (radio and cinema); through research into noises (an early appellation for musique concrète); the making of the five Études de bruits, his musique concrète masterpiece, as well as of Suite 14, Symphonie pour un homme seul (with Pierre Henry) and Orphée (also with Henry); to his conception of an "experimental music", in which a confrontation with elektronische Musik is implicit. Schaeffer’s relation to serial method is summarised as follows: in principle, but not in practice, it is unacceptable to apply serialism to traditional musical material; in principle, but not in practice, it is acceptable to apply serialism to concrete material.

All references of the same author:

(English)

Palombini, Carlos (1993). Pierre Schaeffer, 1953: towards an Experimental Music
Palombini, Carlos (1993b). Pierre Schaeffer's Typo-Morphology of Sonic Objects
Palombini, Carlos (1998). Technology and Pierre Schaeffer: Pierre Schaeffer's Arts-Relais, Walter Benjamin's technische Reproduzierbarkeit and Martin Heidergger's Ge-stell
Palombini, Carlos (1998b). Pierre Schaeffer, 1953: Towards an Experimental Music
Palombini, Carlos (1999). Retorno a la música concreta (Return to Concrete Music)
Palombini, Carlos (2000). The Brazilian Group for Computer Music Research: A Proto-History
Palombini, Carlos (2001). Ideas for a Musicology of Electroacoustic Musics: Notes to a Reading of Landy
Palombini, Carlos (2001a). Pierre Schaeffer: a Survey of the Literature
Palombini, Carlos (2002). Musique Concrète Revisited

(Español)

Palombini, Carlos (1999). Retorno a la música concreta