Abstrait et Concret (Abstract and Concrete)
抽象与具体/chou1 xiang4 yu3 ju4 ti3
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在舍费尔的理论里，抽象与具象是“现实的两个同位素”，每个认知的两个方面，相互依存又相互补足，必须在音乐里被调谐和平衡；既反对过度的具象(在具象音乐中)，也反对过度的抽象(在序列法和其他"先验"的音乐)。
当1948年皮埃尔舍费尔将他发明的音乐命名为“具象”时，他想说明这种新音乐从具体的声音材料——“可听到”的声音开始，然后他试图从中提取音乐价值。 同时这也是古典音乐的对立面，(古典音乐是)从抽象概念和记谱开始，到有形的演出。
此外,舍费尔在Quatre Ecoutes的table是由在纵横交叉两套最基本的对立面构成的。这两个对立面可在每个感知行为中找到——主观/客观，抽象/具象。
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In Schaefferian theory, Abstract and Concrete are "two isotopes of reality", two faces of every perception, interdependent and complementary, which must be reconciled and balanced in music, against the excess of concrete (in musique concrète) or the excess of abstract (in serial and other types of "a priori" musics).
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. And this is the opposite of classical music, which starts from an abstract conception and notation leading to a concrete performance.
Furthermore, Schaeffer's table in the quatre écoutes is made by crossing horizontally and vertically the two fundamental sets of opposites which are found in every perceptual activity: Objective/Subjective and Abstract/Concrete.
The sound object, the correlate of reduced listening is defined as the synthesis of an abstract goal and a concrete goal which refer back to it (the object), instead of using it to get at an (abstract) meaning or a (concrete) source. (Paraphrase of Michel Chion (1983). Guide des Objets Sonores. Eds. Buchet/Chastel, Paris. 1995 translation by John Dack/Christine North.)
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