Musique concrète - Knowledge

865:(1950–1951) was mainly composed with records even if the tape recorder was available. In 1950, when the machines finally functioned correctly, the techniques of the studio were expanded. A range of new sound manipulation practices were explored using improved media manipulation methods and operations such as continuous speed variation. A completely new possibility of organising sounds appeared with tape editing, which permitted tape to be spliced and arranged with much more precision. The "axe-cut junctions" were replaced with micrometric junctions and a whole new technique of production, less dependent on performance skills, could be developed. Tape editing brought a new technique called " 1112:

loudspeakers at the front right and left of the audience, one placed at the rear, and in the centre of the space a loudspeaker was placed in a high position above the audience. The sounds could therefore be moved around the audience, rather than just across the front stage. On stage, the control system allowed a performer to position a sound either to the left or right, above or behind the audience, simply by moving a small, hand held transmitter coil towards or away from four somewhat larger receiver coils arranged around the performer in a manner reflecting the loudspeaker positions. A contemporary eyewitness described the

1845:, p. xii: " problem for any translator of an academic work in French is that the language is relatively abstract and theoretical compared to English; one might even say that the mode of thinking itself tends to be more schematic, with a readiness to see material for study in terms of highly abstract dualisms and correlations, which on occasion does not sit easily with the perhaps more pragmatic English language. This creates several problems of translation affecting key terms. Perhaps the most obvious of these is the word 2019: 648:

Recherches Langage which became the Groupe d'Etudes Critiques. Communication was the one theme that unified the various groups, all of which were devoted to production and creation. In terms of the question "who says what to whom?" Schaeffer added "how?", thereby creating a platform for research into audiovisual communication and mass media, audible phenomena and music in general (including non-Western musics). At the GRM the theoretical teaching remained based on practice and could be summed up in the catch phrase

441:, "musique concrète was not a study of timbre, it is focused on envelopes, forms. It must be presented by means of non-traditional characteristics, you see … one might say that the origin of this music is also found in the interest in 'plastifying' music, of rendering it plastic like sculpture…musique concrète, in my opinion … led to a manner of composing, indeed, a new mental framework of composing". Schaeffer had developed an aesthetic that was centred upon the use of sound as a primary 1170:

provide guidance to the others. Because of this the synthesiser and desk were combined and organised in a manner that allowed it to be used easily by a composer. Independently of the mixing tracks (24 in total), it had a coupled connection patch that permitted the organisation of the machines within the studio. It also had a number of remote controls for operating tape recorders. The system was easily adaptable to any context, particularly that of interfacing with external equipment.

6839: 437:. Schaeffer stated: "when I proposed the term 'musique concrète,' I intended … to point out an opposition with the way musical work usually goes. Instead of notating musical ideas on paper with the symbols of solfege and entrusting their realization to well-known instruments, the question was to collect concrete sounds, wherever they came from, and to abstract the musical values they were potentially containing". According to 967:: The sliding phonogène (also called continuous-variation phonogène) provided continuous variation of tape speed using a control rod. The range allowed the motor to arrive at almost a stop position, always through a continuous variation. It was basically a normal tape recorder but with the ability to control its speed, so it could modify any length of tape. One of the earliest examples of its use can by heard in 1146: 714:(created in 1939 and acquired by the Schaeffer's Groupe de Recherche de Musique Concrète (Research Group on Concrete Music) in 1952), facilitated by an association with the French national broadcasting organization, at that time the Radiodiffusion-Télévision Française, gave Schaeffer and his colleagues an opportunity to experiment with recording technology and tape manipulation. 1162:, named for its designer François Coupigny, director of the Group for Technical Research, and the Studio 54 mixing desk had a major influence on the evolution of GRM and from the point of their introduction on they brought a new quality to the music. The mixing desk and synthesiser were combined in one unit and were created specifically for the creation of musique concrète. 916: 1228: 1027: 305: 1073: 353:

Schaeffer would explicitly cite Jean Epstein with reference to his use of extra-musical sound material. Epstein had already imagined that "through the transposition of natural sounds, it becomes possible to create chords and dissonances, melodies and symphonies of noise, which are a new and specifically cinematographic music".

383:, was presented in 1944 at an art gallery event in Cairo. El-Dabh has described his initial activities as an attempt to unlock "the inner sound" of the recordings. While his early compositional work was not widely known outside of Egypt at the time, El-Dabh would eventually gain recognition for his influential work at the 1063:

of the sound, and additional feedback loops could transmit the information to the recording head. The resulting repetitions of a sound occurred at different time intervals, and could be filtered or modified through feedback. This system was also easily capable of producing artificial reverberation or

945:

The phonogène was a machine capable of modifying sound structure significantly and it provided composers with a means to adapt sound to meet specific compositional contexts. The initial phonogènes were manufactured in 1953 by two subcontractors: the chromatic phonogène by a company called Tolana, and

597:

including Dick Sanders and Maurice Béjart. Schaeffer returned to run the group at the end of 1957, and immediately stated his disapproval of the direction the GRMC had taken. A proposal was then made to "renew completely the spirit, the methods and the personnel of the Group, with a view to undertake

347:

The development of Schaeffer's practice was informed by encounters with voice actors, and microphone usage and radiophonic art played an important part in inspiring and consolidating Schaeffer's conception of sound-based composition. Another important influence on Schaeffer's practice was cinema, and

1173:

Before the late 1960s the musique concrète produced at GRM had largely been based on the recording and manipulation of sounds, but synthesised sounds had featured in a number of works prior to the introduction of the Coupigny. Pierre Henry had used oscillators to produce sounds as early as 1955. But

1050:

and erasing head, and ten playback heads) were positioned around the disk, in contact with the tape. A sound up to four seconds long could be recorded on the looped tape and the ten playback heads would then read the information with different delays, according to their (adjustable) positions around

647:

GRM was one of several theoretical and experimental groups working under the umbrella of the Schaeffer-led Service de la Recherche at ORTF (1960–1974). Together with the GRM, three other groups existed: the Groupe de Recherches Image GRI, the Groupe de Recherches Technologiques GRT and the Groupe de

402:

The Studio d'Essai was renamed Club d'Essai de la Radiodiffusion-Télévision Française in 1946 and in the same year Schaeffer discussed, in writing, the question surrounding the transformation of time perceived through recording. The essay evidenced knowledge of sound manipulation techniques he would

335:

on radio, which in August 1944 was responsible for the first broadcasts in liberated Paris. It was here that Schaeffer began to experiment with creative radiophonic techniques using the sound technologies of the time. In 1948 Schaeffer began to keep a set of journals describing his attempt to create

1169:

rules at French National Radio that required technicians and production staff to have clearly defined duties. The solitary practice of musique concrète composition did not suit a system that involved three operators: one in charge of the machines, a second controlling the mixing desk, and third to

146:

based solely on the use of electronically produced sounds rather than recorded sounds – but the distinction has since been blurred such that the term "electronic music" covers both meanings. Schaeffer's work resulted in the establishment of France's Groupe de Recherches de Musique Concrète (GRMC),

1111:

sound source. One of five tracks, provided by a purpose-built tape machine, was controlled by the performer and the other four tracks each supplied a single loudspeaker. This provided a mixture of live and preset sound positions. The placement of loudspeakers in the performance space included two

655:

Schaeffer kept up a practice established with the GRMC of delegating the functions (though not the title) of Group Director to colleagues. Since 1961 GRM has had six Group Directors: Michel Philippot (1960–1961), Luc Ferrari (1962–1963), Bernard Baschet and François Vercken (1964–1966). From the

242:

discussed the effects of microphonic recording in an essay entitled "Radio", published in 1936. In it the idea of a creative role for the recording medium was introduced and Arnheim stated that: "The rediscovery of the musicality of sound in noise and in language, and the reunification of music,

352:

drew attention to the manner in which sound recording revealed what was hidden in the act of basic acoustic listening. Epstein's reference to this "phenomenon of an epiphanic being", which appears through the transduction of sound, proved influential on Schaeffer's concept of reduced listening.

1182:

The development of the machine was constrained by several factors. It needed to be modular and the modules had to be easily interconnected (so that the synthesiser would have more modules than slots and it would have an easy-to-use patch). It also needed to include all the major functions of a

1178:

was something Pierre Schaeffer was against, since it favoured the preconception of music and therefore deviated from Schaeffer's principle of "making through listening". Because of Schaeffer's concerns the Coupigny synthesiser was conceived as a sound-event generator with parameters controlled

985:: A final version called the universal phonogène was completed in 1963. The device's main ability was that it enabled the dissociation of pitch variation from time variation. This was the starting point for methods that would later become widely available using digital technology, for instance 580:

In the early and mid 1950s Schaeffer's commitments to RTF included official missions that often required extended absences from the studios. This led him to invest Philippe Arthuys with responsibility for the GRMC in his absence, with Pierre Henry operating as Director of Works. Pierre Henry's

1296:

Although Schaeffer's work aimed to defamiliarize the used sounds, other composers favoured the familiarity of source material by using snippets of music or speech taken from popular entertainment and mass media, with the ethic that "truly contemporary art should reflect not just nature or the

1853:

itself. The word in French, which has nothing of the familiar meaning of "concrete" in English, is used throughout with all its usual French connotations of "palpable", "nontheoretical", and "experiential", all of which pertain to a greater or lesser extent to the type of music Schaeffer is

1285:. Bayle has commented that the purpose of the Acousmonium is to "substitute a momentary classical disposition of sound making, which diffuses the sound from the circumference towards the centre of the hall, by a group of sound projectors which form an 'orchestration' of the acoustic image". 1215:

was used to shape sound. This synthesiser was well-adapted to the production of continuous and complex sounds using intermodulation techniques such as cross-synthesis and frequency modulation but was less effective in generating precisely defined frequencies and triggering specific sounds.

953:: The chromatic phonogène was controlled through a one-octave keyboard. Multiple capstans of differing diameters vary the tape speed over a single stationary magnetic tape head. A tape loop was put into the machine, and when a key was played, it would act on an individual 777:: would permit several sources to be mixed together with an independent control of the gain or volume of the sound. The result of the mixing was sent to the recorder and to the monitoring loudspeakers. Signals could be sent to the filters or the reverberation unit. 1274:

works but with the added enhancement of sound spatialisation. Loudspeakers are placed both on stage and at positions throughout the performance space and a mixing console is used to manipulate the placement of acousmatic material across the speaker array, using a

1157:

of the Cologne studio had subsided, in 1970 the GRM finally created an electronic studio using tools developed by the physicist Enrico Chiarucci, called the Studio 54, which featured the "Coupigny modular synthesiser" and a Moog synthesiser. The Coupigny

344:, Schaeffer was driven by: "a compositional desire to construct music from concrete objects – no matter how unsatisfactory the initial results – and a theoretical desire to find a vocabulary, solfège, or method upon which to ground such music. 403:

further exploit compositionally. In 1948 Schaeffer formally initiated "research in to noises" at the Club d'Essai and on 5 October 1948 the results of his initial experimentation were premiered at a concert given in Paris. Five works for

1125:

moving a small magnetic unit through the air. The four loops controlled the four speakers, and while all four were giving off sounds all the time, the distance of the unit from the loops determined the volume of sound sent out from

1136:

The central concept underlying this method was the notion that music should be controlled during public presentation in order to create a performance situation; an attitude that has stayed with acousmatic music to the present day.

1713:

as having both digitised and synthesised musique concrète and "locked it into a crunching groove and turned it into dance music for the '80s". He wrote that while Schaeffer and Henry used tapes in their work, Art of Noise "uses

1120:

One found one's self sitting in a small studio which was equipped with four loudspeakers—two in front of one—right and left; one behind one and a fourth suspended above. In the front center were four large loops and an

923:

Speed variation was a powerful tool for sound design applications. It had been identified that transformations brought about by varying playback speed lead to modification in the character of the sound material:

1682:

went truant from the academy and became street music, the soundtrack to block parties and driving." He described this era of hip hop as "the most vibrant and flourishing descendant – albeit an indirect one – of

1375:

In the 1960s, as popular music began to increase in cultural importance and question its role as commercial entertainment, many popular musicians began taking influence from the post-war avant-garde, including

3043:

James, Richard S. (1981). Interview with Pierre Henry, cited in "Expansion of Sound Resources in France, 1913–1940, and Its Relationship to Electronic Music". doctoral thesis, University of Michigan, note 91,

1014:, and thus each head conveyed a part of the information and was listened to through a dedicated loudspeaker. It was an ancestor of the multi-track player (four then eight tracks) that appeared in the 1960s. 348:

the techniques of recording and montage, which were originally associated with cinematographic practice, came to "serve as the substrate of musique concrète". Marc Battier notes that, prior to Schaeffer,

1582:; priced in the United Kingdom at 49 pence, the album was described by writer Chris Jones as "a contender for the most widely heard piece of musique concrete" after "Revolution 9". Another German group, 1437:

Following the Beatles' example, many groups incorporated found sounds into otherwise typical pop songs for psychedelic effect, resulting in "pop and rock musique concrète flirtations"; examples include

993:(modifying duration without pitch modification). This was obtained through a rotating magnetic head called the Springer temporal regulator, an ancestor of the rotating heads used in video machines. 1243:(INA – Audiovisual National Institute) with Bayle as its head. In taking the lead on work that began in the early 1950s, with Jacques Poullin's potentiomètre d'espace, a system designed to move 1018:

by Olivier Messiaen with the technical assistance of Pierre Henry was the first work composed for this tape recorder in 1952. A rapid rhythmic polyphony was distributed over the three channels.

1002:

This original tape recorder was one of the first machines permitting the simultaneous listening of several synchronised sources. Until 1958 musique concrète, radio and the studio machines were

606:

Following the emergence of differences within the GRMC, Pierre Henry, Philippe Arthuys, and several of their colleagues, resigned in April 1958. Schaeffer created a new collective, called

1730:, Art of Noise brought classical and avant-garde sounds into pop by " to emulate the musique concrète composers of the 1950s" via Fairlight samplers instead of tape. In a piece for 379:

ceremony and at the Middle East Radio studios processed the material using reverberation, echo, voltage controls, and re-recording. The resulting tape-based composition, entitled

2853: 1858:

in most contexts, as an expression such as "real-world" does not cover the original's range of meanings, and in particular it would not link with the main subject ..."

3463:

Teruggi, Daniel (2007). "Technology and Musique Concrete: The Technical Developments of the Groupe de Recherches Musicales and Their Implication in Musical Composition".

