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Musique concrète (French pronunciation: [myzik kɔ̃kʁɛt]; lit. ' concrete music ') [nb 1] is a type of music composition that utilizes recorded sounds as raw material. [1] 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.
The term musique concrète (French for "real music", literally "concrete music"), was coined by Schaeffer in 1948. [16] Schaeffer believed traditionally classical (or as he called it, "serious") music begins as an abstraction (musical notation) that is later produced as audible music.
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The origin of sound collage can be traced back to the works of Biber's programmatic sonata Battalia (1673) and Mozart's Don Giovanni (1789), and certain passages in Mahler symphonies as collage, but the first fully developed collages occur in a few works by Charles Ives, whose piece Central Park in the Dark (1906) creates the feeling of a walk in the city by layering several distinct melodies ...
Concret PH (1958) is a musique concrète piece by Iannis Xenakis, originally created for the Philips Pavilion (designed by Xenakis as Le Corbusier's assistant) at the 1958 Brussels World's Fair and heard as audiences entered and exited the building (PH = paraboloïdes hyperboliques, concret = reinforced concrete/musique concrète).
Lennon said he was trying to paint a picture of a revolution using sound. The composition was influenced by the avant-garde style of Ono as well as the musique concrète works of composers such as Edgard Varèse and Karlheinz Stockhausen. The recording began as an extended ending to the album version of Lennon's song "Revolution".
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The New Grove Dictionary of Music and Musicians (2nd ed.). London: Macmillan. Gervasoni, Pierre. 2017. "Mort de Pierre Henry, père de la musique concrète". Le Monde (6 July). Griffiths, Paul. 2017. "Pierre Henry Obituary". The Guardian (9 July). Kennedy, Michael. 2006. The Oxford Dictionary of Music. Oxford and New York: Oxford University Press.