具体音乐/Jv4 Ti3 Yin1 Yue4
In 1948, Pierre Schaeffer invented Musique Concrète from the concrete sound material. He uses real-world sounds, ignores the source and focus on the musical parameters.
When in 1948 Pierre Schaeffer gave the name Concrète to the music which he invented, he wanted to demonstrate that this new music started from the concrete sound material, from heard sound, and then sought to abstract musical values from it. This is the opposite of classical music, which starts from an abstract conception and notation leading to a concrete performance. Schaeffer wanted to react against the "excess of abstraction" of the period but he did not shy away from "reconquering" this musical abstract. A reconquering which for him had necessarily to go through a return to the concrete. (Source - Michel Chion (1983). Guide des Objets Sonores. Eds. Buchet/Chastel, Paris. 1995 translation by John Dack/Christine North.)
Musique Concrète uses real-world sounds, focusing on the musical parameters of sound rather than the sound source itself.
Where did it begin?
Musique Concrète was invented in the Paris studios founded by Pierre Schaeffer. He and his colleagues were fascinated by sounds and the way in which sounds had their own life when separated from the object that created them. By recording sounds and taking them into the studio, Schaeffer and his colleagues could experiment transform and play with sounds, making them do things that would never be possible in the real world.
They discovered that by changing the speed of sounds, by reversing and by splicing they could create radically new textures.
Listen to this clip from the piece Étude violette (Violet Study) and hear the incredible new sounds that Pierre Schaeffer created.
What does this music involve?
The word Musique Concrète means Concrete Music. This comes from the fact that it is made out of recorded sounds, sounds that have been captured, trapped so that we can physically manipulate them.
The process of making Concrete Music begins with sounds. The composer experiments and builds or moulds the piece out of sounds. This is very different from Traditional Music where the composer often begins with an abstract idea, written down as dots on paper, which only becomes sound when it is played by musicians at the very end.
Working with Sound Directly
Working with sounds directly gives the composer much more control, and allows them to mould exactly how their piece will sound at the end.
Unlike for soundscape composition, composers of Musique Concrète are not so interested in focussing on where sounds came from but what they can turn them into.
In creating works of Musique Concrète composers tend to make many more transformations and to use these to create many new sounds.
Common manipulations used in Musique Concrète are:
Click to listen to MORE works of Musique Concrète:
Abstract Sounds, Heightened listening, Manipulation (effect), Musical Listening, Musique Concrète
A term created by Pierre Schaeffer in 1948 to describe his new music, which started from the concrete sound material, from heard sound. Schaeffer wanted people to ignore the source and cause of the concrete sounds, and instead focus upon the musicality of sounds. He wanted to encourage Musical Listening for all sounds.
Many early works of Musique Concrète, due to the unsophisticated tools on offer, could be listened to both in terms of their sources as well as their musical qualities.
术语顾问/Consultant to terminology