946:

the sliding version by the SAREG Company. A third version was developed later at ORTF. An outline of the unique capabilities of the various phonogènes can be seen here:

2794: 3731: 125:

beginning in the early 1940s. It was largely an attempt to differentiate between music based on the abstract medium of notation and that created using so-called

398:

Following Schaeffer's work with Studio d'Essai at Radiodiffusion Nationale during the early 1940s he was credited with originating the theory and practice of

1042:. It consisted of a large rotating disk, 50 cm in diameter, on which was stuck a tape with its magnetic side facing outward. A series of twelve movable 811:

The application of the above technologies in the creation of musique concrète led to the development of a number of sound manipulation techniques including:

1462:" (1967). Popular musicians more versed in modern classical and experimental music utilised elements of musique concrète more maturely, including Zappa and 1596:

wrote: "This droll blend of accessible pop and avant-garde musique concrete propelled Kraftwerk across America for three months". Steve Taylor writes that

941:

The distribution of spectral energy is altered, thereby influencing how the resulting timbre might be perceived, relative to its original unaltered state.

473:

Pierre Henry, and sound engineer Jacques Poullin had received official recognition and the Groupe de Recherches de Musique Concrète, Club d 'Essai de la

938:

A sound's attack characteristic is altered, whereby it is either dislocated from succeeding events, or the energy of the attack is more sharply focused.

852:: by eliminating certain frequencies from a signal, the remains would keep some trace of the original sound but alter it often beyond recognition. 861:

The first tape recorders started arriving at ORTF in 1949; however, they were much less reliable than the shellac players, to the point that the

656:

beginning of 1966, François Bayle took over the direction for the duration of thirty-one years, to 1997. He was then replaced by Daniel Teruggi.

222:, believed that "there was a wide field open for the composition of music for phonographic discs". This sentiment was echoed further in 1930 by 877:

During the GRMC period from 1951 to 1958, Schaeffer and Poullin developed a number of novel sound creation tools. These included a three-track

17: 3266:

L'apport des techniques d'enregistrement dans la fabrication de matieres et de formes musicales nouvelles: applications à la musique concrete

1702:"unwittingly revisited" the concept of musique concrète with their sample-based music, they proved that the technique "worked great as pop". 1270:, depending on the character of the concert, of varying shape and size. The system was designed specifically for the concert presentation of 230:

that "there will be a greater interest in creating music in a way that will be peculiar to the gramophone record". The following year, 1931,

1546: 474: 6700: 3654:. Reprinted as "Sounds in Space: Sounds in Time: Projects in Listening, Improvising and Composing". London: Boosey & Hawkes, 2003. 258:) (1930), a work of "blind cinema" without visuals, introduced recordings of environmental sound, to represent the urban soundscape of 210:

that "perhaps the time is not far off when a composer will be able to represent through recording, music specifically composed for the

6653: 869:", in which very small fragments of sound were edited together, thus creating completely new sounds or structures on a larger scale. 1006:. The three-head tape recorder superposed three magnetic tapes that were dragged by a common motor, each tape having an independent 266:. According to Seth Kim-Cohen the piece was the first to "organise 'concrete' sounds into a formal, artistic composition." Composer 6435: 1788: 5507: 1471: 1255:

in 1974. An inaugural concert took place on 14 February 1974 at the Espace Pierre Cardin in Paris with a presentation of Bayle's

1211:, and modulation via an external source. No keyboard was attached to the synthesiser and instead a specific and somewhat complex 3250:

The Application of Recording Techniques to the Production of New Musical Materials and Forms. Applications to 'Musique Concrete

3439:, reprint edition 1998, with a preface by Daniel Teruggi, Guy Reibel, and Beatriz Ferreyra. Paris: Coedition Ina-Publications. 3281: 4578: 3772: 3659: 3651: 3607: 3599: 3541: 3453: 3425: 3332: 3313: 3156: 3134: 3106: 3075: 3033: 3014: 2989: 2931: 2884: 2747: 2681: 1618: 1240: 1219:

The Coupigny synthesiser also served as the model for a smaller, portable unit, which has been used down to the present day.

893:); a slide-controlled machine to replay tape loops at a continuously variable range of speeds (the handle, continuous, or 4618: 2941:

Gradenwitz, Peter (1953). "Experiments in Sound: Ten-Day Demonstrationin Paris Offers the Latest in 'Musique Concrète'".

2700:

Austin, Larry; Smalley, Denis (2000). "Sound Diffusion in Composition and Performance: An Interview with Denis Smalley".

1540: 1343: 272: 1793: 1515: 1247:

sound sources across four speakers, Bayle and the engineer Jean-Claude Lallemand created an orchestra of loudspeakers (

990: 986: 3255:. National Research Council of Canada Technical Translation TT-646, translated by D. A. Sinclair from the original in 2834: 1608:

continued the concrète tradition with collages constructed with tape manipulation and loops, while Ian Inglis credits

1418:

wrote that the 1960s represented the height of confluence between rock and academic music, noting that composers like

6658: 3581: 3565:

Kane, Brian (2007). "L'Objet Sonore Maintenant: Pierre Schaeffer, Sound Objects and the Phenomenological Reduction".

3559: 3525: 3517: 3497: 2912: 2806: 1475: 1010:. The objective was to keep the three tapes synchronised from a common starting point. Works could then be conceived 328: 3615:

Pierre Schaeffer, 1953: 'Towards an Experimental Music', An Exegesis of Schaeffer's 'Vers une musique expérimentale'

1612:

for introducing new sensibilities "about what could be in included in the canon of popular music", citing his 1970s

5816: 1674:

developed hip-hop into a studio-based art. Although there was no direct line traceable between the two Pierres and

1736:, musicians Matmos noted the use of musique concrète in later popular music, including the crying baby effects in 4613: 5608: 3185:

Palombini, Carlos (1993). "Machine Songs V: Pierre Schaeffer: From Research into Noises to Experimental Music".

135: 6693: 3086: 1572:", have been cited as notable examples of the practice's influence on popular music. Also in 1973, German band 6336: 243:

noise and language in order to obtain a unity of material: that is one of the chief artistic tasks of radio".

114:, such that sound identities can often be intentionally obscured or appear unconnected to their source cause. 6718: 6621: 6286: 1103:) and was intended to control the dynamic level of music played from several shellac players. This created a 690:(Treatise on Musical Objects) which represented the culmination of some 20 years of research in the field of 824:: composers developed a skilled technique in order to create loops at specific locations within a recording. 262:, two decades before musique concrète was formalised. Ruttmann's soundtrack has been retrospectively called 6741: 6631: 6614: 3831: 2815: 1749: 1313:

and the singer's own voice, respectively, while later in the decade, Bernard Parmegiani created the pieces

1297:

industrial-urban environment but the mediascape in which humans increasingly dwelled", according to writer

961:

arrangement and cause the tape to be played at a specific speed. The machine worked with short sounds only.

461:: 'to enjoy oneself by interacting with one's surroundings', as well as 'to operate a musical instrument'. 6861: 1380:, who incorporated techniques such as tape loops, speed manipulation, and reverse playback in their song " 6881: 6876: 1034:

This machine was conceived to build complex forms through repetition, and accumulation of events through

621: 2877:

Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped Our Culture

1239:

was placed in charge of the Groupe de Recherches Musicales and in 1975, GRM was integrated with the new

4518: 3725: 1459: 1263: 485:

studio. It quickly attracted many who either were or were later to become notable composers, including

3671: 1590:", which contained a "sampled collage of revving engines, horns and traffic noise". Stephen Dalton of 6866: 6842: 6686: 6643: 6604: 5424: 5419: 5190: 4571: 3765: 3554:, edited by Hugues Genevois and Yann Orlarey, 143–156. Musique et sciences. Lyon: GRAME & Aléas. 1771: 1564: 1511: 1443: 1192: 91: 4643: 3930: 3898: 1463: 1288:

As of 2010, the Acousmonium was still performing, with 64 speakers, 35 amplifiers, and 2 consoles.

928:

Variation in the sounds' length, in a manner directly proportional to the ratio of speed variation.

698:(Music Theory of the Acoustic Object), to provide examples of concepts dealt with in the treatise. 6733: 6594: 3067: 2729:

Battier, Marc (2007). "What the GRM Brought to Music: From Musique Concrète to Acousmatic Music".

761:: could play sound forwards or in reverse; could change speed at fixed ratios, permitting limited 409: 6871: 6808: 6551: 5591: 5512: 4719: 4028: 2692: 1741: 1605: 1569: 1087:

in 1951, a system that was designed for the spatial control of sound was tested. It was called a

958: 67: 5806: 4872: 4598: 4294: 3925: 3796: 3420:. Translated by North, Christine; Dack, John. University of California Press. pp. ix–xiv. 1439: 1356: 1179:

globally, without a means to define values as precisely as some other synthesisers of the day.

633: 3375: 2975: 1752:", while noting that the aesthetic was arguably built upon by works including Art of Noise's " 1203:

facility was viewed as the primary requirement; to enable complex synthesis processes such as

5034: 4709: 4682: 4401: 4324: 4203: 3703: 3342:

Reydellet, Jean de (1996). "Pierre Schaeffer, 1910-1995: The Founder of "Musique Concrète"".

2733:

12, no. 3 (December: Musique Concrète's 60th and GRM's 50th birthday—A Celebration): 189–202.

1188: 762: 498: 482: 384: 197: 160: 3207: 1854:

pioneering. Despite the risk of ambiguity, we decided to translate it with the English word

1666:'s use of vinyl records as a "noise-generating medium" in his own work. Reynolds wrote: "As 5983: 5596: 4564: 4422: 4386: 4371: 3908: 3816: 3758: 3614: 3098: 1723: 1381: 1208: 1204: 1035: 878: 5826: 3736: 3265: 1149:

Pierre Schaeffer at the Studio 54 desk adjusting a Moog. The Coupigny is in the row below.

231: 8: 6064: 5941: 5892: 5315: 4995: 4704: 4658: 3888: 3286: 2981: 1757: 1753: 1732: 1410: 1184: 1128:

The music thus came to one at varying intensity from various parts of the room, and this

694:. In conjunction with this publication, a set of sound recordings was produced, entitled 219: 3935: 3482:

Electroacoustic Music: Journal of the Electroacoustic Music Association of Great Britain

3058:

Kane, Brian (2014). "Pierre Schaeffer, the Sound Object, and the Acousmatic Reduction".

1367:(1993) was created using recognisable elements of rock and pop music from 1982 to 1992. 783:: made of a metal plate or a series of springs that created an artificial reverb effect. 6803: 6150: 6130: 5904: 5729: 5724: 5527: 5283: 5175: 5165: 5046: 5029: 4501: 4406: 4289: 4230: 4013: 3873: 3619: 3359: 3236: 3194: 2717: 1485: 1212: 835: 629: 79: 3167: 881:; a machine with ten playback heads to replay tape loops in echo (the morphophone); a 6826: 6777: 6599: 6388: 5988: 5966: 5667: 5586: 5258: 4966: 4901: 4825: 4780: 4543: 4528: 4366: 4165: 4150: 4108: 4088: 4038: 3868: 3806: 3655: 3647: 3603: 3595: 3577: 3555: 3537: 3521: 3513: 3493: 3449: 3421: 3351: 3328: 3309: 3301: 3228: 3152: 3130: 3102: 3071: 3029: 3010: 2985: 2927: 2908: 2880: 2802: 2743: 2709: 2677: 2048: 1808: 1663: 1639: 1601: 1494: 582: 581:

composing talent developed greatly during this period at the GRMC and he worked with

442: 332: 324: 299: 287: 277: 59: 1236: 641: 586: 531: 304: 6798: 6793: 6709: 6571: 6459: 6420: 6321: 6305: 6261: 6192: 6010: 5739: 5571: 5490: 5330: 5170: 5138: 4879: 4790: 4785: 4775: 4687: 4633: 4587: 4538: 4447: 4391: 4242: 4237: 4220: 4213: 4208: 4128: 3843: 3395: 3094: 3063: 2669: 1783: 1762: 1647: 1597: 1507: 1431: 1423: 1348: 1334: 1271: 1175: 1154: 1056: 831: 790: 707: 671: 666: 617: 510: 486: 316: 308: 172: 122: 111: 6331: 3666: 2954: 1467: 567:(1953) by Henry. In 1954 Varèse and Honegger visited to work on the tape parts of 502: 494: 164: 6764: 6519: 5699: 5652: 5022: 5017: 4884: 4755: 4648: 4396: 4183: 3945: 3380: 2950: 1727: 1587: 1578: 1522:" (all 1967), before the approach climaxed with the pure musique concrète piece " 1519: 1397: 1330: 1281: 1200: 1196: 798: 794: 514: 247: 223: 38: 4556: 1306: 1072: 664:

The group continued to refine Schaeffer's ideas and strengthened the concept of

238:

just as one can for the piano or the violin. Shortly after, German art theorist

6576: 6464: 6400: 6266: 6239: 6219: 6120: 6110: 6059: 5909: 5623: 5547: 5502: 5298: 5293: 5263: 5253: 5225: 5000: 4988: 4896: 4837: 4677: 4638: 4523: 4508: 4481: 4476: 4381: 4376: 4304: 4269: 4058: 4053: 4008: 4003: 3998: 3811: 3371: 3144: 2801:, edited by Lydia Grün and Frank Wiegand, 39–54. Bielefeld: Transcript Verlag. 2784:

Dack, John (1994). "Pierre Schaeffer and the Significance of Radiophonic Art".

2673: 1798: 1699: 1689: 1655: 1360: 1322: 1298: 1060: 1047: 882: 754:. This technology made a number of limited operations available to a composer: 625: 506: 370: 320: 239: 168: 94:. Compositions in this idiom are not restricted to the normal musical rules of 63: 5714: 3699: 3552:

Le son et l'espace: 1ères Rencontres musicales pluridisciplinaires, Lyon, 1995

1502:

on bass, features musique concrète passages that Pouncey compared to Varèse's

1337:. Reynolds writes that this approach continued in the later work of musicians 830:: a hand-controlled method that required delicate manipulation to get a clean 234:

also expressed the opinion that one could write for the gramophone or for the

6855: 6566: 6514: 6425: 6224: 6177: 6069: 5887: 5882: 5860: 5843: 5773: 5756: 5640: 5517: 5448: 5374: 5357: 5232: 5113: 5108: 5103: 5088: 4940: 4867: 4770: 4740: 4724: 4665: 4496: 4452: 4432: 4309: 4259: 4247: 4193: 4093: 4068: 3975: 3940: 3913: 3903: 3863: 3587: 3355: 3277: 3232: 2713: 2666:

Bloomsbury Encyclopedia of Popular Music of the World Vol. XI: Genres: Europe

1823: 1745: 1715: 1667: 1631: 1613: 1489: 1419: 1415: 1352: 1310: 932: 818:: reading a sound at a different speed than the one at which it was recorded. 743: 739: 711: 490: 470: 366: 282: 267: 156: 107: 75: 4346: 3050: 1388:

experimentation as helping popularise avant-garde art in the era, alongside

1132:

gave new sense to the rather abstract sequence of sound originally recorded.

