Musique Concrète Research Papers - Academia.edu (original) (raw)

This paper provides a brief survey of composition in which field recordings or other referential sounds are transcribed for acoustic instruments. Through a discussion of how electroacoustic music and scholarship has conceptualised the notion of mimesis, and how various forms of contemporary acoustic music have adopted electroacoustic techniques, it identifies a recent musical practice in which these concerns are brought together. The paper proposes the term mimetic instrumental resynthesis as a way of describing the common threads behind works that employ electronic-assisted or computer-assisted techniques toward instrumental imitations of environmental and extra-musical sounds. The paper also highlights some of the conceptual and aesthetic questions emerging from such a practice, including the idea of transformation, issues of referentiality, listening, the influence of different technologies and their aesthetic implications, and the tension between abstract and concrete conceptions of the works discussed. Finally, the paper raises concerns surrounding the language of discussing what is necessarily an interdisciplinary venture.

- by
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- Mimesis, Soundscape Studies, Electroacoustic Music, Analysis of Electroacoustic Music

The autonomous sensory meridian response (ASMR) is a sensory phenomenon, sometimes referred to as a "brain orgasm," which involves pleasant tingling sensations in a body in reaction to certain stimuli. This article analyzes ASMR within the framework of ideas put forward by the musique concrète that offered new sensibilities of musical expression and promoted attentive listening to matter. At the same time, we treat sonic practices of ASMR as inspired by the concepts developed by New Materialism, especially the notions of physicality and materiality of sound recognized within the ontology of its vibrational force.

- by Joanna Łapińska
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- Music, Contemporary Art, Sonic Art, Vibrations

The main object of this paper is the composition Seven Circles completed in 1959 by Danish composer Else Marie Pade. It is the first piece of purely electronic music composed in Denmark. The paper has three primary focuses which are first: the evolution of electronic music that leads up to Seven Circles, second: Pade and the production of the piece itself, and third: how the techniques used by Pade point out the way towards the electronic music we know today.

- by Nikolaj Lange
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- Music, Musical Composition, Music History, Music Technology

The article presents the ideas of Pierre Schaeffer (1910–1995), especially the idea of sonic object, and discusses them in the context of philosophical and literary inspirations. The argument is based on Treatise on musical objects (1966) and the comments given by contemporary scholars and composers: Michel Chion, Hugues Dufourt and Carlos Palombini among them. The four modes of listening derived from the French dictionary as well as the attempt to grasp the content of auditory experience are discussed in the context of phenomenology. The notion of sonic object and the search for the new language of sound description prove to be closely linked to literary concepts. The contexts
of Schaeffer’s reflection include the philosophical ideas by Descartes and Husserl, prose by Rabelais and poetry by Ponge as well as Heidegger’s reflection on technology. All the arguments prove that the idea of sonic object is complex and dynamic. It implies
not only sound recordings and their transformations but also the conscious attempt to grasp the content of auditory experience, the interaction of sound with listener and the sophisticated, changeable relation with the object of cognition.

A música eletroacústica trouxe para o domínio musical todos os sons possíveis de serem capturados por microfones, possibilitando uma relação com o real similar à fotografia, uma representação acústica direta do real, ou ao menos a mais próxima disso. Essa possibilidade trouxe questões e dicotomias, gerando uma série de campos polares: musical/extra-musical, musical e sonoro, autonomia da música e referencialidade. O método usado para examinar estes termos foi a análise de obras cuja forte ligação com este real é notória.
Obras eletroacústicas não possuem notação, sendo fixadas diretamente no suporte. Obras acusmáticas não mostram a origem dos sons apresentados, sendo realizadas somente por via de alto-falantes. Por conta destas características a aproximação com as obras escolhidas, todas eletroacústicas e acusmáticas, se dá somente por via da escuta, em um processo analítico que não garante objetividade. O método analítico é então baseado nas idéias de Bachelard acerca do devaneio poético, tratado aqui como um modelo para a escuta musical.

