Musique Concrète

Musicology of Electroacoustic Music [MEM]  >  Schaefferian Theory  ]

When in 1948 Pierre Schaeffer gave the name Concrète to the music which he invented, he wanted to demonstrate that this new music started from the concrete sound material, from heard sound, and then sought to abstract musical values from it. This is the opposite of classical music, which starts from an abstract conception and notation leading to a concrete performance. Schaeffer wanted to react against the "excess of abstraction" of the period but he did not shy away from "reconquering" this musical abstract. A reconquering which for him had necessarily to go through a return to the concrete. (Source - Michel Chion (1983). Guide des Objets Sonores. Eds. Buchet/Chastel, Paris. 1995 translation by John Dack/Christine North.)


See also:

Abstrait et Concret (Abstract and Concrete), Acousmatic, Schaefferian Theory




- Introduction à l’histoire et à l’esthétique des musiques électroacoustiques: Session 3 - Du sonore à l’artistique: le timbre musical reconsidéré ( French )



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Vinay, Gianfranco (2003). La ’’recherche’’ de François Bayle. Portrait de l’artiste
Wishart, Trevor (1986a). Sound Symbols and Landscapes
Young, Rob (2000a). Roll Tape: Pioneer Spirits in {Musique Concrète}
Young, Rob (2000b). Interview: Pierre Henry
Yuasa, Joji (1987). The Shadow of Tape Music on Instrumental Music