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	Station Information - Musique concrete
		Musique Concrète is the name given to a class of electronic music produced from editing together tape-recorded fragments of natural and industrial sounds.
		Concrete was combined with other, synthesized forms of Electronic music to create Edgar Varèse's "Poème électronique".
		Traditional and non-traditional Concrete has experienced a revival in the 1980s and 1990s, although modern sampling technology is now often used in place of magnetic tape.
	www.stationinformation.com /encyclopedia/m/mu/musique_concrete.html (238 words)

	Musique concrète - Wikipedia, the free encyclopedia
		Musique concrète (French; literally, "concrete music"), is the name given to a class of electronic music produced from editing together fragments of natural and industrial sounds.
		It is the opposite of traditional composing (known to some as Musique Abstraite, literally, Abstract Music) as the sounds are recorded first then built into a tune as opposed to a tune being written then given to players to turn into sound.
		Concrète was pioneered in the late 1940s and 1950s, spurred by developments in technology, most prominently microphones, and the commercial availability of the magnetic tape recorder, utilized as tape loops.
	en.wikipedia.org /wiki/Musique_Concrete (406 words)

	INA - Musical Research : GRM's words
		Electronic music and musique concrète know and respect each other and are not as antagonistic as has sometimes been asserted, and they do acknowledge their differences-perhaps more readily than the points they have in common: indeed, in both cases, sounds are used to create music, which is presented on a recording medium.
		Musique concrète refers to the source of the sounds that are used ("concrete" sound sources), preferentially microphonic (sound-producing bodies-corps sonores-brought into action before a microphone), and with an empirical technique of composition, "by ear".
		At the same time, towards the end of the 1950s, the term musique électroacoustique came into general use-a term that was intended to be ecumenical and unifying, leaving aside questions of aesthetics and the means used to achieve the end.
	www.ina.fr /grm/presentation/mots.en.html (399 words)

	Musique concrete
		Musique Concrete is the name given to a class of electronic music produced from editing together tape-recorded fragments of natural and industrial sounds.
		Concrete (as opposed to "Abstraite", traditional composition) was pioneered in the late 1940s and 1950s, spurred by developments in microphones and the commercial availability of the magnetic tape recorder.
		Concrete was combined with other, synthesized forms of Electronic music to create Edgar Varese's "Poem Electronique".
	www.termsdefined.net /mu/musique-concrete.html (359 words)

	[Aac] loose history of the Avant 3
		Musique concrete can be created two different ways, both with widely varying techniques of creation.
		Though not created until 1948, musique concrete has a long history before that of composers trying to add noise to their compositions to break free from conventional music.
		Musique concrete was being written for film, ballet, and various new multi-media presentations such as Edgar Varese's Poem Electronique which used four film projectors, eight projection lanterns, six spot lights, six ultra-violet lights, fifty electric lamps to represent stars, and hundreds of fluorescent lamps in various colours.
	www.action-arts.org /pipermail/aac/2004-July/000846.html (4467 words)

	CMCD: ReR USA
		Musique Concrete is created by recording various sounds on tape and modifying them in some way.
		ReR's Musique Concrete CD collects some of the very best pieces ever constructed, and presents them alongside newer forms of Concrete stylings.Each piece is a classic, influential, indispensible work.
		After Concrete treatments, the resulting sound collage is both a horrifying reminder of history's lowest point and, concommitantly, an ironic classic of the genre.
	www.rerusa.com /Merchant2/merchant.mvc?Screen=CTGY&Store_Code=RERUSA&Category_Code=CMCD (316 words)

	[No title] (Site not responding. Last check: 2007-09-17)
		Musique Concrete is music made of raw sounds: thunderstorms, steam-engines, waterfalls, steel foundries...
		Musique Concrete emerged in Paris in 1948 at the RTF (Radio Television Francais).
		For Musique Concrete, the essential character of music as a human activity is such that the listening experience and the 'ear' are crucial things.
	silvertone.princeton.edu /music242/shaefferinterview.html (4309 words)