- by Ale Fenerich
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- Electroacoustic Music, Pierre Schaeffer, Michel Chion, Musique Concrète

This essay patches object-oriented software and object-oriented ontology into each other, on the gambit that their shared circuit might in turn resonate with the phenomenological lockbox in which Pierre Schaeffer originally placed the objet sonore when he invented this term of art and the compositional practice of musique concrete in 1948. The current software environments in which we create, distort, transform and use digital sound objects has more in common with Schaeffer’s disavowed formulation than we may realize, and we need the conceptual resources of both object oriented software and object oriented ontology in order to understand why. In a concluding coda, I critically respond to Alexander Galloway’s deployment of this same resemblance between software and ontology.

- by Carlos Palombini
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- Radio, Cinema, Sound Art, Pierre Schaeffer

This paper describes the process of creating a new performance of John Cage's early tape music piece Williams Mix (1952). It details the features of the score, the sound library, and the process used by Cage and his group of friends (David Tudor, Earle Brown, Louis and Bebe Bar-ron, etc.) to construct the piece. The construction of a new version of the piece is then described, discussing the problems interpreting the score, the collection of sounds according to Cage's specification, and the creation of a computer music patch to perform Williams Mix.

- by Tom Erbe
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- Computer Music, John Cage, Musique Concrète
- by Mike Pursley
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- Phenomenology, Experimental Music, Pierre Schaeffer, Musique Concrète

Simon Côté-Lapointe, « Archives sonores et création : une pratique à la croisée des chemins », p. 60-83; In Archives et création : nouvelles perspectives sur l’archivistique. Cahier 1. Montréal, Université de Montréal, École de... more

- by Simon Côté-Lapointe
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- Music, Archives, Sound archives, Musique

Briefly surveys the 1941–58 activities of Pierre Schaeffer, who created musique concrète in Paris in the late 1940s. Also outlined is his work of 1948–53 — between the beginning of his research into noises and the writing of his manifesto... more

- by Carlos Palombini
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- Music History, Music Theory, Electroacoustic Music, History of Music Theory

In 2010 for the occasion of the Symphonie Pour Un Homme Seul 's 60th anniversary – the most emblematic work of the musique concrète – a live version performance of the piece was created in Rio de Janeiro.i The version idealized by Rodolfo Caesar was attended by the collaboration of José Augusto Mannis, who transcribed for musical notation and conducted of the Persona's group.ii Tracking the inverse way of the musique concrète, the version deprive from the original version its acousmatic feature. It made the sounds of the Symphonie – a piece originally created to be played by loudspeakers in a concert situation – visible by the presence of the musicians and their gestures on stage, playing several musical instruments (guitar, flute, electric guitar, percussion, prepared piano), objects (empty plastic bags, portable pick-ups, toy piano, even an emery) and sound foley elements (vocalized mimics, steps, among others).

- by Ale Fenerich and +1
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- Musical Composition, Brazilian Studies, Sound studies, Musique Concrète

Cette recherche de thèse vise à reconstruire des éléments de genèse de la composition électroacoustique de Pierre Boulez dans les années cinquante à travers l’étude d’esquisses et de manuscrits conservés au Paul Sacher Stiftung. Notre thèse s’est fondée sur deux approches complémentaires : la reconstitution du contexte musical, esthétique et historique et l’étude des esquisses. Dans la Partie I, nous avons tout d’abord examiné les Fonds Pierre Schaeffer afin de retracer le déroulement du premier stage de musique concrète au GRMC. La réorganisation des esquisses et la reconstitution du processus de montage sonore nous ont permis de souligner que la composition des deux études de musique concrète (1951-52) était une étape indispensable pour le développement de la pensée sérielle de Boulez dans le sérialisme intégral.
Dans la Partie II, nous avons mis en
relation la composition de Symphonie mécanique (1955) et Poésie pour pouvoir (1958) avec le concept de « sons organisés » dans Déserts (1954) d’Edgard Varèse en traçant la transition de la musique concrète à la musique mixte. Boulez y a développé la notion de « blocs sonores » originairement exploitée dans l’écriture instrumentale et orchestrale. Notre étude a éclairé que Boulez avait procédé par tâtonnements de façon cohérente et développée afin de réaliser l’intégration des mondes instrumentaux et électroacoustiques. En ce sens, il est raisonnable que Poésie pour pouvoir soit considérée comme l’origine de la « musique mixte » chez Pierre Boulez. Par ailleurs, cette tentative de confrontation était inévitable pour Boulez afin de réaliser la transmutation musicale de l’exorcisme corporel du poème de Henri Michaux.