706:

The development of musique concrète was facilitated by the emergence of new

6821: 6626: 6536: 6524: 6481: 6368: 6229: 6182: 6157: 5951: 5875: 5766: 5744: 5704: 5689: 5581: 5485: 5463: 5453: 5409: 5404: 5320: 5220: 5200: 5158: 5123: 5051: 5007: 4911: 4361: 4138: 4033: 4023: 3821: 2959: 1813: 1710: 1695: 1573: 1523: 1455: 1389: 1302: 1267: 1104: 1076: 954: 866: 747: 723: 594: 438: 349: 215: 148: 140: 126: 449:) in the practice of sound based composition. Schaeffer's use of the word 276:(1931), during the first transformation scene, as "pre-musique concrète". 6636: 6541: 6486: 6469: 6393: 6378: 6326: 6207: 6202: 6162: 6145: 6140: 6125: 6032: 5926: 5870: 5734: 5719: 5694: 5662: 5458: 5434: 5310: 5305: 5248: 5215: 5205: 5148: 5133: 5128: 5093: 5066: 4978: 4933: 4852: 4830: 4802: 4795: 4745: 4714: 4604: 4513: 4279: 4252: 4083: 3970: 3955: 3883: 3878: 3853: 3801: 3781: 3259:

34, no. 324 (1954): 282–291. Ottawa: National Research Council of Canada.

1803: 1767: 1675: 1643: 1527: 1480: 1447: 1405: 1393: 1377: 1276: 1252: 1166: 1159: 898: 735: 684:: referring to a sound that one hears without seeing the causes behind it 613: 152: 87: 83: 3848: 3750: 3240: 6609: 6556: 6546: 6509: 6491: 6440: 6405: 6293: 6276: 6214: 6197: 6187: 6115: 6025: 6000: 5931: 5865: 5853: 5709: 5618: 5613: 5532: 5495: 5443: 5340: 5335: 5325: 5268: 5180: 5153: 5118: 5098: 5071: 5041: 5012: 4928: 4923: 4918: 4857: 4807: 4697: 4653: 4533: 4471: 4314: 4160: 4155: 4123: 3644:

Musical Environments: A Manual for Listening, Improvising and Composing

3363: 3198: 3147:; DiCola, Peter (2011). "Legal and Cultural History of Sound Collage". 2905:

Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde

2721: 1719: 1659: 1559: 1451: 1011: 885:-controlled machine to play tape loops at preset speeds (the keyboard, 839: 751: 727: 675: 590: 404: 211: 201: 179:) was used in reference to fixed media compositions that utilized both 71: 5978: 2924:

Elective Affinities: Musical Essays on the History of Aesthetic Theory

569: 66:

as raw material. Sounds are often modified through the application of

6410: 6373: 6271: 6246: 6135: 6090: 6074: 6020: 5946: 5936: 5914: 5836: 5821: 5801: 5761: 5751: 5677: 5657: 5603: 5564: 5542: 5522: 5480: 5392: 5352: 5143: 5083: 4983: 4961: 4945: 4906: 4891: 4847: 4765: 4760: 4750: 4466: 4299: 4284: 4225: 4198: 4145: 4133: 4043: 4018: 3980: 1818: 1609: 1592: 1583: 1499: 1401: 1326: 1052: 1043: 972: 886: 681: 637: 5559: 3116:

Lange, A. (2009). "Musique concrète and Early Electronic Music". In

1422:

and Pierre Henry found likeness in the "distorting-mirror" sound of

1145: 6678: 6663: 6445: 6341: 6298: 6281: 6256: 6167: 6100: 6095: 6052: 6047: 5993: 5971: 5783: 5778: 5647: 5628: 5576: 5468: 5429: 5397: 5387: 5382: 5367: 5362: 5288: 5273: 5185: 5078: 4842: 4672: 4486: 4461: 4442: 4356: 4351: 4319: 4188: 4063: 3965: 3918: 3893: 3594:, 2nd edition. Cambridge and New York: Cambridge University Press. 3219:

Peignot, Jerome (1960). "De la musique concrète à l'acousmatique".

2894:

Gayou, Évelyne. (2007a). "The GRM: Landmarks on a Historic Route".

2768:

Guide des objets sonores, Pierre Schaeffer et la recherche musicale

1867:

Musique concrète has been referred to as a sound collage technique.

1535: 1244: 1108: 1039: 1003: 171:. From the late 1960s onward, and particularly in France, the term 86:, and the natural environment as well as those created using sound 3646:, with additional topics by Andy Arthurs. Sydney: Currency Press. 710:

in post-war Europe. Access to microphones, phonographs, and later

369:

began experimenting with electroacoustic music using a cumbersome

133:). By the early 1950s musique concrète was contrasted with "pure" 6251: 6234: 6042: 6005: 5897: 5848: 5635: 5345: 4274: 4048: 3950: 3858: 3836: 3550:

Jaffrennou, Pierre-Alain (1998). "De la scénographie sonore". In

2977:

Electronic and experimental music: technology, music, and culture

1737: 1671: 1140: 976: 731: 598:

research and to offer a much needed welcome to young composers".

336:

a "symphony of noises". These journals were published in 1952 as

99: 3084: 1925: 1510:. The Beatles continued their use of concrète on songs such as " 445:

resource. The aesthetic also emphasised the importance of play (

6561: 6474: 6383: 6105: 6037: 6015: 5956: 5919: 5811: 5682: 5672: 5554: 5537: 5475: 5278: 5210: 5061: 5056: 4862: 4491: 4437: 4078: 4073: 3960: 3826: 3534:

GRM Le Groupe de Recherches Musicales, Cinquante ans d'histoire

1635: 1531: 1430:'s contrasting tones and timbres were suited to the effects of 1338: 1309:

created pieces in the 1960s that recontextualised the music of

1007: 259: 103: 95: 3719: 3576:. Oxford: Clarendon Press; New York: Oxford University Press. 1026: 375: 6769: 6531: 6454: 5961: 5831: 5195: 4971: 3714: 3700:

Avant-Garde » Modern Composition » Musique Concrète

3490:

Composing with Tape Recorders: Musique Concrète for Beginners

1651: 1622:(1981), which combines tape samples with synthesised sounds. 789:: two kinds of filters, third-octave octave filter banks and 433:

By 1949 Schaeffer's compositional work was known publicly as

362: 235: 121:

as a compositional practice was developed by French composer

3089:; Rutherford-Johnson, Tim, eds. (2012). "Musique concrète". 915: 901:, including one hanging from the centre of the ceiling (the 6648: 6430: 6415: 6172: 4427: 4098: 1670:

technology grew more affordable, DJs-turned-producers like

1227: 935:, and is also proportional to the ratio of speed variation. 897:); and a device to distribute an encoded track across four 478: 3744: 3708: 2742:. New York: The Continuum International Publishing Group. 2545: 1973: 1971: 1969: 1662:; this provided a parallel breakthrough to collage artist 797:. They allowed the elimination or enhancement of selected 464: 246:

Possible antecedents to musique concrète have been noted;

3730:

INA-GRM 31st season (2008/2009). Multiphonies program of

3480:

Dack, John (1993). "La Recherche de l'Instrument Perdu".

3149:

Creative License: The Law and Culture of Digital Sampling

1892: 390: 3694: 2664:

Albiez, Sean (2017). "Avant-pop". In Horn, David (ed.).

771:: would record any result coming out of the mixing desk. 640:, Philippe Carson, Romuald Vandelle, Edgardo Canton and 3376:"Tapeheads: The History and Legacy of Musique Concrète" 2740:

In the Blink of an Ear: Toward a Non-Cochlear Sonic Art

2533: 2480: 2478: 2476: 2474: 2472: 2255: 2253: 1966: 331:. The studio originally functioned as a center for the 3026:

Performance and Popular Music: History, Place and Time

2629: 2523: 2521: 2519: 2517: 481:. At RTF the GRMC established the first purpose-built 457:, carries the same double meaning as the English verb 293: 3060:

Sound Unseen: Acousmatic Sound in Theory and Practice

2759:

Musique acousmatique, propositions ... positions

2617: 2593: 2404: 2038: 2036: 2034: 612:(GRM) and set about recruiting new members including 477:

was established at RTF in Paris, the ancestor of the

342:

Sound Unseen: Acousmatic Sound in Theory and Practice

3511:. Aldershot (Hants.), Burlington (Vermont): Ashgate. 3416:——— (2012) . "Translators' Note". 2581: 2469: 2394: 2392: 2379: 2377: 2364: 2362: 2315: 2313: 2311: 2309: 2307: 2250: 2007: 1995: 1983: 1506:

and the "keyboard deconstructions" of John Cage and

1067: 717: 517:. Compositional "output from 1951 to 1953 comprised 206:

In 1928 music critic André Cœuroy wrote in his book

6759: 2641: 2514: 2502: 2435: 2433: 2204: 2202: 2200: 2198: 2185: 2183: 989:(transposing sound without modifying duration) and 931:Variation in length is coupled with a variation in 319:began his exploration of radiophony when he joined 78:. It can feature sounds derived from recordings of 3741:, an international journal of music and technology 2569: 2490: 2031: 4586: 2605: 2557: 2389: 2374: 2359: 2304: 2276: 2264: 2171: 2169: 1384:" (1966). Bernard Gendron describes the Beatles' 1321:, which used fragments of musical genres such as 601: 6853: 3492:. London and New York: Oxford University Press. 3282:"Undercurrents #7: Fables of the Deconstruction" 2799:Musik Netz Werke: Konturen der neuen Musikkultur 2430: 2195: 2180: 2060: 1726:to create their updated sound". As described by 1079:using induction coils to control sound spatially 183:based techniques and live sound spatialisation. 74:techniques, and may be assembled into a form of 3434: 2295: 2293: 2291: 2220: 1568:(1973), including the cash register sounds on " 1488:'s "Would You Like a Snack?" (1968), while the 872: 3626:Schaeffer, Pierre (1952b). "L'objet musical". 3120:, edited by Rob Young, 173–180. London: Verso. 3007:Hammer Film Scores and the Musical Avant-Garde 2166: 1926:Kennedy, Kennedy & Rutherford-Johnson 2012 1141:Coupigny synthesiser and Studio 54 mixing desk 559:(1953) by Schaeffer/Henry, and the film music 6694: 4572: 3766: 2699: 2451: 1538:, continued the approach on their solo works 659: 365:in the early to mid-1940s, Egyptian composer 3300: 3143: 2907:. University of Chicago Press. p. 322. 2421: 2419: 2288: 2025: 1898: 214:". In the same period the American composer 147:which attracted important figures including 3325:Composing Electronic Music: A New Aesthetic 3127:Music in the Horror Film: Listening to Fear 3062:. Oxford University Press. pp. 15–42. 2770:(in French). Paris: Ina-GRM/Buchet-Chastel. 2695:". INA–GRM website (accessed 30 June 2014). 1107:effect by controlling the positioning of a 997: 286:(1924) calls for a phonograph recording of 43: 6701: 6687: 4579: 4565: 3773: 3759: 3638:. Paris: Presses Universitaires de France. 3435:Schaeffer, Pierre, and Guy Reibel (1967). 3394: 2949: 2940: 2761:(in French). Paris: INA-GRM Buche/Chastel. 2635: 2342: 2054: 1646:to " in real time" with portions of rock, 1616:work and the musique concrete collages on 385:Columbia-Princeton Electronic Music Center 315:In 1942, French composer and theoretician 6654:Music technology (electronic and digital) 3780: 3415: 3406: 3341: 3205: 3184: 3118:The Wire Primers: A Guide To Modern Music 3093:(6th ed.). Oxford University Press. 3068:10.1093/acprof:oso/9780199347841.003.0002 2874: 2851: 2737: 2623: 2551: 2416: 2244: 2175: 2125: 2042: 1977: 1842: 1558:The musique concrète elements present on 1165:The design of the desk was influenced by 425:(Study with Railroads) – were presented. 340:, and according to Brian Kane, author of 3628:La Revue Musicale: L'œuvre du XXe siècle 3370: 3004: 2779:(in French) (rev. ed.). Paris: Kra. 2539: 2484: 1789:Birmingham ElectroAcoustic Sound Theatre 1586:, achieved a surprise hit in 1975 with " 1226: 1153:After the longstanding rivalry with the 1144: 1071: 1025: 971:by Pierre Henry (1953), where a lengthy 914: 686:". In 1966 Schaeffer published the book 469:By 1951 the work of Schaeffer, composer- 323:and his pupils in the foundation of the 303: 290:to be played during the third movement. 270:referred to a sound collage in the film 3462: 3276: 3263: 3247: 3218: 2902: 2832: 2728: 2668:. Bloomsbury Academic. pp. 36–38. 2647: 2527: 2508: 2410: 2398: 2383: 2368: 2331: 2319: 2299: 2282: 2270: 2259: 2232: 2090: 1960: 1948: 1476:The Chrome Planted Megaphone of Destiny 1472:The Return of the Son of Monster Magnet 465:Groupe de Recherche de Musique Concrète 373:. He recorded the sounds of an ancient 14: 6854: 3443: 3124: 3023: 2973: 2893: 2813: 2774: 2663: 2599: 2587: 2575: 2496: 2439: 2353: 2208: 2189: 2102: 2013: 1936: 1910: 1886: 1347:(2001) was created with the sounds of 1083:At the premiere of Pierre Schaeffer's 6682: 4560: 3754: 3747:, a theatre of sound-sculptured space 3720:Electroacoustic Music Studies Network 3400:A la recherche d'une musique concrète 3322: 3165: 3151:. Durham, NC: Duke University Press. 3115: 3048: 3042: 3028:. Milton Park: Taylor & Francis. 2921: 2835:"Matmos: Musique Concrète Smash Hits" 2765: 2756: 2690: 2611: 2563: 2463: 2425: 2160: 2137: 2114: 2001: 1989: 1921: 1919: 1766:(1989) and the work of Public Enemy, 1498:(1968), which featured Berio student 807:: essential tool for capturing sound. 551:(1953) by Barraqué, the mixed pieces 338:A la recherche d'une musique concrète 37: 6708: 3099:10.1093/acref/9780199578108.001.0001 3057: 2792: 2783: 2777:Panorama de la musique contemporaine 2149: 2078: 2066: 1231:Schaeffer presenting the Acousmonium 975:is used to symbolise the removal of 3592:Experimental Music: Cage and Beyond 3129:. New York: Routledge. p. 56. 2875:Edmondson, Jacqueline, ed. (2013). 1625: 1359:, who referred to the approach as ' 1344:A Chance to Cut Is a Chance to Cure 1291: 475:Radiodiffusion-Télévision Française 428: 413:(Five Studies of Noises) including 294:Pierre Schaeffer and Studio d'Essai 24: 3473: 3448:. London: Bloomsbury. p. 11. 2057:, ch. Journal entry of March 1948. 1916: 1794:Canadian Electroacoustic Community 1516:Being for the Benefit of Mr. Kite! 1241:Institut national de l'audiovisuel 834:of sound. It entailed letting the 670:. Schaeffer had borrowed the term 218:, in referring to the projects of 25: 6893: 6659:Recording studio as an instrument 3688: 2852:Diliberto, John (February 1989). 1266:consisting of between 50 and 100 1262:The Acousmonium is a specialised 1068:Early sound spatialisation system 726:consisted of a series of shellac 718:Initial tools of musique concrète 6838: 6837: 5817:Christian electronic dance music 1722:samplers and the skyscrapers of 1235:In 1966 composer and technician 856: 387:in Manhattan in the late 1950s. 356: 3446:The A to X of Alternative Music 3212:Electronic Musicological Review 2879:. Santa Barbara, CA: ABC-CLIO. 2457: 2445: 2347: 2336: 2325: 2238: 2226: 2214: 2154: 2143: 2131: 2119: 2108: 2096: 2084: 2072: 1059:for each head could modify the 838:read only a small segment of a 3724:Bernard Parmegiani's personal 3407:——— (1966). 3091:The Oxford Dictionary of Music 2854:"The A-A-Art of Noi-N-N-Noise" 2814:Dalton, Stephen (2005-06-03). 1954: 1942: 1930: 1904: 1880: 1861: 1836: 1222: 1021: 609:Groupe de Recherches Musicales 602:Groupe de Recherches Musicales 226:, when he stated in the revue 208:Panorama of Contemporary Music 18:Groupe de Recherches Musicales 13: 1: 6622:Electronic musical instrument 3574:Electronic and Computer Music 3418:In Search of a Concrete Music 3411:(in French). Paris: Le Seuil. 3306:The Oxford Handbook of Timbre 3051:"Review of Faust – Patchwork" 2926:. Columbia University Press. 2795:Technology and the Instrument 2693:Un orchestre de Haut-Parleurs 2221:Schaeffer & Reibel (1967) 1874: 1658:-based music with percussive 1619:My Life in the Bush of Ghosts 1249:un orchestre de haut-parleurs 701: 191: 27:Form of electroacoustic music 6742:Symphonie pour un homme seul 3009:. Jefferson, NC: McFarland. 2833:Daniels, Drew (2003-05-01). 1694:s J. Niimi writes that when 1654:records, in order to create 1085:Symphonie pour un homme seul 908: 873:Development of novel devices 863:Symphonie pour un homme seul 844:Symphonie pour un homme seul 696:Le solfège de l'objet sonore 7: 3613:Palombini, Carlos (1998). " 3402:. Paris: Éditions du Seuil. 3327:. Oxford University Press. 3308:. Oxford University Press. 3206:Palombini, Carlos (1999). " 2452:Austin & Smalley (2000) 1777: 1705:In 1989, John Diliberto of 1408:'s "ironic detachment". In 10: 6898: 4519:Situationist International 3715:Michel Chion official site 3634:Schaeffer, Pierre (1967). 3409:Traité des objets musicaux 3264:Poullin, Jacques (1999). " 3208:Musique Concrète Revisited 3125:Lerner, Neil, ed. (2009). 2674:10.5040/9781501326110-0111 2656: 1264:sound reinforcement system 1095:, but also referred to as 979:'s veil as he enters hell. 688:Traité des objets musicaux 660:Traité des objets musicaux 636:. Later arrivals included 589:, Enrico Fulchignoni, and 537:Le microphone bien tempéré 297: 195: 186: 6835: 6786: 6752: 6725: 6716: 6644:Electronics in rock music 6605:Digital audio workstation 6587: 6502: 6361: 6354: 6314: 6083: 5794: 5241: 4954: 4818: 4733: 4626: 4612: 4595: 4415: 4337: 4176: 4116: 4107: 3989: 3789: 3437:Solfege de l'objet sonore 2903:Gendron, Bernard (2002). 2786:Contemporary Music Review 1565:The Dark Side of the Moon 1512:Strawberry Fields Forever 117:The theoretical basis of 110:. The technique exploits 92:digital signal processing 3532:Gayou, Evelyne (2007b). 3507:Emmerson, Simon (2007). 3248:Poullin, Jacques (1957) 3166:Niimi, J. (2005-12-29). 3005:Huckvale, David (2014). 2955:"Soundtrack of her life" 2757:Bayle, François (1993). 2738:Kim-Cohen, Seth (2009). 2026:Rehding & Dolan 2021 1899:McLeod & DiCola 2011 1829: 1774:, among other examples. 1553: 1464:the Mothers of Invention 1404:'s surreal lyricism and 1370: 998:Three-head tape recorder 781:Mechanical reverberation 563:(1952) by Schaeffer and 532:Étude aux mille collants 423:Étude aux chemins de fer 407:– known collectively as 329:Radiodiffusion nationale 6809:French electronic music 6552:Progressive electronica 5592:Intelligent dance music 4720:Sound system (Jamaican) 4029:Experimental literature 3672:Encyclopædia Britannica 3642:Vella, Richard (2000). 3572:Manning, Peter (1985). 3509:Living Electronic Music 3488:Dwyer, Terence (1971). 3304:; Dolan, Emily (2021). 919:The chromatic phonogène 828:Sound-sample extraction 712:magnetic tape recorders 583:experimental filmmakers 535:(1952) by Stockhausen, 273:Dr. Jekyll and Mr. Hyde 228:Kultur und Schallplatte 68:audio signal processing 4873:List of hip hop genres 4599:Electronic dance music 4295:Second Viennese School 3926:Neue Slowenische Kunst 3797:Abstract expressionism 3444:Taylor, Steve (2006). 3344:Computer Music Journal 3323:Roads, Curtis (2015). 3187:Computer Music Journal 2775:Cœuroy, André (1928). 2766:Chion, Michel (1983). 2702:Computer Music Journal 1742:Are You That Somebody? 1630:With the emergence of 1562:'s best-selling album 1526:" (1968); afterwards, 1272:musique-concrète-based 1232: 1150: 1134: 1114:potentiomètre d'espace 1101:potentiomètre d'espace 1080: 1031: 920: 903:potentiomètre d'espace 759:Shellac record players 634:Mireille Chamass-Kyrou 622:François-Bernard Mâche 381:The Expression of Zaar 312: 39:[myzikkɔ̃kʁɛt] 6774:RTF Electronic Studio 6734:Cinq études de bruits 5035:Electronic body music 4683:Electroacoustic music 4402:Theatre of the Absurd 4325:Twelve-tone technique 4204:Electroacoustic music 3049:Jones, Chris (2002). 2974:Holmes, Thom (2008). 2922:Goehr, Lydia (2008). 