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Musique concrète is a type of music composition that utilizes recorded sounds as raw material. Sounds are often modified through the application of audio signal processing and tape music techniques, and may be assembled into a form of sound collage. It can feature sounds derived from recordings of musical instruments, the human voice, and the natural environment as well as those created using sound synthesis and computer-based digital signal processing. Compositions in this idiom are not restricted to the normal musical rules of melody, harmony, rhythm, and metre. The technique exploits acousmatic sound, such that sound identities can often be intentionally obscured or appear unconnected to their source cause.
Pierre Henri Marie Schaeffer was a French composer, writer, broadcaster, engineer, musicologist, acoustician and founder of Groupe de Recherche de Musique Concrète (GRMC). His innovative work in both the sciences—particularly communications and acoustics—and the various arts of music, literature and radio presentation after the end of World War II, as well as his anti-nuclear activism and cultural criticism garnered him widespread recognition in his lifetime.
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Acousmatic sound is sound that is heard without an originating cause being seen. The word acousmatic, from the French acousmatique, is derived from the Greek word akousmatikoi (ἀκουσματικοί), which referred to probationary pupils of the philosopher Pythagoras who were required to sit in absolute silence while they listened to him deliver his lecture from behind a veil or screen to make them better concentrate on his teachings. The term acousmatique was first used by the French composer and pioneer of musique concrète Pierre Schaeffer. In acousmatic art one hears sound from behind a "veil" of loudspeakers, the source cause remaining unseen. More generally, any sound, whether it is natural or manipulated, may be described as acousmatic if the cause of the sound remains unseen. The term has also been used by the French writer and composer Michel Chion in reference to the use of off-screen sound in film. More recently, in the article Space-form and the acousmatic image (2007), composer and academic Prof. Denis Smalley has expanded on some of Schaeffers' acousmatic concepts. Since the 2000s, the term acousmatic has been used, notably in North America to refer to fixed media composition and pieces.
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Norbert Stéphane Jean-Marie Dufourcq was a French organist, music educator, musicologist and musicographer.
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References
- ↑ Chion, Michel (1994–2005). Audio-Vision: Sound on Screen. Translated by Claudia Gorbman. New York: Columbia University Press. ISBN 0-231-07898-6.
- ↑ Chion, Michel (1990). L'audio-vision. Son et image au cinéma. Paris: Editions Nathan. ISBN 978-2-09-190885-4.
- ↑ Daniele, Romina (2011). Ascenseur pour l'échafaud, Il luogo della musica nell'audiovisione. Milan: RDM. pp. 13–14. ISBN 978-88-904905-9-0.
- ↑ Elisabeth Weis; John Belton (1985). Film sound: theory and practice. Columbia University Press. ISBN 978-0-231-05637-3.
- ↑ Gilbey, Ryan (10 August 2010). "Gilbey on Film: what's in a voice?". New Statesman . Retrieved 31 August 2010.