Ce travail est né du désir d’explorer les dialogues entre l’improvisation et l’écriture musicale à partir de la création de pièces ouvertes et propositions d’improvisation guidées. Dans mes créations qui seront ici présentées, l'intérêt d’utiliser les pièces ouvertes est de pouvoir offrir à l'interprète de la pièce une grande liberté de création, de sorte que leurs choix influencent directement le résultat final de l'œuvre. Plus qu’une liberté, c’est aussi une responsabilité, car dans mon écriture, j’incite les interprètes à être aussi des créateurs de la pièce, et non pas seulement les réalisateurs. Je m’intéresse par conséquent au type d’engagement que l’interprète construit face à cette opportunité, et surtout aux rapports que cette façon de réorganiser la pratique musicale (avec la dissolution des figures séparées d’interprètes et de créateurs) peuvent avoir avec notre organisation en société.

- by Henrique Couto
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- Improvisation, Free Improvisation, Graphic Scores, Obra Aberta
- by Julian Woodside
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- Semiotics, Cultural Studies, Music, Music History

This essay as specified in the title is only a short introduction to the history of alternative
electronic and experimental music in Asia and Africa, very few has been written on this topic and
forgive me if I didn't mention some important composers or events, and if I didn't develop this topic
a bit more regarding some countries, this is a work in progress that will lead to a book including a
more detailed view on events, composers, music genres and other references. In the present paper, I
speak about some major places where electro-acoustic and experimental music (mostly academical)
developed or are under development and composed by local musicians, I purposely omit expatriates
who live(d) and compose(d) there, not that their works as a lower value, it is simply not the topic of
this paper.

- by C-drík Kirdec
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- South Korea, Africa, Iranian Studies, East Asia
- by Holly Rogers and +1
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- Soundtrack Studies, Film Music And Sound, Soundscape Studies, Electroacoustic Music