1530:, alongside wife and 1257:Expérience acoustique 1230: 1148: 1118: 1075: 1051:the disk. A separate 1029: 918: 585:such as Max de Haas, 547:(1953) by Philippot, 499:Karlheinz Stockhausen 483:electroacoustic music 410:Cinq études de bruits 393:Cinq études de bruits 307: 198:Electroacoustic music 161:Karlheinz Stockhausen 139:as then developed in 35:French pronunciation: 6332:Hyperpop microgenres 4996:Contemporary R&B 4387:Postdramatic theatre 4372:Experimental theatre 3909:Multidimensional art 3024:Inglis, Ian (2016). 2982:Taylor & Francis 2793:Dack, John (2002). " 2788:10, no. 2:3–11. 1724:multitrack recording 1709:described the group 1382:Tomorrow Never Knows 1301:. Composers such as 1209:amplitude modulation 1205:frequency modulation 1191:, noise-generators, 678:and defined it as: " 667:musique acousmatique 529:(1952) by Messiaen, 177:musique acousmatique 6818:Schaefferian theory 5942:Mainstream hardcore 5316:Chopped and screwed 4705:Elektronische Musik 4659:List of rock genres 4590:-based music styles 3889:Lyrical Abstraction 3636:La musique concrète 3620:Music & Letters 1758:Meat Beat Manifesto 1754:Close (to the Edit) 1547:Life with the Lions 1466:on pieces like the 1440:the Lovin' Spoonful 1279:technique known as 1185:modular synthesiser 1174:a synthesiser with 1064:continuous sounds. 816:Sound transposition 734:record recorder, a 722:In 1948, a typical 575:La rivière endormie 220:Nikolai Lopatnikoff 136:elektronische Musik 90:and computer-based 80:musical instruments 6882:Musical techniques 6877:Experimental music 6804:Experimental music 6151:Kawaii future bass 6131:Deconstructed club 5284:Breakbeat hardcore 5176:Martial industrial 5166:Industrial hip hop 5047:Ethnic electronica 5030:Electro-industrial 4502:Postmodernist film 4407:Theatre of Cruelty 4290:Rock in Opposition 4231:Free improvisation 3874:Post-Impressionism 3807:Art & Language 3667:"Musique concrète" 3623:74, no. 4:542–557. 3569:, 12, no. 1:15–24. 3467:12, no. 3:213–231. 3302:Rehding, Alexander 2943:The New York Times 2413:, pp. 219–220 2235:, pp. 111–123 2105:, pp. 156–157 1486:Jefferson Airplane 1444:Summer in the City 1233: 1213:envelope generator 1151: 1130:spatial projection 1081: 1032: 921: 630:Bernard Parmegiani 525:(1951) by Boulez, 313: 311:with the phonogène 232:Boris de Schloezer 6849: 6848: 6827:Spectromorphology 6676: 6675: 6672: 6671: 6600:Data sonification 6350: 6349: 6337:Plugg microgenres 6322:Breakcore revival 6287:Slowed and reverb 5967:Post-punk revival 5668:Progressive house 5587:Industrial techno 5259:Asian underground 5191:Power electronics 4967:Alternative dance 4826:Afro/cosmic music 4781:Psychedelic music 4554: 4553: 4544:Russian symbolism 4529:Socialist realism 4367:Experimental film 4333: 4332: 4039:Hungry generation 4014:Conceptual poetry 3869:Neo-Impressionism 3660:978-0-85162-429-7 3652:978-0-86819-544-5 3630:, no. 212: 65–76. 3608:978-0-521-65383-1 3600:978-0-521-65297-1 3543:978-2-213-63561-3 3536:. Paris: Fayard. 3455:978-0-8264-8217-4 3427:978-0-520-26574-5 3396:Schaeffer, Pierre 3334:978-0-195-37324-0 3315:978-0-190-63722-4 3257:L'Onde Électrique 3158:978-0-822-34875-7 3136:978-1-135-28044-4 3108:978-0-199-57810-8 3077:978-0-19-934784-1 3035:978-1-351-55473-2 3016:978-0-7864-5166-1 2991:978-0-415-95781-6 2933:978-0-231-14481-0 2898:12, no. 3:203–11. 2886:978-0-313-39348-8 2749:978-0-826-42970-4 2683:978-1-501-32610-3 2343:Gradenwitz (1953) 1809:Sound engineering 1664:Christian Marclay 1640:Grandmaster Flash 1602:Throbbing Gristle 1495:Anthem of the Sun 1484:(both 1968), and 1432:psychedelic drugs 1093:pupitre de relief 543:(1953) by Henry, 541:La voile d'Orphée 400:musique concrète. 391:Club d'Essai and 333:French Resistance 278:Ottorino Respighi 181:musique concrète- 60:music composition 16:(Redirected from 6889: 6867:Pierre Schaeffer 6862:Musique concrète 6841: 6840: 6814:Musique concrète 6799:Acousmatic sound 6794:Acousmatic music 6710:Pierre Schaeffer 6703: 6696: 6689: 6680: 6679: 6572:Video game music 6421:Acid house party 6359: 6358: 6306:Weird SoundCloud 6193:Melbourne bounce 6011:Shangaan electro 5572:Harsh noise wall 5331:Digital hardcore 5171:Industrial metal 4791:Psychedelic rock 4786:Psychedelic funk 4776:Progressive rock 4710:Live electronics 4693:Musique concrète 4688:Acousmatic music 4634:Amplified guitar 4624: 4623: 4619:decade of origin 4581: 4574: 4567: 4558: 4557: 4448:Russian Futurism 4392:Remodernist film 4310:Stochastic music 4265:Musique concrète 4243:Microtonal music 4221:Experimental pop 4214:Industrial music 4209:Electronic music 4114: 4113: 3936:Nouveau réalisme 3844:Grosvenor School 3775: 3768: 3761: 3752: 3751: 3711:, François Bayle 3683: 3681: 3680: 3639: 3547: 3512: 3503: 3468: 3459: 3440: 3431: 3412: 3403: 3391: 3389: 3388: 3367: 3338: 3319: 3297: 3295: 3294: 3273: 3260: 3253: 3244: 3215: 3202: 3181: 3179: 3178: 3162: 3140: 3121: 3112: 3087:Kennedy, Michael 3085:Kennedy, Joyce; 3081: 3054: 3045: 3039: 3020: 3001: 2999: 2998: 2980:(3rd ed.). 2970: 2968: 2967: 2951:Hodgkinson, Will 2946: 2937: 2918: 2899: 2890: 2871: 2869: 2868: 2861:Music Technology 2858: 2848: 2846: 2845: 2829: 2827: 2826: 2810: 2789: 2780: 2771: 2762: 2753: 2734: 2725: 2696: 2687: 2651: 2645: 2639: 2633: 2627: 2621: 2615: 2609: 2603: 2597: 2591: 2585: 2579: 2573: 2567: 2561: 2555: 2554:, p. 1,129. 2549: 2543: 2537: 2531: 2525: 2512: 2506: 2500: 2494: 2488: 2482: 2467: 2461: 2455: 2454:, pp. 10–21 2449: 2443: 2437: 2428: 2423: 2414: 2408: 2402: 2396: 2387: 2381: 2372: 2366: 2357: 2351: 2345: 2340: 2334: 2329: 2323: 2317: 2302: 2297: 2286: 2280: 2274: 2268: 2262: 2257: 2248: 2245:Schaeffer (1966) 2242: 2236: 2230: 2224: 2218: 2212: 2206: 2193: 2187: 2178: 2176:Palombini (1999) 2173: 2164: 2158: 2152: 2147: 2141: 2135: 2129: 2126:Reydellet (1996) 2123: 2117: 2112: 2106: 2100: 2094: 2088: 2082: 2076: 2070: 2064: 2058: 2052: 2046: 2043:Palombini (1993) 2040: 2029: 2023: 2017: 2011: 2005: 1999: 1993: 1987: 1981: 1975: 1964: 1958: 1952: 1946: 1940: 1934: 1928: 1923: 1914: 1913:, pp. 45–56 1908: 1902: 1896: 1890: 1884: 1868: 1865: 1859: 1843:Schaeffer (2012) 1840: 1763:Storm the Studio 1750:backwards chorus 1707:Music Technology 1685:musique concrète 1680:musique concrète 1626:1980s and beyond 1606:Cabaret Voltaire 1508:Conlon Nancarrow 1424:psychedelic rock 1386:musique concrète 1349:cosmetic surgery 1335:progressive rock 1292:In popular music 1176:envelope control 1155:electronic music 1097:pupitre d'espace 1057:band-pass filter 1038:, filtering and 891:Tolana phonogène 795:low-pass filters 769:Shellac recorder 708:music technology 692:musique concrète 618:Beatriz Ferreyra 511:Michel Philippot 487:Olivier Messiaen 453:, from the verb 435:musique concrète 429:Musique concrète 361:As a student in 317:Pierre Schaeffer 309:Pierre Schaeffer 264:musique concrète 173:acousmatic music 123:Pierre Schaeffer 119:musique concrète 112:acousmatic sound 57: 54: 51: 48: 45: 41: 36: 31:Musique concrète 21: 6897: 6896: 6892: 6891: 6890: 6888: 6887: 6886: 6852: 6851: 6850: 6845: 6831: 6782: 6765:La Jeune France 6748: 6721: 6712: 6707: 6677: 6668: 6583: 6520:Chill-out music 6498: 6346: 6310: 6079: 5790: 5653:Nu skool breaks 5237: 4950: 4885:Industrial rock 4814: 4756:Electronic rock 4729: 4644:Hawaiian guitar 4617: 4608: 4591: 4585: 4555: 4550: 4411: 4397:Structural film 4339: 4329: 4184:Aleatoric music 4172: 4103: 3991: 3985: 3946:Performance art 3785: 3779: 3738:Organised Sound 3695:INA-GRM website 3691: 3686: 3678: 3676: 3665: 3633: 3567:Organised Sound 3544: 3531: 3506: 3500: 3487: 3476: 3474:Further reading 3471: 3465:Organised Sound 3456: 3428: 3386: 3384: 3372:Reynolds, Simon 3335: 3316: 3292: 3290: 3251: 3176: 3174: 3159: 3145:McLeod, Kembrew 3137: 3109: 3078: 3036: 3017: 2996: 2994: 2992: 2965: 2963: 2934: 2915: 2896:Organised Sound 2887: 2866: 2864: 2856: 2843: 2841: 2824: 2822: 2750: 2731:Organised Sound 2691:Anon. (2010). " 2684: 2659: 2654: 2646: 2642: 2636:Hodgkinson 2003 2634: 2630: 2622: 2618: 2610: 2606: 2598: 2594: 2586: 2582: 2574: 2570: 2562: 2558: 2550: 2546: 2538: 2534: 2526: 2515: 2507: 2503: 2495: 2491: 2483: 2470: 2462: 2458: 2450: 2446: 2438: 2431: 2424: 2417: 2409: 2405: 2397: 2390: 2382: 2375: 2367: 2360: 2352: 2348: 2341: 2337: 2330: 2326: 2318: 2305: 2298: 2289: 2281: 2277: 2269: 2265: 2258: 2251: 2243: 2239: 2231: 2227: 2219: 2215: 2207: 2196: 2188: 2181: 2174: 2167: 2159: 2155: 2148: 2144: 2136: 2132: 2124: 2120: 2113: 2109: 2101: 2097: 2089: 2085: 2081:, pp. 3–11 2077: 2073: 2065: 2061: 2055:Schaeffer 1952a 2053: 2049: 2041: 2032: 2024: 2020: 2012: 2008: 2000: 1996: 1988: 1984: 1976: 1967: 1959: 1955: 1947: 1943: 1935: 1931: 1924: 1917: 1909: 1905: 1897: 1893: 1885: 1881: 1877: 1872: 1871: 1866: 1862: 1841: 1837: 1832: 1780: 1728:Will Hodgkinson 1678:, it was as if 1628: 1579:The Faust Tapes 1556: 1520:I Am the Walrus 1373: 1351:, and the "pop- 1331:classical music 1294: 1282:sound diffusion 1251:) known as the 1225: 1201:intermodulation 1197:ring-modulators 1143: 1127: 1116:in normal use: 1070: 1030:The Morphophone 1024: 1000: 991:time stretching 913: 895:Sareg phonogène 875: 859: 720: 704: 662: 604: 515:Arthur Honegger 467: 431: 419:Study in Purple 396: 359: 302: 296: 248:Walter Ruttmann 224:Igor Stravinsky 204: 194: 189: 64:recorded sounds 58:) is a type of 55: 52: 49: 46: 34: 28: 23: 22: 15: 12: 11: 5: 6895: 6885: 6884: 6879: 6874: 6872:Sound collages 6869: 6864: 6847: 6846: 6836: 6833: 6832: 6830: 6829: 6824: 6819: 6816: 6811: 6806: 6801: 6796: 6790: 6788: 6784: 6783: 6781: 6780: 6778:Studio d'Essai 6775: 6772: 6767: 6762: 6756: 6754: 6750: 6749: 6747: 6746: 6738: 6729: 6727: 6723: 6722: 6717: 6714: 6713: 6706: 6705: 6698: 6691: 6683: 6674: 6673: 6670: 6669: 6667: 6666: 6661: 6656: 6651: 6646: 6641: 6640: 6639: 6634: 6629: 6619: 6618: 6617: 6607: 6602: 6597: 6591: 6589: 6585: 6584: 6582: 6581: 6580: 6579: 6577:Adaptive music 6569: 6564: 6559: 6554: 6549: 6544: 6539: 6534: 6529: 6528: 6527: 6517: 6512: 6506: 6504: 6500: 6499: 6497: 6496: 6495: 6494: 6489: 6479: 6478: 6477: 6472: 6467: 6465:Plunderphonics 6457: 6452: 6451: 6450: 6449: 6448: 6438: 6433: 6428: 6423: 6413: 6408: 6403: 6398: 6397: 6396: 6391: 6386: 6376: 6371: 6365: 6363: 6356: 6352: 6351: 6348: 6347: 6345: 6344: 6339: 6334: 6329: 6324: 6318: 6316: 6312: 6311: 6309: 6308: 6303: 6302: 6301: 6291: 6290: 6289: 6284: 6279: 6269: 6267:Tropical house 6264: 6259: 6254: 6249: 6244: 6243: 6242: 6240:Riddim (genre) 6237: 6227: 6222: 6220:Outsider house 6217: 6212: 6211: 6210: 6205: 6195: 6190: 6185: 6180: 6175: 6170: 6165: 6160: 6155: 6154: 6153: 6143: 6138: 6133: 6128: 6123: 6121:Brazilian bass 6118: 6113: 6111:Big room house 6108: 6103: 6098: 6093: 6087: 6085: 6081: 6080: 6078: 6077: 6072: 6067: 6062: 6060:Vocaloid music 6057: 6056: 6055: 6045: 6040: 6035: 6030: 6029: 6028: 6018: 6013: 6008: 6003: 5998: 5997: 5996: 5991: 5981: 5976: 5975: 5974: 5964: 5959: 5954: 5949: 5944: 5939: 5934: 5929: 5924: 5923: 5922: 5917: 