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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.
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).
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 ...
Deux Études, musique concrète (1951–52) Structures I for two pianos (1951–52) Le Marteau sans maître for alto voice and six instruments (1953–55; revised 1957) La Symphonie mécanique musique concrète for a film by Jean Mitry (1955) L'Orestie incidental music for Aeschylus' trilogy the Oresteia, for voice and instrumental ensemble (1955)
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Pierre Henri Marie Schaeffer (English pronunciation: / p iː ˈ ɛər ˈ h ɛ n r iː m ə ˈ r iː ˈ ʃ eɪ f ər / ⓘ, French pronunciation:; 14 August 1910 – 19 August 1995) [1] was a French composer, writer, broadcaster, engineer, musicologist, acoustician and founder of Groupe de Recherche de Musique Concrète (GRMC).
Cinq études de bruits (Five Studies of Noises) is a series of five musical compositions by Pierre Schaeffer.The five études were composed in 1948 and are the earliest pieces of musique concrète, a form of electroacoustic music first theorized by Schaeffer that utilizes recorded sounds as the primary compositional resource.
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