本研究は、リュック・フェラーリLuc Ferrari (1929-2005)... more

本研究は、リュック・フェラーリLuc Ferrari (1929-2005) が手がけた《ほとんど何もない》という題を持つ八つの作品のうち、フィックスト・メディアの電子音響音楽4作に着目したものである。フェラーリはミュジック・コンクレート創始者ピエール・シェフェールらと協働した後、まもなく「逸話的音楽」という独自のスタイルで創作を行うようになった。《ほとんど何もない》電子音響音楽4作は、それぞれが独立した個性的な逸話的音楽作品であるが、各作品が同一の名を名乗る根拠はどこにあるのか。スケッチに基づく分析の他、ブリュンヒルド・フェラーリ夫人を始めとする関係者への取材や、作品にまつわる地を訪れたフィールド・ワークから得られた知見に基づいて各作品を解釈し、まずは4作個々の特徴を炙り出す。そしてそれらが《ほとんど何もない》として如何なる核を有するのかを考察する。
第一章では、作品群最初の《ほとんど何もない第一番》(1967-70) が作曲された背景を中心に、彼の自伝もひきながら「場所」というキーワードを提示して考察した。この楽曲の材料は、旧ユーゴスラヴィアの小さな島で録音された環境音である。海辺の夜明けの音響をそのまま切り取ってきたかのような自然な録音にも聞こえるが、実際には緻密な編集の結果によるもので、フェラーリは「ミニマリズムの最初のアイディア」と述べる。この「場所」に訪れたフェラーリが芸術家のカンファレンスに出席し、非専門家との音楽イベントや、モザイクの製作を行った経験、そしてこの地での日常・環境・社会の観察が《第一番》作曲の契機となり、《ほとんど何もない》が誕生するきっかけとなったことが分かった。
第二章では、1977年に作曲された《ほとんど何もない第二番》について、フェラーリの自筆スケッチや他作品との関係性を紐解きながら解釈を進めた。《第二番》は《第一番》に続き、ミュジック・コンクレートの手法を踏襲した上で、シェフェールの意図とは相反する態度で作曲された逸話的音楽である。《第一番》にはなかった「音楽」という要素は、《第二番》の音素材が録音された場所に関わる別作品との関係を浮き彫りにし、表に出なかった逸話が《第二番》に内包されていることが確認できた。音響的な彩りの拡張、フェラーリ夫妻の囁くような会話による親密intimeな性質など、《第二番》としての特色を確立させながらも、いくつもの共通点が《第一番》から継承されている。
第三章で取り上げた《少女たちとほとんど何もない》(1989) は、フェラーリ夫妻が木の陰に隠れて、三つの言語で話す女性たちを覗き見ているような音風景の作品である。実際には女性たちの声はスタジオで録音され、森の中の環境音とは切り離されたものだ。スケッチには、過去2作と同じテープ編集のための作業メモ以外に、ダンスとスライドと照明を伴う上演のための指示書も含まれていた。音楽のみで《少女たち》を解釈しようと試みた実践と比較すると、様々なズレ、亀裂、矛盾が浮かび上がってきた。しかし《第一番》、《第二番》と共有するアイデンティティを明確に備えている。
第四章では、イタリアの国境の町で録音された現実音を材料として作曲された《ほとんど何もない第四番》(1990-98) について論じた。フェラーリ夫妻が古い村の坂道でかわす会話や環境音の録音は、《第四番》のみならず、別のヘールシュピールにも用いられた。《第四番》は、副題を共有するそのヘールシュピールの逸話をも背負いつつ、物語を分解して独自の「騙し絵の現実」を再構築した。《ほとんど何もない》と名乗ることへの躊躇いも見せ、「真実と虚偽」の《ほとんど何もない》を企てた。古い村の日常に入り込んだ夫妻と現地の人々との会話は、ごくたわいない個人的なもので、それは《第二番》からのintimeというキーワードを引き継ぐものである。
第五章では、本論文では主題としなかった電子音響音楽以外の形態である《ほとんど何もない》（映画、ヘールシュピール、ミクスト作品）4作を取り上げ、いくつかの点にフォーカスし、電子音響音楽4作を読み解く手がかりへと結び付けることを試みた。
《ほとんど何もない》電子音響音楽4作の共通項として挙げられるのは、①創作の手法、②題名と作曲行為の齟齬にあるアイロニー、③日常や社会への関心、④シチュエーションが明確かつ固定的、⑤三つのシーケンス、⑥逸話的音楽という点であった。4作は、「時間と場所の統一」という概念から出発し、その概念にとらわれず、柔軟に戯れ、緩やかに変形させながら発展したものであり、その中核にあるものは「逸話」と「場所」である。フェラーリの「場所」への愛情、記憶、思い出や、「場所」が引き寄せる不確かなイメージ、豊かなイメージが、「逸話」を呼び起こし、形成されたのが《ほとんど何もない》電子音響音楽4作である。

- by Ayako Sato
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- Music, Musicology, Electroacoustic Music, Electronic Music

This paper is about a suite of electroacoustic music inspired by multiculturalism and DNA. Samples, live playing, and synthetic sounds were combined using digital technology into a dance-informed, world-flavored, concert-oriented, acousmatic music. Musique concrète, minimalism, rave, and hip hop all influenced the techniques, theories, and aesthetics used in composing the suite. The decision to use the Ten Oxherding Pictures of Zen Buddhist fame as a non-diegetic enhancement of concert presentations impacted the poetics and provides a means by which to analyze the author’s own compositional process. First the inspiration and potential issues are outlined, then the aesthetics are contextualized, the techniques used are described, and finally, the individual pieces of the suite are discussed.

- by Colin P McGuire
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- Music, Musical Composition, Multiculturalism, Composition (Music)
- by Eric Drott
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- Cultural Policy, Music and Politics, Electroacoustic Music, France

This essay traces two different instances of Pythagorean influence in Joyce’s writing. First, the experiences of listening to the song The Lass of Aughrim in “The Dead” will be discussed as an ‘audible parallax’ by utilizing the inherently Pythagorean term acousmatic. Then, the ‘musemathematical’ calculations in the “Sirens” chapter of Ulysses will be read anew based on the ancient mathematician’s acousmas. Both analyses are ‘parallactically’ linked to “Pythagorean lore” (Senn, “Met” 111) by using the term acousmatic as a vantage point.