5910:Hypnagogic pop 5907: 5902: 5901: 5900: 5890: 5885: 5880: 5879: 5878: 5873: 5868: 5858: 5857: 5856: 5846: 5841: 5840: 5839: 5829: 5824: 5819: 5814: 5809: 5804: 5798: 5796: 5792: 5791: 5789: 5788: 5787: 5786: 5781: 5771: 5770: 5769: 5764: 5759: 5749: 5748: 5747: 5742: 5737: 5732: 5727: 5722: 5717: 5712: 5707: 5702: 5697: 5687: 5686: 5685: 5675: 5670: 5665: 5660: 5655: 5650: 5645: 5644: 5643: 5633: 5632: 5631: 5624:Minimal techno 5621: 5616: 5611: 5606: 5601: 5600: 5599: 5597:Drill 'n' bass 5589: 5584: 5579: 5574: 5569: 5568: 5567: 5562: 5557: 5552: 5551: 5550: 5548:Lento violento 5540: 5535: 5530: 5525: 5520: 5515: 5513:Belgian techno 5505: 5500: 5499: 5498: 5493: 5483: 5478: 5473: 5472: 5471: 5461: 5456: 5451: 5446: 5441: 5440: 5439: 5438: 5437: 5432: 5427: 5422: 5414: 5413: 5412: 5402: 5401: 5400: 5395: 5390: 5385: 5372: 5371: 5370: 5365: 5360: 5350: 5349: 5348: 5338: 5333: 5328: 5323: 5318: 5313: 5308: 5303: 5302: 5301: 5299:Toytown techno 5296: 5294:Happy hardcore 5291: 5281: 5276: 5271: 5266: 5264:Baltimore club 5261: 5256: 5254:Ambient techno 5251: 5245: 5243: 5239: 5238: 5236: 5235: 5230: 5229: 5228: 5226:Detroit techno 5223: 5218: 5208: 5203: 5198: 5193: 5188: 5183: 5178: 5173: 5168: 5163: 5162: 5161: 5156: 5151: 5146: 5141: 5136: 5131: 5126: 5121: 5116: 5111: 5106: 5101: 5091: 5086: 5081: 5076: 5075: 5074: 5069: 5064: 5059: 5054: 5044: 5039: 5038: 5037: 5027: 5026: 5025: 5015: 5010: 5005: 5004: 5003: 5001:New jack swing 4993: 4992: 4991: 4989:Florida breaks 4981: 4976: 4975: 4974: 4964: 4958: 4956: 4952: 4951: 4949: 4948: 4943: 4938: 4937: 4936: 4931: 4926: 4916: 4915: 4914: 4909: 4904: 4894: 4889: 4888: 4887: 4877: 4876: 4875: 4865: 4860: 4855: 4850: 4845: 4840: 4835: 4834: 4833: 4822: 4820: 4816: 4815: 4813: 4812: 4811: 4810: 4800: 4799: 4798: 4793: 4788: 4778: 4773: 4768: 4763: 4758: 4753: 4748: 4743: 4737: 4735: 4731: 4730: 4728: 4727: 4722: 4717: 4712: 4707: 4702: 4701: 4700: 4695: 4690: 4680: 4678:Computer music 4675: 4670: 4669: 4668: 4663: 4662: 4661: 4651: 4646: 4641: 4639:Electric blues 4630: 4628: 4621: 4610: 4609: 4596: 4593: 4592: 4584: 4583: 4576: 4569: 4561: 4552: 4551: 4549: 4548: 4547: 4546: 4536: 4531: 4526: 4524:Social realism 4521: 4516: 4511: 4509:Late modernism 4506: 4505: 4504: 4494: 4489: 4484: 4482:Neo-minimalism 4479: 4477:Postminimalism 4474: 4469: 4464: 4459: 4458: 4457: 4456: 4455: 4440: 4435: 4430: 4425: 4423:Constructivism 4419: 4417: 4413: 4412: 4410: 4409: 4404: 4399: 4394: 4389: 4384: 4382:Poetic realism 4379: 4377:Modernist film 4374: 4369: 4364: 4359: 4354: 4349: 4343: 4341: 4335: 4334: 4331: 4330: 4328: 4327: 4322: 4317: 4315:Textural music 4312: 4307: 4305:Spectral music 4302: 4297: 4292: 4287: 4282: 4277: 4272: 4270:New Complexity 4267: 4262: 4257: 4256: 4255: 4245: 4240: 4235: 4234: 4233: 4223: 4218: 4217: 4216: 4206: 4201: 4196: 4191: 4186: 4180: 4178: 4174: 4173: 4171: 4170: 4169: 4168: 4163: 4158: 4148: 4143: 4142: 4141: 4136: 4126: 4120: 4118: 4111: 4105: 4104: 4102: 4101: 4096: 4091: 4086: 4081: 4076: 4071: 4066: 4061: 4059:Neoavanguardia 4056: 4054:Language poets 4051: 4046: 4041: 4036: 4031: 4026: 4021: 4016: 4011: 4009:Asemic writing 4006: 4004:Angry Penguins 4001: 3995: 3993: 3987: 3986: 3984: 3983: 3978: 3973: 3968: 3963: 3958: 3953: 3948: 3943: 3938: 3933: 3928: 3923: 3922: 3921: 3911: 3906: 3901: 3896: 3891: 3886: 3881: 3876: 3871: 3866: 3861: 3856: 3851: 3846: 3841: 3840: 3839: 3829: 3824: 3819: 3817:Constructivism 3814: 3812:Conceptual art 3809: 3804: 3799: 3793: 3791: 3787: 3786: 3778: 3777: 3770: 3763: 3755: 3749: 3748: 3742: 3734: 3728: 3722: 3717: 3712: 3706: 3697: 3690: 3689:External links 3687: 3685: 3684: 3663: 3640: 3631: 3624: 3611: 3588:Nyman, Michael 3585: 3570: 3563: 3548: 3542: 3529: 3504: 3498: 3485: 3477: 3475: 3472: 3470: 3469: 3460: 3454: 3441: 3432: 3426: 3413: 3404: 3392: 3374:(2021-05-15). 3368: 3339: 3333: 3320: 3314: 3298: 3278:Pouncey, Edwin 3274: 3261: 3245: 3227:(1): 111–120. 3216: 3203: 3182: 3172:Chicago Reader 3168:"Diplo, Books" 3163: 3157: 3141: 3135: 3122: 3113: 3107: 3082: 3076: 3055: 3046: 3040: 3034: 3021: 3015: 3002: 2990: 2971: 2953:(2003-02-15). 2947: 2938: 2932: 2919: 2913: 2900: 2891: 2885: 2872: 2849: 2830: 2811: 2790: 2781: 2772: 2763: 2754: 2748: 2735: 2726: 2697: 2688: 2682: 2660: 2658: 2655: 2653: 2652: 2640: 2628: 2624:Diliberto 1989 2616: 2604: 2602:, p. 115. 2592: 2580: 2568: 2556: 2552:Edmondson 2013 2544: 2542:, p. 118. 2532: 2513: 2501: 2489: 2468: 2456: 2444: 2429: 2415: 2411:Teruggi (2007) 2403: 2399:Teruggi (2007) 2388: 2384:Teruggi (2007) 2373: 2369:Battier (2007) 2358: 2346: 2335: 2332:Poullin (1957) 2324: 2320:Teruggi (2007) 2303: 2300:Poullin (1999) 2287: 2283:Teruggi (2007) 2275: 2271:Teruggi (2007) 2263: 2260:Teruggi (2007) 2249: 2237: 2233:Peignot (1960) 2225: 2213: 2194: 2179: 2165: 2153: 2142: 2130: 2118: 2107: 2095: 2091:Battier (2007) 2083: 2071: 2059: 2047: 2030: 2018: 2006: 2004:, p. 329. 1994: 1992:, p. 248. 1982: 1978:Kim-Cohen 2009 1965: 1961:Battier (2007) 1953: 1949:Battier (2007) 1941: 1929: 1915: 1903: 1891: 1878: 1876: 1873: 1870: 1869: 1860: 1834: 1833: 1831: 1828: 1827: 1826: 1821: 1816: 1811: 1806: 1801: 1799:Computer music 1796: 1791: 1786: 1779: 1776: 1772:People Like Us 1716:Fairlight CMIs 1700:the Bomb Squad 1690:Chicago Reader 1634:in the 1980s, 1627: 1624: 1555: 1552: 1372: 1369: 1361:plunderphonics 1323:easy listening 1319:Du pop a l'ane 1299:Simon Reynolds 1293: 1290: 1237:François Bayle 1224: 1221: 1142: 1139: 1069: 1066: 1048:recording head 1044:magnetic heads 1023: 1020: 1016:Timbres Durées 1012:polyphonically 999: 996: 995: 994: 980: 969:Voile d'Orphée 962: 943: 942: 939: 936: 929: 912: 907: 874: 871: 858: 855: 854: 853: 847: 842:. Used in the 825: 819: 809: 808: 802: 784: 778: 772: 766: 740:potentiometers 738:with rotating 728:record players 719: 716: 703: 700: 661: 658: 642:François Bayle 626:Iannis Xenakis 603: 600: 595:choreographers 587:Jean Grémillon 527:Timbres-durées 507:Iannis Xenakis 466: 463: 430: 427: 415:Étude violette 395: 389: 358: 355: 325:Studio d'Essai 321:Jacques Copeau 300:Studio d'Essai 298:Main article: 295: 292: 240:Rudolf Arnheim 193: 190: 188: 185: 169:Iannis Xenakis 131:l'objet sonore 62:that utilizes 53:concrete music 26: 9: 6: 4: 3: 2: 6894: 6883: 6880: 6878: 6875: 6873: 6870: 6868: 6865: 6863: 6860: 6859: 6857: 6844: 6834: 6828: 6825: 6823: 6820: 6817: 6815: 6812: 6810: 6807: 6805: 6802: 6800: 6797: 6795: 6792: 6791: 6789: 6785: 6779: 6776: 6773: 6771: 6768: 6766: 6763: 6761: 6758: 6757: 6755: 6751: 6744: 6743: 6739: 6736: 6735: 6731: 6730: 6728: 6726:Musical works 6724: 6720: 6715: 6711: 6704: 6699: 6697: 6692: 6690: 6685: 6684: 6681: 6665: 6662: 6660: 6657: 6655: 6652: 6650: 6647: 6645: 6642: 6638: 6635: 6633: 6630: 6628: 6625: 6624: 6623: 6620: 6616: 6613: 6612: 6611: 6608: 6606: 6603: 6601: 6598: 6596: 6593: 6592: 6590: 6586: 6578: 6575: 6574: 6573: 6570: 6568: 6567:Sound collage 6565: 6563: 6560: 6558: 6555: 6553: 6550: 6548: 6545: 6543: 6540: 6538: 6535: 6533: 6530: 6526: 6523: 6522: 6521: 6518: 6516: 6515:Celtic fusion 6513: 6511: 6508: 6507: 6505: 6501: 6493: 6490: 6488: 6485: 6484: 6483: 6480: 6476: 6473: 6471: 6468: 6466: 6463: 6462: 6461: 6458: 6456: 6453: 6447: 6444: 6443: 6442: 6439: 6437: 6434: 6432: 6429: 6427: 6426:Circuit party 6424: 6422: 6419: 6418: 6417: 6414: 6412: 6409: 6407: 6404: 6402: 6399: 6395: 6392: 6390: 6387: 6385: 6382: 6381: 6380: 6377: 6375: 6372: 6370: 6367: 6366: 6364: 6360: 6357: 6353: 6343: 6340: 6338: 6335: 6333: 6330: 6328: 6325: 6323: 6320: 6319: 6317: 6313: 6307: 6304: 6300: 6297: 6296: 6295: 6292: 6288: 6285: 6283: 6280: 6278: 6275: 6274: 6273: 6270: 6268: 6265: 6263: 6260: 6258: 6255: 6253: 6250: 6248: 6245: 6241: 6238: 6236: 6233: 6232: 6231: 6228: 6226: 6223: 6221: 6218: 6216: 6213: 6209: 6206: 6204: 6201: 6200: 6199: 6196: 6194: 6191: 6189: 6186: 6184: 6181: 6179: 6178:Jungle terror 6176: 6174: 6171: 6169: 6166: 6164: 6161: 6159: 6156: 6152: 6149: 6148: 6147: 6144: 6142: 6139: 6137: 6134: 6132: 6129: 6127: 6124: 6122: 6119: 6117: 6114: 6112: 6109: 6107: 6104: 6102: 6099: 6097: 6094: 6092: 6089: 6088: 6086: 6082: 6076: 6073: 6071: 6068: 6066: 6063: 6061: 6058: 6054: 6051: 6050: 6049: 6046: 6044: 6041: 6039: 6036: 6034: 6031: 6027: 6024: 6023: 6022: 6019: 6017: 6014: 6012: 6009: 6007: 6004: 6002: 5999: 5995: 5992: 5990: 5987: 5986: 5985: 5982: 5980: 5977: 5973: 5970: 5969: 5968: 5965: 5963: 5960: 5958: 5955: 5953: 5950: 5948: 5945: 5943: 5940: 5938: 5935: 5933: 5930: 5928: 5925: 5921: 5918: 5916: 5913: 5912: 5911: 5908: 5906: 5903: 5899: 5896: 5895: 5894: 5891: 5889: 5888:Future garage 5886: 5884: 5883:Electronicore 5881: 5877: 5874: 5872: 5869: 5867: 5864: 5863: 5862: 5861:Electro house 5859: 5855: 5852: 5851: 5850: 5847: 5845: 5844:Dancehall pop 5842: 5838: 5835: 5834: 5833: 5830: 5828: 5825: 5823: 5820: 5818: 5815: 5813: 5810: 5808: 5805: 5803: 5800: 5799: 5797: 5793: 5785: 5782: 5780: 5777: 5776: 5775: 5774:UK hard house 5772: 5768: 5765: 5763: 5760: 5758: 5755: 5754: 5753: 5750: 5746: 5743: 5741: 5738: 5736: 5733: 5731: 5728: 5726: 5723: 5721: 5718: 5716: 5713: 5711: 5708: 5706: 5703: 5701: 5698: 5696: 5693: 5692: 5691: 5688: 5684: 5681: 5680: 5679: 5676: 5674: 5671: 5669: 5666: 5664: 5661: 5659: 5656: 5654: 5651: 5649: 5646: 5642: 5641:Electro swing 5639: 5638: 5637: 5634: 5630: 5627: 5626: 5625: 5622: 5620: 5617: 5615: 5612: 5610: 5607: 5605: 5602: 5598: 5595: 5594: 5593: 5590: 5588: 5585: 5583: 5580: 5578: 5575: 5573: 5570: 5566: 5563: 5561: 5558: 5556: 5553: 5549: 5546: 5545: 5544: 5541: 5539: 5536: 5534: 5531: 5529: 5526: 5524: 5521: 5519: 5518:Bouncy techno 5516: 5514: 5511: 5510: 5509: 5506: 5504: 5501: 5497: 5494: 5492: 5489: 5488: 5487: 5484: 5482: 5479: 5477: 5474: 5470: 5467: 5466: 5465: 5462: 5460: 5457: 5455: 5452: 5450: 5449:Dungeon synth 5447: 5445: 5442: 5436: 5433: 5431: 5428: 5426: 5423: 5421: 5418: 5417: 5415: 5411: 5408: 5407: 5406: 5403: 5399: 5396: 5394: 5391: 5389: 5386: 5384: 5381: 5380: 5378: 5377: 5376: 5375:Drum and bass 5373: 5369: 5366: 5364: 5361: 5359: 5358:Bristol sound 5356: 5355: 5354: 5351: 5347: 5344: 5343: 5342: 5339: 5337: 5334: 5332: 5329: 5327: 5324: 5322: 5319: 5317: 5314: 5312: 5309: 5307: 5304: 5300: 5297: 5295: 5292: 5290: 5287: 5286: 5285: 5282: 5280: 5277: 5275: 5272: 5270: 5267: 5265: 5262: 5260: 5257: 5255: 5252: 5250: 5247: 5246: 5244: 5240: 5234: 5233:Tracker music 5231: 5227: 5224: 5222: 5219: 5217: 5214: 5213: 5212: 5209: 5207: 5204: 5202: 5199: 5197: 5194: 5192: 5189: 5187: 5184: 5182: 5179: 5177: 5174: 5172: 5169: 5167: 5164: 5160: 5157: 5155: 5152: 5150: 5147: 5145: 5142: 5140: 5137: 5135: 5132: 5130: 5127: 5125: 5122: 5120: 5117: 5115: 5112: 5110: 5109:Balearic beat 5107: 5105: 5102: 5100: 5097: 5096: 5095: 5092: 5090: 5087: 5085: 5082: 5080: 5077: 5073: 5070: 5068: 5065: 5063: 5060: 5058: 5055: 5053: 5050: 5049: 5048: 5045: 5043: 5040: 5036: 5033: 5032: 5031: 5028: 5024: 5021: 5020: 5019: 5016: 5014: 5011: 5009: 