	Pitchfork: Musique Concrète Smash Hits: by Drew Daniel of The Soft Pink Truth and Matmos (Site not responding. Last check: 2007-09-17)
		The expense of state-of-the-art tape editing equipment meant that access to the tools required to make musique concrète was rare in the 60s, which is why so much of the early musique concrète was a product of the academy; big schools had the funds to support institutions like the Columbia-Princeton Electronic Music Studio.
		Musique concrète is a technique, and while it can be used to create experimental noise and pointillist abstraction, it can also be used to make brilliant pop music.
		Marvelously organic close-mic'd sounds (a cat mewling, the branches of a tree twisting in the wind) are spaced and rearranged with a tranquility, clarity and focus that's sadly uncommon in musique concrète made in the wake of widely available sampling technology.
	www.pitchforkmedia.com /watw/03-05/soft-pink-truth.shtml (1389 words)

	Pierre Henry : Beyond Schaeffer (Site not responding. Last check: 2007-09-17)
		When musique concrete is mentioned the first name that comes to mind is Pierre Schaeffer.
		By 1952 Henry was the director of the Groupe de Recherche de Musique Concrete and he remained in that position until 1958.
		Pierre Henry became more interested in techniques outside of the strict musique concrete that Schaeffer theorized, and in 1958 he broke away from the Groupe de Recherche de Musique Concrete and established his own studio, the Studio Apsome.
	personal-pages.lvc.edu /~snyder/em/henry.html (1386 words)

	FAU Electronic Music - Musique Concrete: History and Figures
		Some of the composers that would create begin creating works of Musique Concrete at the RTF would be Pierre Henry, Luc Ferrari, Iannis Xenakis, and Olivier Messiaen (who also brought along two of his students with him: Karlheinz Stockhausen and Pierre Boulez).
		This is for good reason: it combined electronic techniques with Musique Concrete by using the altered sounds of planes, bells, and voices in tandem with electronically-generated tones.
		All that was really required to produce works of Musique Concrete was a tape recorder, media, a splicing block and tape, a razor blade, and a lot of effort.
	wise.fau.edu /~hieronym/EMMusiqueConcrete.htm (3222 words)

	Musique Concrète: Your Top 5 Works - Music Forum
		That might be the most widely heard musique concrete of all.
		The techniques are pretty common now, but in the 1940s when they were first introduced, it was very radical -- composing entire pieces via the manipulation of magnetic tape; splicing, arranging, reversing, and generally screwing with pre-recorded sound sources to create something new and unique...
		On top of that I wanted to add that musique concrète (or electroacoustic music, as people sometimes call it) involved using sounds ordinarily considered 'non-musical' and divorcing them from their original context to 'free' them.
	www.radiomute.com /showthread.php?t=15809 (439 words)

	Musique Concrète
		For normal editing, a cut at 90 or 45 degrees was common, although the latter could often give an unacceptable ‘jump’ in the image of a stereo recording: fortunately, most early examples of musique concrète were produced in monaural (mono) sound.
		Any sample could be made into a continuous sound by carefully splicing together the ends of a recording to form a tape loop.
		Equalisers, preferably of the ‘graphic’ type, were much in vogue for musique concrète.
	www.glias.org.uk /glias/rws/pgs/rx01.htm (1370 words)

	[No title]
		Musique Concrète (also known as Electroacoustics) is the name given to a class of electronic music produced from editing together tape-recorded fragments of natural and industrial sounds.
		It is no surprise to find that musique concrète took its inspiration from film editing in many ways, so that sound was organised according to the logic of montage principles, rather than harmonic sequences.
		This phenomenon prompted the Beatles to announce that they were retiring from touring because it was impossible to 'reproduce' their recorded music live.
	www.jahsonic.com /MusiqueConcrete.html (607 words)