Avant Propos J'ai beaucoup insisté dans ma synthèse : « être sur le seuil », « entre catégorie », dans une pratique qui se veut autant plasticienne que musicienne, force à penser le passage et à remettre en question toutes les tentatives de construction de murs. Le seuil n'est pas une frontière et être sur le seuil engage une pensée symétrique où toutes les polarités n'ont plus cours. Parmi les dichotomies favorites d'une pensée occidentale qui se réclame de la modernité, celle qui sépare le corps de l'esprit, le sensible de la raison, le faire de la pensée, la pratique de la théorie. J'ai montré au contraire que continuer à penser la recherche en art et avec l'art à partir de cette partition n'était pas à la hauteur de l'art contemporain lui-même. Entendons-nous, derrière art contemporain ne se trouve pas toutes les oeuvres d'art estampillées « art contemporain » par un marché globalisant et eurocentré. Je désigne par art contemporain toutes ces pratiques qui sont des écopraxies, dont on ne peut faire l'expérience sans être replacé dans un procès de la signifiance, une béance du logos qui force à se retrousser les manches et à reformuler, temporairement, comme l'on demeure. Là où le plastique est en acte, encore frais de ses labilités et mutabilités, et qui s'offre comme expérience sens(ible), c'est-à-dire du sensible et de la raison intriqués, du faire et de la pensée intriquées, de la pratique et de la théorie intriquées. Comme nous le dirions du chat de schrödinger, à la fois vivant et mort : vivant +mort.

- by Frédéric Mathevet
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- Musical Composition, Musicology, Performing Arts, Plasticity

Nam June Paik is mostly known as the father of video art. At the same time, he can also be regarded as a creative pioneer of interactive art. Unfortunately, most scholars and art historians still neglect Paik's remarkable achievement in interactive art with his musical background. Especially, Paik's experience with Musique Concrète was a core springboard to develop his interactive pieces. However, among Paik's artistic backgrounds Musique Concrète is hidden by well-known influences from John Cage, Karlheinz Stockhausen and Fluxus. Based on Musique Concrète, Paik created basic elements of interactive art such as database, non-linearity and sensorial translation at Paik's first solo show, Exposition of Music – Electronic Television, in 1963. These are still considered fundamental properties to make interactive pieces. In this regard, Paik as an interactive artist can be a significant contribution to finding an origin of interactive art since art theorists have started to explore its genealogy.

- by Byeongwon Ha
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- Video Art, Interactive Art, Nam June Paik, Musique Concrète

The materialisation of sound as audio recording opens the potential for operations to be carried out on sounds: editing, montage, signal processing, mixing, sequencing, etc. Pierre Schaeffer practised an empirical method of composition, composed listening or composing by ear. This marks it as related to oral traditions of musicking rather than the literate. Friedrich Kittler notes that the typewriter objectified the word onto the page as a fixed medium. With the word processor that medium became virtual and flexible, allowing for the playing with montage techniques first developed for cinema. Using the metaphor of writing with sound, one can draw an analogy between empirical composition with sound objects on a DAW and literary text production. Literary text production theory offers a number of concepts useful for empirical composition: dialogism; heterophony; intertextuality included; and offers ways of understanding how sounds are rendered semantically meaningful. Glenn Gould (montage music); Mauricio Kagel (musicalization of speech); and Stockhausen (music approaches speech: speech approaches music) explored these dramaturgical relations in their speech-based composition and sound studio production.

- by Christopher Williams
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- Music, Musicology, Musique Concrète, Radiophonic Arts
- by Carlos Palombini
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- Radio And Sound Studies, Sonic Art, Sound studies, Phonography

Electroacoustic music, legend has it, was born in 1956 when, in Stockhausen’s Gesang der Jünglinge, the materials of musique concrète and those of elektronische Musik blended. Musique concrète and elektronische Musik, however, amounted to more than the choice between two different kinds of materials. This bibliography’s compiler asks: what then if, rather than acting as one of the pillars upon which electroacoustic music rests, musique concrète had been the apex of something else? The bibliography consists of a selected list of Schaeffer’s writings and is intended to act as a starting point in the compiler’s investigation. The bibliography describes and briefly comments on ten titles on Pierre Schaeffer’s research on sound. Published in France from 1967 to 1999, most of these writings were written by members of his circle and himself. It is unfortunate that only a couple of these books has appeared in English translations. Such titles as Pierret’s Entretiens avec Pierre Schaeffer, Brunet’s De la musique concrète à la musique même and Chion’s Guide des objets sonores, if they were accessible to an English speaking readership, would allow Schaeffer’s thinking on sound to interact with a less — or differently — biased environment.