5006: 5002: 4999: 4998: 4997: 4994: 4990: 4987: 4986: 4985: 4982: 4980: 4977: 4973: 4970: 4969: 4968: 4965: 4963: 4960: 4959: 4957: 4953: 4947: 4944: 4942: 4941:Reggae fusion 4939: 4935: 4932: 4930: 4927: 4925: 4922: 4921: 4920: 4917: 4913: 4910: 4908: 4905: 4903: 4900: 4899: 4898: 4895: 4893: 4890: 4886: 4883: 4882: 4881: 4878: 4874: 4871: 4870: 4869: 4866: 4864: 4861: 4859: 4856: 4854: 4851: 4849: 4846: 4844: 4841: 4839: 4836: 4832: 4829: 4828: 4827: 4824: 4823: 4821: 4817: 4809: 4806: 4805: 4804: 4801: 4797: 4794: 4792: 4789: 4787: 4784: 4783: 4782: 4779: 4777: 4774: 4772: 4771:New-age music 4769: 4767: 4764: 4762: 4759: 4757: 4754: 4752: 4749: 4747: 4744: 4742: 4739: 4738: 4736: 4732: 4726: 4725:Space age pop 4723: 4721: 4718: 4716: 4713: 4711: 4708: 4706: 4703: 4699: 4696: 4694: 4691: 4689: 4686: 4685: 4684: 4681: 4679: 4676: 4674: 4671: 4667: 4666:Western swing 4664: 4660: 4657: 4656: 4655: 4652: 4650: 4647: 4645: 4642: 4640: 4637: 4636: 4635: 4632: 4631: 4629: 4625: 4622: 4620: 4615: 4611: 4607: 4606: 4601: 4600: 4594: 4589: 4582: 4577: 4575: 4570: 4568: 4563: 4562: 4559: 4545: 4542: 4541: 4540: 4537: 4535: 4532: 4530: 4527: 4525: 4522: 4520: 4517: 4515: 4512: 4510: 4507: 4503: 4500: 4499: 4498: 4497:Postmodernism 4495: 4493: 4490: 4488: 4485: 4483: 4480: 4478: 4475: 4473: 4470: 4468: 4465: 4463: 4460: 4454: 4453:Cubo-Futurism 4451: 4450: 4449: 4446: 4445: 4444: 4441: 4439: 4436: 4434: 4433:Expressionism 4431: 4429: 4426: 4424: 4421: 4420: 4418: 4414: 4408: 4405: 4403: 4400: 4398: 4395: 4393: 4390: 4388: 4385: 4383: 4380: 4378: 4375: 4373: 4370: 4368: 4365: 4363: 4360: 4358: 4355: 4353: 4350: 4348: 4345: 4344: 4342: 4336: 4326: 4323: 4321: 4318: 4316: 4313: 4311: 4308: 4306: 4303: 4301: 4298: 4296: 4293: 4291: 4288: 4286: 4283: 4281: 4278: 4276: 4273: 4271: 4268: 4266: 4263: 4261: 4260:Music theatre 4258: 4254: 4251: 4250: 4249: 4248:Minimal music 4246: 4244: 4241: 4239: 4236: 4232: 4229: 4228: 4227: 4224: 4222: 4219: 4215: 4212: 4211: 4210: 4207: 4205: 4202: 4200: 4197: 4195: 4194:Ars subtilior 4192: 4190: 4187: 4185: 4182: 4181: 4179: 4175: 4167: 4164: 4162: 4159: 4157: 4154: 4153: 4152: 4149: 4147: 4144: 4140: 4137: 4135: 4132: 4131: 4130: 4127: 4125: 4122: 4121: 4119: 4115: 4112: 4110: 4106: 4100: 4097: 4095: 4094:Visual poetry 4092: 4090: 4087: 4085: 4082: 4080: 4077: 4075: 4072: 4070: 4069:Nouveau roman 4067: 4065: 4062: 4060: 4057: 4055: 4052: 4050: 4047: 4045: 4042: 4040: 4037: 4035: 4032: 4030: 4027: 4025: 4022: 4020: 4017: 4015: 4012: 4010: 4007: 4005: 4002: 4000: 3997: 3996: 3994: 3988: 3982: 3979: 3977: 3976:Temporary art 3974: 3972: 3969: 3967: 3964: 3962: 3959: 3957: 3954: 3952: 3949: 3947: 3944: 3942: 3939: 3937: 3934: 3932: 3931:Nonconformism 3929: 3927: 3924: 3920: 3917: 3916: 3915: 3914:Neoplasticism 3912: 3910: 3907: 3905: 3904:Mir iskusstva 3902: 3900: 3897: 3895: 3892: 3890: 3887: 3885: 3882: 3880: 3877: 3875: 3872: 3870: 3867: 3865: 3864:Impressionism 3862: 3860: 3857: 3855: 3852: 3850: 3847: 3845: 3842: 3838: 3835: 3834: 3833: 3832:Functionalism 3830: 3828: 3825: 3823: 3820: 3818: 3815: 3813: 3810: 3808: 3805: 3803: 3800: 3798: 3795: 3794: 3792: 3788: 3783: 3776: 3771: 3769: 3764: 3762: 3757: 3756: 3753: 3746: 3743: 3740: 3739: 3735: 3733: 3729: 3727: 3723: 3721: 3718: 3716: 3713: 3710: 3707: 3705: 3701: 3698: 3696: 3693: 3692: 3674: 3673: 3668: 3664: 3661: 3657: 3653: 3649: 3645: 3641: 3637: 3632: 3629: 3625: 3622: 3621: 3616: 3612: 3609: 3605: 3601: 3597: 3593: 3589: 3586: 3583: 3582:0-19-311918-8 3579: 3575: 3571: 3568: 3564: 3561: 3560:2-908016-96-6 3557: 3553: 3549: 3545: 3539: 3535: 3530: 3527: 3526:0-7546-5548-2 3523: 3519: 3518:0-7546-5546-6 3515: 3510: 3505: 3501: 3499:0-19-311912-9 3495: 3491: 3486: 3483: 3479: 3478: 3466: 3461: 3457: 3451: 3447: 3442: 3438: 3433: 3429: 3423: 3419: 3414: 3410: 3405: 3401: 3397: 3393: 3383: 3382: 3377: 3373: 3369: 3365: 3361: 3357: 3353: 3349: 3345: 3340: 3336: 3330: 3326: 3321: 3317: 3311: 3307: 3303: 3299: 3289: 3288: 3283: 3280:(July 1999). 3279: 3275: 3271: 3267: 3262: 3258: 3254: 3246: 3242: 3238: 3234: 3230: 3226: 3223:(in French). 3222: 3217: 3213: 3209: 3204: 3200: 3196: 3192: 3188: 3183: 3173: 3169: 3164: 3160: 3154: 3150: 3146: 3142: 3138: 3132: 3128: 3123: 3119: 3114: 3110: 3104: 3100: 3096: 3092: 3088: 3083: 3079: 3073: 3069: 3065: 3061: 3056: 3052: 3047: 3041: 3037: 3031: 3027: 3022: 3018: 3012: 3008: 3003: 2993: 2987: 2983: 2979: 2978: 2972: 2962: 2961: 2956: 2952: 2948: 2944: 2939: 2935: 2929: 2925: 2920: 2916: 2914:0-226-28737-8 2910: 2906: 2901: 2897: 2892: 2888: 2882: 2878: 2873: 2862: 2855: 2850: 2840: 2836: 2831: 2821: 2817: 2812: 2808: 2807:3-933127-98-X 2804: 2800: 2796: 2791: 2787: 2782: 2778: 2773: 2769: 2764: 2760: 2755: 2751: 2745: 2741: 2736: 2732: 2727: 2723: 2719: 2715: 2711: 2707: 2703: 2698: 2694: 2689: 2685: 2679: 2675: 2671: 2667: 2662: 2661: 2649: 2644: 2637: 2632: 2625: 2620: 2613: 2608: 2601: 2596: 2590:, p. 11. 2589: 2584: 2577: 2572: 2565: 2560: 2553: 2548: 2541: 2540:Huckvale 2014 2536: 2529: 2524: 2522: 2520: 2518: 2510: 2505: 2498: 2493: 2486: 2485:Reynolds 2021 2481: 2479: 2477: 2475: 2473: 2465: 2460: 2453: 2448: 2442:, p. 209 2441: 2440:Gayou (2007a) 2436: 2434: 2427: 2422: 2420: 2412: 2407: 2401:, p. 219 2400: 2395: 2393: 2386:, p. 220 2385: 2380: 2378: 2371:, p. 200 2370: 2365: 2363: 2356:, p. 208 2355: 2354:Gayou (2007a) 2350: 2344: 2339: 2333: 2328: 2322:, p. 218 2321: 2316: 2314: 2312: 2310: 2308: 2301: 2296: 2294: 2292: 2285:, p. 217 2284: 2279: 2273:, p. 216 2272: 2267: 2261: 2256: 2254: 2246: 2241: 2234: 2229: 2222: 2217: 2211:, p. 207 2210: 2209:Gayou (2007a) 2205: 2203: 2201: 2199: 2192:, p. 206 2191: 2190:Gayou (2007a) 2186: 2184: 2177: 2172: 2170: 2163:, p. 173 2162: 2157: 2151: 2146: 2139: 2134: 2127: 2122: 2116: 2111: 2104: 2103:Holmes (2008) 2099: 2093:, p. 191 2092: 2087: 2080: 2075: 2068: 2063: 2056: 2051: 2044: 2039: 2037: 2035: 2027: 2022: 2016:, p. 56. 2015: 2010: 2003: 1998: 1991: 1986: 1980:, p. 10. 1979: 1974: 1972: 1970: 1963:, p. 193 1962: 1957: 1951:, p. 190 1950: 1945: 1939:, p. 162 1938: 1937:Cœuroy (1928) 1933: 1927: 1922: 1920: 1912: 1911:Holmes (2008) 1907: 1901:, p. 38. 1900: 1895: 1888: 1887:Holmes (2008) 1883: 1879: 1864: 1857: 1852: 1848: 1844: 1839: 1835: 1825: 1824:Sound collage 1822: 1820: 1817: 1815: 1812: 1810: 1807: 1805: 1802: 1800: 1797: 1795: 1792: 1790: 1787: 1785: 1782: 1781: 1775: 1773: 1769: 1765: 1764: 1759: 1755: 1751: 1747: 1746:Missy Elliott 1743: 1739: 1735: 1734: 1729: 1725: 1721: 1717: 1712: 1708: 1703: 1701: 1697: 1693: 1691: 1686: 1681: 1677: 1673: 1669: 1665: 1661: 1657: 1653: 1649: 1645: 1641: 1637: 1633: 1632:hip hop music 1623: 1621: 1620: 1615: 1611: 1607: 1603: 1599: 1595: 1594: 1589: 1585: 1581: 1580: 1575: 1571: 1567: 1566: 1561: 1551: 1549: 1548: 1543: 1542: 1537: 1533: 1529: 1525: 1521: 1517: 1513: 1509: 1505: 1501: 1497: 1496: 1491: 1490:Grateful Dead 1487: 1483: 1482: 1477: 1473: 1469: 1468:Edgard Varèse 1465: 1461: 1457: 1454:" (1967) and 1453: 1449: 1445: 1441: 1435: 1433: 1429: 1425: 1421: 1420:Luciano Berio 1417: 1416:Edwin Pouncey 1413: 1412: 1407: 1403: 1399: 1395: 1391: 1387: 1383: 1379: 1368: 1366: 1362: 1358: 1354: 1350: 1346: 1345: 1340: 1336: 1332: 1328: 1324: 1320: 1316: 1312: 1311:Elvis Presley 1308: 1304: 1300: 1289: 1286: 1284: 1283: 1278: 1273: 1269: 1265: 1260: 1258: 1254: 1250: 1246: 1242: 1238: 1229: 1220: 1217: 1214: 1210: 1206: 1202: 1198: 1194: 1190: 1186: 1180: 1177: 1171: 1168: 1163: 1161: 1156: 1147: 1138: 1133: 1131: 1124: 1117: 1115: 1110: 1106: 1102: 1098: 1094: 1090: 1086: 1078: 1074: 1065: 1062: 1058: 1054: 1049: 1045: 1041: 1037: 1028: 1019: 1017: 1013: 1009: 1005: 992: 988: 984: 981: 978: 974: 970: 966: 963: 960: 956: 952: 949: 948: 947: 940: 937: 934: 930: 927: 926: 925: 917: 911: 906: 904: 900: 896: 892: 888: 884: 880: 879:tape recorder 870: 868: 864: 857:Magnetic tape 851: 848: 845: 841: 837: 833: 829: 826: 823: 822:Sound looping 820: 817: 814: 813: 812: 806: 803: 800: 796: 792: 788: 785: 782: 779: 776: 773: 770: 767: 764: 763:transposition 760: 757: 756: 755: 753: 749: 745: 744:reverberation 742:, mechanical 741: 737: 733: 729: 725: 715: 713: 709: 699: 697: 693: 689: 685: 683: 677: 673: 669: 668: 657: 653: 651: 650:do and listen 645: 643: 639: 635: 631: 627: 623: 619: 615: 611: 610: 599: 596: 592: 588: 584: 578: 576: 572: 571: 566: 562: 558: 554: 553:Toute la lyre 550: 546: 542: 538: 534: 533: 528: 524: 520: 516: 512: 508: 504: 503:Edgard Varèse 500: 496: 495:Jean Barraqué 492: 491:Pierre Boulez 488: 484: 480: 476: 472: 471:percussionist 462: 460: 456: 452: 448: 444: 443:compositional 440: 436: 426: 424: 420: 416: 412: 411: 406: 401: 394: 388: 386: 382: 378: 377: 372: 371:wire recorder 368: 367:Halim El-Dabh 364: 357:Halim El-Dabh 354: 351: 345: 343: 339: 334: 330: 326: 322: 318: 310: 306: 301: 291: 289: 285: 284: 283:Pines of Rome 279: 275: 274: 269: 268:Irwin Bazelon 265: 261: 257: 253: 249: 244: 241: 237: 233: 229: 225: 221: 217: 213: 209: 203: 199: 184: 182: 178: 174: 170: 166: 165:Edgard Varèse 162: 158: 157:Pierre Boulez 154: 150: 145: 142: 138: 137: 132: 128: 127:sound objects 124: 120: 115: 113: 109: 105: 101: 97: 93: 89: 85: 81: 77: 76:sound collage 73: 69: 65: 61: 40: 32: 19: 6822:Sound object 6813: 6787:Developments 6740: 6732: 6719:Bibliography 6627:Drum machine 6537:Doujin music 6525:Lounge music 6482:Street dance 6436:EDM festival 6389:Sound system 6355:Other topics 6230:Post-dubstep 6183:Lofi hip hop 6158:Future house 5984:Reductionism 5952:Nintendocore 5876:Fidget house 5827:Coupé-décalé 5767:Speed garage 5582:Indietronica 5486:Ghetto house 5464:French house 5454:Electroclash 5410:Ragga jungle 5321:Dark electro 5221:Bleep techno 5201:Sophisti-pop 5139:Jersey sound 5052:Funk carioca 5008:Dark ambient 4912:Minimal wave 4692: 4603: 4597: 4362:Epic theatre 4264: 4199:Atonal music 4034:Flarf poetry 4024:Ego-Futurism 3822:Proto-Cubism 3737: 3677:. Retrieved 3670: 3643: 3635: 3627: 3618: 3591: 3573: 3566: 3551: 3533: 3508: 3489: 3481: 3464: 3445: 3436: 3417: 3408: 3399: 3385:. Retrieved 3379: 3350:(2): 10–11. 3347: 3343: 3324: 3305: 3291:. Retrieved 3285: 3269: 3256: 3249: 3224: 3220: 3211: 3190: 3186: 3175:. Retrieved 3171: 3148: 3126: 3117: 3090: 3059: 3025: 3006: 2995:. Retrieved 2976: 2964:. Retrieved 2960:The Guardian 2958: 2942: 2923: 2904: 2895: 2876: 2865:. Retrieved 2860: 2842:. Retrieved 2838: 2823:. Retrieved 2819: 2798: 2785: 2776: 2767: 2758: 2739: 2730: 2708:(2): 10–21. 