With the invention of 錄/录 技术 the way in which 人 thought about 声 was completely changed All 声 could be captured and brought into the concert hall all 声 could be used 乐

听 to these 声
New 声波 One
How would you 描述 this sound?

New 声波 Two
Does it 声波 like anything that you have 听 before?

New 声波 Three
What is this sound? Where did it come from?

Do they 声波 like anything that you have 听 before?
Where did they come from?
How were they created?

Answer

錄/录 技术 captured the 声 and 声波 编辑 程序 on the 算機/计算机 were used to 变形 them

Curious about EXACTLY how each of these 声 were made? Click here for MORE 信息

Later we can combine and 组织 these 声 to 创作 作品 for 例如

Except of a piece
This is a short clip of a 作品 made by 合并 and 部勒/组织 some of the 声 from above All of the 声 in this clip can be 已有 as part of the 外部 声波 card pack in the 作曲 With 声 软件

This is a picture of the session in the 作曲 With 声 软件
This is how it looks like to edit and combine 声

New 樂/乐 for a New Age
The world at the end of the 19th and early 20th century was a rapidly changing place The invention of the motor car and the 扩张 of factories made the world a much 更响 and busy place

The Italian 未来主义者 were excited by all of the new 技术 being 发明 at the beginning of the 20th Century cars telephones aeroplanes trains many of which we take for granted these days

They felt that 传统 樂/乐 was out of date boring and stuck in the past And they wanted to 创作 a new style of 樂/乐 that would fit with this new 现代 world

Appreciating All Sounds
One of the 未来主义者 Luigi 卢梭洛 争论 that most 樂/乐 was only made with about four or five different 种类 of 声波

乐器 played with the bow
plucked 乐器
brass 乐器
woodwinds and
打击乐
He demanded

“We must break out of this 窄 circle of [note] 声 and conquer the infinite variety of [all] 声

Let us therefore invite young 音乐家 of genius and audacity { thats you! } to 听 attentively to all 声 so that they can 理解 the varied 节奏 [and tones] of which they are composed […]

Then when 对比 the varied 音色 of 声 and 噪 with those of 樂/乐 音 they will be convinced by how much more interesting [all 声 are than the few 传统 乐队 sounds] ”

听 to some examples of 声 from each 类别 Which collection of 声 do you prefer? Why?

管弦乐 Sounds

Keys
离散 and contained pitches

Wind
Steady 音高 sound

Percussion
Mainly only used for 强调

Bow
Steady 音高 声波

All Sounds

Ding
复杂 共鸣 and beating

Crunch
Different textures

Thud
固体 thump

Patter
Many small 声 with depth

New 声 from New Technology
As the 技术 发展 and improved throughout the early 20th Century ever more exciting 可能性 for 创作 樂/乐 became available

皮埃尔 舍费尔 was working as a technician at the French 无线电 RTF in the 1940′s when he became fascinated with the 可能性 of 录制 声波 He 录制 声 onto vinyl disks like LP records and then explored the 变形 that were 可能 for 例如 reversing 声 转换 time-stretch and loops

Using these 技术 he 发明 a style of 樂/乐 which he called 樂/乐 Concrète

Etude Tourniquets 1948
An excerpt from one of 皮埃尔 Schaeffer's five 研究 in 声波

Extra
Inspired by 未来主义者 like 卢梭洛 皮埃尔 舍费尔 made 录音 of the city around him and brought them back into the 工作室 to 创作 作品 of ‘Musique Concrète’ His early 作品 ‘Étude aux chemins de fer‘ ['Railway Study'] made in 1948 used 录音 made at a railway depot in Paris

Using the 处理 技术 that he had experimented with he 寻求 to 变形 拼贴 and 探索 the 节奏 属性 of the railway 声 创作 a 作品 that highlighted the beauty of the 声 themselves

Summary New 樂/乐 Possibilities
錄/录 技术 changed 樂/乐 forever Any 声波 can now be captured 控制 and organised to 创作 new 作品

It allows us to do things with 声波 that were never before 可能 And lets us break 自由 from the limitations of 传统

算機/计算机 give everyone access to 工具 for 声波 变形 and 组织 opening up the full world of 声 to all

Mic+Speaker

Fact
The majority of 樂/乐 that we 听 would 不 存在 without the 技术 of 錄/录

References
In 1913 Luigi 卢梭洛 published a leaflet called ‘The 艺术 of Noises’ in which he called for a new 樂/乐 – Read his leaflet here