- by Mario Colleoni
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- Musicology, Johann Wolfgang von Goethe, Cultural Musicology, Electroacoustic Music

This chapter focuses on two of the most disruptive forms of soundscape composition and theorizes two related modes of audiovisual rupture. The first, sonic elongation, arises when source sounds from within the film’s world are broadened until they become unfamiliar. The process, which often draws these liberated sounds in musical textures, is fluid and can augment and intensify familiar modes of audiovisual engagement without breaking them. The second, sonic aporia, arises when real-world sounds (or sound effects) from beyond the film’s world are used to form a poetic or allegorical soundscape that does not assimilate with the images but sits alongside them. These often recognizable sounds undergo compositional transformation and yet their lack of a visual anchor, or, in some cases, their active opposition to what we see, leads our attention beyond the screen. Here, the different forms of audiovisual attention engendered by these contrasting compositional strategies is investigated in terms of attentive listening and multimodal rupture.

- by Holly Rogers
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- Media Studies, Film Music And Sound, Soundscape Studies, Cognitive Dissonance

Many theoretical accounts of sound art tend to treat it as a subcategory of either music or visual art. I argue that this dualism prevents many works of sound art from being fully appreciated. My subsequent attempt of finding a basis for a more comprehensive aesthetic of acoustic art forms is helped along by Trevor Wishart's concept of 'sonic art.' I follow Wishart's insight that the status of music was changed by the invention of sound recording and go on to argue that an even more important ontological consequence of recording was the new possibility of storing and manipulating any acoustic event. This media-historic condition, which I refer to as 'recordability,' spawned three distinct art forms with different degrees of abstraction – electroacoustic music in the tradition of Pierre Schaeffer, gallery-oriented sound art, and radiogenic Ars Acustica. Introducing Ars Acustica, or radio art, as a third term provides some perspective on the music/sound art binarism. A brief look at the history of radio art aims at substantiating my claim that all art forms based on recordable sounds can be fruitfully discussed by appreciating their joint material origins and multiplicity of reference systems rather than by subsuming one into another.

- by Gerald Fiebig
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- Sound studies, Electroacoustic Music, Recording, Audio And Radio Arts

Der Text zeigt, wie ein sprachferner Zustand im Klassenzimmer anhand Neuer Musik und eigener Arbeit mit alten Tonbändern hergestellt werden kann, wie die spezifische Art ästhetischer Wahrnehmung (vgl. Martin Seel: Kontemplative oder bloß sinnliche Wahrnehmung) reflektiert werden kann: Einerseits anhand musikhistorischer Wahrnehmungsbeschreibungen und andererseits durch Einordnung in Kontexte von Futurismus, Musique Concrète und Soundscape.

- by Christopher Wallbaum
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- Futurism, Aesthetic Education, Soundscape (Music), Aesthetic Experience

This article proposes a conception of sound as the material of artistic experimentation. It centres on a discussion of the nature of sound’s ontological status and aims to contribute to a new understanding of the role of materiality in artistic practices. A central point of discussion is Pierre Schaeffer’s notion of the sound object, which is critically examined. The phenomenological perspective that underlies the concept of the sound object depicts sound as an ideal unity constituted by a subject’s intentionality. Thus, it can barely grasp the physicality of sounds and their production or their reality beyond individual perception. This article aims to challenge the notion of the sound object as a purely perceptual phenomenon while trying to rethink experimentation as a practical form of thought that takes place through interacting with sonorous material. Against the background of recent object-oriented and materialist philosophical theories and by drawing on the Heideggerian concept of the thing and Gilbert Simondon’s theories of perception and individuation, this article strives to outline a conception of sound as a non-symbolic otherness. The proposed idea of thingness revolves around a morphogenetic conception of the becoming of sonorous forms that links their perception to their physicality.

