Musique Concréte at Home, or How to Compose Electronic Music in Three Easy Lessons

1968 ◽  
Vol 55 (3) ◽  
pp. 94-96
Author(s):  
Merrill Ellis
Keyword(s):  
Electronic Music ◽  
Musique Concrete ◽  
At Home

scholarly journals ‘There Must Be a Poetry of Sound That None of Us Knows…’: Early British documentary film and the prefiguring of musique concrète

2017 ◽  
Vol 22 (2) ◽  
pp. 172-186
Author(s):  
Geoffrey Cox
Keyword(s):  
Case Studies ◽  
Electronic Music ◽  
Documentary Film ◽  
Post Office ◽  
Coal Face ◽  
Avant Garde ◽  
History Of ◽  
Relationship Of ◽  
The Relationship ◽  
Musique Concrete

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.

Electronic Music

Artful Noise ◽  
2020 ◽  
pp. 107-117
Author(s):  
Thomas Siwe
Keyword(s):  
World War Ii ◽  
Real Time ◽  
Electronic Music ◽  
John Cage ◽  
World War ◽  
Karlheinz Stockhausen ◽  
Edgard Varese ◽  
American Composer ◽  
The Difference ◽  
Musique Concrete

With the end of World War II came the rebirth of European radio. Government stations in both France and Germany established experimental studios for research, from which arose a new kind of music, “electronic music.” The station in France, Office de Radiodiffusion Télevision Française (ORTF), was directed by the engineer/composer Pierre Schaeffer and his partner, Pierre Henry, who called their musical creations musique concrète. In Germany the Westdeutscher Rundfunk (WDR) studio produced music through the process of “synthesis.” This chapter will explain the difference between the two approaches used to create electronic music with examples from the percussion solo and ensemble repertoire. Early experiments using wire recorders, test records, and tape recorders by composers Halim El-Dabh, John Cage, and Edgard Varèse precede the major electronic works of Karlheinz Stockhausen, Mario Davidovsky, and the American composer Stephen Everett, whose use of computers in “real time” brings the reader into the next century.

scholarly journals A Personal and Fragile Affair: The Sonic Environment and Its Place In My Compositions

2021 ◽  
Author(s):  
◽  
Thomas Voyce
Keyword(s):  
Electronic Music ◽  
Compositional Process ◽  
Field Recording ◽  
Acousmatic Music ◽  
Sonic Environment ◽  
Musique Concrete

<p>To begin with, I will briefly outline my compositional process. This will help to provide an understanding of my motivations. I will then pose some questions relating to the practice of field recording and the use of these materials in electroacoustic composition. Through a discussion of early electronic music, musique concrete, soundscape composition and the ideologies of composers associated with these movements, I will reveal the tensions surrounding the use of referential material in acousmatic music. Finally, I will show how I have attempted to address these tensions in my own work.</p>

‘There is Music in It, But It is Not Music’: A Reception History ofMusique Concrètein Britain

2018 ◽  
Vol 15 (2) ◽  
pp. 211-230
Author(s):  
LOUIS NIEBUR
Keyword(s):  
Electronic Music ◽  
Contemporary Music ◽  
Reception History ◽  
The Other ◽  
Musical Cultures ◽  
The World ◽  
The 1950S ◽  
The One ◽  
Musique Concrete ◽  
Hostile Attitude

AbstractThe traditional narrative of the development ofmusique concrèteandelektronische Musiktells a story of esoteric, academic branches of musical modernism emerging out of Paris and Cologne in the 1950s. But this narrative clouds our understanding of the unique ways this music developed in Britain, largely filtered through the BBC, as a relatively populist, accessible iteration of Continental techniques. This article explores how British reactions to contemporary music and, in particular,musique concrèteandelektronische Musik, reflected on the one hand continued suspicion towards Continental music and on the other a deep insecurity about Britain's musical position in the world. The predominantly hostile attitude towards electronic music from within establishment musical cultures betray profound concerns about trends that were seen to exert a harmful influence on British musical society.

scholarly journals A Personal and Fragile Affair: The Sonic Environment and Its Place In My Compositions