	Out Of The Blue
		When I saw the message about the exploding cds, "Musique Concrete" as a term came to mind, but that isn't really music hitting the concrete.
		Pierre Schaeffer is acknowledged as the "father" of Musique Concrete, which is one of the derivitive styles of electronic music.
		He searched for sounds to isolate in this way, and created Musique Concrete as a form of putting these natural sounds (looped, in a fashion, from the record) into a musical form.
	www.southstation.org /2004/08/musique-concrete.htm (387 words)

	Techno Guide: Concrete Music (Site not responding. Last check: 2007-09-17)
		Genre of music based in the use and manipulation of real (concrete) sounds sampled or recorded as part of the creative and composition process, as the oposite to "abstract" classical music which is traditionally composed by writing down the score and later performed by muicians.
		co- founded the Groupe de Recherche de Musique Concrete where other composers where involved such as PIERRE HENRY (Schaeffer's collaborator and one of the main Concrete composers), and Messiaen and his pupils Pierre Boulez, KARLHEINZ STOCKHAUSEN, and George Barraque.
		IANIS XENAKIS was another of the most important Concrete composers who in 1958 composed the piece "Concret PH" using just an amplified burning charcoal as the sound source.
	www.intuitivemusic.com /tguideconcrete.html (171 words)

	EMF Media Pierre Schaeffer
		In 1948, he launched a new approach to music, which he called musique concrete.
		Schaeffer's first musique concrete work was an assemblage of sounds of train wheels, engines, and whistles, entitled 'Etude aux Chemins de Fer' (Railroad Study).
		Their joint work, 'Symphonie pour un Homme Seul' (Symphony for One Man Alone, 1950) was publicly heard in the first live concert of musique concrete, that year.
	www.emfmedia.org /artists/schaeffer.html (324 words)

	musique concrete
		Die Musique concrète nimmt Klänge aus allen Bereichen des Hörbaren, wobei sie nicht nur Tonmaterial der traditionellen Musik verwendet, sondern sich auch der elektronischen Musik bedient.
		Die Musique concrète fand schnell Anklang, aber auch Widerspruch in der ganzen Welt.
		Schriften: Traité des objects musicaux (1966), Musique concrète (1967, in deutscher Sprache 1974), Machines a communiquer (1970-72, 2 Bände), u.a.
	www.km-regensburg.de /kmr/CD-mc/Musique_concrete/mc.htm (873 words)

	Pierre Schaeffer
		This would lead eventually to the term ' Musique Concrete' which meant that the sounds were based on natural sounds recorded and played back in a musical context.
		The fifth track contained an additional channel spread between the four speakers that represented a performer using a handheld coil which could be positioned near one of four wire receiving loops that sent the info to each speaker.
		The second was concerned with the application of these definitions to create a language for the synthesis of musique concrete (manipulation, transmission, modulation, etc.).
	csunix1.lvc.edu /~snyder/em/schaef.html (1462 words)

	Frances White: Composer and material in musique concrete (Site not responding. Last check: 2007-09-17)
		This rather eerie relationship between a sound, the being or thing that produced it, and a recording of the sound is a potent force in musique concrète, in which these sonic traces of the real world are used to create a work of art.
		In such a tape piece, the real-world sounds are transformed into elements that make up some part of a musical experience, and this is a kind of appropriation of their identities.
		Because the sounds involved are extracted from the outside world, they are real and specific and carry all kinds of images and associations, sometimes completely extra-musical, and sometimes completely independent of the composer, to an extent that no purely electronic sound, or instrumental sound (even if it is an imitation of a real-world sound) can.
	www.music.princeton.edu /~fw/concrete.html (4722 words)

	Excerpts from The Sound Projector 2 - Musique Concrète and Electro-Acoustic (Site not responding. Last check: 2007-09-17)
		Truly the music of the environment, it is the ingenious and simple organisation and transmogrification of recorded sounds into endlessly fascinating configurations; which is the same as any conventional recording technique except Musique Concrète doesn't use musical instruments as the source.
		This very processing is what Steve Reich didn't dig about Musique Concrète, and preferred to call a spade a spade - if he composed with tape materials, the sources would not be disguised.
		I suppose Musique Concrète has a certain old-fashioned quaintness in striving to transmogrify its sources to this extent, yet to me this is the very point of it all.
	www.thesoundprojector.com /exc_sp2_electroacoustic.html (1776 words)