- by Luc Döbereiner
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- Gilbert Simondon, Martin Heidegger, Philosophy of Music, Individuation

L’ Autre Musique n°4 (dir. F. Mathevet, C. Paillard, G. Pelé), mars 2016. [Inventeur de la « poésie sonore » au début des années 1950, Bernard Heidsieck use du magnétophone qui devient, à partir de 1961, grâce au microphone, moyen de... more

- by Gaëlle Théval
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- Poetry, Contemporary Poetry, Musique Concrète, Poésie Sonore & Poésie Action

Presque rien N ̊2. Ainsi continue la nuit dans ma tête multiple (1977), the third work named “Presque rien” composed by Luc Ferrari, was created using materials recorded while he traveled, as did his preceding electroacoustic piece Presque rien N ̊1. ou Le lever du jour au bord de la mer (1967-70) and documentary film Presque rien ou le désire de vivre (1972-73). As “musique anecdotique” that followed N ̊1 but differed it significantly, it is an electroacoustic piece with its own unique features. One of these features is its correlation with Ferrari’s other works. As a matter of course, it is relevant that it bears the same name as the preceding work; furthermore, a correlation is shown by its mutual citation with his mixed piece Ce qu’a vu le Cers. Réflexion sur l’écriture N ̊3 (1978). As a result, N ̊2 is considered to have given depth to the narrative, so it is not only significant as a sequel of Presque rien but also because it can be recognized as an aspect of an expansion of “musique anecdotique.”

- by Iain Campbell
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- Sound studies, Gilles Deleuze, Gilles Deleuze and Felix Guattari, Acousmatic

The nature of acousmatic music is considered through its relationship to videomusic, with particular reference to the author’s LEXICON, via a discussion of “the four ‘articles of faith’ of acousmatic music.” What can music with video tell... more

- by Andrew Lewis
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- Musical Composition, Sonic Art, Electroacoustic Music, Acousmatic Music

リュック・フェラーリ《ほとんど何もない》8 作のうち、1989... more

リュック・フェラーリ《ほとんど何もない》8 作のうち、1989 年作曲《少女たちとほとんど何もない》を取り上げる。過去作《ほとんど何もない第一番》、《第二番》同様に、フェラーリが滞在先で録音した現実音を主たる材料として作曲されたフィックスト・メディア作品である。《第二番》に引き続き、環境音に加えて人の話し声が音響素材として取り入れられているが、三つの言語で話す女性たちの声はスタジオで録音され、森の環境音とは切り離されたものである。また、フェラーリが用意したスケッチを確認すると、彼自身の作業のためのメモ以外に、ダンスとスライドと照明を伴う上演のための指示書が含まれていた。本来は音楽単体として作曲された作品であり、この上演形態はこれまでに二度しか実践されていない。音楽のみで解釈を試みた実践と比較すると、様々なズレ、亀裂、矛盾が浮かび上がってくる。このような点からも《少女たちとほとんど何もない》は《第一番》、《第二番》と異なる性質を帯びているように思われるが、《ほとんど何もない》として共有するアイデンティティを明確に備えた逸話的音楽作品である。

- by Ayako Sato
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- Electroacoustic Music, Contemporary Music, Music analysis, 20th Century Music

A reassessment of musique concrète, comprising historical contextualization, critical synopsis, and interpretation of Schaeffer's trajectory, from the Études de bruits (1948) to Traité des objets musicaux (1966). Henry's Variations pour... more

- by Carlos Palombini
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- Electroacoustic Music, Audio And Radio Arts, Experimental Music, Serial Music

Acousmatic sound – a sound that one hears without seeing the causes behind it – creates situations where visual contributions to auditory experience are diminished. The author theorizes that acousmatic separation unsettles the relationship of the source, cause and effect of sound. To draw out the consequences of this theory, Les Paul and Mary Ford’s multi-tracked recordings and live performances are examined, and three central claims are posited. First, Paul’s turn to multi-tracked recording was motivated by mimetic rivalry when his ‘sound’ was imitated on the radio. Second, Paul misdirected listeners of his radio program by creating scenarios that depended on false attributions of source and cause. Third, the problems that faced Paul in live performance of his multi-tracked hits resulted in Paul’s creation of the ‘Les Paulverizer’. This device afforded the maintenance of acousmatic spacing during live performance but also forced him into the unusual position of ventriloquizing his own voice.

- by Brian Kane
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- Music Technology, Guitar, Acousmatic, Sound Recording

EMS2013 International Conference "Electroacoustic Music in the context of interactive approaches and networks" in Portugal

- by Delinda Collier
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- African Studies, Art History, Media Studies, New Media

Doctorales Musique-Musicologie 2013 (Université de Paris-Sorbonne IV)