2705: 2701: 2665: 2648:Daniels 2003 2643: 2631: 2619: 2607: 2595: 2583: 2571: 2559: 2547: 2535: 2528:Pouncey 1999 2509:Gendron 2002 2504: 2492: 2466:, p. 44 2464:Bayle (1993) 2459: 2447: 2426:Anon. (2010) 2406: 2349: 2338: 2327: 2278: 2266: 2247:, p. 91 2240: 2228: 2216: 2161:Lange (2009) 2156: 2145: 2140:, p. 79 2138:James (1981) 2133: 2128:, p. 10 2121: 2115:Chion (1983) 2110: 2098: 2086: 2074: 2062: 2050: 2045:, p. 14 2021: 2009: 1997: 1985: 1956: 1944: 1932: 1906: 1894: 1889:, p. 45 1882: 1863: 1855: 1850: 1846: 1838: 1814:Sound design 1761: 1744:" (1998) or 1731: 1711:Art of Noise 1706: 1704: 1696:Public Enemy 1688: 1684: 1679: 1629: 1617: 1591: 1577: 1563: 1557: 1545: 1539: 1524:Revolution 9 1503: 1493: 1479: 1456:The Box Tops 1436: 1427: 1409: 1390:Jimi Hendrix 1385: 1374: 1364: 1363:'. Oswald's 1342: 1318: 1315:Pop'electric 1314: 1307:Arne Mellnäs 1303:James Tenney 1295: 1287: 1280: 1277:performative 1268:loudspeakers 1261: 1256: 1248: 1234: 1218: 1181: 1172: 1164: 1152: 1135: 1129: 1122: 1119: 1113: 1105:stereophonic 1100: 1096: 1092: 1088: 1084: 1082: 1077:Pierre Henry 1033: 1015: 1001: 982: 968: 964: 955:pinch roller 950: 944: 922: 909: 902: 899:loudspeakers 894: 890: 876: 867:micromontage 862: 860: 849: 843: 827: 821: 815: 810: 804: 786: 780: 774: 768: 758: 724:radio studio 721: 705: 695: 691: 687: 680:Acousmatic, 679: 665: 663: 654: 649: 646: 608: 607: 605: 579: 574: 568: 564: 560: 556: 552: 548: 544: 540: 536: 530: 526: 522: 518: 468: 458: 454: 450: 446: 439:Pierre Henry 434: 432: 422: 418: 414: 408: 399: 397: 392: 380: 374: 360: 350:Jean Epstein 346: 341: 337: 314: 281: 271: 263: 255: 251: 245: 227: 216:Henry Cowell 207: 205: 180: 176: 149:Pierre Henry 143: 141:West Germany 134: 130: 118: 116: 30: 29: 6753:Foundations 6637:Synthesizer 6542:Lo-fi music 6487:House dance 6470:Rare groove 6394:Turntablism 6379:Disc jockey 6327:Drift phonk 6208:Moombahsoul 6203:Moombahcore 6163:Future soul 6146:Future bass 6141:Funktronica 6126:Bro-country 6065:Witch house 6033:Tecno brega 5927:Jersey club 5871:Dutch house 5725:Progressive 5663:Power noise 5609:Livetronica 5459:Folktronica 5435:Liquid funk 5425:Intelligent 5420:Atmospheric 5311:Changa tuki 5306:Broken beat 5249:Ambient dub 5216:Acid techno 5206:Synth-metal 5067:Tecnocumbia 4979:Ambient pop 4934:Italo disco 4853:Electropunk 4831:Space disco 4803:Space music 4796:Sampledelia 4605:Electronica 4514:Primitivism 4340:and theatre 4280:Noise music 4253:Drone music 4084:Slam poetry 3971:Suprematism 3956:Process art 3884:Incoherents 3879:Color Field 3854:Divisionism 3802:Art Nouveau 3782:Avant-garde 3044:p. 79. 2945:(9 August). 2816:"Kraftwerk" 2600:Inglis 2016 2588:Taylor 2006 2576:Dalton 2005 2497:Albiez 2017 2223:, p. 9 2150:Dack (2002) 2079:Dack (1994) 2028:, p. . 2014:Lerner 2009 1804:Noise music 1768:Negativland 1676:Marley Marl 1544:(1968) and 1541:Two Virgins 1528:John Lennon 1481:Lumpy Gravy 1474:" (1966), " 1426:, and that 1406:Frank Zappa 1378:the Beatles 1357:John Oswald 1253:Acousmonium 1223:Acousmonium 1189:oscillators 1167:trade union 1160:synthesiser 1089:relief desk 1022:Morphophone 987:harmonising 805:Microphones 799:frequencies 775:Mixing desk 752:microphones 736:mixing desk 614:Luc Ferrari 555:(1951) and 539:(1952) and 521:(1951) and 153:Luc Ferrari 84:human voice 6856:Categories 6610:Drum break 6557:Rave music 6547:Madchester 6510:Bass music 6492:Rave dance 6441:Free party 6406:Microgenre 6277:Hardvapour 6215:Mumble rap 6198:Moombahton 6188:Mahraganat 6116:Black MIDI 6026:Sovietwave 6001:Russ music 5932:Juke house 5905:Hauntology 5866:Complextro 5854:Reggaestep 5619:Microhouse 5614:Merenhouse 5533:Frenchcore 5528:Free tekno 5496:Ghettotech 5444:Dub techno 5341:Diva house 5336:Disco polo 5326:Denpa song 5269:Bhangragga 5181:Miami bass 5072:Turbo-folk 5042:Electropop 5013:Dubtronica 4929:Dance-rock 4924:Dance-punk 4919:Post-disco 4880:Industrial 4858:Euro disco 4808:Space rock 4698:Tape music 4588:Electronic 4534:Surrealism 4472:Minimalism 4347:Cinéma pur 3992:and poetry 3990:Literature 3899:Minimalism 3790:Visual art 3679:2019-02-23 3387:2023-02-21 3293:2023-02-21 3270:Ars Sonora 3214:4 (June):. 3177:2023-02-23 2997:2011-06-04 2966:2023-02-21 2867:2023-02-21 2844:2023-02-21 2825:2023-02-23 2612:Niimi 2005 2564:Jones 2002 2002:Goehr 2008 1990:Roads 2015 1875:References 1756:" (1984), 1720:Akai S1000 1698:producers 1660:scratching 1642:utitlised 1598:industrial 1560:Pink Floyd 1460:The Letter 1452:7 and 7 Is 1446:" (1966), 1392:'s use of 1355:" work of 1245:monophonic 1187:including 1109:monophonic 1046:(one each 1004:monophonic 702:Technology 676:Pythagoras 672:acousmatic 591:Jean Rouch 565:Astrologie 561:Masquerage 405:phonograph 212:gramophone 202:Tape music 196:See also: 192:Beginnings 72:tape music 6411:Nightclub 6374:Club drug 6369:Beat drop 6272:Vaporwave 6247:Rara tech 6136:Dreampunk 6091:Afroswing 6075:Wonky pop 6021:Synthwave 5989:Lowercase 5947:Nightcore 5937:Jumpstyle 5915:Chillwave 5837:Crunkcore 5822:Cloud rap 5802:Afrobeats 5762:Breakstep 5752:UK garage 5740:Uplifting 5678:Reggaeton 5658:Post-rock 5604:Kidandali 5565:Speedcore 5543:Hardstyle 5523:Breakcore 5481:Futurepop 5393:Neurofunk 5353:Downtempo 5144:Hip house 5084:Eurodance 5023:Freestyle 4984:Breakbeat 4962:Acid jazz 4946:Synth-pop 4907:Dark wave 4902:Cold wave 4892:Japanoise 4848:Dancehall 4766:Krautrock 4761:Jazz-funk 4539:Symbolism 4467:Modernism 4300:Serialism 4285:Post-rock 4226:Free jazz 4134:Free funk 4089:Ultraísmo 4044:Imaginism 4019:Cyberpunk 3981:Vorticism 3784:movements 3709:Home page 3602:(cloth); 3398:(1952a). 3356:0148-9267 3272:, no. 9. 3233:0014-0759 3193:(3): 14. 2839:Pitchfork 2820:The Times 2714:0148-9267 2067:Kane 2014 1819:Sound art 1733:Pitchfork 1644:turnables 1610:Brian Eno 1593:The Times 1584:Kraftwerk 1576:released 1500:Phil Lesh 1492:'s album 1470:tribute " 1402:Bob Dylan 1327:dixieland 1199:, but an 1123:executant 1053:amplifier 983:Universal 973:glissando 951:Chromatic 910:Phonogène 887:chromatic 850:Filtering 682:adjective 638:Ivo Malec 593:and with 557:Orphée 53 88:synthesis 6843:Category 6664:Waveform 6460:Sampling 6446:Teknival 6299:Hardwave 6282:Mallsoft 6262:EDM trap 6257:Shamstep 6168:Hyperpop 6101:Amapiano 6096:Algorave 6053:Funkstep 6048:UK funky 5994:Onkyokei 5972:New rave 5807:Bassline 5784:Hard NRG 5779:Hardbass 5715:Hands Up 5700:Balearic 5648:Nu metal 5629:Schaffel 5577:Illbient 5508:Hardcore 5491:Footwork 5469:Nu disco 5430:Jazzstep 5398:Techstep 5388:Hardstep 5383:Darkstep 5368:Trip hop 5363:Psybient 5289:Darkcore 5274:Big beat 5186:New beat 5079:Eurobeat 4897:New wave 4843:Chiptune 4673:Biomusic 4487:Neo-Dada 4462:Lettrism 4443:Futurism 4357:Drop Art 4352:Dogme 95 4320:Totalism 4238:Futurism 4189:Ars nova 4117:By style 4064:Neoteric 3966:Rayonism 3919:De Stijl 3894:Mail art 3849:Devětsil 3704:AllMusic 3590:(1999), 3520:(cloth) 3287:The Wire 3241:24255077 1856:concrete 1851:concrète 1778:See also 1668:sampling 1638:such as 1588:Autobahn 1550:(1969). 1536:Yoko Ono 1428:concrète 1411:The Wire 1398:feedback 1341:, whose 1061:spectrum 1040:feedback 883:keyboard 523:Étude II 288:birdsong 250:'s film 236:wireless 6632:Sampler 6362:Culture 6252:Seapunk 6235:Brostep 6043:UK bass 6006:Sambass 5979:Rabòday 5898:Grindie 5849:Dubstep 5636:Nu jazz 5346:Hardbag 5114:Chicago 5104:Ambient 5018:Electro 4868:Hip hop 4741:Ambient 4416:General 4275:No wave 4049:Imagism 3999:Acmeism 3951:Pop art 3941:Orphism 3859:Fauvism 3837:Bauhaus 3726:website 3364:3681324 3199:3680939 2722:3681923 2657:Sources 1847:concret 1738:Aaliyah 1672:Eric B. 1648:R&B 1636:deejays 1614:ambient 1600:groups 1534:artist 1518:" and " 1504:Deserts 1365:Plexure 1353:collage 1193:filters 977:Orpheus 965:Sliding 959:capstan 787:Filters 748:filters 746:units, 732:shellac 570:Déserts 545:Étude I 519:Étude I 459:to play 256:Weekend 252:Wochend 187:History 100:harmony 47: 6745:(1950) 6737:(1948) 6562:Reggae 6503:Genres 6475:Riddim 6401:Mashup 6384:DJ mix 6106:Azonto 6038:Trival 6016:Skweee 5957:Nortec 5920:Glo-fi 5812:Budots 5757:2-step 5690:Trance 5683:Dembow 5673:Psydub 5560:Mákina 5555:J-core 5538:Gabber 5503:Glitch 5476:Funkot 5416:Light 5405:Jungle 5379:Heavy 5279:Bitpop 5211:Techno 5159:Tribal 5124:Garage 5062:Kwaito 5057:Kuduro 4863:Hi-NRG 4838:Boogie 4614:Genres 4492:Neoism 4438:Fluxus 4338:Cinema 4177:Others 4079:Oulipo 4074:Oberiu 3961:Purism 3827:Cubism 3745:Audium 3732:events 3675:. 1998 3658: 3650: 3610:(pbk). 3606: 3598: 3580: 3558: 3540: 3528:(pbk). 3524: 3516: 3496: 3452: 3424: 3362: 3354: 3331: 3312: 3239: 3231: 3221:Esprit 3197: 3155: 3133: 3105: 3074: 3053:. BBC. 3032: 3013: 2988: 2930: 2911: 2883: 2805: 2797:". In 2746: 2720: 2712: 2680: 1784:Audium 1656:groove 1532:Fluxus 1478:" and 1339:Matmos 1036:delays 840:record 836:stylus 832:sample 750:, and 632:, and 513:, and 421:) and 327:de la 260:Berlin 167:, and 106:, and 104:rhythm 96:melody 82:, the 6770:Ocora 6588:Tools 6532:Disco 6455:Remix 6315:2020s 6225:Plugg 6084:2010s 6070:Wonky 5962:Phonk 5893:Grime 5832:Crunk 5795:2000s 5745:Vocal 5705:Dream 5242:1990s 5196:Ragga 5149:Latin 5134:Italo 5129:Funky 5094:House 5089:Grebo 4972:Baggy 4955:1980s 4819:1970s 4746:Drone 4734:1960s 4715:Noise 4627:Early 4166:Metal 4109:Music 3381:Tidal 3360:JSTOR 3252:' 3237:JSTOR 3195:JSTOR 2857:(PDF) 2718:JSTOR 1830:Notes 1652:disco 1574:Faust 1570:Money 1554:1970s 1394:noise 1371:1960s 1126:each. 1008:spool 933:pitch 889:, or 791:high- 674:from 549:Étude 455:jouer 363:Cairo 108:metre 6649:MIDI 6615:List 6595:Bass 6431:Doof 6416:Rave 6342:Rage 6294:Wave 6173:Gqom 5735:Tech 5720:Hard 5695:Acid 5154:Tech 5119:Deep 5099:Acid 4654:Rock 4649:Jùjú 4428:Dada 4161:Punk 4156:Prog 4151:Rock 4139:Yass 4129:Jazz 4124:Funk 4099:Zaum 3656:ISBN 3648:ISBN 3604:ISBN 3596:ISBN 3578:ISBN 3556:ISBN 3538:ISBN 3522:ISBN 3514:ISBN 3494:ISBN 3450:ISBN 3422:ISBN 3352:ISSN 3329:ISBN 3310:ISBN 3229:ISSN 3153:ISBN 3131:ISBN 3103:ISBN 3072:ISBN 3030:ISBN 3011:ISBN 2986:ISBN 2928:ISBN 2909:ISBN 2881:ISBN 2863:: 46 2803:ISBN 2744:ISBN 2710:ISSN 2678:ISBN 1770:and 1748:'s " 1740:'s " 1718:and 1650:and 1604:and 1514:", " 1450:'s " 1448:Love 1442:'s " 1396:and 1333:and 1317:and 1305:and 1055:and 793:and 730:, a 573:and 479:ORTF 376:zaar 200:and 70:and 44:lit. 6760:GRM 5730:Psy 5710:Goa 4751:Dub 4146:Pop 3702:at 3617:". 3484:7:. 3268:". 3225:280 3210:". 3095:doi 3064:doi 2670:doi 1760:'s 1687:". 1458:' " 1099:or 905:). 577:". 451:jeu 447:jeu 280:'s 6858:: 4616:by 4602:· 3669:. 3378:. 3358:. 3348:20 3346:. 3284:. 3235:. 3191:17 3189:. 3170:. 3101:. 3070:. 2984:. 2957:. 2859:. 2837:. 2818:. 2716:. 2706:24 2704:. 2676:. 2516:^ 2471:^ 2432:^ 2418:^ 2391:^ 2376:^ 2361:^ 2306:^ 2290:^ 2252:^ 2197:^ 2182:^ 2168:^ 2033:^ 1968:^ 1918:^ 1434:. 1414:, 1400:, 1329:, 1325:, 1259:. 1207:, 1195:, 957:/ 652:. 644:. 628:, 624:, 620:, 616:, 509:, 505:, 501:, 497:, 493:, 489:, 163:, 159:, 155:, 151:, 102:, 98:, 42:; 6702:e 6695:t 6688:v 4580:e 4573:t 4566:v 3774:e 3767:t 3760:v 3682:. 3662:. 3584:. 3562:. 3546:. 3502:. 3458:. 3430:. 3390:. 3366:. 3337:. 3318:. 3296:. 3243:. 3201:. 3180:. 3161:. 3139:. 3111:. 3097:: 3080:. 3066:: 3038:. 3019:. 3000:. 2969:. 2936:. 2917:. 2889:. 2870:. 2847:. 2828:. 2809:. 2752:. 2724:. 2686:. 2672:: 2650:. 2638:. 2626:. 2614:. 2578:. 2566:. 2530:. 2511:. 2499:. 2487:. 2069:. 1849:/ 1692:' 1091:( 846:. 801:. 765:. 417:( 254:( 175:( 144:– 129:( 56:' 50:' 33:( 20:)

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index