	EMF Institute: Etude aux Chemins de Fer
		Schaeffer coined the term 'musique concrète' to describe a music made 'concretely' by working directly with sounds, as against music made 'abstractly' by working with symbols for sounds (as in a musical score).
		In 1951, he organized the Groupe de Recherche de Musique Concrète, the focus of which was working with tape recorders.
		The photo at the left shows Pierre Schaeffer in 1952 playing the phonogène à clavier, a tape recorder with its speed altered by playing any of twelve keys on a keyboard.
	emfinstitute.emf.org /exhibits/musiqueconcrete.html (117 words)

	. . .ele ment : said&did. . .an interview with pierre schaeffer (Site not responding. Last check: 2007-09-17)
		And this, in a nut-shell, is why Musique Concrete is important today; because the opportunity is still there to use all the parameters of sound and still make music and not pseudo-science...
		Collaborated with Pierre Henry on several of the classic compositions in the genre, including Symphonie pour un homme seul and the first Concrete opera, Orphee, staged at Donaueschingen in 1953.
		The set may be available through various mailorder outlets, or write RRRecords for their up-to-date catalogue.
	www.ele-mental.org /ele_ment/said&did/schaeffer_interview.html (4188 words)

	Pierre Schaeffer and Pierre Henry
		Their genesis and manufacture were narrated in ‘Introduction à la musique concrète’ (Schaeffer 1950).
		In 1951 the French Radio presented the Groupe de Recherche de Musique Concrète, which at the time consisted of Pierre Schaeffer, [1] the engineer Jacques Poullin, and the composer-percussionist Pierre Henry, with the first purpose-built electroacoustic music studio ever.
		In 1953 the Groupe de Recherche de Musique Concrète of the Radiodiffusion-Télévision Française rallied elektronische Musik, music for tape, and ‘exotic music’ under the banner of experimental music to compare methods and establish complementary research programmes (Palombini 1993).
	www.rem.ufpr.br /REMv4/vol4/arti-palombini.htm (4742 words)

	Electroacoustic - Wikipedia, the free encyclopedia
		In Paris, Musique Concrète, pioneered by Pierre Schaeffer, was based on the juxtapositon of natural sounds recorded to tape or disc.
		In Cologne, Elektronische Musik, pioneered by Herbert Eimert, was based around the construction of tones using only sine waves, which Eimert considered to be an electronic extension of serialism.
		empreintes DIGITALes - Recordings of musique concrète, acousmatic music, electroacoustic music.
	en.wikipedia.org /wiki/Electroacoustic (338 words)

	Music Concrete
		Schaeffer chose to name his new art musique concrete to differentiate it from normal music, musique abstraite.
		Music concrete was recorded directly to tape with real (concrete) sounds, while musique abstraite was the traditional way of composing by writing down the score to be played later.
		Not only did musique concrete composers use the cuts shown above, but they would go so far as to take a long horizontal cut, cut it into smaller calculated sizes, and splice the cuts together vertically or at different angles!
	csunix1.lvc.edu /~snyder/em/mc.html (702 words)

	Title I: La musique concrète (Site not responding. Last check: 2007-09-17)
		Aided by Pierre Janin, in the first part Schaeffer recounts his experiments with sound, from musique concrète to recherche musicale.
		This is often done through quotation of and commentary on his own texts, which not seldom appear abridged and rephrased.
		Aided by David Rissin, Luc Ferrari and Edgardo Canton, in the second part Schaeffer comments on the works of composers he deems representative of the concrete demarche.
	mitpress2.mit.edu /e-journals/Leonardo/isast/spec.projects/schaeffer/title1.html (126 words)

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