2021 ◽  
Author(s):  
◽  
Thomas Voyce
Keyword(s):  
Electronic Music ◽  
Compositional Process ◽  
Field Recording ◽  
Acousmatic Music ◽  
Sonic Environment ◽  
Musique Concrete

<p>To begin with, I will briefly outline my compositional process. This will help to provide an understanding of my motivations. I will then pose some questions relating to the practice of field recording and the use of these materials in electroacoustic composition. Through a discussion of early electronic music, musique concrete, soundscape composition and the ideologies of composers associated with these movements, I will reveal the tensions surrounding the use of referential material in acousmatic music. Finally, I will show how I have attempted to address these tensions in my own work.</p>

Musique Concrète Étude (Intermediate)

2020 ◽  
pp. 111-114
Author(s):  
Robert Willey
Keyword(s):  
Open Source ◽  
Electronic Music ◽  
Music Composition ◽  
Source Material ◽  
First Year ◽  
First Year College ◽  
College Music ◽  
Musique Concrete ◽  
Audio Production

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.

Composition trends in polish vocal lyric. Musical language features in polish songs after the mid-20th century based on selected examples

2019 ◽  
Vol 2 (12) ◽  
pp. 175-198
Author(s):  
Anna Mikolon
Keyword(s):  
20Th Century ◽  
Electronic Music ◽  
Musical Language ◽  
Witold Lutoslawski ◽  
Avant Garde ◽  
Poetic Text ◽  
Krzysztof Penderecki ◽  
Voice And Piano ◽  
Stochastic Music ◽  
Musique Concrete

The subject for analysis were works for voice and piano by selected Polish composers of the 20th and 21st centuries, e.g. Grażyna Bacewicz, Tadeusz Baird, Henryk Czyż, Henryk Mikołaj Górecki, Henryk Hubertus Jabłoński, Wojciech Kilar, Zygmunt Krauze, Szymon Laks, Witold Lutosławski, Juliusz Mieczysław Łuciuk, Wojciech Łukaszewski, Paweł Łukaszewski, Maciej Małecki, Paweł Mykietyn, Edward Pałłasz, Konrad Pałubicki, Krzysztof Penderecki, Witold Rudziński, Marian Sawa, Kazimierz Serocki, Tadeusz Szeligowski and Romuald Twardowski. An important matter for the author was to determine whether there are common features for this creative genre. She also attempted to find an answer to the question if the trends from the second half of the 20th century were reflected in songs. The scope of analysis covered the repertoire the author knew from her performance practice from the standpoint of a pianist. To the general characteristics of selected songs she added a review of famous trends, techniques and styles of composition, such as impressionism, neoromanticism, expressionism, dodecaphony, serialism, punctualism, minimalism, sonorism, spectralism, neoclassicism, vitalism, postmodernism, aleatoricism, bruitism, microtonality, electronic music, musique concrète, stochastic music, references to previous periods, to folklore and to popular music. She compared musical notation of the analysed works. She also confronted forms of songs with contemporary composition techniques. Interesting was the approach of composers to chamber relations in a duo and the way they made texts musical. Most composers distanced themselves from the avant-garde in works for voice and piano which had a specific poetic text because of the clarity of narration. Matching composers unequivocally to just one trend turned out impossible. Various techniques and phenomena may co-exist in one piece and in the same way one creator may search for different means of expression.

Systematic Modification of Parental Input to Train Language Symbols

1981 ◽  
Vol 12 (1) ◽  
pp. 4-12 ◽  
Author(s):  
Barbara Culatta ◽  
Donna Horn
Keyword(s):  
Language Learning ◽  
Meaningful Use ◽  
Hearing Impaired ◽  
Specific Language ◽  
Parental Input ◽  
Language Exposure ◽  
Therapy Sessions ◽  
Impaired Children ◽  
Hearing Impaired Children ◽  
At Home

This study attempted to maximize environmental language learning for four hearing-impaired children. The children's mothers were systematically trained to present specific language symbols to their children at home. An increase in meaningful use of these words was observed during therapy sessions. In addition, as the mothers began to generalize the language exposure strategies, an increase was observed in the children's use of words not specifically identified by the clinician as targets.

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